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843
there will no longer be possible. The heat developed in the resistances is sufficient to cook food! According to the newest regulations the resistances must be placed high up.
Further there should be fire engines sufficient at least for the quenching of wood and cardboard fires, or the cooling of metal : pails with as much water, and fire extinguishers with as few holes as possible.
Although the arrangement of the seats, free access to the doors, as generally questions of organisations, are not the immediate concern of the operator, he does well to have an eye to them, for if the film should really catch fire, water and other quenching apparatus are no good to him : the film still burns in the water and under the sand. Or rather, it decomposes without flame, whereby it develops sulphate of carbon, nitric acid and prussic acid, which form a heavy cloud of smoke, and are particularly poisonous gases.
It is here that the real danger lies. The only way, if a film really catches lire whether inside the apparatus or outside, is to let it burn. As long as there is a fireproof bottom, nothing can really happen, even though the heat may be intense. But if there is no smoke the fire is restricted to the film, supposing all other objects are removed. All attempts at rescue, all draughts, which might tear the burning film asunder are only dangerous.
The safest way of all is to let the fire take its course. The only possible precautions are cold blood, complete and immediate isolation of the spectator's hall, and, if the fire shoul really be noticed by the audience, free exit, fixed rows of chairs and a free passage.
Every possible means of avoiding such contingencies, which may definitely ruin the enterprise should, however be taken : — coolers on the apparatus, water in the hall and fire extinguishers to prevent the spreading of the conflagration.
Technical expertise and that inner calm, which takes the widest precautions when the danger is greatest, are, however, the most important preventives.
The considerations enumerated in this article which, as a matter of fact, are only a minimum of those which the operator must bear in mind, show what a mistake it is to entrust country or ambulant performances to assistants who, although they may have a sense of responsibility, and are personally reliable, have no idea either of the nature of a film, the workings of an apparatus, or the inherent dangers of a projection.
The interest both of the guests and of the presenting Society demand that the technical part of the performance should be entrusted only to those who can give proof, or better still, have given proof of their competence.
It is not my task to report here on film apprenticeship and examinations. But I will indicate some of their conditions. According to paragraph 5, the examination must include the following subjects :
a) Familiarity with the electric installations used in cinema performances, their purpose and handling.