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quite satisfactory if it is given whenever possible by an expert. There are, however, practical drawbacks.
One of them is the articulation of the spoken word. In a film if a word, or even a sentence, is not clear, the public can generally reconstruct the sense from the context. A good example of how unimportant the mere comprehension of the spoken word is in an entertainment film, and how easily the public can interpret a missing word or sentence is the well known American music hall number which has been put on the screen. In this scene two clowns carry on a long dramatic dialogue without exchanging a single word ; the dialogue is nevertheless absolutely clear — one would even feel inclined to sav « word for word » — although all the clowns do is to play on their violins the cadence and rythm of question and answer. In a German film « The Lady Secretary » the following amusing scene occurs. The Lady Secretary is talking behind a glass door to the usher; the sense of their conversation is perfectly comprehensible, although only a few sentences of the dialogue are expressed by musical cadences. Incomprehensibility resulting from differences of dialect or bad technique, are, as we have shown, of no great importance in ordinary films, but it is a very different matter in the case of an explanatory lecture accompanying a documentary film.
In such cases guess work is out of the question, for the lecture contains elements which complete the film and possibly give the key to its comprehension. The greatest clearness of articulation is therefore indispensable. In Austria we have unfortunately had many opportunities of observing that inconprehensibility of the spoken word often makes the public lose its patience; in such cases the pictures were not always good enough to make up for this defect.
Indispensable essentials of the synchronised film lecture are, therefore, a suitable voice, absolute freedom from dialect, and slow diction. But even when these conditions are fulfilled there is another difficult v to be overcome : the clearness of proper names.
In his « Himatschal » lecture Dyrenfurth solved this problem in an exemplary way. The first time he mentioned the name of any place the animated drawing of a geographical map, showing its location and spelling was thrown on the screen. This method should be adopted as a general rule.
In some cases it has been found advantageous to make alternate use of all three possibilities of synchronisation — sound effects, illustrative music and explanatory lecture, varying their use according to the necessities and possibilities of the picture to be synchronised. Such alternation is to be recommended, for it avoids the monotony of a continuous lecture, and also obviates the necessity of reconstructing « Sound » effects that are obviously not worth while. But regrettable excesses have crept in the accompanying music which has been « overdone » to the point of melodrama. This is an