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safety and with rather old apparatus, it is to be hoped that energetic measures will be taken as soon as possible to settle this question.
6. Visibility. — The visibility greatly depends on the shape of the hall. The best hall is an amphitheatre, or sector of a circle. It is also necessary to have the first rows of seats far enough from the screen so as to make them as comfortable as the others. The projection box has to be placed at a reasonable height in the axis of the hall. The screen, the dimensions of which must be well calculated, will be perpendicular to the light. Its qualities must be carefully studied according to the hall in order to make the projection agreeable from every part.
7. Effects of moving pictures on eyesight (i). — What we must especially consider in this question is the effect of moving pictures on the eyesight of children. According to a thorough enquiry published by the International Review of Educational Cinema (2), it has been found out that, generally, the cinema can only hurt the eyesight of the children when old films are used, the pictures not steady and the captions not clear, when the speed of the projection is uneven and when the children are too close to the screen.
Through a number of questionnaires, it was possible to discover that 25,33 % °f the children felt fatigue in the eyes. It has been noticed that girls feel it more than boys, children more than youths, professional school pupils more than those in classical courses.
For schools the use of the daylight screen, recently invented by a French engineer, Mr. Creuset, has been advised. This would also meet hygienic objections, as windows could be left open.
(1) In the course of the discussion of this point at the conference, M.lle Tommasi, the Italian delegate, proposed that the attention of the conference should be given to the question of the protection of actors in the studios especially with regard to the harmful effects of the mercury vapour lamps on their sight. Mme. Dulac, the French delegate, was opposed to this on the grounds that, if, in the past certain illuminants such as arc lamps had produced a bad effect on the sight of the actors, this danger is now removed because since the introduction of sound, studio illumination is confined to incandescent lights which have no appreciable effect on sight.
(2) It will be remembered that the I. I. E. C. has been making a double enquiry on the subject of the effect of cinema projections on sight generally and on childrens sight in particular. Both sight specialists and the actual subjects have been questioned (that is to say, school children in Italy, Belgium and Roumania and some parts of France). To date the answers of some 50.000 children have come to hand. Their study is effected as they arrive. Awaiting the arrival of replies from other countries, the I. I. E. C. has published the results of those coming from Italian schools. (No. 12 December 1930, Nos. 1 & 2, January and February 1931).
It may be observed that this Study by the I. I. E. C. does not limit itself to the effects of projection on sight, but comprises also all forms of fatigu connected in any way with the cinema: physical fatigue, moral fatigue and brain fatigue. The conclusions reached by this study are given in resume by Mme Coromilas.