We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
— 7 —
thought of the resuscitating of old films and synchronizing them wth lectures. The lecture itself must also be explained, developed and adapted by a teacher who knows the schedule for the particular group of spectators.
Just as it was necessary in silent teaching films to eliminate the theatrical type of title, unsuitable on account of both form and over suggestive content which were contrary to methods of teaching requiring an effort of understanding on the part of the spectators, in the teaching sound film it is essential to eliminate commentaries by incompetent persons.
In silent films we could only use the image for teaching and so in sound films we must use the sound, it is the essential item, it underlines movement and the other organic film elements and brings them into reality. We must use only exact and necessary sounds, explaining the image and completing the living element in the film.
Let us make this clear by an example.
Let us take the forest for instance. We should certainly agree as to the images of which this film might be composed, but what about the sound ? A stag, the mountain stream, the wash of the river, birds singing here and there, the charcoal burners, the woodmen, perhaps a traveller, perhaps also the noise of the forest, a storm, the creaking of the trees under the weight of snow. We might have the image with its natural sound. But from a methodical point of view, it is obviously nonsensical to describe the life of a forest through the lips of a single woodman, traveller, landowner or charcoal burner who is ignorant of the larger aspect of forest life. I do not wish to be misunderstood. The woodman, the charcoal burner and the other men that live in the forest, should not be called upon to describe the entire life of the forest but simply the 'art which they personally play in it. The woodman should not be an orator, he should simply describe his existence, his job, the work involved and his manner of doing it. And therein is only a small part of the existence of the forest as a whole. In the Roumanian film " Tanzende Holzer ", by U. F. A., the commentary has been eliminated — and rightly for the images make such an impression that words could only serve to weaken it.
There might well be a commentator in the form of an old woodman, but in what language would he speak? A woodman in the Black Forest would onviously speak a dialect which Northern Germans would find difficult to understand. And the same thing applies to other local inhabitants. The sound should come from those who actually act in the film.