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can be varied only by controlling the volume of the sound or dispensing with it, we can only pronounce ourselves in favour of it suppression.
But this should not lead us into a pre-arranged order of sound and silent passages in a film, 20 feet silent, 30 feet sound, 50 feet silent, and so on. Such a scheme is not possible for it is a matter which is in the hands of the producer.
The film " Tanzende Holzer " on the subject of Roumania is one of the best in existence, certain parts are truly moving, it matters little that it has been post synchronised with the noise of sliding wood ; it would perhaps be preferable if the principal scenes were kept entirely silent. The film would be more gripping and moving.
A film cannot be made into a teaching sound film simply by the addition of a synchronised musical score or a running commentary.
It is well known that fixed projections have never given birth to a film, at least a teaching film, even with the addition of titles. A teaching film is not made with signs, numbers and explanations. And a sound film cannot be made upon of old silent films with these additions or any odd music.
The school expects something quite different from the sound film. The example of a volcanic erruption is perhaps particularly apt here. It is a subject which can be rendered visually and artistically, consequently, to render it completely on the screen these two aspects should be united, without having explanations from a guide and an accompaniment of Italian music. It is not even necessary to hear the little Vesuvian railway, above all at the moment when the subterranean noises occur. If the film becomes silent when the devastation caused by the erruption, the destruction of trees, walls and bridges are shown, everything that can will be shown in a faithful picture of reality and the effect will not be lost.
What is important in the teaching sound film, the opinion of an honourable lecturer, the more or less effective harmony of musical instruments ? We want reality. The greater impression of reality which the sound film can produce through sound and image and the better it knowns the effects of silence the more efficacious it will be.
It has not been my intention to treat the subject exhaustively or to establish a doctrine for sound films. I have only wished to give my personal views which may possibly be of use to producers.
{From thz German).