International Review of Educational Cinematography (Jan-Dec 1932)

820 and in major or minor degree, in the problems of architectural acoustics will undoubtedly find this book invaluable. The reader will learn many things and enrich his general culture with the book, for Mr Lyon seeks to render the most difficult scientific principles comprehensible, illustrating them with simple examples. This is especially •shown in the two chapters, " Fundamental and first laws of Acoustics " and " Sound Isolation ". The further one goes into the book, the more one becomes convinced that it is not only a work of popular science but a technical and practical treatise of real value. The chapters, " Preliminary study for a conference Hall " and " Project for a hall with reserved seats ", " Placing of the Microphones in a registering studio " " Project ior a fitted-out Studio ", " Ventilation of halls " are written chiefly for specialists, though the general reader will find interesting information and facts set forth by Mr Lyon in a simple and easily understandable manner. This work is made more interesting by the reproduction of an article by Lucien Fournier which appeared in 1909 in " La Nature ", in which Lyon's work at that time in tracing the causes of the execrable acoustics of the halls of the Trocadero and improving them is set forth. This fact alone is sufficient to give a clear indication of the competence and experience with which the chief problems of architectural acoustics are treated. Leu propos de la cabine by P. Graugnard. Preface by A. P. RlCHARD, Vice-President of the French Cinematographists. I Vol. 97 pp. with illustrations. (Film et Technique, Paris), 1932. As the title indicates, the volume under review is a practical and technical manual for the cinema producer and operator, a book " by a professional for professionals " as Mr A. P. Richard says in his preface. With the rise of the sound film, the projection cabin has become the vital centre of the cinema, as cinema directors have bit by bit understood instead of thinking as they did for a long time that the nerve-centre was the box-office. The public's requirements in sound projection have rapidly dominated this too narrow business view, and if the exhibitor is anxious that the box-office should work well, he must first of all look after the projection cabin. The latter, however, has become for many cinema owners or renters who have little or no knowledge of the technique of the sound film a kind of sanctuary which they scarcely dare enter, a sanctuary in which the operator becomes day after day the most considerable personage in the business, having in his hands the present and the future of the cinema. It is also possible to forsee that each new improvement in the cinema (stereoscopy, coloured films, ecc.) will make the operator the real and authentic deus ex machina of the enterprise. Graugnard starts from this point to develop his argument that cinema managers and operators ought to have a good practical knowledge of the technique of the projection of sound It is not necessary to make an analysis of a work which is chiefly technical. The chapters deal in a complete and minute fashion with: 1) current; 2) alimentation of sound projectors; 3) breakdowns in projectors ; 4) improvement of existing installations. The sixth chapter deals with the problem of small halls and the fifth discusses " persons interested ", that is scholastic associations, schools, cultural and popular clubs, etc., which have modest budgets, and are not in a position to buy the necessary apparatus for sound films. In this latter chapter, written especially for such institutions and entitled " Our constructions ", there is to be found practical advice for the construction, for example, of a preamplifier for accumulators, a mixed pre-amplifier, an amplifier in sectors, a separate amplifier for pre-amplifier and other mechanical devices of the greatest utility. Of course, the construction of such apparatus presupposes on the part of the constructor a certain knowledge of electro-technics. At the same time, one must be grateful to Mr Graugnard for making it possible for persons having this knowledge to put it into practice and especially for having thought also of those who use the cinema as a means of teaching, education and healthy amusement. Dr. LUCIANO de FEO, Editor and Responsible Manager Rome — t L'Universale • Tipografia Polijlotta.