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MOTION PICTURE PHOTOGRAPHY
In the pictures of certain producers a great advancement in titling may be noted. These concerns apparently take a wider view of their mission in life than merely to earn dividends. As soon as a producer's aspirations are limited by the boundary line of "profits," the quality and grade of his work suffers. He tries to "get by" with cheap effects — including inferior titling — and immediately the discerning eye can read the writing on the wall.
Titles, to stand the test, must set forth the very spirit of the play — they must fill the blank that invariably exists between picturization and drama. The most intelligent audience would fail to get the significance of an author's intention without titling. Upon it largely depends the success of the picture. That being the case, why not insist upon good titles?
Good titles should be felt rather than seen. That is to say the subconscious appeal of the words should be such that the audience actually lives the part with the actor and literally feels the emotions portrayed on the screen. This is worthy work for the word-artist. Further, the style of the title should be such that the words flow easily, there must be no jarring note nor dis . cordance. The words must open the door into the mind of the audience with graceful and powerful tact.
Successful titling calls for highly specialized ability. It is a profession, one that by its very nature will never be overcrowded. The process of elimination is becoming more severe as the public becomes more educated and better able to appreciate the merit of a picture and its accessories. Adequately to convey a world of sentiment, pathos or enthusiasm in a few short words, calls for skill. Many who attempt it never rise above the succinct phraseology of the "ad" man — their work is cold, staccato, and feelingless. The able title writer is worthily in a foremost place among those who make movies. In his hands lies the making or marring of a picture.
It has been argued that the public is no judge of the literary value of titles, and therefore anything readable will "get by," Nothing could be more inaccurate. If the public doesn't think, it feels. The unerring instinct of an audience invariably pays a tribute to good work, whether titling, or directing, or acting. All of these points must be carefully considered by producers who wish to turn out worth-while work; and they will be well advised to get the best obtainable in the brain-market to safeguard their titling.
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