Movie Makers (Jan-Dec 1929)

AUGUST, 1929 MODERNISTIC MOVIE MAKING Neiv Tfiiils That Beckon The Antciteur Experimenter THE interests of pliutographers are varied. To some the highest form of expression is the rendition of little Willie standing in front of a clapboard house or sittini; on the front steps idly gazing at the camera. This hasn't very much of interest about it but that is taken care of by the remarks of the fond parent when the picture is projected. The pictorial photographer will often stand enraptured at a scene with his finger pressed on the button until he wakes up to the realization that fifty feet of film are used up. The experienced cine photographers will show a few ^nappy scenes, enlivened with clever titles, which anyone would enjoy looking at. But there are a few restive souls who like to be different, who like to show weird or modernistic effects to startle their audiences. Some like 111 do this for the fun of it while others do it seriously. Which-ever motive is responsible, a great deal of thought and originality must go into the making of such films. Modernistic films are quite the rage in certain quarters since the importation of foreign films which do not follow the ac[e|)ted standards of motion picture production in this country. A short modernistic reel introduced into the program will, therefore, give a great amount of pleasure to those whose minds run in that channel. Candidly, I like the modernistic pictures very much. To my mind the finest thing I have seen in motion pictures was the machinery in the German production. Metropolis. That was the first scene 1 ever saw that made me forget I was looking at a motion picture. The modernistic films that were imported from France. Ballet Mechanique and Of What Are the Youna Films Dreaming, were to me, laugliu Bv C. W. Gibbs blc. Their crudeness and lack of imagination in treatment of subject matter became very tiresome. I feel that the American amateur with the means which are at his disposal will surpass all of these foreign films and, by working out new methods of procedure, will have a great influence on the future of professional films. There have not been very many modernistic photographers in still photography and there probably won"t be many in cinematography, but, when appropriately used, a slight modernistic touch will give an added kick to amateur pictures. The most common modernistic effect is obtained by finding an unusual viewpoint for the camera. This idea was borrowed by the Germans from the American pictorialists and the American cameramen borrowed it back from the Germans. It is a good thing to shoot from odd angles at times. One has limited control of the subject matter in motion picture work and therefore everything that can help accentuate certain factors, as the camera angle can, should be used. Certain accentuations are possible with odd camera angles that are not possible by any other means. Another simple method. seldom used, however, is that of moving light'^. By having a light directly above the subject and gradually moving it in a semi-circle to one side, in back or in front of the subject, the whole effect \'.ill be changed. A variation of thi'is to have the light some distance away from the subject and then gradually bring it close. The ultra closeup i-^ used i|uil" often. It is startlina to see a sniai! thing like an eye fill the entire screen. This trick can be used on a variety of subjects. A carpet tack, for example, photographed in this manner takes on the importance which it may approjiriately demand in the telling of the story. The production of multiple images is also extensively used in modern photography. The scene may depict a stenographer fainting as a result of too great concentration on her machine. Her condition is first indicated by multiple images moving in circles about one another. The effect is obtained by placing a piece of glass with a number of facets in front of the lens. This is one of the cheapest attachments that may be purchased for the cine camera. The glass I use was obtained at the iewelry counter in the ten cent store. This glass was about an inch square with sixteen facets. Mounted in a cardboard lube that fits loosely over the lens 1 use it often and have obtained very telling effects. Prisms may also be used for producing multiple images. They are obtainable in a number of different forms for producing all type^ of images. A distorting lens may also be employed or the photographer may substitute a piece of wavy glass. The picture may be photographed by reffecliim from a concave or ciuivex mirror. or another trick is to photograph the reHection in a piece of tin that is l)ent as the picture is taken. These things will give distortions of the image but will be more amusing than generally useful. Trick fades and dissolves require very careful work and probably only ;'dvanced amateurs will care In attempt them. The moving viewpoint is very good to (Continued on page 5.3.3) 505