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4 NEW SCREEN TECHNIQUES
proposed changes in the cinematic art. However, these methods have only recently been rather violently "sparked" into vigorous life by commendable pioneering demonstrations offered to the public.
Stereophonic sound appears at this time to be capable of adding appreciably to the impact of W-S or 3-D showings. The addition of directed, distributed and mobile sound to the film programs, if skillfully accomplished, should substantially increase both the illusion of reality and the inducing of a desired mood. And these factors are the basis of the entertainment art.
As this book indicates, it is important that workers in these new fields should take them extremely seriously and should regard them not as novelties but as new and powerful entertainment types and art forms. Despite the long technical history of 3-D and W-S methods, they are quite novel in the field of showmanship and will really find their first extensive commercial use on the theatre screens in the coming years.
The successful introduction of 3-D, W-S, and S-S accordingly requires not only the skill of the producers but also the experience and ingenuity of the exhibitors. Theatres will necessarily be required to add equipment, to alter operations, and to resort to new forms of promotion, showmanship and exhibition. These needs are an exciting challenge to the exhibitor, offering him at once major responsibilities and rewarding opportunities.
These new methods cannot be fully exploited by adherence to old methods which were applicable to two-dimensional pictures, smaller pictures, or concentrated sources of sound. Perhaps the tasks of the motion picture industry would be easier if this were the case — but it is certain that considerable originality, experimentation, and inspiration will be required for the successful development of these new arts. Indeed, they will require careful selection, adaptation, and operation of each of the following factors, in many cases with coordination between all of these factors. The basic factors are the suitability of the original story, the nature of the continuity based on the story, the details of the shooting script, the design of the set, the lighting of the set, the nature and procedure of the sound pickup, the work of the directors, and the skill of the actors. Each of these factors will require substantial modification from former practices. And each