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56 PLAN FOR CINEMA
Whence, now, the quick-firing, gold-digging, wisecracking, filibustering film of to-day? We have observed its transitional nature, and how, as a result, it is best suited subjectively to matters of the present. What relation has it, then, to colour and to scenic depth? For we must never forget it is monochromatic and scenographic, that its evolution has reached thus far only, from the point of view of the cinematograph engineer. We may have a very admirable vehicle for modern social comment, a kind of visual journalism ; indeed, it is obvious we have. But the cinematograph engineer is forever striving after a greater verisimilitude. He would like to see colour, stereoscopy, a wide screen. He usually has no idea why he would like to see them, but he thinks it would be a good thing, it would be 'more real.5 Has, then, the film of to-day any future, or is it about to shed its chrysalidinous shell and emerge with the hues of a butterfly? For a coloured, stereoscopic film constructed on the principles in use to-day in the dialogue film will have next to no meaning, and that is what we have now to consider.
ยง3. In an article1 published in 1934 I said: 'For purposes of entertainment television must be synonymous with film television.5 The establishment of universal television, so assiduously dreaded by cinema hall and newspaper proprietors, will do for broadcasting what sound did for silent cinema. It will provide the missing half. It will come assuredly, just
1 'Television and the Cinema': Wireless World, 28th December 1934.