Plan for cinema (1936)

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TOWARDS A SOLID CINEMA 131 in a studio specially built for so entirely new a form. Such a studio certainly would not differ very greatly from studios as built at present, except that its ' walls ' would constitute the cyclorama backgrounds necessary. The cameras would shoot through apertures in the cyclorama walls, behind the walls so that camera north would never see camera south, the same, of course, applying to the other two cameras. And the aperture in each wall would be so small, relative to the total size of each whole wall, that it would be invisible. The salient fact for us now to understand is that a solid cinema of this kind is possible using standard cinematograph machinery as it exists at the present time. It could be done in black-and-white photography. That it would not be desirable to do so is obvious, and the whole concept presupposes a more highly developed colour system than any of those now available. But having established the architectural shape of our ideal cinema hall, and the necessity for solidity in distinction to stereoscopy seen through a frame, we are now in a position to consider the possibilities of what it is perhaps permissible to call an entirely new art. ยง 3. Why, you might ask, has this new solid cinema any more right to call itself an art than the flicking dialectical film of to-day? First, because the camera is no longer a recorder pure and simple. It cannot now be set up in the street to photograph the traffic K2