Practical cinematography and its applications (1913)

244 PRACTICAL CINEMATOGRAPHY which under brilliant illumination often convey the impression of snow. Nor do the players seem to be suffering from anaemia. These appear to be trivial matters in themselves, but they greatly affect the ultimate whole. The robust aspect of the peasant who lives out of doors is faithfully conveyed, and he is thrown up in sharp contrast to the white-faced townsman. In the conventional picture-play, on the other hand, there is no individuality of facial expression, because one and all are made up in the same way. Sir Hubert von Herkomer has commenced his work in a logical way. He confesses that until he began it he knew nothing about it. He was not harassed by a partial knowledge of how things are done. He is essentially a pioneer, content to work out his own ideas, and possessed of views upon stage-craft which are not to be despised. They had a good effect upon the theatre twenty or thirty years ago, and have lately been revived by another enthusiast. So Sir Hubert von Herkomer is not likely to be the slave of tradition. He maintains that in the average photo-play everything is sacrificed to rapid action. This is true, and it is done purposely to distract atten- tion from the weakness of the rest. The spectator must fix his attention upon the characters or he