The screen writer (Apr-Oct 1948)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

Judith Podselver {Continued from Inside Front Cover) have gone to the government for taxes. But the number of pictures which can be shown in Denmark is subsequently very limited. UNDER such conditions, the number of movies — 12 to 14 — turned out .each year by the three major Danish studios and a few independent companies, is quite remarkable. The most important of Danish directors is still Carl Theo Dreyer whoce picture Days of Wrath has been quite a success both in Paris and London this winter. Another Danish picture has been well received abroad: Red Meadows, a story of the Resistance directed by a former actress Bodil Ipsen with the technical assistance of Lau Lauritzen. Both have joined again to produce Afsporet, a good realistic film along the French school lines. There are four other directors who rank easily with other countries : Johan Jacobsen who made A Chord of Music, on the pattern of Tales of Manhattan — Ole Palsbo, the director of a social research on unwed mothers, Christen Jul — Bjorne Henning-Hensen who put on the screen Martin Andersen Nexos' famous novel Ditte Manneskebarn. Most of these directors have learned their technique by making documentaries, for Denmark produces short subjects under a remarkable system which seems to work well, since 153 short-reelers have been turned out from 1941 (date at which the system was started) to 1946. The government uses a considerable amount of the taxes it collects from exhibitors to produce documentaries under the sponsorship of two organizations : the Government Motion Picture Committee gathers from all departments and commissions representative subjects of general interest to be produced by the studios; the Danish Cultural Film, where all cultural and touristic organizations, schools and unions are represented, is subventioned by the government and produces its own films. As the features produced by those two organizations are distributed without cost through all picture houses, there is practically no outlet for any other type of short feature production. That conception of the documentary as a public service from the Government enables a considerable amount of young movie technicians to turn out pictures without commercial preoccupations and to try out new formulas. The Danish method of documentaries which has been very much influenced by the British and especially Arthur Elton who came to work in Denmark, has already produced interesting features before the war, most of them directed by Karl Roos and Theodor Christensen ; most noteworthy was their short on Denmark's main fuel : peat. Christensen carried on his informative work even under the occupation. With his camera hidden in a truck he went along with his Resistance comrades in sabotaging expeditions and made his picture Your Freedom Is At Stake under the Germans' very noses. The fact that saboteurs were willing to take a cameraman along and thereby increase the risk of their being caught in case the film would fall into the Germans' hands, is another proof of the general interest documentaries arouse in Denmark. Everyone wants to have a part in them. And it is due to that general interest, no doubt, that such a small country has been able to turn out technicians and pictures which have proved a match for larger countries' products. Executive Board Screen Writers Guild We are interested in publishing books based on stories for screen plays but when not previously published in book form. With your approval we propose to deal with your writers who hold book rights. Books will be pocket book size retailing at 25 cents thus insuring large volume. Look forward to hearing from you. F. L. Rosenthal 628 N. Elm Drive Beverly Hills, Calif. CR. 6-3664 BEVERLY HILLS PARIS NEW YORK Stanley Bergerman <&. Company Agency . . . Artists' Managers 9629 BRIGHTON WAY BEVERLY HILLS, CALIFORNIA CRestview 63196 (This is a paid advertisement; this space is donated by a friend, Stanley Bergerman) 20 The Screen Writer, May, 194: