Talking pictures : how they are made, how to appreciate them (c. 1937)

Record Details:

Title:
Talking pictures : how they are made, how to appreciate them
Date:
c. 1937
Publisher:
Richmond : Johnson Publishing Company
Volume:
Talking pictures : how they are made, how to appreciate them
Leaf #:
00082
Language:
English
Subjects:
Motion Pictures, Motion pictures--Technology
Collection:
Books
Format:
Books
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
March 28, 2024
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.

Talking Pictures individuals. Sometimes there is a feast of stories for months. Then for no accountable reason a famine occurs, and for this reason it has been found a wise policy to leave an adequate margin. Story departments must buy in advance of their needs. For example, a studio which uses only fifty stories a year never permits its stock to go below one hundred and fifty. Further, a story which is mediocre for an existing star, may prove a flaming "ball of fire" under the inspiration of some new comet-personality. No one thought much of a story called Three Smart Girls until along came a girl called Deanna Durbin. For her the story fitted like a beautiful gown and seemed to reflect her own charm. Weeks, months, sometimes years of work and conferences involving many minds are required to find and select stories. When the picture version is made, people leaving the theatre often exclaim, "Why, it isn't like the book at all!" Experienced producers, hearing such remarks, shrug their shoulders in mock resignation, for it is difficult to explain that the screen play is a different expressive medium, related to, but unlike either of its distant relatives, the stage play, or the novel. The casual visitor to a photoplay seldom understands these differences. But in them one finds the reasons for the amazing growth of the photoplay, its present solid place in public esteem. [56]