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

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.

Talking Pictures tral theme of a million dollar advertising campaign for the photoplay he had enjoyed. After the first preview in a theatre the last retakes are ordered, if they are found to be necessary. It has been seen that retakes are ordered at three different stages in the production. They are called for at various times while the picture is being photographed. These retakes are usually given to bolster up story values which seemed strong enough in the original scenario but showed weakness when actually photographed. Retakes are ordered after the picture is finished, after it has been roughly assembled, but before it has had a public preview. Retakes at this period are usually for "polishing" purposes. When sequences are assembled, certain scenes may prove too long or too short to give perfect movement, or the tempo may be wrong, or any one of a number of technical dramatic points may need adjustments more salutary than those achieved by the use of a cutter's razor blade. The third era of cutting comes after the first audience preview. Retakes here are for two essential purposes. First, they are to correct wrong dramatic emphasis which brings dreaded false laughs in serious scenes, or leaves the audience unresponsive when a definite melodramatic or romantic reaction has been sought. Next, they enable the producers to take advantage of any sudden interest shown by the audience in a player of a minor role, who until then was inconspicuous and unknown. Personalities who attract playgoers to a theatre in numbers are so great a financial asset that the emergence [224]