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.
16 TECHNIQUE OF THE PHOTOPLAY could see what the Count was doing. We knew it was something important, but we could not quite make it out. In the bust picture the hands were so large we could see every movement Of course it might have been explained in a leader that "The Count makes an impression of the key," but the bust is more interesting because it is a picture and not a leader. Properly speaking, a bust is a portrait showing the head and shoulders only, but bust is more definite than close ^up, which is sometimes used, for close up might also mean a full picture, but with the camera closer to the scene. Harry knows what the Count is up to and when the false key is made and the Count is about to open the safe, he bursts into the room with Jane's father. The Count is unmasked and driven out of the house. In revenge he plans to abduct Jane. Harry learns about it too late to prevent it, but he goes tearing off in his car to the rescue. The father also learns of the plot and follows. It's a pretty lively three minutes that comes next. We see the Count rushing along, we see Harry following and then the Count and then Harry and then the father, then Harry and then the Count. There is not more than a second or two in each flash, but together they tell the story of the chase and its varying advantage until we are sitting almost on the edge of the seat. Just a couple of pictures would have told the story, but using the cut-back or switch-back greatly heightens the suspense and keeps the story moving. In the end Harry saves Jane from the Count and gets her father's consent to their marriage. It's the same old happy end- ing and we are glad of it. Now comes a tail-piece, a ten foot strip that announces that the picture has been passed by the National Board of Censorship. We are rather surprised, for sev- eral actions in this picture are among those barred by the Cen- sors, but it has the Censorship tag, so it is all right. The next picture is something of a novelty. A child is talking to an old man and points to a scar on his head. He smiles and begins to speak. A leader says "Once upon a time—" and we see the village common in war time and the young men ready to go to the,front. There is not an abrupt change to the next scene, but the common dissolves into a scene in camp, this in turn dis- solves into another picture and so until the story is done. Some- how it seems more like a story than it would have with each scene changing abruptly. We can gather that it is very much like that dissolve or the vision, but this time it is a fade because the whole scene changes. In the next reel a girl goes from the library into the hall. We see her leave the room with her right hand on the knob and