American Cinematographer, Volume 2 Number 15 |
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LOYALTY PROGRESS ART THE MEN WHO MAKE MOTION PICTURE:S Copyrighted, 1921, by the AMERICAN SOCIETY of CINEMATOGRAPHERS. VOL. 2, NO. 15 LOS ANGELES. CALIFORNIA, JULY 22, 1921 TEN CENTS A COPY AT THE THEATRES WEEK OF JULY 18 ALHAMBRA - "Jim, the Pen- man." Photographed by T. L. Griffith and Harry Stradling. CALIFORNIA The Ten Dollar Raise." Photographed by Tony Gaudio, member of A. S. C. CL UNE' S BROADWAY- "Moonlight and Honeysuckle" Photographed by Faxon M. Dean, member of A. S. C. GARRICK-"Lessons in Love." Photographed by 0 I i v e r Marsh. GRAUMAN'S - "The Bronze Bell." Photographed by George Barnes, member of A. S. C. GRAUMAN'S RIALTO - "The Whistle." Photographed by Joe August, member of A. S. C. HOLLYWOOD - Monday - "Don't Neglect Your Wife." Tuesday and Wednesday - "Puppets of Fate." Photo-graphed by John Arnold, member of A. S. C. Thursday, Friday and Satur-day-" Thru the Back Door." Photographed by Charles G. Rosher, member of A. S. C. Sunday - ' , H ear t sAl' e Trumps.' Photographed by John F. Seitz, member of A. S. C. KINEMA-"Bob Hampton of Placer." Photographed by David Kesson and Jacques Bizuel. MILLER'S-"Proxies." , Photo-graphed by Harold Wenstrom. MISSION-"The Four Horse-men of the Apocalypse," Photographed by John F. Seitz, member of A. S. C. NEW APOLLO - Monday - "Thru the Back Door." Photo-graphed by Charles G. Rosh-er, member of A. S. C, Tuesday - "The Passion Flower." Photographed by Roy Hunt. Wednesday and Thursday- "Man, Woman, Marriage." Photographed by H. Lyman Broening, member of A. S. C. Friday-"Ducks and Drakes." ~ Saturday - "The Snob." .. Photographed by A I f l' e d Gilks. Sunday-"Pecks Bad Boy." Photographed by A I f red Gilks. NEW SYMPHONY-"A Dan-gerous Pastime." PANTAGES (7th and Hill)- "Penny of the Top Hill Trail" SUPERB A - "The Beautiful Gambler." Photographed by George Barnes, member of A. S. C. TALLY'S -"The Man Who." Photographed by Arthur Mar-tinelli. WINDSOR - Monday - "The Last of the Mohicans." Photo-graphed by Charles Van En-ger. Tuesday-"Trust Your Wife" PHOTOGRAPHY AND MOTION PICTURES By John Leezer "Ah! Wad some power the giftie gte us To see oorsels as Ithers see us!" A lens in a crank-propelled mechanism which allows of six-teen separate exposures to each foot of sensitive film one and one-half inches wide and four hundred feet long, is a rather simple contribution withal, yet Mr. Burns' great desire is gratified. Gratified thru the medium of photography. The quality of photography produced by the different studios varies almost as the number of studios. When we say photog-raphy we mean not alone the efforts of the photographer, but those of the laboratory force as well. If the photographer has made some artistic lightings with the proper exposure, it is only fair that the laboratory people should give a correspond-ing print. Therefore where the photographer does not do his own developing and printing, the closest co-operation should exist between himself and the one who does it for him. Pictures are made up of light end shade; so is life. A true portrayal of life uponthe screen so far as the photography is concerned can always be artistic no matter what phase of life is depicted. The lighting and com-position of that which goes to make up the set determines whether the picture will be ar-tistic or not. The action may interfere somewhat with the composition, but not often. The lighting in a great cathedral, of course, would differ consider-ably from that of a modern dance hall. Likewise the light-ing in my lady's boudoir would hardly be the same as in her maid's apartment in the attic. Nor would we light the hunter's cabin as we would the private office of the bank president. The mission of the photog-rapher, his great mission, is the true portrayal of every scene in the story. So true a portrayal that everyone who sees the pic-ture will forget that photog-raphy has really been the me-dium thru which the story has been revealed. It will all be so realistic that for the time being he sees the different characters as living flesh and blood. Some producers realize the Photographed by Joe Brother-ton. Wednesday, Thursday-"Con-rad in Quest of His Youth." Photographed by L. Guy Wil-ky, member of A. S. C. Friday, Saturday - "Peck's Bad Boy." Photographed by Alfred Gilks. Sunday - "Thru the Back Door." Photographed by Charles G. Rosher, member of A. S. C. THE FINANCIAL OUTLOOK In these days when all are searching the times' for the smallest sign of cheer', 'the fol-lowing came to us from the Union Trust Company of Cleve-land, Ohio. To be sure we realize that it ;8 one of the duties of tho banking business to cheer. This banking house is the strongest in a wealthy manufac-turing community, and the sen-timents expressed are so sen-sible and clear that we are moved to pass them on. Business results from the production and distribution of goods, on the one hand, to meet tho, demand for goods on the other. Credit, meaning, the mon-y supply, is the great lubri-cant to set going anew the ma-chinery of industry and trade; and the supply of credit the world over is gradually but cer-tainly approaching normal. World-wide conditions are acute, but now, as in every sim-ilar crisis in the past, the world is finding its cure in the return to work. The antidote for our present ills is increased produc-tion, and a more even balance between the product of our toil and the reward which that toil receives, to the end that the wage may represent value re-ceived; and furthermore our products must be widely dis-tributed thru well developed sales methods. The war brot about a tremen-dous destruction of property, goods and capital. It is obvious, therefore, that the world's re-newed demand for goods to sup-ply its current requirements will. when coupled with the nec-essary supply of credit now be-ing made more available, bring about with inevitable certainty a wide-spread resumption of trade and industry. We believe that this revival will not be long delayed, and we look.forward to the future, both immediate and remote, with the utmost confidence. importance of photography While others do not. A conver-sation we had with one of them occurs to us just now. Hie said: "You fellows call yourselves photographers, and claim to have .a heaven born gift where-by you can judge light. Well, give me a man who can turn the crank and read an exposure meter. That's all that is neces-sary." And his pictures looked it. Considering the commercial exploitation th ru which the in-dustry has passed, it is a won-der that more are not of the same mind. Poor photography has killed many an otherwise excellent production, and on the other hand good photography has saved many a mediocre pic-ture from the shelf. Some photographers light their sets irrespective of the action which takes place. Others (Continued on Page Four) CHATS ON COMPOSITION By Joseph A. DUQrrLY One of the most important factors in the success of a mo-tion picture play is the ease With which an audience can read and therefore understand, each of the scenes of the play. This can' only be accomplished by a perfect connection between the scenes, which so smoothly blend into each other, as to carry the observer thru the dif-ferent incidents of the plot and form a satisfactory whole. The action should be clearly shown in all of its details, leaving none of the essentials to the imagina-tion of the audience. The sense.of continuity so im-portant for the story-telling quality of a photoplay, might seem at first, to be purely a mechanical matter, entirely in the hands of the scenario or continuity writer and of the di-rector. But even a perfect mechanical construction of the screen version of a story would appeal cool and lifeless, if the artistic conception of the cine-matographer is not properly developed. In other words the mechanical blending of the scenes of a photoplay can be emphasized by the artistic sense of the cinema-tographer. His knowledge of the science of composition will (Continued on Page Two) APPLAUSE AND THE MOTION PICTURE Director Paul Bern is urging patrons of the moving picture houses to express their ap-proval and pleasure by ap-plause. Some people consider it small town to applaud motion pictures, but he assures us that it is being done in the best circles, namely, in the Capitol, Rivoli, Strand and other ciriema houses of New York City. Pleasure is a contagious thing. Because the play is si-lent is. no reason why the audi-ence should act like mutes. Why can we not show our feelings of satisfaction over a successful issue in the story by clapping, even as we laugh when pleased? The actors do not need the demonstration, but it may warm the cockles of the manager's heart, and let him know just what we really enjoy. Two pictures which stand out particularly in the mind of one fan are "Black Beauty" and Whistling Dick," and the reason was that everyone in the audi-ence was so excited by the horse race in the former that they just had to clap the winner. In the latter picture it was the hearty laughter produced by the titles. It is the memory of the spon-taneous clapping and the jolly laugh which made as lasting an impression as the delightful pictures.
Object Description
Title | American Cinematographer, Volume 2 Number 15 |
Description | Volume 2 Number 15, July 22, 1921, pages 1-4. |
Subject Topical | Cinematography--United States--Periodicals; American Society fo Cinematographers, Inc.--Periodicals. |
Format | periodical |
Catalog Record | http://catalog.oscars.org/vwebv/holdingsInfo?bibId=25713 |
Publisher | American Society of Cinematographers, Inc. |
Date | July 22 1921 |
Source | Core Collection Periodicals |
Repository | Margaret Herrick Library, Academy of Motion Picture Arts and Sciences |
Language | English |
Rights | Public domain material. |
Description
Title | American Cinematographer, Volume 2 Number 15 |
Description | Page 1 |
Format | periodical |
Date | 1921 |
Full text | LOYALTY PROGRESS ART THE MEN WHO MAKE MOTION PICTURE:S Copyrighted, 1921, by the AMERICAN SOCIETY of CINEMATOGRAPHERS. VOL. 2, NO. 15 LOS ANGELES. CALIFORNIA, JULY 22, 1921 TEN CENTS A COPY AT THE THEATRES WEEK OF JULY 18 ALHAMBRA - "Jim, the Pen- man." Photographed by T. L. Griffith and Harry Stradling. CALIFORNIA The Ten Dollar Raise." Photographed by Tony Gaudio, member of A. S. C. CL UNE' S BROADWAY- "Moonlight and Honeysuckle" Photographed by Faxon M. Dean, member of A. S. C. GARRICK-"Lessons in Love." Photographed by 0 I i v e r Marsh. GRAUMAN'S - "The Bronze Bell." Photographed by George Barnes, member of A. S. C. GRAUMAN'S RIALTO - "The Whistle." Photographed by Joe August, member of A. S. C. HOLLYWOOD - Monday - "Don't Neglect Your Wife." Tuesday and Wednesday - "Puppets of Fate." Photo-graphed by John Arnold, member of A. S. C. Thursday, Friday and Satur-day-" Thru the Back Door." Photographed by Charles G. Rosher, member of A. S. C. Sunday - ' , H ear t sAl' e Trumps.' Photographed by John F. Seitz, member of A. S. C. KINEMA-"Bob Hampton of Placer." Photographed by David Kesson and Jacques Bizuel. MILLER'S-"Proxies." , Photo-graphed by Harold Wenstrom. MISSION-"The Four Horse-men of the Apocalypse" Photographed by John F. Seitz, member of A. S. C. NEW APOLLO - Monday - "Thru the Back Door." Photo-graphed by Charles G. Rosh-er, member of A. S. C, Tuesday - "The Passion Flower." Photographed by Roy Hunt. Wednesday and Thursday- "Man, Woman, Marriage." Photographed by H. Lyman Broening, member of A. S. C. Friday-"Ducks and Drakes." ~ Saturday - "The Snob." .. Photographed by A I f l' e d Gilks. Sunday-"Pecks Bad Boy." Photographed by A I f red Gilks. NEW SYMPHONY-"A Dan-gerous Pastime." PANTAGES (7th and Hill)- "Penny of the Top Hill Trail" SUPERB A - "The Beautiful Gambler." Photographed by George Barnes, member of A. S. C. TALLY'S -"The Man Who." Photographed by Arthur Mar-tinelli. WINDSOR - Monday - "The Last of the Mohicans." Photo-graphed by Charles Van En-ger. Tuesday-"Trust Your Wife" PHOTOGRAPHY AND MOTION PICTURES By John Leezer "Ah! Wad some power the giftie gte us To see oorsels as Ithers see us!" A lens in a crank-propelled mechanism which allows of six-teen separate exposures to each foot of sensitive film one and one-half inches wide and four hundred feet long, is a rather simple contribution withal, yet Mr. Burns' great desire is gratified. Gratified thru the medium of photography. The quality of photography produced by the different studios varies almost as the number of studios. When we say photog-raphy we mean not alone the efforts of the photographer, but those of the laboratory force as well. If the photographer has made some artistic lightings with the proper exposure, it is only fair that the laboratory people should give a correspond-ing print. Therefore where the photographer does not do his own developing and printing, the closest co-operation should exist between himself and the one who does it for him. Pictures are made up of light end shade; so is life. A true portrayal of life uponthe screen so far as the photography is concerned can always be artistic no matter what phase of life is depicted. The lighting and com-position of that which goes to make up the set determines whether the picture will be ar-tistic or not. The action may interfere somewhat with the composition, but not often. The lighting in a great cathedral, of course, would differ consider-ably from that of a modern dance hall. Likewise the light-ing in my lady's boudoir would hardly be the same as in her maid's apartment in the attic. Nor would we light the hunter's cabin as we would the private office of the bank president. The mission of the photog-rapher, his great mission, is the true portrayal of every scene in the story. So true a portrayal that everyone who sees the pic-ture will forget that photog-raphy has really been the me-dium thru which the story has been revealed. It will all be so realistic that for the time being he sees the different characters as living flesh and blood. Some producers realize the Photographed by Joe Brother-ton. Wednesday, Thursday-"Con-rad in Quest of His Youth." Photographed by L. Guy Wil-ky, member of A. S. C. Friday, Saturday - "Peck's Bad Boy." Photographed by Alfred Gilks. Sunday - "Thru the Back Door." Photographed by Charles G. Rosher, member of A. S. C. THE FINANCIAL OUTLOOK In these days when all are searching the times' for the smallest sign of cheer', 'the fol-lowing came to us from the Union Trust Company of Cleve-land, Ohio. To be sure we realize that it ;8 one of the duties of tho banking business to cheer. This banking house is the strongest in a wealthy manufac-turing community, and the sen-timents expressed are so sen-sible and clear that we are moved to pass them on. Business results from the production and distribution of goods, on the one hand, to meet tho, demand for goods on the other. Credit, meaning, the mon-y supply, is the great lubri-cant to set going anew the ma-chinery of industry and trade; and the supply of credit the world over is gradually but cer-tainly approaching normal. World-wide conditions are acute, but now, as in every sim-ilar crisis in the past, the world is finding its cure in the return to work. The antidote for our present ills is increased produc-tion, and a more even balance between the product of our toil and the reward which that toil receives, to the end that the wage may represent value re-ceived; and furthermore our products must be widely dis-tributed thru well developed sales methods. The war brot about a tremen-dous destruction of property, goods and capital. It is obvious, therefore, that the world's re-newed demand for goods to sup-ply its current requirements will. when coupled with the nec-essary supply of credit now be-ing made more available, bring about with inevitable certainty a wide-spread resumption of trade and industry. We believe that this revival will not be long delayed, and we look.forward to the future, both immediate and remote, with the utmost confidence. importance of photography While others do not. A conver-sation we had with one of them occurs to us just now. Hie said: "You fellows call yourselves photographers, and claim to have .a heaven born gift where-by you can judge light. Well, give me a man who can turn the crank and read an exposure meter. That's all that is neces-sary." And his pictures looked it. Considering the commercial exploitation th ru which the in-dustry has passed, it is a won-der that more are not of the same mind. Poor photography has killed many an otherwise excellent production, and on the other hand good photography has saved many a mediocre pic-ture from the shelf. Some photographers light their sets irrespective of the action which takes place. Others (Continued on Page Four) CHATS ON COMPOSITION By Joseph A. DUQrrLY One of the most important factors in the success of a mo-tion picture play is the ease With which an audience can read and therefore understand, each of the scenes of the play. This can' only be accomplished by a perfect connection between the scenes, which so smoothly blend into each other, as to carry the observer thru the dif-ferent incidents of the plot and form a satisfactory whole. The action should be clearly shown in all of its details, leaving none of the essentials to the imagina-tion of the audience. The sense.of continuity so im-portant for the story-telling quality of a photoplay, might seem at first, to be purely a mechanical matter, entirely in the hands of the scenario or continuity writer and of the di-rector. But even a perfect mechanical construction of the screen version of a story would appeal cool and lifeless, if the artistic conception of the cine-matographer is not properly developed. In other words the mechanical blending of the scenes of a photoplay can be emphasized by the artistic sense of the cinema-tographer. His knowledge of the science of composition will (Continued on Page Two) APPLAUSE AND THE MOTION PICTURE Director Paul Bern is urging patrons of the moving picture houses to express their ap-proval and pleasure by ap-plause. Some people consider it small town to applaud motion pictures, but he assures us that it is being done in the best circles, namely, in the Capitol, Rivoli, Strand and other ciriema houses of New York City. Pleasure is a contagious thing. Because the play is si-lent is. no reason why the audi-ence should act like mutes. Why can we not show our feelings of satisfaction over a successful issue in the story by clapping, even as we laugh when pleased? The actors do not need the demonstration, but it may warm the cockles of the manager's heart, and let him know just what we really enjoy. Two pictures which stand out particularly in the mind of one fan are "Black Beauty" and Whistling Dick" and the reason was that everyone in the audi-ence was so excited by the horse race in the former that they just had to clap the winner. In the latter picture it was the hearty laughter produced by the titles. It is the memory of the spon-taneous clapping and the jolly laugh which made as lasting an impression as the delightful pictures. |