Part 5

Louis the XIVth is supposed to remark to a lady-in-waiting, that she wants “taking down a peg,” an expression not quite in keeping with the period portrayed!

Again, it is just as ridiculous for vaccination marks to be shown on the left arm of a harem-queen of the East--period, a thousand years ago!

One sees such items as, a view of Curzon Street, showing huge pillared porticoes and palms.

A duke who wears appalling American “reach-me-downs.”

A duchess who is Irish, and therefore must say “Be jabers” and “Begorra.”

Views of English countryside and ducal park, displaying granite boulders, tropical palms and scores of American cars all on the wrong side of the road!

Another delightful oversight--a man who enters a strip of undergrowth wearing a tie, walks straight through and emerges with an up-to-date West End made-up bow, to the old miser in “Wuthering Heights”; the times are Victorian, and a conspicuous object is a safe made in 1915.

One laughs at the absurdity of the whole thing, when a lady in a crinoline is shown knitting a jumper; or a disreputable attic is furnished with a beautifully carved wooden bed, fitted with silken hangings.

Copies of the “Peerage” figure in this satire--of course it is American--and it is such instances which are creating a bad name for the cinema. American ignorance of the British peerage is shown in the film featuring an old Warwickshire family, Armitage by name; a beautiful daughter, the Honourable Diana Gwen Beaufort, etc., Armitage. Her young brother remained the plain unvarnished “Eddie”; her mother “Mrs. Armitage,” and they were apparently not on the same aristocratic level as the Hon. Gwen. A framed copy of the family crest is much to the fore. It is only too noticeable that the Hon. Gwendoline is in direct succession to the family honours, totally excluding her living brother. In the end this captivating young personage marries an ordinary American commoner; the honeymoon is spent at the ancestral home in Warwickshire--Armitage Castle. How, or why she got there the film story does not relate.

Such ignorance causes the public to distrust all films, and does much to lessen the attendance of intelligent people at the cinema theatres.

NATURAL COLOUR FILMS.

Most film pictures shown upon the screen are at present of the black and white variety, and colour films are sometimes spoken of as being generally impracticable. The main item which is the cause of the non-general appearance of these films in natural colour is the question of cost. Experiments have been highly successful, but the necessary standard of apparatus has to be secured to produce the colours of nature in reality, and this is the reason why natural colour films have been slow in receiving commercial recognition. The items entering into consideration are--extra equipment and extra help.

A colour-film has to be very realistic, and to secure its real market value its ascendancy over the ordinary black and white film has to be proved. If the “projector” required it to be elaborate, the stage effects to be in unison, its chances as a commercial venture are greatly reduced on account of the high cost of film rental. The various expensive processes of production have greatly retarded its progress--hence its rarity.

Colour films are usually accepted as natural colour films, whereas, in reality, natural colour sometimes does not exist. A great number of these natural colour films are hand painted, mostly produced in France, where this subtle art of colour deception is practised to advantage. Films are tastefully and artistically coloured, requiring excessive patience and skill from hundreds of workers; for it is no easy task to paint these miniatures, measuring one inch by three-quarters of an inch.

This process of painting is carried out by stages. One scene is gone through, taking a single character--a house, background or foliage in its various shades. The process is tedious and there lurks the ever-present danger of making mistakes which would spoil the whole effect.

Photography plays an important part in the reproduction in natural colours, and the fact that dyes and chemicals can be used for this purpose is overlooked by many people--red, orange, green, yellow, violet and blue, when mixed in varying degrees, produce any shade known to the human eye.

The earliest attempt at a natural colour process for the film was made in 1907; the combined efforts and experiments of an Englishman and an American. Their efforts were very successful, the pictures being particularly clear and realistic. An improved process has been developed which reproduces objects, whether stationary or in motion, bringing forth the natural colours to be found in nature at her best.

It is to be regretted that the colour films cannot be cheapened in the process of production, for nothing delights the hearts of patrons more than to see before their eyes scenes and places with which they are familiar; every object of still life (plants), or the living animals roaming amidst their natural-coloured surroundings.

TALKING FILMS.

The talking picture commenced its venture, fettered. It was introduced to the public whilst in its infancy; experiments had been few, hence these two combining factors failed to work in harmony, and consequently faith in its future progress was badly shattered.

The leading difficulty was the question of synchronising the sound and pictures, for to speak accurately they must be in perfect step. The simplest talking film is the combination of an ordinary phonograph and a projector. The phonograph placed near the actors registers the sounds whilst the camera records the action.

In the question of synchronism lies the difference of the various schemes promoted in the past; the two main essentials must be kept in unison, otherwise the whole thing becomes a farce. Intricate time-arrangements, synchronized motors, loud-speaking telephone arrangements have yielded but poor results. One attempt was tried whereby the film carried the sound record along one edge side by side with the pictures. A stylus is made to travel in a groove on the film, and apparently synchronization is complete, but the test results turned out anything but satisfactory.

For recording sounds or speech, sensitive microphones are distributed about the scene where the play is being acted. These microphones are skilfully concealed, in a fern or palm, underneath a desk or table, anywhere so that it is skilfully camouflaged from the vision of the actors taking part. The sound waves impinging on the microphones are transferred to a circuit including a battery and a string-galvanometer, highly sensitive; the string attached to this galvanometer is hung over a series of very powerful electro-magnets, and the slightest fluctuations in the current passing through it causes an immediate distortion. Powerful arc lamps are mounted at the rear of the camera and a beam of light penetrates through the galvanometer, throwing a shadow of the wire on a steadily moving film behind a narrow horizontal slip. The wire is so arranged that one side of the exposed film is always in the shadow, the developed film shows a straight edge and a series of mountain tops, or peaks.

The galvanometer is the heart of the sound recorder. A single wire was employed in the earlier forms. An oil bath is provided through which the upper part of the wire passes, which damps the movement. This instrument can be easily opened; provision also being made for adjusting the wire best suited for the sound record.

The reproducing process is easy. A fine telephonic relay, highly sensitive, is employed in circuit with the selenium cell and battery, in addition, a clear-speaking telephone with its own battery is operated in the secondary circuit. The second record of the film is transmitted into sound waves, which are generated throughout the cinema at the same time the pictures are being shown on the screen.

Quite recently in London a new process was shown, comprising a transmitter, electrically connected by means of an ordinary telephone wire to the reproducing instruments, which are placed in the frame of the screen, and a double turntable carries the musical records, which are automatically controlled by the film in such a way that the change from one record to another is made without pause or hesitancy, and in absolute conjunction with the movement of the pictures. An outstanding feature is that the apparatus can be easily connected with any existing cinema projector.

Speaking-films of short duration are a great attraction and fairly successful to undertake, but their real value as an effective synchronizer would be fairly tested reel film. The obstacles to be overcome here would be tremendous; it would mean constant rehearsing, over and over again, until the players were absolutely perfect in word as well as in action, and the excision of any part of the film would interfere with the reproduction.

Accidents sometimes happen to films, such as tearing, firing, severe scratching, and this necessitates the cutting away of part of the film. This possibility of interruption is minimized in the new apparatus; the operator can adjust the gramophone to make allowance for the cutting off of one or two feet of film, but not beyond this extent. Lecturers find the film not altogether satisfactory to aid them in demonstrating their lectures; the drawback lies in the fact that he sometimes wishes to stop the film to emphasize some particular passages in his lecture, but a new process has now come to his aid which will relieve him of this anxiety. The film is passed through a water jacket, which is attached to the projecting machine, and this enables film to be stopped at any point, for any length of time. This experiment has been made with current ranging from 30 to 60 amperes, and even at 60 it has been found possible to maintain the film stationary for ten minutes.

Take Professor Stirling’s lecture. A Gallic cock is thrown upon a screen, life-like in its pride and colours; it ruffled its feathers and inflated its gorge, and opened its beak, then there came forth the most strident and triumphant cock-crows ever heard at dawn; and so perfectly did the sounds correspond to the actions of the bird, that it was almost impossible to believe that the real bird was not there.

After experiments extending over ten years, a Swedish engineer, M. Sven Berglund, has succeeded in inventing a speaking film, which ensures the simultaneous production of sound and action. Upon the heel of this invention comes another by an Englishman; the perfect voice-movement film having reached a definite advanced stage. The invention of a synchronizer by Mr. Claude H. Verity, a Harrogate engineer, enables the operator, by simply sliding a knob, quite independently of observing the screen, to work synchronization to 1-24th of a second. For operas with singing and music, a child could operate it because there is a fixed tempo. Should the film break by accident, the speaking can be shut off and taken up again. A great advantage of the invention is that with the apparatus in projecting boxes the synchronized film could be circulated in the ordinary way.

Still another invention by an Englishman, which goes a long way towards the perfection of these pictures, is one by which the pictures are made sharper and deeper in tone, besides being steadier; this is done by a series of mirrors. It has often been noticed that some of the pictures when thrown upon the screen lack “body,” or shall we call it “substance”? By this means the pictures are made more realistic than ever; the natural lines on the human face are visible, so life-like and human do they appear.

Screen improvements are also taking place. The new Ekualite diminishes the amount of eyestrain, and the front benchers may watch pictures without that periodical resting from the concentrated gaze. It ensures perfect comfort of vision from any angle of a cinema hall.

It is needless to point out that the extension of the idea is possible, the application of the cinematograph and chronophone are illimitable, and how much more will the Library lectures and “Half-hour talks” be appreciated! Hundreds of years hence, our descendants may see and hear their forefathers as if their living ghosts talked and walked, long after their bones have become dust.

PAPER FILMS.

British ingenuity and invention has produced a further revolution in film production, reducing cost and minimizing fire risks. The inventor of this innovation in paper photoplay is Mr. Martin Harper, of London, who also has the credit to his name of producing the “Extralite” flickerless shutter. The commercial samples have been described as “everything the inventor claims for them.”

These paper films will not blacken or singe, which claim has been proved by subjecting them to the excessive heat generated by the projector, and they are absolutely non-inflammable. There is also an additional value to these films, when shown on the screen: they produce wonderful pictures, soft in tone, with more body than the celluloid films. These films will withstand wear and tear, the “jumping” of the film caused by vibration due to a well-worn film will be eliminated.

Other advantages derived from the appearance of the paper film are that the cost of production is claimed to be only one-tenth of the celluloid film. Lighting cost of projection is reduced by one-third, and the price of the projector, which is simple in construction in comparison with the complicated lens system, costs considerably less.

The outcome is obvious, and there is every possibility of the film and the projector being introduced into the home for amusement and entertainment during family gatherings at a Christmas treat, etc. Some people have actually had films prepared of the gambols of their own children, which in later years will be shown to them as “what they used to be in childhood.” This idea will undoubtedly grow now that the paper film has appeared and proved its durability.

Paper films will affect a whole number of concerns. Cinema-operating rooms need not be asbestos-lined to conform with fire-insurance policies; cost of construction will be easier and cheaper, and insurance rates will be lower. The operator also will be relieved of that ceaseless vigilance so necessary with a celluloid film.

The existing bye-laws now governing film exhibitions under the Cinematograph Act will be questioned. This Act only covers celluloid films; these printed paper slips are neither films nor celluloid.

All this reduced cost of purchase and maintenance will commend itself to private enterprises and manufacturers generally. Greater possibilities are foreshadowed in being able to demonstrate the efficiency of their finished articles.

The general use of the cinema in the schools has been “tabooed” in some quarters on account of the fire possibilities. This difficulty has now been overcome, so that one may see in the near future this voiceless teacher working and instructing the scholars.

Much more could have been said dealing with technicalities--such as the construction of the camera, editing, acting, trick photography and supposed realities; spirit photographs, cartoons becoming animated with life, and moving sculpture--but these must be left to the imaginative mind of the critic.

VII

CONCLUSION

Upon reflection, the effect produced by the cinematograph upon our lives and thoughts, nay, upon the nation as a whole, must be considerable--morally, physically, spiritually, mentally and psychologically, for this form of amusement absorbs part of the daily thoughts of a considerable percentage of the British public. The reaction upon the mind becomes apparent from the quality of the subject-matter shown. There are certain members of the community who stand apart from this form of occupation of their leisure moments. This lack of moral courage, of the possibility of becoming tainted with the lower tone of some of the pictures, is to be deplored. Let social workers and educationists view the films and judge for themselves; and decry those films which, in their opinion, are unfit for mental consumption.

The greatest service can be rendered to humanity if the cinematograph be used in the right direction. There is a crying need for more educational films. This progression is retarded because production, at the present time, is centralized. This centralization, as we all well know, takes place in America, but before long there will be a breakaway, and British producers will think for themselves and not be influenced by Americanism.

The population of England and America is widely different. The American population is self-supporting, providing vast fields for opportunities, and these opportunities are considerably helped by prevailing climatic conditions. In England, production is periodical, governed by climatic conditions; in America, in California, the weather conditions are ideal and consistent. The two governing factors are at hand--financial support, and the weather.

British productions have soared above the fourth-raters, and the standard has undoubtedly risen during the last few years. The recent cry of one British Colony to the producers in this country was--“Send us more British films.”

As stated before, and voiced by the powerful press, a more discriminating censorship is required. If these duties were carried out more rigidly by an authorised person capable of giving an unbiassed judgment, not only on questionable films, but from the standpoint of national character, such discretion would exercise the necessary restraining guidance.

The Government subsidizes the dye industry, and why should not the educational side of the film industry receive the same consideration? This would produce “standardized educational films,” and might lead to good results.

* * * * *

The cinema question is uppermost in the mind of the public, and every phase is looked to with interest, every new invention eagerly investigated, and every suggestion for the raising of the masses, both morally and mentally, is given a whole-hearted support. It is hoped that although there may be passages in this volume with which readers will not “see eye to eye,” these pages will have been read with interest; and will help educationists to realize more fully the great power that the film may become in the education of the people.

THE LONDON AND NORWICH PRESS, LIMITED, LONDON AND NORWICH, ENGLAND

“LIBRARY ADVERTISING”

By WALTER A. BRISCOE (Grafton & Co.).

Some excerpts from Press notices are appended:

GENERAL NOTICES.

“Public Libraries and their uses certainly need to be forced on the attention of the public a great deal more than they are, and these very practical chapters on methods of advertisement by the Nottingham City Librarian ought to be of great service. Posters, articles, leaflets, pamphlets, announcements thrown on the Cinema screen, and other methods are discussed with many facsimile examples and designs, specimen paragraphs and articles, etc.”--_Times Literary Supplement._

“‘Publicity is the best policy,’ says Mr. Walter A. Briscoe in his book entitled ‘Library Advertising,’ a work designed to advance the Library Movement by every means possible. Sections deal with Publicity methods for Public Libraries, Rural library schemes, Library work with children, the Cinema and Library, etc., and the author discusses the problem of bringing home to the public the need for an efficient Library Service from an entirely new standpoint.”--_The Publishers’ Circular._

“I am inclined to think that Mr. Walter A. Briscoe is right in holding that the best and fullest use is not made of such institutions, because ‘the people have not yet acquired the idea of thinking _big_ about libraries--and until the populace get the Library idea progress cannot be spelt with a capital P.’ Mr. Briscoe suggests the remedy for this in ‘Library Advertising’: ‘We must proclaim our libraries from the hills, so to speak,’ he writes, ‘from the advertisement hoardings, if necessary. These may be new ideas not acceptable to the conservative mind. Obscurantist methods are out of date, however.’ And so he offers specimens of posters, hints for ‘publicity’ campaigns, etc. Hitherto, I am afraid, Mr. Carnegie and Sir Henry Tate have become better known and appreciated than the libraries they founded, but Mr. Briscoe’s plans would certainly do something to alter this....”--_The Westminster Gazette._

PROFESSIONAL PAPERS.

“This timely volume has for its motto: ‘We often refer to the Public Library Movement. Let us therefore MOVE.’ Mr. Briscoe designs the book to furnish suggestions to his readers, most of whom must be half convinced of the necessity for this propaganda which is here so stoutly advocated. The stimulating powers of this work should be great; every activity of the ordinary man furnishes an excuse for reminding him that there is a book in the public library about it. The volume is dedicated to the President of the Library Association, who says: ‘I have no doubt at all that the book will fill a very useful function in the work of public libraries.’ We also learn that French libraries are preparing for a public discussion of the book, a very gratifying tribute to its ‘stimulating’ properties.”--_Library Association Record._

“The comprehensive title of this book by the fertile and vigorous chief librarian of Nottingham is almost sufficiently descriptive of its contents. For many years past Mr. Briscoe has advocated advertisement on a bold and persistent scale, and in his book proceeds to show us methods of locomotion which I believe will be suggestive to most librarians. As a fervent believer in the necessity for wide and persistent advertising for libraries, I recommend this book to my fellow-librarians. They ought to read it.”--_The Library World._

“We are convinced that in advertising is to be found the future success of public libraries. Nowhere are libraries used as they should be and in very few places their value and uses appreciated as they might be. Mr. Briscoe has dealt with one of the two classes of library advertising, and has dealt with it in a practical manner. The book is full of hints and suggestions for the librarian, who must necessarily be his own publicity agent. We heartily congratulate Mr. Briscoe on what he has done....”--_The Librarian._

“LIBRARY ADVERTISING,” Grafton & Co., 7s. 6d.

TRANSCRIBER’S NOTES:

Italicized text is surrounded by underscores: _italics_.

Obvious typographical errors have been corrected.

Inconsistencies in hyphenation have been standardized.

Archaic or variant spelling has been retained.