Chapter VII: Conclusion 121 (2)

The Commission did not seek to abuse the people responsible for the promotion of the cinema by outspoken raillery, but met representatives of the whole trade in frank discussion of the best means of ridding the community of whatever evil elements existed, and meeting the demands of the best public opinion for a higher class programme; suitable exhibitions for juvenile minds, for the suppression of certain evils which had temporarily blighted the cinema halls, and lastly for the establishment of a national censorship which would give the necessary freedom for the proper development of the cinematograph, whilst prohibiting all undesirable films.

At a meeting held in London on November 24, 1916, representatives of the Cinematograph Trade Council, the Incorporated Association of Kinematograph Manufacturers, Ltd., the Kinematograph Renters’ Society of Great Britain and Ireland met together, and it was finally resolved--

“That the National Council of Public Morals be requested to institute
an independent inquiry into the physical, social, moral, and
educational influence of the cinema, with special reference to young
people.”

The terms of reference to the Commission were:--

(1) To institute an inquiry into the physical, social, educational,
and moral influences of the cinema, with special reference to
young people.

(2) The present position and future development of the cinematograph,
with special reference to social and educational value and
possibilities.

(3) To investigate the nature and extent of the complaints which have
been made against the cinematograph exhibitions.

(4) To report to the National Council the evidence taken, together
with its findings and recommendations.

The Cinema Commission commenced its labours on January 8, 1917, and terminated on July 9, 1917. Forty-three witnesses were examined, representing the different interests in the country. In addition to the time taken up for the hearing of these witnesses, sittings were held at a private theatre for the inspection of the films complained of. It also extensively visited cinema halls in the course of its labours.

The headings for discussion were:--The standard of judgment, Special consideration regarding the cinema as a place of amusement, The moral dangers of darkness, The character of the film, Need of a stricter censorship, Special claims of children, Special inquiry regarding the influence of the picture house upon children, Juvenile crime, Replies of chief constables, Ideas of life and conduct, Special provision for the young, The value of the picture house, The cinema as a counter-attraction to the public-house.

The Commission also adopted the roll of educational expert, carrying out a number of psychological experiments.

(1) The durability of cinema impressions on school children;

(2) Mental fatigue caused by instruction by means of the cinema;

(3) Tests of education by cinematographical methods, in comparison
with the ordinary method of instruction;

(4) In which direction the most fruitful and permanent results could
be obtained by the cinema;

(5) The possibility of the cinema in cultivating an æsthetic
appreciation;

(6) The most advantageous way of correlating the work of the school
with that of the cinema, and the most economical method of using
the cinema for this purpose;

(7) The collection of evidence with regard to experiments which
have already been carried out effectively by using the cinema
for educational purposes;

(8) The best methods of producing suitable films for school purposes.

This report is exhaustive and is the findings of laborous sittings, full of material treating upon the cinema question from all possible sides. The debates have been carried out by representatives of every section of the community; the decisions are unbiassed, full of truth, suggestions, and remedies.

FILM CENSORSHIP.

Owing to the objectionable character of some of the imported films, the question of an independent censorship was discussed at the latter end of 1911, and in October, 1912, with the approval of the Home Secretary, the Board of Censors was established and official duties were commenced in January, 1913. Entire independence and impartiality were assured, and are claimed to have been maintained by the Board of Censors.

It was decided to issue certificates classed as follows:--

U. Films to be shown to any audience.
A. Films to be shown to adults only.

This Board passes about 97 per cent. of films passing through its hands.

Two rules were laid down--

(1) That the living figure of Christ should not be allowed.

(2) That under no circumstances whatever would nudity be permitted.

The Examiners judged upon the broad principle that nothing should be passed which in their opinion would demoralize an audience. They laid down forty-three reasons for refusing to pass films.

The question is often asked in the public Press, and occasionally in Parliament, “What has become of the censor? Why does he not exercise his powers of suppression? Is there such an office?” This question is becoming increasingly urgent and acute.

There has been a tendency for the last two years to allow to filter through on to the public market films distasteful to modest vision. The so-called comic films are becoming more and more suggestive. We are aware that the modern tendency in female attire is to lower the neck and shorten the skirt. There is beauty in a painted nude figure, showing the perfect formation of limbs; this is from the standpoint of art.

It is the prevailing fashion in modern American “comedy films” for “bathing belles” to figure largely, and this is unnecessary unless the film actually depicts seaside life, surf-bathing, or is advertising a standard bathing costume approved of by the exponents of the “modiste” costume. There are also passages in these films which call for the excision of certain portions.

A flagrant breach of “censorship” is occasioned by allowing a film of the following nature to appear upon the open market. This depicts a Chinaman who runs an opium den, and who is also a money-lender. The story goes that he has designs upon a pretty English girl. To become acquainted, he advances money to her father, followed by further loans, which are used as a lever; for the father finally forces his pretty daughter to marry the Chinaman.

The scene changes to the girl’s bedroom, where the pretty wife, clad in a diaphanous nightdress, has a terrific struggle with the Chinaman.

Only one conclusion is possible, and there is no moral attached to the picture, which only produces a feeling of disgust--that the paternal human nature should have been so shown as actually existing between father and daughter.

JUVENILE CRIME.

Crime films are another section which should not escape the critical eye of the censor. It has been suggested that in some cases acts of crime by juveniles have been incited by seeing similar scenes enacted upon the screen. They have endeavoured to imitate and emulate the pictorial crime creator, who was lucky enough to evade the long arm of the law, by which they themselves were caught.

One cannot imagine for one moment that the display of films showing murder, suicide, arson, violence or theft, would leave a happy impression upon the human mind. It only fires the impressionable mind of the juvenile, who ultimately finds himself arraigned in the “juvenile court.” Such films only injure the reputation of the cinemas exhibiting them, because sensible parents will forbid their children to enter such places.

The prevention of crime is depicted by a series of “Police pictures” in the Metropolis. This film, promoted to defend that great wall which defines the orderly and disorderly sections of the community, shows “Robert” (as he is lovingly called) in the discharge of his duties, which is not only to exercise a ceaseless vigilance, but to come into contact with danger of which many of us are ignorant.

It shows us the daily routine of every member of the police force, from the highest to the lowest rank. Scotland Yard is seen in all its specialized branches. One can see the detectives being trained to prevent and discover crime, and the manner in which they run social offenders to justice, and the deductions leading up to the trail.

The policeman is shown as a friend and helper to the young and aged, and children nowadays are taught to regard him as someone to appeal to in case they are lost, and not to run away at sight as if pursued by a spectre.

MORALITY TESTS.

A comprehensive attempt is being made in the United States to improve the quality of the films shown, and for this purpose a “National Motion Picture League” has been formed. It is proposed to elevate the standard in two ways--first by supervising and conducting children’s matinées, and assisting churches, municipal boards of education, parents’ associations and other organizations interested in public welfare to secure proper pictures for adults, young people and children. In the second place it will assist, by proper publicity, towards the provision of good pictures and a campaign of education against the immoral and objectionable ones.

A reviewing board has been formed by the League, composed of clergymen, Sunday school teachers and public welfare workers. This Board makes a selection from the general output of films, and a list of those which they deem suitable will be published in weekly bulletins before the pictures are released for the open market and public exhibition. These lists are sent to the film-producers, and are published in magazines. Local committees are formed everywhere to unite in their efforts and use every influence. These committees are of two kinds--children’s matinées, which seek to provide suitable programmes for youthful minds; and reviewing committees, which report on all pictures seen in local picture theatres which are considered suitable for the lists of the League.

The films selected are clever and wholesome throughout. Films unsuitable, even though the details exercise the moral ending, are rigidly excluded. They have to be in good taste, unbiassed and accurate. The board refuses to endorse a film that is inaccurate from a scientific standpoint or that contains undesirable inaccuracies in the production of well-known stories.

No crimes are allowed in pictures if they show killing or gunplay, and there must also be no cruelty to either man or beast. Infidelity and sex pictures are not tolerated, and even scenes of women smoking or men drinking are debarred.

A rule has been instituted which would produce good in this country, and should be followed. All titles and letter-press must be strictly grammatical and free from profanity or vulgarity.

The following is a label on a film after having passed through their hands:--

“In part 3, cut out scenes of mixing drinks.” In part 6 cut out sub-title, “You don’t care a damn,” etc., also all drinking scenes.

In short, the National Association of the Motion-Picture Industry has resolved to suppress and refrain from films that “emphasize vice or the sex appeal or illicit love; exhibit nudity, excessive demonstrations of passion, and vulgar postures; unduly concern themselves with the underworld of crime, bloodshed and violence, drunkenness, gambling, and unnatural practices; emphasize the methods used in committing crime; bring into ridicule the law, the authorities, and religious beliefs and leaders; contain salacious titles, or are advertised salaciously.”

THE “WHITE SCOURGE” PROBLEM.

The “white slave traffic” is as much a scourge as tuberculosis. This appalling problem is sapping the vitality of the nation, and every means of giving publicity to this menace, which, unfortunately, is not on the wane, should be used. We have the best possible publicity agent in the film. Such a film could be prepared and exhibited to initiate the ignorant, and to show those who practise in it that something is being done openly to expose this illicit traffic.

One reads in the newspapers almost daily of wrecked lives, fathers who have shot their daughters and then themselves, because she has trodden the downward path; and of others who have made away with themselves because they are beyond reclamation.

This subject is talked about, and often whispered, as if it were a plague and they were afraid of becoming infected with it.

It is a plague, and requires to be stamped out, like the Plague of London.

The daily life of the unfortunate daughter of the streets and her means of livelihood could not be portrayed more eloquently. The efforts of the reclaimer of lost souls would be strengthened. Mothers would give silent prayers for the imparting of such information to their daughters, which, although their duty, it is often shunned, to the detriment of her offspring.

In a clean, inoffensive and simple way it could be shown how unfortunate girls, attracted by finery and dress, are sometimes directly led into these channels.

If the book entitled “The Rise and Fall of Susan Lennox” could be suitably filmed, then much would have been accomplished in this direction.

Mrs. Caudle’s “Curtain Lectures” would not be needed at home. The impression upon the young mind would be indelible. The voiceless foster-mother would repeat the lesson to thousands of young people.

The allied question “venereal disease” has already appeared upon the screen and thousands have already benefited by it. The Manchester Corporation has taken steps to give publicity by means of the film, and if the idea is generally approved and encouraged, much will be done to educate citizens of the dangers of this malignant disease. Let us hope that greater efforts will be made to bring these evils home.

CHURCHES AND THE CINEMA.

Now that ministers are bemoaning the smallness of their congregations, and declaring that the flock has gone astray, wondering how to account for the fact that modern-day religious opinions have changed, and in some cases, warped; that they no longer come to hear good sermons and music, that the collections are mean; that their social functions are unattended--they ask themselves, “What is wrong, and what is the remedy?”

The cinema has been tried in the church to evoke that enthusiasm now dormant. In America it has met with huge success and is being recommended by the clerical body throughout that country as a means of reviving lost interest. Ministers’ sermons have brought to life the actual characters; there seems to be a new atmosphere within the sacred precincts, and the churches are not large enough to hold the congregations. The sermons are more lucidly expounded, the attention of the congregation is held, no stentorian snores reverberate through the church, there is no coughing or impatient moving of feet or imperfect sneezing; and even the child with its contribution in its pocket keeps it there without dropping it on the floor. Such rapt attention has been evoked by the film entitled “Creation.” This Italian production presents the history of the Old Testament in pictorial form. The film begins with Creation and closes with the reign of King Solomon, the total length is 30,000 feet, and it is in twenty-two chapters.

Could one see a more realistic film than the actual creation of the world, the birth of Christ in the manger, His movements amongst the people, the healing of the sick, the restoration of sight to the blind, the lame made to walk, His successes and failures, His friends and His enemies, and the conversion of His disciples, His last supper, crucifixion and final resurrection?

No minister need appeal for a more stirring picture, a better demonstration than this; his sermons would be more explicit and better understood. Films could be created to suit every sermon, or sermons could be worded to suit the picture chosen, and to one versed in theology, notes would be unnecessary. Enthusiasm would grip the preacher as the film rolled on, and words would come easily and spontaneously.

A new picture just “released” in Sweden would do well in this direction, the title of which is “Thy soul shall bear witness.” It is a sermon in pictures, more graphically described than by any pen; and is beautifully told and accurately expressed.

The story is of an outcast waiting in a graveyard for the New Year to dawn, in order that he and his comrades may drink a curse to the months that are to come. A young social worker on her deathbed is calling for him, but he ignores the call. Even his friends are disgusted with his behaviour as he tells them the legend of the cart of death which drives everywhere and collects the souls of the dead, the driver being the man who has died on New Year’s Day. He falls under the spell of a social worker who battles to save his soul, and to restore him to his constant and faithful wife. He finally awakens, to find it a horrible dream and that he has slept in the churchyard. Other items enter the story, but the impression left behind remains, leaving the moral intended.

THE FILM AND THE SAVAGE.

One would hardly think that the film has reached and is being used in some of the remotest corners of the globe, yet such is the case. The advance made in this direction of the education of these savages by means of the film has been a source of help to the missionaries. These natives, quick-witted, are apt to learn far quicker from motion pictures than from personal instruction. The effects are sometimes very humorous, imitation is often indulged in, and bobbed hair and short skirts have created such an impression that the fashion prevails as far away as Jamaica. The black belle “bobs” her hair and even covers her skin with a pearl powder overlaid with rouge and a peculiar dark red in imitation of her Western sister.

She tucks in her print skirt, and if she is accustomed to going barefooted during the week, on Sunday she will appear in vivid silk stockings. She wears a hat woven by herself, with a twisted impressionistic scarf such as the heroine in a screen play wears when she sallies forth to meet her hero. It is contended that there is already a marked improvement in the manners and customs, which schools have not been able to bring about.

There is ample scope for pioneer work amongst these dusky brethren, and the projector would go a long way towards attaining this end.

CO-OPERATIVE CINEMAS.

Mr. George Bernard Shaw says, “There is no reason why cinema theatres should not be added to the list of public wants provided for by the co-operative movement.” Certainly the Co-operative Society have their interests in nearly every concern going. For the instruction of their members, physically and mentally, they have made every endeavour to fill in the gaps. If their energies were also turned to the establishment of cinemas for educational purposes, including instructional and wholesome films, then co-operators will have made a forward movement.

V

COMMERCIAL ADVERTISING

ADVERTISING BY THE FILM.

As an advertising medium the film stands unrivalled, and, probably, in time to come, it will supplant the flaring posters so distasteful to our vision, and which disfigure and desecrate our landscapes.

Various manufacturing firms could further avail themselves of this latest product of visual exhibition. Manufacturers of gas mantles could demonstrate the whole process of the manufacture of these flimsy yet durable illuminators, from the extracting of the fibre to the finished article, the candle powers of each, and what they are used for.

Again, an opportunity occurs for the Ediswan, Mazda, Tantalum and other electric bulb manufacturers to represent the blowing of the glass and the fixing of the sensitive filaments which convey the electric current and produce cheap illumination.

British and colonial railways have found the cinema a good substitute for the glaring advertisements in their endeavours to lure the holiday-makers to the beauty and health spots served by their train systems. This method of advertising would speak more than volumes and be more vividly impressed upon the minds of the audience than by many an hour of searching through railway and holiday guides, or touring announcements.

Visualize a trip on one of the railways--say, passing through impressive mountainous scenery. As each station is passed and the journey progresses, bird’s-eye views could be shown of fruitful and restful country never seen before, and sometimes it would help to influence a holiday-maker who is contemplating where to go for his next holiday.

The Continent could be advertised upon the screen by companies conducting tours. We should see Parisian life as it is lived, the boulevards and cafes, and everywhere the places of national importance. The architecture of our towns is too often deplorable, and in contrast to that seen in towns like Hamburg, Frankfort, Brussels or Milan, not to mention the great capitals and the cities of historic beauty and significance like Florence, Venice and Nuremburg; these majestic structures would appeal to all lovers of the finer arts.

The prejudiced and those behind the times may argue that the “pictures” are suited only to the illiterate. But, judge the cinema as our minds dictate, the fact remains that this new vitalizing force has entered into the educational progress of to-day.

SALES BY THE FILM.

Keen competition in manufactured articles has brought about increasing difficulties in the sales of machinery. The manufacturer has learned, by sad experience, that it is sometimes impossible to convince his prospective customer of the superiority of his product over that of a rival firm, without actual inspection. Size prevents him from carrying his machine to the customer, and distance will not permit the customer to go to the machine. In this dilemma the progressive manufacturer has joyfully hailed the advent of the motion picture film which enables him to display every step in the manufacture of the machine or articles, and every phase of its operation.

When the maker of machinery, plants, and equipment asks the average person to look over blue prints and written descriptions, and thus form a conclusion as to the worth of his products, he usually finds himself in a difficulty. It is mentally impossible for the general run of people to visualize or imagine a plant or machinery in working and running order from an inspection of drawings and written descriptions, no matter how graphic or conclusive they may be.

Machines are generally too large to be shipped around for inspection by the prospective customer. It is physically impossible to ship all plants and processes, and very frequently the prospective purchaser cannot arrange to visit a place where machinery can be inspected. The modern motion projector is light in weight, small in size, and can be easily operated. Films can be shown at any place, at any time, and are the ideal method of demonstrating the salesman’s wares. Some manufacturers are making a speciality of these portable projectors, which may be tapped to the lighting circuit and used in the office of the prospective customer, with a blank wall as a screen.

This method of exhibition has been hailed with delight, and the number of manufacturers availing themselves of this medium of salesmanship grows in number day by day.

VI

PRODUCTION

One writer gloomily said, recently, that every cinema was in a bad way, and inferred that the films were a failure; the distressing shrinkage of the audiences signified the general non-approval of the tone of the films submitted. It is not that the people have not the money; in spite of the stress of the times, cinema theatres are the best patronized places of amusement, and the fact that these companies are paying a dividend (anything from seventy-five to ninety per cent.), spells, in one word, “success,” which means a good turnover and good profits.

THE FAILURE AND SUCCESS OF THE FILM.

I do agree in this respect, that the British public is becoming much more critical, and in time will insist that it get its value, or else will steer clear of the cinemas. It is for the managership to provide the films with the necessary tone. There are several factors governing this criticism and decline, and one is that the English film production started with an unsound foundation, or a bad tradition. Give a dog a bad name and it will stick to it, and to retrieve a lost reputation is a difficult feat, yet not an impossible one.

If the British producers were composed of Englishmen alone, and not a conglomeration of nationalities, the plots in the various novels and plays would be produced exactly as intended and not murdered and warped as at the present time. To read the book, then see the play, and finally the film, one is astonished at the vast difference in the rendering; the whole plot being considerably changed.

The rendering of the film should be exactly the same as the play, and as one reads, yet it is widely different. It is either “cut” or lengthened; the important is ignored and the unimportant is enlarged upon, showing in striking features the blunders perpetrated. What is the result of this doctoring? Instead of the producers raking in the thousands and pleasing millions of patrons, the whole production is a miserable failure, and the reputation of the author as a writer is belittled in the eyes of the public.

To prevent this, the producers could approach the author to supervise the production and pay him a nominal retaining fee, and the public would be assured of an exact reproduction of the play or plot they have seen acted, and wish to see filmed.

In film production the British would create an improvement in their films if some of the American methods were copied. It is the latter’s custom to secure the presence of the author throughout the whole period of production, and his critical judgment and suggestions ensure the exact reproduction of the film as written.

All films are not a failure, far from it. Several British films have been excellently produced, and the plot has remained as originally written. This is what the reading public requires and looks for, especially when they are familiar with the story. The exact reproduction of the plot without alteration does much to secure the confidence of the patrons.

At the present time the British film-producers are handicapped by the American film-tax, which reduces considerably the scope of sale, but if only out of fairness to this country the tax should be dropped--or our Government must perforce raise a similar barrier to protect British producers in this country.

The prospects for British producers are brighter, and if they can exhibit at the various “Trade Shows” films worth seeing--from the standpoint of acting, scenario and production--then they need not fear a “block” in the bookings for English films.

The British public is patriotic, and it only remains for the British producers to bring out something really good for foreign competition to fall behind. Our keenest competitors are America, Germany, Italy and Switzerland.

CINEMA ECCENTRICITIES: BLUNDERS AND INACCURACIES.

Some remarkable blunders are perpetrated in the production of some modern films, either due to an oversight on the part of the producer who endeavours to make it too realistic, or inattention to details. These incidents have a tendency to do more harm to the cinema than good, for these little slips which have been allowed to creep in and appear on the screen are apt to make the picture patrons become impatient. Some people find amusement in the noting of all these blunders. Let me enumerate a few to show what I mean, for they are too apparent to escape notice. For instance--

A monk in a picture of the twelfth century is seen to switch off the electric light!

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