{"title":"Motion Picture Production in Canada","authors":"A. Dawson","doi":"10.1525/FQ.1950.5.1.04A00120","DOIUrl":"https://doi.org/10.1525/FQ.1950.5.1.04A00120","url":null,"abstract":"ANTHONY DAWSON, formerly a research assistant in the Institute of Industrial Relations at the University of California, Los Angeles, and a special lecturer in economics at Victoria College, University of British Columbia, is now working in the Economic Section of the International Labor Office (United Nations) in Geneva. His \"Patterns of Production and Employment in Hollywood\" appeared in Volume IV, Number 4, of the Hollywood Quarterly.","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126279814","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Carl Dreyer's World","authors":"R. Rowland","doi":"10.2307/1209486","DOIUrl":"https://doi.org/10.2307/1209486","url":null,"abstract":"To VISIT Carl Dreyer's Passion of Joan of Arc, filmed in France in 1928, after seeing his more recent Danish production, Day of Wrath, is an extraordinarily exciting experience. These two films, produced at an interval of nearly twenty years, scarcely reveal the difference in their ages. The motion picture is always more likely to date itself than any other art, partly because it relies as no other art ever has upon technology. But these two films, remembered together, seem to be of the same moment; their passionate directness is of no specific day. Such agelessness in any art is usually the result of a highly personalized style. The artist who is branded as of his age dates within his lifetime; the individualist who goes his own way-Blake, El Greco, Berlioz, at their most original-is as fresh today as ever. A style that represents a coherent and considered judgment of life, even in the flickering light of the cinema, transcends fashion or technical development. Dreyer's style is wholly pictorial. One of these films is a sound film, the other silent, but in both it is visual images that we remember. There are some striking effects on the sound track of Day of Wrath, but we remember the faces, lights, and shadows more vividly than the sounds. Even the use of the hymn from which Day of Wrath draws its title is impressed upon us pictorially; we cut from the agonized face of the ancient witch as she falls forward upon the bonfire to the witnessing choirboys as they sing the austere hymn whose song is so discordant with its angry words. But it is the blank innocence of their angelic faces that jars our hearts more than the sound of the high, unrepentant voices. Carl Dreyer's style seems an extraordinarily simple one, and at","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123081721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Technique and Content of Hitler's War Propaganda Films: Part II: Karl Ritter's \"Soldier\" Films","authors":"John Altmann","doi":"10.2307/1209487","DOIUrl":"https://doi.org/10.2307/1209487","url":null,"abstract":"IN UFA'S productions Traitors (1935) and Patriots (1936) Karl Ritter had given the German audiences a foretaste of Hitler's war propaganda. But both films merely sounded the general theme. They served as an introduction. With them Karl Ritter won endorsement and an encouraging nod from his party. Full acclaim and the highest praise of the party, however, were reserved for Ritter's next works as the producer, author, and director of \"soldier\" films-what he called \"heroic\" films. With these","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117129812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Robert Flaherty and the Naturalistic Documentary","authors":"H. Gray","doi":"10.2307/1209484","DOIUrl":"https://doi.org/10.2307/1209484","url":null,"abstract":"","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"254 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134268050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Translating \"The Glass Menagerie\" to Film","authors":"H. MacMullan","doi":"10.2307/1209482","DOIUrl":"https://doi.org/10.2307/1209482","url":null,"abstract":"HUGH MAcMULLAN, a John Lyman Moody scholar of Williams College at Oxford University, served as a lieutenant commander in the Navy during the war, writing, directing, and producing training films. He has been a lecturer in the Theater Arts Department, University of California, Los Angeles, and has been the dialogue director of a number of Hollywood films, including The Glass Menagerie. At present he is writing government films under contract to Cascade Pictures of California.","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126311917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Edinburgh Film Festival","authors":"F. Hardy","doi":"10.1525/FQ.1950.5.1.04A00060","DOIUrl":"https://doi.org/10.1525/FQ.1950.5.1.04A00060","url":null,"abstract":"It would mean, for example, that visitors could confidently expect to see different films at each festival instead of, as happens so often at present, the same few films. It would also mean that a film student interested in a special aspect of the cinema would be able to satisfy that interest by visiting a single festival and not merely have it titillated by chance items in generalized festival programs. It might mean, too, that an enthusiast could make the circuit of the festivals confident that he would have a series of experiences rather than the same one repeated in different surroundings. When the Edinburgh Film Festival was launched in 1947, there were some critics in Britain who regretted its concentration on the cinema of reality. To them it seemed a pity that Britain's only film festival should not be modeled on the broad lines of Venice and","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128874699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Stills in Motion","authors":"I. Pichel","doi":"10.2307/1209481","DOIUrl":"https://doi.org/10.2307/1209481","url":null,"abstract":"its lens. It was thereby possible to show that the horse did, at one instant, have all four feet off the ground. Photography did mechanically, chemically, and incontrovertibly what painters had been trying to do through the fallible observation of their naked eyes-plus varying degrees of technical proficiency-in recording on canvas or paper or cave walls, with paint or pencil or charred sticks, what they had seen. It pictured arrested movement. It was not by accident that Muybridge's experiment was followed in a short time by the invention of a means of recomposing a series of movements, arrested photographically, into an illusion of continuous movement. A toy called a zoetrope had been doing this with drawings of arrested movements in series long before the invention of photography. Thus Walt Disney has a longer lineage than movie makers who photograph real creatures or objects in motion. There is an obvious difference between the movement arrested","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122298544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Technique and Content of Hitler's War Propaganda Films: Part I: Karl Ritter and His Early Films","authors":"John Altmann","doi":"10.2307/1209720","DOIUrl":"https://doi.org/10.2307/1209720","url":null,"abstract":"A FORMER Imperial Air Force captain by the name of Karl Ritter, just discharged from the army, given back to the civilian life of an unsuccessful artist, walked through the streets of MunichSchwabing. He was hopeless, desperate, and malcontent. He was full of hate, but his hate was aimless. It was December, 1918. Imperial Germany had been defeated. When the Air Force captain came home from the front, he saw new men trying to rebuild a \"better Germany.\" Karl Ritter, a young Bavarian from a middleclass family, his mother an opera singer, his father also an unsuccessful artist, did not join them. On the contrary, like another former soldier of Imperial Germany's defeated army-ex-corporal Adolf Hitler-he held the young republic responsible for the Imperium's defeat as well as for his personal disaster. The jobless paperhanger Hitler strolled through the streets of Vienna. The jobless artist Karl Ritter walked the pavements of Schwabing. Full of disgust about everything, including himself, the former Air Force captain said: \"Our life was useless and senseless. In me, as in many others of my kind, was a bitterness and hopelessness-the torturing thought of desolation and hatred. All around us was this artificial life of frenzied pleasure-seeking. This was the life given back to us. To me it was a life not worth living.\"' There were similar feelings in the breast of ex-corporal Adolf Hitler. But the hate of the ex-corporal had already found a direc-","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127179185","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Patterns of Production and Employment in Hollywood","authors":"A. Dawson","doi":"10.2307/1209715","DOIUrl":"https://doi.org/10.2307/1209715","url":null,"abstract":"AT ANY given time the majority of individuals associated with the motion picture industry are well aware of the state of production: of the amount of shooting in progress on each of the lots and locations. Moreover, the older associates can distinguish good years from bad over a lengthy portion of the industry's history, and understand many of the reasons for these distinctions between them. But there is no clear impression of the pattern of production as it fluctuates week by week over a fairly long period, and it would therefore be instructive to persons inside the industry, as well as those outside it who are concerned with seasonal and","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128991877","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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