{"title":"The Rise, the Fall, and the Rise of Danish Film","authors":"E. Neergaard","doi":"10.1525/FQ.1950.4.3.04A00020","DOIUrl":"https://doi.org/10.1525/FQ.1950.4.3.04A00020","url":null,"abstract":"EBBE NEERGAARD is the director of the Danish Government Film Office in Copenhagen. He is one of the pioneers of film criticism in Denmark, having begun to write in 1928. Among his books on film are the authoritative book on Carl Dreyer written in cooperation with the director himself and, this year, a volume of so-called \"Film Chronicles.\" The present article represents the point of view of Mr. Neergaard as an individual film critic, rather than the official point of view of the Government Film Office.","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129479546","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":"What Is a Cursed Film","authors":"H. Agel","doi":"10.2307/1209401","DOIUrl":"https://doi.org/10.2307/1209401","url":null,"abstract":"AT THE beginning of August there opened in Biarritz the Festival of the Cursed Film, a festival very different from all others, which consisted in presenting to the public films that either have never been released, as a result of the timidity of distributors, or have never been appreciated by the general public. As indicated, the curse which attaches to certain films may issue from two distinct sources. And it seems that the public, in spite of its relative lack of culture, often shows itself to be a better judge than the captains of the motion picture industry. In the August 15 number of L'Ecran Franfais, Andre Bazin wrote: \"The distributors put a curse upon La Bataille du rail, La Derniere Chance, Quatre pas dans les nuages, and recently Jour de fete [he could have added Zero de conduite and Farrebique] before they were welcomed triumphantly by the public.\" The opinion that it is the conservatism and the pusillanimity of the distributors that most often compromises the career of original works is echoed by Claude Roy, who accuses the commercial directors of the cinema of stifling the very creation of films that are out of the common run: \"The true festival of the cursed film,\" he wrote in the same number of L'Ecran Franfais, \"ought to be held in limbo where sleep the still-born films that the rules of the commercial game (or the stupidity of the leaders of the industry) have condemned. The true cursed film does not exist at all, and it is only in a necropolis of manuscripts that one may celebrate its sabbath.\"","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"141 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123148860","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":"Film Music of the Quarter","authors":"Lawrence Morton","doi":"10.2307/1209636","DOIUrl":"https://doi.org/10.2307/1209636","url":null,"abstract":"AN AMERICAN watching Wonderful Times is likely to get the feeling that he is turning the pages of someone else's family album. He recognizes how closely the album resembles his own, but all the characters seem merely funny to him while those in his own album are not only funny but dear. Or he may feel that he is looking at one of those newfangled azimuthal maps which ridiculously places the U.S.A. somewhere out there beyond the confines of what is after all a minor continent. Wonderful Times was made in the American Zone of West Germany. Following the technique of The March of Time, it assembles clips out of newsreels and old films to tell the story of how, since the century began, wonderful times were regularly promised the German people by their rulers, and just as regularly dissipated by the catastrophes of war or depression. Politics and diplomacy, science and invention, entertainment and the arts, fashions and customs-all are reviewed in shots of the principal actors in the events. A thread of narrative, together with gratuitous bits of analysis and philosophy and preachment, is provided by a character who emerges from a page of a family album, grows old with the film, and ends it, from the vantage point of a rubble heap in postwar Berlin, with solemn reflections induced at once by his memories and by the sight of a group of little children symbolically building the world of tomorrow out of the rubble. The music track, credited to Werner Eisbrenner, is interesting from two points of view, historical and theatrical. Although it would be an exaggeration to call it a history of film music, it does recall many of the musical fashions that accompanied the development of films themselves. The repertoire ranges from the \"hur[ 69","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122829836","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 British Cinema Audience, 1949","authors":"M. Abrams","doi":"10.2307/1209396","DOIUrl":"https://doi.org/10.2307/1209396","url":null,"abstract":"THE GOVERNMENT'S annual White Paper on National Income and Expenditure provides each year a reliable figure for the amount spent in the United Kingdom on cinemagoing and the relation between this and other forms of expenditure. In the first full year of peace, 1946, cinema audiences spent the record sum of $484,ooo,ooo;1 in 1947 (a year which saw a winter fuel crisis, a catastrophic experiment with sterling convertibility, and the nearexhaustion of the American and Canadian loans to Britain), the public cut back its cinema expenditure to $432,000,000. And for 1948 the total at $448,000,000 was still well below the earlier peak. Moreover, during the same three years total personal expenditure on all consumers' goods and services was rising steadily and thus the share going to cinema box offices declined each year. This absolute and relative decline in cinema prosperity was not shared by what might be considered competitive outlets for relaxation expenditure. Other forms of commercial entertainment at least held their own, and the amounts spent on liquor and tobacco showed considerable expansion. See table 1 (p. 252). In addition to these official figures we now have the results of the annual surveys of the British cinema audience conducted in the past three years by Hulton Publications. The first of these surveys was carried out in 1947. The interviewing occupied four months, January to April, and a sample of 10,200 men and women representative of the total population aged sixteen and over was interviewed. In 1948 and 1949 the field work occupied the same","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122199438","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":"Television: A New Idiom","authors":"Flora Rheta Schreiber","doi":"10.2307/1209682","DOIUrl":"https://doi.org/10.2307/1209682","url":null,"abstract":"FLORA RHETA SCHREIBER directed a summer workshop in radio and television, entitled Television: A New Idiom, in the Center of Creative Arts at Adelphi College. The procedure of the workshop was to evaluate the students' ideas about television with the assistance of a panel of critics, writers, and producers. Miss Schreiber's critical articles on radio and television have appeared in a number of journals, including the Hollywood Quarterly.","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1949-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121809331","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":"Education for Television Jobs","authors":"Gordon Minter","doi":"10.2307/1209683","DOIUrl":"https://doi.org/10.2307/1209683","url":null,"abstract":"TELEVISION, it would seem, is inherently glamorous. Even though it is known as a \"scramble\" profession-a scramble to get in, a scramble to stay in,-many are attracted to its unknown problems. On all sides there are seekers after training that will usher them into this new profession. We all assume that the universities and colleges will be expected to supply workers for television, and this may well be true. Old workers do die off, some of those now working in television will prove not to have made a successful transition from other fields, and the field is rapidly expanding. On the other hand, the assumption may rise from wishful thinking. Schools of journalism sought to supply workers for the newspaper field long before professional newspapermen recognized any value in university training. There was a time, in fact, when the editor shunned the university-trained journalist. American education may have a weakness for attempting-too quickly-to teach the applied aspects of a science or an art. Although there is a definite place for tradeschool training, it should not be confused with university training. Skill in television cannot be gained in ten easy lessons; but it can be nurtured.","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"95 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1949-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115537684","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":"Production Notes on the Stage Version","authors":"William W. Melnitz","doi":"10.2307/1209671","DOIUrl":"https://doi.org/10.2307/1209671","url":null,"abstract":"BECAUSE the script on which the radio, television, and motion picture scripts were based was written to serve the immediate purposes of the demonstration, it is, in a sense, necessarily undistinguished as drama. By the same token, however, it necessarily fulfills certain minimum dramatic requirements. It centers on the Johnson family, struck by a domestic thunderstorm on an otherwise peaceful Sunday afternoon. The suspense is provided by Sam, Jr., whose desire to protect his friend Lillian has got him into a jam. The girl's stern father, Craig the druggist, unpleasantly disturbs the after-dinner rest of the Johnsons with heated accusations that Sam, Jr., is a thief. Father Johnson, however, understands his boy's gallant motives, and after the intruder has left and Mother Johnson has retired, he finds in a heart-to-heart talk with his son a perhaps less exemplary than practical solution to the problem. He replaces \"seven dollars in quarters and dimes,\" which the girl, protected by Sam, Jr., has taken from her father's cash register, by \"borrowing\" from Mother's savings bank, confiding to Sam that he has \"borrowed\" from it before without being found out. With this example of his own behavior before us, his paternal warning never to lie again does not sound very rigid. Declaring that Sam's honest face must come from \"mother's side of the family,\" Mr. Johnson brings the scene to a happy end with a jaunty punch line. As part of a full-length comedy the scene would presumably have been placed at the end of the second act, constituting the climax of a carefully contrived plot with father, son, and girl friend as leads and the other characters in supporting roles. The audience would have learned all about the plot and the characters in the preceding scenes and would have been assured that the last 114","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1949-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124533263","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 Radio Script","authors":"Phil Essman","doi":"10.2307/1209672","DOIUrl":"https://doi.org/10.2307/1209672","url":null,"abstract":"In the procedure followed in the demonstration, the ground work done on stage freed the cast from any pains of creation in front of the microphone and the camera. The actors could concentrate on the technical requirements of these media in a way rarely possible to commercial production. Incidentally to the purposes of the demonstration, the procedure revealed how valuable the long-established techniques of the stage can be to the newer media. Those who are primarily concerned with the theater should not forget, however, that the stage too has learned, and, it is to be hoped, will continue to learn, from radio and film. Has not radio already taught our actors the importance of projecting so that theater audiences can hear and understand as well as radio audiences? And has not the \"close-up\" begun to challenge our conventional conception of theatrical architecture-to introduce the possibility that theater design will eventually permit the spectator to enjoy the subtleties of acting and facial expression on the stage as intimately as on the screen?","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"137 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1949-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131376124","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":"You and Television","authors":"Lyman Bryson, E. Murrow","doi":"10.2307/1209681","DOIUrl":"https://doi.org/10.2307/1209681","url":null,"abstract":"MURROW: I mean both. For example, several times at the Philadelphia conventions of 1948 the television camera suddenly focused on a weary delegate who was sitting there with his mouth open, sound asleep, while a speech was being made. This certainly detracted at least somewhat from the impact of the speech, and although it may not have been deliberate, it was certainly an editorial distortion.","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1949-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122915924","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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