Yorkville enquirer. [volume] (Yorkville, S.C.) 1855-2006, 1908-06-05
MAKING MOVING PICTURES.
Some Of the Tricks Employed in a
Wonderful Art.

II
the little cage and walks into one o.
the moving picture theatres usually
emerges after the show mystified with
what he has seen.
How does the saw cut through 6
, piece of wood without apparent human
agency?" he may ask himself How
L. does the sea maiden descend to the
bottom of the sea-" She seems tc
swim easily to the sea floor through
lreal water; for there can be no doubt
about the reality of the fishes observ-
ed swimming past as she descends, and
|. the bubbles which arise as she goes
down; they, too, are genuine.
There are many other singular phe-
nomena observed, such as the hurinG
over the cliff Of what appears to be
the heroine: then, again, in one Of the
Ispectacles, a skeleton arises from the
ground drinks from a mystic vial, and
10! he Is seen gradually to assume hu-
man FORM OF course, every spectator
Is aware that he Is witnessing some
remarkable Illusions: it Is trickery:
but how Is it done?
Even the most prejudiced visitor to
the moving picture shows has discov-
cred that the most artistic and the
most marvellous pictures are those
\ which bear the Partisan trade mark
For some reason or other the Ameri-
can and the English film makers have
not been able to produce equally dra-
matte results.
Product of Laboratories.
In France today the manufacture OF
films is carried on so extensively that
liz has become an important industry
There are at least three large studios
Engaged in the work of preparing the
films. and this means that there are
three large establishments where the
latrical entertainments are arranged
every day, and each Of them employs
more actors, scene painters, scene shift
ters and mechanics than the largest
theatre in the world.
1t is in these laboratories that the
shows are designed, studied, rehears-
ed and finally registered on the film,
from which innumerable reproductions
are printed and sold all over the
world for the moving picture craze is
not the especial eccentricity Of any
particular. community, but may be
found more or less patroniZed where
ever civilization has extended the de-
sire for theatrical shows. 1t is pop
ular in Japan, and makes life agreea-
BILE in Siberian cities.
At the present time the French are
the leaders and the originators OF
practically all that is new in the
business. They seem to have just the
right kind of invention and appear to
be able to command artists who are
admirable pantomimists. The neces-
sity for the true theatrical artist is
really not $50 great upon the stage as 1t
Is essential to the success Of the story
told in moving pictures. Here no
word is spoken, and in place Of it the
story must be unfolded with cleverness
and skill by means of pantomime and
illusion which is not very different
from that practiced on the regular
stage. Then, too, the leading lady
and the leading man, and all the COM
pany of fine artists must remain for
ever unknown to the public so far as
their names are concerned. This does
not simplify the matter Of command
ing the best artists.
lncIosed In Glass.
AS the methods followed by the
French makers of films are almost
identical, it is not necessary to de-
scribe the process at more than one
establishment This one, which has
permitted the intimate pictures shown
on this page to be made. is one of the
Largest in the world. 1t must first be
understood that the spectacles devised
come under two principal heads. These
are the scenes taken directly from
nature and those taken in the theatre
or laboratory. In many Of the stories
told on the pictures the two are COM
bined. In fact this is far more fire.
lquent than otherwise.
The stage upon which the scenes are
played when natural scenery is not
needed or cannot be obtained is i'm
mense. 1t is 10 feet wide and 100 feet
lhigh The whole laboratory is en-
closed in glass, consequently the pic
lures are taken in the daylight as
| EphtnI III L.
tirely outdoors. 1t is provided with
traps and ample provision is made for
tank dramas"
An example of the combination OF
the natural with the theatrical scene
Is shown in the spectacular story OF
THE Errand Girls Dream" or, as 1t
is in French. lie Reve du Trottin.
IN the early scenes the girl is shown
leaving her home in one of the fau-
bourgs, and after embracing her pa
rents. setting off for the shop where
she is employed. She is shown at
work and then leaving the shop to de-
liver some goods in an immense box
lsuch as is carried by the apprentices
of mOdiSteS in Paris. Inc Scenes dle
Ishown with natural backgrounds, and
then the operator, with his camera
and the heroine of the story, are trans
ferred to the theatre in the Rue des
/ AlOuettes. at Belleville, where the la
boratory is located.
Here the actress Is shown still saun-
tering along the street. She espies
bench and. setting down her box. drops
into the seat and soon is lost in a
brown study. AS she dreams the box
lid is opened and out Of it arises a
group of little dancers. They bow to
Iher and. after executing few steps,
lstep down from the box and, the girl
Looming them, together they all dance
lon the pavement. Then the dream
children step back into the box, the lid
lcloses. the girl awakes and the scene
lis at an end.
This is not. Of course, the whole of
1.-The story. but is sufficient to illustrate
the manner in which the changes are
accomplished. The scene in which the
natural background is used does not