2.30 H₂O U.S.A., 1929

Scenario and Direction: Ralph Steiner.

A film of pattern and rhythm, inspired by the richness and variety of water forms and textures.

2.40 FINDING HIS VOICE U.S.A., 1930

Production: Electrical Research Products, Inc. known as E.R.P.I.

Recording System: Western Electric (Sound on Film).

Shown by courtesy of Western Electric Company.

A cartoon-film, giving a pleasant and not too technical account of the manner in which a talking picture comes into being.

2.50 SOUND RUSHES Great Britain, 1930

Recording System: R.C.A. Photophone (Sound on Film).

Shown by courtesy of British International Pictures Ltd.

"Rushes" are the raw material of the studio, shown untrimmed and unselected and with all faults, in order that the director may see without delay how his picture is progressing. Each "rush" includes a reference number and a clear indication of the beginning and ending of the "take." Frequently several cameras are trained on the same scene from different view-points and distances, in order that the director may be able to "cut in" effective fragments without disturbing the sound track.
The present rushes from *Cape Forlorn* now being made by E. A. Dupont, show a number of scenes recorded separately in English, French and German, and provide an interesting comparative study in acting and intonation.

A portion of the screen usually masked during projection is uncovered for the showing of these rushes, in order that the sound track may be observed. It should be noted that the sound track visible to the left of the picture is roughly one second ahead of its corresponding image.

3.5 FROLICKING FISH U.S.A., 1930

A Silly Symphony by Walt Disney.

Recording System: Powers' Cinephone.

Shown by courtesy of Ideal Films Ltd.

3.10 THE STRANGLER Great Britain, 1930

Production: British Instructional Films.

Recording System: Klangfilm.

Photography: Percy Smith.

Dialogue and Editing: A. Mary Field.

Musical Director: William Hodgson.

Shown by courtesy of British Instructional Films.

The story of the Dogger, one of the Convolvulus family, and a typical criminal of the plant world. This film took eighteen months to photograph.

3.20 RUNNING AFTER LUCK Germany, 1929-30

Production: Comenius-Film (Berlin).

Scenario, Direction and Photography: Lotte Reiniger and Berthold Bartosch.

Music: Theo Mackeben.

Words of the Song "Treuloses Glück": Karl Brull.

Translation of the title poem by Lotte Reiniger: Eric Walter White.

Sound Recording: Richard Masseck.

Recording System: Rhythmographie, on Artiphon records.

This is an independent interlude in silhouette form extracted from *Die Jagd Nach Dem Glück*, a full-length film dealing with the life of a travelling showman.

3.35 INTERVAL OF FIVE MINUTES

3.40 EARTH U.S.S.R., 1929-30

Scenario and Direction: Alexander Dovzhenko.

Photography: Daniel Demutzky.

Production: Vufku.

The Players: S. Shkurat, S. Svashenko, P. Masokha, N. Nademsky, V. Mikhailov, E. Maximova.

The Society's thanks are due to Prince D. S., Mirsky who has given valuable help in the rendering of the original Russian titles.

PERSONAL:

Alexander Dovzhenko is a young Ukrainian director working for Vufku at Kiev. He has so far made three important films, *Zveni-Gora*, *Arsenal* and *Earts*, and must be regarded as one of the most interesting of the newer Russian directors. *Zveni-Gora* is a fantasmagoria of legend and reality illustrating the change of mentality in a Ukrainian village in the past fifteen years. It would appear obscure to an English audience unacquainted with the rich body of Ukrainian folklore and poetic legend constantly used and alluded to by the director. In a recent account of his methods Dovzhenko has drawn attention to his passionate interest in the life and culture of the people of the Ukraine. He takes enormous pains to produce a synthesis of Ukrainian life by a careful study and selection of local types, gestures and mental processes.

TENDENCY:

In *Earth*, which is to be his last silent film, he takes the ever pressing problem of the struggle between the rich individual peasants or Kulaks, and the collective farmers, and uses this as an excuse for displaying the life of his country. His chief contribution to Russian film history is the recognition of the poetical and the tender without admitting the sentimental. Without releasing for a moment a very firm control over all the materials he uses, he is able to forego the passionate objectivity of the more powerful pioneers such as Eisenstein, as well as the feverish urgency of Pudovkin, in favour of a close concern with the artistic shape and mood of the

2.30 TURBULENT TIMBER

Germany, 1931

Production: Ufa.

Shown by courtesy of The Gaumont Company Ltd.

This film has been chosen as a specimen in which intrinsic interest of subject matter, economy of handling, and reticence in commentary combine to make a documentary of unusual educational quality.

2.40 MUSICAL ABSTRACTS

Germany, 1931

Direction: Oskar Fischinger.

Shown by arrangement with Filmophone Ltd.

Following in the wake of Walther Ruttmann and other makers of abstract silent films, Herr Fischinger has adapted their methods to the simple task of illustrating music by arbitrary symbols whose synchronisation gives the illusion of a special relationship between sound and image.

2.50 MAGIC

France, n.d.

Production: Pathé Frères.

2.55 A CHILD'S HEART

France, n.d.

Two early films from Dr. Cúrlis's historical collection, excerpts from which have been shown in previous programmes. *Magic* is, for its time, an elaborate employment of trick photography. *A Child's Heart* is a specimen of the poignant drama which finally persuaded the world of the aesthetic utility of the cinema.

3.0 PHILIPS RADIO

Holland, 1931

Direction: Joris Ivens.

Shown by arrangement with Philips Radio.

With commendable enterprise the Philips Radio Company permitted Joris Ivens and Hans Richter a completely free hand in making films with the materials available in their factory. Ivens used the opportunity to extend his patterned appreciation of the rhythms of work and machinery into one of his most ambitious productions. Ivens' sympathy with processes of human labour secured him an invitation to lecture in Russia and also to direct films in Russia, in illustration of the objective side of the Five Year Plan. It is hoped to show Hans Richter's short film in a later programme.

3.30 WINTER

U.S.A., 1931

Direction: Walt Disney.

Shown by courtesy of Ideal Films, Ltd.

A Silly Symphony concluding the series of "Seasons".

3.40 INTERVAL

3.45 THE ADVENTURES OF PRINCE ACHMED

Germany, 1926

A Silhouette Film by Lotte Reiniger.

Production: Comenius Film.

Music: Wolfgang Zeller.

Magic and Scenery: Walther Ruttmann, Berthold Bartosch, Alexander Kardan.

Title Decorations: Edmund Dulac.

The plot of this film is based on certain portions of *The Arabian Nights*. After experimenting with small films, of which *The Flying Coffer and Cinderella* were shown by the Society, Lotte Reiniger spent four years, from 1923 to 1926, in making the present five reel film. It was shown in Berlin, Paris and Tokyo. The music was composed by Herr Zeller before the film was made, and the action of the film was afterwards synchronised with it. The present revival, the first occasion on which a film has been revived from the Society's own programmes, has been arranged to give members of the Film Society an opportunity of hearing the music conducted by the composer.

Particulars of Lotte Reiniger's methods of working, her theories of montage and illustrations of her silhouette figures, will be found in Eric Walter White's *Walking Shadows* (Hogarth Press).

The Society's thanks are due to Mr. Thorold Dickinson and Mr. Francis Carver for assistance in the technical preparation of the programme.

THE FILM SOCIETY

The Society is under no illusions. It is well aware that *Caligari's* do not grow on raspberry bushes, and that it cannot, in a season, expect to provide its members with an unbroken succession of masterpieces. It will be sufficient if it can show a group of films which are in some degree interesting and which represent the work which has been done, or is being done experimentally, in various parts of the world. It is in the nature of such films that they are (it is said) commercially unsuitable for this country; and that is why they become the especial province of the Film Society.

The programme for the rest of the season is appended. All performances will be held at the New Gallery Kinema, Regent Street. Many other arrangements are as yet provisional, however, and the Council will be pleased at all times to be told the preferences of members, and to hear of films which may prove suitable for selection.

SECOND PERFORMANCE—2.30 p.m., November 22nd, 1925:—

NJU.—(Perhaps the most distinguished achievement in naturalistic action ever made in Europe, with Jannings, Elizabeth Bergner (who played the maid in Reinhardt's production of *Saint Joan*, and Conrad Veidt).)

AN ANIMAL FILM.—(Specially selected and prepared by the Film Society by courtesy of New Era and the British Instructional Films, Ltd.).

RESURRECTION SERIES No. 2.—(When the Press speaks, with John Bunny; Charlie's Mallet; etc.).

Performances—December 20th, January 17th, February 14th, March 14th, April 11th, selected from :—

*Crime and Punishment* (Moscow Art Theatre Company in Caligari sets).

*The Stone Rider* (Klein-Rogge in Caligari sets).

*Ailita* (A Russian film of a trip to Mars).

*The House in the Dragonergasse* (Werner Krauss).

*Cinderella* (Hermann Thimig), etc., etc.;

also the work of Ferdinand Leger, Man Ray, the Institut Maret.

Concluding performance, May 9th: *Dr. Caligari* revised and in its entirety.

*A General Meeting to discuss the projective Programme will be held early in December.*

*Membership application forms may be obtained from The Secretary, Miss J. M. Harvey, 56 Manchester Street, London, W.1. There are three classes of subscription (at three guineas, two guineas and one guinea), each entitling to one seat at eight Sunday afternoon performances.*

JACKSON PRESS, E.15.

THE FILM SOCIETY.

The fourth programme of the season will probably
include the Japanese classic *The Tragedy of the Temple
Haigon*. The fifth will probably be *Jerusalem* in its entirety.
This will be followed by *Charles XII*. and possibly *Berlin*.

Addendum to 18th Programme:

The performance of *Ways to Health and Beauty* was
postponed. The following film was substituted:

Technique 1923 reg.

The Institut für Kulturforschung in Berlin, under the direction
of Dr. Hans Cürlis, has engaged in much experimental and
educational cinematographic work. For some years Dr.
Cürlis has recorded the technique and methods of certain
celebrated draughtsmen, painters and plastic artists. These
records, which are being continually added to, are issued in
Germany in several series under the title *Schäffende Hande*.
The examples shown here include records of Lovis Corinth,
(oils), Emil Orlik (woodcuts, etchings, lithography, stage-
decoration), Käthe Kollwitz (drawing), Otto Hitzberger
(wood-carving), Rudolph Belling (metal mask), Renee
Sintennis (animal bronzes).

Corrigendum: The date of *A Glass of Water* is 1923.

Intending Members are requested to communicate with the Secretary,
Miss J. M. HARVEY, 56 Manchester St., W.1. There are two
rates of subscription each entitling to one seat at each performance for
the remainder of the season (£2—7—6; £1—11—6).

The Council will be pleased at all times to hear from Members of
suggested modifications to the provisional programme.

Applications for the commercial use of films shown at past performances should in all cases be made through the Secretary.