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January Commentary from George Spiro Dibie Looking
Back - Looking Forward: "The motion picture of today is the greatest medium of expression the world has ever known. Its possibilities are as limitless as the written word… for the expression of life, thought and emotion it is the most expressive of the arts… The motion picture, an art of time and space, is capable of giving life and form to all ideas, practical and emotional… No one knows how far it will go; it's only limitation (is) human ingenuity." - John Seitz, ASC, in 1930* I selected these quotes from an essay written by John Seitz in 1930. There are many parallels to today, including high expectations for creative and financial advantages provided by new technology. The silent film era had abruptly ended, and the Hollywood studios had moved on to experiments with proprietary color and wide screen formats. At the same time, RCA successfully demonstrated an ability to transmit live vaudeville acts to a cinema in Schenectady, New York. The leading film journal confidently predicted that within a year "Radio-Vision" transmission and projection technology would be perfected, and Broadway shows and other live performances would replace movies. Seitz was skeptical. He wrote, "Unfortunately, in an art so new and complex…there is naturally a certain amount of bewilderment as to what constitutes the best usage of (technology)… Science creates the tools of expression. The artist must learn to use them intelligently… Numerous critics of the methods of making motion pictures…are quite sure (they can) be made more efficiently…but they are superficial." Seitz observed that filmmaking isn't the same as manufacturing sausages or automobiles. He predicted that it was highly unlikely that technology would replace the talent it takes to produce high quality motion pictures with feelings and style. I thought it would be useful to revisit the wisdom of John Seitz as we begin this new year. Most of the issues he raised some 70 years ago are still being debated today. The role of cinematographers and their crews is still largely misunderstood and unappreciated. There is still a blind belief that technology is a low cost alternative for art. In this issue of ICG Magazine, we are celebrating the achievements of Laszlo Kovacs, ASC who will receive the American Society of Cinematographers 2002 Lifetime Achievement Award. Laszlo is a talented filmmaker who has made an indelible impression on our art form. He is also an influential role model for young and future cinematographers. Even when the odds against him seemed overwhelmingly daunting, Laszlo never accepted the possibility of failure. He explains in an exclusive article that cinematography was more than his career. It was his life. We are also publishing a special
report this month summarizing comments by the first 18 members who participated
in the monthly ICG Internet chats. I suspect that if John Seitz was alive
today he would consider these cinematographers kindred spirits. The main
purpose of our chats is to foster a dialogue and exchange of information
among our members. The chats are also a source of hope and inspiration
for younger and future members. We also encourage participation by journalists
and film critics because we believe it is important for them to understand
that cinematography is a uniquely collaborative form of art. As always, I look forward
to your comments and suggestions. Please
e-mail
them to me. George Spiro Dibie, ASC * John Seitz, ASC was born in 1893 only four years after Thomas Edison opened the experimental Black Maria Studio in New Jersey. He began his career as a lab technician in 1909, and earned his first cinematography credit in 1916. Seitz compiled more than 100 credits, beginning with silent black and white films, and ending with color, CinemaScope movies. Seitz earned seven Oscar nominations and held 18 patents. |