Moving Picture Age (1920) . th a solid-ity and with a reality never before known in the art of projec-tion. Trans-Lux daylight screen is known as the screen of a thou-sand angles because it can be viewed from any extreme side anglewith perfect results. The front projection screen is made from thesame material, which by special process is rendered opaque; thepicture is projected from the front in the usual manner. Therear projection screen is especially designed for use in daylight,although it can be used under any conditions of either daylight,artificial light or darkness. This screen is espec
Moving Picture Age (1920) . th a solid-ity and with a reality never before known in the art of projec-tion. Trans-Lux daylight screen is known as the screen of a thou-sand angles because it can be viewed from any extreme side anglewith perfect results. The front projection screen is made from thesame material, which by special process is rendered opaque; thepicture is projected from the front in the usual manner. Therear projection screen is especially designed for use in daylight,although it can be used under any conditions of either daylight,artificial light or darkness. This screen is especially adapted foruse in schools, churches, clubs and industrial plants where it isdesired to exhibit either stationary or moving pictures for educa-tional, business or other purposes during the hours of Trans-Lux screen is pliable and can be rolled up for travel-ing or shipping, and very easily tacked or laced to a wooden frameready for use on short notice or set for permanent use accordingto the Wants Original Stories for Screen In line with the Universal policy of encouraging the develop-ment of screen writers, in the belief that screen literature is of itselfapart and should be divorced from the stage, John C. Brownell,scenario editor for Universal, has issued a statement deploring thepractice of filming stage failures and calling for original storiesfor screen productions. As long as film producers continue to pay big prices for aplay that has been a failure on the stage and hesitate about ac-cepting an original scenario written especially for the screen, hesaid, just so long do they continue to admit that the screen isinferior to the stage in artistry and in public estimation. All stageplays, in order to make acceptable material for the screen, must berewritten. Dialogue must be changed into action, continuity mustbe supplied, the many things that are supposed to occur betweenacts must be actually shown to happen in the film version of thestory
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Keywords: ., bookcentury1900, bookdecade1920, booksubjectmotionp, bookyear1920
