The places where the pictures are prepared must be adapted for the purpose. They are called studios and have glass roofs and in most of them a good section of the walls are also glass. The floor space is divided into sections for the setting or staging of different productions, therefore several representations can take place at the same time before the eyes of the cameras. There are "properties" of all kinds from the ragged garments of the beggar to kingly ermine and queenly silks. Paste diamonds sparkle in necklaces, crowns and tiaras, seeming to rival the scintillations of the Kohinoor.
At the first, objections were made to moving pictures on the ground that in many cases they had a tendency to cater to the lower instincts, that subjects were illustrated which were repugnant to the finer feelings and appealed to the gross and the sensual. Burglaries, murders and wild western scenes in which the villain-heroes triumphed were often shown and no doubt these had somewhat of a pernicious influence on susceptible youth. But all such pictures have for the most part been eliminated and there is a strict taboo on anything with a degrading influence or partaking of the brutal. Prize fights are often barred. In many large cities there is a board of censorship to which the different manufacturing firms must submit duplicates. This board has to pass on all the films before they are released and if the pictures are in any way contrary to morals or decency or are in any respect unfit to be displayed before the public, they cannot be put in circulation. Thus are the people protected and especially the youth who should be permitted to see nothing that is not elevating or not of a nature to inspire them with high and noble thoughts and with ambitions to make the world better and brighter.
Let us hope that the future mission of the moving picture will be along educational and moral lines tending to uplift and ennoble our boys and girls so that they may develop into a manhood and womanhood worthy the history and best traditions of our country.
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The Wizard of Menlo Park has just succeeded after two years of hard application to the experiment in giving us the talking picture, a real genuine talking picture, wholly independent of the old device of having the actors talk behind the screen when the films were projected. By a combination of the phonograph and the moving picture machine working in perfect synchronism the result is obtained. Wires are attached to the mechanism of both the machines, the one behind the screen and the one in front, in such a way that the two are operated simultaneously so that when a film is projected a corresponding record on the phonograph acts in perfect unison supplying the voice suitable to the moving action. Men and women pass along the canvas, act, talk, laugh, cry and "have their being" just as in real life. Of course, they are immaterial, merely the reflection of films, but the one hundred thousandth of an inch thick, yet they give forth oral sounds as creatures of flesh and blood. In fact every sound is produced harmoniously with the action on the screen. An iron ball is dropped and you hear its thud upon the floor, a plate is cracked and you can hear the cracking just the same as if the material plate were broken in your presence. An immaterial piano appears upon the screen and a fleshless performer discourses airs as real as those heard on Broadway. Melba and Tettrazini and Caruso and Bonci appear before you and warble their nightingale notes, as if behind the footlights with a galaxy of beauty, wealth and fashion before them for an audience. True it is not even their astral bodies you are looking at, only their pictured representations, but the magic of their voices is there all the same and there is such an atmosphere of realism about the representations that you can scarcely believe the actors are not present in propriae personae.
Mr. Edison had much study and labor of experiment in bringing his device to a successful issue. The greatest obstacle he had to overcome was in getting a phonograph that could "hear" far enough. At the beginning of the experiments the actor had to talk directly into the horn, which made the right kind of pictures impossible to get. Bit by bit, however, a machine was perfected which could "hear" so well that the actor could move at his pleasure within a radius of twenty feet. That is the machine that is being used now. This new combination of the moving picture machine and the phonograph Edison has named the kinetophone. By it he has made possible the bringing of grand opera into the hamlets of the West, and through it also our leading statesmen may address audiences on the mining camps and the wilds of the prairies where their feet have never trodden.
CHAPTER V
SKY-SCRAPERS AND HOW THEY ARE BUILT
Evolution of the Sky-scraper—Construction—New York's Giant
Buildings—Dimensions.
The sky-scraper is an architectural triumph, but at the same time it is very much of a commercial enterprise, and it is indigenous, native-born to American soil. It had its inception here, particularly in New York and Chicago. The tallest buildings in the world are in New York. The most notable of these, the Metropolitan Life Insurance Building with fifty stories towering up to a height of seven hundred feet and three inches, has been the crowning achievement of architectural art, the highest building yet erected by man.