American Cinematographer - November 1998 - 112

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The New Historical

attributed to Smithee. Fie concludes:

Dictionary of the

"The 1997

American Film

Film became

by Anthony Slide

when its director, Arthur Hiller, asked for
his name to be removed."

Scarecrow Press,
266 pps.,

used.

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an

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hardback, $55
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The Burning Must Stop.
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Rain forests occupy just 2% of the
earth's surface. Yet, these rain for¬
ests are home to half
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rain forest

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burned every

You

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stop this sense¬
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Right now you
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An abundance of tomes about

"Who's Who" in the movie

industry has
been published over the years, but this
reference guide is more of a "What's
What." The difference is all good,
because the guide offers a handy refer¬
ence to many subjects that would ordi¬
narily require a great deal of research.
For instance, this is the place to look if
one wanted to know something about
the Aywon Film Corporation or Prizma
Color. There's also bibliography where
further information on each topic can be
found.

Arranged alphabetically are more
subjects, including production
and distribution companies (many are
long-vanished entities such as Grand
National, Mascot, Draco, etc.), industry
guilds and organizations, important loca¬

than 800

tion sites, film labs, color processes,
wide-screen processes, industry terms,
technical

innovations, genres, tech¬

niques and

some

surprising odds and

ends.

by Brian Anthony
and Andy Edmonds
Scarecrow Press,
283 pps.,

Cloth. $49.95

During the silent-film

era,

a

considerable number of comedians

plied
their trade in the movies, mostly in short
subjects. The public loved these shows,
but the critics and intellectuals turned

a

cold shoulder to most, dismissing them
with denigrating terms - "slapstick"
and "low-brow"

being chief among
only silent comedian who
really rang the highbrows' bell was
Charles Chaplin, sometimes referred to
as "the only real genius on the screen."
Genius yes, but far from alone. Eventu¬
ally, pundits admitted that Buster Keaton
and Harold Lloyd were also doing some
nice work, earning them positions in the
pantheon at the master's feet. Most
others (including the popular favorites,
Laurel and Hardy), were virtually ignored

them. The

National Arbor

This is an updated and greatly
expanded version of Slide's landmark

Day Foundation,

1986 reference work The American Film

for decades, until it became too late for
them to enjoy the fruits of their gifts -

Industry: A Historical Dictionary. The

whereupon, suddenly, their genius

latest version, with more than 200 new
entries and much revision, is an even

cated" verbal

can

the world's
est

larg¬
tree-planting

environmental

organization, and
support Rain Forest Rescue to stop
further burning.
Y)u'd better call now.

better

job - cold facts are written with
understanding. There are even occa¬
sional flashes of humor, as when Slide

explains that "Alan Smithee" is

a

substi¬

tute name used when a director doesn't
The National

/ Arbor Day Foundation
110

Raindrops Fall: The Story
of Charlie Chase

Call Rain Forest Rescue.

1-800-255-5500

want a

credit, and then lists several films

became apparent.

As

more

"sophisti¬

comedy became the rage,
not many cinema clowns survived the
"talkies," except as supporting players.
Charley Chase (1892-1940) is one
of the great old-time comics who was
touched by the cruel hand of genius but
whose acceptance among

the arbiters of
American Cinematographer - November 1998

Table of Contents for the Digital Edition of American Cinematographer - November 1998
