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Models and Model Making (eont'd)

in which case the two adjoining walls can be jointed as in Fig. 4, the overlapping
joint being concealed by the glass-paper. Personal preference is to colour the
walls with a background colour (before assembling) and then pick out individual
stones and bricks with vary.ing tints. By this means a uniform colour expanse is
avoided. Do not apply shadows of any sort on the model; let the lighting,
whether natural or artificial, provide all the shadows that fall on the different
surfaces.
Fig. 5 shows how the roof is constructed. As will be seen,, this consists of a
layer of cardboard forming the roof slope on to which are glued strips of thick
paper, the firsl of these being fixed at the bottom or eaves, the second above
but overlapping the first, and so on up to the ridge. This is somewhat tedious,
but the effect obtained is well worth the t ime spent. The colouring of these
strips should be somewhat irregular and do not forget to colour the edges of
the strips if the paper is white. Corrugated cardboard gives a good repre-
sentation of a roof covered with corrugated iron and asbestos sheeting. The
roof gutter and rainwater pipes can be represented by thin strips of balsa wood
or ordinary knitting needles cut to the necessary lengths.

Editor's Com1nent

Owing to the length of this particular article there is insufficient space to
produce it in its entirety and consequently the second portion will be included
in the next issue of the Pathescope Monthly (Dec./ Jan.).

The

Expressionistic Filmie Pla.ne

By the "CRITIC"
The avant garde type of production, as it is now commonly described, is
simply a film that sets out to create in movement, mime, and music, the same
mood of aesthetism that can be gathered from · the sublime beauty of
Christopher Fry's choice and use of the spoken word.
There is no avoiding this statement, but this type of production does
require serious thought and an agile mind to both devise and understand. Its
beauty lies in the fact that repetition does not diminish its value, but enhances
it.
I have yet to see an amateur production of a film that sets out to create
mood by characterisation, mime, title and a domestic setting. It is not
necessary to have ballet dancers and a choreographer to act as the medium.
A trio of good dramatic actors, simple decor in sympathy to monochromatic
emulsion, the plot (e.g. condemnation of ugliness, eternal seeking of man for
beauty, the inborn dream of an inoffensive clerk who yearns for an unknown
sense of power)-a good director and the result might be very interesting.
Page Twelve