“TALKING FILMS”

Hawera Star, Volume XLIX, 15 February 1930, Page 18

“TALKING FILMS”

A FORM of talking moving picture play originated in 'China more than 100 years before the 'Christian era, and has continued in popularity to the present day. This is the ancient Chinese shadow-play, .which anticipated talking pictures by having readers to produce voice effects. 'Collections’ of the figures used in the action of those early moving pictures, obtained by expeditions into China, form an interesting part of the exhibits illustrating various types of Oriental theatricals at Field 'Museum of Natural History. The museum also has examples of the screen and other equipment used for the projection of shadowplays. ■The history and details of the production of shadow-plays have been traced by Dr. Berthold ELaufer, .curator of anthropology at the museum and leader of the museum’s 'Chinese expeditions. '“'The Scenarios used in shadow-plays are derived from the literary drama of the legitimate stage, and they, with marionette shows, .constitute the most popular theatrical pastimes -of the 1 'Chinese,” says Dr. Laufer. “The sha(Jow-.plays are an early form of talking moving picture, with a reader reciting, the words of the plot as the figures perform the action. Their appeal to popular taste lies in the fact that the words are Tccited' in the living vernacular, while the repertoire of the legitimate stage of China adopts the literary language of the classics; which is intelligible to only a limited group. '“The acting figures in the shado.wplays are flat and ingeniously cut out of parchment, usually ox or sheep skin, evenly coloured and varnished on both

China’s Ancient Art

sides. When held against the light they are transparent. A screen of white gauze lighted by means of oil lamps from behind, is stretched between two poles. The figures, held by wires stuck into bamboo or ree'd handles, are skilfully manipulated behind the screen), upon whirh their shadows are cast. Head, arms and legs are cut out separately and hinged to the body, soi that great agility of motion is assured.

“The performance always is accompanied by a small orchestra, while the variahs roles are recited by the operator seated behind the icurtain. The plots are taken tfrom, Buddhist and Taoist lore or incidents in the history of China. The shadow-plays excel in comic or satiric subjects; their wit is aimed at human weaknesses, official corruption and social and political evils.

'“The shadow-play iwas originally of a religious character, and gradually assumed the function of mere entertainment. It is, Without doubt, indigenous to China; whence it spread to the Persians, Arabs, Turks and other peoples, finally reaching Europe. The first mention made of it in historical annals relating to T2I B.C. The historian relates an anecdote of Wu-ti, ail emperor, who lost one of his fa.vourite wives, and! was obsessed by a great desire to see her again. '“A magician appeared at court who was able to throw her shadow on a transparent screen. The story is symbolic o'f the general idea, underlying the early shadow performances' —the shadow figures were regarded' as souls of the departed, summoned iba.ck into the world by professional magicians.”