GUIDE TO GOOD READING

Felton on Korea: ‘Nightmare
world of U.S. horror comics’

THE ST. LAURENT govern-
ment’s action in barring Dr.
Monica Felton, noted British
writer, from this country because

of her militant stand for peace’

has directed public attention to

her book, That’s Why |! Went, an ©

account of her visit to North Ko-
rea in 1951 — and one the gov-
ernment would like to keep from
Canadian audiences.

When Dr. Felton and other
members of an international wo-
men’s. delegation arrived in
North Korea’ in May 1951 the
country was already in ruins.

Only the Germans, in retreat
through the Ukraine, acocmplish-
ed such savage destruction of
buildings, of crops and of human
beings as the retreating Yanks.
They spared neither grandmoth-
er, nor babe in arms — nor even
babes unborn.

In Whankhai province an old
woman whose pregnant daughter
had been bayoneted to death in
prison, by South Korean soldiers
commanded by American offic-
ers, killed her last pig and
brought it to the women’s dele-
Gation as a gift. |

But she.was only one, typical
of hundreds, whose stories Dr.
Felton and her companions
heard, and sifted and checked,
until sometimes the women
among the ruins broke down and
seceramed at them:

“Why do you question so?

PTC \
\

—
i- }

Don’t you know it’s true that
these things were done to us
by the Americans?”

Dr. Felton visited Sinyju after
the town had been bombed to bits
in daily raids for six months.
She went to Pyongyang, evacu-
ated by U.S. troops in December
1950 — when they blew up every
historic and cultural building —
and. since then bombed more' per-
sistently and ferociously than
any other city.

Then, on to Whankhai prov-
ince, to the mass graves that
cover the hills, the caves convert-
ed into prisons — and one which
became a crematorium for its
prisoners.

* 5g *

READING THIS account of
what has been done in Korea,
factually, almost unemotionally,
as Dr. Felton has described it,
gives one a nightmare feeling
that a world is being recreated in
the image of the U.S. horror
comic.

And then one remembers —
this was in 1951. The war has
gone on for nearly two years
since then, and more bestially

CHOICE OF FOUR SYSTEMS

than ever, for germ warfare has

been added to napalm.

And the Koreans have stood
up to this, endured and survived
it, and clearly they can never be
defeated.

There is only one explanation
of that, given to Alan Winning-
ton, London Daily Worker corre-
spondent, by a Korean soldier:
“We shall win because every Am-
erican wants to get home alive
and every Korean is prepared to
die, if necessary, for his coun-
try. ”

The visit to Korea cost Dr.
Felton her job, but it also made
a new woman of her, and a great
woman.

Many for whom Dr. Felton has
become a leading champion of
peace will smile when they read
how, on the way out to Korea,
she strenuously objected to Mrs.
Nora Rodd, of Canada, telling a
press conference that she was
“ashamed of what her govern-
ment was doing” in Korea.

For Dr. Felton, when she set
out, was not ashamed of her gov-

Pyongyang: Bctore and after.

ernment. She-went in search of
the truth and was by no means
certain what the truth would
turn out to be. The facts con-
vineed her.

That‘s Why | Went is obtain-
able in Vancouver at the Peo-
ple’s Cooperative Bookstore, 337
West Pender Street. The price
is $1.25.

Flatties will soon be on way out;

three - dimensional here to stay

THE MOVIE publicity men
will tell you that three-dimen-
sional — 3D —-is the biggest
thing in movies since sound.

With 3D films they hope to
ward off the challenge coming
from television and boost falling
box-office returns.

There is nothing new about
83D films. But it has taken al-
most an economic slump.to prod
the movie makers into resurrect-
ing a system almost as old as
the movie camera itself.

Since 1900 numerous stereo-
scopic methods have been evolv-
ed and shelved by the film boss-
es, who were making big enough
profits with flat films.

Only the prospect of crisis has

forced them to embark on ambi- |
tious programs for stereoscopic °

In — sof the purveyors of
illusion on a grand scale have
overlooked one fact: that better
films might be a far greater
Stimulus to the box office than
any number of technical tricks.

‘The prospect is that within a
year or two we shall be looking
on “flatties” in much the same
way as we regard silent films to-
day. The “deepies” — with all
their attendant problems — are
definitely and irrevocably here.

* * ~

FOUR SYSTEMS at present
appear to have a clear lead in
what is likely to become a crowd-
ed field.

CINERAMA—expensive to in-

stal, limited in scope, but with
the advantage that the viewer

does not need polarised spec- |

tacles.

‘It is not, strictly speaking, a
stereoscopic system (stereos. be-

It gains effect by size, using a
concave screen six times as large
as the present normal screen.

On the screen is re-created all
that the normal range of, vision
would take of a particular scene.
To achieve this effect three syn-
chronised cameras are used for
shooting.

To screen the film three pro-
jectors are needed. “Stereo-
phonic” sound is produced by
seven amplifiers placed in dif-
ferent parts of the cinema.

On the debit side is the huge
cost of conversion for standard
theatres, distortion if you are sit-
ting too far to one side of the
screen, a gradual diminishing of
the effect the further back you
sit and the scrapping of many of
the film’s usual dramatic aids.

CINEMASCOPE works on
much’ the same principle but
with only one camera and pro-
jector.

Twentieth Century - Fox has
gone over to this method of
production exclusively. The first
effort, The Robe, will be shown
soon.

It is filmed with an ordinary
movie camera fitted with a wide-
angle lens.

This compresses a_ distorted
image of the scene on to the film.
The distortion is corrected when
projected through another spec-
ial lens, Three amplifiers sup-
ply the lifelike sound effects.

NATURAL VISION also claims
to record the scene as the human
eyes see it. Two cameras mount-
ed on the same base are used,
for shooting.

The images projected on to
the screen by twin projectors
overlap slightly and show flat
and blurred unless polarised

ing a Greek word meaning solid). spectacles are worn.

STEREO - TECHNIQUES is a
British company using a system
similar to that mentioned above.
This company was responsible
for the 3D films shown during the
Festival of Britain and has con-
siderably more actual production
experience than the American
firms.

The only system which dis-
penses with polarised glasses or
giant screens is the one in use in
the Soviet Union. Moscow has
had a Stereocinema for several
years, and several feature-length
films have been made.

The latest — an adaptation of
a Gogol story — is considered by
Soviet critics to be the first im-
portant step forward in the ar-
tistic use of the medium.

A special screen is needed to
show the film:and reports in-
dicate that it is costly to build.
There has been no attempt to
build similar theatres, although
miniature screens, suitable for
clubs -and schools, are now being
produced in large numbers.

Most of the technical snags
accompanying 3D will doubtless
be overcome in time.

Audiences may tire quickly of
having to wear polarised spec-
tacles.

So it means a return to the old
days of an interlude while the
reels are changed.

Artistically — in its present
form — it means a return to the
earliest days of the moving pic-
ture, relying heavily on sensa-
tional effects.

But used creatively, 3D can be
a powerful and compelling aid in
the telling of a worthwhile story.

.—LEON GRIFFITHS

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of the week of publication.

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" NOTICES

Following are the corre
swers in the Pacific Trib?
Crossword Puzzle Contest

PUZZLE No. 1

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PACIFIC TRIBUNE — JUNE 12, 1953 —