| CHAP. | PAGE | |
|---|---|---|
| I. | ATTRACTIONS AND OPPORTUNITIES OF THE ART | 1 |
| II. | THE PRINCIPLES OF CINEMATOGRAPHY | 13 |
| III. | THE MOVING-PICTURE CAMERA AND ITS MECHANISM | 21 |
| IV. | CAMERA AND HOW TO USE IT | 35 |
| V. | HAND CAMERA CINEMATOGRAPHY | 51 |
| VI. | DEVELOPING THE FILM | 62 |
| VII. | PRINTING THE POSITIVE | 79 |
| VIII. | ABERRATIONS OF ANIMATED PHOTOGRAPHY | 94 |
| IX. | SLOWING-DOWN RAPID MOVEMENTS | 108 |
| X. | SPEEDING-UP SLOW MOVEMENTS | 124 |
| XI. | CONTINUOUS CINEMATOGRAPHIC RECORDS | 135 |
| XII. | RADIO-CINEMATOGRAPHY: HOW THE X-RAYS ARE USED IN CONJUNCTION WITH THE MOVING-PICTURE CAMERA | 147 |
| XIII. | COMBINING THE MICROSCOPE AND THE ULTRA-MICROSCOPE WITH THE MOVING-PICTURE CAMERA | 161 |
| XIV. | MICRO-MOTION STUDY: HOW INCREASED WORKSHOP EFFICIENCY IS OBTAINABLE WITH MOVING-PICTURES | 174 |
| XV. | THE MOTION PICTURE AS AN AID TO SCIENTIFIC INVESTIGATION | 185 |
| XVI. | THE MILITARY VALUE OF THE CINEMATOGRAPH | 197 |
| XVII. | THE PREPARATION OF EDUCATIONAL FILMS | 209 |
| XVIII. | PHOTO-PLAYS AND HOW TO WRITE THEM | 224 |
| XIX. | RECENT DEVELOPMENTS IN STAGE PRODUCTIONS | 238 |
| XX. | WHY NOT NATIONAL CINEMATOGRAPH LABORATORIES? | 248 |
| INDEX | 259 |