Vom Baum zur Zeitung
AVCreation
EDU_AVC_0489
"49. 'Vom Baum zur Zeitung.' 1000 Meter in drei Teilen. 1. Holzgewinnung (Arbeit der Holzknechte: Fällen, „Liefern“, Holzbahn, Flössen); 2. Papierfabrikation (Zerschneiden mittels Kreissägen, Zerhacken, Entstauben, Laugebereitung, Kochen, Gewinnung der Zellulose; „Holzstoff“gewinnung in der Holzschleiferei; Verarbeitung von Altpapier in den Kollergängen, Mischen und Mahlen im „Holländer“, Blattbildung, Trocknen, Aufwickeln, Abtransport der fertigen Papierrollen; 3. Zeitungsbetrieb: Moderne Setzmaschine (Vierdecker-Linotype), Matrizen, Gießen, Prägepresse Papiermatrize, Fertige Druckplatte, Rotationsmaschinen. Sehr geeignet für B, M, VH, J, F und VB."
• industrial film apparently sponsored by the daily Neues Wiener Tagblatt (1867-1939). Film follows the chain of processes suggested in the title, with an emphasis on the ‘hard’ stuff—trees, means of transport, machines—, involving operations that can be more easily made visible in a meaningful way than, say, writing or correcting.
Act 1
• no intertitles at all in this act. Even though the scenes are esasy to identify, the option of title panels is not exploited to provide additional information. I wonder whether this was the same in German-language prints
• opens on mountainous woodlands and its inhabitants who are rather ill at ease while posing before the camera. The settlement provides the woodcutters, old and young, for our daily newspaper.
• all manual work: cutting, sawing, debarking, and sending the felled trunks downhill
• changes suddenly to a winter scene when the trunks are picked up for further dispatch by sledge
• back in summer again at an open-air storage, from where the trunks are sent on by locomotive, followed by a phantom ride down the mountain to another open-air storage. There the trunks are unloaded and transported downriver as rafts—partly filmed as phantom ride
Act 2
• opens on the storage of the paper plant, where manual work is replaced by huge machines that seemingly reduce the trunks to matchsticks. Overview of the plant.
• It is here that we encounter the the first intertitle, “From tree to chip” (numbered 4, which is correct counting the opening and ending titles of the acts until this point). It is followed by operations that show the wood become increasingly finer. (One of the advantages of a paper plant—or the processing of sugar cane, rubber or steel at the time—is that much of the process can be recorded by a camera). The chips are subsequently cooked to obtain cellulose, the main ingredient of paper.
• contains a rather unique scene of something going wrong in the mechanical production of paper, as a huge paper reel breaks and has to be pasted while the machines continue to run—and run fast.
• Ends on paper reels being taken by train from the plant to their next destination. Then the night shift begins.
Act 3
• Various scenes inside the company: offices, composing shop, typesetting machines (or linotypes); proofing the printing plate, corrections, stereotype
• this part is filmed in many staged details.
Act 4
• opens on a curiously animated scene of a car driving past the Tagblatt building, its headlights shine as a result of emulsion removal; a similar scene later in this reel, however, is in live action
• more work scenes: editorial office, telephone exchange, the printing (rotary) press, which cuts, prints, folds, and counts (followed by a drawing of the thing), ink reservoir until delivery (see above for the two endings)
(Nico de Klerk)
WEITERE LITERATUR:
Das Bild im Dienste der Schule und Volksbildung, H. 10/1925, 159.
Das Bild im Dienste der Schule und Volksbildung, H. 1/1928, 7.
Das Bild im Dienste der Schule und Volksbildung, H. 3/1929, 55.
Das Bild im Dienste der Schule und Volksbildung, H. 6/1929, 126.
Das Bild im Dienste der Schule und Volksbildung, H. 12/1929, 226–228.
Act 1
• no intertitles at all in this act. Even though the scenes are esasy to identify, the option of title panels is not exploited to provide additional information. I wonder whether this was the same in German-language prints
• opens on mountainous woodlands and its inhabitants who are rather ill at ease while posing before the camera. The settlement provides the woodcutters, old and young, for our daily newspaper.
• all manual work: cutting, sawing, debarking, and sending the felled trunks downhill
• changes suddenly to a winter scene when the trunks are picked up for further dispatch by sledge
• back in summer again at an open-air storage, from where the trunks are sent on by locomotive, followed by a phantom ride down the mountain to another open-air storage. There the trunks are unloaded and transported downriver as rafts—partly filmed as phantom ride
Act 2
• opens on the storage of the paper plant, where manual work is replaced by huge machines that seemingly reduce the trunks to matchsticks. Overview of the plant.
• It is here that we encounter the the first intertitle, “From tree to chip” (numbered 4, which is correct counting the opening and ending titles of the acts until this point). It is followed by operations that show the wood become increasingly finer. (One of the advantages of a paper plant—or the processing of sugar cane, rubber or steel at the time—is that much of the process can be recorded by a camera). The chips are subsequently cooked to obtain cellulose, the main ingredient of paper.
• contains a rather unique scene of something going wrong in the mechanical production of paper, as a huge paper reel breaks and has to be pasted while the machines continue to run—and run fast.
• Ends on paper reels being taken by train from the plant to their next destination. Then the night shift begins.
Act 3
• Various scenes inside the company: offices, composing shop, typesetting machines (or linotypes); proofing the printing plate, corrections, stereotype
• this part is filmed in many staged details.
Act 4
• opens on a curiously animated scene of a car driving past the Tagblatt building, its headlights shine as a result of emulsion removal; a similar scene later in this reel, however, is in live action
• more work scenes: editorial office, telephone exchange, the printing (rotary) press, which cuts, prints, folds, and counts (followed by a drawing of the thing), ink reservoir until delivery (see above for the two endings)
(Nico de Klerk)
WEITERE LITERATUR:
Das Bild im Dienste der Schule und Volksbildung, H. 10/1925, 159.
Das Bild im Dienste der Schule und Volksbildung, H. 1/1928, 7.
Das Bild im Dienste der Schule und Volksbildung, H. 3/1929, 55.
Das Bild im Dienste der Schule und Volksbildung, H. 6/1929, 126.
Das Bild im Dienste der Schule und Volksbildung, H. 12/1929, 226–228.
Realfilm
Zwischentitel
Zwischentitel
Typ — (Bürgerschule - Sehr geeignet für B, M, VH, J, F und VB.)
Typ — (Mittelschule - Sehr geeignet für B, M, VH, J, F und VB.)
Typ — (Volkshochschule - Sehr geeignet für B, M, VH, J, F und VB.)
Typ — (Jugendvorstellung - Sehr geeignet für B, M, VH, J, F und VB.)
Typ — (Fortbildungsschule - Sehr geeignet für B, M, VH, J, F und VB.)
Typ — (Volksbildende Veranstaltung (außerhalb Volkshochschule) - Sehr geeignet für B, M, VH, J, F und VB.)
Typ — (Mittelschule - Sehr geeignet für B, M, VH, J, F und VB.)
Typ — (Volkshochschule - Sehr geeignet für B, M, VH, J, F und VB.)
Typ — (Jugendvorstellung - Sehr geeignet für B, M, VH, J, F und VB.)
Typ — (Fortbildungsschule - Sehr geeignet für B, M, VH, J, F und VB.)
Typ — (Volksbildende Veranstaltung (außerhalb Volkshochschule) - Sehr geeignet für B, M, VH, J, F und VB.)
Filmbegutachtungen der Zeitschrift "Das Bild" (1924-1930) (ist Teil von)
II. Teil. Papierfabrikation. Aufgenommen in den Betrieben der "Steyrermühl". (ist Variante von)