How Frank Buck Filmed His Tiger-Python Battle (Nov, 1932)

How Frank Buck Filmed His Tiger-Python Battle

Everyone who has seen Frank Buck’s “Bring ‘Em Back Alive,” that amazing movie of jungle life, is asking the question: “How did they ever film that spectacular battle between a Bengal tiger and a 30-foot python? Was it faked? How did the cameramen happen to be on the scene—and how did they escape with their own lives?” Read the answer in this article.

WHO won — the python or the tiger? This is the question which is bothering thousands of folks who have seen Frank Buck’s startling movie of jungle life, “Bring ‘Em Back Alive,” and who have been vividly impressed by the incomparably spectacular scenes shown therein where a Bengal tiger, dreaded king of the jungle, battles the flashing coils of a deadly rock python thirty feet in length.

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Movie Slot Machine Shows Pictures of Latest News Events (Apr, 1939)

Movie Slot Machine Shows Pictures of Latest News Events

MOTION-PICTURE newsreels are on view for a nickel in a modern version of the old penny-arcade, animated-picture machine recently displayed at a Chicago, 111., convention of manufacturers. As shown at the right, the device has a motion-picture projector installed in the base of its cabinet. Film images are thrown on a small mirror that reflects them up to a ground-glass screen near the top of the cabinet, where they are viewed through an eyepiece by a customer. Designed for hotel lobbies, railroad stations, taverns, and other public places, the movie machine is entirely automatic, running through four separate scenes when a nickel is dropped into the slot, and rewinding for the next customer when the film ends.

Mechanical Cues DIRECT Animals in the “BARKIES” (Jun, 1932)

Odd article explaining all of the tricks and techniques used by trainers to get their animals to perform in movies without using vocal commands.

Mechanical Cues DIRECT Animals in the “BARKIES”


When the talkies came in, directors of animal pictures faced a new problem. Before the super-sensitive mike, vocal commands were impossible, so other means of giving “stars” their cues had to be devised. In this unusual article you are taken behind the scenes and shown how directors utilize ingenious mechanical gadgets to make animals perform with keen intelligence before the camera.

Hand-Drawn Soundtrack (Feb, 1936)

Sketches” Sound; Files It For “Talkies”

SYNTHETIC musical notes that can be filed away in a card index have been developed by a group of Soviet musicians and scientists. The hand-sketched notes, resembling combs, are used to produce musical accompaniment for motion picture films.

Radios in Your Hair (Jul, 1948)

Radios in Your Hair

RADIO receivers, tinier than a penny matchbox have been developed by Paramount sound men in Hollywood. These replace the megaphones that directors used in the days of silent pictures to shout instructions to their stars. The resulting confusion on crowded sets was nerve racking to both the director and members of the cast. When sound was added, the megaphone had to go. It was then replaced by intricate signaling systems and many necessary interruptions and expensive retakes. Now this tiny inductive-type receiver, that uses no batteries or tubes, is concealed on the actor’s person. It is claimed that it can pick up signals as far as 300 feet away from the transmitter which is placed near the movie studio stage.


Very interesting article by one of the original Hollywood stunt men. It certainly seems like this was an even more extreme profession in the early days:

“I had to wear the blood-spattered clothes in which Jack Silver—”Old Silvertip”—died the day before I did his stunt. It was a leap from a train crossing a trestle to the water beneath. Hesitating a fraction of a second, Silvertip had struck pilings on the far side of the stream and been killed. We must not hesitate.”



I BELONG to a strange fraternity. After nineteen years, only six of the original 150 remain. We are the motion-picture stunt men.

I have seen most of the others die, one after another, in performing dangerous feats. Yet, during my own career I was never seriously injured in doing 560 parachute leaps, eighty plane changes in the air, 150 dives from heights above ninety feet, 180 automobile wrecks, riding horses over cliffs sixty-five times and staging fights atop ninety-foot ship masts and making the proper fall into the water so many times I have lost count. The pioneer stunt men who remain besides myself are Cliff Lyons, Yakima Canutt, Duke Green, Gordon Carveth and Frank Clark.

First Surround Sound – 1934 (Apr, 1934)

And it only took us another 50 years or so before it became commonplace.


“Three-Dimensional” Sounds Created

LIKE pictures on a screen, the best of public-address amplification and loudspeaker reproduction hitherto available has lacked reality. It is not that the instruments are defective in their reproduction of pitch and volume; but the ear is a fairly selective instrument, and hard to deceive when aided by the eyes. The sounds are right, but the directions from which they come are wrong. However, a recent demonstration, staged by telephone engineers, has the astonishing effect of overpowering the testimony of the eyes. Unseen players, singers and dancers seem to move tunefully or noisily across an empty stage.

Machine Shows Cartoons Without Screen (Sep, 1932)

Machine Shows Cartoons Without Screen
A NEW idea in motion pictures machines has just been developed. by Max Fleischer, the well-known movie cartoonist. The mechanism, shown above, consists of a large cylinder on which are attached cartoons of the various comic characters, and a large rotating shutter with two narrow slits on either side of it.

As the cylinder is rotated, the shutter revolves in unison, so that by standing at a point in front of the machine and looking at the right portion of the shutter, animated cartoons of amazingly smooth action can be viewed.

In contradistinction to the common movie projector, Mr. Fleischer’s machine has no intermittent action, and the big wheel never stops but revolves continuously. A full picture with smooth flickerless action is the result.


Motion pictures of winter scenes may be made realistic by a device that makes the actors’ breath visible, just as it would be at low temperatures. The device resembles false teeth. It enables the actors to keep Dry Ice in their mouths without harmful results. The warm breath causes the Dry Ice to give off vapor not unlike that produced by persons breathing in cold weather. The device does not interfere with speech.