Ronald Canti

Canti concluded that "It would appear that the hypothesis of the selective action [of irradiation] on the cells of a malignant tumour, has been again substantiated by this method of direct observation.

''[6] Canti's work augmented other scientists' investigations of mammalian cell culture; Alexis Carrel was an early pioneer in the field and used his cinematograph to study the locomotion of fibroblasts and macrophages[7] the technique detailed in Carrel’s technical assistant, Heinz Rosenberger's methods article in Science on the use of the microcinematographic apparatus,[8] urged investigators ‘‘who have not yet realized the great possibilities of the motion-picture camera in research laboratories’’ to take it up.

This motor was fitted with a worm gear and slowly revolved a drum carrying two cam wheels and four projecting arms for making mercury dip contacts.

Dame Honor Fell, director of the Strangeways Laboratory recalled in the 1950s that she would “never forget the sensation that his film of migration and mitosis created when he showed it” at the 1927 Tenth International Zoological Congress in Budapest, where it was shown on several occasions.

As Science journal reported on the 12th annual meeting of American Association For The Advancement Of Science Pacific Division with the Southwestern Division and a number of participating societies, held at Pomona College, 13–16 June 1928 with five hundred attendees;On Wednesday afternoon the remarkable motion picture showing activities of living tissues in vitro, prepared by Dr. Ronald G. Canti, of the Cancer Institute and St. Bartholomew's Hospital, London, was shown.

The behavior of blepharoplasts and other types of cells, the growth of tissues, cell-division and immobilization upon exposure to radium were all very clearly evident The film was demonstrated by Dr. C. A. Kofoid, president of the Pacific division, who had seen it in Europe and obtained it for the meeting.

[17]Landecker considers that despite relative current obscurity, Canti "did more to legitimise the use of movie making as an experimental tool than any of the more widely known names in early ciné-microscopy.

"[18] Canti died on 7 January 1936, aged 52, at his home The Gables in Wedderburn Road, Hampstead, survived by his four children and wife Clare Eyles whom he married in 1912,[1] and who nursed him during his extended and fatal illness.