Cinema Quarterly (1933 - 1934)

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private and public libraries, so that the student or any owner of a home projector could obtain and see films which are now finally inaccessible after their commercial exploitation. In education, and for propaganda and advertising, for which purposes substandard film is being increasingly used, television might conceivably limit its scope; but for the experimenter its value should remain, and in home projection its position ultimately would be analogous to that of the gramophone in relation to wireless. It seems to have occurred to few people that the film, like the printed book, is a permanent record. Yet that is one of its main characteristics. That being so, it is reasonable that copies of films should be as readily accessible as books are. The Film Institute includes in its aims the preservation of important films, but if it could organise a scheme for the establishment of repertory film libraries, not necessarily under its own control, it would be doing a work of first-class importance. EXPERIMENTAL PRODUCTION To co-ordinate the efforts of those who are seriously engaged in the production of experimental, documentary, and educational films, either on standard or sub-standard apparatus, there has been formed the Independent Film-makers Association, with a board of advisers which includes Anthony Asquith, Andrew Buchanan, John Grierson, Stuart Legg, Paul Rotha, and Basil Wright. If this new and purposive Association can induce the amateur to use his camera to practical ends instead of in idle imitation of Hollywood it should have a considerable influence on the development of the sub-standard market. Its activities will be fully recorded in Cinema Quarterly, which will act as its official organ. THE FILM INSTITUTE The scheme to form a national Film Institute has probably filled more space in the Press than the Loch Ness monster and the return of the c Ashes ' combined, yet there are still countless queries as to the who, the what, and the why of the whole business. Behind the wordy barrage the promoters have gone steadily ahead with their plans, and the British Film Institute, less imposing perhaps than originally conceived, is finally in existence, if not yet operative. From certain quarters there has been all along frank criticism of the scheme, but the critics must now remain silent until it is seen what the new Institute can do, or at least until its plans for imme 3