British Kinematography (1949)

115 and in other countries. Some world patent has to be worked out whereby there is a free world exchange of those films. Miss Frances Cockburn : What about co-operation between this country and others within the Commonwealth ? The Author : This question gives me a chance to elaborate on the Englishspeaking film. The over-riding consideration is co-operation between England and America. It has always, however, been my ambition to make a contribution in building up film production in any of the English speaking countries. I look forward to the day when there is film production in Australia, Africa and Canada. A Visitor : Would Sir Michael give his opinion of Independent Frame film production ? The Author : I cannot do it, because I have never worked on I.F. It is a logical extension of processes known to many of us for a number of years. The whole of my personal approach to film making is in the opposite direction to I.F. We like working on actual locations and I personally would like to make films without working in studios. A Visitor : Wrhat are your feelings with regard to television and the future of film production in Britain ? The Author : Television must come in the public interest. As to its impact on kinemas I am not sure. I am a viewer myself and find the outside broadcasts fascinating. But the general studio production is handicapped by limited technical facilities. Television men are beginning to express themselves in their own medium. In America, some people say it has had an effect on kinema audiences and others say it has not. I really do not know. Television will not be able to provide all the entertainment needed without the aid of the film industry. Mr. Leslie Knopp : For some years the proportion of British first-feature films has been approximately six " A " films to one " U " and, on the other hand, British second-feature films have been in the proportion of about 10 " U " to one " A." Is not this ill proportion somewhat prejudicial to film production, bearing in mind that exhibitors prefer a programme of either all " A " or all " U " films ? The Author : Any form of censorship is unacceptable in general terms. The B.B.F.C, however, operates admirably and the problem is the silly categories, " A " and " U." They do not really serve the purpose which is intended, i.e., keeping children from films which are unsuitable for them. That is largely the responsibility of the parent. I believe discussions are taking place as to the possibility of changing their categories. BOOK REVIEWS Books reviewed may be seen in the Society's Library HOW TO DIRECT AS AN AMATEUR, by Tony Rose, Focal Press, 6s. net. Introduction by Roy Boulting. Illustrations by John Halas. Remembering that this book is primarily intended for the information of the amateur, the contents reveal the absolute suitability of choice of an author. Tony Rose is himself an amateur director, who is still sufficiently in the experimental and learner stage to understand absolutely the problems of his contemporaries in the field. With that knowledge he combines a balanced artistic sense and a power of expression that are invaluable. Somebody once said that Shakespeare was full of quotations ; in the same sense, I can anticipate Rose being quoted freely whenever and wherever amateur film makers meet in conference. Admitting — and the author admits it too — that the examples given from amateur productions are a little " corny," there is very real appreciation of the problems involved in bringing a picture to the screen. A reasonable proportion of the book deals with the pure mechanics of the process, but the most important and illuminative is devoted to the equally important imponderables— those questions of characterisation, situation and interpretation that really constitute film making. Yet at no time is it over the head of the relative tyro. Every amateur director can learn something from this book and — dare I whisper it — so might some of the makers of our less successful second features. G. H. Sewell. IK WERK BIJ BE FILM, Edited by Oswell Blakeston. N. V. Focus te Bloemendaal, 172 pp. This forbidding title is the Dutch translation of the popular Focal Press book, Working for the Films, published here in 1947 and reviewed in the November, 1947, issue of this journal. Nineteen specialists in film production tell the reader about their particular work, and their success in doing so is indicated by the world-wide demand for the book and the popularity of this new edition. A. W.