Business screen magazine (1946)

We Visited (he Film Festivals PKKSO.WI NOIKS AND COMMENTS ON TIIHKK KIKOPKAN EVKNTS AS KKI'OIMKI) in SM.\|\ CI MM|\S HKTTS \M) WIIIIWI HKTTS RI.Dl CKI) lo its lowest coMinion deiioniinaalor. a film festival is the gathering together ill one place of su|i|>os<-(iiv the best of the uorltl's prodiKliiin. It would seem therefore that dim festixals uould he alike whether they were held in Metuehen or Mecklenburg. This, however, isn't true, even when the program material is duplicated. The atmosphere of the sponsoring eilv creeps in. The goal of its organizers has its effect . . . and the altitude of its audience. It is quite a shock to discover that a film you might have admired in Venice seems rather trite in Kdinburgh. hut that's the wav it is. It is diilicult to put \our finger on the reason ft>r this until you look beyond the festival itself . . . until you examine its setting, its history, and its intent. Then you find that the Venice Biennale. for instance, is a glamorous proposi tion designed to publicize films ami llicir producers. It is an imporlant promotional affair. It is looking for the opporlunit) to bestow prizes . . . cash . . . honorable mention . . . special award. Kyes are shut to the fundamental fact that no two films can be compared unless they happen to he on the same subject, and that isn't practical from the statidpoinl of festival programming. Heme the special awards for anv crcdilalile films. ;itid hence the atmosphere of the contest, and the publicity agent's arena. Kdirdmrgh. on the other hand, is a festival for film-makers and others who have an intense interest in learning what the film itself has to say and how it says it. There are no prizes, and there is no j)lush. The showings are well organized, impressively attended, and most important of all, thoroughly discussed in lobbies, neighboring restaurants, and especially -at Film House where the most ardent enthusiasts gather aftii every showing to compare notes. There it iseldom that any film is dismissed simply agood or had. Its construction is examined atlioroughly as its message. What is worlliwhil. in tei'lmiriue is sought and admired. What i inadequate is ruthlessly exposed. The K<linburg! Festival is a film-makers' mecca. Seicntifie Film Congress Is DifTerent The International .Scientific Film Associatii'i Coiigrc-ss. usually referred to as ISFA. bears ii. rfscmblaiice to any existing festival. Here tii' actual film show becomes of secondary im|)oi tance. Kmphasis is on thL' role that the scientili> film should fulfill, and its problems are brougli' into sharp focus by a relatively small group <.• practical film-makers, and film specialists. Laparticipation is not encouraged. Film showinf;are limited to professional grou])s who have ai interest in the subject matter as well as an in terest in intelligent utilization of films for th. transfer of information. The (lavs at the ISFA Congress are long, ar duous. and exbilaraling. From early morning t' midnight you are occupied with committee work attacking the problems that confront us in film making, distribution, international exchange fair and intelligent appraisal, standard catalog i ing methods, exchange of production information, and research in film techniques as well as in film content. ISFA is for those with the broadest possible interest in the scientific film, what it can do to ( C O N T I .\ t E D ON P .\ G E T W E N T Y S I X ) MEMO FROM THE ADVERTISING DEPT. BUSINESS SCREEN MAGAZINE To: Leslie Roush Dear Les: Why not let us print the letter? — R.s. :: i LESLIE ROUSH PRODUCTIONS, INC 333 W. 52ND ST. • NEW YORK 19 24 BUSINESS SCREEN MAGAZINE i