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DEVELOPMENT OF THE DIALOGUE FILM 15
certain public for a certain type of film. In turn, the producing-companies will gauge their productionschedules according to the various circuits of specialist cinemas, making sentimental slop-films at high cost for those who like them and, if we are fortunate, better and more intelligent films at a lower expenditure for the smaller specialized houses. The success of the news-reel cinemas both abroad and in London demonstrates this demand for specialized programmes; whilst the arguments in the trade for and against programmes containing only one feature film may be taken as a move in the same direction. Still further indication is found in the private film society movement which is spreading so rapidly as a protest against films presented in the ordinary way.
DEVELOPMENT OF THE DIALOGUE FILM
Cinematography to-day seems to be distinguished by parallel courses of development. On the one hand, there is the cinema proper, compounded from the elements of the medium, discovered and built by the Russians up till the beginning of the dialogue era; whilst on the other, there is the vast output of ordinary narrative talking films of sensational interest that occupies the capitalist studio organizations of Western Europe and America.
It will be remembered that mechanically-reproduced dialogue was brought into the sphere of commercial film activity chiefly to promote the trade of a wellknown American producing-company — a company