Celluloid : the film to-day (1931)

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STORY SHORTAGE CRISIS 35 Hell of Pitz Palu and Chang, perhaps the Americans in their search for material will explore the wealthy fields of the natural resource cinema. On the other hand, if it is necessary to continue with the manufacture of the filmed novel, then the solution to the story problem lies in the systematic training of writers for the screen — writers who shall be given the opportunity to understand the full range of their medium. By this, I do not mean the employment of already-established playwrights who are accustomed to the theatre, but the training of new young writers who from the outset will create in terms of cinema and who will have no interest in the novel and the play. In the studios to-day there are as yet too few people engaged in making films who can think and work cinematically — who are, if I may be allowed the expression, film-conscious. The film studio is still very largely the refuse dump for men and women who have failed to make good in other surroundings. The cinema is so young that it has not yet had the time to breed men and women who are devoted to its interests. Practically no film technicians have come to the cinema direct. They have become absorbed into film work through the stage or some other medium, and have not yet shaken its clogging dust from their feet. There is no training school of cinematography in England and there is as yet no place where the history of the cinema can be studied. In the film world there is but a handful of persons who can create in cinema as writers can in literature and artists in painting. c*