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60 CELLULOID
of the Westerns, as well as benefitting from his experience of audience-psychology investigation in America some years ago. To-day he is succeeding in building one of the most interesting aspects of modern cinema, the propaganda film for the produce and welfare of Great Britain, its Dominions and Colonies. In fact, it may be said that this film unit of cameramen and directors which Grierson has gathered round him is the only side of the British cinema that is destined to be of importance, the only branch of production in this country which has vitality and impetus in its work.
Both Grierson's own films, Drifters and Conquest, are too well-known to call for any further comment, and his first natural sound film of the Port of London is awaited with impatience. Of other directors in the unit, Basil Wright has given evidence of his ability in cutting, and has recendy embarked on a sound film dramatizing the milk industry that bids fair to set the pace for future propaganda pictures.
An outstanding feature of the output of this unit is the variety of short poster films produced to advertise the natural wealth of the Empire. These are directed and edited with an almost complete freedom in technique so long as their advertising message is clearly and powerfully expressed. Whether dealing with how many National Mark Eggs were sold in 1930 or with the various grades in which Scottish National Mark Tomatoes are sold to the public, this is film direction with a set purpose in mind — that of telling a very large public something of far-reaching importance to the future of the British Empire. Some of the material for these pictures is specially photographed, others are