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REPERTORY FILM MOVEMENT 71
with vague lightness the pictures of the week. Neither does the industry itself in this country display any inclination to extend facilities to this outstanding need, for big profit-reaping concerns and theatrechains booking films on block have little concern for the welfare of the cinema. Furthermore, there is not any British paper or magazine that deals in a comprehensive and at the same time intelligent manner with the gradual development of cinematography. It is, then, the duty of this organization which I visualize to fulfil this want and to make a start with this vast business of selecting and appraising the major works of the film.
The task will be difficult even now, for films made but a few years ago are frequently untraceable to-day, and not until accurate information is sought will it be appreciated how hard is the work to be done. When it is realized that only two positive copies exist of such a celebrated film as Robison s Warning Shadows, and that those are both privately owned; that there is only one copy each of Destiny and The Golem , both held by Ufa; and that copies of such instructive films as The Love of Jeanne Ney, Moana, Therese Raquin, and Forbidden Paradise are unobtainable in England until someone shall step forward to pay the cost of a fresh copy, the importance of the work is merely suggested. This is the position which has to be met if any move is to be made — and in the interests of the film both as an art and as an industry it must be made — to put the cinema on the basis that it deserves as the predominant medium for expression of culture, philosophy and propaganda of the century.