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THE SPECTATOR
A year ago Cinema Quarterly set out to articulate the desires of the new cinema audience, represented at the one end of the scale by those who appreciate such films as Don Quixote, Maedchen in Uniform, and Kameradschqft, and at the other by those who now go to the cinema to be impressed rather than entertained by films like Cavalcade and I am a Fugitive from a Chain Gang, To a growing extent it has come to be a forum for the actual makers of films to discuss their problems and search out towards a true understanding of the fundamentals of cinema. In the present number Michael Balcon, who, as production chief of the Gaumont-British studios at Shepherds Bush, has done much to increase the prestige of British films, and John Grierson, whose contribution to documentary is well-known, discuss the function of the producer. In forthcoming numbers the entire structure of the film will be considered from every aspect, by the craftsman as well as by the theorist.
This does not mark a departure from our original policy. In using these pages for an analysis of their medium not only the filmmakers will benefit. The spectator will gain an insight into the intricacies of production — the practical consideration of technicalities as well as the abstractions of technique — which will help him towards a fuller appreciation of the new art of the film, which demands both of creator and spectator a greater sensibility and a wider understanding than do any of the older arts. The spectator's point of view will continue to be expressed editorially, and in contributions from representative members of the new cinema public and from men and women distinguished in other spheres.
THE SUB-STANDARD FILM
The importance of the development of sub-standard film in its various dimensions lies in two directions. On the one hand, though apparatus is admittedly still too dear for the man in the street, it allows the independent producer and groups to experiment along lines uninviting to the commercial film-maker. And on the other it solves, or can solve, the problem of repertory. If all the worthwhile films, after being fully exploited in the theatres, could be reduced to sub-standard dimensions it would be possible to form
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