Cinema Progress (Jul 1936 - Jul 1939)

is not merely a shallow entertainment, but a rapidly growing art of the masses, capable of expression of the dynamic spirit of modern man. Thence cinema progr.ss is an important and organic part of the progress of national culture. * * * What is the attitude of the motion picture industry toward the new movement and the new audience ? Can the directors and producers afford to disregard social responsibility, and to ignore the effort of thousands of educators, cultural and civic leaders when they have once become motion picture conscious and started to work on elevation of standards of appreciation of motion pictures among the millions of young people and adults in our schools and communities? The artists and producers of motion pictures by the nature of their position as caterers to public taste, certainly cannot shirk social responsibility and overlook the demand for a new type of picture. The best witness to this is Irving Thalberg, Vice President of Metro-Go'' dwyn-Miyer Corporation who said in a letter to the Cinema Appreciation League: "I think the newlyawakened interest in motion pictures on the part of teachers in this country and abroad is a most hopeful sign for the future of the industry." Tn the past wh~n the taste in motion pictures was completely chaotic, producers met some very disagreeable suprises and d.shlusions. At a time when the industry thought it had found the formula of what the public wanted, suddenly the public turned against this formula, and the industry was forced to produce a better type of picture. The danger for the industry lies in the chaotic state of the public taste rather than in any process of clarifying and crystallizing standards of appreciation of better pictures. When this new audience becomes articulate, and will cooperate with the industry in demanding a higher type of picture, then a steady and lasting "cinema progress" will be secured. This belief has also been expressed very fitly by Mr. Thalberg: "If the growing generation will understand motion pictures, it will become increasingly interested in our better efforts and thereby stimulate interest in them and the natural consequence of this will be to bring out better pictures all the time." The students from high schools have been graduated at the rate of 2,000, 0C0 a year and they have an entir3ly new perception of the finer things. From them and from the college students of today will be found the future creative artists. "These men and women," says Mr. Thalberg, "having grown up with an understanding of the technique of pictures, will not be circumscribed by the limitation of other art forms, such as the stage anci literature." WAYS AND MEANS CINEMA APPRECIATION LEAGUE Under the auspices of the American Institute of Cinematography, Inc. 3551 University Ave. The Cinema Appreciation League will develop its program practically in view of definite purposes: to study the motion picture medium and techniques as an educational tool and for the elevation of standards of community appreciation. In order to carry on a more systematic work toward these objectives, the program is divided into twelve cinema research and workshop divisions: 1. General Division. The study of fundamentals of aesthetics and psychology of cinema. The ways and means of fusion of all arts and sciences which enter in cinema to obtain a motion picture illusion. The vocabulary, grammar and syntax of cinematic language. 2. Story and Continuity Division. Study in motion picture story and picture research techniques. Compara tive study of methods of fiction and cinema. (Teachers will be interested in the work of this division in connection with the teaching of English.) 3. Dramatics Division,. Comparative study of cinema and stage dramaturgy; directing, acting make-up. 4. Social Studies Division. The motion picture as an agent of social control. Influence upon children and adults. Source of information on modern history, geography, international relations, and social problems. 5. Art Division. Art in appreciation of motion p'ctures: painting, sculpture, and architecture as ingredients of motion pictures. Set designing and construction, costumes, property, color, used in motion pictures. Animated cartoon. Relationship of art to drama and music. —5—