The cinema and the public: a critical analysis of the origin, constitution, and control of the British Film Institute (1934)

Record Details:

Title:
The cinema and the public: a critical analysis of the origin, constitution, and control of the British Film Institute
Date:
1934
Publisher:
London : Ivor Nicholson and Watson Limited
Volume:
The cinema and the public : a critical analysis of the origin, constitution, and control of the "British Film Institute"
Leaf #:
00011
Language:
English
Collection:
Global Cinema, Books, United Kingdom, and Government & Law
Format:
Books
Contributor:
The Museum of Modern Art Library, New York
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Date Added:
March 21, 2024
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

artistic, moral, intellectual and purely entertainment — of this vast output was, in fact, the predominant consideration which moved Parliament, by a small majority and almost in despair, to establish the Cinematograph Fund. 3. " The British Film Institute," being thus (a) largely under the control of the cinema trade and (b) powerless to exert any effective influence over the vast mass of entertainment films, can scarcely have any reasonable claim on a Fund set up with public money and intended by Parliament first and foremost for raising the standard of the average programme in the average cinema. It is, I need hardly add, perfectly legitimate for the cinema industry to safeguard its own interests. The interests of the public must, however, be paramount. That so fine an opportunity of building up a really independent and representative organisation, which might have proved of real value to it, has thus been completely missed will surely, once the facts are fully realised, be widely deplored. Page 7