Cinema Quarterly (1934 - 1935)

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power. True, the present financial reward of subservience is so great that all but the strongest minds are tempted to accept the situation with luxurious complacence. But with the growing recognition of the potentialities of the film new men will enter cinema, not in quest of lucre but to satisfy their artistic urge or their social conscience. A change in the character of studio personnel might readily pave the way for revolutionary changes. To accept the present structure of cinema as inevitable and final is a defeatist attitude. To pretend that it is other than it is, or that it is not inimical to worth-while achievement is either hypocrisy or stupidity. Whether we are interested in the aesthetics of the cinema or in its social implications we must face the situation free of cant or illusions. The constructive criticism of laymen and the forward iEsopean tactics of film-makers must all be directed courageously towards moulding a freer, a more rational system of production which will enable the artist to be honest with himself and sincere in his aims. Norman Wilson. CQ. AND WORLD FILM NEWS IMPORTANT ANNOUNCEMENT A FURTHER advance in the development of "Cinema Quarterly" will take effect in the Autumn, when the paper will appear in an entirely new form. Arrangements are being made for a well organised INTERNATIONAL NEWS SERVICE from the world's principal centres of production. The new publication, which will appear MONTHLY, will be a clearing-house for all the latest information on the films and film people that matter, and will be in general a forum for theory and criticism. Hans Feld, formerly editor of the Berlin " Film Kurier," the most famous film paper in Europe, has joined the editorial board. The management of "Cinema Quarterly" have adopted this progressive policy in deference to the needs expressed by both film workers and film societies throughout the country. WORLD FILM NEWS AND CINEMA QUARTERLY will supply an essential service of international importance. It will be something new in film journalism and will be supported by authoritative contributions from leading film-makers and critics throughout the world. 193