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and deals with established things. Therefore it will not experiment. It will take a chance on investment. It has to. It does that every time a film is made, every time a new star rises, every time an old star is told "where to get off at". But it manifestly wont, and shouldn't, plunge desperately into uncharted seas. Some of us have money invested in it, and we would be highly incensed if it did. Thus it is useless to look to sheer "business" to supply artistic and experimental progress. The creative function of business is businessnot creation. Business makes its money from the successful exploitation of some commodity. Someone else has originally had to think out the commodity. That is what our job boils down to. We have to think out the commodity. If it is good enough we can be sure some business will develop out of it. In other words, if we create a lively interest in artistic, educational endeavour and development, if we stir things and people up, set up a high-tension current, "Business will develop out of it" !
If the advanced cinema groups in Europe and America were showing and advocating triste and barren examples of freakishness, there would be every reason to deplore their existence. But are they ? By no means. Turn to the list of recommended films at the back of this issue, and see whether every one is not a logical, straightforward and easily understandable story or document. Think of the kind of films that are shown at the little movie theatres : Joyless Street, Bett und Sofa, La Tragedie de la Rue, Caligari, Berlin, Prince Achmed, Rien que les Heures, The Treasure. Such
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