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may be said that SEED is a magazine fit for its contributors to read. The next issue, which will be out in April, with work bv Bryher, Emily HolmesColman and Kay Boyle, can be obtained for two' shillings from any bookseller by mentioning Joiner and Steele, 18, Took's Court, Chancery Lane, London ; Zwemmer and Charles Lahr, of Red Lion Street, are special agents. It is edited by Herbert Jones and Oswell Blakeston, with special attention to typography, and published by E. Lahr, 68, Red Lion Street, W.C.I ; but the editorial address is 9, Thornton Hill, London, S.W.19.
Le Cinema Contre Lui-meme. Ch. Dekeukeleire. (Ed. de la Nouvelle Equipe) 29, Rue Nestor de Tiere, Bruxelles.
The author resumes in this book several arguments from his Reforme du Cinema which has already been reviewed in Close Up. He adds to them several constat alio ns from facts that he has been able to observe.
To the number of factors concerning the purely commercial exploitation of the Belgian cinema, Ch. Dekeukeleire adds the immense publicity given to the star, a veritable organisation to glorify such or such an actor, an to impress them upon the attention of the public until at last it is persuaded that the slightest gesture of its idol is important. Most magazines give in and fill up their columns with photographs or correspondence of which the subject, colour of hair, beautv cream preferred, etc., reveals how efficacious is this system of publicitv.
And to all reproaches the film purveyors answer, " but it is what the public demands." It would not be difficult to prove the contrary and the truth is probably that the public, contented or discontented, simplv does not react with enough energy either wav to give anv indication of value.
When sound films began, big firms withdrew all their silent films from circulation. It is the customarv procedure for anv industrial firm anxious to float a new production, and the film, in this instance, was merely treated as a commercial article. We may add from our own experience, that this withdrawal of silent films had the character of an imperious command before which all renters who had remained faithful to silents were forced to purchase new projection equipment.
" To deceive the intellectuals and the recalcitrant in the audience, some independent directors are lured to the studios, where thev are accorded a few liberties that hide an actual slavery," Rene Clair said recently. Eisenstein and Dreyer could not resign themselves to abdicate their power, and how we sympathise with them.
The avant garde cinema, so much on the decline last year, appears to be recovering and if well directed and well supported by lovers of film, it may save cinematography. But there must be a direct link between the people and the technicians, and not any longer just a vague collaboration, or