Documentary News Letter (1942-1943)

IHH I All \ I AKY NEWS LETTER JULY 1942 R1WS LETTER MONTHLY SIXPENCE VOL. 3 NUMBER 7 JULY 1942 DOCUMENTARY NEWS LETTER stands for the use of film as a medium of propaganda and instruction in the interests of the people of Great Britain and the Empire and in the interests of common people all over the world. DOCUMENTARY NEWS LETTER is produced under the auspices of Film Centre, London, in association with American Film Center, New York. EDITORIAL BOARD Edgar Anstey Alexander Shaw Donald Taylor John Taylor Basil Wright Outside contributions will be welcomed but no fees will be paid. We are prepared to deliver from 3 — 50 copies in bulk to Schools, Film Societies and other organisations. Owned and published by FILM CENTRE LTD. 34 SOHO SQUARE LONDON W.l GERRARD 4253 FILM SCHOOL An Account of an American Experiment By IRVING JACOBY the situation was obvious by the end of We had long hoped to have Grierson, or at 1939. If documentary was to grow in the least part of Grierson, in the States, but with United States it would need new blood — not the increasing importance of the Film Board transfusions, i.e. not imported experts and not to Canada's war effort such hope gradually expensive names from Hollywood, journal faded. Here we had to be content with his ism and Broadway — but a whole new gener advice, criticism and too infrequent blitz ation of ambitious, believing youngsters, visits. But his name cannot be kept off the The first generation (contemporary with Institute of Film Techniques' credit cards. England's second) was almost through. The He scorned us into action, filed down our documentary idea was spreading in a big, vanities, unmuddled our political thinking, stretched-out country. Some of those who and most important, through his work in were familiar with the idea were needed to Canada, gave us vistas of a hopeful future, spread it ; they had to leave the camera and It was under such circumstances that we cutting table to organise, sell and promote, accepted the invitation of the City College They no longer had time or temperament for of New York to introduce a series of copainstaking production. Others were en ordinated extension courses that would be vious. Why shouldn't they too (good specifically planned to fill the personnel cameramen, cutters, writers) be graduated needs of our own field. We were to provide into direction, production, promotion? In a curriculum. We were to give the instruc1940 half the members of the Association tion. To all of us it was a question of working of Documentary Film Producers were job in film during the day and of teaching at less because they could not or would not night. For from the beginning it was underwork at their jobs. Paradoxically this un stood that academism and amateurism could employment merely disclosed the need to be avoided only by confining the instructionget more people into the field. We were al staff to active professionals, getting too big for our pants. There was no We divided the work into three series of one around to make pictures. courses: A — Use, B — Production, C — History Two needs were apparent, One, technicians, (as related to Use and Production). Each Youngsters who could learn to handle film and series began with a general orientation course, film ideas with honesty and professional skill, broad, theoretical, cathartic and setting a Two, film users — a new breed of public servant pattern for practical instruction to follow. In who could administrate film business for "A" this orientation course was called the government, education and industry — who had film at work, in "B" introduction to the documentary idea in their heads, who could handle film money ethically and efficiently. They would need no more than a working knowledge of the film making techniques. FILM PRODUCTION, in "C" TRENDS IN FILM progress. The titles are self-explanatory, but the basic courses have a two-fold purpose that should be explained, that derived from the as against a thorough knowledge of audience fact that the Institute was open to all comers, purpose techniques. to professionals, amateurs, and kids with Who would take the trouble to train this nothing more than an impulse. The first new generation? The Association of Docu courses were to act as levellers — were to mentary Film Producers tried an educational enable us to begin at a beginning, taking programme, directed at its associate member nothing for granted, and possibly to help us to ship. The Rockefeller Foundation, chiefly arrive at a similarity of thought and judgment through American Film Center, gave a few hitherto lacking in this country. It was a apprentice fellowships to young hopefuls, matter of giving the students a common' But neither plan worked — for different vocabulary, not of trying to push them into a reasons in each case; yet in both were these preconceived mould. faults: (l)a preoccupation with their own The second course in each series involved production interests, (2) the absence of a grappling with specific film problems. In complete and unifying gospel to hand down, "A" it was called film and EDUCATION. the impossibility of reaching an agreement Audiences of various levels are assigned to on the word to be preached. groups of students, who aim films at them, In only one film centre in North America, varying approaches, checking effectiveness, was there any sign of an organised, directed working out non-film tie-ups. fitting film movement for training youth. And the into established curricula or programmes. National Film Board in Ottawa obviously learning the mechanics of using film libraries had enough to do. To train the Canadians and projection equipment, and learning to needed for carrying out a national film pro analyse specific audiences in film terms gramme would be a heroic task in itself, rather than the other way around.