Documentary News Letter (1947-1949)

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142 DOCUMENTARY NEWS LETTER GOVERNMENT FILM-MAKING IN AUSTRALIA By Edward Cranstone in July, 1945, the Australian Commonwealth Government took the step forward in their filmproducing policy of forming a National Film Board, and appointing to it as Films Commissioner, Ralph Foster, of the National Film Board, Canada. In deciding to mould their film-making activities on the pattern of their sister Dominion they could not have done better, for Foster brought to Australia some of the vitality and organization of what is perhaps today the ideal set-up for the production and distribution of Government films. The production of Australian Government films had not previously been on a scale comparable with other countries, and the films produced, usually two or three a year, had been made under the administration of the Department of Commerce, chiefly to advertise agricultural products overseas. They were boringly factual and their commentaries were freely inter "* spersed with the words 'Now we see '. With the advent of the war in 1939, the Films Division went over to the newly-formed Department of Information, which, being largely comprised of newspaper men, was apathetic about the use of film, concentrating their propaganda mediums rather on still photography and journalism. Later they sent a cameraman to the Middle East. They did not know at the time that this obscure young man was to become a worldfamous name in the sphere of war photography. The young cameraman was Damien Parer. The material sent back by the war cameramen was, by mutual arrangement, sent straight to the newsreels, where it was processed and edited. Although this solved the distribution problem, it is doubtful if it served the best interests of the nation ; for it gave the privately-owned newsreel companies the right to use the material how and if they liked. Indeed, much splendid material never saw the screen because of prejudice against an 'unknown photographer'. This prejudice can be understood in the light of the Government's refusal to allow newsreel men to operate in war areas. Harmony was restored eventually when several of the 'old school' newsreel men were engaged by the Department as war cameramen, and the companies felt that their prestige had been restored. However, when the Japs were thundering at Australia's front door in 1942, and the most thrilling of all Australian newsreels hit the screen, namely Kokoda Trail, it was not shot by the 'old school', but by the obscure young man, Damien Parer. Unfortunately for films, Parer was killed in action in September, 1944. When the war ended, the Australian War Memorial was far-sighted enough to collect from the newsreels all material that had been shot, and fortunately it is now preserved for posterity. Today the Government Films Division is organized on a better footing than ever before. Not equalling its Canadian counterpart in size or scope, it is nevertheless built on a sound foundation and can look forward to expansion in the future. One of Ralph Foster's first tasks was to find new personnel for the enlarged Department. He enlisted enthusiastic young people released from the Forces, to train as scriptwriters, production assistants, etc., and sought out technicians who had drifted away from the Department during the war. "He found new directors and was assisted in this fask by such men as Harry Watt and Joris Ivens, who were in Australia at the time. One of these young directors, John Heyer, worked with Watt on The Overlanders.r Units were formed and the task was begun of implementing the programme recommended by the Film Board. Films included both subjects suggested by the Department of Information and those sponsored by other bodies. ' As the units were necessarily widely dispersed, the need was felt for a Chief Producer, who could act as a co-ordinator for all units and a liaison between technicians and administration. The man chosen for this post was Stanley Hawes, well-known documentary man who had worked with Grierson both in England and Canada. Stanley Hawes, with his sympathetic approach and keen sense of discrimination, did much to guide the young documentary makers on a steady course and to assist the older members to a documentary approach. Naturally the new Films Division is suffering the growing pains that all similar organizations are prone to. Inability to obtain apparatus for the expanded personnel, lack of adequate working space, transport difficulties (no mean factor in Australia's open spaces), film stock shortages and, of course, the petty squabbles and jealousies that are found so often in creative circles. Gradually difficulties are being ironed out and months of hard work have borne fruit ; films are emerging that should bear comparison with documentaries anywhere. Indeed, two of the films have been acquired by MGM for world release and others are under consideration. Native Earth, the first, deals with the Labour Government's new deal for the natives of New Guinea, while the second, Journey of a Nation, deals with the problem of transport bottlenecks, caused by Australia's broken gauge railway system. Three 16 mm Kodachrome sublets. Turn the Soil, Men and Mobs, and Born in the San, have been turned out for the Department of Commerce, and, although the subjects are the same as of old — wheat, sheep and dried fruits — they have been given an entirely new interest by the use of an historical approach. The soil colour of Australia's sombre background, with much attention given to typical sound and voices, give to the films that spirit of nationalism which might be expected in the Government pro duced film. Namatjira, also in Kodachrome. de picts the life of the Australian aboriginal. It is shot entirely in Central Australia, using as actors only the natives themselves. The unusual music, based on aboriginal themes, is by a very young composer, Charles Mackerras, who is now in London. Stanley Hawes contributes a delightful effort called School in the Mailbox, about the education by correspondence of the out-back child: while Watch over Japan deals with Australia's role in the Japanese occupation. Three films, Men Wanted, Street in Suburbia and Nuriootpa, are sponsored by the Department of Immigration, and a series called Australian Diary is produced by the Department of Information itself. Other films produced from within the Department show life in Australian towns and cities and Australian sports and pastimes. Some of these have been severely criticized as 'tourist' films and much space has been devoted to discussion in newspapers and periodicals by writers who are anxious that the way of the new National Film Board will be along the road to reality and not in the romantic backwaters of past errors. If this sort of healthy discussion and criticism continues, so much the better for Australian film making, as it is only by taking an active interest in the work of their Governments that people anywhere can expect results. {Continued from page 141 ) in Mexico where labour is cheap. Many US producers who had counted on good revenues frorr Britain are caught with costly pictures on their hands, e.g. the $6,000,000 'Forever Amber'. Economy must now be the order of the day. Better US Films Fewer and better US pictures may capture more of the home and Canadian markets, bu: because of high costs the absolute number c pictures produced must now be cut. especially those in grade B. Longer runs in the theatres for each film are also forecast, and even more frequent re-issues (though the latter quickf' show 'diminishing returns'). Finally there is film technology. Will it come to Hollywood's aid? An expert motion-picture technologic: I correspondent reports to us from Hollywoo, that this cannot be taken for granted. Nothing unusual is expected for the next five to ten years Steady and unspectacular improvements ir sound and photography are all that's foreseen The much-talked-of three-dimensional movie: cannot even be said to be m the laboratorj stage yet. The US Navy developed the tridimensional photograph; but the inventor only says it 'ma; be adaptable to motion pictures. Thus for severely practical reasons, bcttei American films may soon unroll. But it is stil unsure if they will. The natives of Hollywood have learned to believe nothing they hear ano only half thc.v see. And the British may not eve I see American films at all!