Documentary News Letter (1947-1949)

DOCUMENTARN NEWS II I II U 145 loubtfu] whether she alone made the point. Nevertheless, she probably seised a useful puriose in creating interesl and a desire to watch the creen — teachers sometimes employ shock I p force the attention of a class, and tins particu.ir sequence can he instilled on this score. To sum up, it is evident (if indeed it is not wellnown already) that films of this kind should be (unctuated and divided into sections; that the iming should allow breathing space, but should .ot be so leisurely that the audience gets irritatigly far ahead of the film : that the greatest posible care should be taken to lead the eye to the ight place in the screen; that screen geography between shots) should be .1 matter of the utmost oneein, and that no mistakes or incongruities hould be permitted. The whole question of palogy in instructional films deserves careful lamination. Twentieth century physics relies :ss and less on sense-experience and sensenalogy, and it is probable that a too-lavish use f analogy in films and other teaching media is elinitely harmful. We. the film makers, learned, or were firmly srninded of, all these points, but the main result f the afternoon was that we were greatly stimuited. This close contact w ith a real live audience. 1st at the stage of cutting when one never wants > see the film again, gave us a line injection of -esh enthusiasm. And we doubt if we should ave experienced such candour, such quickness n the point, and such easy discipline of discusion had we assembled thirty adult aerodynami■ists to give us their opinion of the films. For this stimulation alone, the experiment was /ell worth while, and this method (in contrast to ie questionnaire method) is within the reach of ny production unit, and might well be tried at or ear the end of every film of this type. CLMK !/. OFFICE OF INFORMATION SCRIPTWRITING COMPETITION The Central Office of Information is holding a competition for documentary film scriptwriters. While established film-writers are not barred from competing, the purpose of the competition is to discover new talent among free-lance writers. The competition is open to all. except employees of the Central Office of Information. Competitors are required to write a full treatment for a short film on ONE of the following subjects: 'Face the Facts': a film about Britain's postwar economic problems. 'Get Home Safe and Sound': a film to encourage all road users — drivers and pedestrians— to co-operate in avoiding accidents. 'Portrait of an Englishman': a film which says something about the English character, for overseas audiences. The films should preferably be one reel (about ten minutes) in length, and should certainly not be longer than two reels (twenty minutes). A first prize of £75 and a second prize of £50 will be awarded by the judges. All competitors will be required to submit an entry form together with then ment. Entry forms and full details of conditions of the competition can be obtained on application to films Division. Central Ollice of Information, 81-85 Baker Street. London, Wl. Closing date will be December 1st, 1947 FILM FACILITIES IN THE PKOYINCES \<>. 2 LEICESTER By L. HELLIWELL iiR has the reputation of being 'a nice place', a popular opinion not without considerable justification, lor apart from its pleasing physical appearance, the city is attentive to the mental as well as the material life of its inhabitants In the world of music and the line arts generally it is held in high regard, and so much is going on that it is hardly possible for any intelligent and eager person not to find some outlet for his interest. The general picture is so very satisfying that when one comes up against the exception it is with a jolt. This jolt exists in the world of the film. If you are satisfied that the film should remain only a medium of entertainment and that the prescribed forms and limits of this entertainment continue to your taste, then you will have no complaint. Should you incline to the experimental or wish to see films other than the typical Anglo-American, you will be obliged to see them priv ately or save up for a visit to 'Town'. In short, the commercial cinema world of this city of approximately 250,000 does not cater for any other than the general. Possessing 29 cinemas with an approximate seating capacity of 30,000 (thus giving one seat for every 8/9 people), Leicester compares very favourably with other cities of comparable size. Statistics of numbers of v isits to the cinema by each inhabitant per week are not available, but from personal observation it would appear that Lestrians are more eager patrons of the cinema than elsewhere. Perhaps then managements cannot be blamed for keeping to the stereotyped double feature or 'full supporting' programme. Sure of full houses and knowing that appreciation of any film other than "pure' entertainment is limited, they rarely experiment. Is it surprising, therefore, that showings of Continental and other films of an international reputation have been few and hesitant? They have been billed, but to have to withdraw a film on the third day and replace with a dated 'popular' programme is a risk managements are reluctant to take twice I he city does not possess a News' or repertory cinema ; hence showings of factual films have been in a casual time-tilling capacity without pattern or reason. These films rarely achieve the audience thev deserve, nor is this audience (which undoubtedly exists) in a position to see the films it desires. Under these conditions the tactual film has remained submerged and only under more courageous management will it gain a deserved reputation. Regrettably, at present, there seems no possibility of this. The use of the film in any other capacity than entertainment is therefore left to the non-commercial world and here are two ventures that Leicester can regard with pride I Leicester Film So ind now having mbers, has done excellent work. I he aims ol the Society are summarized as '(a) the showing of important films which have not been seen in Leicester. 01 which have had insufficient show ing; (/;) the rev i\ ing of classic films of all kinds; (c) the show mg of < ontinental films ot reasonable merit to enable members to be familiar with what is being done there; and (</) the showing of short films of especial interest. In all cases the films chosen will be of value to the student of the history, art and technique of film makin eagerness to experiment and depth of vision of this Societj is well illustrated by the selection of films shown during the last winter: Princess Kaguya (Japan), Avalanche, Marie Louise (Switzerland), he Jour sc Leve, VHomme qui cherche la ve'rite (I ranee). Jazz Comedy (USSR). These. in addition to four outstanding USA films and 23 short films of varying types, indicate the comprehensiveness and line judgment of the Society, the credit of which falls in a large measure to the energetic guidance of the Film Secret. i. I R. Cottrill, ba. To the latter also the Societj is indebted for the excellence of its equipment, having, in addition to the latest designed 35 mm projector, continuously variable tone and volume control in the hall itself with microphone attached for commentary. One department of the local authority also has been courageous. In 1939 the Public Libraries Committee of the City Council installed a 35 mm projector in a new branch library and. since then. with a break early in the war years, has held programmes each winter. Their intenlio; frankly educational through the creation of interest and, by combining films, speakers, and books on a chosen theme thev aim to increase public awareness and understanding ol the problems of the daj . This utilitarian use of the film is a pioneer effort to Leicester's credit: many factual films <approximatelv 50 are shown each winter) which otherwise would not be seen in the city, find a select but appreciative audience. The use ol a speaker guiding the subject to suit local conditions enhances the value of the documentary film, a method to be commended to other author, Other than the above, film facilities appear to be occasional. I he I ducation authority is making increasing use of the instructional and travel film for older scholars. The Leicester ( olleges of V I and Technology make wide use of the film on subjects with which the work of the college concerned, and the Vaughan College each winter holds a course of Study in film historv. technique and appreciation I he Museum and \it Gallery Committee is to use a Id mm tor wider appeal in its work, and other bodies, adult education. British I egion and trade associations have in their turn made occasional use o\ the film to put over some desued point. I immari/e. while Leicester has no r< to be ashamed o\ its film facilities, it is the enlightened few who c.irrv the burden The in . power loi good inherent in the medium is not fully realized, a situation d< courageous attitude on the part of the public, the commercial wot Id and the local author;