We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
THE ACTUAL
Medicine, The Morning of a Healthy Man, Mother and Child, Malaria, etc.
It is difficult to write freely about the pre-eminent films of the Soviet cinema, for however much one may admire their technical excellence and acknowledge their unquestionable superiority to the product of any other film-producing country, it is impossible to ignore their primary social, political, and often anti-religious influence. The whole existence of the Soviet cinema has come about through the urgent desire to express vividly and with the utmost effect the policy of the Soviet Government and development of the principles of Leninism. Elsewhere in this survey I have written that the primary aim of the film at the present moment is entertainment. This statement must be qualified by the functions of the Soviet cinema, which have caused the film to be considered as a dominant factor in the social and political organisation of a country. Hence it is that the finest examples of the greatest form of dramatic expression in the contemporary world are rendered unacceptable to a country of intelligence, culture, and deep-rooted tradition. The situation, which is obviously of the greatest consequence to the future development of the cinema as a whole, is without practical solution. I do not deny that there are many Soviet films that could be generally exhibited in England without resultant harm, but I am equally certain that there are a great number of others which, by reason of their brilliance of execution (and thus, persuasiveness), could not be freely circulated without detriment to the constitution of this country. On the other hand, I can see no logical reason why the best products of Soviet cinematography should not be shown by special arrangement to restricted audiences of people in personal contact with the British film industry. In this connection, the London Film Society and the Workers' Film Society are to be congratulated warmly for their enterprise, since it is only through their channels that it has been possible in England to examine the most interesting expressions of the Soviet effort.
i7 +