Focus: A Film Review (1950-1951)

12 FOCUS FILM COURSE. No. 12 How Much Have You Learnt 1 asks ANDREW BUCHANAN We now complete the first half of the Course without having entered a film studio, peered at cameras, or discussed stars, because we have dealt with first things first and devoted our study to the size and shape of the industry. Before proceeding with the second half, which is going to deal with film production, I advise the student to test his knowledge to date. By now he should know the ramifications of the industry, why it is divided into three interrelated groups; how all films are classified as features or shorts, and how their distribution channels are divided into theatrical and non-theatrical and why. Without such knowledge the student is ill-prepared to explore the world of film-making. There are already far too many people who know too little about film fundamentals and who rush into production before being able to tell the difference between negative and positive, or, more important, how films can regain the money which has been spent to make them. That is why we have been solely concerned with the structure of the industry until now, and why the student should also be able to answer the following questions : How many cinemas are there (approximately) in the world ? And how many in Britain ? How many millions visit the world’s cinemas weekly, and how many go in Britain ? What is the average age of the habitual filmgoer ? Why does film exert a more powerful influence than radio ? What is the size of standard film— and of sub-standard ? How many substandard sizes are in use ? What is the running speed of film in cinemas ? Why are so many films which appear on sub-standard film first produced on standard size film and reduced? Can projection both make and mar a film ? Was the double-feature programme introduced into Britain by public demand ? What is the average length of : a feature film — a short film — a newsreel ? If a play is presented both on stage and screen what would be the most obvious difference in presentation ? Is there any one factor preventing film becoming a universal medium of expression ? Are original screen stories preferable to adaptations of novels and plays ? Is non-theatrical distribution highly developed ? Which kind of organisations use it to a maximum degree ? Are educational films successful in classrooms ? „ Will educational films eventually supersede teachers ? Has the production of special films for children been successful, and if not, why not ? Can you define the fundamental difference between films produced in France, in Italy and in Britain ? Can music be more than a background in films ? Is the religious film making progress ? Is there a difference between a religious film and a film about religion ? The above questions have been picked at random from the subject-matter of previous chapters, and if the student can answer all or nearly all of them, he is ready to learn about the making of films. But he should never lose sight of the important fact that the underlying purpose of this Course is religious. First, it is designed to increase the critical faculties of the filmgoer ; secondly, to urge the formation of film discussion groups to develop film appreciation ; thirdly, to encourage spiritual values on the screen by increasing a demand for them, and fourthly to steadily advance the plan of forming producing units composed of men and women who have become technically and artistically proficient in film-making and who are filled with the inspiration to devote themselves to creating films which shall proclaim the Christian Message ceaselessly.