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is impossible to take a picture of them : on catching sight from a distance of the 'kaphirs' carrying their monstrous, shining machine the women hastened to seize their children and dashed off to the same tent, seeking shelter. In another tent, the men received us with all due ceremony, and entertain us with sour milk and conversation.
Everywhere in Afghanistan we come upon striking contrasts : cities of the middle ages yet at the centre, at Kabul, modern life ; an extraordinary rapid penetration of European material civilization in an Asiatic country decidedly retrograde.
My Credo :
The film « At the heart of Asia » (Afghanistan) is entirely documentary, as are also the fruits of my previous work, « At the back of the Polar Circle » and « The Roof of the World », (Expedition to the Pamir).
In my opinion, even in its present imperfect condition, the documentary film is of much greater value than any series of « artistically » staged tableaux. Films based on real facts can alone convey a true idea of the world around us and make a contribution towards the enlargement of the intellectual horizon of mankind.
The development of the documentary film had in its process to overcome not only conservative tendencies of producing firms and those of rental contractors, but imperfections in the technique of today as well. In perfecting this kind of film (ultra sensitive filmfabric strong light exposure, perfected automatic apparatus, etc. as in perfecting the « sonorous » cinema production, there grows the possibility of elaborating new methods in taking scenes for documentary films. Routman has partly indicated this in his « Symphony of a large city ». The new expression of Mankind, the language of the cinematograph will not have its birth in the theatrical cinema, which follows but one goal, the entertainment of the public.
While working for the cinema, I have not entirely given up literature. My book, « The Industry of the Cinematograph in
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