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personality in their art. This process of spiritual fusion is generally a slow matter of time, and therefore in the field of artistic propaganda we had a form of cinematography which merely reflected the creations of the period.
It should, moreover, be realized that at that time none but the former artistic cinema directors were working.
The artist passively obeyed these influences, without infusing into his production any of the creative force which, either consciously or unconsciously, is a sine qua non of all complete forms of art. Hence film propaganda, during the civil war period, was unresponsive and ineffectual and no masters in this line stood out. Its peculiarities (scant meterage, unpersuasiveness, a lack of any deep study of the personal psychology of the characters, nature films to the extant of 90%, the representation of mass scenes differing from the film melodramas of the bourgeois halls) were all due to contingent circumstances : the screening of the battles of the proletarian masses at the front or in the streets of villages and towns, and fierce class struggles, — all scenes in which individual personality and individual interests are left completely in the shade. Only later on, when peace and the period of economic reconstruction supervened, when the plough once again replaced the sword and the great problems of life and culture became pressing, when artists again knew and felt life in its essential reality, and their functions in public life became manifest — then, and not till then, the true path was revealed to those in quest of form and proletarian artists and writers woke up to the new technique.
The mastery of technique, the quest and prescience of new forms, on the part of artists who realized the reality of the moment, found expression during the first few years mostly in lectures and in lengthy experimental study.
The new trend of the cinematograph has by now assumed so great an importance, that already, right from the first years of economic reconstruction, it has played a vital part in all spheres of idealistic competition.
The new style of the Soviet Film. — First of all, this new cinematographic form differed essentially from the old forms. Thus, while formerly psychological drama, intermixed with aesthetic
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