International Review of Educational Cinematography (Jan-Dec 1930)

— 3o — culture, this question of the censorship ought to be cleared up and its modus operandi defined. We have every reason to expect that this will be done in the near future, since the question has attained a degree of maturity that should render a solution possible. The principal hindrance to the nobler role of the cinematograph as a means of culture undoubtedly lies in the antagonism between the commercial and moneymaking interests of cinema managers and an interest in the education of the masses. There is no denying that the mass of the public look to the cinema for light amusement suited to the mental level of the crowd. And since vulgarity appeals more than refinement to the mass of the population, gross, brutal and licentious shows touch the soul of the crowd more than spectacles that endeavour to awaken their finer feelings, to make them think and react to worthy and useful social influences. Speculation on the low mental level of the masses is, unfortunately, one of the tools of the cinema trade; it is this that keeps it on such a low level. There are but few concerns engaged in film production and film exhibition that disregard purely trade interests, or which, having contrived to provide better class films for the public, have achieved this utile dulci ideal. On this account, propaganda by the educational film must for the most part be pursued by non commercial concerns ; either the State or special associations. In a country of recent culture, such as Roumania, where private initiative is still weak, and the preponderance of the centralizing State must make itself felt in all spheres, the Ministry of Education has felt impelled to take a close interest in the educational cinematograph. The Ministry has made a modest but promising start through the medium of the « Casa Scoalelor » , a popular culture institution that makes gifts of scholastic material to the schools. A few figures will serve to give an idea of the work accomplished. From the ist January 1924 to the 1st July 1929, the School Banks distributed 95 « Eureka » apparatuses equipped with electric batteries to an equal number of « cultural centres » and School Inspectorates, which institutions serve the purpose of extending education to the villages and rural population. 51 apparatuses of different types — « Eureka » cameras with Janus motors, Rothschloss, Primus, Pestalozzi, Gaumont, Kinox, Kinnino, Cross & Wolff, Wanderer, Ernemann, Magister II Ernemann, lea, Professional type, N. A. P. (Pathe), Symplex, Cinema Stator apparatuses etc., have been distributed to the schools of various degrees and kinds. Furthermore, during the same period, the School Banks distributed 84 lanterns for simple and binocular projection to the schools. In addition to this, a considerable number of schools have been able with their own means to acquire slide and cinematographic projection apparatus, thanks to their school committees and associations of parents and professors, which receive schools fees that they de\ote to the improvement of the schools. Side by side with the distribution of apparatus, the School Bank has set up a film depository, with a varied stock of films, in which, of course, the educational or instructional note predominates. These films are circulated in rotation to schools and cultural institutions equipped with cinematographs, thus allowing