International Review of Educational Cinematography (Jan-Dec 1930)

83 to stir up the struggle between different sects, since propaganda films that express the views of the exponents of a particular religious belief may jar on the susceptibilities of others. He stated that in Liverpool, as in other English towns, religious films that were diametrically opposed to one another had been shown. The meeting resolved that it was better not to encourage this type of film and to commit to their representatives the task of raising the question in the British Board of Film Censors. The Daily Film Renter (11/74) expressed its complete sympathy with this resolution, considering that the public has no desire to be preached at and still less to be wounded in its religious sensibilities ; hence the wisdom of avoiding all films of the kind. Protestants also are stirring up against the exhibition of anti-religious films. « The Union of Evangelical Women », of Breslau, has protested against the exhibition of a film, « A Lost Woman's Diary », bacause the Christian symbol of the Cross is shown therein in a manner offensive to religious feeling (« Film-Kurier », Berlin F. 11,68). In Germany, on the other hand, religious films are officially recognized. Last November the Prussian Ministry of the Interior by a circular addressed to the Reichsverband recalled that on fast days established by the Church only films of a religious, legendary, or historical character could be publicly exhibited, and that the exhibition of comic films was absolutely prohibited. There are no special provisions with respect to All Souls' Day, but the Ministry recommends that care must be taken that the films exhibited should be in keeping with the solemnity of the day. A reminder to this effect is printed in big type in the German cinema papers, such as the Licht-BildBiihne, Berlin F. 25/134). As for the special measures taken by certain governments with respect to Sunday exhibitions, the controversy roused on this point both in England and America deserves attention. Complaint is made in Boston that the censoring authorities of that town pursue a different policy with regard to films that are shown on Sundays and those shown on week-days {Exhibitors' Herald World, Chicago F. 6/320). The only question at issue in England is whether the halls should be kept open or closed on Sundays. The Chatham Town Council took a vote on the question, with the following results : 8050 votes in favour of keeping them open against 7491 votes in favour of closing (The Cinematograph Times, London F. 25/142). The London County Council allows the cinemas under its jurisdiction to be kept open on Sunday evenings on condition that a substantial but not clearly defined proportion of the receipts shall be allocated to charities. The total sum thus contributed annually amounts to £, 110,000, which is said to represent 21 per cent of the aggregate takings. In view of anticipated demands from the Council for an increased contribution, cinema owners are now anxious that an arrangement should be made recognizing the present payment of £. 110,000 as fixe permanent. Hundreds of cinemas in the metropolitan area, but under the control of the Middlesex County Council are not allowed to open at all on Sundays. One of the arguments frequently put forward by exhibitors to induce the Council to modify its attitude towards Sunday opening is the benefit that would accrue to charities (The Daily Telegraph, London, F. 25/145). In America the sound film has entered the lists. It is stated that Harry Warner, of New York, General Manager of the Vitaphone Co., has engaged the Methodist preacher, A. Sunday, to get out some films of a religious character. (See our December issue, p. 275). The « Film Daily », however, is hostile to the idea of William Fox that sound films should replace sermons, because it considers that the congregation are more attracted by the personality of the preacher than by his text and sermon (F. 11/67). The rise of the Zionist movement gave rise to a considerable output of Semitic films. These are not merely Zionist propaganda films, but reflect feelings of race and religious pride that have recently been strengthened by the general reawakening of patriotic sentiment. The great Film, BenHur, in which Ramon Navarro featured, is well known. Let us recall here also the films