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small workshops. In some of these premises (theatres and other wellequipped projecting-rooms) the apparatus is not immediately perceptible, in others it is either in the room itself or just outside on a podium or balcony, visible and — sometimes quite disagreeably — audible.
In accordance with film-renting practice, it is customary to divide the film business into two groups, commercial and non-commercial, which may concern themselves with any or all of the three above-mentioned classes of film. The essential difference between the two groups is a matter not of technique, nor of organisation, but only of purpose. We cannot here define the exact differences — that is a problem apart — ; nor can we express our views concerning the ordinary cinema programme, nor, as has been done so often in the last thirty years, develop a scheme of cinema reform, which would involve us in a discussion of the nature of commercial film shows, spectators, the making of films, in fact, all the separate functions of cinematography. Clearly, space does not allow of all this. I propose therefore to speak only of performances serving the cause of popular education.
Here we must distinguish between two main groups, namely, per
power of the film industry, its repercussions upon social and intellectual life in all countries, the increasingly-felt need of employing this wonderful recreational instrument for purposes of education have led the authorities in the chief producing countries to study the question closely and to codify certain general rules and principles that film-producing firms must observe. It would be foolish to expect a change of policy all at once. Moreover, the work of cinema regeneration is one that should preferably proceed slowly and steadily and, by reaching wider and wider circles of the population, gradually educate the masses to a higher standard of film. A satisfactory feature is the success of many entertainment films having a definite documentary or folk-lore basis. This is already a good step forward, but ii is not enough. Parallel with the admirable work of special groups, to which Dr. Gunther refers — cultural cinema clubs, pioneer film movements, young people's cinemas, « dopolavoro » projections, etc. — there is need of some practical form of State aid and encouragement on behalf of educational films in public cinemas.
The problem is by no means insoluble. One solution may be sought along German lines — by the granting of total or partial fiscal exemption to cinema performances the programmes of which contain films recognized by some special organ (in Germany, the Lampe Committee) as educational. Or along Italian lines, by the inclusion of a short cultural film in every public programme; the exhibitor pays a minimum duty for the renting of these films, but the obligation to show them means that they are projected in so many cinemas that in the end they yield a substantial commercial profit. This system, of course, implies the existence of national organs or seriously controlled film businesses. The system,