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large environment where there is a definite centre or nucleus which constitutes " society " and moulds opinion. The theatre, especially the " little " theatres, philharmonic concerts and opera have long created publics of their own separate from the rest of the community and possessed of what we may call a common cultural mind.
Such a development has long been recognized as in the best interests of cinematography, and Bela Balasz is quite right when he hopes that the segregation of the cinema's functions may lead educated people to form various " Little Cinemas " and Artistic Film Societies.
The link between the two groups of spectators — the cultural organisation and the semi-conscious group of votaries referred to in the last paragraph but one — is their common aim as spectators. In the former group the basis is sociological, that is, the members are bound by social ties even outside the cinema; in the latter the bond that unites them is the screen and it is independent of their social environment at home. Theoretically, this second group would seem the more valuable to us, since its members approach the cinema in a more objective attitude towards themselves and one another, being unassociated outside the theatre. It will be a long time, however, before this group evolves, and our endeavour must be to help create it. It will only come into being when every cultured person is assumed to be familiar with this or that film, just as he is to-day assumed to be acquainted with certain plays, operas, symphonies, books and pictures. The time will then be ripe for a serious cinema.
Meanwhile, educationists have to reckon with the existing group of like-minded persons. If the special film group does not yet exist, it will have to be founded — as a Cinema Club, an " Urania ", a school film society or educational cinematographic association.
In any case the educationist will be guided in his choice and use of films by what is the main objective of his group. In some cases this will be self-improvement in general. The members will have imbibed cultural matter, knowledge and art, either organised in schools and universities, or unorganised, through books, magazines, newspapers, travel, etc. They now desire to pursue that aim as an organised body, in order to " keep things up " and pass for educated people. The ideal may not be a very lofty one, but it is the most prevalent. For this class may be recommended films of travel, exploration and adventure, folklore films and historical films.
A smaller group consists of those who are in search of what we may call " recapitulatory culture ". " Faust ", " The Nibelungen ", " Rose Bernd ", " Wallenstein ", in fact, any film with a literary or historical basis, will provide an opportunity to resume acquaintance with old friends. It should be made clear to this group, however, that the film does more than introduce them to what they already know; it contains fresh elements of form and substance, the beginnings, indeed, of new art. In spite of the restricted
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