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into the reproduction of human passions, noble and often ignoble, and into manifestations which have only the semblance and perhaps the technical qualities of art.
Much has been said about special cinemas for children. Most countries have studied this means of protecting the interests of the young, but the results have not been very successful. As educationists have rightly pointed out, the child is temperamentally averse to anything that smacks of education or the school or to which the thinks he is being driven. Children consider the cultural film as another more or less agreeable form of school, a continuation of the day's work. They go unwillingly to such performances and are not interested unless there is also something to appeal to their aesthetic taste or mere sense of enjoyment.
If there are to be special cinemas for children, the films must be entertainment films of such a kind that the children will regard them as similar to what grown-ups are shown. The intended moral must be skilfully wrapped up in the story and yet not lost and this is no easy matter, for the child will suspect any performance that is in the nature of an appendage to the school.
Some authorities, including some of the teachers who reply to our questions, recommend special children's performances for boys and girls separately, but the criticism against children's performances in general, applies, of course, equally to these. Children, we repeat, must not be made to feel that they are being excluded from adult life; on the contrary, they must feel they are fully participating in it. If we wish children to enter into our views, we must proceed with due circumspection and make it clear that we are not hiding anything from them.
Much has also been said about the censorship and the systems obtaining in the different countries have been freely criticised. The censor's work, some say, is futile and anyhow fails in its purpose for the reason that the censor is after all a man like any other, with the ordinary man's subjective methods of reasoning. Moreover, the censorship hampers the free progress and development of cinematography.
In this matter two effects at variance with the premisses underlying our enquiry must be avoided; the first is the obstacle to production through submitting it to the verdict of a one-sided, if honest, group of persons; the other is the inevitable impression that a censored film is an incomplete and mutilated work no longer corresponding to its author's original conception.
The remedy perhaps lies elsewhere. We may recall the decision taken by American producers in days which seem long ago in the life of the film, but close enough in our social life. The Hayes Code of film morals, following certain instructions issued to German producers, laid down the rules to be observed in order to secure the desired results. Thus producers, who are the parties first concerned, are manifesting a desire to improve