International Review of Educational Cinematography (Jan-Dec 1931)

655 " The choice of subjects and the manner in which they are treated should be given far more serious study. Far too often, and especially in the case of dramatic films, commercial considerations are deciding factors in this choice, and the possible influence of the subject on the spectator is disregarded. Extraordinary incidents, giving a totally false conception of life, excite the imagination and rouse the baser passions. Still worse is it when the film serves merely as a vehicle for the expression of the tricks and mannerisms of individual actors. Many young people of to-day owe their excessive sentimentality, their affections, a premature cynicism or an ingenuous optimism to a bad choice of film subjects or the peculiarities of some film actor or actress. " The choice of both subject and artist should be determined by considerations of truth. Historical films are altogether excellent, but care must be taken to secure a truthful presentation of events. Most young people enjoy these as well as political films. The adventure film is also to be recommended, provided it is well-chosen, satisfies children's higher aspirations and teaches them to face the unexpected with a cool head and presence of mind. Nothing but harm is done, on the other hand, if the adventures are far-fetched and fantastically unreal. The religious film rarely succeeds in its purpose, for religion is essentially an intimate matter difficult to translate into action. An actor, too, who is not himself religious finds it almost impossible to enter into the spirit of the film. Consequently, such films are either boring or offensive and only confirm the indifference of the sceptical. " With the exception of religious films, all the types mentioned are good and safe for both children and adolescents. To film the life of a saint or of the Divinity is a profanation of our inmost and holiest feelings. The beauty and truth of the life divine often present insuperable difficulties to the brush of a Raphael or the genius of Dante; how then can they be revealed by film-stars? A religious film on any subject must be imbued with religious feeling and a profound humanity if it is to give any other than a purely aesthetic satisfaction." " Historical films would be excellent if they kept more closely to the truth; religious and political films might be really effective if they had any regard for religious and political truth instead of indulging in scenes of fanaticism calculated only to over-heat the imagination. It is easy enough to excite the passions, much harder to teach moderation and self-control. All children will respond to an adventure film, which stimulates imagination and courage. Why should these films not include travel scenes of the great explorers, missionaries ancient and modern, reconstituted as far as possible in their original surroundings? Could any lessons be more effective in teaching history and geography as well as patriotism and courage in the face of danger and death? Even * adventure ' films have their undesirable aspect, since they encourage children to attempt the impossible. Chaplin alone is universal: children are won by the charm of his smile, grown-ups by the depth of his humanity." " I prefer dramatic films for children; drama is drawn from daily life and teaches us the necessar3r rules and the inexorable logic of life itself. Historical films are very useful as a record of events and old-time customs, and also interest and instruct. Less desirable are adventure films, which hardly ever gratify children's uncompromising demand for the truth." " Dramatic films for children should be confined to subjects which illustrate the higher sides of life and are likely to appeal to the better feelings of children." " Religious, historical and scientific films, entertainment films based on fairy-tales, adventure films and lastly films about all forms of human labour are among the most