International Review of Educational Cinematography (Jan-Dec 1931)

— 657 ~~ " Boys' love of adventure should be catered for in films of exploration, geographical conquest, Alpine views and other scenic beauties and, besides these nature subjects, films made from stories, provided they reflect a sense of refinement and good taste and are not mere exhibitions of brute force and legendary heroism. Smaller children should be given films that they can laugh at — a laughter, however, intelligent and restrained, not raised by buffoonery and grimaces. A source of much intelligent amusement is to be found in fairy-stories, provided they are not unduly terrifying. And since children of ro, and older children, too, are so fond of animals, why should not the screen use trained animals as material, animals which, like Kipling's, hold the mirror up to man, thus blending fun with reality? Before deciding what films are suitable for children, we must first veto those spectacles which are not intended for them, films that give a false picture of life, representing man as the victim of his passions and, which, if they contain nothing really immoral, seem to justify flirtation, love of luxury, a life of idle pleasure and self-indulgence." " I prefer historical films; the young study history in books and the book is almost of necessity dry. It cannot impart to acts their original fervour and passion. Screen reconstruction can remedy this defect. I am afraid that the same cannot be said of religious films. The Passion of Our Lord is very difficult to represent and it will almost certainly lose in educational effect. Moreover, the religious film does not fulfil a vital need. The Gospels themselves serve the purpose more rapidly and more effectively. Instead of seeking new methods, let us develop in children a taste for the gospels. A form of film which made me love the cinema is that in which the principal parts are played by children. I have been astonished to see how well children do on the screen. Besides, with child actors the risks I spoke of above almost entirely vanish. The child's art is not studied, it is the natural grace of innocence which in the daily hustle of modern life often escapes observation. On the screen we cannot help observing and enjoying a thousand details about children which in life pass unnoticed by those who are incurious. The cinema should be more intimate, more delicate; it should aim at cultivating sentiment rather than at stirring the emotions. Suitable material could be found in the novels of Dickens. Other writers of other times, similarly endowed with a profound humanity and imaginative power, could be studied with a view to cinematographic employment." Political films have met with the approval of teachers, but they have not been accepted as completely as historical and religious ones. The doubts felt are as regards the danger of sectarian principles usually underlying films of that kind. The aim must always be the seaich for objective truth. But, it may be asked, is an objective film possible unless persons, authors and artists, who observe life and its external expressions with an open mind, have cooperated in the realization of the scenario or the artistic direction of the film itself? It would rather seem that a film necessarily reflects the thoughts and ideas of the man who has alone conceived and directed it. School teachers opinions are decidedly against dramatic films and to a smaller extent, against adventure films. As regards the former, the unfavourable verdict of educationists is quite justifiable. The theatrical film in its various forms, sentimental,