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dramatic, erotic, cannot be considered, on the whole, the most adapted for educating youth and moulding young characters. The former much less than the latter. There are, however, educationists who maintain that life itself is a drama, played by the whole world, and that there is no reason why it should be hidden from children. Their belief is that children should be brought into contact with it as soon as they reach years of discretion so that they may more easily face and cope with it later.
It may however be observed that the crude realities of life are not suitable for growing minds. It does not follow that because, " life is what it is ", children should forthwith be brought up against it. The numerous child welfare institutions would have no raison d'etre, if, under the pretext of education, children were shown all the moral turpitude and evil in the world. The ancient and universally accepted maxim, " maxima debetur puero reverentia ", would be openly defied.
Education must necessarily proceed by stages and it must be imparted, if it is to be effective, proportionately, to the mental development of children, with due attention to different sex sensibilities, otherwise a confusion of vague and ill-understood sensations and impressions will trouble the child and even lead to morbid and hysterical states of mind.
The sentimental film may be taken as an example; films of this kind naturally appeal greatly to young girls, while they do not suit the taste of young boys. In relation to this type of film, one teacher acutely observes that, as a rule, theatrical motion pictures depict woman under a false light. She is always represented as the lover, ready to renounce her dignity and, if necessary, sacrifice her honour to satisfy the desire that burns within her. Very rare indeed are the films which represent motherhood woman in her highest and noblest expression, aware of her sacred mission and filled with the spirit of sacrifice on behalf of all who are dear to her.
Films of this sort would be, without doubt, of universal interest and value; they would serve educational purposes and, at the same time, be entertaining for the dramatic elements contained in them. The same cannot be said of the others; unless the subject is chosen with great care, life will appear under a crudely realistic light, which may harm children later on.
Many teachers agreed in pointing to the fairy-tale film as particularly adapted for young folk, especially when children are employed as actors. Children are the ideal screen actors by reason of their simplicity and spontanity and the utter absence of artifice. But in this field, too, the choice of subject is not as easy as it may seem. The best adapted scenario is one that complies with the formula " utilis cum dulce ", in other words, it must combine aesthetic recreation and educational purpose. To what extent future producers will conform to this principles cannot be known, but the necessity of its observance is universally recognized.
As regards adventure films, the unfavourable opinion of school teachers is not so easily explained. The obvious faults to be found with films of