Moving Picture Age (Jan-Dec 1922)

Academy concerning the inception of the enw body. Sometimes a judiciously tossed bomb has actually beneficial effects. Our only regret in the entire matter is that we may be forced to see two national groups of visual educators doing in half-hearted fashion what one real organization could accomplish in worthwhile style. If the two groups see fit to work in separate and well-defined fields, they are to be commended ; if they decide to merge in one comprehensive group, so much the better ; if each wants to be "it," we may expect a situation as confusing to the visual educator as it is wasteful for the entire field. For the sake of the broader visual instruction that can be ours if we will but build securely, let's sit around the table and lay our plans before we begin to pile bricks. Let's define our issues ; let's stick by the policies we know are sound ; let's play this game in a man's -fashion, and "get somewhere"! SEVERAL MONTHS AGO Mrs. E. B. Wilson, in charge of community motion pictures in Davenport, Iowa, contributed a brief discussion of her activities to the columns of Moving Picture Age. At that time we felt that the material would be of some interest to certain of our readers ; but we were in no sense prepared — nor was Mrs. Wilson — for the ensuing landslide. Three weeks after the publication of the article we received from its author a sheaf of unanswered communications, a plea for help in answering the eager questions (Mrs. Wilson had answered as many letters as possible before being forced to enlist our co-operation), and a second Moving Picture Age contribution in which she had replied to the questions commonly propounded by her inquirers. Whereupon we began to realize the fact that community motion pictures are assuming in incredibly increasing degree a responsible and logical position in the activities of the American community. Where is found the occasion of this assumption by the social group of what would seem to be the individual's rightful opportunity for profit? The answer is plain enough : The individual took his opportunity, and he profited — so much so, in fact, that he developed a mental image of himself and his motion-picture theatre as indispensable to the social system. The pity of the situation is that this individual could have developed his instrument of amusement until it had become in truth what he thought it was — an institution without which the community life would fail to produce comfort and happiness ; but he contributed in this potentially dominant feature of the social group merely the mechanical equipment, a sense of film values in most cases dollardimmed and frankly indifferent to the social significance of the unmoral picture, and the indispensable cashier. Unfortunately for this short-sighted person who thought the rights of the public ended where the rights of the individual began, the public, showing a long-smouldering resentment at this usurpation of its right to enjoy proper and satisfying pleasure, has brought the proprietor of the film theatre about with a sharp turn. In some communities the exhibitor has seen the weakness of his policy and has sincerely endeavored to instil in his exhibitions the needed elements and purge from it the objectionable, and is therefore maintaining his business and improving his general status in the community. There are localities wherein the exhibitor has practically defied the serious ■ minded citizens who protested the detrimental influence of his character of exhibition ; and no factor is doing more to encourage the immediate installation of community motion pictures throughout our land than the exhibitor who ignores or flaunts the united expressed demands of his community. There are, also, instances where the exhibitor has been both a far-sighted business man and a good citizen, and has maintained his institution on such a plane and with such consideration of public welfare that no occasion for change of the existing system has arisen. One of these conditions applies to every community in the United States smaller than a city. To the citizen who would further the community's highest interests along this novel channel of modern citizenship we say : For each of these situations there is a constructive procedure. Where the exhibitor has seen the writing on the wall and has faced about, give him personal encouragement and public support, and go directly to him with inquiry as to how you may help him further improve his exhibitions ; such cordial appreciation leads a man forward to real achievements. Where the theatre man greets your reasonable protest against objectionable pictures with a persistently maintained attitude that he will not consider the moral interests of the public (without whose support he would be in the bankruptcy court) — that is the occasion on which you can only mobilize your community for defense against the common enemy of integrity and decency. Where the exhibitor has so conducted his showings that they are actually above reproach — well, the most proportionate step we can think of would be to elect him mayor and erect his monument in the town square, for he certainly merits both increased responsibility and permanent fame. We have not spoken of the community that has no theatre. Such a social group has need of community motion pictures, and these may be installed in a church, a schoolhouse, or a community clubhouse. The latter arrangement is preferable, for there is then no possibility of factional or creedal hindrance -to 'the fullest enjoyment of the project; but today many communities are being capably and happily served by film, showings both in churches and in schools, where community houses do not exist. Now — what of the exhibitor who will not improve the moral quality of his exhibitions? In all frankness we say — and we would say it to the exhibitor in the identical words — Combine the community's strongest forces for civic welfare to dispose of this public menace in the same prompt fashion as any other public menace. But let us repeat the significant words : Combine the community's strongest forces for civic welfare ! The Catholic church, the Chamber of Commerce, the synagogue congregation, the Boy and Girl Scouts, the Methodist and Presbyterian and Baptist and other religious groups, the Red Cross and Y. M. C. A. and Y. W. C. A. — these are some of any community's strongest forces for civic welfare. Let no special group say : "We shall conduct the community motion pictures !" unless conditions make the move obviously expedient; in the first place, you are possibly closing this community recreation to some of the population because of prejudice, and, in the second place, you are entering upon an activity that thrives best with the comparatively unlimited resources that an individual project could not and a genuine community project could command. Only by instituting a satisfactory system of community exhibitions, heartily endorsed and supported by the citizens, will you eliminate your public menace; and the end sought would merit community co-operation even if that act itself were not so beneficial and satisfying. THE NON-THEATRICAL FIELD IS now passing through the stage in its growth where it is deemed fair game for experimentation by all. We find occasionally the fly-by-night dealer in films, imbued with the chimerical notion that he can gather a collection of worn-out films, flood the non-theatrical market with the material, and make a "killing." Then, to take a more pleasing instance, we have numbers of comparatively small exchanges that are actually in the field as permanent institutions, intending to expand as their business warrants it. And at last is beginning the influx of the large theatrical concerns that recognize the necessity of having a hand in the nontheatrical field, now so obviously the promising territory of the future. There are certain fundamental business principles common to every line, and also a number of peculiarities of non-theatrical business, that such organizations as Pathe and Fox and Paramount and Universal must consider in the development of their nontheatrical departments. The non-theatrical department cannot be expected to pay dividends within the first year, unless its offerings be conspicuously fine and its advertising broad ; moreover, this department will never be profitable if the concern is content to lay aside a number of old prints and let that constitute its non-theatrical equipment. Also, when the right type of material is available it must be handled by a man or woman who knows how to meet and talk the language of the pastor, the teacher, the social worker, the club woman, and who understands their film problems and knows the answers. The concern with the most successful nontheatrical department will be found to have observed these principles : Search your records for the pictures that logically belong in the non-theatrical field ; edit them carefully, and put them in the best possible physical condition ; spend money as you would on your theatrical business — if you lack enough faith in this field to give it a fair trial, stay out until you are ready to truly serve the exhibitor and thus progress yourself ; give your non-theatrical offerings consistent publicity. And one of the keenest things a producing concern can do — and a plan that several producers already are following — is to produce material of such a nature that following its theatrical run it is ready for unlimited years of non-theatrical use. Is not that the final word in good business?