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56 THE NEW SPIRIT IN THE CINEMA
I think they belong to the Art of the Cinema movement of 1916-7, and I do not think it would be hard to prove that the fine work of such present-day producers as Germaine Dulac, Marcel l'Herbier, Abel Gance, Rene Clair, Jacques Feyder and Renoir, the son of the celebrated painter, derives from the earlier source.
Of course I do not wish to suggest that all the young wartime live wires were on the side of the Cinema. There were some who hated it, for example, Jacques Copeau. All he would say in favour of it was that it might help to improve the conditions of the Theatre. By a stroke of irony it has since almost improved his own little theatre of experiment out of existence. The Theatre Vieux Colombier is now a cinema, but one that has the honour of being on the Censor's list; while M. Copeau himself is glancing very keenly towards a directorship of one of the Paris subsidised theatres.
H. After the War, 1919 — 1928
Let me now come to my adventures after the War, and in countries where you would hardly think that the Cinema could possibly exist. It is reasonable to say that in these countries, with perhaps one exception, Czecho-Slovakia, civilisation had receded so far into the background, I mean the sort of civilisation with which Western nations were acquainted before the War, that wherever one moved territories and peoples had dwindled into the shocking semblance of a state of barbarism. I passed through country after country ravaged by war and revolution, and internal strife of some sort or another. To me the world seemed to have reached its worst. Had the end come, or was the human race back to scratch preparing for a fresh start? Were human beings about to choose the peacefulest path they had ever trod, or were they going to continue in conflict till not a single passenger remained for Charon to ferry across the Styx. Rebirth or Extinction? that seemed to be the question.