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suggested that there was work to be done which would be of long-term benefit to Denmark and of no immediate help to the enemy. Such films were Theodor Christensen's Ungdom i Arbejde {Youngsters at Work), on the aims of the camps for unemployed youth, and Mogens Skot-Hansen's Amager Bliver Storre (Amager Gets Bigger), an account of the great reclamation works on the island south of Copenhagen. In the same year there were films about home-produced raw materials as alternatives to those cut off by the occupation: Bjarne HenningJensen's Brunkul {Brown Coal) and Mogens Skot-Hansen's Torveproduktioneu Scetter Rekord {Peat Production Record) which described an industry born overnight. There was also a hint of the shape the film warfare was to take in Bekaemp Rotten {War on Rats). In 1942, when twenty films were made, these production trends continued. There were more films emphasizing how shortages could be overcome: Theodor Christensen's Gammelt Metal — Nye Varer {Old Metal — New Wares), Mogens Skot-Hansen's Thi Kendes for Ret . . . {The Sentence of This Court is . . .) on the importance of the rubber salvage collection, and Ole Palsbo's Spild er Penge {Waste is Money) on the salvage of tin, paper, glass, and other items from the rubbish heap. The concern over unemployment was reflected in Jorgensen faar Arbejde {Jorgensen Gets a Job), written and directed by Karl Roos. A more positive approach was shown in Bjarne Henning-Jensen's films on the promotion of a sugar beet industry and on the manufacture and use of paper; in Mogens Skot-Hansen's Solv giver Arbedje {Silver Gives Work) on the maintenance of the traditional Danish crafts and in Gunnar Robert Hansen's film on Danish porcelain.
By 1943 it was clear to the Nazis that they could expect no collaboration from the Danes. Resistance became more open and sabotage increased. The resignation of the Danish Government and the imprisonment of the King added to the unrest which was reflected in the activities of the production groups. For Folkets Fremtid {For the Future of the Nation), a long film on the Danish Social services and their provision for health and help at every stage in life, was completed before the change in the political atmosphere. Bjarne HenningJensen made a series of noncontroversial agricultural films and Soren Melson argued ingeniously in Cutter H 71 that the building of fishing boats, in yards which might have been used for war purposes, was essential if food production were not to suffer. Despite the difficult conditions and the increasing interference of the Germans, film production continued until the end of the war. Dansk Kulturfilm maintained its production of films on the country's culture and traditions: Blichers Jylland on the life and work of the Jutland poet; Ingolf Boisen's Apotek {Apothecary), on the development of Danish pharmacology over the last 300 years; Ole Palsbo's Kartofler {The Potato), an ingeniously compiled history of the potato since its importation into Denmark; and Hojskolen {People's University), made to celebrate the centenary of the founding of the first Folk Highschool in Denmark. The spirit of resistance was most amusingly demonstrated in Hagen Hasselbalch's.
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