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ON CHILDREN'S CINEMA CLUBS
under an influence which is, to say the least, very much below the level of the definite rules and standards of the educational system. What the school builds up during the week may be entirely nullified on Saturday morning.
This is naturally not the intention of those who run the children's clubs. They have the best intentions, but the task they undertake is beyond their spiritual, mental, and technical equipment. In fact, they do not know what they are doing. The fundamental thesis (and purpose) of this book is not to attack individuals but rather to indicate that the film industry has reached a stage where the old 'showman' type, however well meaning he may be, must enlist the effective, not only the facade, co-operation of the social scientist, the educationalist, the psychologist, and last but not least, of the children themselves. And if it be not willing to enlist this co-operation voluntarily, the State must enforce it. Here, clearly, is a case where an economic monopoly creates under the cloak of 'free enterprise' mental attitudes which, in their present forms, are detrimental to the community as a whole.
What form such a supervision ought to take is obviously a question for discussion. Yet it would seem that the educational authorities should be responsible for a very thorough supervision scheme, served by full-time and qualified persons. The State cannot shirk this task whatever political party may be in power. The spiritual and mental health of a considerable proportion of British children is at stake. If the industry maintains that this would mean interference with private enterprise, it would seem justifiable to ask for appropriate new legislation, or at least of setting up a select committee in the House of Commons to investigate more fully the questions raised. It is clearly beyond the power of one investigator to cover such an immense field.
Another point in the argument against this point of viewis that the new films produced by Mr. Rank's organisation might improve the present situation. But these films — with perhaps one exception — are, as films, hardly worth speaking of. They have been severely criticised by eminent film critics in the News Chronicle and in the series This Week's Film, by the B.B.C. I saw these films before they were shown to the public, and I also felt that they were futile, insignificant, though well-meaning. Only the best producers and directors should be concerned with making children's films, as is the practice in Soviet Russia. (See Appendix II of this book.)
My final argument is this: One may say: 'Do not those who select the material for the children's films rely on the 'U' certifi
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