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THE CONTENT OF FILMS be obtained in this way, and that questions relating to the more subtle influences of films through their tone, atmosphere, etc., were left unanswered.
Mr. Dale therefore selected 115 pictures from the years 1929, 1930, and 1 93 1, and subjected them to a more intensive analysis, using this time trained observers who personally viewed the films, and reported on them by means of a specially prepared schedule, having first acquainted themselves with the plot of the film by a perusal of the critiques in the daily papers. The schedule which they used was designed to secure information on the treatment accorded by films to various aspects of life and society. The following are typical headings from the nine main categories: 'Nature of American Life and Characters', 'Crime, Delinquency and Violence', 'Relations of the Sexes', 'Depiction of Underprivileged Peoples'. Each main category was sub-divided, so that under 'Nature of American Life and Characters' we have these subheadings: A. Home, B. Education, C. Religion, D. Economics, and so on, there being 16 sub-headings in all. These in turn were further analysed into special aspects, for instance, a sub-heading, 'Industry and Commerce,' is developed thus:
1 . The nature of the portrayal of industrial and commercial
activity.
2. Goals of characters engaged in industrial activity.
3. Method of distribution of goods.
4. Nature of portrayal of owners and workers.
5. Nature of the management of industry.
This type of schedule is, we consider, too statistical in its approach, and its wealth of categories would tend to distract the investigator from perceiving the more fundamental value-patterns of a film. What is really important to the sociologist is the discovery and isolation of the implicit attitudes of a motion picture, the general assumptions on which are based the conduct of the characters and the treatment of the situations of the plot. To a certain extent the schedule does seek to comprehend these more intangible issues, but there is a danger that a too meticulous adherence to its terms of reference may produce only a neat set of details on various unrelated topics and fail to acquaint the investigator with the basic texture of any particular film or group of films.
A certain difficulty was experienced in selecting the 1 15 pictures for this 'second-level' analysis, as it seemed desirable that they should form a truly representative sample of the cinema fare then being offered to the public. For instance, it appeared that more
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