Part 3
There are a number of elements entering into the production, distribution, and the public exhibition of pictures. The raw stock of celluloid from which films are manufactured has a limited existence. The base of the film is usually of a highly inflammable composition. Again, before the pictures are perfected, for public exhibition, the producer’s outfit should include highly perfected cameras, studios, staging, and star actors, and a search, often, for appropriate outdoor settings for the scenes to be enacted. The skilful direction of people and scenes to obtain illusions requires an expert at the business; for it necessitates a high grade of technical ability for the production of scenic, travel, and scientific pictures with the minimum film waste. Once the picture has been constructed, prepared with subjects and sub-titles, and has been submitted to the Board of Censorship, it must be extensively advertised, circulated amongst exchanges throughout the kingdom, and the commands of the public exhibitors awaited. All these complicated processes have emanated from the regular daily demand of the people for entertainment, not necessarily enlightenment. The manufacturers know the percentage of film subjects demanded, whether tragic, thrilling, artistic, humorous, or educational.
I will give some idea as to the film. Each picture in size is roughly three-quarters by one inch; the average length of a black and white film is 1000 feet, giving a total of 16,000 pictures. When rolled this film fills a tin box--allowing for the fact that it is round--equal to the size of a royal octavo volume, but considerably heavier. Thus it is evident that the question of space is unimportant. The number of films produced and published does not equal the number of books published in the same time. A great number of the films published are unsuitable for preservation, and, therefore, would find no place in a National Historical Repository.
The method of the present classification of books would be applied to the classification of the films, covering, as they do, historical, scientific, artistic, and technical subjects. The life of the film depends upon its treatment. The period varies, but when in daily use it should last for twelve years; and, if every care has been taken, and the film is seldom used, it will last for fifty years. Twenty-five years may be taken as a fair average under ordinary methods. Of course, new films can be reprinted from the old, and therefore, no film need be discarded.
A fairly satisfactory solution of the difficulty of making provision for a regular service of films at a minimum cost would be the appropriation, annually, by the State, of a sufficient sum to allow the purchase of a number of the best films by State Libraries, or (seeing that libraries now come under the protecting wing of the Education Authorities) by a State Department of Education. This increasing library of films could be held at the disposal of Library Authorities who contribute towards its acquisition and maintenance.
LIBRARY OF FILMS IN BERLIN.
In October, 1914, a “Library of Films” was opened in Berlin. This Berlin depository already possesses a very large collection of valuable films, dealing especially with scientific and allied subjects, which is probably unequalled elsewhere. In connection with the library an Intelligence Bureau has been opened, where advice can be obtained on all matters connected with the cinematograph and its uses.
Its resources are inexhaustible and the films may be borrowed for purposes of instruction by Educational Authorities and other allied bodies. It is established for the national preservation of historical and other films, and will become invaluable as the years roll on, from the historic point of view.
ADVERTISING THE LIBRARY.
I was once asked the question, “Why do not libraries give greater publicity to their activities, means and resources, and not be satisfied with the fact that they are merely performing an everyday public function, expected of them as a municipal institution which gives some sort of return to the ratepayers for the rate levied upon them for its maintenance?”
True, some of the ratepayers are quite satisfied when they can go to the local library and borrow one or two books to while away a few leisure hours during a wet week-end. Herein lies a small conception of what a public library is for.
The library at the present time, if it is to maintain its popularity, must be aggressive and not passive. We must not be content to rest on our oars and survey what we have done with a complacent smile of satisfaction, and say, “I have done my best,” but we must think what we can do next to keep the vision of usefulness of the public library ever before the public. The library is like the tree in nature, once it ceases to grow it commences to decay, and this food for further thought must be provided by the initiative of the librarian, providing he is an enthusiast. If cheap stories so often depicted could be replaced by such films as “The Odyssey,” “Hamlet,” “Evangeline,” the cinematograph would become a distinct influence for good.
It has been voiced at some of the conferences that systematized propaganda work is needed. I am glad to see that the Library Association has at last awakened to the fact that the educational value of the Public Library is not known as it should be. The appointment of a “Publicity Committee” shows that a determined effort is being made to launch out into something original, and, I hope, something which will demand world-wide attention.
Anyone interested in Library work cannot fail to see that such a popular and powerful agent as the film must have an effect upon the Public Libraries. Cinemas are not on the wane, but are considerably on the increase. Now that the ban on “luxury building” has been removed, these buildings--in some cases “super-cinemas” embodying every convenience--will spring up everywhere. One very seldom, if ever, hears of a cinema being “wound up” for bankruptcy; these picture-houses are too popular, and this popularity will remain as long as one generation succeeds another.
The film can arouse an enthusiasm in heretofore disinterested readers, and expose to them the pleasures and joys of life they are missing, and only the totally illiterate can ignore it.
Possibly it is not generally known by librarians that managers of cinemas are genial individuals, willing to oblige in a little library publicity, and where the library is in close proximity, so much the better.
What I refer to is a “screened advertisement” on behalf of the library authorities, calling attention to the fact that the book from which the film is produced may be borrowed from the Central Library and its branches, which medium has been advocated in Mr. Walter Briscoe’s book on “Library Advertising.”
Here is the idea for a permanent local “publicity” campaign, and in due course the Library Association, backed up by Government recognition, may launch out into a national programme of recognition.
Some may advocate publicity by means of specially trained orators, who would demonstrate from public platforms in forcible arguments the advantages of the Public library; others may convene dinner-hour meetings and deliver speeches to working men and women as during an election; others may urge the use of public hoardings or electric signs in public places, changing colour every few seconds.
It is admitted that the Press is a powerful organ, proclaiming to every reading individual items of interest within its pages. This is good so far as it goes. Possibly advertising in it would be repaid where the paper has access to every home, and even then there is the possibility of its being overlooked, unless the headline be emblazoned in red. Some people when perusing their favourite papers look for one thing of interest to them only. Some scan the stock and share markets; others devour the racing news; some look at the advertisement columns in the hope of finding a house to let; the gentler sex invariably peruse the bargain sales--so there is a danger of library matters being overlooked.
Some new tactics must be tried; something which will yield better results, something which will meet the gaze of young or old--and there is that all-powerful national appealing projector, the cinematograph. This will explain with greater efficiency than either the public Press, the hoarse-voiced orator, or any other medium.
People who remain ignorant or illiterate need no longer remain in this stage. If they do not know the alphabet, they can be taught it; if they cannot write they can be shown how to wield a pen, and the various styles of writing--backhand, roundhand, copper-plate or script, all by means of text-books obtainable at the library.
The poorest man, without any visible means, living in a garret, has this store of wealth at his disposal just for the asking. Anyone wishing to become acquainted with a foreign language to aid him in his business can learn by the “self-taught series.” Thousands of people in these circumstances could be made acquainted with the treasures of the library by means of the film.
“PUBLICITY FILMS.”
The Public Library “Lending Department” would make an admirable film, showing, as it would, borrowers selecting their books and being assisted by the library assistants. Continuing, the books themselves could be shown in the process of opening. In the natural history section the various phases of nature would be seen by the eye; the philology section would disclose the people of the various ages, dressed in keeping with the period, and the language they spoke; and the literary section would open to view the poets of the various ages and the poems they wrote.
A book-stack would revolve; a book would open in the historical section on the history of England, showing early Britons in their prehistoric dress, and these would change as the various periods in the nation’s history was passed through.
Here is the chance of a lifetime for the exponents of the uses and utility of the Library of which they should take every advantage. There are some people who do not even know that public libraries actually exist in their midst, and what facilities they freely offer. They have yet to realize that the Library is in reality the People’s University, instituted to enable everyone to acquire knowledge and enlightenment.
It would not be impossible to prepare a film on a much wider scale, the production of which would probably run into similar figures to those of the biggest “releases.” (I hope readers will not blame me for being an idealist!) For national publicity purposes a film on “THE PUBLIC LIBRARY: ITS EVOLUTION AND POSSIBILITIES” could be prepared, depicting the remarkable modern growth of this valuable institution. The veil of obscurity could be torn aside, and that erroneous impression dispelled that the library is a very modern institution. The interested person could retrace his steps in the annals of library history as far back as it is possible to go.
LIBRARY HISTORY.
Before our eyes would actually be shown the fact that books themselves were not always of the material so familiar to us. Knowledge could be extended far beyond the invention of the printing-press; metal, stone, bricks, walls, pillars, and even the rocks of Nature’s own production were used to convey information to succeeding generations. We should be brought into close contact with the libraries of Assyria, Babylonia and Chaldea, the three ancient empires of which the most is known. There will be seen the palace-temple of Nippur, founded not later than 2280 B.C., the “tomes” classified and catalogued on shelves in the most approved manner, some 200,000 clay bricks being exhibited.
The period of the Greeks would prove interesting, storing the archives in the temples of the Gods, during the sixth century B.C. The Romans would be pictured amassing their libraries as spoils of war; the first to be established in 168 B.C. by Aemilius Paulus--the librarian being a slave or freeman. Time progresses with the passing of the film--Bishop Alexander is seen establishing the first Christian library at Jerusalem in A.D. 212. The libraries later meet with a catastrophe, being swept away by the invasion of the Goths and barbarians of the Western Empire in the fifth century. From the fall of the Western Empire to the Revival of Learning in the fifteenth century the libraries passed into the hands of the monks, who were the collectors of the Middle Ages. Here they could appear, working in the monasteries, writing on parchment rolls. Every Benedictine house was equipped with a library.
Interest quickens as the rapid growth of libraries in England becomes apparent--at Jarrow, Lichfield, Whitby, and other places in the North of England. The gradual developments from these libraries to early town libraries, the various types, remodelled to suit the requirements demanded by mental enlightenment, would all create interest and pleasure.
The modern library would prove the most interesting. The shelves upon shelves of books, closely classified, yet so simple, would evoke admiration. The visual procession of saints and sages, warriors and martyrs, the upholders of justice and freedom, as they stepped from their places upon the shelves, would create wonderment.
Single shelves bridge the intervals of time; generations upon generations of men congregate there.
From the film, the demonstration shows that through the medium of books one can witness the plague of Athens or London, without contagion; follow Caesar upon his marches; stand by the side of Agricola as he regards Ireland and says that some day he will “go over and take it”; rove the Dark Continent with Stanley, and learn the secrets of artificial and natural flight with Sir Hiram Maxim. Similarly, readers would transport their thoughts according to the nature of the literature indulged in by them.
It could be shown that no matter what our tastes are, whether they be inventive or whether we prefer to be in the company of a celebrated humourist, the library will supply all wants.
Other activities in connection with the Library could be shown: the travelling libraries setting out to the rural districts, the door-to-door calls, the issuing of books to our isolated brethren. Lastly, our work with the children in the juvenile library and reading rooms, and the establishment of libraries in the schools.
What more material can the publicity exponent desire than lies here within his reach--the film for perfect propaganda work? It only needs to be utilized. By means of one human effort for the creation of such a film, its duplication to any number, its use either in the libraries, the local cinema, or public hall, the whole of the population of England could be enlightened simultaneously or gradually, and the efforts of the publicists would be rewarded by the Public Library being placed in its right sphere as an educational institution; its use to the community would be recognized and the demand upon its resources would be increased.
We as librarians, custodians of books, must acknowledge the significance of the cinematograph. We have in projectors a valuable aid to our works as educators. The “movies” are the coming apostles of education; in them we have the world in miniature, and its value as an educative force can hardly be over-estimated. In a very few years every well-equipped library will be installed with its own cinematograph apparatus, and possibly its own asbestos-lined cinema-operating room, as at Stockport, for instance.
THE BOOK.
A film on the making of a book could be made decidedly interesting, showing the many processes that go to the making of a book; from the arrival of the manuscript to the purchase of the book at a shop, and the customer reading it at home. Such a film has been prepared by Messrs. Doubleday Page & Co., Garden City, New York. The film can portray the living characters of books, and readers usually derive more pleasure from reading after the characters have been portrayed upon the screen.
THE FILM AS MENTAL ALLY.
Much enlightenment may be derived from the film. There are some people, who during their lifetime spend too much time on petty details, a fair proportion of every community are totally incapable of following any line of thought to its logical conclusion. Some people, whilst reading a book, have to depend upon a bookmark to locate the place where they are reading, instead of being able to pick up the book and recommence, remembering where they discontinued previously. Concentration of thought whilst reading, a complete assimilation of the facts contained in the book, and the capability of understanding what has been read, would obviate the necessity of any temporary bookmark. The fact of remembering what has been read will readily indicate the place to recommence reading.
Some people will read a novel, and at the end cannot recall the characters in the book, or what part they have taken in the story. Such a hapless habit is to be deprecated. Others possess a more retentive memory and read a book with a definite purpose, and at the conclusion, or even some considerable time afterwards, could enumerate every detail, fit in every character, the moral they present, and even tell one the defects therein. To such people as the forementioned, the film would be of great assistance; not only to give a correct rendering, visually, of the book, but to help them to remember facts and characters.
There are the class of people, few in number, who own and use their own libraries, and have little use for the Public Library. Another class, slightly larger, but still, numerically, only a small portion of the population, know books and use the Public Library freely and with intelligence. The remainder, or more than half the average community, need to be taught its value and purpose.
FILMED LITERATURE.
The “movies” make their appeal through the rapidity with which the plot of the story is carried along, and the exaggerated emphasis with which the different points are brought out. It is a primary or kindergarten for the schooling of those people into the region of emotional experiences. By co-operating with the “movies” the Library in time might be able to grade the work so that a brief and simple love-story might be heard or read with understanding. The repetition of the visual presentation of the idea possible in a moving picture would help to make its meaning clear.
Take a novel as an example: in this case Ethel M. Dell’s “The Keeper of the Door.” The chief character is the doctor or surgeon, who makes every endeavour to retain life in the human body, he being the keeper of the door, not allowing the spirit to depart. There is something really beautiful as this picture is portrayed: the vigilance of the doctor, and the kindness and patience of the nurse; yet in spite of all this attention the activity of the patient is slowly waning, and then the last breath is taken and human life ceases to be.
Other features create interest--the surroundings, the way the characters play their part, and the emblematical representations all create a longing to read the book. In reading, the whole scenes return as witnessed; greater interest is created, and one cannot imagine a person losing his place of reading, or the inability to fit the characters in their places, even after some considerable time has elapsed.
IV
SOCIAL
THE CINEMA COMMISSION.
The National Council of Public Morals embraces many subjects in its activities; for some years it has been keenly interested in the influence of the cinematograph upon young people, with the possibilities of its development and with its adaptation to national educational purposes. The President (the Bishop of Birmingham), with the Rev. F. B. Meyer, D.D., took a leading part; the first Cinematograph Congress being held at Olympia in 1913.
The Commission did not seek to abuse the people responsible for the promotion of the cinema by outspoken raillery, but met representatives of the whole trade in frank discussion of the best means of ridding the community of whatever evil elements existed, and meeting the demands of the best public opinion for a higher class programme; suitable exhibitions for juvenile minds, for the suppression of certain evils which had temporarily blighted the cinema halls, and lastly for the establishment of a national censorship which would give the necessary freedom for the proper development of the cinematograph, whilst prohibiting all undesirable films.
At a meeting held in London on November 24, 1916, representatives of the Cinematograph Trade Council, the Incorporated Association of Kinematograph Manufacturers, Ltd., the Kinematograph Renters’ Society of Great Britain and Ireland met together, and it was finally resolved--
“That the National Council of Public Morals be requested to institute an independent inquiry into the physical, social, moral, and educational influence of the cinema, with special reference to young people.”
The terms of reference to the Commission were:--
(1) To institute an inquiry into the physical, social, educational, and moral influences of the cinema, with special reference to young people.
(2) The present position and future development of the cinematograph, with special reference to social and educational value and possibilities.
(3) To investigate the nature and extent of the complaints which have been made against the cinematograph exhibitions.
(4) To report to the National Council the evidence taken, together with its findings and recommendations.
The Cinema Commission commenced its labours on January 8, 1917, and terminated on July 9, 1917. Forty-three witnesses were examined, representing the different interests in the country. In addition to the time taken up for the hearing of these witnesses, sittings were held at a private theatre for the inspection of the films complained of. It also extensively visited cinema halls in the course of its labours.
The headings for discussion were:--The standard of judgment, Special consideration regarding the cinema as a place of amusement, The moral dangers of darkness, The character of the film, Need of a stricter censorship, Special claims of children, Special inquiry regarding the influence of the picture house upon children, Juvenile crime, Replies of chief constables, Ideas of life and conduct, Special provision for the young, The value of the picture house, The cinema as a counter-attraction to the public-house.
The Commission also adopted the roll of educational expert, carrying out a number of psychological experiments.
(1) The durability of cinema impressions on school children;
(2) Mental fatigue caused by instruction by means of the cinema;
(3) Tests of education by cinematographical methods, in comparison with the ordinary method of instruction;
(4) In which direction the most fruitful and permanent results could be obtained by the cinema;
(5) The possibility of the cinema in cultivating an æsthetic appreciation;
(6) The most advantageous way of correlating the work of the school with that of the cinema, and the most economical method of using the cinema for this purpose;
(7) The collection of evidence with regard to experiments which have already been carried out effectively by using the cinema for educational purposes;
(8) The best methods of producing suitable films for school purposes.
This report is exhaustive and is the findings of laborous sittings, full of material treating upon the cinema question from all possible sides. The debates have been carried out by representatives of every section of the community; the decisions are unbiassed, full of truth, suggestions, and remedies.