18 The Moncton Fl Kes son, Buem emphasizes the ways in which nonfition fli cxn com ‘mualcate by relating individual human needs to larger, seca conditions. His theory is no nied to television, of eourse, but ae knowledges the role that television has played in the revival of now fieon fm making since the agg To Buen, Grier, Rota, ‘alles, and Anderson dulloes isnot synonymous with the doce ‘mentary appresch, but is rather the result of thove ln takes and Viewers who mnisupply ond misunderstand i ‘The nonfiction film must be liberated from dullness so tha it can be, in Lindsay Andersons words, “nether exclusive and sobbish, nor stereotyped and propagandist—but vit, laminating. personal, snd refreshing” From Nenfreher Film they rot. ed. Bar sam JOHN GRIERSON Fiat Principles of Documentary ” (1932-1934) Dacsumentary is clumsy desription, but lt it stand. The Preach ‘tho fst used the tera nly meant travelogue It gave them a said high-sounding excuse forthe shimmying (and otherwise dlscusive) trotcsms of the Vieux Colombier” Meanwhile documentary. hax fmue oa its way. From shimmying exotics # has gone. on to lace dramatic fim Ihe Moana, Barth, ae Turkib. Are in tine it will joude other kinds as diferent fm form aid intention fom Moana as Moana ws fom Voyage au Congo. So fir we have regarded all fms made rom natural material as coming within the xtegory. The use of natural materia has been ‘epided asthe vial diction. Where the camera shat on the spt twliether it shot newsreel tems or magazine items or discursive “in terest" or dramatized “interests” or education ins or scientific fs proper or Changs or Rangos) in that fact was documentary “his anay of species is, of couse, quite unmanageable in eric, td we shall hive to do something about i They all represent di. ferent qualites of observation, diferent iniention in observation, snd, ofcourse, very diferent powers and ambitions atthe stage of onpaiing materia. I propos, therefore, ater a brie word on the lpr twe the dcuentyderption cay of the higher “The peacetime newsre! is juts speedy snip-snap of some utterly ‘mnt ronan 1 lin th pec wih wich te a bigs ofa politician (gazing sternly nto te camera) ee transferred ‘oft lion relatively unwilling ers in a compl of days or so, The mapaine items (one a week) have adopted the orgial “Ti-Bits” manner of cbservtion. The skill they represent sa purely joural- Isic sl. They describe novelties nevelly. Wath their moneyiking 9¢ lalmost their only eye) ged like the newsreels to vast and ‘Reedy andiences, they avoid onthe one hand the consideration of sold material, and escape, on the other, the slid consideration of29 The Nowton Film 608 any material, Within these Timi they are ten bilanly done. But ten in ow would bore the average human to death. Their reaching tut forthe Aippant or poplar touch se 9 completely far-reaching that it dsloeates something. Posbly tate; possibly commen sense ‘You may take your choice at these litle theatres where you aro in sited 10 gad around the work! in fifty minutes, Ie takes only that long—tn these days of gre invention —to se aiost everything. “Tntevest” proper improve mightily with every week, though Iheaven lows why. The market (partway dhe Bish market) i Stacked against them. With twofeanure programs the rule, there i nether space forthe short and the Disney end the magazine, nor ‘money lef to pay forthe shart. But by good grace, some ofthe enters drow i the short with the feature This comsderble trrnch of cinematic illumination tends, thorefere, tobe the git that with the pound of tea, and ike all gestures of the gpocery sind ‘tie not lable to cox very much. Whenee my wander at improving ‘quules. Consider, however, the very fequent beauty and very {reat shill of exposition in such UFA shorts as Turbulent Tinber, ia the sports shorts fom Metro-Goldwyn- Mayer, in the "Secrts of Na ture” shorts from Bruce Wools, and the Fitspatrik travel tll ‘Together they have brought the popular lecture to a pitch une dreamed of and even impale in the days of magic lanterns. In thistle we progress ‘These fms, of course, would not like to be called lecture ins, bt thls, forall their disguise, is what they are. They do not damma- tie, they do not even dramatize an episode: they deere, end even ‘expe, but, in any sestetic sense, only rarely reveal. Heveln I thee formal lit and its uulkely that they wil make any consid ‘erable contibation to the filler at of documentary. Ho indeed fn they? Ther silent form ts cut to the commentary, and sho are ange arbitrarily to point the gags or eonchsions. Ths fs not rater of complaint, forthe leture fm must have increasing value ientertainment, eduction, and propaganda. But if as well es tablish the formal limits of the specie "This indeed is a particolely important Halt to record, for beyond the newsmen and dhe magzine men andthe Lecturers comic oi teresting or exciting or only rhetorical) one begins to wander into the word of decumentary prope, into the only wold in which doc. tumentary ean hope to acleve the ordinary virtues of an art. Here ‘we pas from the pin (or fancy) deseriptions f natural materi, to Arrangements, rearrangements, ad erative shapings ot Firat Pactpes of Documentary 21 First principles, (2) We believe thatthe lnema’s capacity for get- ting around, for observing and selecting fom lle ite, can be ex: plated in a now and vital artform. The studio fs largely ignore this posility of opening up the screen on the real world. They phorngraph acted stories against artical backgrounds. Docume tary would photograph the living soene and the living story. (2) We bliove that the orginal or native) actor, andthe orignal (or native) scene, are better guides to a screen ilerpretatfon of the moder world, They give Gaema 4 greater fund ef material. They give Dower over a milion and one imiges. They give it power of terpretation over mere complex and astonishing happenings in the real world than the studio mind can conjure up or the studio mech niin re-create. (a) We believe thatthe materials andthe stories ‘has taken from the raw can be Baer (more rea in the philosophic tense) than the acted article. Spontancous gesture has a special ‘alte onthe seen, Cinema has a sensational expacity for enhancing, The movement which traction his formed or ane worm sinoth. Is tubitray rectangle specially reveal movement; gives lt maimnum pattern in space and ie. Add to this that docunentary can achieve innncy of knowledge and ect impose to the shinesham ‘mechanic of the studio, and the liy-Sangered interpretations ofthe ‘metropolitan actor ‘do not mean in tis minor manifesto of elif to suggest that ‘he studios cannot in their own manner produce works of at to as tonish the weld. There is nothing except the Woolworth intentions tf the people who run ther) to prevent the studios going realy high tn the manner of theatre or the manner of fry tale. My’ separate tll for documentary is simply Ghat in suse of the Iving article, there is else an opportunity to perm creative work. L mean, to, thot the choice of the documentary modiam is as gravely distinct a oie asthe ehoie of poetry Instead af fiion. Deaing with die fereat mater, i is, or should be, dealing with t to diferent aes- thet sues from those ofthe sto. 1 make this distinction tothe pot of asserting that the young director cannot, innate, go doo mentary and go stoio bei Tn a exer reference to Flaherty have indicated how one great ‘exponent walked sway From the studi: how he care to grips with the essential story ofthe Eskines, then with the Samoans, then It tel wit the people ofthe Aran Islands; and at what paint the doe. timentary diector in him diverged from the studio intention of Helywood. The main point ofthe story was this. Hollywood wanted12 The Nomleten Fm to impose a ready-made deamatic shape on the raw eater. It vated Flaherty, tn complete injustice to the living drana on the spo, to bud hs Samoans into rubber stamp drama of sks sa ‘bathing belles. [tiled inthe case of Moana it succeeded (rough Van Dyke) in the ease of White Shadows of the South Seas, and (through Mura) in the ease of Tabu. Tn the lst examples it was at the expense of Fakery, who severed his association with both, ‘With Flaherty it became an absolute principle that the story must bbe taken fom the location, and that t should be (what he conser) the essential story of the lation. His drum, therefore, is a drama cof days and nights of the roand of the year’s seasons, of the fan. damental fights which give hi people fustenance, or make thelr ‘community fe possble, or bald yp the dignity ofthe tbe Such an interpretation of subject mater relict, of course, Fl- herty’s particular philosophy of things. A sicoceding documentary exponent isin no way abiged to chase of to the ends of the earth in search of old-time simplicity andthe ancient dgnitis of man against the sky: Indeed, iT may fr the mement represent the opposition, 1 hope the Neo-Rousseauism implicit in Flahery's work dies with his ‘own exceptional sel: Theory f naturals apart, i represents an ee caps, a wan and distant eye, which tends in lesser hands to sont ‘mentalsm. However it be shot through with vigor of Lawrencian poetry, it must always fil to develop «form adequate tothe more Immediate mater cf the modem world. For it snot coy the fol that as his eyes on th ends of the earth ti sometines the poct: sometimes even the great poet, as Cabell i his Boyond Life wall bghtly inform you, This, however, i the very poet who on every classi theory of society from Pato to Trotsky should be remove bodily from the Republic Loving every Time but his own, and very Life bu his ow, he aveids coming to gripe with the eeative nb insofar as it concerns society. In the business of ordering, most Present chaos, be docs not nse his powers. ‘Question ef theory and practice apart, Flaherty lstrates beter than anyone the frst principles of documentary. a) It must master sts material on the spot, and come in intimacy to ordering it, Fe erty digs himself in for a year, or two maybe. He lives with his people tl the story is tld aut of Hime”) 1 mt fle hin in Is distinction between description and drama. I think we shall find that there are ther forms of drama or, more accurately, other forms sf film, than the one he chooses; but Iti Important to make the primary distinction betwoon a method which describes ony the su Fst Pips of Documentary 23 fae values of subject, and the method which more explosively reveals the reality of You photograph the matora if, but you tho, by your justaposition of det, ereate an interpretation of “This ial ereatveintntion established, several methods are pos stl You may, lke Flaherty, gp fora story form, passing in the a- Gient manner fom the individual tothe environment, 1 the en ronment transcended or not transcended, tothe consequent honors heroism Or you may not be so interested in the individual. You ray tak tat the individual Ife no longer capable of eros see- toning realty. You may believe that ts pareuar bllyadhes are bo consequence in a worl which complex and impersonal forces ‘command, apd conclude that the individual a a sellsuficient drs nate figure is outmoded. When Flerty tells you tat isa dev- ‘sh noble thing to fight for food a wilderness, you may, with some justice, observe that you are more concerned withthe problem of eopl fighting for fod inthe midt of plenty. When he deavs your sttention to the fact that Nanook’sspea is grave in its up aie fd ucly sig in its dow polting bravery, you may, with some tle, abserve that no spear held however bravely by the individ ‘a, wll master the crazy walrus of lterational finance. Indeed you tay fel that indvidlism is Yaboo tradition largely responsible far our preseat anarchy, and deny at once both the hero of deceat heroics (Faherty) an the hero of indecent ones tii} Tn these, you wal fel that you want your drama ia terms of some cross se. ton a reality which wil revel the essentially cooperative or mast nature of society: leaving the individual to fd his hones in the woop of creative soil forces. In other words, you ae Hible to thandon th story form, and sock, lke the moder exponent of po- ftry an painting and prose, ater and method more stlatory to the mind and spirit ofthe time. Batins The Symphony of« Great Cy iitated the more modern Gehlon of nding dacamentry materal on ors dort: n events ach have no novel ofthe whan, or tance of mblesavase Ge ext lndsape, 10 recommend them. Rrepeseted, limi, there ram romance to realy ‘Bon wae variouy reported as made by Ratna, or bogus by Rarerann and Shed by Freund certainly was begin by Rote ‘ann, In snot and fey tempe'd visu, a ln sung Cou ‘mburban momings isto Bein, Wheel, rls, deus of engines, ‘Hepaph wire lndsepes an olher spl inages Bowed slong126 The Nonton Fm dew Frat Prociples of Documentary 25 thing, to bed: though Edinburgh i the capital of «country and Eccefechan, by some power inside isl, wat the bint af Carle, in some ways one ofthe greatest exponents of tis dca sentry iden The ile daily doings, however finely symphonized, are not nou. One must pile up boyond doing or process to creation Ietl before one hits the higher reaches of art. In ths distinction eretion ‘ndictes not the making of things but the mabing of viens And there's the rub for tyr. Cetal appreciation of movement they can build eal fom their power ta cbserve, andl pow to abs fers st uceray, th srs the ys xen Rees lrtyuty cf tangled pees and strectare, Thee oe ee fi fed a vars rete with cota of nh and pour The oy a sted work agin, snd shower rnin he acres begs é considerable evat The cy stopped work nin further wore has te proceso ef pubs ad ert and dangles tate ‘ted sy si, fad ey esa he ln was incall conserd with movements tnd the bing of spate tages nt movements Ratner jk Udi cling i symtony It mens ee han ay cxe—but the ends must be there, forming his densaptig se Lorrowed from literature and from the play burrowed from the : has ‘ving finality (beyond space and time) to the sles ef He he ssn. For that larger efict there must be power of postry or of proohecy. Falling ether or both in the highest degre, Uhre must beat leat the sociological sense implicit in poetry and eephecy, ‘The best of the tyras Inow this. They believe that benay will come in, god time to inhabit the statement which ts honest sad Fac and deeply felt and which fully the best ends of citizenship. “hey are snable enough le cna oat he bro os nb of work done. The opposite ert to capture the byproduct ne (the self-conscious purslt of beauty, the pursuit of at fara sake to the exclusion of jobs of work and ether pedestrian beyianing) ese Alva a reflection of selfish wealth sls Iiure and scchote ‘This sense of socal responsibilty males aur realist documentary a 1s single observations. Cavaleant’s Rien que len Heures uel Léger Ballet Mécanique came belore Bain cach with asia ate 1 A ‘combine images in an emetionllysatiactory sequence of nove, ‘ments. They were too scrappy and eel not mastered the wt of cat ting sufitently well to create the sense of inal necessary tole genre. The symphony of Berlin Cty vas both large in ‘ents and larger ins vision, ‘There was ove erica of Berlin which, ot of epprecation fora fine film and a new and arresting form, the exes fale to make, axl te has not justifed the omission For alls ado of weekinee i and factories and svi and swing of a great city, Berlin created “| ‘nothing, Or rater i it created something, it was the shames afro troubled and dificult rt, and particulary fn «time like ours, ‘The N | the afternoon. The people of the city got up splendidly, they ‘ab of romantic documentary is easy in comparison easy inthe sense in and onal tht fein hops imeesvly, they tomed ME tn the nee seagrass Pec the seasons Jas and no other isue of Goel or man emerged than tha sudden bespattcring spilling af wet on people and pavements urge the criticism because Barn sill exces the mind of the | yom, and the symphony form is sll thir mest popular pen 1f the year have already been articulated in pctry. Their essential ‘dies and slums and markets and exchanges and factories, hat {Gren itself the job of making poetry whore no poet has gave befene aad where no ends, sulident forthe purposes of art, are carly bbserved. It requires not ony taste but ago ingpiaton, which i Ej}e0 Mbooes, deep-sceog, deep-ympathiig ereve et Ide ‘The symphonists have found a way of building such matters of ‘uasion. In fifty scenarios presented by the tyros forty-Rve are sos Phonies of Edinburgh o of eclfechan or of Pans oof Page Day breaks—the people come to work the factories start the streotarsratle—tunch hour and the streets agln--sport Se trday afternoon certainly evening and the lel dance hall. And nothing having, happened and nothing positively sad about tay: & ir = i i i a . i128 The Monten Flim Ices cexomon rely to very plant sequences. By the uss of tempo Se tythm, and bythe larg sel intgrtion of singe eects, they Capture te ye acd lnpret the mind the sae yo aio a ‘tary para might do. But by tht concentration om mass ae tvovemets they tend to aval the lager ceatve ja What more Stimsve (ora tom ovina tua the ening woes ed pits Shout in dngdong Sesepion ea machin, when he has Heo 2) aot he an oho tends and al a toy about the trgan rode tal Ac what rove conrtble i ones het, tere [Devotee oft une of ender lho and meanglr produ thn? For this ren hl the symphony traen ef cinema for + Anger and Bek forthe most dangerous of all fan model few Walintnay, the feshion swith sch vida as Bein repre: sess: The highirows Hew he symphony fr good lok snd ngs, hile wis th mont prt, isle ga fom farther intention. Othe ctor combine fo cece one's ade tent rearing Tho port 195 generation inna lena taligence rede, spo vll spray valent sens fll Sioment, sad 2 very eatual ft rection of impotence ay St mane of aon which comes to hand. Tho por ie farm wach ths grove cxtuy represents the eet fanaa "The objection ramann, however. Tho rebellion from te wo grivnbo edison ef cocumercd nena to tho tendon of poe Fem in coma (coo gret shakes as a rebeon. Dato expe fates eyocberia, eo a Ge meme egy. They ree tem belles sd wow cages they fl to prose new persanons “Tho imager re dbl pod prc might av taken cour comileration of documentary» sep futher, but no ral iimgit flm bar arived to gve chandler 10 the avance By Pee ee sgt ecyeiieiene tenet gee aay nee begat ee ont pode rebenoe thea? ond “caro the poi fe Dif wns coe spl contention in hat drcion, bt ony simple ones sbjct belonged in part to Faber wef tad something ofthe noble stags and cota a pet deal oe tlements of mtue to pay wih, tail however, se stam and fmoke and dd na ease, mara he effets of moder sty {king back oo the ln nom, I won ot stres the tempo ellos ‘tic bt beth Brin and Batap Potemkin came bee Frat Print 10, nor even the rhythmic effects (hough I believe that outdid the technical eample of Potemkin in tat direction). What seeated po sible of development in the Bln vas the integration of ager with the movement. The ship at sea, the men casting, the men hauling ‘wore not only soon as funetionaries doing something, They were Seen a foncionaies in half « hundred elferent ways, and ech tended to add something to the iluniation st wel ay the desi tin of them. Tn other words, the shots wee massed together, not only for description and tempo but for commentary a it. One fle Impressed by the tough, continuing wpstanding labor involved, and the feling shaped the images, determined the background, and supplied the esr details which give color tothe whale. T do not urge the example of Drifters, but in theory atleast the example is there. Ifthe high bravery of upstanding labor eame through the fl, as T hope itd, it vas made not by the story el, but by the imagery attendant av it I pt the pot, not in pase of the method but simple analyse ofthe method, f Documentary 27 ‘The symphonic form is concern wit the orchestration of move- iment. aces the screen fm terms of flow and docs not pera the fw to be broken. Eplsodes and events if they ae ined in the tetion, are integrated inthe flow. The sympbonic farm also tends to faganize the flow in terms of diferent movements, c.g, movement fer dawn, movement for men coming te work, movement for fto- ‘ein fal sing, ete, te This i Bist distinction, See the symphonic form as something equivalent t the poet form of, sy, Carl Sandburg, im Skyneraper, Chicago, The Wendy City, and Slabe ofthe Sunburnt Wet. The cect is presented a an of many acts. It lives by the many human associa ‘ons and by the moods of the various action sequences which sur ‘und it. Sandburg says so with variations of tempo in his dese tion, variations of the mood in which each descriptive fet s presented We do not ask personal stores of such poctry, for the Piette complete and satisfactory. We need not ak it of documen- tay. This a second dtintion regarding symphonic for “These distinctions ranted, tis possble forthe symphonic fora to vary considerably. Basil Wrieht for example, i alinestexcusvely intrested in movement, and wil buld up movement in a fary of design and nuances of design, and for those wise eye is suliciently trained and sufiienty fino wll convey emetion ina thousand vari tins on a theme so simple asthe portage of bananas Cargo from128 Toe Nonteton Fm First Prncpes of Documentary 22 from the shi, and of contemplative, Le. more intimate, reaction on the faces ofthe men. The drama would have gone deeper by the (peer Insight into the energes and reactions involved, ‘Cary this analy nto consideration of the fst part of Desertr, hich piles up from a sequence of deadly quiet to the strain and Fay-—and aftermath —of the strike, or of Uh strike soquence itself, ‘slick piles up fom deadly quiet to the stn and fury—and alter- Inath—of the police attack snd you have an indication of how the ‘Symphonie shape, sl fithial tots own peeuliar methods, comes to ‘Bip with dramtie sue. ‘The poste approach Is best vepreseated by Romance Sentimen- tele and the lst sequence of Ehstae. Here there is description swthout tension, but the moving description is it up by attendant Images. In Elsase the notion of Iie renewed is coaveyed by 3 tythmie sequence of labor, but there aze also essential images of «| ‘roman avd eld, a young ma standing high over the scene, sky- apes and water” The deserption of the varioas moods of Romance Sentmentale is conveyed entiely by images: in ove sequence of domestic interior, im another sequence of misty morning, placid titer and dim sualght. The creation of ood, an essential to the ‘prone frm, may be doe in terms of tempo alone, but itis bet fer done f poetic images colori, In description of night at sea there ace elements enough aboard «ship to bud pa quiet and ef fective rythm, buta deeper eflbct might come by reference to what is happening undarwatr or by reference to the strange spectacle of the birds which, sometimes in ghortly Hacks, move sleatly in and ot ofthe ship's lights ‘A sequence in film by Rotha indicates the distinction between the the dilecent treatments. He describes the loading of a steel Farmace and builds @ superb shythm into the shoveling movements Othe men. By creating behind them a sense offre, by playing on the momentary shrinking from fire which comes into these shovel ing movements, he wool! have brought inthe elements of tension. ee might hive procesded fom this oan almost tering picture of at steel work fovelves. On the other hand, by overaying the thythm with, say such posturing or contemplative symbolic gures ts Eisenstein brought into his Thunder Over Mexico materi, he frould have aed the lements of poetic image. The distinction is Tetween a) «musical or noaiteary method; (b) a dramatic method ith cashing forces, and) a poet, contemplative, and aliogether Jamaica). Some have attempted to relate this movement to the ‘pyrotechnics of pure form, but dhere never was any soch animal. (1) ‘The quality of Wrights sense of movement and of his patterns is dis- tincavely his own and recngniably delicate. As with good painters, there i character in his ine and attude in his composition. (3) "There is an overtone in his work which—sometines after seeming ‘monotony-~makes his description uniquely memorable. (9 His pat tems invariably weave not seeming to do so—a postive atte to the materia, which may conceivably relate to (2) The pattems of Carge from Jamaica wete more ssathing comment on labor st two ‘pence a huadved bunches (r whatever iis) than mere sociological triste. His moverments—(a) easly dows; ) horizontal; () ar Aduously 4 degrees up; (2) down agaln-conceal, or perhaps com- ‘ruc, a comment, Flaherty once mamtained that the east-west com four of Canada wus faelf a drama. It was precisely a sequence of dow, horizontal, 45 degrees up, and down agin Tse Basl Wright as un example of “movement in tsel—though movement is never in isell—princplly to distinguish thove others ‘who add either tension clement or poetic elements or atmosphere ‘ements I have held myself n the past exponent of the tension ‘itegory, with certain pretension tthe ethers, Here isa simple ex ample of tension from Granton Trawler. The trader is working | {Gear ina stor, The tension elements are bait wp with emplss oo the diag ofthe water, the heavy arching of the ship, the fevered Aashing of the birds, the fevered Hashing of faces between waves, Ices and spray. The trate hauled aboard seth stan of men ard tackle and water Its pene in a telese which comprises equal the release of men, isd, and fd. There ls no pause in the flow ot ent, bat someting of an effrt, as between two opposing forces, has been recorded. Ina more ambitious and deeper deserp- tion the teasion might have iacluded elements more intimately and ‘more heavy descriptive ofthe clanging weight of the tale, the Strain on the ship, the operation ofthe gear underwater and along the ground, the suttering myriads of birds lying off i the gale “The fine fity of ship and heavy weather cold have been brought through to touch the vials of tae men and the ship. In the hanling the simple facto a wave breslng over the men, subsiding and les tng them hanging on as though nothing had happened, would have brought the sequence to an appropriate peak. ‘The release could Fave attached to iel image fy, bids wheeling high, taking of |literary method. These three methods may all appear in xe fm, Dut thelr proportion depends nately on the character of the recon his private hopes of salvation, do not sugges that one frm i ighor than the ober. There are ‘pleasures pela tothe exercise of movement, which in a sense ae fougher-more clasealthan the pleasures of poetic description, however attractive and however Blessed by tation these may be. “The introduction of tension gives accout toa fm, but nly too easy {Gives popula appeal becasse of ts primitive engagement with phys fea issues and struggles and fights. People ikea fight, even when it is only a symphonic one, butt not clea ata war with the ele ‘ments is braver subject chan the opening of x Aower or, fr that matter, the opening ofs cable, It refers us buck touting instincts find fighting nstncs, but dhese do not necessnly represent the tore eivilized Belds of appreciation, Tis commonly belived that moral grandeur in art can only be achieved, Greck or Shakespearean fashion, alter a general lying out tf the protagonists, and that no head i unbowed which is net bloody. This notion i philosophic vulgar. Of recent years it as been given the further blessing of Kat in his distinction between the sects of patter and the aesthetic of achievernent, and ‘beauty has buon considered somewhat inferior to the sublime. The Kantian confusion comes from the fat that he personally had an c- tive mer sense, but no active aesthetic one. Hie would not other trae have drawn the distinction. So far as eanmon taste is com femed, one has 10 see that we do not mix up the flliment of primitive dedres and the van dials which attach to that fll Inent with the digltes which atach to man as an imaginative being. The dramatic appiation of the symphonic form isnot, ps0 facto, the deepest or moet important, Consideration of fors neither ‘dramatic nor symphonic, but dialectic, wll reveal this more plainly JOHN GRIERSON The Nature of Propaganda ‘ins, ‘Long before the war started, those who had studied the develop- ‘meat of propaganda were consantiy warning the Brich gover ‘ment tata highly organized information service, ational and inter ‘atonal, equipped wit all modern instruments, was as necessary as Any other lige of defense, I'am thinking back to 2490 and even ‘eloe Hitler came to power. Over the dog days ofthe 1ggos they preached and they pleaded, with only the most paral sucess and {ithe meantime the greatest master of scientific propaganda in oor time cane I dant mean Gosbbels T mean Hite himsel tn this Jricular line of defense called propaganda, we were canght bend> Ig. in 50 many other spheres, heosuso peace was so much in Boe ba they wou nt pr th dept weapons The Germans attached Gist importance 0 propaganda. They Sat think of asst a airy i politcal management and nl ty rey. They repel as the very fs ol nk ‘weapon in plitcal management tary achicverent—* ‘ery fist All of us now appreciate how the ttegy af position—the tar of trenches was blown to smithereens by the development of the intemal-combuston engine. Fastmoving tanks and fast top ‘eres could get bebind the lines. War, n one ofits essential, Is ‘Become a matter of geting behind the lines and confusing and Aviing the enery ‘But the chief way of geting behind the lines and confusing and Aiding the enemy has been the psychologkal way. Hitler was fecloure that France would fall and forecast tin 2994, almost ex: (ity ar it happened, The forcast was based on pychologel, not fn itary, ressns. "France" he sai, “inspite of her magafient ty enue, by the provocation af unrest and disunity in public “pinion, easly be brought tothe pent when she would ony be able ro ose her arty too Tate or nak at all”