IVSOCIAL

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 influencesof 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.

(1) To institute an inquiry into the physical, social, educational, and moral influencesof 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 characterof 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.

(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.

Owing to the objectionable character of some of the imported films, the question of an independent censorship was discussed at the latter end of 1911, and in October, 1912, with the approval of the Home Secretary, the Board of Censors was established and official duties were commenced in January, 1913. Entire independence and impartiality were assured, and are claimed to have been maintained by the Board of Censors.

It was decided to issue certificates classed as follows:—

U. Films to be shown to any audience.A. Films to be shown to adults only.

This Board passes about 97 per cent. of films passing through its hands.

Two rules were laid down—

(1) That the living figure of Christ should not be allowed.(2) That under no circumstances whatever would nudity be permitted.

(1) That the living figure of Christ should not be allowed.

(2) That under no circumstances whatever would nudity be permitted.

The Examiners judged upon the broad principle that nothing should be passed which in their opinion would demoralize an audience. They laid down forty-three reasons for refusing to pass films.

The question is often asked in the public Press, and occasionally in Parliament, “What has become of the censor? Why does he not exercise his powers of suppression? Is there such an office?” This question is becoming increasingly urgent and acute.

There has been a tendency for the last two years to allow to filter through on to thepublic market films distasteful to modest vision. The so-called comic films are becoming more and more suggestive. We are aware that the modern tendency in female attire is to lower the neck and shorten the skirt. There is beauty in a painted nude figure, showing the perfect formation of limbs; this is from the standpoint of art.

It is the prevailing fashion in modern American “comedy films” for “bathing belles” to figure largely, and this is unnecessary unless the film actually depicts seaside life, surf-bathing, or is advertising a standard bathing costume approved of by the exponents of the “modiste” costume. There are also passages in these films which call for the excision of certain portions.

A flagrant breach of “censorship” is occasioned by allowing a film of the following nature to appear upon the open market. This depicts a Chinaman who runs an opium den, and who is also a money-lender. The story goes that he has designs upon a pretty English girl. To become acquainted, he advances money to her father, followed by furtherloans, which are used as a lever; for the father finally forces his pretty daughter to marry the Chinaman.

The scene changes to the girl’s bedroom, where the pretty wife, clad in a diaphanous nightdress, has a terrific struggle with the Chinaman.

Only one conclusion is possible, and there is no moral attached to the picture, which only produces a feeling of disgust—that the paternal human nature should have been so shown as actually existing between father and daughter.

Crime films are another section which should not escape the critical eye of the censor. It has been suggested that in some cases acts of crime by juveniles have been incited by seeing similar scenes enacted upon the screen. They have endeavoured to imitate and emulate the pictorial crime creator, who was lucky enough to evade the long arm of the law, by which they themselves were caught.

One cannot imagine for one moment that the display of films showing murder, suicide,arson, violence or theft, would leave a happy impression upon the human mind. It only fires the impressionable mind of the juvenile, who ultimately finds himself arraigned in the “juvenile court.” Such films only injure the reputation of the cinemas exhibiting them, because sensible parents will forbid their children to enter such places.

The prevention of crime is depicted by a series of “Police pictures” in the Metropolis. This film, promoted to defend that great wall which defines the orderly and disorderly sections of the community, shows “Robert” (as he is lovingly called) in the discharge of his duties, which is not only to exercise a ceaseless vigilance, but to come into contact with danger of which many of us are ignorant.

It shows us the daily routine of every member of the police force, from the highest to the lowest rank. Scotland Yard is seen in all its specialized branches. One can see the detectives being trained to prevent and discover crime, and the manner in which they run social offenders to justice, and the deductions leading up to the trail.

The policeman is shown as a friend and helper to the young and aged, and children nowadays are taught to regard him as someone to appeal to in case they are lost, and not to run away at sight as if pursued by a spectre.

A comprehensive attempt is being made in the United States to improve the quality of the films shown, and for this purpose a “National Motion Picture League” has been formed. It is proposed to elevate the standard in two ways—first by supervising and conducting children’s matinées, and assisting churches, municipal boards of education, parents’ associations and other organizations interested in public welfare to secure proper pictures for adults, young people and children. In the second place it will assist, by proper publicity, towards the provision of good pictures and a campaign of education against the immoral and objectionable ones.

A reviewing board has been formed by the League, composed of clergymen, Sunday school teachers and public welfare workers. ThisBoard makes a selection from the general output of films, and a list of those which they deem suitable will be published in weekly bulletins before the pictures are released for the open market and public exhibition. These lists are sent to the film-producers, and are published in magazines. Local committees are formed everywhere to unite in their efforts and use every influence. These committees are of two kinds—children’s matinées, which seek to provide suitable programmes for youthful minds; and reviewing committees, which report on all pictures seen in local picture theatres which are considered suitable for the lists of the League.

The films selected are clever and wholesome throughout. Films unsuitable, even though the details exercise the moral ending, are rigidly excluded. They have to be in good taste, unbiassed and accurate. The board refuses to endorse a film that is inaccurate from a scientific standpoint or that contains undesirable inaccuracies in the production of well-known stories.

No crimes are allowed in pictures if theyshow killing or gunplay, and there must also be no cruelty to either man or beast. Infidelity and sex pictures are not tolerated, and even scenes of women smoking or men drinking are debarred.

A rule has been instituted which would produce good in this country, and should be followed. All titles and letter-press must be strictly grammatical and free from profanity or vulgarity.

The following is a label on a film after having passed through their hands:—

“In part 3, cut out scenes of mixing drinks.” In part 6 cut out sub-title, “You don’t care a damn,” etc., also all drinking scenes.

In short, the National Association of the Motion-Picture Industry has resolved to suppress and refrain from films that “emphasize vice or the sex appeal or illicit love; exhibit nudity, excessive demonstrations of passion, and vulgar postures; unduly concern themselves with the underworld of crime, bloodshed and violence, drunkenness, gambling, and unnatural practices; emphasize the methods used in committing crime; bring into ridiculethe law, the authorities, and religious beliefs and leaders; contain salacious titles, or are advertised salaciously.”

The “white slave traffic” is as much a scourge as tuberculosis. This appalling problem is sapping the vitality of the nation, and every means of giving publicity to this menace, which, unfortunately, is not on the wane, should be used. We have the best possible publicity agent in the film. Such a film could be prepared and exhibited to initiate the ignorant, and to show those who practise in it that something is being done openly to expose this illicit traffic.

One reads in the newspapers almost daily of wrecked lives, fathers who have shot their daughters and then themselves, because she has trodden the downward path; and of others who have made away with themselves because they are beyond reclamation.

This subject is talked about, and often whispered, as if it were a plague and they were afraid of becoming infected with it.

It is a plague, and requires to be stamped out, like the Plague of London.

The daily life of the unfortunate daughter of the streets and her means of livelihood could not be portrayed more eloquently. The efforts of the reclaimer of lost souls would be strengthened. Mothers would give silent prayers for the imparting of such information to their daughters, which, although their duty, it is often shunned, to the detriment of her offspring.

In a clean, inoffensive and simple way it could be shown how unfortunate girls, attracted by finery and dress, are sometimes directly led into these channels.

If the book entitled “The Rise and Fall of Susan Lennox” could be suitably filmed, then much would have been accomplished in this direction.

Mrs. Caudle’s “Curtain Lectures” would not be needed at home. The impression upon the young mind would be indelible. The voiceless foster-mother would repeat the lesson to thousands of young people.

The allied question “venereal disease” hasalready appeared upon the screen and thousands have already benefited by it. The Manchester Corporation has taken steps to give publicity by means of the film, and if the idea is generally approved and encouraged, much will be done to educate citizens of the dangers of this malignant disease. Let us hope that greater efforts will be made to bring these evils home.

Now that ministers are bemoaning the smallness of their congregations, and declaring that the flock has gone astray, wondering how to account for the fact that modern-day religious opinions have changed, and in some cases, warped; that they no longer come to hear good sermons and music, that the collections are mean; that their social functions are unattended—they ask themselves, “What is wrong, and what is the remedy?”

The cinema has been tried in the church to evoke that enthusiasm now dormant. In America it has met with huge success and is being recommended by the clerical bodythroughout that country as a means of reviving lost interest. Ministers’ sermons have brought to life the actual characters; there seems to be a new atmosphere within the sacred precincts, and the churches are not large enough to hold the congregations. The sermons are more lucidly expounded, the attention of the congregation is held, no stentorian snores reverberate through the church, there is no coughing or impatient moving of feet or imperfect sneezing; and even the child with its contribution in its pocket keeps it there without dropping it on the floor. Such rapt attention has been evoked by the film entitled “Creation.” This Italian production presents the history of the Old Testament in pictorial form. The film begins with Creation and closes with the reign of King Solomon, the total length is 30,000 feet, and it is in twenty-two chapters.

Could one see a more realistic film than the actual creation of the world, the birth of Christ in the manger, His movements amongst the people, the healing of the sick, the restoration of sight to the blind, the lame made towalk, His successes and failures, His friends and His enemies, and the conversion of His disciples, His last supper, crucifixion and final resurrection?

No minister need appeal for a more stirring picture, a better demonstration than this; his sermons would be more explicit and better understood. Films could be created to suit every sermon, or sermons could be worded to suit the picture chosen, and to one versed in theology, notes would be unnecessary. Enthusiasm would grip the preacher as the film rolled on, and words would come easily and spontaneously.

A new picture just “released” in Sweden would do well in this direction, the title of which is “Thy soul shall bear witness.” It is a sermon in pictures, more graphically described than by any pen; and is beautifully told and accurately expressed.

The story is of an outcast waiting in a graveyard for the New Year to dawn, in order that he and his comrades may drink a curse to the months that are to come. A young social worker on her deathbed is calling forhim, but he ignores the call. Even his friends are disgusted with his behaviour as he tells them the legend of the cart of death which drives everywhere and collects the souls of the dead, the driver being the man who has died on New Year’s Day. He falls under the spell of a social worker who battles to save his soul, and to restore him to his constant and faithful wife. He finally awakens, to find it a horrible dream and that he has slept in the churchyard. Other items enter the story, but the impression left behind remains, leaving the moral intended.

One would hardly think that the film has reached and is being used in some of the remotest corners of the globe, yet such is the case. The advance made in this direction of the education of these savages by means of the film has been a source of help to the missionaries. These natives, quick-witted, are apt to learn far quicker from motion pictures than from personal instruction. The effects are sometimes very humorous, imitation isoften indulged in, and bobbed hair and short skirts have created such an impression that the fashion prevails as far away as Jamaica. The black belle “bobs” her hair and even covers her skin with a pearl powder overlaid with rouge and a peculiar dark red in imitation of her Western sister.

She tucks in her print skirt, and if she is accustomed to going barefooted during the week, on Sunday she will appear in vivid silk stockings. She wears a hat woven by herself, with a twisted impressionistic scarf such as the heroine in a screen play wears when she sallies forth to meet her hero. It is contended that there is already a marked improvement in the manners and customs, which schools have not been able to bring about.

There is ample scope for pioneer work amongst these dusky brethren, and the projector would go a long way towards attaining this end.

Mr. George Bernard Shaw says, “There is no reason why cinema theatres should not beadded to the list of public wants provided for by the co-operative movement.” Certainly the Co-operative Society have their interests in nearly every concern going. For the instruction of their members, physically and mentally, they have made every endeavour to fill in the gaps. If their energies were also turned to the establishment of cinemas for educational purposes, including instructional and wholesome films, then co-operators will have made a forward movement.

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