screen. By adding a second creative element it released the realist film from a certain naivete and allowed it to come to grips with the more complex issues which now confronted it. Thus it gave the director of "6.30 Collection" a whole new world of images in the sounds and shouts of a sorting-office at the rush hour; it gave, in such films as "Weather Forecast," a more direct means of imparting information through the spoken word; it linked the qualities of good journalism more closely with the film by bringing the worker to the microphone to describe his job, as in "Under the City"; it brought to the screen in "Night Mail" the dramatic possibilities of specially written music and of monologue, by providing a ground on which the film director, the musician and the poet could pool their resources on equal terms. The scope added by sound 209 made possible the projection of a great public service such as the Post Office in terms of its contact with society. Following the lead of the G.P.O., many other organi zations have used the realist film as a method of public address. Bodies such as the Ministries of Agriculture and Labour, The Central Electricity Board, The British Commercial Gas Association, the B.B.C., the Ceylon Tea Propaganda Board, the Orient Line, and Imperial Airways, have produced films to make their work and their problems more widely and more vividly known. Technique and treatment develop side by side with an expanding field. New subjects call for new methods of presentation to dramatize the new material they offer. The conflict between Buddhist tradition and modern commerce in Ceylon allowed Basil Wright to apply a "INDUSTRIAL BRITAIN" (Empire Marketing Board) traced the tradition of centuries behind the skill of the craftsman Production john grierson and Robert Flaherty. Acknowledgments to H.M. Stationery Office.

Industrial Arts en | 1936 | | page 49