FINAL DRAFT REPORT
by JOHN GRIERSON
INTRODUCTION
2nd DRAFT.
1. A first point to take is that the national film service in South Africa is not the poor, undeveloped, negligible thing which many people suppose. The work of the Department of Education is important: particularly in schools and in relation to formal curricula. The educational film library, with its 1,500 members or so, is notably competent. At the State Information Bureau, the production and distribution operations at home and abroad are watchful of special occasions and constant in effort, though the flow is not large.
2. Qualities appear to be particularly high in the field of exposition; and much affection has been given, in particular, to films dealing with landscape and wildlife (an interest which would seem to be uniquely South African in its universality and fervor).More ambitious films like "Pondo Story" would be regarded as technically good in any company. In general, technical qualities - photographic and laboratory - are high, though there has not been a corresponding ambition in the higher, creative, i.e. aesthetic, qualities.
3. I note that there has been a real effort from the film industry deliberately to join in the duty of projecting South Africa both at home and abroad. This effort should be objectively appreciated, in spite of the differences, which prevail between various parts of the industry. A sense of the duty to the public service is not always associated with national film industries.
4 But this effort is only good so far as it goes. It is piecemeal, though I should emphasise that there is no reason whatever to say that it is wasteful. It simply lacks size, scope and real support as a force capable of much development in the service of the nation.
5. It is not good enough that a Government film service emanating from overseas should operate as widely in South Africa as the South African Government's own service. Nor is it good enough that South Africa, which, for so many reasons, commands international attention, should occupy one of the poorest places in the distribution channels of the world.
6. What is needed obviously is: (a) conviction in high quarters that the film can and ought to be developed as an instrument of national policy; (b) an objective appreciation - free from mere film interest and film enthusiasm - of the relationship of the film to the larger and deeper processes of public information; (c) a plan of action which will, (i) serve departments in an orderly and long-term fashion, (ii) serve to inculcate patriotism, unity and drive in the Nation as a whole, (iii) presents South Africa abroad in the most powerful and penetrating way and on all valuable levels of interest; and provide a direct service to the officers of external affairs, (iv) bring into the service of the union and co-ordinate in the common interest, all possible forces, other than governmental, which can contribute to the articulate presentation of the national image: not least the forces of the film industry, of the churches, and of the public relations departments of industry and commerce, with, of course, all due regard for the preservation of their free and independent initiation and development, (v) mobilise and encourage creative, technical and administrative talents to these ends.
7. There is nothing very difficult in this, for it has been done elsewhere. The achievements and errors of other countries are there to be examined and noted; and South Africa may even be fortunate in that, coming late to the field, it can avoid the mistakes of other countries.
8. What is perhaps is right is frightening to any Government is the possible cost involved. Film is an expensive medium. It is subject to the whims and fancies of all manner of enthusiasts and self-appointed experts: and not least to the perils of indecision in a medium in which indecision is the costliest items of all. At the same time the audiences available to the film can justify the basic cost: and enough experience has been gained over thee years - and sometimes the hard way - to guide the film operation to proper control and economy.
9. This fact I emphasise throughout the report, even if it may hurt the enthusiasts. I do so for the simple reason that no forces have hurt and frustrated the national use of films so much as those who have brought it into discredit by irresponsibility in the use of public funds. I shall point out various ways in which the total expenditure involved can be shared with others and the Government's investment in equipment and time held to a minimum.
10. South Africa, because of the apparent inadequacy of its Information services abroad, has no alternative but to approach the matter with determination and conviction. Its subject matter is vital to itself and to a wider world. The country is spectacular with an enormous visual range. Its relative youth presents the medium with much that is vital and dynamic. Its problems which, seen close up, may seem frustrating, are the best earnest of dramas in the making and a destiny to be revealed. Its vistas, both technological and human, are not only national-wide, but also African-wide and, in many respects, word-wide. South Africa, moreover, has the eyes of the world upon it. It has, therefore we, everything to gain by giving them the reality to look upon.
11. I do not propose to separate the foreign problem from the National one. I have been told by some that South Africa's greatest immediate concern is the misunderstanding of it on the part of other nations. I appreciate this point but no one in his senses will expect, by simple formula, to liquidate the host of misunderstandings and prejudices which, coming from the deeps of 19th century political formulae, now surround the considerations of South Africa problems. Much can, of course, be done by direct attack; for the major tasks of South African development in all the spheres of technical and sociological achievement have not yet been commandingly presented. Nor are the representatives of External Affairs directly served by film as they come to grips with specific matters of discussion. Much too can be done by simply giving and repeating an impression of decisiveness and strength.
12. But, in the long run , effectiveness of Information on international levels lies with the subtler, long-term and indirect methods of securing understanding and appreciation. The image of a country is composed of the many various facets of its interests and , for each, there is a communicating line to similar interests everywhere. Special and even sensational impact the film can certainly provide, particularly when, as in the case of the U.S.S.R. and U.S.A., there is no lack of personnel and money, and the cost of the gamble need not be counted. But, even then, the longer way is the better way if only because the problems of misunderstanding today are deep in historical origin and necessity. I make special note of the fact that even when a small country cannot afford to shout so loud as a large one, it is not thereby robbed of the possibility of being more clever. Big countries with their complex, top-heavy, and slow-footed administrations are not necessarily very.
13. The first essential of any policy is to see to it that whatever is done strikes to a considered target. This does not necessarily mean that all effort must be defensible on normal rational grounds. It does not mean a special premium on those who most glibly can say No. The obvious in information may be dull and thereby ineffective; and the stirring of the sub-conscious, or it may be the imagination, is so important that one may best arrive at Birmingham, as G. K. Chesterton puts it, "by way of Beachy Head". Nonetheless, the watch-word must be 'first things first' and the greatest care taken to examine projects, establish priorities and estimate progress. Effective production: and no double talk - aesthetic or other - should be allowed to confuse the issue.
14. In a young country with all too many creative administrative and technical claims on its limited European population, a first measure of good sense is to concentrate talent. Even Britain, with larger resources in personnel, has tended to spread its skills so thinly over a wide field, that its Information Services has been greatly weakened. South Africa should watch this and rather keep to a limited but considered programme well done, than embrace film, as it is all too easy to do, in promiscuous armful.
15. Above all, South Africa should approach the task with confidence and even, it may be, in a spirit of assertion. The case of Canada is interesting in this regard. At the outset of its film development, it was, in most cultural respects, rotted with spiritual colonialism: measuring itself at every turn against the examples of Europe and the United States. In nothing has the National Film Board of Canada so justified itself as in the work it has done to destroy this national atmosphere: not only by giving the Canadians a powerful and confident sight of themselves as a world power, but by, itself, in a spirit of great self-confidence, successfully staking its claim in the international film world. This naturally involved a considerable effort in seeking out imaginative talent and encouraging experiment. In the issue it has been amply justified.
16. South Africa should consider this point. The deflated and deflational atmosphere of many countries today is notably lacking in the spirit of 'audace'; and it is the presence of this quality in South African political discussion, which is so striking and refreshing to the observer. South Africa can lose nothing and can only gain if it comes to invest the wider field of national expression. If South Africa has a message, this is probably it.
Final report: Argument | Keyan G Tomaselli & Edwin Hees: John Grierson in South Africa: Afrikaaner nationalism and the National Film Board.
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