Cinema 16: A Showcase for the Nonfiction Film

Abstract

NEW YORKERS no longer have to be school children, shut-ins, or club members in order to see documentary films. Cinema 16, at first an ambitious dream to create a permanent showcase for 16-mm. documentary and experimental films, has today become very much a reality. More than 3,000 persons crowded into New York's modern Central Needle Trades Auditorium to see one of Cinema 16's shows. Radio stations and magazines carried announcements, and the New York Times alone printed releases in three different sections of one Sunday issue. Organized on a shoestring by people with more enthusiasm than experience, Cinema 16 has validated its original contentions: first, that there were scores of superior nonfiction films gathering dust on film-library shelves; and second, that there were large potential audiences eager to see them. Cinema 16 offers films that comment on the state of man, his world, and his crises, either by means of realistic documentation or through experimental techniques. It glorifies nonfiction. It finds excitement in the life of ants, Hindustan music, microbiology, aboriginal life. It hails a film that is a work of art, but will not hesitate to present a film that is important only because of its subject matter. Its avant-garde films comment on the tensions and psychological insecurity of modern existence or are significant expressions of modern art. Its social documentaries stimulate rather than stifle discussion and controversy. Incorporated as an educational, nonprofit, membership society, it has, since its inception in October, 1947, presented more than eighty films. They include Julian Huxley's Monkey into Man, Grierson's Night Mail, Lamentation (a dance study of Martha