ABSTRACT
Alongside these director-inventors and their film discoveries we must really see how a whole range of our middle-ranking directors are, in a number of their middle-ranking films, using, popularising and sometimes re-working the details of the inventions made by the principal masters of our cinema in their time. It is very possible that, from the point of view of these masters, this popularisation, which sometimes effaces in the audience's mind the line between originality and imitation, is a negative phenomenon. It is very possible that the situation that reigned in our cinema a few years ago, when films made by individual revolutionaries were contrasted sharply with the general mass of bourgeois imitation, provided clearer theoretical perspectives. But, from the point of view of expediency, this broad popularisation of new discoveries in cinema is of course, a necessary phenomenon. It testifies to the improvement in the general professional level of our cinema, and without professionalism we could not in any case manage, given the mass character of our film production .... The diverse and lively rivalry between all the creative and inventive forces in
our cinema, combined with the further improvement of its professional level - that is the revolutionary offensive that we need in cinema. May it be linked with blows against conservative selfsatisfaction and attempts to resurrect bourgeois imitation and with a rebuff to the defeatism and liquidationism that emanate at times from left circles in cinema.
