ABSTRACT
Much of the bustle (and turmoil) of the Roaring Twenties emanated from the cinematograph industry, but British film-makers contributed little to the vociferation. Their listlessness in 1919 did not occasion much comment as they were known to have experienced many stresses and strains the previous year. But in 1920 considerable doubt was expressed in the Kinematograph Year Book about whether the producers were facing up to the post-war world with sufficient realism and determination. They were criticized for buying titles of plays and books, and authors’ names. They were relying on ‘hack scenarios’, and were making cheapness their first consideration. They were not co-operating with one another.
