As three recent films show—one on the atomic bomb, one on women defense workers during the Second World War, one on the government arts projects of the thirties —this history of our times offers film makers arresting opportunities. Footage shot on the spot supplies a measure of raw actuality, and survivors are still available for interview. The real problem is to give abundant but diffuse materials a shape and structure. This is not, however, a problem that automatically solves itself. Read more »