Project Kingfish 1951-1967
17
73). A review of Pathe’s Weekly in a prominent film magazine also expressed the
newsreel’s philosophy, stating that it intends to cover the entire country as thor
oughly as the Associated Press. The review added, “Who would not take part in the
news of the world ‘just as it really happened’ as part of the regular picture enter
tainment” CMoving Picture World, 1911, 359-360). By June 1914, the success of
Pathe ’s Weekly led to a daily newsreel service. However, with the outbreak of World
War I, Pathe returned to its regular weekly release under the revised title of Pathe
News (Fielding, 1972, 78-79).
Civilian newsreel industry coverage of World War I proved to be inadequate
from beginning to end because of the numerous obstacles purposely created by
military and civil authorities. Camera operators found it extremely difficult to gain
access to the front line or even to film scenes of wartime preparation on the home
front. Military authorities at the front forbade photographers to operate their cam
eras for fear of drawing small-arms and artillery fire. Accordingly, faking of World
War I coverage was common, particularly during the early months of the war.
Authentic footage, often of poor quality and coverage, appeared sporadically. Two
of the earliest American releases showed the British cruiser Caronia lying off Sandy
Hook, New York, in wait of German transport vessels, and the siege of Antwerp in
1914. Front-line censors also hindered newsreel camera operators during World
War I, and photographers went to great lengths to try to smuggle footage out of
Europe and back to American laboratories (Fielding, 1972, 115-118, 122).
The newsreel industry &Vv