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HISTORIANS have long valued the aesthetic approach to the study of culture. If it be true that the most precious values of a are displayed in its arts, then the study of these arts becomes proper for the historian. But, as Barry Uldnov has noted, 1 a twentieth century democracy produces two kinds of culture. The first or private contains those arts in which the artist speaks only to himself and to the individual who sympathizes or understands. It is this which includes the high thought which intellectual historians have regarded as their special scholarly preserve. The second or culture is geared to profit, and hence to the perceived values of the widest possible audience. Without doubt the commercial film lies within this area. While serious students of the film do not deny that art-in the traditional sense of something connoting beauty and tastecan exist in popular culture, or suggest that the popular nature of the film in any way inhibits film art, professional historians have not subscribed to these views. Clio's aesthetic impulse has tended to ignore the screen. Historians form but a sub-group in American intellectual life.
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