Social research up to date has approached the movies, mainly, if not exclusively, as a mass medium. Very rarely was it seen as a form of art and was never studied as both art and mass medium in a simultaneous and combining way. The other "theories" (aesthetics, history, psychoanalysis, philosophy) have isolated it in the field of art. At times they supported this aspect (or quality) of the movies with a stressful fighting spirit and complex means of analysis. Never did they attempt however to penetrate (or enter) the labyrinth of a modern mass medium that spreads swiftly over the Globe to dominate it.
The theme of this book is the sociological approach of the movies as form of the Mass Medium in association and essential relation to its status as art. The basic position (attitude, view) of the book is that its former quality was not shaped in a balanced and similar way with the latter. The complex and broad organisation of the film-producing units into huge industries and the unbelievably great concentration of capital that they bought in, weighed down upon artistic creation in a limiting, deterring and many times destructive way. Art films have always been the exception to the rule dominating industrial productivity.
In this book all the above topics are approached, examined and analysed. Far from ignoring the social significance of the movies as a Mass Medium, special importance is given to the fact that art films have never stopped to be produced and affirm its dual nature.