Potters have often tried to express the complexities and challenges of their medium by making use of another. Many have written books and many have also appeared in films with the hope of illuminating some aspect of their work. Looking at the films which have been made on the subject of pottery, this goal has seldom been achieved. Too often the potter's lifestyle and work have been reduced to ersatz philosophy and simplistic linear procedures. Too often the potter has been at the mercy of a filmmaker who lacked the smallest vestige of imagination. The purpose of this article and others to follow is to examine the state of "the pottery film," to criticize it in such a fashion that improvements will suggest themselves, and to encourage potters to take a more active part in the making of a film. The potter should realize that the image being projected on the screen is his and that he has a real interest in the quality of the final film. Making a film offers the possibility of a rich partnership between filmmaker and potter, between the person behind and the person in front of the camera. To do this effectively, it is important to examine what has already been done.

There are four sub-categories of the pottery film: 

  1. The 'how to' film

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