Allan King offers thoughts about the relation of fact and fiction, of essay and art, of documentary and drama. He suggests that a primary problem for filmmakers will be to free themselves from the tyranny of genre, arguing that it is a form of branding, that it is a short circuit which limits one’s freedom of exploration and therefore, one’s freedom of expression. It does this by imposing an abstract shape—the definition of, or common assumptions about, the genre—on the expression of feeling before feeling is actually experienced and explored. Formula then dictates feeling instead of the other way around. In fact formula is something discovered by others—usually critics or writers on art, rather than artists—long after original work is done and at a point in time when it is in fact irrelevant tocreativity. As examples, Allan will use selections from his own work Rickshaw (1960), Skidrow (1956), A Matter of Pride (1961), Come on Children (1973), Who’s in Charge? and The Field Day (1963).