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EDUCATIONAL

FILM
MAGAZINE

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15 cents a copy

The National Authority

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_ Z'Jill Rogers ^

Jhe-fmniest . Man on thc^creen

in fJubilo

GOLDWYN
PICTURES

JANUARY, 1920

$1 a year

VENARD USES A

UNIVERSAL
CAMERA

MOTION
PICTURE

The Venard Photographic Company
makes a specialty of this type of work.
Its operators use an aeroplane to fly to
location and take bird's eye views of
industrial plants which they are film'
ing. They use Universal Cameras ex'
clusively so they are sure of getting
perfect film any time and all the time.

If you are considering the purchase of
a motion picture camera, by all means
get full information and catalog of the
Universal before making any purchase.
We will be glad to send them to you
upon request.

BURKE 5? JAMES, Incorporated

Cine Dcf)artmenl

253 East Ontario Street, Chicago, Illinois

225 Fifth Avenue, New York

IN ALL FIELDS
and phases of mo-
tion picture pho-
tography, the Universal
Camera has proven its
worth and utiHty — par-
ticularly in that most
important field, the mak-
ing of industrial film. In-
dustrial film must be
made under varying condi-
tions and many difficulties.

The Uenard Phologrdphic Co.

tndustndl mowing Pictures
Commerc'dl Pholographi

Peorid. UL

Oat. 23, 101?.

Chlci»f '. III.

Sentl*Mn-

■CTillft yoii h»»» iM>l Mkmi for thU l(.tt«r, I t—\ O^rt It !• r*»Ily
dwe you owln« to th« wonderful parfor-inr.e* th*t. hB» bMn »howB by ouC
DnlwrBtl fin-jr**. I a«n not Bp-n' tc-3 highly of l>il« Cfc-aar* for jeo-
«r»l purpoPSB. Ita »»»• u»»d It for flold wrk of all kindt and h»T*
n«T«r h»d liny troubl* wh«l»»«T*r rtth tho caohanli

I ©f th* ■%»elilB»i

.5na Tir OAOhl;*"* h«« fc««n u««d fonstdcrvbly for jt^p t»o y««r«
without hft-'log baan OTortmlod or h«d tny rapalr* •h«t«T«r. It h»B
had Uio hti i»«l kind of u»» - (Xir -prV l» alvit Moluilwly e,»oftnM
to the tr- -'or, tniek and f»r^ ljipl'»r.ont Induitpy. Thl« work tRka*
uB into B^ia of tha wry h»rd»»t pUcp* to work but »• »l"«y« ooa* owl
•1th a ji*rL"»et fllii wh*n •• uBo tha Unlraroal.

Parson.lly, 1 ht»a u»ad thla waohlna In tha Mklne •? e«fuldar«M#
alr-plana flla and find th»t lt« stupdy oarvstruotlon and dapandabtl liy
ta «9p«eu:iy wall adaptad to thla aort of work.

«« h*-a. In f*ct h»d iuch (floi aueoaaa with our alr-plana phota-
Cmphy tha . -n ara no» pjttinj in «ur ewB plana for tMa olaaa of wort
and can aa ■'i'rt you tMt thar« will ba iM othor but Onivarval CaaaraA

■ou ) 7o ^ psnuBBlon to fabllah thia lattar If ymi 1
to rafar a.y FroapaollTa Viyara ta -a. T>ianHn« you and •!
ovary buc^' **. 1 •■

C. U fanJrt

Hoai tnUv ymfa.

t TOIARD PHonGUkPtllC Cu.

• URBAN ■ POPULAR • CLASSICS •

THE TERM THE "LIVING

BOOK OF KNOWLEDGE"

has been rightfully applied to the

KINETO REVIEW

(Edited by CHARLES URBAN)

which, vdth its 30 one reel issues, eJready forms a nucleus of the most valuable instructive pictorial

matter yet published

This film library will be added to at the rate of 100 one reel "volumes" per
zoinuin, until it ultimately includes a standard treatise on every conceivable subject

WHAT THE

ENCYCLOPAEDIA BRITTANICA

is to the Book World

The KINETO REVIEW

will be to the FILM EDUCATIONAL \XORLD

The "Kineto Review" Library- will be established in even.' centre and district throughout the United

States, its reels to be obtained at any time and as often as desired by the Schools, Churches and

the better class Theati'es. This idea, fostered by Mr. Urban for twenty years, while he has garnered

film material from all sources with which to put the idea into effect, has at last materialized

THE BEGINNING OF A NEW ERA:

The Schools are Equipping for Visual Education

The Churches realize the importance of Clean Wholesome Entertainment

The Theatre Audiences demand Better Pictures

THIS WANT IS FILLED BY

The KINETO REVIEW for 1920 and thereafter

Send For Detailed Catalogue

PUBLISHED B^'

KINETO COMPANY OF AMERICA. Inc

Distributors for New York and New Jersey :
CINEMA CLASSICS, Inc.
1482 Broadway, New York City

CINEMA CLASSICS. Inc. ^ (34251 71 West Twenty-third Street. New York City

FASCINATING METHOD V^' "TradeMark- OF EDUCATION

Biological Motion Pictvires

for
Schools, Universities and Learned Societies

Exclusive Service

VISUALIZATION is the slogan in modern school work. Almost every-
thing filmable has been projected on the screen with the exception of
biological phenomena, most of these traceable only through the
microscope.

Our age calls for this visualization of biological ])henomena, for the purpose
of education. Realization of this led to the foundation of ''The Scientific
Film Corporation".

Its aim is to supply the needed materials for visualization in biological teaching
adapted to school work of all grades, from the primary up to the purely scientific
treatment of the subject in university teaching.

"The Scientific Film Corporation" is in a position to guarantee accurate, reliable work
through the well planned co-operation of approved tecbnical skill and expert scientific
supervision. Our laboratories in Harrison, N. Y. (New York suburban district) are
equipped with the most modern installations, many of them personally devised.

Our sensational novelty is the utilization of the living tissue culture in micro-cine-
matography.

Correspondence invited in regard to rates and terms of purchase and rentals.

ECONOMY : Especial attention is called to the fact that by renting our films a wonder-
ful opportunity is created to show filmed and screened biology even in schools and places
far removed from metropolitan centres.

First Release

A Microscopical View of the Blood Circulation

These are a few of the features of this film :

The Vascular system of the chick embryo Differentiation of the blood in centrifugal

^. ^ ,. 1 ■ 1 11-1 apparatus

The Capillary net work m the area pellucida -,. '^^. , . r i ii j i

r ^ Microscopical views oi the blood, showing its

Arterial and Venous circulation ingredients

XI- . 1 1 n„ ,■ „ Close up of Bone marrow, where the blood

Histological reflections r . .

" originates

Arterial Anastomoses Living and beating heart at close up

THE SCIENTIFIC FILM CORPORATION

13 DUTCH STREET NEW YORK CITY

^' EDUCATIONAL FILM MAGAZINE

Published Monthly at 33 West 42nd Street, (Aeolian Hall), New York City. DOLPH EASTMAN, Editor. Subscription: United
States and Possessions, SI a year, other rountrie*. $2 a year; single copies, 15 cents. Advertising rales on application. Western
Advertising Representative: E. T. MOORE, 542 S. Dearborn Street, Chicago, 111. Telephone, Harrison 2145. Copyright, 1920,
by City News Publishing Company.

oi. ni.

JANUARY, 1920

No. 1

PRINCIPAL CONTENTS

Index to Articles

DITORIAL 5

Our First Anniversary — and Our Future
Film Opportunities in 1920

lOVIES IN LITTLE ROCK. ARK.. SCHOOLS 7

By R. C. Hall

UTTIN'G HUMAN INTEREST INTO INSTRUCTION.\L
PICTURES 8

By James E. Lough, Ph. D. — Illustrated

UREAL OF EDUC.\TI0N-S FILM PLANS 9

VERY SCHOOL SHOULD HAVE VISUAL LNSTRUCTION
MATERIAL 10

By P. P. Cla.xton, Ph. D. — Illustrated

WO UNIVERSITY PROFESSORS DISCUSS M0\ lES U

By Richard .\. Muttkowski, Ph. D.

PECIAL FIL.M PR0GR.\MS FOR CHILDREN 12

[O^- THE CATHOLIC CHURCH IS CAPIT.\LIZING
MOTION PICTURES 13

By Charles A. McMahon — Illustrated

IE.\ICAN OFFICIAL HLMS MANAGED BY WOMEN 17

nCHIGAN HEALTH DEPT. FU.M CAMPAIGN 17

STERCHURCH MOVEMENT TURNS TO FILM PRO-
DUCING 18

By Eva Chappel! — Illustrated

'CHILDREN'S. HOUR» MOVIES ATTRACT 13,000 SUNDAY

SCHOOL PUPILS 20

By Rev. E. M. Vihoiies— Illustrated

THE UPLIFT PICTURE IN ENGLAND.

CHURCH PUTS Sl.OOO INTO EQUIPMENT. 21

REVIEWS OF FILMS :.. 22

Edited by Gladys BoUman — Illustrated

FLASHES ON THE WORLD'S SCREEN 24

CATALOG OF FILMS ..- 26

PROJECTION-EQUIPMENT DEPARTMENT 28

Edited by James R. Cameron — Illustrated

STUDYING SOUTH AMERICA WITH SLIDES 30

By Alfred \V. Abr=ms— Part III.

Index to Advertisements

Goldtt^n Pictures Corp. ..Front cover

Burke S: James Inside front cover

Kinc-to Co 1

Scientific Film Corp .. 2

Community M. P. Bureau 4

Otto J. Xass 24

Atlas Ed. Film Co 24

Fitzpatrick & McElroy 25

Worcester Film Corp 27

Carter Cinema Co 27

Theatre Supply Co 28

Am. Type Founders Co 28

Educational Films Corp 29

Radio Mat-Slide Co 30

Underwood & Underwood 30-31

Victor Animatograph Co 31

Standard Slide Corp 31

Eastman Kodak Co 32

Prizma, Inc _ 32

Graphoscope Co 32

Nicholas Power Co.

Inside back cover
United Theatre Equipment
Corp Back cover

You Can Pick Up
$50 to $500 Easy Money— in Your Spare Time

WRITE US NOW and we will show you how to get from 100
to 1000 subscribers for EDUCATIONAL FILM MAGAZINE
— with hardly any effort on your part.

THOUSANDS OF MEN AND WOMEN ARE WAITING FOR OUR
REPRESENTATIVES TO POINT OUT THE MANY VALUABLE
AND EXCLUSIVE FEATURES IN EVERY ISSUE OF THE ONLY
HIGH-CLASS MAGAZINE IN THE WORLD COVERING ALL
SERIOUS USES OF THE MOTION PICTURE

We want a Subscription Representative in even^ county in the United States and
Canada. It's very easy for vou to get subscribers for EDUCATIONAL FILM
MAGAZINE— just like child's play. We'U show you how. WRITE US NOW
— a postal card will do — address

Circulation Manager, EDUCATIONAL FILM MAGAZINE

35 West 42nd Street, New York City

FOR COMMUNITY SERVICE"

SERVICE

that analyzes, classifies and records all motion pictures.
Our library indexes show film resources on every subject

SERVICE

that selects purposeful programs to meet the needs of any
group in every Community

Schools -- Churches -- Clubs -- Chambers of Commerce --
Factories -- Y. M. C. A.'s - Militia - Community Centers

SERVICE

that directs every step of the presentation to ensure the perfect
development of selected programs

SERVICE

unparalleled in the history of motion pictures -- In the past
two and one-half years, we have presented practically all the
motion picture service for the American army and navy,
and the bulk of that for the Allied armies and navies

SERVICE

that was able to rise to a great national emergency; that has
now a trained world organization to aid groups, associations,
industries and communities to do what they could not
possibly do bv themselves

Our distributing system encircles the norld

Community Motion Picture Bureau

Accredited Agent for United States JT ar Department
Motion Picture Service

WARREN DUNHAM FOSTER, PRESIDENT
46 WEST TWENTY-FOURTH STREET, NEW YORK CITY

The National Authority

Covering Educational, Scientific. Agricultural, Literary, Historical, Juvenile, Governmental, Religious, Travel

Scenic, Social Welfare, Industrial, and News Motion Pictures

Published Monthly by the City xYpivs Publishing Co.. 33 West i2nd Street (Aeolian Hall). \ow York City

DOLPH EASTMAN. Editor

Vol. III.

JANUARY, 1920

No. 1

OUR FIRST ANNIVERSARY— AND OUR FUTURE

WITH this issue Educational Film Maga-
zine enters upon the second year of its
existence. It existed in the mind of its
founder, the present writer, for several
years prior to Januarj', 1919, and actual work prep-
arator\' to the publication of the first number began
back in August 1918. while the country was still at
war. Halted for two months by tlie pulp and paper
section of the War Industries Board, it was not until
some weeks after the signing of the armistice that
we were permitted to proceed with our plans for pub-
lishing the new magazine.

Once launched, however, the idea for which it stood
and the progressive educational movement i' sup-
ported drew almost immediately as readers and sub-
scribers hundreds of the most enlightened men and
women of the United States and foreign lands. The
plan, purpose, and policy of the magazine as an-
nounced in detail in the initial issue proved a power-
ful magnet for everyone interested in visual educa-
tion; and its attractive power appears to continue un-
diminished, indeed, is augmented with each passing
day.

To paraphrase the familiar words of Scripture,
"the way of the pioneer is hard." Educational
Film Magazine from its incipiency has been blazing
a trail and fighting against stubborn traditions and
blind conventionalism. Like the Mayflower pilgrims
and Kentucky pioneers, like the westerners who first
cut across the virgin plains, we have had to arm our-
selves for both defense and offense. We are still
engaged in our campaign of educating the educators,
educating the ministry, and educating tiie motion pic-
ture industry to the importance, the value, the power,
and the necessity of the serious use of the film.

It may be that our pioneer efforts will not be suffi-
ciently appreciated for some years to come; that is to
say, that we shall not be enabled to place the magazine
on a stable, profitable basis, free from all anxiety as
to its future, until several years have pa^^^il hiinging

tliis branch of the film industry to broader develop-
ment and fruition. It may be that we shall ha-ve to go
tlirough the heart-breaking struggles which all worthy
pioneers, red-blooded and vigorous, have had to go
through. But we shall not falter. We shall "carry
on." The faith of the Crusaders is in our hearts, and
we cannot, we will not, we must not fail.

During tlie twelve months which have passed the
magazine has published some valuable articles from
notable contributors, many of them authorities in their
special fields. Last January Thomas A. Edison was
represented by an exclusive interview, the first he
had given any magazine in nearly two years, in
which he declared that the educational film was "one
of the greatest things in the world" and expressed the
belief that it was only a matter of time when all
schools would use motion pictures as their chief means
of instruction. Don Carlos Ellis, of the United States
Department of Agriculture, wrote some illuminative
articles on movies in farming and farm life. Charles
Roach, of Iowa State College of Agriculture; Carl
Hardin Carson, fonnerly of Pasadena, California.
High School; Dr. David R. Sumatine, of Peabody
High School, Pittsburg; Miss Florence Christianson
and Miss Vera Kelsey, teachers, offered con:'.ructively
valuable suggestions to teachers, principals, and super-
intendents. Messrs. Douglass and Dealey, of Clark
University, carried a remarkable series of papers on
"Micromotion Studies in Education" through several
issues last spring. Dr. Waldo Briggs, of the St. Louis
College of Physicians and Surgeons, contributed
"Teaching Surgical Operations with Films." Dr. G.
Clyde Fisher, of the American Museum of Natural
History," had a brief but suggestive paper on the use
of motion pictures in teaching the biological sciences.
During the summer Miss Elizabeth Jane Merrill, of
the Toledo Museum of Art, told of her important work
with children, through movies, in that institution.

Last April we published, for the first time in any

public organ in America, jhe story of Boroid non-
inflainmablc film, the Jtivealdon- of a Polish expert in.
photo-chemistry. Boroid may yet prove tb be the long-
sought solution of the fire hazard m filji^ projection
and handling. Articles on actual experiences of min-
isters of various sects with machines and films, and
helpful hints on the use of movies in churches, Sun-
day schools, missions, settlements, and similar insti-
tutions, have been contributed by Rev. Dr. C. C.
Marshall, Canon Chase, and Rev. Adam Chambers
of New York City; Rev. Dr. Murkland of Newark,
N. J., Rev. Roy L. Smith of Minneapolis, and
many others. George J. Zehrung, the able director of
the motion picture bureau of the Y. M. C. A. indus-
trial department, has offered some interesting and
inspiring articles. Two notable papers appeared
recently, one an interview with Prof. Frank Mc-
Murr}% ,of Teachers' College, Columbia University,
one of the most valuable on visual education we have
published; and the other telling what Newark, N. J.,
has done in this direction in its public schools, by the
assistant supei-intendent, A. G. Balcom. Charles L.
Spain, associate superintendent of Detroit schools, has
told of film developments in fourteen platoon schools
of that city.

Among our articles of a more general nature were
Capt. George E. Stone's thrilling and exclusive story
of his adventures as a camera man at Chateau-Thierry
and Belleau Wood; Dr. W. O. Owen's "Analysis of
Motion in Cinematography;" a condensed biography
of Charles Urban, educational film pioneer, to whom
visual education will always be indebted; articles on
safety and welfare work with motion pictures in the
plants of the United States Steel Corporation and
Ford Motor Company; "Comenius and Pestalozzi,
Fatliers of Visual Education;" and many others of
this character.

The limitations of space will not pennit us to
mention numerous other contributions to the maga-
zine, each of some special significance and value, each
aiding in tlie great work of educating the educators
and progressive thinkers of this and foreign countries
to the usefulness, resourcefulness, infinite power, and
limitless possibilities of the motion picture. .

To all of these contributors, to all of our subscribers
and advertisers, to all who in any way have helped
and are helping us to make the old vision a new real-
ity in thousands of institutions and organizations, we
say thanks, a thousand thanks, for your kind, gener-
ous, and unselfish efforts. We are more grateful than
we can express in words, or even in pictures. All of
us who have labored so diligently to forward this
movement, "one of the greatest things in the world,"
will live to see our reward when the motion picture
screen will have become an essential part of school
and college equipment and visual instruction gener-

ally accepted as an integral part of the curriculum.
When that glad day is here, Mr. Urban's recent proph-
ecy that school, church, and institutional use of
films will be the backbone of the industry will have
come tnie, and the leaders of the industry will have
been astute enough to realize it long before tliat time.

Only now, after twenty years, is the theatrical
brancli of the film industr\- beginning to settle upon
a firm and businesslike foundation and to attract big
brains, big skill, big capital, and big energies. It is
our hope and our belief that the non-theatrical and
educational branch of the motion picture industry
will attract big brains, big skill, big capital, and big
energies almost from the start, and certainly will not
have to wait for years to become stabilized and finan-
cially recognized. Already signs are not. wanting
that some of the biggest intellectual, civic, social, polit-
ical, financial and other important factors and influ-
ences are being won over to the exploitation of possi-
bilities in our field and to the development of domestic
and foreign markets in this field. That these possible
markets are of vast extent, that the annual turnover
in the educational, religious, and industrial branches
will ultimately equal and exceed the gross annual
volume of business done in theaters and theatrical ex-
changes, both domestic and foreign, will be evident to
anyone who goes carefully into the present situation
and its inevitable trend.

For tlie year 1920 Educational Film Magazine
has plans which are ambitious and far-reaching, but
we do not want to run ahead of our market. Our
feet are planted firmly on the earth and our head is
not in the clouds, far above the crowd. We are will-
ing to go a little faster than others who are thinking,
planning, and doing in our field, but not too much
faster, for fear of leaving our exploring party too far
behind, without a guide, and of perhaps being lost
ourselves in the trackless wilderness opening before
us. We shall progress fast enough, nevertheless, with
assurance and yet with caution. When we pause and
tliink of the wonderful things in store for us at the
end of our long hard journey, we may well be content
to "make Iiaste slowly."

There will, of course, be readjustments and rear-
rangements; the amusement phases of the business will
undergo jno found changes, and even new art forms
may arise therefrom, as Dr. Rhees of the University
of Rochester has hinted; but it appears certain, despite
the croakings and cautionings of the unprogressives,
that the serious use of the film is to become predomi-
nant, for the reason, if for no other, that the motion
picture is above all else, consciously or unconsciously,
a teacher of mankind.

FILM OPPORTUNITIES IN 1920

The year just dawning offers to the motion picture
its greatest opportunities for service since the period
of the world war. It lias hecome a kind of historic
mission for the screen to serve democracy and human-
ity in ways in which neither the press nor the pulpit,
neither the stage nor the lyceum can serve such noble
ends. To capitalize the film has become one of the
wise moves of statecraft; the publicist and tlie econ-
omist now know its true value as a potent swayer of
the masses.

\^'hat, then, are these opportunities'? In our judg-
ment they are as vital and as pregnant with possibil-
ities for usefulness to man as any which have spanned
the brief life of the movie screen.

First, work. What the world needs at the present
hour, and will need for perhaps years to come, is pro-
ductive work; work with the hands, the feet, tlie brain.
The motion picture must show men and women how
to get back to the work they were doing before the
war '"busted everydiin'," as Si Hopkins used to say
down at the village store.

Second, common sense. The film must show human
beings that if they will only get back to the normal,
commonplace, even."day thinking they were doing be-
fore \^'ar Lord Wilhelm "busted eveiythin'," diey
can restore their health, their fortunes, their happi-
ness, their lives, all that they hold most dear. It is
a simple matter of sanity and sense.

Third, faith. Not necessarily religion in the sectar-
ian or church meaning, but just ordinary faith in man,
in one's neighbor; faith in law, order and one's coun-
tiy, in justice, honor, loyalty, and love; faith in serv-
ing one's fellows, as an employer or one employed, as
a trustee of capital or one of the creators of capital.

BOY SCOUT REELS IN EVANSTON SCHOOLS

All School Children Over Ten Years Old, and Their Parents, See
Some of the Best Boy Movies^Ever Made

Motion pictures of a tour of boy scouts were shown De-
cember 5 in Crandon School, Evanston, 111. They are to be
repeated in other schools of district 75.

The four reels depict a tour of Akron, 0., boy scout troops
in a circuit trip from their city to the Atlantic coast via Buf-
falo, \iajjara Fails. Syracuse, Mohawk valley, Albany,
Adirondack mountains, Lake Champlain, \^ hite Mountains,
New England states, coast trip from Maine to New York and
return to Akron via Binghamton, New York and the Lin-
coln highway.

They are interesting and valuable to boys above the age
of ten because of two considerations:

First, the value of the geographic information which they
contain, and second, because of the fine example which they
set for boy scout camp life.

The scenes of camp life embrace the following aspects:
Wig-wag signaling, campfire building, "reflecting" open fire,
"friction"' fire, baking potatoes in clay or dirt, making of

MOVIES IN LITTLE ROCK, ARK., SCHOOLS

Geography, History. Civic?, English Classics, ami Recreational Films
in Weekly Use
By H. C. Hall

Stijicriiilriiilent of Public Si-hof>U. Little Ku<'k, Ark.

Moving pictures in schools as entertaining and recrea-
tional features and an occasional educational film may be
found in some schools of most large cities, but they have
not yet passed the novelty stage.

Little Rock public schools claim to be the pioneer to il-
lustrate the weekly subject matter of a study with a weekly
movie on that subject.

Early last spring \\ !>. Webb, supervisor of geography
for the Little Rock schools, was asked to prepare movie pro-
grams to illustrate weekly the geography of the fourth, fifth
and sixth grades. Twenty-two programs were prepared and
submitted to the Community Motion Picture Bureau of New
York, with such men as Dr. Frank McMurry of Columbia
Universitv, the geography expert, on the staff of editors.
This company contracted to prepare and furnish these pro-
grams as submitted.

These programs are being given weekly in the auditoriiun
of the high school to the delight of the pupils and their
parents, and to the satisfaction of the teachers of geography,
the geographv supervisor and the superintendent of schools.
The high school has contracted for a weekly series of recre-
ational films and will, later submit programs to be made to
order to illustrate some of the English classics, history and
other studies.

Daily Film Teaching

The first motion picture show to be presented by any
grammar school in Little Rock was shown at the LI. M. Rose
School. The title of the picture was ""My Own United
States," starring Arnold Daly. The film is based on the
story "The Man Without a Country," by Edward Everett
Hale. It shows American personalities, American tradi-
tions and American loyalty. A motion picture machine
has been installed in the upper corridor of the Rose school.
A contract has been made with the Community Bureau for
a high class show every Friday night under the direction of
H. W. Means, principal of the school. Preparations are be-
ing made to make daily use of the machine by presenting
phases of all subjects, including arithmetic, on the screen.

The projector was purchased by the School Improvement
Association of the school through Mr. Means. No admis-
sion is charged but contributions are received from those in
attendance. It is hoped to darken the corridor of the school
so as to be able to give a free show to the children each Fri-
day afternoon after school. Peabody School has its projec-
tion machine installed and gave its first show December 8.

The West Side Junior High School will follow as soon
as the projector can be put in place. All the machines used
in the schools are standard, with approved asbestos booths
and exhaust fans and are installed in compliance with the
rules of the city ordinances and the fire insurance com-
panies.

bread — "twist," clubhouse of Akron scouts (built by the
troop members), pitching of pup tents, morning devotions,
raising and lowering of national flag, swimming "hole." first
aid methods (applied in resuscitation of partially drowned
boy), and band practice.

Parents were especially invited to attend the presentation
of these pictures, since they are examples of that superior
type of fdm material to which the director of visual educa-
tion of the Evanston public schools is giving precedence.

PUTTING HUMAN INTEREST INTO INSTRUCTIONAL PICTURES

No Dry-A-.-Dust Films for This Teacher. Who Points lo

"'Cabiria,' "Julius Caesar" anil "Intolerance" as Examples of

Dramatic Photoplays With Pedagogic Values

By James E. Lough, Ph. D.

Professor of Experimental Psychology, New York I niversity

WE will never, in my estimation, "put over" the
movie idea in school or college unless we start
out with the premise that dry-as-dust films,
made from dry-as-dust textbooks, have little or
IK) appeal to the average scholar in the average classroom.
As novelties they are passe. As aids to the teacher they
may attempt to make more vivid the text and printed illus-
trations of the books, but it is a very weak effort with
poor attention-value and lacking in the first fundamental
of a psychological basis for imparting knowledge, namely,
interest. We must have interest, suspense, curiosity, the
element of the new and surprising, or the old facts pre-
sented in new and interesting form, in order to make the
film convincing. If it does not convince, in my judgment
it has no pedagogic value.

It seems to me that we should picturize the difficult things
and let the pupil visualize for himself the easy things. In
arithmetic, for example, why show simple addition, sub-
traction, multiplication, and division when it is much more
important and much more useful to the student to show on
the screen complex fractions, decimals, square and cube
root, and logarithms? In geography, why show him New
\ork or Chicago when he is not able to visualize Havana,
his near neighbor, or Mexico City, or Panama?

My idea would be to try out certain studies, so to speak,
and spend a year or more if necessary on a single picture
in order that no one could question its accuracy or the in-
terest and intelligence with which it was done. There are
some films already in existence and available to the schools
which might serve as a starting point for certain studies
or courses. Where inaccuracies or anachronisms are dis-
covered by the teacher, show these pictures and let the
pupils point out the mistakes. There is a negative plan
of teaching as well as a positive. Many films afford this
opportunity to approach the subject from the negative
viewpoint. On the positive side, of course, the good points
of the picture should be equally stressed.

There is a "'Story" in Everything

The important element to bear always in mind, in my
opinion, is the human factor. Whatever we throw on the
screen should be linked up in some wav with our lives,
with our daily experiences as human beings. There is a
"story" in everything, if we will oidy take the trouble to
dig it out. That story must be humanized, so to speak,
whether we are making a movie of a lump of coal, a steam
engine, a sky scraper, a river, a mountain, a chemical or
physical experiment, a historic figure or event, etc. With-
out this human interest or focus of attention a screen picture
is a rather dead thing, somewhat like a caged eagle or lion.
Free, it is majestic and purposeful; restricted, it fails to
win and holtl either child or adult.

Let us lake American history, merely by way of illus-
tration. It would not do, for instance, to make a film to
go with Barnes's "History of the United States," because
in every school where Barnes's book was not used that
picture would be worthless. A film or series of films of
Ainerican history, or of any phase or period of that history,
should be made in such a manner that anv teacher could

use it in an\ classroom with any work on American history.
Moreover, such a picture or pictures should be as well
done as "The Birth of a Nation," to cite one outstanding
picture plav. The film producers may as well understand
that unless the pictures offered to educators are of a su-
perior character and faithful to the subject, educators will
have none of them. The lack of really valuable films.

T.A..MES WHITCOMB RILEY'S "Hoosier Romance." from which this

•* scene was taken, is an exainple nf a picture play which visualizes

]>hases of .\merican literature and life and delivers an educational messap**

judged from our standpoint, has been holding back the
broader development of motion picture education.

There is a motion picture called "The Battle of Gettys-
burg" in which occurs the death of a general. As_ a matter
of fact, no such death occurred and there is no license for
it, historicallv or pictoriallv. The director went out of
his way to convey an absolutely incorrect impression to
every child of school age who sees that picture. On the
other hand. "Secret Service" gives a fairly good represen-
tation of the actual scenes and the spirit of Civil War days.

Using Period Pictures for a Purpose

Suppose an intelligent teacher were asked to prepare a
scenario of a Civil War story which would make an at-
tractive picture play and at the same time afford real
instruction to those who view it. He would have two fam-
ilies, related to each other, both Southern and both owning
negro slaves. There would be a connected story showing
the contrast in the treatment of these slaves by each family.
This would lead up in a natural way to Lincoln's Eman-
cipation Proclamation. "Uncle Tom's Cahin," if well
visualized, would give the child a fairly true and vivid
picture of phases of the pre-war period and might be used
to precede the kind of picture suggested. "Secret Service,"
"Shenandoah." "The Girl I Left Behind Me." "The War-
rens of Virginia," and other photoplays of the period
might be used toward the same end. .

The object of visualization on the screen should be to
lead the student to visualize things, persons, events, causes
and effects for himself or herself. The motion picture
should be utilized to develop the pupil's own power of
visualization. In other words, the film is a means to an
c.id and not the end itself, just as books, blackboards.

heses, tests, examinations are means to the great ultimate
;nd.

Now suppose we want to translate to the movie screen
he spirit of the American Revolution. Would we take
iome isolated, disconnected incidents and episodes, like the
;tories of Mollie Pitcher, Nathan Hale, Israel Putnam,
SVashington at Valley Forge — to nanVe hut a few — in order
o visualize this spirit? Certainly not. History is not
nade up of incidents hut is the stately march forward of
jreat events, of a system of thought which permeates the
ige. For this reason current events as shown in the news
•eels are of value in the schools and even in the theaters.
Po children outside of the large cities these films teach
vhat cilv folks are like, what goes on in the liig cities, and
>uch an outstanding event as the recent visit of the Prince
jf Wales. To children in the cities informational pictures
ell of country folks and country life, things new and
strange to the child of the slums.

Human Interest Must Dominate

To return to our theme, that human interest must domi-
nate the picture, let us take a travel suhject. Ordinarily a
scenic or travel reel depends almost exclusively upon the
environment and carries no appropriate story. Now im-
agine real people in a travel film on New ^ ork City, for
example. Suppose they were involved in a pretty little
romance, or humorous difficulty, or something of the sort,
with scenes showing the Battery, City Hall Park, Times
Square, the Art Museum, Grant's Tomb, and so forth. The
personal element added would improve the interest in such
a picture tremendously. Some of the producers of scenic,
travel, and industrial films have attempted to interweave
incidents, but connected stories have not been the rule.

In geography the comedy element may be introduced, but
introduced psychologicallv so that the entertainment phase
will not run away with the instructional phase of the picture.
In biology and zoology the same plan may be followed.
The Ditmars pictures are interesting but they teach things
that are not worth knowing because they teach the unusual.
It is the typical, commonplace animals we want to know
about and want the children to know about: flies, ants, mos-
quitoes, spiders, the common birds and fish, the familiar
fauna and flora. The theatrical point of view is entertaining
but not educational.

Good titles are important. They should be serious and
of educational design, not flippant and of amusement de-
sign. I would retitle and in many cases re-edit every film
which has been shown in a theater, because in nearly every
instance both pictures and titles have been planned to
entertain, and entertain only. ' In school or college they
mav be entertaining — they should be entertaining, in fact
— but th^Y must be educational as well.

"Cabiria" An Ancient History Clvssic

There are some outstanding photoplays which occur to
me as worthy of special mention. The Italian production
"Cabiria" is one of these. It has remarkable value as a
visualization of ancient history. "Intolerance" is an-
other, although here the emphasis is not on historic inci-
dent but on superstition, prejudice, and religious weak-
nesses. "Julius Caesar" was well done, but "Macbeth"
failed because there were loo many close-ups and it was
not a true psychological picture of the soul of the man.

In "Cabiria," college students will find rather faithful
pictures of life in ancient Carthage, Rome, and Egypt.

BUREAU OF EDUCATION'S FILM PLANS

Immediate establishment of a division of educational
extension to continue and expand the work begun by the
Bureau of Education is recommended by the Commissioner
of Education in his annual report to the Secretary of the
Interior.

I nder the heading "Motion Pictures in Education" the
Commissioner takes up the all-important topic of visual
instruction in the schools and colleges of the United States,
as follows:

The value of stereopticon and stereoscopic slides, moving
picture films, and phonographic records in school instruc-
tion and for extension education through community or-
ganizations, women's clubs, and other societies is well estab-
lished, and there is need and an increasing demand for a
central agency for the production and circulation of such
slides, films, and records. The Bureau of Education, in
co-operation with state and city departments of education
and institutions of higher learning, might render an in-
valuable service in this field at small cost. The eagerness
with which university ertension divisions and other educa-
tional extension agencies have responded to the bureau's
offer of co-operation in the obtaining and distribution of
five or six million feet of films, mostly war and public-
health films, indicate what might be done with an adequate
appropriation for this purpose.

NATIONAL FILM MUSEUM FOR BRITAIN

We have it on the authority of the Parliamentary Secre-
tary to the War Office, in a statement made last week in the
House of Commons, that that department is considering the
desirability of establishing a film museum for the preser-
vation of the many film records taken during the late war,
says a writer in the Bioscope of London.

We have repeatedly urged that the provision of a national
storehouse for films of historical interest should be founded
and therefore welcome the pronouncement upon this sub-
ject to which we have referred.

While it is the nation's duty to see that the priceless
records of our army and navy's operations are preserved
for the benefit of generations yet unborn, the fact must not
be lost sight of that there are many other equally historic
pictures that come within the same category, such as the
Scott Expedition, secured by Herbert Pouting, and the
doings of the German submarine held by Sir William Jury,
to mention but two. No scheme of film preservation will
be satisfactory that does not make provision for the safe
and careful custodv and annotation of every picture that
can be said to contribute to the making of Britain's history.

They will get considerable accuracy and atmosphere from
it, and much history unrecorded in the textbooks. This is
one of the distinctly valuable contributions of the motion
picture to history, that it can and does record the social and
economic life of any given period as no printed book can
and does. It can visualize complex sets of causes and
effects, of persons and events, of great streams of thought
and action which to a contemporary historian are almost
imperceptible.

5VERY SCHOOL SHOULD HAVE VISUAL INSTRUCTION MATERIAL

Teachers Should Make Constant Use of Prints, Slides and

Films — Every Annual School Budget Should Make a Liberal

Estimate So that the Newest and Best V'isual Instruction

Equipment May Be Employed

By P. P. Claxton, Ph. D.*

United States Commiseiuarr ot Kducjition

IN my first jear as a teacher I became fully convinced
of the value of visual instruction, and have ever since
done all I could to find and promote every effective
means for it.
Thirty-seven years ago about the only available means
of getting away from or supplementing written and oral
presentation was through the use of the objects themselves,
and I soon adopted this method in so far as I could, both
by bringing objects into the schoolroom and bv taking
classes outdoors and on long tramps about the town in
which I taught, and to the fields and forests of the country.
Here we studied at first hand forms of land and water, the
forces of nature at work, the forma-
tion, erosion and transportation of the
soils, the kinds and qualities of forest
trees, and the products of the fields
and methods of cultivating and har-
vesting them, manufacturing industries,
transportation, the processes of ex-
change, the building of houses and
street, and all the various activities of
the people.

Before I knew of the Schulereise of
its equivalent, on a small scale at
the German schools I had worked out
least. A year or two later, when I
was superintendent of schools in a
small southern city, I encauraged and
helped some of the more progressive
teachers of these schools to work out
these methods of object teaching, both
in the schoolroom and by excursions
on a much larger scale and more sys-
tematically than I had been able to
do it for myself as a teacher.

But this form of visual instruction,
valuable beyond comparison within its
limits, is from its very nature quite
narrowly limited. This I soon discov-
ered and set about finding some means
of supplementing and of extending it.

The first effort was through pictures cut from magazines,
illustrated papers, railroad folders, and other illustrated
advertising circulars and booklets. The teacher who is will-
ing to give the necessary time and energy to it can soon
have a valuable collection of such pictures, properly
mounted and numbered and cataloged for ready use. A
A teacher working under my directions made a collection
of more than a thousand good and suitable pictures illus-
trating almost every important phase of the geography of
North Carolina.

My next means of extending visual instruction in mv
schools was by the use of the stereoscope. Children were
asked to ])ring stereoscopes from these homes, and stereo-
scopic views were begged and borrowed and bought. These
were used to supplement le.^sons in geography and history,

r)K. p. p. CLAXTON, United States Commis-
sioner of Education, for many years has
taken an active, even an enthusiatic interest in
all forms of visual education and tlieir possible
application to various courses of study in Ameri-
can schools and colleges. It has been a keen
disappointment to the Commissioner that Con-
gress has failed to provide a large appropriation
for visual instruction purposes for the use of
the Bureau of Education.

and the ( liildren were permitted to handle them before the'
formal beginning of school work in the morning. It proved
to be an effective means of breaking up tardiness and secur-
ing prompt attendance.

In the eighties of last centurv the movies were un-
known, and the stereopticon was still almost unknown in
the schoolroom.

The Solar Camera j

About the middle of the decade a simple form of solar
camera was manufactured and advertised for school use.
This is a stereopticon with a reflecting mirror attached, so j
that it can be placed in the window of the schoolroom and
the sun be made to take the place of
I artificial light. I was one of the very
first superintendents to adopt the solar
camera for regular classroom work.
I bought two for use in four schools
and arranged for their use on alternate
weeks in each school. The reason for
buying only two was lack of funds for
buying more. In the clear atmosphere
of the South Appalachian Mountains,
with a high percentage of bright days,
I found them very effective. Slides
to illustrate lessons in geography, his-
tory, literature, and art were pur-
chased. Among these were several very
fine illustrations of Greek sculpture,
which the older boys and girls enjoyed
very much. It is interesting now to re-
member that one of the most learned
and popular ministers of the little
city, in one of his Sunday sermons,
condemned this use of the slides, justi
as a well known evangelist had con-
demned the schools, their superintend-
ent and teachers for presenting the
operetta, "The Little Tycoon."
Wealth of Visual Instruction

Material
This brief recital of these early ef-
forts is sufficient to indicate my interest in visual instruction
and my estimate of its value. If I could have had then the
wealth of material now available in cheap but good prints
of great pictures, in hundreds of thousands of stereopticon
slides and in millions of feet of moving picture films, illus-
trating all possible subjects, I would have been very happy.
Were I a superintendent of schools or a member of a school
board now I should equip every school under my direction
with all kinds oi visual instruction material, and would
expect teachers to make constant use of it. I should make
a liberal estimate for such material in every annual budget
so that the supply might be constantly renewed by the
addition of the newest and best. As Coiiimissioner oi
Education I hope I may be able to do something for th(
promotion of the right use of such material.

•^-■

ft a

«ile
He*
Bfai
laiij
■Gi
linii

In Normal Instructor and Primary Plans.

liiitai

TWO U-NTV ERSITi PROFESSORS DISCUSS THE MuMES

InterefJing View-poinls of a Sociologist and
a Biolosist, ^ith the Latter Argnin: for
Parental and National Control

Bv Rn HARD A. MiTTKOwiKi. Ph. D.

r\^ faculh.- members met after dinner at the univer-
-itii- club. One was a sociologist, the other a biolo-
gist. "Let's go to the moWes," said the latter.
"AXTiat." queried the sociologist, "you. a person
superior intelligence, and attend a movie? Til go. al-
•ugh I have little use for them."

"I go because I like them. Because I ^^ish to study the
nd of modern fancies and tastes, because of the oppor-
lity to obser\e people and their responses to recent news
mts and the problems of life. But as to superior intelli-
icel Fine term that," remarked the biologist. "Of
irse in my case there can be no doubt it means something,
• army psychologists proved it to me, or I to them. And
It settles that. As for you?"
'Til concede a doubt. But I feel superior."
■"A ery well. Let our superior intelligence consider the
(vies. Scientifically, with proper analysis, of course. \ on
srin. What is the mo\"ie?"

The following is a condensed account of the ensuing con-
rsation.

The sociologist replied to the cpiestion. "It's a form of
lertainment for common people, and being that, I am
tie interested in it."

"And that from a sociologist! My dear friend, do you
iisider your branch one of those rotating nuisances that
"est our universities, where teachers teach others to teach
11 others to become teachers of the same things? Such
bjects are of no benefit either to the students or to the
=titution. Your sociology is concerned with people. ^ ou
al with averages, with ordinary folk."
"But progress comes only through the few."
"I know. But movies are not made for the few. They
ipeal to the general populace, and their popularity is at-
■ted bv a dailv attendance of over a million. That is one
ct. And the movie is a fact, too!"

"Then you answer. Why do people go to the movies?"
"For entertaiimienL for recreation, perhaps for informa-
)n. Ever\-thing animate craves for recreation. Living
ings have their forms of play. Men entertain and are
itertained."

"QpstxE Method" of Extertaimng

"Agreed. The mo\"ies entertain. By a capsule method. I
lould say. But as a form of entertaiiunent they are hope-
sslv below par. Their plots, for instance — "
"Minor matters. Leave those for the present. Just now
e are interested in the positive phases. The movies are a
(mposite of three arts, that of the dramatist, or scenario
riter. of the actor, and of photography. In the last they
■e wonderful and at their best. The acting on the whole

fair. The weakest of the three is imdoubteclly the dra-
latist."

"Grant all the positive phases. Grant that movies are a
»rm of art. or a combination of arts. But the negative side
. much more important to us. We don't criticize Tirtues,
at we criticize faults. The movies are criticized. Parents,
lucators. leader; complain of them."

"I know it. Formulate the objections."

'"The themes are often vulsar. off-color, and sensual.

They teach method of crime, of license. They put fool no-
tions into empt\- heads. They are bad for children, and bad
for the eyes of both children and adults."

"The last is a mechanical feature that can be eliminated.
A film unrolled at proper speed will not hurt the eyes.
Good theaters have sj>ecially constructed or tinted screens
which remove the harmful glare. A bad feature is vibra-
tion, an infinitesimal quiver of a machine being magnified
to several inches bv the time it reaches the screen. But the
worst is speeding, so much in vogue with so-called comedies.
The glare and the streakiness of a speeded nlm are ven,-
harmful. Personallv on t^s'o or three occasions I have suf-
fered a sort of screen-blindness, a temporary paralysis of
the retinal nerve endings, so that I saw only in blotches-
Snow-blindness is similar. Tinted glasses relieve the strain.
But this is an intrinsic matter, mechanical phases that can
be easily corrected."

"The question of themes, then."

Mental Traps axd Moral Pitfalls
"And their execution. Here we have romanticist, realist,
and naturalist tastes clashing, just as in Uteratore. The
limitation of the movie is the necessity of action: it is un-
able to transmit abstract ideas. Something that a novel
can indicate in an inoffensive sentence must be translated
into action bv the mo\-ie. Here without doubt lies the
greatest danger of the movie. The stage can and does deal
with topics that are tmpleasant and obnoxious. But the
presentation lacks the pictorial force and blimtness the same
thing acquires in the picture drama. In the latter it may-
nauseate. We can talk of evil things and even tolerate the
suggestiveness of the stage. But the same actions presented
in the film become intolerable, for the eye notes a great
deal more in the mo\"ie than on the stage where attention
is divided between sight and hearing. But agreed, salacious
and sensual topics have no place in any art and as such
should be barred from the movies. But in depicting sordid
and criminal phases of life I do not see that our mo\ies
can achieve anvthing more than our novels and stories, not
to forget, our colored Sundav supplements. The movies
do not reveal methods of crime, of profligacy, any more
than our books and plavs. And, see here, do you permit
children to read anv book, or attend ciny kind of play?"

"Of course not. We have special books for children,
special plavs for them. Thev would not understand others.
Their minds are not ripe."

"Verv well. Then whv discriminate in two forms of art
and not in others? Our discrimination is not prompted by-
evil motives, is it? Books are i»-ritten for adults and for
children, plavs the same. Now why in the world should
children be admitted to ever%- mo\-ie that comes along?
Parents do not permit children to read "Peer Gynt," ''John
Barleycorn,'" "The Sea Wolf."' 'The Crisis," "Quo Vadis"
and so on. But thev permit them to go to the moviezation
of these novels. If the criterion of the movie theme should
be what is fit for the child's mind, then our movies will
not advance beyond the child stage. And in their present
form all but a few films must be considered harmful to
children."

"Children cannot appreciate tne prejudices of their
elders and have little feeling for them. But they are eager
to learn and absorb forbidden activities." suggested the
sociologist.

"They can learn from books and papers, can't they?"
replied the biologist. "Criminality among children is said
to be on the increase, but the fact that increase is con-
comitant with ascendancy of the picture drama does not
prove their casual relation. You know the exploded, but
persistent, belief that birthmarks result from prenatal im-
pressions. Post hoc, ergo propter hoc is the fallacy in
each case. Criminality of children is due to parental neg-
ligence and to the lack of moral education."

"Argue as you will, the movies have their weaknesses
and we know them. And hence we have a movie censor-
ship. I think it is their own fault."

"No, not entirely. We have no national censorship. A
few states make their own regulations, and some localities
have their own arbiters of the allowable and non-allowable
in movies. I lived in a state which forbade the picture
'The Birth of a Nation' because 'inciting race prejudice,' but
continued to allow 'Uncle Tom's Cabin.' This same state
had remarkable movie laws. For instance, motherhood was
not to be suggested in a picture. As if motherhood were
not a natural God-given function! But obviously, if such
a picture is to be shown to small children then the respec-
tive suggestion has no place in that film. There's the
humbug of it! We decry our movies for handling themes
that show the sordid, seamy sides of life, — because children
might become sophisticated. But, please, why should this
form of art be placed in its entirety on one level for child
and adult? I say, a child has no business to attend the
average movie, no more than it has to read a treatise on
heredity and sex knowledge or reports of vice commissions
and divorce statistics. That's exaggerated, but I wish to
emphasize my position. I blame the parents, not the
movies. The average parent tries to find out something of
a play before he takes his children. Why not so in the
case of the movies? It seems that here parents suddenly
transfer their parental duty to the movie manufacturer, and
then yell 'murder' because the movie is realistic and shows
a drunken scene, or gambling hell. It's another instance
of our old fad of shouldering the other fellow with our
duties."

"And what would you do for it?"

Parental and National Control Urged

"Control is what we need! Control in two places. Pa-
rental and national control. Control of the movie by a
national censorship, control of the attendance of children
by parents. The movie is a legitimate form of entertain-
ment and instruction for all types and ages of people, as
diversified as literature, appealing to various mentalities,
and these facts should be the basis of criticism and control.
Our censorship is applied at the wrong place. It should
not be left to local whims, but applied at the fountain head,
at the source of the movie, at the place where movies are
made. Wlien a picture is completed, ready for its release
then is the time for the censors to view it. I am astonished
that the movie owners themselves have not suggested this.
It would cause less annoyance, less expense, in the long
run. Furlhermore, the censors could readily list the type
of movie unsuitable for children, just as we discriminate in
children's books in the libraries."

"But what of the manufacturers? Will they consent?"
(Continued on page 1 7)

SPECIAL FILM PROGRAMS FOR CHILDREN

National Kindergarten Association, National Motion Picture League,

Federation of Women's Clubs, and Hugo Reisenfeld

Active in New York City

There has been a sudden outburst of activity in the mat-
ter of selecting and showing special motion picture pro-
grams for children in New York City. Prior to this time
such juvenile exhibitions have been given on rare occasions in
the metropolis, usually in movie theaters and in cooperation
with their management. Now the National Kindergarten
Association and the National Motion Picture League I for-
merly National Juvenile) have joined forces, and on an-
other occasion the collaboration of Famous Players-Lasky
was secured. The New York City Federation of Women's
Clubs obtained the assistance of Mrs. Katherine F. Carter
and Mrs. Woodallen Chapman in presenting a special edu-
cational program. Hugo Reisenfeld, director of the Rivoli
and Rialto Theaters, New York, opened the 63rd Street
Music Hall Christmas week for a series of children's movie
performances.

The Kindergarten Association's film programs were run
off on five successive Saturday afternoons — November 22
and 25, December 6, 13 and 20— at DeWitt Clinton High
School and at the Hotel Plaza. On November 22 the pro-
gram at the high school consisted of "Alice in Wonderland,"
"School Days" in color, and "Bobbie Bumps Chooses a
Substitute.'" The admission fee was ten cents.

On December 6, at the Plaza, "Cinderella" and "Bobby
and His Fly Swatter" made up the bill, while the following
Saturday "The Prince and the Pauper," with Marguerite
Clark, and another Bobby Bumps cartoon delighted the 550
kiddies present. The final program was similar.

On Monday afternoon, December 15, at the Hotel Ma-
jestic, the club women of the city in association with the
Carter Cinema Company presented a varied and valuable
screen program before a large optience of school children,
teachers, social workers, librarians, and others. The films
shown were: Nature study, "A Day with John Burroughs," a
Prizma natural color reel ; arithmetic and geometry, "Square
and Cube Root," an ambitious but inadequate attempt to
solve mathematical mysteries for grade children; biology.'
"How Life Begins;" child welfare and hygiene, "Our Chil-
dren;" and Americanization, "The Making of an American.'" .
Hugon's helpful one reeler. The Burroughs picture proved
not only of value from a nature study viewpoint, being in
colors, but because of the naturalist's advanced age a bit
of film biography of lasting worth which may well be pre-
served in educational archives. •

Beginning on Christmas Day Mr. Reisenfeld advertised a
continuous program from one to six o'clock, afternoons, of
"children's motion picture holiday matinees." The open-
ing bill consisted of Mary Pickford in "The Poor Little Rich
Girl," which is one of the poorest pictures she has ever
done and not to be compared as a production to the stage
presentation given in New York some years ago; Briggs and
Arbuckle comedies, and "School Days" in color. All seats
were twentv-five cents at the matinees.

NATION-WIDE SYSTEM OF EDUCATIONAL EXCHANGES

Accordiii!.' to a statement issued by J. F. Seedoff, vice president and
treasurer of the newly-formed Cinema Classics, Inc., it is the inten-
tion of this company to create a nation-wide system of motion picture
exchanges expressly for the purpose of serving educational institu-
tions, churches, organizations and individuals in the non-theatrical
field. The company controls the distribution of the Urban Popular
Classics in New York and New Jersey and expects to extend its con-
trol of these films to the entire country.

SOCIAL WELFARE

H0\^ THE CATHOLIC. CHURCH IS CAPITALIZING THE INIOTION PICTURE

Although Not Used as an Integral Part of Church Services, the Film Is Becom-
ing Increasingly Important in Catholic Pari>hes, Schools, Colleges, Clubs, and
Institutions — Hints on Successful Operation of Community Movie Shows-
Selected Programs and Censorship — Film Productions of N. C. W. C. Motion

Picture Committee

By Charles a. McMahon*

Chairman Mntion Piclure Committee. National Catholic War Council

I\ a recent issue of a leaiiing magazine devoted to the
non-theatrical uses of motion pictures tliere appeared
a statement to the effect that "forward-looking" clergy-
men were increasing the attendance at their churches
by making motion pictures a part of the resular services
and that, as a result of the introduction of the silent cinema
preacher as a substitute for the "legitimate" pulpiteer,
crowded congregations were responding more readily to
the physical, mental and moral stimulus of the church.

The article did not state that the church services referred
to are, of course, those of our Protestant brethren, or that
the adoption of this novel use of the motion picture is in
reality an admission that the "forward-looking" clergymen
referred to are either lacking in power to deliver their ser-
mons in a way such as to hold their congregations or that
the religious messages delivered in their pulpits are devoid
of the substance and power to interest their communicants.
Perhaps the substitution of the motion picture preacher for
the orthodox variety is an indirect confession that there is
something lacking in both the preacher and his message.
The part of the article in question that caught the attention
of the writer, however, was that a carelessly ^\orded refer-
ence, in the same paragraph, to the motion picture cam-
paign of the National Catholic War Council would lead
the mithinking reader to understand that the Catholic Church
was resorting to a similar use of the movies.

It need hardly be stated here that as long as Catholics
continue to he blessed with the light of faith and the privi-
lege of worshipping their Creator by assisting at the holy
Sacrifice of the mass there will be no need of resorting to
the sensational methods which other denominations have
adopted for the purpose of increasing attendance in their
churches. To Protestants lacking the gift of Catholic faith
it is quite inexplainable that our churches should be filled
to overflowing several times on Sundays, and often on
week-days as well. They do not stop to think that this has
been the unchanging practice for centuries. We have, in
the past, seen the leaders of Protestant denominations, in
consternation at the ever-increasing attendance at our Cath-
T)lic Church services, desperately resorting to the introduc-
tion of Sunday concerts, sensational lectures, and in many-
instances spectacular vaudeville in an effort to attract even
a fair representation of their communicants at least once
a Sunday. Now they have introduced motion pictures in
their churches and are making them a part of their regular
religious service. One denomination alone is spending the
vast simi of .S6,000,000 in the manufacture and exploitation
of propaganda films for church and missionary uses. An-
other denomination recentlv contracted in one order for

6,000 projection machines to be used throughout the coun-
try, even in the smallest of its churches and missions. Sev-
eral denominations are already using motion pictures to
illustrate their Simday evening sermons or, where appropri-
ate films are not available, are using travelog pictures, edu-
cational films, and various types of photoplays, hoping
to bring a larger number of people within the influence of
their churches. To the observant Catholic who has watched
the results of similar enterprises in the past, such expendi-
tures look very much like sowing the wind to reap the whirl-
wind.

The Motion Pictl-re .\s a Socl\l Asset

\^Tiile Catholic pastors will never have occasion to in-
troduce the motion picture into their churches as an integral
part of the church services, it should be noted, however, that
the motion picture is being used in ever-increasing measure
in our Catholic parishes, schools, colleges, and institutions.
There is a great difference naturally bet%veen using motion
pictures in the church and using them under the auspices
and influence of the church in parish halls and school audi-
toriums for social and educational purposes. The motion
picture is already being used most effectively in the teach-
ing of catechism and the Bible, and in presenting various
forms of cultural and industrial knowledge. In hundreds
of parish halls. Catholic clubs, and community centers the
motion picture is being regularly utilized as a great instru-
ment for good in promoting a better social relationship and
in weaving communities and neighborhoods into a better
understanding and appreciation of the different group
found therein.

We may as well take cognizance of the fact that the mo-
tion picture industry is one of the five leading industries
of the United States according to the capital invested and
the volvuue of business done each year. This is really a
surprising fact, considering that the motion picture industry
is one of the newest of our enterprises. The motion picture
is here to stav. It is the most popular single factor today in
furnishing amusement and entertainment for the great
masses of our population. It is only in its infancy as far
as its educational uses and influences are concerned.
Through motion pictures, ideas that otherwise would be
either difficult or almost impossible of understanding can
be quickly presented and easily grasped. Very soon the
motion picture will be known as the universal educator,
as there is almost no form of knowledge that cannot be
attractively and interestingly presented by the screen
teacher.

* Courtesy of Xational Catholic War Council B.Hilin.

\ ARYiNc Quality of Photoplays

In the vai-t number of photoplays produced each year,
there are naturally those of every variety, varying from the
good and indifferent types to those that are utterly bad
and vicious in character. There is, however, a large per-
centage of excellent motion pictures regularly produced
which are dramatically excellent and entirely satisfactory
from the viewpoint of their amusement and entertainment
values. Thousands of valuable educational and industrial
films are also being produced every year and deservedly
receive wide circulation. A great number of plays are ab-
solutely immoral. Others are done in a very bad manner
from the standpoint of the drama and motion picture
technique. Some either treat of unwholesome themes or,
if generally satisfactory, contain immoral scenes and vicious
suggestions. Hundreds of films are being manufactured
each year which contain insidious and dangerous propa-

shown later in this article, the way to suppress an immoral
film is to nip it in the budding or production stage. The
most reputable motion picture producers are now activelv
cooperating with Catholic critics and critics of other reli-
gious affiliations in making their plays satisfactory before
they are released for showing. Again pastors frequentlv
complain that their young people ( and now verv frequently
their older parishioners as well I do not attend parish
entertainments but patronize the "movie" shows instead.
This proves that the ''movie" is a real attraction, and a
competitor to be reckoned with when it comes to the ques-
tion of parish entertainment. All these facts are more or
less known to the Catholic pastors and priests of the coun-
tn,-, but, except in comparatively few cases, there has been
no active interest manifested by them, either in taking ad-
vantage of the motion picture's great possibilities for good,
or in taking constructive action in eliminating from film

Cardinal Gibbons. Cardinal O'Connell. and Archbishop Moem.er. Seated .\mid a Group of Bishops, as
Shown in the >>'.C.\^'.C."s Historical Motion Picture

ganda. Some of these the government found, during the
late war crisis, were even unpatriotic and subtlv destructive
of our American ideals. Others, like the so-called "educa-
tional" sex-hygiene films, are diametrically opposed to the
fundamental principles of Catholic moral teaching.

Occasionally we hear of a pastor condemning a notori-
ously flagrant motion pictutre play, and advising his people
not to patronize it. Such public condemnation of a play
serves only to increase attendance bv inciting curiositv in
the minds of the morbid and curious, thereby bringing about
results contrary to those which are desired. As will be

plays certain features which have served to evoke only
their criticism and to create on their part a negative atti-
tude toward the motion picture generally.

Experiences of Priests

As Chairman of the N.C.W.C. Civic Education Commit-
tee through Motion Pictures, the writer has had occasion
within the past few weeks to learn of the experiences and
views of many pastors in connection with the use of motion
pictures in Catholic parishes. Some pastors are tradition-
allv opposed to motion pictutres of any kind whatever.

Dther pastors have tried motion pictures and tor various
easons failed after the first or second attempt to attract
;ufficient people to make their ventures pay either socially
>r financially. As a result expensive motion picture equip-
nent has been frequentlv "scrapped" or comlemned to a
tale of innocuous desuetude. Such pastors, however, must
>e given credit for having tried out a. progressive id^i even
f. because of verv eWdent shortcomings in planning and
nanagement. their ventures into the film world were a dis-
ippointment. And yet. while many priests have reported
ailure or only partial success, scores of pastors and priests
lave written most enthusiastically of their parish motion
)icture entertainments and have told at length of their
uccessful management of parish movies and have enumer-
ited the great benefits that have accompanied their efforts
n providing film entertainment for their people.

AXliy. therefore, have motion pictures failed in certain
)arishes and succeeded in others? As a matter of fact, the
notion picture has not failed ; failure was only a matter of
nefficient equipment, of inefficient operation, or of unwise
election of film material. Let us consider here briefly these
hree essentials of motion picture entertainments (the writer
las in mind motion picture entertainments at which admis-
ion is charged I — the apparatus, the projector and the mo-
ion picture itself. Assuming that satisfactory physical
:onditions obtain in regard to the hall, screen, booth, elec-
ric current, etc.. the first requisite to a motion picture enter-
ainment is a motion picture machine. In this field, there
s as wide a rsmge of makes and values as there is betsveen
he plebeian Ford automobile and the highly efficient land
dghly priced i twelve-cylinder Rolls-Royce. L nfortunately.
n choosing motion picture machines the majority of pastors
eem to choose the cheaper models which, in the matter of
elative efficiency, cannot be compared to the cheaper make
)f car above referred to. XThat is the quality of motion pic-
ure projection as obtained from a small or sub-standard
motion picture machine operated in a parish hall as com-
)ared with a highly efficient batter\- of projectors operated
n an up-to-date theater? Lnsatisfactory. of course.
Vgain. where only one machine is used, there is a break in
he film program every time a reel is changed. This makes
or a crudity of projection which the film fan does not ex-
jerience where there are at least two projection machines.

How To Succeed With Movie Shows

Again, in the matter of instrumental music, which is
;losely related to the idea of projection, we frequently find
lo provision for mtisic at parish motion picture entertain-
nents. Music is almost as necessarv as the projector itself
n puting on a motion picture program. Even when the
nusic is not entirely appropriate to the theme of a film
)lay. it satisfies a ver^^ necessary condition to a successful
notion picture projection. The patrons of motion picture
heaters are as accustomed to enjoying music with their film
entertainment as they are to eating butter w ith their bread,
md the parish that cannot put on a motion picture program
sith the same technique and in the characteristic atmos-
)here of the regular motion picture theatre will not attract
he experienced "mo\"ie bug," or the inexperienced either,
;or that matter, for any considerable length of time.

An equally important consideration is the operator of
he motion picture machine. The finest film programs ar-
•anged for parish entertainment often fail t'j"get across"
)ecause of an inexperienced operator of the projection ap-

paratus. W hereas motion picture machines are usually
quite simple as to operation, nevertheless it re<quires training
and experience to meet the inevitable emergencies that at-
tend motion picture projection — emergencies that require
operating skill and <juick action in the solution of both lit-
tle and big difficulties that are continuallv arising. \^ hile
it is often possible for pastors or their assistants to qualify
as capable operators, the amateur operator has no business
in a booth, provided admission is charged and the people
are given to understand that a first-class entertainment is
to be expected. .\s a matter of fact, in most localities mo-
tion picture operators must be licensed and some city
ordinances even specify that the operator must be a union
man. This training is required not only to guarantee good
projection and to prevent damage to films through misuse
but also to safeguard against fire or accident. All the ma-
chine manufacturers and film companies will assist in the
training of operators and in giving such follow-up service in
regard to the machines themselves as to make this feature of
the work as efficient as possible. Only expert operators
should be employed wherever feature programs are pre-
sented and admission is charged.

Types of Motion Picture Plats

As regards the third essential to parish motion picture
entertainments, namely, films suitable for showing to Cath-
olic audiences, a great deal could be written which lack
of space does not here permit. There are a few live, up-
to-date photoplays produced by a company catering to
Catholic parish demands only, that can be recommended.
The N. C. W. C. Motion Picture Committee is in a position
to give definite information concerning this company and
its plavs. Many of the larger motion picture companies
are establishing non-theatrical departments to serve the non-
theatrical agencies desiring film service. These companies
maintain nation-wide distributing organizations, so located
as to be available to everv citv. village, community and
hamlet in the country. One of the companies with which
the National Catholic War Council is associated in its
motion picture program for civic education is such a com-
panv. and the CounciFs Motion Picture Committee is
working out an arrangement with this concern and other
companies wherebv the best motion picture plays can be
distributed regularlv to any parish or Catholic organization
desiring them.

This Committee is making up a list of feature programs
for the information and use of pastors. The usual pro-
gram consists of a five-reel drama, a one-reel comedy or
cartoon and a news reel, weekly magazine, travelog or a
scenic picture of one reel. The price for these programs
varies according to the relative order of the release and
also according to the size of the city, town or community,
in which the pictures are shown.

Until recentlv there was considerable objection from
many local motion picture exchanges to giving co-opera-
tion to parishes and community agencies desiring to rent
feature films. The introduction of motion picture plays
in parish halls was considered as an encroachment upon
the legitimate theatrical field, and as such was originally
opposed as unwelcome competition. This situation has
changed, however, and now wide-awake exhibitors will give
their first releases to any parish or organization that is
able to pav the same rental price that the regular theatrical
houses are required to pay. It should be understood that
as the age of a picture increases its rental price decreases.

Complete programs vary in price from twenty dollars to
fifty dollars a day and upwards. The types of production
include dramas of many varieties. — costume, detective,
fairy, historical, melodrama, society, western, romance, and
others. Comedy pictures likewise cover a wide range, the
best known being the straight slapstick, farce, cartoon and
burlesque comedies. Aside from these types of motion
pictures, there are the serial photoplays, travel pictures,
scenics, industrials, news weekly, magazine features, and
several others.

j
Movie Censorship by Catholic Societies

Pictures must be carefully selected according to their
uses, whether for entertainment, education, propaganda or
other uses. A picture that is satisfactory for the family
group would generally prove unsuitable for children, and
vice versa. The moral effect and influence of the plays
must be carefully judged. Some plays when viewed from
the Catholic angle must be instantly condemned in toto;
others, generally satisfactory, must be subjected to excision

effective must be carefully executed; it must be national in
scope; and it must carry with it authority and recommen-
dations for definite action, and it must be continuous,
otherwise it is futile, resulting only in exploiting the very
conditions which it is intended to remedy. This Committee
is now co-operating with the New York Commissioner of
Licenses in the viewing of new films, and several leading
motion picture companies have signified their desire and
intention of making this Committee its viewing agency, for
the purpose of making plays in the production stage sat-
isfactory to Catholic criticism, and also of making this
Committee a bureau for information relative to film service
in which Catholic agencies may be interested. The future
holds great possibilities for constructive results in this re-
spect.

Clean, Up-to-Date Photoplays Wanted.

A word in regard to films treating of religious subjects.
There are few good films of this make available. Priests
have found out by experience that this type of film is

TiiRiiE Women War W okklrs As Suow.n in the .N.C.W C.s Historical Motion 1'ictire

of certain objectionable scenes in order to make them
satisfactory. This frequently can be done without injuring
the dramatic value of the play, but is almost always ob-
jected to by the authors. Thus, in the viewing of plays,
there are many important considerations to be kept in mind.
The foregoing will give just a suggestion of what these
are.

In the matter of motion picture criticism, the N. C. W. C.
Motion Picture Committee is already exercising an advisory
censorship against immoral and unwholesome photoplays.
This Committee, together with other representatives of the
N. C. W. C. is working on a plan of co-operative censor-
ship action which will shortly be presented to the organized
Catholic societies of the United States. Censorship to be

usually not well patronized, partly because of the heav\
character of the production, and partly because of the poor
quality of camera work and sub-standard technique gen-
erally. The average film "fans" want up-to-date photo-
plays, and have only one desire in attending them, namely,
the desire to be entertained. Thus, except in the cases of
the school or in some distinctly patriotic program such as
the citizenship program of the N. C. W. C, (and even here
the element of entertainment predominates, and the in-
struction is short and only incidental) wholesome amuse-
ment is what the people demand; they do not want "high-
brow" entertainment. The tired working man or woman
desires pleasant relaxation and is going where it can be
obtained. If the pastor is wise enough to provide that sort
(Continued on page 26)

MEXCIAN OFFICIAL FILMS MANAGED BY WOIMEN

The Misses Ehlers Selected by President Carranza Throupb Motion

Picture Scholarship and Given Three Year;' Training in the

United States

T^ young Mexican women have been placed in
control of the censorship and ilevelopment of
motion-picture films in Mexico. They are Miss
Adriana S. Ehlers, chief censor, and Miss Dolores
L. Ehlers. in charge of the work of producing Mexican films
to he distributed in the United States. Europe and Latin-
American countries. The purpose of this widespread dis-
tribution of Mexican films is announced to be to clear away
many of the misunderstandings that are said to exist regard-
ing Mexico.

In addition the young women are to have charge of
the making of educational films to be exhibited free of cost
to natives of Mexico to teach Mexicans modern methods of
living. The two young women will act under the dirert-on
of the Department of the Interior.

Films showing the life and industries of Mexico are being
prepared imder the direction of Miss Dolores L. Ehlers, who
has a staff taking pictures in different parts of the republic.
These are to be distributed bv cooperation of the Bureau of
Commercial Economics in virtually every coumry in die

Western hemisphere. Censorship is to be rigorous.

Edlcatioxal Films for Mexico's Ii.liter.4te

•All undesirable films, such as gruesome murders and im-
moral pictures now widely shown and patronized by the
poorer people, are to be barred from the public by 5Iiss
Adriana S. Ehlers. The smuggling of films across ihe
American border is to be stopped. As 8.5 per cent of. the
population of Mexico is illiterate, films have been adopted as
the only means of educating people who cannot read or
write.

The Misses Ehlers were selected bv President Carranza
through means of a motion-picture scholarship and ?^ent
three years ago to the United States to study the possibilities
of the motion-picture business from a national standpoint.
They first took a course in the mechanics of motion-picture
work at Boston, later studied the work of large film com-
panies in New York and subsequently were permitted to
work in the photographic section of the War Department, at
Washuiston.

MICHIGAN HEALTH DEPT. FILM CAMPAIGN

An illustrated movie lecture on "How Life Begins" that
is being circulated through the state of Michigan by the de-
partment of health, in an effort to combat disease, was given
in Dowagiac December 18 and 19 under the auspices of the
board of education.

The state department of public health is making an in-
tensive campaign of education against various self diseases.
It includes lecturing on sex hygiene in the schools. More
than half of the high schools of the state have been in-
structed by the educational mo^de.

The film is not a sex hygiene film, but a nature study
motion picture in four reels, attractive and interesting, dem-
onstrating the processes of life in animals and plants.

With the film came Mr. Plews and Miss Delavan, repre-
sentatives of the health department, who talked to the
boys and girls in the schools and directed the showing of
the film which was screened in the auditorium of the Dow-
agiac high school.

A new projector, a portable moving-picture machine
which has the approval of the state fire marshal, has been
purchased by the health department in its campaign to edu-
cate the younger people.

The first motion pictures ever made of the moon are one
of the interesting features of Universal's Ne\v Screen Maga-
zine No. -14. The pictures were made with the Hooker tele-
scope, the most powerful instrument of its kind in the world.
which was recently completed at the Mount Wilson Observ-
atory of the Carnegie Institution at Washington. The mir-
ror of this telescope is 100 inches in diameter, and required
five years to complete. It brings the moon in closer range
than ever seen before by the hmnan eye.

"HEALTHMOBILE" MOVIES

At the Public Health Conference recently held at Sara-
toga Springs. N. Y., under the auspices of the State De-
partment of Health, there was exhibited for the first time a
■'healthmobile," built for the educational work of the de-
partment. According to an official statement, "this is an
automobile built especially for the purpose and equipped
with a stereopticon, a moving picture machine run by power
developed in the 'healthmobile.' and a number of interesting
exhibits demonstrating the value of maintaining health
and preventing infection. It is planned to send the 'health-
mobile' with a lecturer into communities remote from the
railroads, so that people in the rural and sparsely settled
parts of the State may have the same means of public health
education as is available to city dwellers."

T\^ O UM\ ERSITY PROFESSORS DISCUSS MOVIES

(Continued from page 12)

"If they had any sense they would. A number of the
owners howl about the freedom of the art and a threatened
infringement. But you will notice that the ones who talk
loudest of 'art's freedom' really mean licentious art, art
given to the portrayal of the salacious, indecent and impure.
Just let them continue to produce evil types of films under
the plea of the 'freedom of art.' Some day they will find
a censorship slapped onto them with breath-taking snap and
fervor, with restrictions triply more stringent than those
they might voluntarily impose on themselves. The movie
is a moral influence. And every nation ha\'ing the right to
protect its morals, the movie must be controlled. The
movie is a fact. And control of the movie must be another
fact. Tha sooner the better."

INTERCHURCH MOVEMENT TURNS TO FILM PRODUCING

In Co-operation With Educational Films Corporation, Sends

Two Fully Equipped Motion Picture Expeditions to Asia and

Africa — 100,000 Feet of New and Different Pictures for

Theaters, Churches, Schools and Other Exhibitors

By Eva Chappell

MOTION pictures will be utilized on a grand scale
as an adjunct to the work of the churches for
the first time next spring, when the Interchurch
World Movement, the new co-operative organi-
zation formed by most of the Protestant denominations
of the United States and Canada, will make films one of
its chief weapons in putting the needs of the world before
the people of the nation.

A few weeks ago there sailed from San Francisco an ex-
pedition composed of the Rev. A. V. Casselman, E. Lloyd
Sheldon, and Harry Keepers, which is to say a clergvman, a
student of sociology who has also many scenarios to his
credit, and an expert camera man, sent out for the purpose

A I •■' I' i; Wiliar^l I'licr. ,,lilnr m1 U','t!J (J;,',,. 1,, i|,,. ccnt.T —

Rtv. A. \ . I'asselmaii. At the right— E. Lloyd Sheldon.

of capturing the Far East for the screen. Just before this
sailing. Willard Price, editor of World Outlook, in company
with Horace D. Ashton, another world traveler and pho-
tographer, left New York, bound for North Africa and the
Near East.

These two expeditions sent out by the Interchurch World
Movement, working with the Educational Films Corpora-
tion, represent the first attempt of the Church to obtain in
a professional way films which will show the work of
missions in foreign fields, and also pictures of a far wider
stretch of interest. The first group of films, those deal-
ing with mission work, will be shown through church
agencies; the second group will be released under the
title "World Outlook on the Screen," and will be shown
in the motion picture theaters. The plan is to bring back,
at the very least, 100,000 feet of films.

"World Outlook on the Screen"

"World Outlook on the Screen" is an exact statement of
the purpose of these pictures. The idea is to put on the
screen bits of the countries visited, not merely scenically
and superficially as the swift traveling tourist sees, but
life as it is tliere behind walls and within courtvards; and,
too, pictures showing the onward march of progress, and
the old customs which point the need of progress.

There will be little of the stuff of guidebooks — the
ancient gate — ^interesting merely for its antiquity. All

will be vital, significant of life today. Corners seldom
visited will be sought out. The beaten trails will be left
behind, and journevs will be made by horse and camel to
remote parts not to be reached by train or motor. Pic-
tures of the widest possible human appeal will be made:
this is true of those made of the mission work, as those of
iTiore general themes. For the work of the ciiurch in for-
eign lands has a far swing not always remembered by
those who sit at home and think of men in black frock-
coats going forth to bring light to "the 'eathen in his blind-
ness."

The missionary, as these pictures will show, is, of neces-
sity, a versatile man; the camera is as likely to catch him
extracting the teeth of a wriggling native, or climbing the
rigging of an elephant, or killing a boa constrictor, or
being stalked by a lion, as engaged in the performance of
his more strictly ministerial duties. If it were not so his
task would be far more simple, and. by the same token,
far less interesting.

The Far Eastern Expedition

The Far Eastern expedition, which sailed on the Persia
December 21, will spend eight months in journeying
through India, Burma, China. Japan and Korea. It is
under the general direction of the Rev. A. V. Casselman,
who knows his India well from former missionary service.
Many doors which could not be entered except through
missionary influence will be open to them. The technical
direction is in charge of E. Lloyd Sheldon, known as a
writer for magazines, as well as the writer and producer
of many screen plays. In this enterprise Mr. Sheldon saw
an opportunii\ for something new in pictures. During his
student days at Harvard he took honors in sociolog)-, and
he will bring a specialized interest to bear on the finding
of social and industrial life hidden away in the East. The
camera man of the party is Harry Keepers, who in his
years of service has jogged so much about the world that
he has won the sobriquet "Globe Trotter." ■

Egypt, Algeria, Turkey, Syria, Armenia, Palestine, and
parts of Italy are to be visited by Mr. Price and Mr. Ash-
ton. The work which is being done is another expression
of that done by World Outlook, the magazine of which
Mr. Price is editor, and which is now owned by the Inter-
church World Movement. Mr. Ashton is also well equipped
by profession, training, and experience to find the best of
scenic and scientific sociological interest. He is a fellow
of the American Geographical Society and a member of
the New York Academy of Sciences. During the Russian-
Japanese war he worked and photographetl in Japan, Korea,
and Manchuria. Later he explored and photographed in
South America.

The .New Life of Desert Tribes

Though the greater part of the definite planning of the
work will be done on the ground, much was done before the
expeditions sailed. It is certain that there will be pic-
tures revealing in a way never before accomplished the
influx of modern progress, with strange old customs used
in contrast. There will be pictures showing the new life
of women in these countries where there is a robust new
life, even though the word feminism and its native equiv-
alents have not penetrated; the life as it has been affected
by the war — not merely the general condition, but, too,
life as it has been affected bv ideas brought back bv the
soldiers: for example, the Arab who went lo war and who
brings back to his desert the new civilization and the new
savagery that he learned there. There will be one inter-
esting set of films showing the life of the Kabyles — those
Berber tribes of Algeria and the oases of the Sahara, blond

TT.ARRV K^^ ;-<:>. c.\jtrt I. iaematographer. in Egy;>i. with the Vita-
graph Globe Trotters. I91J-191.1. A close-up of the camera man
appears in the oval insert.

as the Ejiglish amid their dark-skinned neighbors, whose
antiquity of type is proved by the old monuments of
Egypt, where their ancestors are portraved. There will
be pictures of Bedouins, those figures of unconquerable
romance. And there will be pictures showing the contrast
of the Arab in his native school and in the missionary
school.

The Far East will be as fruitful a field. Among the
manners and customs pictures will be those showing the
curious restrictions of caste; house-boat life in China can-
not fail to result in interesting films, nor can the athletics
of the Orient. Among the industrial pictures to be brought
back from India will be those showing Sam Higginbottom's
agricultural experiments and their far-reaching effects.
And, everywhere, the grotesque and the humorous will be
sought that these pictures may have that saving salt.

Wide Appeal of These "Different"' Films

It would be hard to overestimate the appeal and the
effect of these pictures, or the vast numbers they will
reach. Already approximately 2500 churches, according
to H. H. Casselman. head of the Motion Picture Division
of the Interchurch Movement and a brother of the leader
of one expedition, are equipped with motion picture ap-
paratus.

It is certain that because of their educational value the
films will be in demand for the use of schools, and, too.
in civic societies, because of their industrial and economic

bearing. And all this in addition to those released through
the regular theatrical channels with their access to mil-
lions nightly.

Certainly these pictures gathered by clergymen and men
of science and literature — students all of the great human
drama and of the minds and the hearts and the manners of
men, helped out by camera men who know a good picture
when they see it and snap it regardless of the peg on which
it is to hang — will be eagerly awaited. They can hardly
fail to be different, and better, and with a wider appeal, a
more significant insight into foreign lands than any that
have yet been brought back for the delight and instruction
of those who must sit at home, and may travel the trails
of the world only through the magic of cinema art.

NEW EDUCATIONAL-TRAVEL SERIES

David P. Howells of New York announces a new series of
educational-travel pictures, called "Photolife," which his
company is producing. One of the company's cameramen,
Jeff D. Dickson, is reported to have been making extensive
pictures of the city and countrv life of France, including a
splendid picture of Paris which is now being titled. Dick-
son was formerly attached to the photographic section of the
United States Signal Corps in France and is said to have
taken some unusual pictures of the Chateau-Thierry and
Meuse-Argonne actions. He is at present in Morocco and
will, according to reports, spend the winter in touring the
countries along the northern coast of Africa.

"It is our intention to make a complete library of scien-
tific, sociological, industrial and scenic pictures which will
be produced with a view of their being used in schools as
well as being releases in the moving-picture theatres," says
Mr. Howells.

FILM EXPEDITION TO SAMOA

To take motion pictures of geographic and botanical in-
terest, for exhibition in schools and educational institutions,
the Non-Fiction Film Production Department of Famous
Plavers-Laskv Corporation lately sent to Samoa, in the
South Pacific, an expedition in search of new and interest-
ing film material. The expedition, in which are some
Boston scientists, sailed from Marblehead. Mass.. in the 125-
foot power yacht Ajax, and will probably be four months in
reaching its destination in the South Seas — a voyage of
15.000 miles.

CLEAN FILMS FOR ATLANTA CHILDREN

A movement for clean pictures for children has been
inaugurated in Atlanta by the Parent-Teachers' Association.
At a recent meeting Mrs. J. E. Andrews, state president, ad-
dressed the members and urged constructive cooperation as
a means of securing whatever the parents and teachers de-
sired in this line. Suggestion was made that a free demon-
station of government educational pictures be given under
the auspices of the chamber of commerce, to which members
of the association be invited.

It is believed that this movement will result in obtaining
the kind of pictures desired by mothers and will also intro-
duce motion pictures into the Atlanta schools. /

RELIGIOUS

'CHILDREN'S HOUR" MOVIES ATTRACT 13,000 SUNDAY SCHOOL PUPILS

•Does It Pay?" Asks This Pastor. "Not in Dollars and Cents, For It Is Not

the Money I Am After. My People Supply the Ca>h. Because I Am Making

Better Boys and Girls out of Their Kids"

By Rev. E. M. Rhoaues

Paalor, First Baptist Church, (rraftoD, W. \'a.

FOR several years I have been using motion pictures
in my church work, and I have found them a very
great aid in reaching the masses. My employment
of films has been chiefly with the children, although
a number of times I have used them in work with the older
people of my congregation.

I feel that my regular weekly "Children's Hour,"' held
each Friday afternoon, has been one of the best ends to
which I have thus far put the use of the movie. At thirty-
two sessions of this children's hour in the year 1919 I had
a total attendance of more than 12,800 children, from an
actual count of tickets received at the door.

Admission is by ticket only. These are given out each
Sunday, two tickets to each member of our Bible school.
We have to use tickets because our room would not hold
all the kids who would like to jam in.

Below are some of the admission tickets, printed in black
on white, yellow, pink, grav, green and other colored card
board, the size of a regulation theater ticket:

ADMIT ONE BOY OR GIRL

To The

BAPTIST CHILDREN'S HOUR

Conducted by E. M. Rhoades at the Baptist Church, Friday
October 31, 1919, at 4 P. M. Doors open at 3:45. Music,
Magic, Stories and Moving Pictures

"The Neighborhood Pest"

No Admission Without Ticket

Other tickets announced "A Spanish War Story." "How a
Boy Was Freed," "A Philippino Warrior," and "The Sim-
beam Prince." One ticket was headed "Girls' Stunt Day,"
another "Boys' Thanksgiving Stunt," and the December 19
ticket was unusually large, with a cut of Santa Claus at the
top using a telephone and saying "Hello Children!"

Here are some of the "Children's Hour Yells" — the kid-
dies must have this safety valve for their stored-up energies:

Rah, Re Ri, Ro!

Do you know what I know?

You can know

If you go where I go.

Where do I go?

To the Baptist Children's Hour

Who are, who are.
Who are we?
Children's Hour boosters.
Can't you see?

Listen friends!

And you will hear

How we youngsters all can cheer.

Hiishsh-li-h-h!

I reach more children each week than any other two
pastors in the state of West Virginia. How do we do it?
We use a DeVry "C 90" motion picture projector, a slere-
opticon, a pipe organ, and any other good things that
our hands can lay hold on. The little DeVry machine is
a box of mystery. The children watch it as hungry animals
do a piece of meat. Eager for this tempting morsel to be
offered to them, they fairly devour it when they see it on
the screen.

We open liy singing "America." Then a prayer is read

from a slide specially prepared. A gospel song is suug
from a slide. Then we have our yells, and you should hear
those Y-E-L-L-S! Next a lively gospel song and a movie
story. Then an object lesson as a sermon, which takes not
more than ten minutes. Then a reel of movies, followed
by "Onward, Christian Soldiers," and we have finished.

Does it pay?

Not in dollars and cents, for it is not the money I am
after. My people supply the cash, because I am making
better boys and girls out of their kids.

Yt/HERE llie Rev. Mr. Rhoades is making better boys and girls largely
through the use of the movie. This is the average crowd which
tvatts outside the church door every Friday afternoon a half hour before
:he doors open for "Children's Hour." In 1919 nearly 13.000 boys and
?irls handed in tickets to see the pictures, hear stories and sermons, and
let out yells and sing songs.

Anyone wlio doubts this is invited to visit us some Fri-
day afternoon and see for himself or herself; One such
visit will. I think, convince the hardest-hearted sceptic.

SERMONETTES IN FILMS
Here's another new idea for pictures conceived by H. A.
Spanuth, president of the Commonwealth Pictures Company,
Chicago. Mr. Spanuth was the first to introduce vaudeville
to the screen in his Original Vod-A-Vil Movies.

His latest inspiration in film is to be known as "Ser-
monettes." It is not the intention to preach in these
sermonettes. They are entirely non-sectarian. The sermon-
ettes will transfer to the screen the stories of the Bible and
the messages they are intended to bring to mankind. Each
sermonette is in two parts — ^the first a picturization of the
text and story taken from the Bible, and the second the
modern stor\ showing the adaptation of the message to
cvervdav life.

\S'ilh church and school and printing press, the screen has taken its
place as one of the major educational agencies. It lies within the
power of the leaders of the industry to make it more and more the
university of the average citizen. — Serrelary of War Newton D. Baker.

THE UPLIFT PICTURE IN ENGLAND

British Film Producer Thinks Churches
Should Suhsidize Productions *

WITHIX easy walk of my house are two churches,
recently turned, with scarcely any external altera-
tions, into picture palaces,- one Catholic and the
other Methodist, and one never passes either of
them without a twinge. No one who sees the masses crowd-
ing into the picture-shows night after night can doubt the
hold which the cinema has on the general public. The
question arises whether it may not be worth while for w ide-
awake religious workers to be on more intimate and friendly
terms with the cinema managers, particularly in country
places?

In connection with a recent May Meeting in London, a
film was exhibited outlining the well-known child-story, "A
Peep Behind the Scenes," and the same film-people are now
contemplating the production of another of Mrs. Walton's
stories, "Christie's Old Organ." Which fact was sufficient
for me to open up the whole subject, the other day, with
one of the leading film-producers.

Theater Men See Possibilities

"Religious people complain of the bad effects of a certain
class of film on juvenile audiences!" I said.

'"The subject receives as much attention in the cinema
trade press as in the police-courts," was the reply. "We
are as alert to this phase of the subject as the daily press or
the pulpit itself." '

The picture-house manager is. of course, out to cater for
all classes, and while he knows that pistol-firing and blood-
and-thunder stories appeal to youths in the front seats, he is
not quite sure how far better-class subjects would be wel-
comed by his patrons.

'"Yes; the average manager is always sure that films of a
sensational character will be a far bigger attraction than
those dealing with serious problems or educational subjects,
simply because they usually contain plots of far less intense
situations."

"I suppose, from your point of view, what we should call
a religious film does not mean business?"

Increase in Uplift Films

"There certainly has been lately an increase of films of a
more uplifting tendency — subjects dealing with mothers'
and children's welfare and the broader questions of hygiene
and the pernicious influence of the drug-habit. Some of
these subjects, however, have been of such a nature as to
necessitate the exclusion of children from their exhibition."

"Can you tell me how such films as Zola's 'Drink' and
Malet's 'Wages of Sin' have been received by the cinema-
going public?"

"They have certainly drawn a large number of people,
but their reception is naturally very mixed. The less intelli-
gent portions of audiences fail to see the moral these sub-
jects are intended to convey. It must also be borne in mind
that the average picture-goer visits the cinema to be amused
and not to be lectiued."

It is more or less an open secret that the cinema is almost
Aholly dependent on American films, though English pro-
ductions are now multiplying.

"I suppose the British home market is too limited?"

"There are 20,000 cinemas in the United States and

• Interview in Christian World. London.

Aarely 5,000 in this country. It follows that the exhibitor
is asked to pay a higher price for British films. The British
producer cannot hope to make anything like the profit on
any production equal to the American. It will be probably
many years before British films will predominate."

Thinks Churches Should Subsidize Fruis

"I exjiect it is extremely difficult to film really religious
subjects without a too-dramatic setting, which would offend
the taste and susceptibilities of conventionally religious
people?"

"I do not agree. Films of this nature have been approved
by some of the most eminent Church leaders throughout the
world, and they have been more or less successful from a
spiritual point of view. There is now so much eminent and
varied talent at the disposal of producers that they could
guarantee religious subjects being depicted in a perfectly
appropriate and reverent manner."

"\ou do not know any people who are prepared to offer
films to churches for directly evangelistic purposes?"

"No; I am inclined to think that unless the churches are
prepared to subsidize productions of this kind they will be
very few and far between."

CHURCH PUTS 81,000 INTO EQUIPMENT

Rev. Mr. Wright, of Fort Dodge, Iowa, Believes Leading Churches

of Iowa Could Control Amusement Situation if

Properly Equipped

Rev. \^'. J. Wright, pastor of the Central Church of Christ,
Fort Dodge, Iowa, has completed the installation of a new
motion picture machine in the church. He expresses the
belief that moving pictures in churches can be used by
])astors to compete with local theaters on Sundays.

The cinema equipment at the church was installed at a
cost of nearly §1,000. The machine itself is the most mod-
ern procurable. It regulates itself automatically after be-
ing started and is so constructed that the danger of fire
is entirely eliminated. Mr. Wright says the room in which
the machine stands is built from material knowTi as sheet
rock. The entire apparatus meets the requirements of state
laws relative to motion picture theaters.

The church will now use motion pictures in connection
with Bible school class work. In addition religious, patri-
otic, scenic and industrial films will be shown. Illustrated
gospel songs also will be flashed on the screen as an aid
to congregational singing, and diagrammed sermons will be
shown.

In the near future Mr. \^>ight intends to offer his church-
goers high class drama and comedy. He believes that if
the leading churches in the state adopt a similar plan they
will eventuallv revolutionize the whole production of mo-
tion picture films. J^Tien the majority of churches com-
mence to loom up as prospective film buyers the producers
on a commercial basis will be compelled to cater to the de-
mands of the pastors in the quality of films manufactured,
he savs. Mr. Wright predicts that the leading churches of
Iowa with a modern movie exhibiting and distributing
system could practically control the amusement centers.

REVIEWS OF FILMS

Edited by GLADYS BOLLMAN

' THE^BROKEN MELODY"

A PICTURE rich in interest to the ambitious young
person and those interested in him or her, is The
Broken Melody. It presents the conflict between
art and life which so often comes to the young
student or artist just beginning his career. Should one's
work be sacrificed to the "human" side of life, should love
and youth have their hey-day — or is any sacrifice necessary
— can a compromise be made? After one has seen The
Broken Melody the problems remain in the mind, only
revealed, not solved, by the picture. The story has suffi-
cient vitality and truth to live off the screen, as well as
oh it.

Stuart, a young artist, is persuaded to leave Hedda, his
fiancee, to study in Paris. The influences which guide his
decision are three: the inspiration of a wealthv young
woman who plays at being a patron of the arts and who
offers him his chance, as she has done to so many other
artists; the advice of a broken old man, once a famous
musician, who shows him a faded letter, saying, "I loved
a girl as lovely and gifted as Hedda. We were selfish in
our happiness and this is all I have to show for our
wasted talents": and, lastly, Hedda's great sacrivce by
which she induces him to go by making him believe that
she must work out her success alone.

After much suffering and some disillusion for both,
Stuart returns and they agree to take up the future together.

There is a quality of inevitableness about the story which
makes it singularly forceful. The real problem involved,
its solution, largely through chance or through mistakes,
the excellent characterization, the simplicity of treatment —
all are convincing. It is a bit out of real life. It raises
any number of those questions so interesting to discuss and
so vital to the questioner, who must solve them in his own
life. Was Hedda's sacrifice a mistaken one because she
accomplished it by a lie? Was Stuart wrong to accept
help instead of working out his own salvation? Was the
old man wrong in regretting his past happiness? For club
and student groups, the picture is ideal.

The treatment is sincere, free from the usual display
and exploitation of a personality or a setting, and honest
in setting forth the characteristics of the hero and heroine
and their surroundings — artistic ambition and "singing
suppers," days of play and work, the freedom and the
innocence of Greenwich Village as it is in places, not as
it is thought to be.

The Broken Melody seems to have been divested of
many of the conventions of the photoplay and more pic-
tures of the same type will be heartily welcomed by dis-
criminating audiences.

The Broken Melody. Produced by Selznick. Distributed by Select
Pictures Corporation. 5 reels.

9 9'

"THE GO-GETTER"

The Go-Getter is the story of a young man who came
back from a commendable career in the service and re-
fused to become subject again to the slavery of tbe daily
round on a farm. He saw, however, that there were quite
as many possibilities on the farm, under certain conditions,

as anywhere else. He borrows money, purchases up-to-date
farm and household electrical equipment, and in a year
has not onl\ made these appliances pay for themselves,
but has netted several hundred dollars profit.

\^1iile this reel was made for advertising purposes, it
contains much of educational value for rural and other
communities. It would awaken rural communities to the
need for eliminating their waste of man-power, to the
advantage of being self-sufficient upon their own land, and
to the increased possibilities for education and self-culture
afforded by more leisure. The picture also gives a picture
of farm life not so discouraging to the city dweller as one
would suppose. If city-dwellers are ever to go back to
the farm, it must be because they want to. and this reel
provides an effective argument.

The Go-Getter. Produced by the Western Electric Comnany. 3 reeb.

XE of the effective scenes from "The Broken Me'ody," a photo-
play with a message. Eugene O'Brien plays the artist.

MAKING TELEPHONES IN TOKYO

A good example of the travelog which reallv teaches is
another Western Electric reel, made to show the Tokyo
branch of the American Telephone and Telegraph Com-
pany, which is thirty years old. Among the interesting
features of the picture are the views of commercial cus-
toms. We are given examples of the peculiar speed and
accuracy of Japanese workers. A Japanese carpenter is
seen at his work, which seems strange to an Occidental,
for he pulls his plane instead of pushing it, and saws with
an up stroke instead of a down stroke. Coolies are iden-
tified by numbers on their uniforms. Hundreds of tons of
domestic freight are transported by man power, as illus-
trated by the curious method of poling boats in which a
man furnishes the necessary force by walking from the
front to the back of the boat.

We are shown the beautiful inland farm country and the
mountain sides which furnish the telegraph poles. We
see at the factory the packing and assembling of the tele-
phones, and the closing hour, with its curious mingling of
American and Japanese customs — time clocks and rick-
shaws. American clad men and kimono clad women. Views

of streets and parks give other contrasts of Eastern beauty
and Western progress.

Such a reel is especially good for use in industrial plants
or vocational schools, to show trade relations, working
and economic conditions in other lands, and foreign cus-
toms of all sorts. The employee or pupil who sees this
jiicture gains a wider conception of the meaning of com-
merce.

Making Telephones in Tokyo. Produced by Western Electric Co. 1 reel.

Ml ^

MASSACHUSETTS MAKES HEALUil A FILM

Produced by the state of Massachusetts and the Worces-
ter Film Corporation, The Priceless Gift of Health is an
excellent bit of propaganda work. The dim shows two
boys who start life with even chances. One boy, by care-
ful feeding, careful examinations, healthful and interesting
work and play, grew up adequately prepared for life. The
other, by being "let alone," develops adenoids and conse-
ijuently never has a fair chance at work or play. He looks
forward to a future of "just jobs," handicapped by a phy-
sical condition which without years of treatment he can
never overcome.

Simple Rules of Health are then given, and the director
is to be congratulated upon his lively illustrations of these
rules. Fresh air, good food and water, exercise and sleep,
and above all a cheerful frame of mind, become some-
thing more than dry-as-dust maxims when pointed out by
this series of amusing incidents acted attractively by
children.

The film should have a wide use.

The Priceless Gift of Health. Produced by State of Massachusetts and
Worcester Film Corporation. 1 reel.

THE ADMIRABLE CHRICHTON ON THE SCREEN

A class of pictures which are not suited, say schools and
churches, to their needs, but which are nevertheless dis-
tinctly valuable from an educational point of view, as
raising the taste of the general public, is illustrated by
.Male aiid Female, Cecil B. DeMille's version of Barrie's
The Admit able Crichton. To be sure, a considerable por-
tion of the film is given to an interpolated episode to be
described as "gorgeous, spectacular, thrilling," etc., but
nevertheless the foundation is there.

A picture version of any classic, however poor, has two
points which lift it far above others. (The critic holds no
brief for certain perverted "adaptations." ) Its theme, un-
like that of the average picture play, cannot fail to set
people thinking. A second advantage is that it awakens
interest to some extent. in the authors. That this is a real
fact is proved by the experiment of the New York Public
Librarv in co-operating with neighborhood plavhouses. To
refer the readers of classics and seers of motion picture
versions of them, to both forr^"^. is the aim.

"THE GREAT WORK"

At the West End Cinema, London, there was CKliibiled
recently an interesting new film entitled, "The Great Work, '
illustrating the activities of the Village Centers Council for
the curative treatment and training of disabled ex-service
men. Produced by Adrian Gil Spear, ot the Community
Motion Picture Bureau, the picture summarizes the admira-
ble work which is being done by the Council at Enham
Place, near Andover. Scenes of life at Enham Place are

presented in the form of a little story, tracing the career of
Gunner John Clark, an actual Enham i(?-.ident. from the
moment of his enlistment, through the war. to a time when
he leaves the village center, fully trained to support him-
self and his familv. This method of framing the village
center scenes considerably increases the human interest of
the prodiution and. consequently, its value as propaganda-

OPTICAL DISEASE BASIS OF PHOTOPLAY

Burton, the trusted cashier of a bank, disaj)pears in broad
daylight with £5,000, which he has collected from another
bank. His daughter's fiance, Gardiner, a novelist, deter-
mines to clear Burton from the suspicion which attaclies to
him, and while engaged in his investigations, is robbed of
£800, by a mysterious visitor, who seems capable of seeing
in the dark. In an upper room in his house he discovers
Burton, bound hand and foot. The police are informed of
this, and arrive to investigate. Gardiner suspects a neigh-
bour, Tersen, who is supposed to be blind. A trap is laid,
with the result that Tersen is proved to be the culprit. He
suffers from an optical disease, which causes blindness dur-
ing the day. but which enables him to see at night.

The author of this interesting photoplay The Bat has based
his plot on a scientific foundation and employed it with re-
markable ingenuity, investing the story with an atmosphere
of mystery which is well maintained to the end, but is not
too dense for the average astute spectator. Hemeralopia, is
an optical disease which impairs the vision under a strong
light but enables the sufferer to see with moderate comfort
in the dusk. With pardonable license the author has im-
agined a man totally blind by day. but with the acute
vision of a cat during the night, and this affliction is made
the most of for his own advantage. By day, Tersen is a
genial millionaire exciting sympathy and respect by his
total blindness. By night he replenishes his exchetjuer by
preying upon his neighbors. The means by which the
honest old bank cashier is despoiled of his money is ingenu-
ous in its simplicitv. and the manner in which Gardiner is
robbed of his £800 and thereby is put on the track of the
criminal provides a sensation which is worked up to a
most exciting climax.

Tilt- Bat. I'roduced by G."iumont. Pari.s. 4 reels.

ve shall make.

5o — please r^ad, sign and fill out coupon
jelovv.

r, or a poor one, we will
'he best projector made.

SoutK State St., Chicago

hicago. III.. Dept. F-1

criber to the Ford Educarional Weekly?
d Educational Weekly film?
:is to throw on your screen?
latc projector?

:e'Kly.

] Catalogue of Films.

.School

Educational

FLASHES ON THE WORLDS SCREEN

News Notes and Comment on Educational ami Allied Films

from Institutions, Organizations, Producers and Individuals

in the United States and Canada and ( Iverseas

'rr\n
1 •'

-■- in

IHE End of the Road," the anti-
venereal disease photoplay, described
in detail in this magazine, was

screened recently at the First United

Brethren Church, St. Clair street and Park

avenue, Indianapolis, Ind. Many church

members were present and heard the ad-
dress by Dr. William F. King, director of

the Indiana bureau of the United States

Public Health Service.

William Van Daren Kelley, inventor of
the Prizma natural color camera and mo-
lion pictures in natural colors, has been
presented witlt^a gold medal, in apprecia-
tion of his genius, Jay the Society of Motion
Picture Engineers. The presentation was
made at the October meeting of the society
held in Pittsburgh.

Booth Tarkington, creator of Penrod,
Baxter and other youthful characters in
fiction, has contracted to write twelve two-
reel comedies for Goldwyn Pictures Cor-
poration. The stories will be known as the
Edgar comedies.

1"
The noted prison reformer and social
worker, Thomas Mott Osborne, former
warden of Sing Sing Prison, who organized
the Mutual Welfare Association there, has
written a story of prison life sho%ving the
alleged brutal treatment of inmates, which
has been done into film by Edward A. Mac-
Manus, who produced "The Lost Battal-
ion."

"The Way Back," the five-reel feature
produced by the National Elks War Relief
Commission, was shown at the Elks' head-
quarters. West 43rd street, New York, re-
cently. The picture was made in co-opera-
tion with the Federal Board for Vocational
Education. It is a contribution to the gov-
ernment program for the vocational train-
ing of disabled soldiers, sailors and
marines. The film, it is understood, will
be exhibited in the 1,300 Elks' lodges of
the country before being released to the
theaters.

"Adventure Scenics" is the title of the
31-reeI series of outdoor "shots' to be dis-
~ij "' - ■ J u,. Rrjiprtson-Cole. Some of the
old man wrong in regreumg ...j ^.jj. — r.

and student groups, the picture is ideal.

The Brohen Melody seems to have been divested of
many of the conventions of the photoplay and more pic-
tures of the same type will be heartily welcomed by dis-
criminating audiences.

The Broken Melody. Produced by Selznick. Distributed by Select
Pictures Corporation. 5 reels.

C. H. Gram, state labor commissioner
of Oregon, is showing accident prevention
films in the lumber and logging camps of
that slate. The pictures were shuwn by
the Booth-Kelly Lumber Company. Eugene;
the Benson Timber Company, Clatskanie,
and other concerns. The films have scenic
beauty as well as propaganda value. Of-
ficers of the National Safely Council ac-
companied Mr. Gram on his tour of the
state.

The Alliance Film Company, with a cap-
ital of S5,000 000. is said to be the largest
producing organization yet formed in Great
Britain. At Harrow Weald Park, near
Hendon, it is to erect extensive studios on
a plot covering 54 acres. The First Na-
tional E.xhibitors' Circuit is said to have
bought the output for distribution in the
United States. On the consulting literary
committee are Sir Arthur Pinero, Edvv;ard
Knoblock, R. C. Carton, and others.

"King of the Rails" was one of the pic-
tures shown lately at the Y. M. C. A.,
Moline, 111. It explains in an interesting
manner many features of railroad work.
Kn educational film is shown on each
week's program.

According to Captain W. J. Wall, presi-
dent of the California Police Association,
the association plans to join the Better
Films Movement and work for the improve-
ment of photoplays in which crime is pic-
tured. The association wants film producers
to depict characters, incidents and scenes
with closer fidelity to life and to cease giv-
ing the public false impressions of crime,
criminals, and the police.

Motion pictures were taken of the bank-
ers in attendance at the recent twenty-ninth
annual convention of the Illinois Bankers'
Association in La Salle. 111. The films were
made by the Brenner Film Company, Chi.
cago. Nearly 600 attended the meeting.

To support the arg"'".J"t in favor of

the bill for the appointment of a Public

Defender, to act aslcounsel for needy de-

_f£JldaiV^in^,;u;y;nal'cases, which the Gen-

aryland is considering,

Baltimore has had a

ciced dealing with this

f.Vmerican forest regi-
rt of the government
'wer'; how California
£ camp employes; how
^t heavy Pacific coast
Mng on the National
tbited on the movie
,nt convention of the
ongress in Portland,

im Manufacturing Com-
;d an airplane i!i part-
W W . cm its Chicago studio.

„,»,„ ^^ ^^ ,,,„.. ^^^ '" 'ske aerial views

"THE GO-GETTER" strial plants. Many of

rp, /^ /--,.• .1 1 r 1. '° small towns or city

The Go-Getter is the story of a young man_ who came ,1,^,^ j^ ^^ ,3,j ^^,^,^^J^

back from a commendable career in the service and re- ch to obtain panoramic

fused to become subject again to the slavery of tbe daily such plants. , ,. ,

, r TT 1 1 1 ' . •' ns and pictures of birds

round on a tarm. He saw, however, that there were quite ilanned by the Rothacker

"The Country Club Romance." a five-reel
feature of the Bureau Valley Country Club
and its members. Princeton, 111., was pro-
duced in that picturesque little city re-
cently at a cost of SIO.OOO. O. B. Harrauff
wrote the scenario, which combines comedy
drama with scenes of the club, homes and
business structures of the town, and other
exterior and interior views. Many socially
prominent residents were the movie players.
The film was shown at the Apollo Theater
and the proceeds were given to the Soldiers'
Memorial Communitv House.

Largely through the efforts of Rev. .Am-
brose M. Dwyer, of St. James' Catholic
Church, Binghamton, N. Y., St. James'
Lyceum has been well equipped with a
fireproof booth and motion picture pro-
jector to provide for illustrated lectures and
screen entertainments. Lectures on the
Passion Play of Oberammergau by Prof.
Timothy Drake were the first scheduled.
They Avere delivered on Monday afternoon
after school and children of all creeds were
invited to attend.

The trustees of the First Universalist
Church, Pasadena, Cal., having voted down
the idea of running a community laundry
in the basement of the church, the pastor.
Rev. Carl F. Henry, now proposes that in
place of the usual Sunday night services
there be a peoples forum and motion pic-
tures. He hopes that community educa-
tion may appeal to the trustees more than
"the cleanliness-next-to-Godliness" plan.

Motion pictures showing the work done
at the Buffalo, N. Y., tuberculosis sani-
tarium illustrated a lecture by Dr. C. L.
Hyde, superintendent of that institution,
before the campaign commitee of the Red
Cross and its supporters in Cleveland. Ohio,
recentlv.

"The Story of Coal," in four reels, was
a feature of the chemical show at the
Coliseum. Chicago. Z. F. Leopold, of the
federal Bureau of Mines, discussed the pic-
lures. A film illustrating gas warfare and
the use of the gas mask was also shown.

Windsor Hall. Bradford. England, after
being in the hands of the military authori-
ties for four years, has had a cinemato-
graph installed by the city fathers to be
used exclusively for educational purposes.
Children from the elementary and second-
ary schools of the city will visit the hall on
a rotation system during school hours to
study various subjects by way of the motion
picture screen.

Otto J. Nass

Distributor of educational and relig-
iousfilms for theStateof Rhode Island
and Eastern Massachusetts. 5 years'
experience Good subjects solicited
79 Fountain St., Providence, R. I.

as many possibilities on the farm, under certain conditions,

Films for Educational and
Religious Institutions

The New Atlas Catalog Now Ready
Bulletins ot New Subjects Bi-Monlhly

ATLAS EDUCATIONAL FILM CO.,

63 E. Adams St. Chicago

*'Americanization"^^

— the Teacher's New Task

The hope of America lies in the prompt Americanization of the youth
of the land. Can it be done — with the children of foreign-born parents running
into the millions? Yes — It can, and it must!

Visual Education and the motion pictures of
the Ford Educational Weekly (with its many
American films) seem providentially fitted to
help in this critical juncture. Motion Pictures
speak in all languages. Every mind in the
world touches all other minds in the "movies."
Translation is not needed. And a motion
picture is so easy to show! Insert a film — press
a button, and life is pulsating before the eyes
of a school.

Signing of the Declaration of Independence on
the wall helps. But the thing itself in a
motion picture— not "words" or wall pictures
— gets a story across to the mind of a pupil —
no matter where born, or how old or how
young, in one-tenth of the time, and with
a thousandfold dent on his memory.

That "Americanization" means loyalty to
home as well as to Country is a theme of the
Ford Educational Weekly. The "Weekly"
will put into the mind and heart of the pupil
the home life of the quality for which
America stands.

These films cover history, industry, science,
home life and art. They are distributed by the
Goldwyn Distributing Corporation trom
22 leading cities. This reduces expressage to a
minimum. Every loyal School-teacher should
know what the Ford Educational Weekly
really is. We want to tell you, and we want
your helpful suggestions as to what new films
we shall make.

So — please r^
below.

'.ad, sign and fill out coupon

If yoar school has no projector, or a poor one, we will
assist you to get in touch with the best projector made.

Fitzpatrick & McElroy, 202 South State St., Chicago

Distributed
by

-COUPON-

Fitzpatrick & Mc£Iroy» 202 S. State St., Chicago, 01.. Dept. F-1

□ Yes. C No. Is your School now a subscriber to the Ford Educational Weekly?
D Yes. D No. Have you e\'er seen a Ford Educational Weekly film?
D Yes. D No. May we lend you one gratis to throw on your screen?
Q Yes. D No. Has your School an adequate projector?

I would like more information about

D Projectors. CJ Ford Educational Weekly. G Catalogue of Films.

Name

Teacher in_

_ School

Street _

City_

^ducalumal

CATALOG OF FILMS

EDUCATIONAL FILM MAGAZINE publishes each month classified lists of all motion picture films belonging to
the various groups of which this jpublication treats. The aim is to give accurate and dependable information under
each classification. This magazine maintains for the free use of subscribers an Information Bureau which will
endeavor to furnish data regarding any motion picture film in the fields covered. All inquiries should be
addressed Catalog Editor. EDUCATIONAL FILM MAGAZINE, 33 West 42d Street, New York.

NATIONAL MOTION PICTURE LEAGUE

381 Fourth Avenue, New York City
The following list of endorsed pictures is
published for the purpose of stimulating a
greater demand for pictures not only suitable
for adults, but wholesome for children of all
ages. By the aid of * these weekly lists the
general public may select a high-class show,
schools and churches may arrange suitable pro-
grams, and theater managers may book the
better class of pictures. It is very necessary
for the operator to make all cuts suggested
below, in order that the films may be whole-
some for children and young people. These
omissions are suggested in order to save other-
wise splendid, wholesome pictures from rejec-
tion. Pictures not suitable for this list receive
no public comment.

JUVENILE FILMS
Recommended for Children under 12 years
of age

SINBAD THE SAILOR.

Reels, 2; Producer. Universal-Jewel; Exchange,
Universal; Remarks: — In part 2, cut views of
nude children.

MISS GIXGERSNAP.

Reels, 2; Exchange, Path6; Remarks: — Baby
Marie Osborne. In part one, cut scene of roll-
ing vase down stairs. In part two, cut "We'll
get our share of the money," etc.
PROGRAM No. 1

Recommended by the National Kindergarten
Association.

BOBBY BUMPS GETS A SUBSTITUTE
Reel, K ; Exchange, Famous Players- La sky;
Remarks : — Comedy.

ALICE IN^ WONDERLAND.

Reels, 3; Producer, Young and Wheeler: Ex-
change. Eskay-Harris; Remarks: — Fairy Story.
In reel 1, cut scene where Alice steals the
tarts.

PROGRAM No. 2
Selected by the National Kindergarten
Association

BOBBY BUMPS HELPS A BOOK AGENT.
Reel, Vz; Exchange, Famous Players-Laskj' ;
Remarks: — Cartoon Comedy. Cut scene where
Bobby kicks the book out of agent's hand.
Cut sub-title, "Sit there until I tell you to
get up."

ALICE, THROUGH THE LOOKING GLASS.
Reels, 3; Producer. Young and Wheeler; Ex-
change. Eskay Harris; Remarks: — Fairy Story
by Lewis Carroll.

PROGRAM No. 3

Selected by the National Kindergarten

Association

CINDERELLA.

Reels. 4; Exchange, Famous Players-Lasky :
Remarks: — In part 1, cut all witch scenes and
scenes of snakes, toads, etc. In part 2. cut
sub-title, "Troubled consciences" and scene
showing visions of witches. In part 3, cut
clock scenes, and all visions.

BOBBY BUMPS' FLY SWATTER.

Reel, Yi; Exchange, Famou Players-Lasky; Re-
marks: — Cut sub-title, *'The accident causes
Fido," etc., also sub-title "Pa is as mad as
the — " and scene showing devil.

INSTRUCTIONAL FILMS

THE AXGLERS.

Reel. 1 ; Producer, Ford; Exchange, Goldwyn;
Remarks; — Trout fishing on the Ausable River
in the Adirondacks.

VIEWS OF BOSTON.

Reel, 1; Producer, Selig; Exchange, Bese'er;
Remarks: — Reissue; Old State House, Fanueil
Hall, Christ Church, from which hung the sig-
nal lantern for Paul Revere's f.imous ride,
Howard Hall, built in 1682, the Navy Yard,
Public Gardens and Common, Bunker Hill, the
wharves and Commonwealth Avenue.

BELGIUM, THE BROKEN COUNTRY.

Reel, 1; Producer, Red Cross; Exchange, Edu-
cational Remarks: — Yepres and what remains
of it, the Yser River, land flooded by the Bel-
gians as a defense, the last hou^e fired on by
the Germans. Edith Cavell building, place
where she was held prisoner, ceme'Lery where
she was burned, new^ Nurses' Home started
under Edith Cavell's supervision, nurses who
worked with her, refu-^ees. re iitives eagerly
look for long lost children. Cardinal Mercier,
his home and church.

MOSCOW, THE HEART OF RUSSIA.

Reel. 1; Producer, Path^; Exchange, Beseler;
Remarks: — Reissue. Views of Moscow, the
fire department, open market, a wolf hunt.

MONTREAL. QUEBEC AND HALIFAX.
Reel, 1; Producer. Path6; Exchange. Beseler;
Remarks: — Montreal, chief commercial center
Canada. St. James Cathedral. N»/!^on's Monu-
ment. Cathedral of Notre Dame, historic Rame-
zay House. Grandmere Falls, one of the beauty
spots of Montreal. Quebec, the "Gibraltar of
America," the most strongly fortified city on
the Western continent. Dufferin Terrace, a
promenade 1.400 feet long above the level of
the river, public buildings, the market and
Montmorency Falls. Halifax, capital of Nova
Scotia, Provincial Parliament building, City
Hall, Governor' mansion and ancient Citadel.

THE WHY OF A VOLCANO.

Reel, 1: Exchange, Ed. Film Corp; Remarks:—
The origin and decay of a volcano.' savage of-
fering sacrifices to volcano, the research of
scientists have bared secrets of the volcano,
ages ago action of earth's surface in cooling,
wrinkling, it forms cracks and fissures thru
which lava works to surface, molten rock hard-
ening into different form, mound formed, ex-
plosions, output of lava could cover New York
21 cubic miles, (cartoon) ash is pulverized
lava. Setting and boiling volcano in Hawaii,
falling ashes, river of mud, etc.

RED CROSS FILMS.

The American Red Cross has for circulation
a number of pictures listed below. These may
be obtained by application to the thirteen divi-
sion publicity directors, located in the follow-
ing cities: ' New York City, Chicago, New
Orleans, Cleveland, Minneapolis, Seattle, Den-
ver, San Francisco, Washington. Atlanta, St.
Louis, Philadelphia. Boston and Washington
for the Islands. These publicity directors will
inform inquiries regarding arrangements and
terms for use of pictures. These pictures are
released commercially by the exchange offices
of the Educational Film Corporation of
America.

No. 10— REPATRIATES AT EVIAN. I

Reel.

No. 11— FIELD SERVICE ON THE WEST-
ERN FRONT. 1 Reel.

No. 12— IN THE RUINS OF RHEIMS.
French official war picture. 1 Reel.

No. 13— FRANCE IN ARMS. French official
war picture. 5 Reels.

No. 14A— PERSHING'S MEN IN FRANCE.
Last stages of training and drilling in the
use of liquid fire. 1 Reel.

No. 15— THE SPIRIT OF THE RED CROSS.
Romance of Red Cross work under fire.
2 Reels.

No. 16— THE MAKING OF A NURSE.
Taken in New York Hospital. I Reel.

No. 100— FOURTH OF JULY IN PARIS.
America's veterans marching in Paris. 1
Reel.

No. 101— SOOTHING THE HEART OF
ITALY. 1 Reel.

No. 102— THE REFUGEES OF EVIAN.
Germans returning war prisoners to devas-
tated homes. 1 Reel.

No. 104— FOR ALL HUMANITY. Photo-
drama of services of Red Cross to soldiers
and their families. 3 Reels.

No. 105— SERBIA VICTORIOUS. Soldier's
relief scenes and decorations of workers.
1 1 Reel.

No. 106— FIRST AID ON THE PIAVE.
Heroic deed of Lieut. Edward M. McKev,
Red Cross. 1 Reel.

No. 107— THE KIDDIES OF NO MAN'S
LAND. Care of orphaned French and Bel-
gium children. . 1 Reel.

No. 10?— REBUILDING BROKEN LIVES.
Providing artificial limbs for injured soldiers.
1 Reel.

No. 109— MARSEILLES. Scenic picture and
docks for' Red Cross supplies. I Reel.

No. 110— A HELPING HAND TO SICILY.
Children of Sicily and Palermo cared for.
I Reel.

No. Ill— RUSSI.A— A WORLD PROBLEM.
Trip of the first American Red Cross Com-
mission. 1 Reel.

No. 112— NEW FACES FOR OLD. Making
over faces of mutilated soldiers. 1 Reel.

No. 113— YOUR BOY, Paris panorama from
Red Cross hospital. 1 Reel.

No. 114— OUR RED CROSS IN ITALY.
Rapid orcranizatinn for assistance. 1 Reel.

No. 115— HOMEWARD BOUND. Details ot
the return. 1 Reel.

No. 116— THE PEACE CELEBRATION IN
PARIS. 1 Reel.

No. 117— BELGIUM'S DAY OF DAYS.
Dav of th'> rf'turn of the Kinc and On'^en.

No. IIP— DOT-GHBOYS AND BOLSHEVIKl
IN ARCHANGEL. Soldiers and the arrival
of Red Cross supplies. 1 Reel.

No. 119— WHAT ITALY FOUGHT FOR.
1 Reel.

No. 12n— THE GREATEST GIFT. Storv ol
Red Cross' propaganda. 1 Reel.

I Rpel.

No 121— ADVANCING WITH THE EAGLE
IN ITALY.. Landing of the first American
troops and the welcome of the Italian*, l
Reel.

HOW CATHOLIC CHURCH IS CAPITAL-
IZING THE MOTION PICTURE
(Contiuued from page 16)

of entertainment the average made or female
"fan" will patronize the parish "movie"
house ; also, if the pastor is alert he can
introduce, free of charge, features which the
regular *'movie" house cannot conveniently
arrange for, such as community singing, in-
strumental music, embryo vocal artists and
other attractive features introducing young
and talented people from the parish or city,
and thereby creating a better social spirit
and building up a larger degree of local
interest in the parish entertainments.

N. C. W. C. Selected Programs
The N. C. W. C. Committee on Motion

Pictures has planned a series of motion pic-
ture entertainments which are aimed to
accomplish certain definite results along the
lines of patriotism, better citizenship, and
vocational advisement, and at the same time
to initiate Catholic parish and neighbor-
hood groups in the value and attractiveness
of motion pictures as a social asset. The
information in regard to this program has
already appeared in print, and will be sent
in pamphlet form to any interested person
applying to the Council's headquarters at
Washington. D. C. In this campaign for
citizenship the motion picture is the medium
by which the people are attracted to the
entertainments, thereby offering an oppor-
tunity to present incidentally short talks on
civics, history, and vocational advisement.

In inaugurating these courses in parishes
throughout the countr>'. it is hoped that the
motion picture will come into wide appre-
ciation and use as a socializing and enter-
taining factor in our Catholic parishes.

The N. C. W. C. Committee has been or-
ganized not only to handle the motion picture
campaign for better citizenship, but also to
act as an advisor)' and directive bureau to
pastors and Catholic organizations desiring
information of any kind in regard to motion
picture machines and motion picture acces-
sories as well as advice and help in the
matter of the selection of film plays desired
either for parish entertainment where admis-
sion is charged or for school and community
entertainments at which there will be no
admission fee.

"AMElucA^ Catholics in ^ar and
Reconstruction"

The N. C. W. C. Committee has already
endered an important seriice to the Catho-
ics of the United States by producing a
ix-reel motion picture review, entitled.
'American Catholics in War and Reconstruc-
ion." This picture epitomizes the patriotic
lervices of the Hierarchy, the clergy, and the
Catholic men, women and children of the
Jnited States as officially directed by the
^. C, W. C.'s two main operating coramit-
ees, namely, the Committee on Special War
\ctivities and the Knights of Columbus
I^ommittee on War Activities.

Several hundred feet picture the desolation
laused by the war in Europe and the response
:or assistance from America. His Eminence,
Cardinal Gibbons, pledges to the President
;he support of 20.000,000 Catholics in this
:ounlr\- and the subsequent redemption of
that pledge by the Catholic Hierarchy, priest-
hood and laity.

"Overseas and Home Again with the
K. OF C."

The Knights of Columbus reel is titled
"Overseas and Home Again with the K. of
C," and presents an excellent idea of the
valuable ^vork performed by this great fra-
ternal organization. Pioneers in welfare work
for our fighting men on the Mexican border,
the K. of C. at the outset of the war as-
sumed a foremost place in the welfare work
in Incle Sam's camps at home and abroad,
their services bringing immeasurable benefits
to our service men, substantial assistance to
the government, and great credit to the en-
tire organization. In preparing this part of
the .\. C. W. C. film, the Motion Picture
Committee of the Coimcil has received the
closest co-operation from Mr. John B. Ken-
nedv of New York City, publicity director of
the K. of C.

In addition to picturizing the welfare ac-
tivities of the Catholic War Council in con-
nection with the war, there are also shown
the work of the Knights of Columbus Com-
mittee on War .\ctivities; the Committee on
Special War .Activities, which planned and
managed the other welfare work of Catholics
in the United States during wartime; the
work of Catholic women's and men's organi-
zations; the co-operation of the parochial
schools; and the student army training corps
at Catholic schools and colleges. Beginning
with the pronouncement on social reconstruc-
tion by the administrative bishops of the
Council after the armistice, the picture takes
up the after-the-war activities. The work of
obtaining employment for discharged sol-
diers, of assisting their families, the estab-
lishment of community houses, of vocational
schools, of hospital clinics, of clubs for
working men and women, and other welfare
movements are accurately depicted.

The film shows the presentation of the
Distinguished Service Medal by President
Wilson to Rev. John J. Burke, C. S. F.. Chair-
man of the National Catholic War Council
Committee on Special War Activities and
James A. Flaherty, Supreme Grand Knight
of the Knights of Columbus, in recognition
of their valuable and patriotic war services.

An .\mmated Report of Value to the
Nation

In visualizing the important activities of
the Committee on Special War Activities,
the N. C. W. C. film presents to the Catholics
of the United States an animated report in
which they can take just pride and satisfac-
tion. The X. C. W. C.'s broad field of im-
portant reconstruction work is all most strik-
ingly and understandingly presented. The
average Catholic will be astonished at the
var'npT- o' this field and the picturization

of the eflfectiveness with which great social
service tasks have been performed. The
picture shows how the Council's watchwords
of "Faith" in our holy religion, and "Ser-
vice" to God, country, and our fellow-Ameri-
cans have inspired the work of the Bishops,
priests and lay workers of the N. C. W. C.

Through the courtesy of His Eminence,
Cardinal Gibbons, Chairman of the recent
Bishop's Convention in Washington, exclu-
sive motion pictures were taken of that
epoch-making meeting, showing the members
of the Hierarchy in session and in pleasant
groups on the grounds of the Catholic Uni-
versity of America in Washington. The
picture shows how this signally important
meeting of the Bishops recognized the im-
portance of the work of the N. C. W. C. by
officially perpetuating its activities under the
name of the National Catholic Welfare Coun-
cil. The N. C. W. C. picture contains a
remarkable message to the twenty million
Catholics of the United States and an earnest
appeal for their continued co-operation in
perpetuating the welfare and other work of
the Council. It also carries an appeal foi
continued service in upholding the rights of
our holy religion, in supporting the high
ideals of our nation, and in extending the
Kingdom of Christ on earth. This picture
has been wonderfully perfected since its first
showing at McMahon Hall during the meet-
ing of the bishops and it is now ready to be
taken by the Motion Picture Committee to
all the important diocesan centers of the
United States. This film will undoubtedly
prove most effective in obtaining the active
interest, not only of the priests and religious
organizations of the countn-. but of the great
lay apostolate as well in the serious task of
reconstruction now confronting the state and
all societv in our nation.

'"PHIS eye is near-sigKted (i. e. too long) ; but a
suitable lens enables it to focus on the retina.
One of the many ANIMATED DIAGRAMS in
the masterpiece of popular science

Through Life's Windows

The Tale of a Ray of Light

Written and Produced h-i

P. D. Hugon

TERMS .\ND DESCRIPTION FROM

Worcester Film Corporation

145 West 45th Street

New York City

"OUR CHILDREN"

2 PARTS

Illustrating the Measuring, Weighing and Feeding of Children

Used by Boards of Heallb, Woman* Clubi,, Schools, Elc.
OTHER FILMS

Americanization iMAKING AN AMERICAN

Industrial Welfare COMR-A.DES OF SUCCES-.

Safety HIGH COST OF HURRY

Sanitation THE HOUSE FLY

Biological HOW LIFE BEGINS

For RfnlalanH Vurrhn^e Prices address

CARTER CINEMA COMPANY

I 220 WEST 42nd STREET

NEW YORK

,™i

PROJECTION-EQUIPMENT I '^

Edited by JAMES R. CAMERON

Projection Engineer

INTRODUCTORY ARTICLE

James R. Cameron

[T is the rule rather than the exception
nowadays for producers to spend thousands
of dollars in the production of a single
picture. Directors and stars are engaged at
salaries that are really staggering. Sets are
built up without regard to cost, and months of
hard labor are put in by hundreds of people
to give us the finished product which we see
upon the screen.

Much of the labor of the star, director, and
cameraman is lost through improper projec-
tion. Mediocre results and failure to register
are too often caused by lack of knowledge on
the part of the operator of the projector. It
has been the writers experience frequently to
attend educational and church exhibits and
even some New York City theaters where the
projection was inexcusably bad. The operator either chased the film
through the projector at a speed that gave the figures on the screen
all sorts of unnatural movements or he ran the machine so slowly
that the flicker on the screen seriously strained the eyes. We have
seen a full thousand feet of film projected badly out of focus, and.
for several minutes, out of frame. This was due to one of two things:
lack of knowledge on the part of the operator, or carelessness.

There are certain elementary principles which can easily be learned
and which should be mastered by every person operating a projector
or supervising such projection. While the projectionist does not
necessarily have to be an electrician, yet he should have an element-
ary knowledge of this subject together with a little knowledge of
mechanics and optics as applied of course to the various conditions
under which projection is attempted.

There is also the important question of safety to be considered,
"the powers that be" having drawn up stringent rules and regulations
regarding the handling and projecting of motion picture film.

9 9

PROJECTION-EQUIPMENT INQUIRIES ANSWERED

The editor of this department will be pleased to answer any inquiries
from the magazine's subscribers, ain'^rtaining to projection and equipment
matters. Those questions requiring a prompt response will be answered by
mail, and these replies, together with the replies to other inquirers, will be
published monthly in this department, so that the information will become
available to all readers.

Send along the story of your projection and equipment troubles, then,
and let me see if I can solve them for you.

70.000 Copies Sold Within the Last Tnehe Months

Elementary Text Book

<)\

Motion Picture Projection

BY JAMES R. CAMERON

The Text Book used liy

The -American Red Cross, Knights of Columbus,

Community Motion Picture Bureau and Y. iM. C. A.

Written in plain, overyda.v. understanrtalile language, and

the ordy Te.xt Book publi.shed covering Hotion Picture projec-
tion in question aiul answer form.

82.00 PRICE §2.00

/lis* Off' the Press

Pocket Reference Book

FOR

Managers an<l Projectionists

BY JAMES H. CAMEHON

:.i, . I :iini)er of electrical, mechanical .and optical
i;UiU-s. diagrams and data, together with a directory of film
producers and exchanges, etc., and a lot of general informa-
tion regarding the handling and care of the Motion I'icture
Projector and acces.'.-ories.

Sl.OO PRICE Sl.OO

THEATRE SUPPLY COMPANY

126 West 45th Street, New York City

^mioiinceuient

In connection with its efforts to facilitate
general edtication bv ad\ocating and installing
printing outfits in public schools the

EDUCATION DEPARTMENT

<i^merican Type Founders
Company

has decided to enlarge its scope of activities to
include the sale of motion picture projecting
machines and supplies, and to furnish infor-
mation regarding films for educational pur-
poses. After a thorough investigation, and after
consulting leading educators, we are convinced
that the portable motion picture projector is
the kind best adapted to general educational
work, and we are pleased to announce that we
ha\ e made arrangements to sell

The DeVry. Portable

Motion Picture

Projector

Fi'K CSE WITH SLOW-CIRNING FILM

Information regarding these machines may be
secured upon application to the Education De-
partment., or to the following Selling Houses of
the American T\ pe Founders Company:

CLEVELAND .
CHICAGO
MINNEAPOLIS
KANSAS CITV
PlTTSBl'RtJH
DETROIT
ST. LOl'lS
DENVER . .

I 5 St. CUiir Avenur, N E.

517-519 West Monroe Street

. 42 1 Fourth Street, Soutll

10th and Wvandotte Streets

•52^ Third .Avenue

1 69 West Lamed Street

. Ninth and Walnut^Streets

. . . 1621 Blake Street

PHIL.'\DELFH1A, Keystone Type Foundry Supply
House, Sth and Locust Streets

Jiitrodi

ucin

-the neweil Projection Maclaine

The Heart o/^
"the Rotary

An improvement in mo-
tion picture mechanism is
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In the "Rotary" presser
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LANTERN SLIDES

STUDYING SOUTH AMERICA WITH LANTERN SLIDES

Outline of Visual Method as Applied to the Teaching of South America
to a Fifth Grade Class in Geography

By Alfred W. Abrams

Chief, Visual Inftlruction Division, New York State Department of Eriucalion, AlbaDV, >. Y.

Part III.

COMPARE number of transcontinental railroads in North
America. What part of Argentina has no railroads? Why?
Memorize latitude of Buenos Aires. Use railroad map F 43,
again and again. South America is yet an undeveloped country
inviting capital.

A review of the map F 45 may be used as an introduction to a full
study of Buenos Aires — the great size of the city, its imposing public
buildings, hotels, parks, etc. The capitol suggests form of govern-
ment. See if pupil recognizes the superior design of the capitol at
Washington. De H13. The custom house introduces the question of
exports and imports. Do not have pupils memorize a book statement
of exports. Let them recall pictures of sheep and cattle. If pupils
visualize, the word cattle carries with it hides, meat, horns, tallow,
beef extract, etc. Fa BS and Fa BR further establish the railroad
facilities of Argentina. Recall different means of transportation in
Brazil. South America is yet a new continent awaiting development.
Emphasize immigration. Fa BX.

Every lesson through comparisons is a review; it is a means of
building up ideas. The slides do not show all the facts to be pre-
sented. Visualization, not looking at pictures, is the end sought.

Present with due emphasis the size of the Parana river, and also
the fertile country through which it runs. Show possibilities of future
development.

Emphasize the position of Argentina in the (southl temperate zone.
Have in mind that the great nations of the earth have a temperate
climate.

Argentina, an agricultural country; note especially the absence of
coal and iron, essentials in manufacturing. Is water power abun-
dant? Compare with many swift streams of New York.

Argentina, southern Brazil and Uruguay constitute a vast region
of great latent wealth.

TEAcmNG Points of Cerl-^in Slides — Illustrations
Fa Y15 Significance of windmill. Are windmills common in your
locality? Why?
Fences and barn. Where is the scene? Why do you not

expect a cattle ranch here?
Oranges. Compare place with Florida as to latitude and
climate. Why are oranges cheap? Supply and demand.
Perishability. Transportation facilities.

Uruguay and Paraguay

Present Uruguay and Paraguay in connection with Argentina as
a part of the study of the Plata river system. Let the aim be to
have pupils think of this region as a whole. Treat state boundaries
incidentally.

The number of pictures available is very limited, but the main
features of these two states are similar to those illustrated pictorially
elsewhere and can be visualized from verbal descriptions. Always
keep pictures subordinate to the end of your teaching. The ever
present question is. Has the pupil visualized the thing itself?

If the pupil is making progress in his habits of study, he is he-

Fa Y16
Fa PoY

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ginning to ask himself certain kinds of questions when a new object
of study is presented. What does it look like? Just where is it
situated or placed? How large is it? What is its form or shape?
Of what does it consist? In case of a country, how would one get
to it? What sort of people live there? What do they do for a liv-
ing? What language do they speak? What kind of a government
do they have? What are their means of transportation? What trade
do they have with their neighbor, etc.?

A school that graduates pupils without developing in them an
initiative in asking themselves such questions has signally failed in
its mission and at best has given but meager returns for a ver>'
large expenditure of time and money. The mechanic is certain to
have his worked checked by a rigid standard. Is it accurate? Is it
what he was expected to do? Let the teacher look over the work of
any class period and ask herself. What is this period worth in real
educational units? Verbal information in itself is of very little con-
sequence, especially when expressed in isolated statements. Check
up by the vital questions: Is the pupil mentally aggressive? Is he
learning to observe? Is he putting his observations together and
drawing significant conclusions? Is he developing the ability to
think? Is he gaining power to express his ideas orderly, clearly,
vividly? Do not be impatient for immediate evidence of results.

In case of the South American countries Paraguay, Uruguay and
Colombia, test the value of the visual method as already used by not-
ing the ability of pupils to visualize without the aid of actual pictures.
Pictures have not been used educationally if, by their use, pupils
have not gained in abilhy to visualize from verbal descriptions similar
scenes without the aid of them.

A Complete
on A Roll

■yHlNK of it— you can get
this roll of Touriscope
weighingonly 6 ounces.
You can slip it into
your coat pocket or mail
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for 5 cents.
Gives
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to finest

Slide Set
of Film

100 perfect slidss on
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glass slides>
yet costs
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breakage.
Write for
Catalog
describing
advantages
of Touriscope
film and Touri-
scope attach-
ment for your stere-
opticon. Address
Dept. EF.

UNDERWOOD & UNDERWOOD, Inc.

Touriscope Dept.
417 FIFTH AVE., NEW YORK CITY

List of Slides
This list of slides, with brief titles, is given for reference. It is
expected to aid teachers in planning and checking work. It contains
179 titles, of which 39 do not appear in the 1918 edition of List 28;
that list in turn contains 52 titles not given here. This special collec-
tion of slides is furnished unbroken to schools wishing to teach
South America by the method here illustrated.

Peru
Fi ArZ2 — Mt. Misti from Arcquipa.
Fi ArZ — H a r v a r d Observatory.

Near Arequipa.
Fi CcB — Passenger Landing: Pier.

Callao.
Fi CiZ — Rio Blanco Smelter. Near

Cerro del Pasco.
Fi Hu2 — Farming District. Huan-

cayo Valley.
Fi HuA — Street and Market Place.

Huancayo.
Fi Hu3 — Plowing with Oxen. Huan-

cavo Vallev.
Fi Hu4— Wheat Field and R. R.

Train. Huancayo Valley.
Fi Hu5 — Swing Bridge. Huancayo

Valley. ^
Fi In2 — Walls of Inca Fortress.

Cuzco.
Fi In5— Chief Temple. Machu Pic-

chu.
Fi In6 — Citadel of Ollantaytambo.
Fi In65 — Street in Inca City. Ol-
lantaytambo.
Fi LC3 — Plaza Bolognesi. Lima.
Fi LX — Woman Vegetable Vendor.

Lima.
Fi LX2— Bull Ring. Lima.
Fi LeV — Doing Coffee. La Mer-
ced.
Fi Sv25 — Planting Sugar Cane.

Peru.
Ft MoA — Mining Town. Moro-

cocha.
Fi PcV — Ginning Cotton. Palpa.
Fi Pv6 — Thatched Houses in Apuri-

mac River Valley.
Fi SX — Landing Passengers from

Steamer* Salaverry.

Fi TrC — Unpaved Sandy Street.

Truj illo*.
Fi Or2— Tunnels. Oroya R. R.
Fi Or4^Switchback. Oroya R. R.
Fi Or6 — Lake and Mountain View.

Oroya R. R.
Fi OrS — Mountain Scenery. Near

Morococha.
Fi X5 — Blow-pipe Indian. Amazon

Valley.
Fi Z2 — Working Guano. Punta Lo

bos.

Uruguay

Fi MAI
Fi MA2

deo.
Fi X2 — Countryman in Bombacbas

Panorama of Montevideo.
■New Harbor. Monte vi-

yenccucla

Fk CuB — Unpaved Street. Cu-

mana.
Fk CuY — Loading Hides onto Gov

ernment Steamer. Cumana.
Fk CA — Panorama of Caracas.
Fk CE — Bolivar Statue. Caracas.
Fk X77— Men in Club House

Caracas.
Fk X75 — Typical Patio.
FkX7 — A Building of a Hacienda

Near Caracas.
Fk X4 — Man Plowing with One

handled Plow.
Fk LcA — Shipping in Open Road

stead. La Guavra.
FkXl6 — Pack Train Bringing Ca

cao to La Guavra.
Fk XI 5— Trail through Coast Range

Mountains. Near La Guayra.

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6 sets of 50 slides each, one rental with

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Selling price complete with manuscript

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$6.00

$60.00

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DEPARTMENT EF 4.17 FIFTH AVENUE

NEW YORK

The Victor

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alog No. 2B

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Geography

Engineering
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The assembly room is the ideal place to teach
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The Graphoscope Jr.

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President

Executive Offices J. H. HALLBERG,

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The Magazine of Worth - While F e a t u^r e s

OCIENCE, biography, invention, biology and
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URBAN • POPULAR • CLASSICS

No.

President of Brazil
1 8 TRIP OF U. S. S. "IDAHO" to Brazil,

No.

1 9 SEEING RIO DE JANEIRO with

NEW ISSUES

KINETO REVIEW

(Edited by CHARLES URBAN)

No. 17— EUROPEAN AND AMERICAN TRIP of the

length 900 feet

length 1,000 feet

American Marines length 975 feet

No. 20— RAMBLES GROUND RIO— Visit to Tijuca, Sylvester,

Nic heroy and Paguata Island length 900 feet

No. 21 — ASCENDING COCOVADA AND SUGAR

LOAF MOUNTAINS by Aerial Cable length 825 feet

No. 22 — OUTING IN BRAZIL— Visit to Carbenella, Parahyba

and Escabar Village length 995 feet

No. 23— NEW YORK— "America's Gateway"— Sight-seeing on

the Island of Manhattan length 1,000 feet

No. 24— MANHATTAN LIFE— Conditions Met in

New York length 1,000 feet

Apply for Detailed Catalogue
PUBLISHED BY

KINETO COMPANY OF AMERICA, Inc.

Distributors for New York and New Jersey :

CINEMA CLASSICS, Inc. 71 Wcst Twcnty-third Street, New York City

1482 Broadway, New York City

FASCINATING METHOD V^"Traae Mark" OF EDUCATION

KINETO • POPULAR • CLASSICS

FIVE NEW ONE-REEL SERIES

CHARLES URBAN'S MOVIE CHATS

SIXTH SERIES

Sponge Fishing Off the Florida Coast. ( 36 scenes. )

Mixed Dinner Party. Puppy, Kitten, Hen, Parrot, Jackdaw and Chaffinch.

Aeroplame Pamoramas of the Holy Land. Mount Olives, River Jordan, Jerusalem and the Desert.

(6 scenes).
General Allenby's Troopers on the Road to Damascus. (4 scenes.)

Getting Close to Nature. Face Views of Bee, Butterfly, Spider, Moth, Robber Bee, Flies, Grasshopper,
Wasp, Dragon-Fly, etc. (16 views.) Length 1012 feet.

SEVENTH SERIES

Rough Crossing of Irish Channel on a Coasting Steamer.

Irish Cloth Industry, from Sheep to Finished Suit. ( 1 8 scenes. )

The Affection of a Mother-Bird for Its Young.

The Formation of Chemical Crystails. ( I 2 well known specimens. )

An Otter Hunt in the Midlands of Elngland. ( 30 beautiful scenes. )

Length 1020 feet

EIGHTH SERIES

American Army in Germauiy Destroying Captured Ammunition. ( 1 5 scenes. )

Novel Assembling of the 205 Parts of a Telephone.

The Phenomena of the Trainsformation of the Dragon-FIy. (20 wonderful pictures.)

Exercising Horses in the Woods, Macon, Georg^ia. (6 scenes.)

Trout Fishing in the Streams of North Carolina. (8 scenes.)

Hunting With a Famous Pointer in Georgia. (6 scenes.)

King Fishing in the Gulf of Mexico. ( I 2 exciting scenes. )

Length 1000 feet.

NINTH SERIES

The Milk Supply of London. From Cow to Consumer. (25 scenes.)
Testing Metal at the Polytechnic Institute, London. (6 scenes.)
Surprising Qualifications of the Snail. (30 marvelous scenes.)

Length 1015 feet.

TENTH SERIES

The London Fire Department, Demonstrating the Working of Its Men and Apparatus. (35 scenes.)
Oyster Fishing at Whitstable. (22 picturesque scenes.)

Episode of a Starling Which Reared Its Young in a Chimney Top. (A complete story in 18 scenes.)

Length 1020 feet.

PUBLISHED BY

KINETO COMPANY OF AMERICA, Inc

Distributors f-^r New York and New Jersey:

CINEMA CLASSICS, Inc.

1482 Broadway, New York City

FOR THE THEATRE SCHOOL

71 West Twenty-third Street, New York City

Trade Mark" COLLEGE AKfD CHURCH

Biological Motion Pictures

for
Schools, Universities and Learned Societies

Exclusive Service

Our age calls for this visualization of biological phenomena, for the purpose
ofscducation. Realization of this led to the foundation of "The Scientific
Film Corporation".

Ite aim is to supply the needed materials for visualization in biological teaching
adapted to school work of all grades, from the primary up to the purely scientific
treatment of the subject in university teaching.

"The Scientific Film Corporation" is in a position to guarantee accurate, reliable work
through the well planned co-operation of approved technical skiU and expert scientific
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equipped with the most modern installations, many of them personally devised.

Our sensational novelty is the utilization of the living tissue culture in micro-cine-
matography.
Qorrespondence invited in regard to rates and terms of purchase and rentals.

iKON©MY : Especial attention is called to the fact that by renting our films a wonder-
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far removed from metropolitan centres.

First Release

A Microscopical View of the Blood Circulation

These are a few of the features of this film :

The Vascular system of the chick embryo Differentiation of the blood in centrifugal

, . , 11-1 apparatus

The Capillary net work m the area pellucida " ,.. " . , . r .u r i j i

i uc v^aj^i.io J r Microscopical views of the blood, showing its

Arterial and Venous circulation ingredients

^-.. , . , CI ■ Close up of Bone marrow, where the blood

Histological reflecnons originates

Arterial Anastomoses Living and beating heart at close up

THE SCIENTIFIC FILM CORPORATION

13 DUTCH STREET NEW YORK CITY

Telephone John 1717

Published Monthly at 33 West 42nd Street. (Aeolian Hall). New York City. DOLPH EASTMAN. Etiitor. Subscription: United
States and Possessions. SI a yean other countries, $2 a year; single copies, 15 cents. Advertising rates on application. Western
.Advertising Representative: E. T. MOORE, 542 S. Dearborn Street, Chicago, 111. Telephone, Harrison 2145. Copyright, 1920,
by City News Publishing Company.

Vol. m.

FEBRUARY, 1920

No. 2

PRINCIPAL

Index to Articles
EDITORIAL 7

The N. E. A. and the Motion Picture — .\mericanization
Movies — Educational Film Libraries

"THE LAND OF OPPORTUNITY" _ 9

Illustrated

INDIAN MOVIE PROGRAM IN NEW YORK 9

EDUCATIONAL FILM LIBRARY FOR EACH COMMUNITY 10

By Charles Urban — Illustrated

AMERICANIZING THE BRITISHER 12

By Wesley \V. Stout

MOTION PICTURE SCHOOL OF THE FUTURE 12

50,000 FILM EXPOSURES A SECOND 12

THE MOME A SCHOOL 13

WORK OF THE N.\TIONAL M. P. LEAGUE 14

By .■Vdele F. Woodard

INDUSTRIAL FILM AS AN AMERICANIZER 15

By Jerome Lachenbruch — Illustrated

A TRIP TO THE MOON— VIA THE SKYROCKET ROUTE 16-17

By Jerome Lachenbruch — Illustrated

SCREEN SERMON IN NEW YORK CHURCH 18

By J. -A. Chapman
$20,000,000 FUND FOR RELIGIOUS FILMS 18

By Rev. Dr. \Vm. Sheafe Chase

CONTENTS

FOUR WAYS IN WHICH CHURCHES USE MOVIES 18

By Rev. Dr. Leslie Willis Spra;;uc

FILMING THE GREAT LAVA FLOW FRO.M MAIJNA LOA 19

By Robert K. Bonine — Illustrated ^

REVIEWS OF FILMS 21

Edited by Gladys Bollman — Illustrated

SPECIAL AMERICANIZATION PROGRAMS 23

E.XPERIENCE EXCHANGE ."..: 24

CHURCH AND SCHOOL MOVIE PROJECTORS 26

Edited by James R. Cameron — Illustrated

CATALOG 01- FILMS - 30

Index to Advertisements

Goldwyn Pictures Corp. Front cover
Select and Republic Dist. Corp

Inside front cover

Kineto Co. of America 2-3

Scientific Film Corp 4

Community M. P. Bureau 6

Prizma, Inc 25

Worcester Film Corp...„ 25

Carter Cinema Co „ 25

Underwood & Under wood.... -..v. 25

Amer. Type Founders Co 26

Educational Films Corp 27

Theatre Supply Co 28

Graphoscope Co 28

Radio Mat-Slide Co „ 29

De\'ry Corporation 29

Eastman Kodak C0..1. 29

Victor AnimatoRraphJGo 29

Unique Slide Co. ..-! 31

Atlas Educational Ffm Co 31

Otto J. Nass ♦:*. 31

Riley Optical Inst. €0 31

M. H. Whitel^w .vii- 31

Nicliolas Power Corff 32

Burke & James, Inc.

If side back cover
United Theatre Eqifipment Corp.

t Back cover

Tear This Out and Mail ivith Your Dollar NQW

SUBSCRIPTION RATES /A' U. S. AND POSSESSIONS: 1
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....

.19

EDUCATIONAL FILM MAGAZINE,

33 West 42nd Street, New York City.

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Covering Educational, Scientific. Agricultural, Literary. Historical, Juvenile, Governmental, Religious, Travel

Scenic, Social Welfare, Industrial, and Aews Motion Pictures

Published Monthly by the City AVhs Publishing Co.. 33 fTest 42nd Street {Aeolian Hall), New York City

DOLPH EASTMAN, Editor

Vol. III.

FEBRUARY, 1920

No. 2

THE N. E. A. AND THE MOTION PICTURE

E\CH year the annual meeting of the Depart-
ment of Superintendence of the National
Education Association grows in volume, in
the importance of subjects discussed and
constructive results accomplished, and in the direct
influence of its deliberations and conclusions upon
teaching methods in tlie educational institutions of the
Lnited States. Each year the conferences, discussions,
plans, and exhibits bearing upon the visual phases of
petlagogy grow more insistent and more important in'
their relation to the system of teaching as a whole.

This year the trend of feeling on the part of superin-
tendents, principals, and teachers is that the matter of
visual education nuist be temporarily set aside until
the pressing problem of teachers" salaries is solved to
a more or less satisfactory degree, and until stronger
evidence is presented by motion picture producers to
justify educators and school board members in as-
suming that genuine educational fihiis have arrived
and will continue to arrive in both quality and quan-
tity. Up to this time there has been no thoroughly
systematized, coherent, compact, and co-ordinated
motion picture course or courses of study which an
educator could project on his classroom screen and say
to his school board. "This is an adequate visualization
of our course in elementary- geography, or American
history, or physics, or chemistry." He could not say
this, because such film studies in this form are non-
existent.

The chief reason, of course, for the non-existence of
true educational film courses has been the lack of a
sufficient market. For some years there has been more
or less demand for motion pictures of this specialized
scientific character, but this demand lias not been per-
sistent, widespread, or profitable enough to warrant
either a theatrical or a non-theatrical producer in en-
gaging in an enterprise calling for an investment of
millions and the very best technical and professional
brains in the world. Of this we may be certain, that
where there is a commercial market and a demand

which offers a reasonable return upon the investment
and the current overhead expense, that market will be
supplied and that demand will be met — and more

than met.

(^ 1^

\'isual instruction in the public and private schools,
colleges, and universities of the Ignited States — and by
this we mean instruction largely linough the motion
picture — comes nearer each day to realization. The
tendency among progressive educators is to shake off
the shackles of conservatism and tradition, adopt
boldly the most approved visual method — which of
course is the film — and by force of example convert
the mass of orthodox teachers to the progressive faith
of the visualizers. This is the tendency both within
and without the ranks of the Department of Superin-
tendence and other departments of the huge organiza-
tion of three-fourths of a million members known as
the National Education Association. This is the policy
at present in process of fruition, and although it is a
slow process it is a sure one and will bear much fruit.

Collectively and officially, tlie association and its
various departmentals arc apparently indifferent to
the motion picture. Individually, however, thousands
of its members are vitally interested, even enthusiastic,
over the possibilities of visual education by way of
the film. Sooner or later, these progressive leaders
will either have won over the organization officially to
strong support of the screen as a valuable supplement
to oral and written methods or will have themselves
won the leadership of the association or of its im-
portant sections and thus silenced the conservative,
"good-enough-for-us," "let-well-enough-alone" ele-
ment which now appears to dominate.

In the meantime, until the mass of educators have
become educated to the limitless pedagogical possibil-
ities and potentialities of the motion picture, their
more enlightened and far-seeing coUeags will have
stolen a march upon them and will have experimented,
made preparations, and laid foundations in anticipa-

tion of that great day when both teaching and learning
will have become a joy instead of a drudge, will have
become one of life's intellectual pleasures instead of
routine dullness and deadliness.

AMERICANIZATION MOVIES

February is a fortuitous month in which to inaugu-
rate a campaign of Americanization among our for-
eign bom. Two of our greatest Americans came into
the world in the month of February: Abraham Lincoln
on the twelftli and George Washington on the twenty-
second. A happy coincidence it was that these two
giants of patriotism were bom within the same lunar
period, one decades after the other, but both imbued
with the spirit which has made America what it is —
moral and economic leader of the nations, standard of
democracy for all the world to follow.

Secretary Lane sounded the keynote of the govern-
ment's campaign against radicalism, syndicalism, and
sovietism and for one hundred per cent Americanism
when he told the recent gathering of representative
motion picture men and women that the government
looked to the films to spread broadcast the simple but
convincing tmths about our country, just as the govern-
ment looked to and secured from the film industry
during the war cooperation from the screen which was
without price. Unanimously these motion picture
workers pledged their enthusiastic and unstinted sup-
port to the Americanization movement sponsored by
the federal government.

In the pamphlet entitled "Americanization," issued
by the Bureau of Education, Washington, D. C, it is
gratifying to note reports of the increasing use of the
movie in this vital work among our aliens who, as
Herbert Kaufman says, "live in America but America
does not live in them." In a recent issue we find that
at Bayonne, N. J., there have been "visual lessons in
history, geography, and industry, with an average
attendance of 200 to 300." In Cleveland, Ohio,
movies are used regularly at all or nearly all of the
community centers, and many of the local industrial
plants consider the film an indispensable instrument
in Americanization work.

In the report of the committee of experts appointed
bv the National Americanization Conference held in
Washington last May, appears in Part IV., under
"Aims, methods, and materials in intermediate and
advanced classes," a recommendation on teaching
"Americanism dirough readings, lectures, and motion
pictures."

\mericanization agencies in Detroit, Michigan, have
shown 25 sets of slides in 73 motion picture theaters,
and the schools of that city which are equipped with
motion picture and slide projection machines have
cooperated. The Americanization committee of the

Daughters of the American Revolution has brought
to the attention of local chapters throughout the coun-
tiy tlie fact that Americanization film programs may
be obtained and recommends the increasing use of
movies as of "great educational value."

The University of Indiana announces that "the
visual instmction bureau of the extension division will
supply local communities with lantern slides, motion
picture films, and exhibit material useful for Ameri-
canization work."

In this issue of Educational Film Magazine are
articles and advertisements which bear directly upon
the Americanization campaign so far as the utilization
of motion pictures is concerned. The photoplays in
which die mighty figure of Lincoln towers are of
especial value in this connection. Pictures in which
appear the characters of Washington, Jefferson,
Franklin, Paine, Putnam, Hale, Jackson, Grant,
Roosevelt, and odier one hundred per cent, red-
blooded Americans are of inestimable value also.
Industrial films which will sell American industries
and American industrial democracy to our alien
workers and, too, to our unassimilated hyphens are
likewise valuable, particularly as an off'set to soviet
propaganda with its wild Utopias of workman-owner-
ship, workman-management, and a workman-classless
republic which only a dreamer like Lenin sees as a
reality at the present day. Let us appeal to the work-
man's pocket as well as his red exploiters, for we can
prove to him that practically all of our successful and
wealthy men in America came up from the ranks of
labor, from shop, mine and farm, and that the greatest
thing about the U. S. A. is the free opportunity it
offers to any man or woman to rise if rising ability
resides widiin die individual.

The strength of the anti-American movement, or
rather pro-Russian movement, lies in its pocket ap-
peal. It is distinctly proletarian, which of course
means materialistic and opportunistic. When the
masses have been shown on the screen, as shown they
must be, that on this basis the American brand of
democracy offers a thousandfold more than the
Russian brand of one-for-all and all-for-the-soviets,
bolshevism will be beaten, Americanism will be tri-
umphant, and democracy throughout the world will
be safe for a thousand years.

EDUCATIONAL FILM LIBRARIES

Charles Lh-ban. whose name has become a house-
hold word in Europe and America by reason of his
promotion of kineniacolor and his twenty-year devel-
opment of informational and instructional motion
pictures, offers in tliis number a comprehensive and

"THE LA>D OF OPPORTl MTY"

Fir^t Ameriranizalion Film Made at Secretar> Lane's Suggestion
Feature? Two Incidents of Lincoln"? Life

The first Americanization photoplay made according to the
recent suggestion of Secretary of the Interior Franklin K.
Lane is "The Land of Opportunity," which the producer.
Lewis J. SelznicL says was produced in less than a month in
order that it might be ready for public showing on Lincoln's
Birthday. February 12. .Vmericanizalion propaganda, how-
ever, is not the outstanding quality of the picture. It tells
a story of two incidents in the life of Abraham Lincoln, when
he was a young man and when he was at the height of his
political career. It is said to have romantic interest and an
appeal to loyal Americans. The film is in two reels.

.\n -■\jnerican radical serves as a foil to the character of
Lincoln in this picture. The radical is brought to a belief in
.\merican principles and ideals by the story of Lincoln'?
struggles and triumphs as narrated by an old man who knew
the Great Elmancipator. The action of the photoplay takes
place in a modern clubroom where the old fellow, who is a
waiter, tells his touching story. The rise of the Illinois rail-
splitter is shown in cut-backs in a series of scenes declared
to be effective.

The featured plaver is Ralph Ince. who portrays Lincoln.
Twelve years ago he impersonated Honest Abe in a two-
reeler which \itagraph produced, called "The Standard

A BRAliAM L.l.NCULN in the tnai scene ot ""Ihc L^itia ul u^, -rtun-

"^ty," the two reel .\mertcanizatioQ picture produced by Lewis J.

Selznick at the suggestion of Secretary of the Interior Lane. Ralph

Ince is said to have given one of his best Lincoln interpretations in this

film.

Bearer." Other Lincoln roles played by Mr. Ince were in
"The Battle Hymn of the Republic." "Lincoln's Gettysburg
.\ddress, " "The Seventh Son," "Lincoln the Lover," "Song-
bird of the North'' and "The Man Who Knew Lincoln." In
recent years Mr. Ince has been directing the production of
picture plays.

constructive plan for local educational film libraries
in every community- in the Lnited States. The idea,
in its general outlines, is to pool the interests of all
individuals and groups in a community by subscrib-
ing certain amounts to a film library- fund and this
fund would enable the community to own its reels,
which may be dray\"n out for screening at any time by
any of the subscribers.

The plan strikes us as a sensible and soimd one,
with many practical features yvhich will appeal to
schools, churches, clubs, industrial plants, and other
local institutions and organizations. \^ e see no weak-
nesses in Mr. Urban's proposal pro\-ided the custo-
dian of the film library- is a person thoroughly con-
versant with the technical details of operating and
managing a film exchange, such as the cleaning, re-
pairing, cutting, assembling, packing and shipping of
reels, the booking, routing, storing, and all other
essentials of a ysell-regulated and efficiently-managed
business of this kind. The question then arises, yvhere
is this technical expert to be found in each community
and will the owners of the film library be able to pay
such expert a sufBcient compensation for his exclusive
senices? This is one of the points which is important
if the local educational film library- is to function
successfully- and become a permanent institution in
the community.

Mr. Urban does not pretend that his plan in its
present form is more than a suggestion, but it is cer-
tainlv constructive and affords an excellent basis upon
which to work out the details. Further suggestions
from our readers are invited.

INDIAN MOVIE PROGRAM IN NEW YORK

National Kindergarten Association Carrying Out Unique
Screen Ideas at the Hotel Plaza

The National Kindergarten .-Vssociation, of which Major
Bradley Martin is president, continues to caiT>- out its. motion
picture ideas for children's programs in a imique manner.
Invaluable assistance in the preparation and arrangement
of these special juvenile programs has been given by Miss
Bessie Locke, corresponding secretary of the society.

For the morning matinee on January 17, from 10:30 to
noon, the sissociation arranged to entertain the children and
at the same time to make them acquainted with the habits
and customs of the original inhabitants of the Lnited States.
It was, therefore, an Indian movie program with three red-
skins in native songs and folklore.

All films shown at these matinees are carefully reviewed

bv a competent committee and objectionable features are

eliminated. The pictures listed on this program were

screened in natural colors:

Blackfoot Indians
Oskenonton and Chinquilla.
Son and daughter of Chief Lone Star.
Motion Picture — The Last of the Seminoles. Life and customs

of the Indians of the Florida Everglades.
Motion Picture — The Apache Trail. Apache Indians at Home.

Ruins of Cliff Dwellers.
Songs and stories of the Red Man — Oskenonton and Chinquilla.

Cheyenne and Mohawk Indians

On January 24 the program was "Children of Many
Lands''; the following Saturday 'The Great Outdoors" was
the theme; and on February 14 "China, the Young Republic"
was the novel treat in store for the little ones.

The onlv drawback to this excellent work of the associa-
tion is the fact that tickets of admission are one dollar each,
that the movies are shown at an exclusive hotel, and that the
entire affair has an atmosphere of exclusiveness and plutoc-
racy. This is all very fine for the poor little rich children,
but how about the thousands of poor little poor children?
Dollar movies are not for them.

Motion Picture — Skyland.
Indian Folk-lore —

AN EDUCATIONAL FILM LIBRARY FOR EACH COMMUNITY

Production and Distribution Problems May Be Solved by This
Comprehensive Plan, Whereby Non-Theatrical Motion Picture
Users in Each City or County May Possess Their Own Reels and
Draw on Them As Needed — Readers Asked to Offer Further
Suggestions

By Charles Urban

IN most communities throughout the United States there
are numerous literary societies, reading clubs, educa-
tional societies and ladies' clubs, whose members are
interested in the betterment of the intellectual and social
conditions of their fellow citizens. Many of these societies
utilize the motion picture to supplement their discourse on
a particular subject.

Professional, private and public schools, universities, col-
leges, church societies, rotary clubs, Y. M. C. A.'s. Y. W. C.
A.'s, Red Cross, and many industrial firms recognizing the
great value of this medium of instruction use the movies
extensively in their work and for the entertainment of their
pupils, members and employes.
Distribution Lacking

The dearth of the proper char-
acter of picture desired for this pur-
pose is due mainly to the inadequate
existing system for the economic
distribution of the educational film
and the consequent discouragement
to the film publisher to continue the
issues of a regular supply of edu-
cational films.

Film publishing is a commercial
business, like the shoe, clothing, or
any other manufacturing business,
the products of which factories
must be paid for at an adequate
price, plus a fair return on the
investment.

The publisher of dramatic and
humorous films has an outlet for his
product to the motion picture the-
ater, through the film -distribution
organizations and their exchanges
throughout the country, at a good
profit. Theaters pay good prices
for "thrillers," "hair raisers" and
"side splitters." The distributor
receives ample compensation for his
services of booking and the physical
handling of the film.

Private societies or educators cannot use the majority of
pictures made for the theater nor can they afford to pay an
equivalent price to that paid by the theater for the hire of
the class of picture the educator requires. Consequently, the
majority of the distributors are not interested in the educa-
tional picture, further discouraging the film maker from
interesting himself in other than theatrical pictures, which
net him a good profit.

Experts Must Be Paid

The educational picture, to be really instructive, must be
made by the naturalist, scientist, engineer and professional
who thoroughly understand their subject and who require
payment for their services.

Cameramen, travelers, film editors, and the multiude of
employes engaged in the various technical phases of the

pHARLES URBAN again comes to the fore with
^ this admirable plan for the establishment of a
National Educational Film Eibrary through the forma-
tion of community film libraries locally owned. Mr.
Urban asks the readers of this magazine to comment on
his suggestions and oifer improvements if possible.

educational film publishing business must be paid for their
services the same as those employed in any other manu-
facturing business.

The educational film publisher cannot continue the re-
sponsibilities of engaging this large high-salaried expert
staff, besides the upkeep of expensive laboratories and plant,
unless he finds an outlet for his product at a fair price.

Owing to the fast-growing demand for educational films,
the maker of ordinary films attempts to create a supply, but
because of inadequate and disinterested distribution of such
product, the film maker very soon slackens his efforts and
reverts back to the more lucrative dramatic and slap-stick
comedy pictures.

The majority of so-called "educa-
tional" pictures available were made
under just such conditions, photo-
graphed and titled by persons who
had but very little knowledge of
their subject, with the result that the
picture, while possibly entertaining,
had no actual instructive value.

This lack of proper distribution
to the non-theatrical users induced
the film publisher to compile and
edit the travel, industrial, or scenic
reels he happened to secure, to suit
the mixed theater optience, with a
possible chance of having his films
distributed by the existing ex-
changes, believing that some portion
of the non-theatrical users would
ultimately be served. Even so,
these makeshift films do not fill the
requirement of the educator.
Educators Must Pay Fair Prices
The educator must expect to pay
a reasonable price for the use of
an instructive picture, just as he
expects t6 pay for his groceries,
wearing apparel, or any other com-
modity. Only this will induce the
film exchanges to handle the distri-
bution of the educational picture and the film maker to issue
a high-class instructive picture.

The distributor, to properly handle this additional busi-
ness, should establish an educational department with each
exchange, engaging the services of a person who is courteous,
who primes himself with information as to the issues re-
leased by the various educational film publishers, and who
takes sufficient interest in the work to procure the particular
film or information wanted by the educator.

The great drawback with the present system lies in the
fact that even the few "educational" films circulated by the
exchanges are but seldom available when wanted. A subject
may be booked in a town for a day and shown to a com-
paratively limited optience. It is shipped to a town scores
of miles away where it is booked for exhibition the next

ly. That particular film might have been shown repeatedly
ith benefit to tens of thousands of people but the film has
ractically disappeared so far as showing it again in that
articular town or district.

The educator who has a habit of borrowing films "for
jthing," or next to nothing, because of his plea that they
:e to be "used for educational and charitable purposes"
mnot expect to secure other than worn-out, brittle, and
iratched films which are unfit to show t<i children and are
ingerous to use.

This practice does not advance education. Nothing but
le very best films obtainable should be good enough for
le instruction of the future generation.

The entire order of things, as it exists today, is in a
laotic state. A gigantic effort must be made to bring about
le desired distribution and a recognition of the right char-
3ter of film to be used by the educator.

40,000 Non-Theatrical Users

There are more than 40,000 non-theatrical users of pic-
ires, equipped with projectors, all of whom want the right
ind of film subjects, but who cannot procure an adequate
ipply or a regular service.

I predicted years ago, and again voice my firm convic-
on, that "the mainstay of the film business will be the
iucational picture."

I have continued for twenty years to pound home the
reat value of the motion picture as an educator.

The thousands of pictures I have published in Europe
nd America demonstrating this fact have been recognized
■)T their instructive character.

Other film publishers have added equally commendable
ictures, which are now available in hundreds of reels.

Why does not the distributor wake up to the great im-
ortance of catering to this new business?

His various exchanges can be operated at comparatively
mall additional cost, in proportion to the extensive hire
usiness he could develop owing to the great demand which
Iready exists and is growing daily.

Should the distributor longer neglect his opportunity, I
elieve the solution of this problem lies with the non-
heatrical user and can be solved thus:

Subscription Plan for Establishing and Operating
Educational Film Libraries

a. Create a fund by subscription in each town or com-
wnity for the purpose of establishing an Educational Film
.ibrary.

b. The subscribers can be drawn from the societies,
chools, industrial firms or persons now utilizing motion
lictures, as well as many other converts who believe in the
ise of this wonderful medium for visual education.

c. The subscribers to appoint a local committee to pass
m the purchase of the films which are to form the perma-
lent library, to which further reels are added as subjects
if the various educational film publishers are submitted and
ound desirable to acquire.

d. All films are thus available at any time for use of the
ubscribers or others (including local theaters) upon pay-
nent of a reasonable booking fee.

e. To appoint a custodian of said library which can read-
ly be housed in suitable quarters.

f. Each subscriber to have the right of booking and using
he films and being debited against the amount of his sub-
scription an agreed fee, say S2.50 per day per reel. If he
las subscribed SI 00.00 he has practically paid that amount
n advance for film hire which entitles him to the use of
10 reels, after which he continues to pay the fee, which

maintains the library and assists towards the purchase of
new subjects.

g. He thus has at his command just the class of subject he
requires for his work, which he can use as often as he desires.
Everyone has the same privilege so that the subscribers can
practically control the class of picture they believe beneficial
to the community. The real benefits OF visual educa-
tion WILL THEN BECOME APPARENT.

I firmly believe that public spirited people in each city,
town or community have sulTicient vision to see the great
benefits to be derived by such a film library and will con-
tribute liberally towards the founding of one. I warrant
that in a very short time the National Film Library ivill rival
or supersede the popularity and usefulness of the present
Public Library and Reading Room.

A Valuable Americanization Aid

I also believe that the Educational Committees of the
United States Senate and House of Representatives are con-
vinced of the value of the motion picture as a great factor
to be utilized by the government in aiding its Americani-
zation movement for the intellectual and social betterment
of a large portion of its people. The National Educational
Film Library, operating from every center and radiating to
the remotest town and village in every state of the union,
would prove invaluable.

But the government moves slowly and is not so apt to try
the experiment, although it has had a fair example of what
the motion picture did for the nation during the war.

The independent exchange man and states-rights buyer,
with his knowledge of local conditions, may find it advan-
tageous to initiate the movement in his district for the
founding of a permanent educational film library.

The films could be had by outright purchase from the
publishers at about $100.00 per reel. Shown at an average
of only 100 days at $2.50 per day during a period of a
year or two would produce ample funds to make the library
self-sustaining. Ten thousand dollars would be ample to
cover the cost of 100 to 125 reels with which to establish
the library.

Rerrember, the real educational picture has permanent
vaii;^ — it is just as interesting and instructive in two, five,
or ten years and will bear repeated viewing.

"Why Pay Rent?" — Own Your Films

It is like buying a home on the installment plan. "Why
pay rent?" when that rent can be applied towards the
purchase price of the home. Just so with the film library.
The fees you usually pay for the hire of films are thereby
conserved and help to pay for the outright purchase of the
films which you own and can use as you see fit. Only, you
pay your fees in advance in the form of subscriptions
towards a fund to acquire the library.

This is merely a suggestion. Perhaps you have a better.
Let's hear it.

UNCLE SAM --INSURANCE AGENT

"Uncle Sam — Insurance Agent" is a film offered without charge by
the Bureau of War Risk Insurance of the Treasury Department, Wash-
ington, D. C, as part of a general campaign to keep active the forty
billion dollars in government insurance novir held by soldiers, sailors,
and marines. It has been found that there is such lack of information
as to the opportunity, advantages, and provisions of permanent gov-
ernment insurance for senice men, that the film has been prepared
to supply this information. The instruction has been cleverly sand-
wiched in between interesting exterior and interior views of the bureau.

During the war 17.000 employes carried on the enormous tasks of
the bureau, utilizing for offices such unsuitable buildings as a garage,
the National Museum, a paper box factory, an old hospital, and a
patent medicine factory. These working conditions are shown in con-
trast to the beautiful new home of the bureau costing S3,000,000 and
located just across Lafayette Park from the White House.

AMERICANIZING THE BRITISHER

East Enders, West Enders, Somerset, Welsch and North County

Folk are being Thoroughly Educated Through the

Invasion of American Photoplays

By \\ eslev W. Stout

More influential than fiction, theater and popular song
combined is the movie. I speak advisedly in saying that
95 per cent, of all films shown in England are American.
British film producers said so themselves the other day in
begging Parliament to "do something about it." The import
^tax on films already would seem to be prohibitive, but it
works out only in higher fees at the booking office, as the
box office is known here. Not content with nearly monop-
olizing the producing end, one American company now
has invaded the exhibiting field and plans to build a large
theater in every considerable English city. It happens
that the housing situation is desperate and Parliament has
been appealed to to pass a law prohibiting the building
of any theater until the need foi homes is satisfied, thus,
incidentally, giving the British film exhibitor several years
of grace.

American Pictures Predominate
For good or ill the cinema is the chief diversion and.
apart from the grim necessities of life, almost the chiel
interest of the great body of English people. About half
the population goes at least once a week. Twenty millions
of people every week watch films almost entirely American.
Recall how Dickens and the other Victorians captured
and directed the imagination of Americans in British molds
a generation ago and one senses something of the effect
of this far more graphic and popular art on the English
today. These millions of men, women and children breathe
a purely American atmosphere nightly. They have be-
come as familiar with American landscapes as their own.
They are in constant contact with American morals, ideals,
sentiments, and institutions, American types and characters,
law 9nd crime, American social and political ethics. They
have a much closer view of American society, American
commerce, finance, and luxury than they are likelv to get
of their own.

Dynamite in Films
Even where the story is drawn from a European source
it has passed through the hands of a Los Angeles director
and becomes the product of an American mind, shaped pri-
marily to suit the tastes and satisfy the prejudices of an
American public. We sometimes forget that kings and all
the mediaeval pomp and pageantry of royalty survive in
England and that, emasculated in power as the monarchy
is, yet it remains very dear to the hearts of Britons. Amer-
ican films and literature are charged with dvnamite for
thrones, not the less dangerous because unpremeditated.

American sailors do not boast idly when they declare
they have only to beckon to an English girl to take her
away from her countrymen. English girls of the middle
and lower classes gather their ideals of masculine gallantry
largely from American films. The bumptious, assertive,
slangy Doug Fairbanks, hero of the celluloids, is to them
what the pale and elegant Lord Vere de Vere of Mrs. South-
worth's once was to American serving girls. It is a role
an Englishman does not play well.

And the sub-titles, substitutes in a photoplay for dra-
matic dialogs, are written not in the English but in the
American language so that American slang and patter, like
American fiction and song, pervades the land.

"Our children are learning to talk American." wrhen
a despairing Briton. "One wonders how long it will be
before they will think American."

MOTION PICTURE SCHOOL OF THE FUTURE

Grandmother Would Mar\el at the Visual Instruction Methods of
the Up-to-date Classroom

Time was when "readin" and writing and "rithmetic"
"toed the mark" in a stuffy, old-fashioned school room and
were taught by plain, ungarnished i. nhods. Grandmother
recited her spelling lesson in a meaningless, sing-songy
voice. Geography was a matter of memorizing capitals and
history was a daily battle with dates. Then came the time
when education was made to resemble a sugar-coated pill,
with instructors striving to put a lure in learning. School
entertainments were given and stories were read and acted
about the foreign countries or historical topics of which
the pupils studied. But the "pill" still remained, in spite
of its sugar-coated attraction, and it may be the mission of
the photoplay to remove the lingering bitterness from the
taste for learning and to present the dose of knowledge in
pure "sugar" form, minus the medicinal quality, declares
the New Orleans Tinies-Picavune.

In the establishment of a children's theater "ideas of the
beautiful could be developed" both by well chosen pictures
and by. descriptive classic music. The more such features
are presented to children the less inclined they will be to
follow prize-fighting and similar pastimes.

Through the medium of the screen, foreign countries no
longer remain simply spots on the map. Hand in hand
with the cameraman our boys and girls visit their European
brothers and are introduced to the "cannibal kid" and the
heathen savage to whom they give their pennies at Sunday
school. Historical events of the day become actual realities
because the educational film visualizes the most important
news of the daily papers. Famous names are no longer
mere words, the photographed faces of the owners of those
names smile familiarly down into the audience. Railroad
fare to the Rockies or the seashore centers is the price of
a theater ticket these days, while trips may be taken
through industrial plants via the screen and audiences may
see steps in the manufacture of well known products.

Not only are theaters demanding educational films, but
teachers are taking up the cry. In an ever-increasing num-
ber of cities is the school entertainment giving way to the
weeklv screen performance, and though grandmother, study-
ing so monotonously years ago, would have marveled at
the class-room of today, she would stare with wide, aston-
ished eyes if she were told what school life for the future
pupil promises to be — "one long motion picture show."

50.000 FILM EXPOSURES A SECOND

Fifty thousand exjiosures a second is the new record made
in film photography by two French scientists, Abraham and
Block. They used for this purpose electric sparks remitted
by special apparatus and have been able to take the most
accurate moving pictures showing the record of trajectory
of a revolver bullet. The cone of gas leaving the revolver
barrell before the bullet was clearly observable and the
track of the bullet could be followed with minute accuracy.

Professor Malpusse, discussing the new invention, charac-
terized it as of most importance, not only in applied science,
but in the study of medicine.

"We will be able to take accurate photographs of every
form of living movement in the human organization and it
is possible that much that hitherto has been puzzling will
be made clear," he said. "The whole framework of ex-
perimental dynamics may have to be revised in the light of
this new invention."

THE MOVIE A SCHOOL

The movie does more than amuse and entertain. It in-
structs. It tells stories in more interesting fashion than
any writer, for it pictures them to the eye. It teaches
geography, history in the making, and brings the four
corners of the world to one's own neighborhood. All
these things often pass before our eyes in one evening, as
the films flicker, says the Hamilton, Ohio, !\eus.

We see the mountain peaks without bending beneath the
burden of climbing the mountain side. We see far off
rivers, lakes, forests, flowers, wild animals of the jungles,
curious birds of distant lands, the eskimo in his Arctic ice-
liut and the little clothed dweller of the tropics. At the
movie we sail over vast oceans of water, launch blithesomely
upon dizzy aerial jaunts, and think nothing of combing the
floors of the seas. We see w-ars fought thousands of miles
awa\. and we see wonderful feats of engineering skill. At
the movies!

And our wife and daughter, too, are instructed. The
movie is to them a school in which they are instructed in
things pertaining to fashion, new and charming methods ol
making even a time-worn home look altogether different
and more inviting.

Of course the movie doesn't set itself forth as a teacher.
It would fail in its purpose if it did that. Rather does
it cloak its lessons beneath the templing tinsel of enter-
tainment, and that is just why its lessons sink so deeply into
the film-entranced brain. We — most of us — go awav from
the motion picture show knowing a bit more about the
world, and the living things of the world.

This is knowledge, and to acquire knowledge- the human
brain must study, consciously or unconsciously, in workshop,
schoolroom, kitchen, field, or elswhere.

REALTY FILM TO FIGHT RADICALISM

The last chapter in the history of real estate amassed by
the late Russell Sage was written recently in the Vesey
Street auction room, ^e^v York City, when it was sold by
Joseph P. Day for a total of 82,619,250 in a rapid-fire sale
in a packed auditorium. After the sale Mr. Day said:

"As a comiterblast to the destructive campaign of the
Soviets and radicals who would ruin our government this
sale should be of widespread benefit, because it dem-
onstrates that such great estates as this may, in a day, revert
to the people. That this idea may be conveyed to the great-
est number in a way they will most easily understand, the
Fox Film Company took pictures of the crowd of bidders
and. I understand, also obtained pictures of a number of
the properties sold and of the institutions to be benefitted
by the distribution of the Sage millions. This is fine edu-
cational work in the cause of Americanism, to counteract
the wave of unrest and radical philosophy that recently has
threatened this land."

IS- s-

DEW FALL UN PICTOGRAPH

In the Bray pictograph B. 7023, lately released, what are thought to
be the first microscopic motion pictures of dew fall are shown. Dew
drops as beautiful as the royal gems of ancient India have been
caught by the cinematographer. A garden blosson at dawn becomes
a fair)"s diadem. One sees what happened to the gay little lady
caterpillar who stayed out over night and woke up to find herself
covered with sparkling diamonds.

Sevct.:centh avenue.

"THIS photograph of the handsome Cieveiand School (Junior High — Alternatingi. at 378 to o92 Bergen street, tcrner _

Newark. New Jersey, was crowded out of the article. "Newark. New Jersey. Public Schools Equipped for Visual Instruction. m our
November, 1919, number. The school has up-to-date Power's protection equipment and some interesting film i.rni>ram« .ire heme carried out
here.

WORK OF THE NATIONAL MOTION PICTURE LEAGUE

^ In Response to Its Nation-Wide Educational Campaign for Better Pictures, Parents
Are Demanding, Producers Are Making, and Exhibitors Are Screening Photoplays
and Other Films of a Higher Standard

By Adele F. Woodard

President. National Motion Picture League

THE best censorship is not censorship at all. It is>
selection. A competent group of persons viewing
all films and selecting the best ones, giving them
wide publicity, follows a constructive policy which
gives support to honest effort on the part of producers.
All who have given careful study to motion pictures feel
that they have the greatest possible benefits to offer particu-
larly to children, but that at the same time, as the industry
is now organized, they present dangers to the moral and
physical well-being of children that are thoroughly in evi-
dence. To preserve for the boys and girls of this country
the permanently good, pleasing and entertaining pictures
and to safeguard them from the vicious and immoral, is
the purpose of the National Juvenile Motion Picture
League.

A Constructive Ethical Policy

The constructive policy of the league is helping to give
to the motion picture industry a permanency which it has
hitherto lacked. As a result of its propaganda in every
part of the United States and in Canada toward establish-
ing a national demand for high class motion pictures, audi-
ences ere demanding better things and are gratified to find
exhibitors and producers responding to this demand. The
key to the situation is that audiences in response to this
educational campaign are avoiding the sensational melo-
drama and are supporting the wholesomely clever pictures.
No longer can we be hoodwinked into the belief that the
American public desires the gross and immoral. The con-
stant vigilance of the league and some producers who desire
to produce good things is encouraging the general public
to express itself openly as to the type of film it desires
instead of complacently accepting whatever may be pro-
jected before it.

The weekly bulletins of this league assist the general
public in this desire to select their evening's amusement.
The pictures listed in these bulletins are reviewed by the
Reviewing Board of the league two or three weeks in ad-
vance of the release of the pictures to the general public,
so that a request from a member may reach his exhibitor
in time for him to book the picture for his theater through
the ordinary channels of distribution without disturbing
the general system.

The board of directors of the league is selected from
men and women who are already known to the American
public for previous splendid and efficient service in child
welfare. The proceedings of the league are under their
direct supervision.

Membership in the league entitles one to the weekly
issues of the current bulletin of endorsed pictures which
are viewed and selected by a committee of carefully chosen
teachers, principals of schools, Sunday school leaders, child
welfare workers, and other child psychologists, who give
evidence, by their faithful and enthusiastic support, of their
belief in the power of the screen in the lives of young
people.

This reviewing board sees practically every motion pic-
ture that is produced and never endorses a picture without
seeing it in its entirety.

The lists of films endorsed by the National Juvenile
Motion Picture League reach over 35,000 persons. Five
hundred copies of its bulletins are distributed by the board
of education in New York City to the principals of all its
schools. One hundred and twenty copies are also sent from
their offices to community centers.

The children's matinees and family programs exhibited
under the supervision of the league in theaters, schools,
churches and elsewhere, give actual bookings to these
endorsed pictures.

Children's Matinees and Family Programs

Under the auspices of the league, children's matinees and
family programs are organized and sustained, in order to
increase the demand for pictures suitable for children and
young people, that parents and teachers may be able to
select motion picture performances which are not only
harmless to young people, but where they may be instructed
and benefited through entertainment. Pictures which sup-
plement the work of the schools are interspersed with
pictures of wholesome, clever comedy and character
building stories. Schools, libraries and other welfare
organizations give their support to these programs by
advertising them extensively, through their respective
channels.

Children's matinees are given as special performances
for children under twelve years of age. Fairy stories and
wonder tales, with instructional pictures which supplement
the school work, and a bit of animal or doll comedy, make
a well-balanced program.

Family programs are given during the time of the regular
show, after school. Teachers bring their classes directly
from school. A section of the theater is reserved for un-
chaperoned children who are cared for by the committee.
In the evening parents bring their older boys and girls,
young people attend, being assured that no embarrassing
situations or objectionable themes will be presented, and
the movie becomes a real family institution.

Family programs are assisting greatly in this propaganda
for wholesome films. Under the supervision of local com-
mittees, the local exhibitors are encouraged to set aside
a day or more each week to the projection of films selected
wholly from the lists of this league, in order to provide
a wholesome place of amusement for young people. The
advertisement for these programs which the league secures
helps make the entertainments a financial success for mana-
gers of theaters. Parents assist in seeing that their young
people attend these clever, interesting programs and thus
help in their support, financially.

Organization of Community Forces

An educational campaign must be carried on previous te
the opening of the first matinee. Teachers and school prin-
cipals usually feel the need and importance of a movement
of this kind and a visit to the superintendent of schools
will usually secure a promise of definite co-operation,
by way of distribution of literature, etc.
(To be Concluded in March Issue)

INDUSTRIAL FILM AS AN AMERICANIZER A

The Ford Educational Weekly in Particular Ha» Visualized
for the Foreign Born the Wonders of American Industries

Bv Jerome Lachenbruch

WHEN we were youngsters in the grade schools we little thought
of the invisible links riveting us to an ideal Americanism.
How many of us recall incidents during those few minutes
during wliich we sang a hymn, heard verses from the Bible read by
the principal, sang a rousing school song, and finally ended with a
salute to the flag, which was draped across the platform of the as-
sembly room, and the pledge recited in clioriis.

In my school we added a recitation or two by llie pupils and some-
times a short talk by the principal on some historical theme, which
usually had its moral lesson tucked away in the deftly worded phrases.
This always succeeded in making us march out of the assembly room
with a soldiers carriage and the "rra-going-lo-dolikewise"' resolve
in our hearts.

The Problem of the Foreicn liouN

Perhaps the task of the school principal of twenty years ago was
easier than the present task. Then there were fewer foreign born
children to imbue with American ideals, and, besides, these few were
in closer contact with native born boys and girls than alien children
of to-day. Now" these young aliens form distinct groups in many
of our schools. With this increase in our foreign born population, the
parents of the children also have had to be reached.

We have our settlements, with their clubs for boys and girls, their
mothers' meetings, big sister organizations, and social entertainments.
Directly under the control of the city board of health we have
district nurses, who teach ignorant mothers bow to care for their
children and so reduce the number of deaths among poor children.
To these parents the message of .Vmericas desire to help, to preserve,
and to develop the most humble of her immigrants, comes with the
force of a sharp and happy contrast to their experiences in foreign
lands. •

But they are often handicapped through ignorance of our language
and their isolation. If they live in cities, they know little of the
vastness and the beauty of the country in which they live, nor of the
ways in which the products of our fields and factories are brought
to the little store around the corner. To overcome this isolation,
this clannishness and withdrawal from the exercise of American
customs, the Americanization movement was begun. .\nd to this the
all-seeing and all-seen motion picture has subscribed its power and
its widespread distribution.

American Industrials Fascinate Foreigners

Those who were in a position to see with what keen interest the
American photoplay was welcomed by the civilian populations of
foreign countries during the war realized that our allies are eager to
get better acquainted with us. Our industrial and scenic films aroused
greater interest abroad than feature pictures. Our allies realized
that to know .America they must know her industrial methods, how
she does the things that make her the aggressive and prosperous
nation she is.

The same interest that Europeans manifested in our industrial films
is now being aroused at home in the far-reaching Americanization
programs being carried on by the motion picture. Perhaps the
work of Henry Ford deserves a special word of recognition. For tin-
past few years he has been making a series of pictures detailing the
operation of America's leading industries. The camera man of tin-
Ford Educational Weekly has visited various plants, one by one, and
walked through them while his clicking camera recorded the operation^
of every department. In the past we have seen the romance of tlu-
steel industry: we have been able to follow the making of a daily
newspaper; the manufacture of paper has been photographed in all
its phases. The Ford Weekly has recorded the making of soap on
a vast scale, the meat packing industry, and some of the delicate
operations of a modern glove factory. These pictures have been dis-
tributed to thousands of cities, towns, and hamlets through tbe
Goldwyn Distributing Corporation. All these industrial motion pic-
tures give a vivid and intense view of everyday life. The picture of
this type arouses the enthusiasm and the wonder of the beholder: it
gives him a sense of pride in the privilege of being part of all this
creative activity.

"Hooping Up"

You go out into forest of oak trees and pick out just the tree
from which you want your barrel made, in the Ford Weekly, "Hoop-
ing Up." Then you watch as the tree is felled, sawed into sections and
split for barrel staves. The staves are arranged in iron hoops, through
the steaming and drying rooms, the putting on of the iron bands, the
making of hoops, and the painting of the barrel.

-■Vs the children in the schools develop their love of country through
participation in symbolic exercises, so tbe stranger to our shores grows
closer to America in thought and deed the more he becomes indenti-
fied with the daily work we are doing. The motion picture which
gives a large, fresh view of America; which discloses in a big. free
way the grandeur and the power of .\merica; which stimulates the
desire to align oneself with her fortunes — that is an aid to the
Americanization movement which we can scarcely appraise at its
real worth.

- the Rranite quarries of
.^ti-UL .M.iun'..iiu. luar .\llaiit.i. l..!,i;,i.i. til EillR-alional Weekly
No. 173. Second photograph — scene from ".Making Barrels," Ford
Weekly No. 177. Third photograph — scene from "Paper Making." Ford
Weekly No. 176. Bottom photograph — scene from "When Black Is
Read," the printing of a newspaper, Ford Weekly No. 152.

70^

A TRIP TO THE MOON VIA THE SKYROCKB

By Jerome Lachenbruch

SCIENTISTS and dreamers have longed
for the moon 8ince the beginning of
the worhl. Our earth-bound poets
have been content to go on dreaming and
weaving beautiful fancies of this unknown
country. But the scientists have been
tougher minded. Through the centuries
they have gazed liard; and with long gaz-
ing, they have begun to see the surface of
that pale, far world assume various forms.
And as the years passed they invented long,
strange glasses of unworldly power, the
better to see into their neighbor's cold
home.

With tlie perfection of the telescone. they
were enabled to learn that the moon is a

THE first accomplished trip to the
probably be in the movies. These
show the rocket drawn by Max Fleisc!
for a picture to be sent out shortly
from the Bray Pictograph Stu-
dios. In the interior of this
movie rocket are ( alon
the , left side • dynamo,
radium p o w e r tank,
chairs, motorcycles on
which to explore the
moon, food com
partment, berths,
lockers, gyro-
scope: (along
the right sidel
more berths,
heater, desk,
water tank.

planet like the earth, but
mountains, extinct voleanog
of canals. Other groups ot
covered, by a process of c#
what is known about the c»
earth's ethereal surrounding!
on them of the chemical eleit
sun, that the moon is a cool
bly supporting some form ^

With the information gathf
efforts were centered on fii
reach the moon and to exp]
connection a step in sevei
has just been taken, accon
nouncement by Professor Go
College of the possibility o
moon by means of a skyrocl
;)eriment preliminary to the
he has made a model skyrod

hopes to test the charai
mosphere at various hei
earth's surface — heights that
been unattainable because of the
our means of locomotion through th
To spread the good news of the sc
ayman, we have been in the habit of U!
papers and the magazines. But since the
motion picture there is another way of clarifying
the physics, and the mathematics of the project. H
the motion picture limited to photography from li\in;
lase of the new art has been closely circumscribe<l.
development of the animated technical drawing the most inti
subject lends itself to elucidation. Max Fleischer, of the
Studios, has made a series of animateil ilrawings which reveal iht
the task involved in reaching the moon and of overcoming them \
huge skyrocket. He has devised a machine which not only makes the
but apparently feasible.

Here are some of the facts concerning the trip which have proved ir

obstacles to scientists of the past. The distance from the earth to the moon is .

240,000 miles. The intervening space is filled with ether whose actual com|io>itio i

but whose temperature we know declines steadily. In the spacial inter>tice hctwc

moon the thermometer would be found to register l-.'iS degrees below zero. But eve

the feasibility of making a car sufficiently <old proof to withstand the onshuight of sue!

have still to solve the question of overcoming the force of gravity.

Illustrations by courtesy of Tlie Independent,

This is How the Earth Looks When You Are on the Moon I

Radium is known to possess more energy than
any force yet discovered by man. It is said to give
off but half its power in twenty years, .^nd it has
an a<lvantage over other known motive forces har-
nessed by man. because of its compactness. .\ little
tube of the precious substance is worth $170,000;
(Conliniied <m page 18)

Mr"

> t >

OCRAPH Shows

las been learned that the pull of
y lessens as we leave the earth s
e. In fact. 213,000 miles from the
it drops to zero. But at this point
uU of the moon begins to assert
In other wor.ls. at the 213,000

mark, a moon-.»eeking machine

feel no pull from either the earth
• moon.

there i> another ilifficulty to over-
-perhap? the mo-l baffling of all —
I the exploration of the moon be-

a fact. What motive power is
enough to drive the machine
t the earth's gravity? This obstacle
soon be conquered through the
^sing of a new mineral power to
Bchanical discoveries of the present
f.

The .\krows above Show the "'Spheres of Gr.wita-
TioNAL Influence" Round the Earth and Moon.
X^'hen the Rocket Reaches the Lunar .Atmosphere
Its Power \Ii st Be Reversed to Overcome Gravita-
tion Toward the .Moon

One of the Craters of the Moov

(e Away F Rr^i H

SCREEN SERMON IN NEW YORK CHURCHES
By J. A. Chapman

For the first time in the history of the screen, it is believed,
motion pictures were used on Sunday, January 25, in
regular church services. The innovation took place at the
Judson Memorial Church, Washington Square, South, New
York City. Although films have been used in a variety of
ways in churches, this is thought to be the first recorded time
in which the screen has regularly supplemented the pulpit.

The screen sermon was conducted by the Rev. Dr. Leslie
Willis Sprague, former pastor of a Brooklyn church and
now head of the religious and industrial sections of the
Community Motion Picture Bureau of New York. Accord-
ing to Dr. .Sprague, the time is not far off when the picture
will be used regularly by the pastor during worship as well
as in other capacities.

"The motion picture will not supplant the preacher.
Rather, it will aid him by supplanting word pictures by real
pictures. Thus, with a topic vividly fixed in the minds of
the congregation by the picture, the pastor may better draw
his conclusion and morals," says Dr. Sprague.

There is no need for specially made films for church ser-
mons, according to this clergyman. He contends that any
picture with a potential moral is admirably adaptable. It
is not a case of making a practically new kind of film, but
rather one of showing the pastor how he may use the power
of the ordinary motion picture.

The first sermon film was one of the Judge Willis Brown
series, entitled "Thief or Angel." It depicted an instance
where a noble motive led to systematized thievery, and from
this situation Dr. Sprague developed a sermon on "Good
Motives and Evil Deeds."

$20,000,000 FUND FOR RELIGIOUS FILMS
By Rev. Dr. William Sheafe Chase

Brooklyn, N. Y.

The church is the only power which can redeem the motion
picture. So long as the commercial motive is the predomi-
nating motive in the manufacture and exhibition of motion
pictures they will fall far short of attaining their highest
possibilities, either as an educational and recreational in-
flvence or their greater popularity.

There are two things that the united churches of the
land should do; they should create a fund of $20,000,000
for the manufacture of religious films and pictures teaching
Christian morality and patriotism. They should establish
{^ee film libraries in various parts of the country for the
use of the churches and schools.

The second thing that the united churches should do is
to create a substitute for the saloon by purifying motion
pictures. They should ask congress to enact the Randall
federal motion picture bill into law and thus secure a
federal control of the morality of all motion pictures which
are in interstate commerce. This bill has been twice favor-
ably reported in congress and is favored bv the American
Federation of Catholic Societies.

The National Federation of Women's Clubs are working
to establish state censorships similar to those in Pennsyl-
vania, Ohio, Kansas and Maryland. But such a remedy
would create confusion and not secure the best results.

FOUR WAYS IN WHICH CHURCHES USE MOVIES
By Rev. Dr. Leslie Wilus Sprague

New Y'ork Citj

There are at least four distinct ways in which motion '
pictures are being used by churches — for recreation, for
popular attraction, for religious and moral instruction, and
as an aid to worship and the strengthening of spiritual emo-
tion. The possibilities of the first and second of these are
sufficiently obvious; each is altogether legitimate, although
susceptible of over-emphasis and abuse.

The possibilities of films as a part of the church's program
for instructing its children are only beginning to receive
adequate notice. The dramatization of Biblical and other
stories has long been a common method of teaching in
Sunday schools. In general, however, attempts to film such
dramatization have been utterly unsuccessful, and often very
inartistic. Scenario writers, producers and actors have not
known how to handle the material. Attempts are now
being made on a much more adequate scale to make film
stories that will not outrage their written originals.

Many churches are ready to use motion pictures as a
means of redeeming their Sunday evening services, but
have not hitherto been able to secure sufficient. material of
the sort that could be assimilated to a programme of wor-
ship at a cost that was not prohibitive for continuous service.
Oi.e reel attractions will never make a religious service
successful, no matter how new or excellent. More than one
leel is too much unless the film can be made a definite part
of the programme of worship. There is need of one, two
and three-reel pictures that are suitable, either for their
instructional or for their emotional quality, for Sunday
night use.

The Community Motion Picture Bureau and the Interna-
tional Church Film Corporation are setting themselves the
task of supplying this deficiency. Feature pictures of this
quality can be shown serially in a church with good results.
But no attempt to introduce pictures in the churches in any
large way will succeed unless it takes account of the primary
requirements of a religious service.

A federal commission, composed of highly paid officials
corresponding to the Supreme Court or to the Interstate
Commerce Commission, would at once raise a national stand-
ard toward which all future motion pictures must aim.
Congress will quickly enact this law when the united
churches ask for it.

TRIP TO THE MOON VIA THE SKY-ROCKET ROUTE

{Continued from page 1 7)

but inasmiicli as this would be more than sufBcient to furnish the
414.000 horsepower necessar>' to overcome the power of gravity
within the 200,000 mile limit, there is hope that some philanthropists
with a genuine interest in science might subscribe to the expensive
experiment.

Through Mr. Fleischer and the Goldwyn-Bray Studios this possible
experiment has been placed on the screen in the form of an ani-
mated drawing. The skyrocket itself is shown resting on rollers on
the roof of a skyscraper. Then the interior of the skyrocket is pre-
sented. Here we find the radium power tank, the engines which
operate on the principle of a series of powerful recoils, an oxygen
tank, a water tank, the condensed food chest, electric heater, gyro-
scope, and other necessary apparatus. Suddenly a flash of flame
shoots from the tail of the rocket and the machines fly moonward.
It is then seen shooting through the ether at the rate of nearly sixty

{Continued on page 20)

TRAVEL-SCENIC

FILMING THE GREAT LAVA FLOW FROM MAUNA LOA

A River of Fire Forty Feet Wide, at 10,000 Feet Elevation and

Fifteen Miles Inland, Plunges Into the Sea as a Giant Geyser of

Steam, Accompanied by Huge Tidal Wave

By Robert K. Bonine

Honolulu, Hawuii

111 A\ K just recently returned from an extensive cine-
negative making trip to the Kona side of the great
\olcano of Mauna Loa on the island of Hawaii, where
a recent outbreak of molten hot lava at 10,000 feet
ilevation and fifteen miles back from the ocean ran as a
aountain stream through the country to the sea. Where
bis lava entered the ocean there was formed one of the
reatest geysers of steam and convulsion one ever could
magine. accompanied by a tidal wave that swept the shores
or miles.

Fortunately no lives were lost, and although it captured
ome people at Hoopolua, a few miles away, the nearest
anding. it simply washed them out to sea; but as every
ne can swim in this country, it simply floated them around
or awhile and all nianased to set ashore.

The volcano of Mauna Loa is said to be the largest indi-
vidual mountain in the world, and on the side of this great
volcano is located the ever-active crater of Kilauea, the
great mecca for tourists. This outbreak which recently
occurred was about seventy miles from there, in the district
of Kona, and some sixteen miles up over the mouontain
from the sea. From there the lava flow took a zigzag trail
down the steep mountain side, performing all kind of antics
en route until it reached the sea.

Greatest Geyser Ever Seen

Just what it did when it reached the Pacific was anything
than what the name implies. Such a mighty geyser was
never before seen; and such lightning and peals of thunder
that came from this awful series of convulsions, accomo-
panied by flying pieces of lava which would explode and
fly in all directions; and great lots of fish (perhaps half-

1 — Fountain of red hot lava at the source of the recent outbreak on the
volcano of Mauna Loa, district of Kona, island of Hawaii, 2 — At the edge
of the. lava flow from the side of Mauna Loa, running as a river of fire
for fifteen miles from the point of breakout to the sea; photograph shows
author of this article at the movie camera and Chinese boy helper. 3 —
Where the red hot lava flow plunged into the sea, belching upward the

greatest geyser of steam ever seen by man, 4 — On a movie trip through
the vast extinct volcano of Haleakala. island of Mani, Hawaii, The floor
of this crater is larger than Manhattan Island, 5 — At the brink of the
famous crater of Kilauea, island of Hawaii; the author at the camera,
6 — .Another view by the great Haleakala crater, island of Mani. The
author and his party resting on the summit of one of the inside cones on
the crater floor.

stewed) would skip around over the top of the water twist-
ing from side to side as though trying to jump off the
surface.

I had the services of the only available sampan, a fishing
boat of power launch design, and had them remove the sea-
plugs from the fish compartments to allow them to fill with
sea water to their limit, so as to ballast down to steadiness.
From this boat, as we approached this great geyser, I made
a series of short film strips showing this geyser in its vari-
oous moods, until we approached within about 300 feet and
passed around to the dark side to get strong lighting effects.
When these effects are thrown upon the screen it is a
"thriller" better than any cine-melodrama.

Description of the Lava Flow

The following description of the motion pictures which
I took is from the Pacific Advertiser of Honolulu, which
had a reporter present at the screening in my studio:

Motion pictures of the Alika lava flow taken by R. K. Bonine for
the Hawaii Tourist Bureau at the request of James Henderson of
Hilo, member of the bureau for the Island of Hawaii, were shown
last night at Bonine's studio to a small gathering of invited guests.

Nothing like them exists in the records of the camera. Movies have
been taken of Kilauea in action, showing the tossing lakes of fire and
the festooned fountains of incandescent melt, the blowing cones and
the streaming currents, but never before has a river of lava 40 feet
wide, cascading down a steep slope to the sea, been recorded on
the photographer's negative. Nor is there any other animated por-
trayal in existence of lava plunging into the boiling sea.

Most of the onlookers last night were persons who had visited the
flow one or more times and were thoroughly familiar with its be-
havior and varying aspects, both by day and night. No more critical
group could have been gathered, for the matter of fact, black and
white record of the film was matched against their highly colored
memories of a sight they never forget, but when Bonine asked them
for suggestions, their only complaint was that there had not been
enough.

A River of Incandescence

The introductory- views showed the flow as seen from the point
where it crossed the government road at Alika in Kau. What re-
mains most strongly in the minds of those who gazed upon that
indescribable spectacle is the memory of volume and ceaseless, silent
energy. It seemed impossible that any furnace of which the mind
can conceive could keep pouring out such a river of incandescence,
undiminished and forever glowing hot. .\nd there was something
awesome in the majestic silence with which this stupendous cascade
of fire, bearing on its troubled bosom great rafts of floating rock,
black on top and red hot below, tumbled steeply down a precipitous
stairway with less noise than a brawling brook.

This sense of speed, volume, energy, the camera caught in surpris-
ing fashion, and the river itself being silent, there was no loss in
auditory memories. Where the picture suffered, of course, was in
color. Red photographs black, and one had the curious sensation
of gazing at a river which in fact flowed blood red by day and orange
yellow by night, rushing across the screen in a band of deep black.

Nor was the human motif lacking. A series of incidents depicted
the rescue of cattle from a kipulia (oasis) in which they had been
imprisoned by the descending stream. Recognizable among the
figures were those of D, F. McCorriston and A. G. Horn of Davies &
Co., this city, and Thornton Hardy of Hilo. Close-ups showed the
cowboys, George Kawaha, deputy .sheriff at Waiohinu. and two
Chinese awa growers of Kau, whose houses, bordering on the edge
of the flow, narrowly escaped destruction.

A TRIP TO THE MOON VIA THE SKY-ROCKET ROUTE

{Continued from page 18)

miles a minute: and, because of its speed, overcoming the resisting
forces of gravity and the circumjacent atmosphere.

On the second day the region of intense cold is reached, but no
discomfort is felt within the machine. On the morning of the third
day the 213.000 mile mark is passed. Now the gravity about the
moon begins to draw the car towards it, and the skyrocket is fall-
ing at a terrific rate of speed. "Reverse speed" is the command, and
the helmsman slackens the pace of the rocket. More and more
reverse power is applied until the moon begins to loom up as a mass
of extinct volcanic craters. A hasty glance through the rear peep-
hole reveals the earth up in the sky amid a galaxy of stars. The
continents appear in dim outline, but still quite distinguishable as
they lie nn the smooth, pale bosom of the oceans.

Robert K. Bonine Began Movie Career
with Gaumont in Paris in 1897

(Told in his own words)

I became interested first in motion pictures in Paris, while making
illustrative negative plates in Europe for several publishing houses.
I had occasion to have dealings with Gaumont & Company; this was
in 1897, Burton Holmes having then purchased his first camera
from them, a Demeny. He was at work down in Italy at the time.
On the completion of my work, which took me also through Italy
the following winter, I looked into the workings of the cinemato-
graph at the Lumieres' plant at Lyons, and spent some time there
arranging for photo-material to be sent to me to various sections of
Europe.

On my return to the United States the^ following year and after
completing my plate work, I went to the Edison factory at Orange,
N. J., and after a short inspection and much experience in making
a variety of subjects there, and taking charge of the photographic
work, I was sent on an expedition through Alaska with a big outfit
in company with Thomas Crahin, formerly from Alaska, who had
just returned from Paris, to make an extensive exhibit of the Alas-
kan gold mining country for the Paris Exposition of 1900.

On our return home I took a trip through the Vellowstone National
Park and made film of the great geysers in eruption. I had with me
the largest cine-camera ever attempted by anyone, in addition to one
of standard size. The large camera made film four inches wide;
picture practically 2x3 inches or rather about 1^x3 inches, allow-
ing one-half inch on each side for sprocket control and ten holes on
each side for the gears.

The experience with this outfit and the conditions existing in that
country at the time, our method of getting about, and the developing,
printing, and preparing the final positive for exhibition, and the
projecting machine were all very interesting and well worthy a series
of articles, as it has never been told. Some time ago. the World
reproiluced an exposure from one of the negatives and said they
would later publish an interesting article on this camera by Edison;
but this camera was never used again, except by myself, and once a
trial strip was made of Buffalo Bill's show at Trenton, when arrange-
ments were being made to reproduce the entire exhibition for theater
purposes in the smaller towns not visited by the real entertainment.

While the negatives were beautiful, the mechanism of that day
and the great contraction of the fittn after passing through the pow-
erful astringents in development shrunk the film down to where it
would never come near the original sprockets. The film made with
the small, standard camera proved a success, particularly the one
entitled "White Horse Rapids," showing a scow passing through, and
many others of mining interest of that date, but we had with us very
little film of this standard size, and most of it in fifty and one
hundred foot lengths.

Quite a lot of this larger size was made by John Carbutt, of Phila-
delphia and some by Eastman. The great trip up through the mines
and the "Mother Dome" with a little mule that weighed about 700
pounds, and a boy, for which outfit we paid $22.50 per day "and
keep" would make an amusing story.

On my return I took control of the factory end of the business,
beside making many side trips for negative; all cameras and photo-
graphic work passed under my control. After about two years, dur-
ing which time I was at work with a patent attorney in preparation
of a defense in suit against the Biograph Coijipany a difference came
about, and I left the Edison Company and engaged with the Ameri-
can Biograph and Mutoscope Company at 591 Broadway.

After a short stay there I was sent to Japan. China, and the Philip-
pines, having packed and operated the large Biograph camera through
the closing scenes of the Boxer troubles. "Forbidden City," and many
interesting places all through that wonderful country.

I then left on a trip for Dayton, Ohio, where I made a lot of work
for the National Cash Register Company and then returning to
Orange, took charge of the Edison Film Department. After making
a trip covering two years to the Panama Canal country, with two
editors of the Denver Rocky Mountain Ne7vs, I left the Edison Com-
pany to make a trip around the world.

On coming to Honolulu I became delighted with the place and the
people, and have remained, having a very complete outfit and having
made a lot of Hawaiian subjects, much of which has been shown
about New York and throughout the East, by Holmes. Newman and
others. Holmes has been here with mc a number of times, as has
also Elmendorf, Newman and other lecturers.

I have at present a fine lot of scenic, industrial, and character
scenes of the islands, all new. as since I disposed of some 10,000
feet to Newman. I have made new film and of more interesting type,
as we do not dwell on a subject as we did — simply make "snap
shots" or "thumbnail sketches" of a subject. A bit later I shall
have the greatest collection of lantern slides and short-film subjects
one ever saw of a little country; my experience along all lines of
photography having been very extensive before the cinema ever came
along.

But the rocket is rushing upon the moon. It strikes, it skips along
the rockv surface; the power is turned off. and the rocket comes to
rest. Out of the armored car steps the navigator. He gazes about.
sees the dear earth above him in the sky. and wonders if he will
ever return. Perhaps. But then, when embarking on this glorious
enterprise, a thing so little as a human life never entered into
his mind.

REVIEWS OF FILMS

Edited by GLADYS BOLLMAy

"THE COPPERHEAD"

LIONEL BARR'i'MORE'S superb' acting and the great
Jtory of -Milt Shanks who thrpugh a long period of
>ears died even,- day a living death for his country
make The Copperhead a classic that may perhaps
rank with The Man Without a Country.

The stor>'. already known to many, i? of the courageous, idealistic
man who was chosen by Lincoln to sene his country in the hardest
way — as the Secret Service man who stayed at home, who was court-
martialed for aiding the Confederate cause, dishonored, and scorned.
His son. a splendid boy. full of his father's glowing devotion to
country, does not understand, of course, and makes his last request
one that his father should not dishonor him by seeing him in his
coffin. His wife, even in the moment when she leams that their son

fILT '.. ^.:: l...r.el Barrymore ' lakir.g the oath of the secret

semce in the cause of the Union. The character »f Lincoln
is played by William F. Schroell. A scene from "The Cop.ierhead."

is dead, shrinks from his comfort, and dies believing him a traitor —
"unclean" she calls him- His friends are his friends no longer —
only one of them wHl even speak to him.

Even after the war is over, after his wife and son are dead, after
his conviction by court-martial for supplying the enemy has been par-
doned, still he must be silent, on the request of Lincoln. It is only in
1904 when Reunion Day for veterans of North and South is taking
place, and when he realizes that his record as it is known to the
world is separating his granddaughter from the man she loves, that
he tells the truth. In his last moments come the tributes to his
heroism. But they are nothing to
the thought that he has kept the
faith, that he has served the flag,
and he is comforted by the letter of
gratitude from Lincoln on behalf
of the nation, which he has treas-
ured for years.

After he dies, shot by the poor
wretch for whom he had at last
secured a pardon, someone asks
"How small he looks. Is it always
so?" "No." answers the great man
of the town who has publicly de-
spised him for years, and now rea-
lizes the mistake. "But once in a
while a gentleman dies, and his
soul is so great that you miss it."

Shanks is played by Barry-
more vi-ith a finish that reduces
nearly every pre\nous photo-
play to an amateur perform-
ance. The figure of Lincoln
• William F. Schroell i is
hardly adequate. Doris Rankin
as the v*-ife of Shanks ex-
well the type of

w oman who straightforwardly lives up to her highest belief
in the right, r^ardless of himian feelings.

Dramatic, of course, is the play by .\ugustus Thomas. It
rings true throughout. It aboimds in a wealth of incident
that crowds it fcir beyond the usual content of a motion
picture. It bears marks of being "made over" from a stage
production, but until real genius is permitted or persuaded
to write for the screen first hand, we must be thankful to get
a good thing revamped instead of nothing plus a pretty girl
who can't act. which is the usual formula.

The Copperhead is a picture in which the educator and the
student of histon.- will be keenly interested. It is written and .
played from an artistic standpoint rather than from a propa-
ganda one. and therefore makes a vivid, personal, lasting ap-
peal. The truth is brought home that histon,- is made up of
thoughts and emotions of individuals, of incidents which,
while they may be of secondan,- importance to a country- at
large, are the uhole of one man's life. One's conception of
history, of patriotism, of loyalty must be deej>er and truer
after seeing The Copperhead. For school use. and for patri-
otic gatherings, the picture should prove invaluctble. The
reviewer suggests that such use the scenes of the preparations
on the gallows be omitted.

The Copperhead. Produced and distributed by Kamotis Plajers-Lasky.
6351 feet. Playing time. 1 hour 35 minutes.

^ w

"THE GREATEST QUESTION"

From the days of the winged scarab to those in which our
grandfathers erected red sandstone memorials bearing a
grotesque cherub, efforts have been made to represent the
soul pictorially. Today, as always, the interest in things
psychic is reflected in picture form, and today this picture
form includes the motion picture.

The histon,- of motion picture ventures into the field of
the imseen is interesting. In the nature of things, the cam-
era cannot hope to equal the delicacv of Hamlet's father's
ghost which refrained from imfolding the particulars of his
horrendous tale. No I The camera has unfolded them wi th-
ou' the le=i=t scruple. A famous medieval tale describes a
drawing of a demon which kept the demon bound in the

'T'HE greatest test of i
Shanks had to undergo

presses

; Mih

ween zt was com-

r'led by his oath of loyalty to his country to stand

before his wife and son dishonored and disgraced.

Mrs. Shanks is played by Doris Rankin.

FORTY Tears after the great convict has been
hushed and be feds no longer bound by his
oath to h.nco'.T.. Milt Shanks tells his secret to
his granddaughter to spare her pain and bring her
love and happiness.

room with it, though not always visible. Henry Van Dyke
has a story of a haunted .painting — "The White Blot." But
the supernatural beings of motion pictures are neither at-
tendant spirits nor even misty figures. They are much in
evidence, "large as life and twice as natural."

Early motion pictures, particularly religious themes, pre-
sent entertaining examples — cheesecloth-clad angels, sus-
pended in mid-air by apparatus which left them very little
breath, as evidenced by their expression of alarm and dis-
comfort: "souls" rising jerkily from the death bed, the
diaphrams of both their material and spiritual bodies func-
tioning the while with noticeable vigor. The once popular
pictures of Hindoo swamis furnish innumerable examples of
thinly-clad ladies stepping from crystals or menacing Budd-
has appearing unexpectedly in mid-air like the Cheshire cat s
grin. Skeletons were popular as forerunners of disaster, re-
pentance, or remorse. Drowned ghosts were prime favorites,
and represented with a careful versimilitude which would
have satisfied even a Belasco. And legion are the Peter Ib-
betsons of the screen. At the present time several compan-
ies are announcing films dealing with spiritualism — one a
comedy, one a society scandal carried across the border, and
many stories dealing widi hypnotism and double personality.
But unless there has been a sudden transformation of the
industry, we must not expect too much from them. As a
whole it must be confessed that the ghostly personages of
the screen fail to convince or to charm.

We hoped for something different from D. W. Griffith's
last picture, widely advertised as the answer to "The Great-
est Question" — if a man die, shall he live again? Many still
doubt that psychical research is to be numbered with the
sciences, despite the testimony and records of eminent sci-
entists. Many of the orthodox also resent the claims of the
spiritualists in the domain of religion (in spite of the fact
that the Christian religion is based on the resurrection of its
founder). We did not expect a motion picture drama to
change their convictions. Be we did expect a great artistic
triumph, a great answer to the question of the ages.
Griffith on the Immortality of the Soul.

But the familiar box of Griffith brutality tricks must be dis-
played in its entirety. And the dignity and beauty of what
one would suppose was the main theme is lost behind the
facile acrobatics of the unspeakable vile pair of villains
to whom the center of the stage is given.

The story is as follows: The Hilton family, of whom Nellie Jervis.
a waif, is a member, by reason of their kindness, is in desperate
straits. They are a country' farm family, and are now unable to
get along, because of the heroic death in war of the oldest son and
mainstay of the family. A paralytic father, a young son too immature
to take much responsibility, a brave mother, are the only ones left.
Nellie determines to help the situation by going as a servant to a
nearby family. Assailed on one side by the bestial passion of the
husband, and on the other by the murderous envy and wanton cruelty
of the wife, Nellie finds her servitude nothing less than torture. She
suffers gladly for her benefactors, but even her devotion does not
provide enough money. At the darkest hour, when the farm is about
to be sold, and when Nellie's persecution has reached a climax, the
dead son appears to the father and mother and promises relief. The
next day oil is found on the farm, Nellie is rescued at the last moment
by the Hilton boy, and we leave the family, now richly clad and per-
fectly groomed, marvelling at the luxuries of a private suite in an
expensive hotel and planning a marriage between the two young
people.

Of course the handling of the picture, in spite of its trite-
ness, is unmistakably Griffith's. The brutality tricks are
played by a master hand. The master, too, it is who dares
to use the contrast of a sheeted grave-yard ghost — in reality
a clever tramp — and the curiously natural appearance of the
dead son beside his memorial tablet. The first return of
the son to the mother, when the door is swept open by the
storm, and the sense of his presence is so strong that she

seems to hold him in her arms, is handled with consummate
skill and tact. The characters of mother and son are ex-
cellently conceived and interpreted — the work of Eugenie
Besserer, both in this film and in Scarlet Days, Giffith's pre-
ceding picture, is strikingly good. The naive love between
the boy and the girl is portrayed as delicately as by a Greuse.

It is unfortunate that the main bulk of the story should
be occupied by the story of the two villians who are bound
together by their guilt in a murder, a theme which is not
interesting, and which has no use in the development of the
plot. It is difficult to judge the better parts of the story,
so overlapped are they by this mud.

One must conclude that the motion picture has not yet
produced a masterpiece which will rank with "Annabel Lee"
or the story of the Witch of Endor.

The Greatest Question, Produced by D. W. Griffith. Distributed by First
National. 6 reels.

'THE MAKING OF AN AMERICAN"

It is strange that the simplest solution of any of the
world's many troubles today is so overlooked — education,
education, and more education. Perhaps its very simplicity
makes it unpopular with theorists. However that mav be,
there is an excellent illustration of the truth in a film
issued by the State of Connecticut, Department of American-
ization, The Making of an American.

An enterprising young Italian who comes to America is forced to
take a position as a day laborer — which is far below his ability and
standard of living — solely because he cannot speak English. Even a
laborer, however, must know the language of the country where he
is employed, as Pete soon found to his cost. An unattended freight
elevator, a sign in English that he could not read, a struggle of an
instant, and then the hospital. It was a sadder and wiser man who
came out a few weeks later. When he passed the post office, and saw
a sign in several languages calling upon foreigners to leani English,
and to attend night school, lie was prepared for the message that was
destined to change the entire course of his life. Night school for
Pete was the result. Any one familiar with such work will experience
anew the keen realization of what it means to the newcomer — the
crowded roomful of eager listeners, trying so hard, following so
patiently and docilely, the enthusiastic teacher's efforts — in short, the
making of Pete. He now is able to secure a suitable position and
rises rapidly.

The lesson for the newcomer who sees the picture is driven
home by the final incident in which Pete, as foreman, is
obliged to refuse a position to another newcomer on account
of his inability to speak English. Pete, however, gives him
the helpful advice — "Go to night school and learn English."

The theme is handled most successfully. It is. of course,
purely a work-a-day film made simply to carry a message
to the newcomer. But it must also appeal to anyone inter-
ested in the welfare of Americans new and old and suggests,
though not in words, a practical way of securing that wel-
fare — support the cause of EDUCATION.

The Making of An Ameriean. Produced and distributed by Worcester
Film Corporation. I reel.

THE NEW PEDAGOGICAL EXHIBIT

One of the greatest possibilities of the motion picture lies
in its efficacy as a record — a record that holds first place
in accuracy and vividness. It was recently pointed out in
ton, assistant conductor of the Philharmonic Society, that
"tempo, the one quality in interpretation that cannot be
indicated with precision by the composer." as interpreted by
a conductor actually beating time for an orchestra which
is playing, may be recorded by the motion picture. It is
easy to see the value of being able to reproduce and study
any famous conductor's interpretation of a given com-
position.

In a similar way, pedagogs may compare each other's
methods by studying motion picture records, which repro-
duce the pupils' reactions with an accuracy and impartiality

SPECIAL AMERICANIZATION PROGRAMS

WAGON TRACKS, S reels; an Indian and settlers drama of the Santa Fe
ail; of historical value. LOUISIANA, 5 reels; a romance of Southern life
ith correct atmosphere and background. HAY FOOT, STRAW FOOT, 5
:els; a rural recruiting drama presenting the loyalty and patriotism of two
;nerations. FIRES OF FAITH. 6 reels; a war drama emphasizing the
eals and work of the Salvation Army. UNCLE TOM'S CABIN, 5 reels;
arrict Beecher Stowe's classic of pre-Civil War life in the South. THE
OPE CHEST, 5 reels; a department store drama. LITTLE MISS
OOVER, 5 reels: a drama of food conservation. THE ROMANCE OP
APPY VALLEY, 6 reels, a simple and thrilling story of life in rural Ohio.
:AGGIE PEPPER, 5 reels; a thoroughly American romantic melodrama.
HE LINCOLN CYCLE, 10 episodes, 2 reels each, of the life of Abraham
iccoln ; historically accurate and full of inspiration.
Famous Playcrs-Lasby.

EVANGELINE, 5 reels; a remarkably beautiful presentation of Longfel-
w's poem dealing with Arcadia and the early American colonies. THE
ONE ST.AR RANGER, 6 reels; a drama of early Texan frontier life.
LUEEYED MARY, 5 reels; an attractive American home story. EVERY
;OTHER'S SON, 5 reels; domestic drama of the war.

Fox.

DADDY LONG LEGS, 8 reels; a comedy drama illustrating the social
tanges possible to an American orphan.

First National Exhibitors' Circuit.

THE LION'S DEN, 5 reels; a rural church drama illustrating social
ork for boys. THE L^PLIFTERS, 5 reels; a comedy drama dealing witti
olshevism. OUR MRS. McCHESNEY, 5 reels: Edna Ferber's story of the
laractcr and struggle of a woman commercial traveler. THE SPENDER,
reels; a drama of generosity versus stinginess.

Metro.

DESERT GOLD. Hodkinson service, 7 reels; a romantic drama ol
irly border life in Arizona and Mexico. LITTLE SISTER TO EVERY-
ODY, S reels; a story of labor. PATRIOTISM, ParaltaHodkinson Service,
reels; a patriotic melodrama.

Palhe.

Exhibitors' Mutual: A HOOSIER ROMANCE, 5 reels; a drama drawn
om James Whitcomb Riley's poem of Indiana life.

Select: BOLSHEVISM ON TRIAL, 5 reels; a socialistic drama reveal-
ing the fallacy of radicalism.

Triangle: TONY AMERICA, 5 reels; an Italian-American romance.

Unizcrsal: THE SUNDOWN TRAIL, 6 reels; a drama of historical
Western country and life. THE RIGHT TO HAPPINESS. 8 reels; a labor
and "red" problem drama. THE OPEN ROAD. 6 reels; a Western drama
of an Italian-American. THE MAN WITHOUT A COUNTRY, 6 reels; an
historic patriotic drama of the seas.

yitagraph: THE MAN WHO WOULDN'T TELL, 5 reels; patriotic
war drama. THE YANKEE PRINCESS, 5 reels; an American domestic
romance.

lyorld: THE AMERICAN WAY, 5 reels; an American romantic drama
of society and business. HOME WANTED, 5 reels; an orphan child
drama presenting love of children.

Tyrad: THE RED VIPER, 5 reels; presenting "red" propaganda
among returning soldiers.

For rounding out programs drawn from the above list, we suggest selec-
tions from any of the following:

Golduyn: Ford Educational, 1 reel each.

Exhibitors' Mutual: Outdoor (travel, scenic), 1 reel each.

Educational Film Corporation : Scenics, 1 and 2 reels.

Prizma, Inc. : Colored. 1 reel.

Universal: Scenic and travel, 1 reel.

Also selections from Fox and Bray cartoons and from any of the cur-
rent weeklies.

For balancing these programs we also suggest careful selections of com-
edies from the following groups;

Exhibitors' Mutual: Strand, comedies, 1 reel each.
Chtistie comedies, 1 reel.

Universal comedies, 1 and 2 reels, including "Lyons and Moran."
Famous PlayersLasky : Paramount comedies — Flagg, Sennett and Ar-
buckle, 2 reels.

Coldwyn: Capitol, Parsons comedies, 2 reels.

o verbal account can hope to equal. Such a record is
resented in The Modern Education of the Blind, produced
y M. H. Whitelaw for the New York Institute for the Edu-
ation of the Blind. The most striking tribute to the suc-
Bss of the methods of this institution is the happy confi-
ence and fearlessness of the pupils. How this most de-
irable end is attained, the pupils show.

The Institute, founded in 1831, is noW' in the heart of
[ew York, but nevertheless plenty of outdoor sport and exer-
ise is provided for the pupils, play designed to develop the
snses of sound, touch, and direction, and the confidence
hich will enable them to navigate crowded city streets
lone.

Geography is studied with the finger tips, from relief maps
nd models of animals, buildings etc. Mathematics becomes

fascinating game when played on a board. In the use
f Braille books and typewriters pupils attain astonishing
peed and by it are familiarized with most of the regular
;hool curriculum.

In the study of the arts and crafts, the blind prepare for
[jonomic usefulness. Rugs, baskets, knitted articles,
'ooden articles, and even garments sewed on the sewing
lachine are made by the pupils. Their dexterity and their
njoyment of their work are remarkable. The girls are
Iso taught to cook and to handle fire without fear.

The reel closes with gymnastic feats by both boys and girls,
nd the greatest pleasure of the blind — music. Teaching
nd piano tuning provide an occupation for many, and, as
n avocation, this art seems to be the most congenial form of
xpression.

The Modern Education of the Blind. Produced and distributed by M. H.
iThitelaw. 1 reel.

"MIDDIES AND BLOUSES"

This two-reel picture, also produced and distributed by

Lutographed Films and screened at the same showing with

)ur Children, is a simple little story of a broken-down

forking girl who was taken in charge by the welfare workers

(Continued on page 31)

SLIDE NOTES AND COMMENT

Rev. Dr. Thomas H. Sprague, pastor of the First Baptist Church,
Troy, N. Y., gave a series of four stereopticon lectures recently on
Sunday evenings in his church. The titles of the lectures were
"What Shall We Do in Mexico?" "Need the United States Fear
Japan?" "Shall We Keep the Philippines?" and "Through African
Jungles." Slides helped to attract more than 8,000 persons to the
Sunday evening services from January to June, 1919. Members of
the congregation enjoy singing songs and reading Scripture as the
words are thrown on the screen.

Harry J. March, city planning engineer of Buffalo, used 80 slides
covering this subject and civic centers when addressing the chamber
of commerce in Niagara Falls, N. Y., recently. Conditions in Buffalo
50 years ago were shown in contrast with present conditions in the
business district of that city. Proposed civic centers in Buffalo were
also pictured.

Lantern slide lectures delivered recently in New York State cities
were: "Reconstruction of Crippled Soldiers," Dr. Howard R. Hayden,
Albany Social Science Society, High School, Albany; "Italy's Part
in the Great War."' Miss Lila Van Kirk, Central School, Troy;
"Health Centers," Dr. Palmer Bowdish, Central School, Troy (the
last two under the auspices of the Women's Civic League of Troy,
N. Y.) ; "Making Democracy Safe for the World," Calvary AL E.
Church, Albany; "India." Rev. Henry F. Hamlin, North Reformed
Church, Albany; "Wild Flowers," Dr. A. D. House, Albany; "How
to Keep Children Well," Dr. Clarke of State Department of Health,
Elizabeth Street School. Oneida; "Coal Tar Products," John S.
Crandall, and "Sewerage Disposal," George T. Hammond, Technology
Qub, Syracuse; "Jerusalem," Dr. Ismar J. Peritz, College of Agri-
culture. Syracuse University: "Beautiful Ireland," Rev. Richard J,
Casey, St. Joseph's Hall, Yonkers.

Recent stereopticon lectures in New Jersey were as follows:
"American Democracy," Rev. Dr. George Farrar, M. E. Church,
Newark; "Eye-o-graphic Bible Lecture," Ethan \. Baker, First Con-
gregational Jube Memorial Church, Newark; "The Salvation Army
at the Front," Men's Qub, Fewsmith Memorial Presbyterian Church,
Newark; "The History of the Bible," Reformed Church, Newark;
"My Adventures in the W^est," Rev. Robert M. Marquis, First Presby-
terian Church, Paterson; "Sunkist California," Charles A. Mc.\!pine,
Men's Club, Jersey City; "Scenes in the Holy Land in the Time of
Our Lord," Second Reformed Church. Hackensack; "The Doughboy
and the Doughgirl in France." Major Wallace "Winchell, Salvation
Army Corps, Hoboken; "In His Steps." Charles L. Snow, First
Presbyterian Church. Hoboken; "Japan," Prof. J. Leonard, Second
Reformed Church, Hoboken; "Torch Bearers." Rev. Dr. Ingram,
Westminster Presbyterian Church, Trenton; "The Call of the Near
East," Rev. Charles F. Fields, Grace Baptist Church. Trenton;
"From Egypt to Palestine." Rev. G. Z. Stup, St. Mark's Lutheran
Church, Trenton; "South America," Miss Anne Mcllvaine, Christian
Endeavor League, Presbyterian Church, Pennington.

EXPERIENCE EXCHANGE

Sj^^MJ-^

TlIS department of the EDUCATIONAL FILM MAGAZINE aims to give readers the benefit of the motion pii lure
experiences of others readers. It is intended to be constructive, suggestive, and practicallv helpful. All schools,
colleges, churches, Sunday schools, clubs, lodges, farmers" institutes, asylums, prisons, hospitals, settlement houses,
community centers, industrial plants, and other institutions and organizations are invited to send in accounts of their
■experiences with visual education. The readers of the magazine are eagerlv looking forward to this mutual interchange
of ideas. Address Experience Exchange Editor, EDUCATIONAL FILM MAZAGINE, .33 West 42nd Street, New York.

GEOGRAPHY FILMS IN OREGON
SCHOOL

Motion pictures for Umatilla schools have
come to slay, and their value in vitalizing
the subject matter and adding greater im-
portance to all school work cannot be over-
estimated, according to many educators. The
Umatilla school was one of the first schools
of the county to introduce this feature in
the program. New films along educational
lines are shown during the school hours and
in connection with the regular work.

The children of the school look forward
each week to the assembly periods for they
know that there is a treat in store for them —
motion pictures — real movies to illustrate the
geography lesson and something to write
about in the once-dreaded language lesson.
Lately the pupils were shown the films on
the "Royal Gorge" in Colorado and the "City
of New Orleans." Father Pound, the janitor
in charge of the school, made an interest-
ing talk on the former film and related sev-
eral incidents that transpired during his
youth while a resident of that section.
»
RECREATIONAL FILMS IN HIGH
SCHOOL

The Cleveland Heights, Ohio. High School
have had 24 shows with selected motion pic-
tures the past year and have averaged 674
in attendance. Fred Burroughs reports that
they have installed a second machine and
■expect to remodel their auditorium this sum-
mer. The young people and their parents
«eem to like such pictures as "The Little
Princess," "MTiss," "How Could You,
Jean?" "Headin' South," "Nan of Music
Mountain," "The Firefly of France," "Prun-
ella," "Uncle Tom's Cabin," "Pals First" and
"His Mother's Son." They are showing in-
dustrial and educational pictures at noon
and use the lists of the National Board of
Review.

Pictures have been shown every Saturday
night to audiences that have filled the build-
ing. Saturday afternoon pictures are shown
to the scholars in the grade schools. No
admission is charged at the door. Expenses
are met by silver offerings. The program
has thus far been very successful and has
the heartiest support of the townspeople.

SPECIAL THEATRE PROGRAMS IN
SALT LAKE

The programs for boys and girls in the
Paramount Empress Theater, Salt Lake
City, under the auspices of the Home and
School League, for six weeks were as fol-
lows: "Greased Lightning;" a Briggs com-
edy, "When a Fellow Needs a Friend ;"
"Amarilly of .Clothes-Line Alley" and
Bobby Bumps cartoon: "Spirit of '17" and
Bobby Bumps cartoon ; "Under the Top"
with Paramount Magazine and animated
cartoon; and "The Roaring Road" with
Paramount Magazine and animated car-
toon. The chaperones and ushers were
drawn from the teachers of the Lowell,
McKinley, Whittier and Grant schools. The
charge, including boxes, was 10c for any
seat in the house.

AVERAGE ATTENDANCE NEARLY 700
By Carlos B. Ellis

Priaci ■] High School of Commerca,
Springfield, Maseschueella

This is the fourth year that we have been
securing motion picture films. It has not
been our purpose to show films that have
been strictly educational in character. On
the contrary, we have tried to make our
work educational by showing a better type
of film than our pupils or the public would
see in the motion picture houses in the city,
in the hope that we might succeed in creat-
ing, on the part of the public, a desire for
films of a better class.

We show these films to high school pupils
at the close of our school day on Friday
without any charge, and in the evening, we
show the same films to the general public
for a nominal admission fee. The success
of our experiment is best measured, perhaps,
by the paid attendance, which has been as
follows:

1915-1916 Average per evening 441
1916-1917 " " " 369

1917-1918 " " " 524

1918-1919 ' 671

At least 25 per cent of our paid attendance
is made up of boys and girls who are under
the high school age, many of whom would
be on the streets in the evening if they wero
not in our assembly hall.

HOME AND SCHOOL CLUB RUNS
MOVIES

The Home and School Club, of Campbell.
California, has purchased a motion picture
outfit largely from the proceeds of a "dem-
onstration movie show" given on Friday eve-
ning, November 7, last at the local school
auditorium. K representative of the extension
division of the Llniversity of California, at
Berkeley, selected the films shown from the
viewpoint of educational and uplifting enter-
tainment. Children were admitted for ten
cents; adults for twenty-five cents. .Appro-
priate music was provided by a three-piece
orchestra.

The club outfit will be frequently used for
community entertainment and educational
purposes. The mothers and teachers of the
town have thus taken matters into their ov*-n
hands, to counteract, as they hope, the harm-
ful influence of the commercial movies.

SUNDAY SCHOOL SHOWS THURSDAY
NIGHTS

John W. Brooks, superintendent of the
West Genesee Street M. E. Church Sunday
.School. Syracuse. New York, writes to this
magazine that the Sunday School is con-
ducting a motion picture show every Thurs-
day night. They would be glad to bear from
producers of films suitable for Sunday School
programs. By this they do not mean re-
ligious pictures but entertaining pictures —
pictures, Mr. Brooks insists, "which are
absolutely clean and free from suggestion."

MONDAY MOVIES IN N. Y. CHURCH

"We have always found the offering re-
ceived for our Monday evening movie sufS-
cient to defray the expenses," said Rev. Dr.
A. Edwin Keigwin, pastor of the West End
Presbyterian Church, New York City, where
a program for children is given in the after-
noon, to which no charge is made. "For the
two hours and a half of wholesome amuse-
ment six reels of up-to-date moving pictures,
community singing, and organ music are
provided for by the weekly offering.

"These Monday night entertainments are
a direct outgrowth of our work for the men
in the service. During the eight months when
we entertained over 15.000 soldiers and
sailors we had such a wonderful experience
that we are transferring the energy we started
then to benefit the community. We have a
first class program of moving pictures which
lasts from 8 to 10:30. The reels we select
from the Community Motion Picture Bureau
and they are the very best we can secure.

"I noticed this summer during my vaca-
tion in New Hampshire that the attendance
at the movie theatres was falling off. Now
is the time for the church to take over this
amusement or entertainment, which, having
passed the thrill stage, may be developed
educationally and spiritually. The silly
comedies have lost their drawing power;
people want first-class novels, travel pictures,
news of the day — something capable of pro-
ducing a spiritual reaction."

"MOVIE HOUR FOR MEN" IN CHURCH

The Rev. Karl Palmer Miller, who has
recently come to New York as pastor of the
Mariner's Church of the New York Port So-
ciety, is very much in favor of the movie.
While chaplain in one of our Southern camps i
Mr. Miller had an opportunity of watching
the movie, and he firmly believes in its use':
in the churches. His idea would be to have
a short address, followed by an hour of pic-V
tures. He believes that, specially at the^
Mariner's Church, which is in 11th Avenue,-,
near 23rd Street, this hour of good pictures %
would keep men from other haunts.

Mr. Miller is opposed to admission fees, .
but approves taking up a collection.

"1 can see no sense in opening up a charge
movie in the Church," he said. "I believe \
that the motion picture is doing in a very
large way what novels and magazines, have
done for young men of other generations; it
feeds their appetite for adventure."

SCHOOL HAS USED FILMS FOR YEARS

Fred Grafelman, principal of the Consoli^
dated School, .iMberta, Minnesota, states that
his school has had a fine standard motion
picture projection machine for many years
and the pupils have benefited largely from
"this wonderful field of education, visual
instruction." He desires to be placed in
touch with all of the best sources of supply
and information regarding instructional films.

PRIZMA

A new method of practical,
color motion photography
that re-creates Nature on the
screen in all her splendid
colors.

Entertaining, instructive, and
altogether delightful!

Now showing in leading
theatres.

Ask the manager of your
favorite theatre.

Distributed by Republic Distributing
Corporation

THE TOURISCOPE

AT LAST-Lantern Slides ON FILMS
Greatest Invention in
History of the Stere-
opticon — Takes
100 slidesor more

on one continuous
film; non-inflammable, /
^veighing only
3 ounce?
attaches to or.

dinary stere-
opticon.

No More
Brof^en Slides

SLIDES NEVER

Out of Order
Upside Down
Handled

f 1 40Weight t OF
ONL»<| 1-20 Bulk [glass
\ t-2EioenseJ SLIDES

BUT EQUAL TO
FINEST

WORCESTER HLM CORPORATION

(P. 1). HUGON, Director)
present?

The Priceless Gift
of HEALTH

A Motion Picture in One Keel on the subject
of School Child Hygiene. Produced for the
Commonwealth of Massachusetts (Department
of Public Health).

Illustrated Synopsis From

Worcester Film Corporation

145 W. 45th St., N. Y. or Park Building, Worcester.lMas*.

OTHER OyERKF.L EDICATIOSALS AUiO READY

Sen J for Catalogue
TOURISCOPE DEFT.

UNDERWOOD & UNDERWOOD

417 FIFTH AVENUE, NEW YORK

Chlcafo Depository, Geo. W. Bond Slide Co.. U W. Washington St.*

For a Proper Understanding of Life's
Responsibilities

children and young people need tlie knowledge which is scien-
tifically and inspiringly presented in the hiological
motion picture

HOW LIFE BEGINS -4 Parts

Living emhryo of chick 52 hours old. From "How Life Begins."

It shows how plants and animals come into existence and
gives a reverent understanding of life processes.
Used by V. S. Government. State Boards of Health, Universities,
High Schools, Welfare Organizations, and private homes.

For rfntal and purchase price address

Carter Cinema Co., 220 W. 42nd St., N. Y.

Telephone Bryant 7594-7595
We are in the market for negatives of Educational subjects.

PROJECTION-EQUIPMENT |

EdiU'd by JAMES R. CAMERON
CHrRCH AND SCHOOL MOVIE PROJECTORS

THK importance of the mnlion picture as a
means of education is being recogniz-
,^^^^^_^ ed more and more each day. Just

"^^^^^^ consider for a moment the prominent part

f ^ played by motion pictures in winning the late

[jM^ *. ^ war; first to arouse patriotism, then to show

SR? why we entered the fight, what we were

t j^. fighting for. to encourage enlistments, pacify

%I^U- labor unrest, increase production, and put the

^P government loans over the top. They wei^e

i^^^ W used extensively in the training camps in this

^^^\/ ^W country' and abroad and even in' the fighting

^^jj^^*^ area to educate and amuse the boys and to

stimulate morale. It was one of the greatest
lessons of the war and the government was
James R. Camekon quick to realize that the most direct way to
the brain was through the eye. It may be in-
teresting to some of our readers to know that approximately .il per
cent of a'l recreation; passive and active, furnished our soldiers and
sailors was in the form of niolion pictures.

The great advantage of visual instruction has been clearly demon-
strated : educational institutions, churches, hospitals, welfare societies.
and industrial 'concerns throughout the country' are now installing
motion pictures projectors. Film production for educational pur-
poses is being considered by many state governments, the federal
government, church and numerous other organizations. Some films
have alreadv been completed and are on the market. The time is
not far distant when the motion picture projector will be as much
a fixture of the classroom as the blackboard. The sales manager of
one of our largest manufacturers of projection machines states that
68 per cent of all orders received during the months o£ November
and December came from churches, educational and industrial
organizations.

The writer has received many inquiries regarding the class of
machine most suitable for church and school work. In replying to
such inquiries it is important that local conditions be carefully con-
sidered as a machine that would be highly satisfactory in one place
would not produce maximum results if used Under different conditions.
One of the most frequent queries is relative to the advisability of
using portable machines. It is the writer's opinion that where it is
possible to make a permanent installatiim a professional model pro
jector will unquestionably give the best results. Practically all such
machines on the market to-day can be bought equipped with either a
Mazda lamp outfit or an arc lamp. Where the distance from the
machine to the screen does not exceed 6.S feet the Mazda lamp out-
fit can be used successfully. Where the throw is more than 65 feet
a carf)on arc lamp will be necessary to produce satisfactory results:
this would probably require extra wiring as ordinary house wiring
would not be large enough to carry the amperage necessary to main-
lain an arc.

The machine should be installed in a fireproof booth, size to con-
form with local regulations. The booth should contain everything
necessary for perfect projection and nothing more. .No unnecessary
paraphernalia should be allowed to remain inside. By painting tli-
ijiside walls of the booth black or some dark color reflection will be
reduced and prevent a continual glare in the operator's eyes. The
booth should be equipped with a small light foi the benefit of the
operator, so shaded that none of its rays finds its way through th?
portholes to the screen. This same rule should be applied to all
other lights in the hall or room. .Safety precautions must of course
comply with regulations as prescribed by local authorities.

Wierc it is possible to confine the use of the projector to one
room or where space will not permit the installation of a larg-
machine, portable machines are now being used to a large extent with
pleasing results. The advantages of these machines are of course
their light weaight and compactness, also the fact that no special wir-
ing is necessary, it being possible to operate them by connection with
any ordinary lamp socket. As a -100 watt lamp is generally the
source of light in these machines, however, their use is limited to
rooms where the throw will not exceed 35 feet. Up to that distance
the machine will project a clearlv defined picture. .\s the light sourc
is increased a proportionately long.T throw can be obtained, but by
'inrr- >-■••■ the light source the fire hazard is also increased.

\N.SWERS TO INQUIRIES

1 linii ih.ii on iiullin,s mv n.achinc .snitch my minsformer kccpj on
buzziiiK anil I have to rc.novf my wall fuses to slop this noi.se. Please ex-
plain why I get this buzzine sound, as I have worked with transformers be-
fore but ihey a'ways stopped buzzing when I pulled my machine switch.

S. B.. Bellevue, Ohio.
(Cnnlimipii on papp 28)

^nnoiinceijieut

In connection with its efForts to facilitate
general education bv ad\ocating and installing
printing outfits in public schools the

EDUCATION DEP.ART.MENT

American Type Founders
Company

has decided to enlarge its scope of activities to
include the sale of motion picture projecting
machines and supplies, and to furnish infor-
mation regarding films for educational pur-
poses. After a thorough imestigation, and after
consulting leading educators, we are convinced
that the portable motion picture projector is
the kind best adapted to general educational
work, and we are pleased to announce that we
ha\ e made arrangements to sell

The De Vry Portable

Motion Picture

Projector

FOR liSE WITH SLOW-BURNING FIL.M

Information regarding these machines ma\ be
secured upon application to the Education De-
partment^ or to the following Selling Houses of
the American Tvpe Founders Compan\ :

CLEVKL.AND . . u; St. Clair Avenue, N K.
CHICAGO 517-519 West Monroe Street

MINNE.AI'OLIS . . 411 Fourth Street, South
KANSAS CITV 1 oth and Wyandotte Streets

PITTSBl RGH . 313 Third Avenue

DETROIT .... 169 West Earned Street
ST. LOllS . . . Ninth and Walnut Streets

DEN\ER 1621 Blake Street

PHILADELPHIA, Keystone Type Foundry Supply
House. Sth and Locust Streets

Jniroducincj

-th

e newest Projection Macliine

Tlie Heart o/^
"the Rotary

An ircprovetnent in mo-
lion picture mechanisin is
fonnd in ihe new "Rotary"
presser movement, which
replaces the present-day
"geneva or "star-and-cam"
device

The "Rotary' is so origin
al in design, so simple in
construction and so success-
ful in operation, that com-
parisons are interesting and
enlightening. For example,
the usual "star-and-cam*^
has TEN wearing surfaces^
in direct comparison with
the TWO simple bearings
of the "presser' movement.

In the "Rotary" presser
tnechanism. the film is
treated as a continuous rib-
bon. Srroctets and sprock-
et-holes are disregarded: the
n;m is gently PUSHED
down — picture by picture-
by the CONTINUOUS ap-
plication of the revolving
presser to the entire width
of the film.

«4

♦♦

The Rptary

Portable Projedor

— "The size and weight of a suitcase.
the strength and quality of a professional
machine '' — with exclusive., patented
features that are in advance of every
mechanism. Easiest to thread and
operate; the projector for portable use.

lorDetailed Information /yiddress Rotary Dept.

Educational Films Corporation

oj^m erica - y'2 cj - y -Ave . New^ York

Simplicity

Safety

Satisfaction

THERE is opportunity for live-wre representatives
throughout the United States and Canada— men who
can grasp a man's-size cppoiTunit>', and make the most of
it. Territorj' is being rapidly distxised of — to men wth
the right qualifications.

(Continued from page 26)

Ifou r»'obabIy have the transformer connected between your wall cut-out
and the machine switch, so that a no-load current is passed through the
primary coil of the transformer as long as you have a closed circuit on the
LINE side of transformer. If you will cennect the transformer between
your machine switch and the arc lamp (primary side to lamp side of machine
switch, secondary side direct to arc lamp) you will find that there will
be no buzzing noise when you open the machine switch.

Evcr>' time I strike the arc of one of my machines I blow my fuse. I
have tested the lamp house but find it free from grounds. The mica
insulation in arc lamp is O- K. Perhaps you can help me.

Operator, Tarrytown. N. Y.

You must have a short circuit, but if this were in your arc lamp the
fuses would go when you closed the machine switch, before you had time
to strike the arc. The trouble probably lies in your rheostat or secondary
coil of transformer, whichever you are using.

PROJECTION-EQUIPMENT INQUIRIES ANSWERED

The editor of this department will be pleased to answer any inquiries
from the magazine's subscribers, appertaining to projection and equipment
matters. Those questions requiring a prompt response will be answered by
mail, and these replies, together with the replies to other inquirers, will be
published monthly in this department, so that the information will become
available to all readers.

Send along the story of your projection and equipment troubles, then,
and let me see if I can solve them for you.

EXCLUSIVE FEATURES OF THE "ROTARY* PROJECTOR

The writer has had the privilege of making an exhaustive examination of the
latest portable projection machine, the "Rotary." It is built along the lines
of the suitcase models and is really portable, weighing only 25 pounds and
measuring but 20)-*xl7J^x8 over all.

A distinct departure has been made in the intermittent driving factor, a
"rotary pressure" taking the plare '^i the n-'n^va movement. It is this
"rotary pressure" that gives
the film the intermittent
motion and it accomplishes
this in the most satisfactory
manner. The strain on the
sprocket holes of the film
is eliminated by exerting
the pressure over the whole
width of the film without
engaging in the film per*
forations.

With the exception of
the "rotary pressure" the
machine is built similar to
other portable machines of
the suitcase type. It is
equipped with a 400 watt
Mazda lamp with reflector.
The motor is universal and
runs on either alternating
or direct current.

After we had examined
the construction of the ma-
chine, Mr. De Garrie was
kind enough to project a
picture for our benefit and
it was the result obtained
on the screen that im-
pressed us most. That great
bugbear of most portable
machines, "flicker," was al-
most entirely absent. This
rotary portable machine
projected a picture that
would compare favorably
with any picture project-
ed by its larger prototype,
the professional projector;
and, when all is said and done,
count.

THE HEART OF THE ROTARY"

is the results shown on the screen that

10.000 Copies Sold Jf'ilhin thr I.nsI Twelve Months

Elementary Text Book

Motion Picture Projection

BY JAMES R. CAMERON

The Text Book used by

The American Ued Cross, Knights of Columbus,

Community Motion Picture Bureau and Y. M. C. A.

Written in plain, everyday, understandable language, and
the only Text Book published covering Motion Picture projec-
tion in question and answer form.

82.00 PRICE 82.00

Just Off the Press

Pocket Reference Book

Kill

Managers and Projectionists

BY JAMES R. CAMERON

Contains a nuinber of electrical, mechanical and optical
tables, diagrams and data, together with a directory of film
producers and exchanges, etc., and a lot of general informa-
tion regarding the handling and care of the Motion Picture
Projector and accessories.

81.00 PRICE 81.00

THEATRE SUPPLY COMPANY

126 West LSth Street, New York City

Do Ycnt Kj^iv* How

sS^fv,.

— the plantlet emerges from the seed?

How it develops into a healthy plant, and

how it comes to flower?

— How the shoes you wear were made?

How the leather was tanned, and worked

into fancy footwear?

— How cotton is grown, and ginned, how

it is graded and finally, how it is spun

into countless articles of weai" and

use by -marvelous, modem spinning

machinery ?

The GrapHoscope Jr.

is a great, all-around insti'uctor on these and
many other subjects. The all-seeing eye of the
camera brings its lessons to you in such a clear,
easily understood fashion that the veil of
mystery falls away.

THE GRAPHOSCOPE JUNIOR is a moving
picture machine designed on scientific principles
for use in churches and schools. It weighs
only 100 lbs., is portable and can be set up and
taken away in a few minutes. It uses standard
film, is equipped with a powerful incandescent
lamp, and projects pictures of unsurpassed
steadiness and brilliancy. It is free from com-
plicated parts, making it very easy to operate.

Write for

Graphoscope Junior
catalogue "]V"
giving full details

The Graphoscope Company

50 East 42nd Street

New York City

Radio ^// Slide I

a
o

-cost-
of a letter

-typed-
in a minute

u
a
>-

25 Radios-with bind-
ing tape & glasses,
$1.00. Patented-
accept no substitute

^y For Sale by all Leading Dealers

ENTENARY LANTERN SLIDES ON SHIPBOARD ^

The Methodist Centenary's splendid collection of slides, dealing
ith world conditions and missionary questions, afforded Rev. Dr.
alph A. Ward, China secretary of the Board of Foreign Missions of
le Methodist Episcopal Church, a unique opportunity to present some
' the objectives of Christian missions to the passengers on the Em-
'ess of Russia, on his recent trip to China.' Learning of the slides,
le management of the ship requested Dr. Ward to speak, and the
ivorable impression made upon an audience crowding the lounge was
iiickly evidenced. Many passengers on Pacific Iniers, prominent
jsiness men and officials, are not sympathetic with Christian mis-
ons, owing to their failure to appreciate the real objective of foreign
issions. The collection of slides brouglit together by the Board of
oreign .Missions and the Board of Home Missions and Church Ex-
nsion gives a means for presenting a true perspective in an inter-
iting way to people whose correct understanding of the situation
ould be of much value. The invitation accorded Dr. Ward suggests

large field of opportunity for missionaries and others en route to
ilds of service.

Have You

Seen

the De Vry

Work ?

DOX'T buy a motion-picture projector
until you liave seen the De Vry at its
work.
And remember I A poor projector kills a good
film.

With a De Vry you can project the best films
in America — and have perfect motion-picture
results.

The De Vry is a wonder. It's built Vike a
watch. An amateur can instantly produce
motion pictures of professional quality — up to
12 feet square and up to 80 feet distant.
The De Vry remains in its case when at work.
"Weighs 20 pounds. You can carry it anywhere.
WriFe for new booklet. Also let us demon-
strate the De Vry in your home or your office.
If you write us, it will promptly bring our
representative from one of 60 cities — the one
nearest you, and then you will see why the
De Vry has become sttindard.

The De Vry Corporation

1230 Marianna Street, Chicago
New York Office: 141 West 42nd Street

SSB

The advantages of

EASTMAN

footage numbered negative film
will immediately assert them-
selves in the final cutting and
assembling of successive scenes.

Ident'ifiabU hy the words "Eastman" and
"Kodak"" in the film margin

EASTMAN KODAK COMPANY

ROCHESTER, N. Y'.

USE

The VICTOR

Portable Stereopticon

The Choice of Thousands of Users

This is an Era of Visualization

VISUALIZE EDUCATIONAL, AMERICANIZATION and

INDUSTRIAL WORK

VICTOR STANDARD FEATHERWEIGHT SLIDE SUBJECTS

Special Slides Made from Any Copy.

Catalogues and Trial Terms Mailed
Upon Request

The Maoufacturers

VICTOR ANIMATOGRAPHICO.

INCORPORATED

122 Victor Bldg.

Davenport, la.

EDl'CATIONAL FILM MAGAZINE publishes each month classified lists of all motion picture films belonging to
the various groups of which this publication treats. The aim is to give accurate and dependable information under
each classification. This magazine maintains for the free use of subscribers an Information Bureau which vill
endeavor to furni-h data regarding anv motion picture film in the fields covered. All inquiries should be
addressed Catalog Editor. EDICATIONAL FILM MAGAZINE, 33 West 42d Street, New York.

CLASSROOM FILMS

BOTANY.
Part V* No. 3016. Appro. LcnRth. 900 F«t.
The Pitcher Plant. , . • *

The Pitcher Plant is a native of Asia. Aus-
tralia and North Borneo. Its curious pitcher
like formation serves to catch water and
insects.— The flower.— The development of the
pitcher. The midrib of the leaf is prolonged
.into a tendril. — Like all good pitchers, the
tendril throws a curve or hook at the end.
—The pitcher's first appearance. — Its develop-
ment later in the game.— A full grown pitcher
hanging from the tip of the leaf. — A family
of fine pitchers. — A different species of pitcher
that is not so tall, but of stockier build.—
These pitchers take water— The curves of the
pitcher are too much for the insects. — The
pitcher's victim at the end of the day.
Mushroom Culture.

The mushroom is the fruit of the plant which
is formed by little while filaments in the
manure pile and known as "mushroom spawn.
— The old stone quarries are good places for
its culture, offering the proper amount of
moisture, warmth and darkness. — The work
men build long compact mounds of manure
— The mushroom spawn is then planted in the
mounds. — After two months, the filaments
having permeated every part of the manure.
to force the fruit the workmen put a thin
cover of earth over the mound. — Some months
after the mushrooms begin to appear.— How
the mushrooms appear. Three weeks in na-
ture in 20 seconds on the screen. — The mush-
room must be gathered before its full growth.
as it is impossible to keep it. Alter gatherine.
the holes in hte mound are carefuUv filled
that the ever-active spawn may produce morr
fruit. — Some fine specimens.
GEOLOGY
Part I. No. 3010. Appro. Length. 800 Feet.
The Ice and Snozv.

Water, in various forms, covers a large por-
tion of the earth's surface. About ^ of the
earth is occupied by water in its liquid form.
A great amount of water also appears in the
form of ice and snow. — Rain drops, passing
through the higher atmosphere, where the
temperature is slightly below 32 degree^ — the
freezing point — freezes into snow flakes.
— Snow flakes are formed of snow crystals,
although varying in shape, they all resemble
a six-pointed star. — Water, in the form of
drops, freezes into j^now — still, or slowing
moving water freezes into ice.— Water freezes
into icc at a temperature of 32 degrees. Dur-
ing the process the water expands, note how-
it breaks the bottle. When once frozen the
ice contracts. — Water, through the process of
freezing, lessens in density and the ice floats.
— This accounts for the fact that icebergs,
those enormous pieces of ice, float on the sea.
— Two pieces of ice will ioin when closely
pressed together — this is called renewed frost.
— A piece of wire, weighted at both ends, will
cut its way through a block of ice without
leaving any sign of a break. — Salt, in dissolv
ing. absorbs heat. Ice, in contact with fait,
causfs extreme cold — this is the priavlple used
in freezing mixtures. Water, mixed with
ammonia gas and sulphuric acid, subject to
compressed air and ether, freezes — in this way
artificial ice is produced. — Although snow
and ice are the cause of much pain and suf-
fering — they, in turn, are the source of great
sport.
Part H. No. 30n. Appro. Length. 800 Feet.
Mow Mountains Grow.

The earth is a globe, approximatt-ly 24,000
miles in circumference, the interior tempera-
ture of which is so terrific that we cannot
realize it.— A thin crust of earth separates us
from the fiery furnace. To get an idea of
the thickness of this outer crust, let us suppose
that the earth is three feet in diameter. The
crust then is as thick as this chalk circle.
— Bodies subjected to heat expand and in
cooling they contract. Gravcsend's experi-
ment proves this. — The earth is subjected to
this natural law. It cools by radiation and
gradually contracts. Contracting, it grows
smaller and the material involved not growing
less, it buckles into wrinkles. — On the sea
bottom, under the weight of the water and
other materials accumulated on them, these
wrinkles sink and form pockets which will
make a chair of mountains in some far dis-
tant future. — Each contraction of the surface
of the globe causes the layers of material to
jected in the natural cause of nature to the
rise (rradually until they finally emerge from
f>,/. ,Ur.«i,, .,^i x^nf 5ea. — The new chain is sub-

action of the elements which gives the moun-
tains the peaked appearance familiar to us.
The Petrified Forests of Arizona.

Scientists believe that the petrification of l^e
trees, which, by the way. did not grow where
they now lay.' was due to dissolved silica
absorbed by the wood from the hot alkaline
waters which floated the trees from their for-
mer upright position to their present and
final resting place. — Near Holbrook. Arizona
in Xavajn County, is perhaps the most fa-
mous petrified forest. 1,800 acres are covered
by these prostrate monarchs of a prehistoric
woodland. — Here we see a piece of petrifieH
tree which, before the Miocene period of
geolog>- — or approximately 2.000.000 years
ago — housed in its leafy branches what species
of strange birds! — flere we can see the actual
grain and fibre of the wood perpetually pre-
served in stone rivalling onyx and marble for
its delicacy of color. — Note here in this frag-
ment of a trunk how the silica has filled the
wood cells where formerly the life-giving sap
stirred at the call of the spring sun. — Some
of the trees measure 70 feet long and have a
diameter of five feet. Speciments of amethyst
and topaz are frequently found in the heads
of the fallen monarchs and sometimes an en-
tire trunk is composed of translucent agate.

PUBLICITY FILM CO. PRODUCTIONS

For detailed information write Publicity
Film Company. Bismarck, N. D., or to the
name<: and addresses given at the end of each
description.

THE Y. O. R,.\NrHES. 2 Reels.

.\ sure enouirh western stock ranch in con-
trast _to the staged photoplay. A film full of
pep and interest and a valuable record ol
irenuine western conditions alonp the Grand
Old Missouri. ("C. Burnstad Ranches. Burn-
stad. N. D.).

XFir.HBORS OF THE V. O R.ANCH. 2
Reels.

.\n educative and stirrinc picture of genu-
ine Sioux Indian life and customs of today
on the Standing Rock Reservation in North
and South Dakota. This was filmed when
the Government authorities were not look-
ing, but two white men witnessed these
doings. (C. P. Burnstad Ranches. Burn-
stad. X. D.).

THE EOUITY CO-OPER.ATIVE PACKING
PLANT .^T FARGO. N. D. ] Reel.

.\ very complete picturization of the meat-
packing industry in North Dakota — a part
of the much heralded farmers' utility own-
ership movement. CEquitv Co".Operative
Packing Plant, Fargo, N. D.).

WHY SOW WILD OATS? 300 Feet.

Demonstrating the principle involved in ^

unique wild oat separator. (Hogland Mfg.
Co.. Fargo. N. D.).

lAKGO— THE GATE CITY. 1 Reel.

The teeming life, amusement facilities, and
beautiful surroundings of this typical west-
ern city will be a revelation to any east-
erner. (Fargo Commercial Club, Fargo,
N. D.).

A LITTLE .lOlRNEY TO THE HOME OP
LYNN J. FRAZIER, -FAK.MER GOVER-
NOR OF NORTH DAKOTA." 700 Feet.
Depicting surroundings of the official head
of the Non-Parti.san League in North Da-
kota — a bona fide farmer. (Publicity Film
Co., Bismarck, N. D.). ,

THE NORTH DAKOTA STATE FAIR.

1 Reel.
Fcaturmg exhibits of the highest grade
American live stock, inclutling "Baron Fair-
fax," the famous $80,000 Hereford sire, ana
other bulls of national fame.

INDUSTRIAL FILMS

HOOPING UP.

Reel, 1; Producer, Ford; E.vchange, Goldwvn.
Remarks: — Showing how barrels are made, fell-
ing trees, sawing logs, making staves, dry-
ing them for seven months, sawing ends, steam-
ing barrels, testing steel hoops, glueing, paint-
ing .ind finishing, nine months in making of a
barrel,

ROCK OF AGES

Ret-l. 1; I*roducer, Ford; Exchange, Goldwyn;
Remarks : — Scenes taken near Atlanta, Ga.
Stone Mountain all granite, cutting up a moun-
tain, polishing granite, putting granite blocks to
their various uses, a boulevard paved with
granite, a public library, monuments, etc..

THE STORY OF ZINC.

Reel, 1 ; Producer, Ford ; Exchange, Goldwyn.
Remarks: — Last metal to come into use, zinc
mining, sections in Oklahoma and New Jersey,
drilling 225 feet for ore, smelting zinc ore,
the mix house, charging of zinc furnace, 24
hours to distill zinc from ore, drawing zinc,
casting into slabs.

WHERE THEY GO RUBBERING.

Reel, 1 ; Producer. C. L. Chester; Exchange,
State Rights, Remarks: — Outing-Chester Pic-
ture. Tumature, British Guiana, native hut,
tiger creek, Mazaruni. the rubber tree, cutting
tree in herring-boone fashion to get the juice,
cup attached to tree by a piece of clay, pre-
paring the rubber, etc.

JAPAN, THE INDUSTRIOUS.

Reel, 1 ; Exchange, Beseler. Remarks: — Mak-
ing baskets, rope maker, at the saw-mill, shoe
maker, the feet are used as skillfully as the
hands, expert makes a pair of shoes in ten
minutes, manufacturing umbrellas, moving
restaurant, a pipe cleaner, street gobbler,
painting vases.

GOWNS VENUS WOULD ENVY.

Reel, 1 ; Producer. Prizma ; Exchange, Repub-
lic. Remarks: — Cockeroft batiks, the processes
of making batik, method of dyeing originating
with the Javanese several centuries ago, out-
lined in wax. wax prevents colors from run-
ning together, blending colors, final applica-
tion, wax removed by gasoline, showing how
"personality gowns" are designed, dyed and
fitted.

ORANGE GROWING.

Reel, 1 ; Producer, Lubin ; Exchange, Beseler.
Remarks: — Reissue. The growth and market-
ing of oranges, ox teams carry the fruit from
orchard to wrapping and boxing house.

SILKS AND SATINS.

Reels, 2; Exchange, Universal. Remarks: — ■
Bureau of Commercial Economics. Child
writes essay on silks. Hatching of eggs of
silk worm, picking and chopping mulberry
leaves, feeding grubs, rice straw to hold co-
coons, complete cocoons, moth emerges, loose
ends gathered and wound on reel, winding
raw silks in skeins, dyeing the warp, beam-
ing, twisting warp threads together, filling
weaving, looms, inspection.

THE COLOSSUS OF ROADS.

Reels, 2; Exchange. Universal. Remarks: —
Making Firestone Cord Tires, testing tensile
strength of fabric, calendering and impreg-
nating the meshes with rubber and running
plies onto cores, chafer strip and wire-braiding
machine, straight-side beads, tubing machine,
safeguards on various machines, cloth separ-
ators. Part two : Separating plies from core,
removing air bubbles, pits for curing, remov-
ing molds from heaters, wrapping machines,
final inspection.

OUT OF THE SEA.

Reel, 1; Producer, Prizma; Exchange, Repub-
lic. Remarks: — Key West fishing for sponges,,
glass bottom buckets used, diving to get
sponges, marketing sponges of many types;
strange fishes of different types and hues-

RAY J. FINK PRODUCTIONS

LOGGING AND TR.\NSPORT IN ITALIAN"
ALPS.

Reel 1. Felling of timber, transporting down
stream, thrilling ride on a log raft, beautiful
scenery. Produced by Urban. Reissue, Ray
J. Fink, 4263 Franklin St., Philadelphia. Pa.

CAPTURE OF FORT TICONDEROGA.

Reel. 1. A human interest story with dra-
matic and historic incidents. Produced oi»
Lake Champlain. Shows Ethan Allen and his
Green Mountain Boys. Edison reprint. Fv.
change. Ray J. Fink, 4263 Franklin St., Phila-
delphia, Pa.

REVIEWS OF FILMS
(Continued from page 23)
tion. carried off to iheir summer camp in
the CalskUls. New York Slate, and there
made over by the healthful outdoor life,
exercise, good food, and fun. The last-
named quality, in truth, appears to domi-
■ale the major portion of the second reel
which is given over to the many joys ex-
tracted from nature by these city girls af-
forded the opportunities of camp life by
the feminine half of the '"Y". The pic-
ture was taken last summer at Summit
Lake Camp, near West Point, open for
Forking girls of New \ork City, and at
the Rainbow Camp, near Bear Mountain,
for girls of school age.

The film is a fitting corollary to me
'Come and See" campaign of the Y. W. C.
K. Although their summer camp wellare
ifork may be limited in scope so {::r as
iplifting influence.

The picture has some effective photo-
jeaching the mass of women workers is
»ncemed. the work is thorough in those
ases which come under its wholesome and
[raphic compositions, the silhouette of
lancing girlish figures against a huge bon
Ire in the center of the circle testifying to
he striking art of the director.

REMEW NOTES AND COMMENT

The miscellaneous matter at the begin-
ing of a theater program seen recently
eemed to point to the fact that although
s yet good educational pictures are com-
aratively few and inaccessible, it is pos-
ibie. "if Tou don't have what you want, to
rant what you have."

\ Goldwyn-Bray scenic, not glaringly
ducational. produced views of Ausable
hasm. suitable for geological study, and

detailed though brief demonstration of
dmon-fishing in the Columbia River.

Glimpses of New York at night llnter-
ational Weekly i afforded splendid ma-
^rial for art or architecture — the massed
ghts of the downtown towers, and a
iperb view of the Woolworth Btulding
sing like a genie"s palace.

Scenes of interest to students of eco-
amics and sociology occurred in a Kino-
ram and other weeklies; Federal troops
Tiving to break a port strike: an English
'phanage which is famous for its drUl,
isplaying an intensive training: portable
erry-go-rounds for the slums; baby shows;
rls at work making paper roses.
Why not ask your class to report each
eek on "What I learned about this sub-
ct from the movies I saw at the theater?"
-Vnother educational suggestion came
om "The Eternal Triangle" (Universal*,
oesn't sound hopeful, does it? "The
ternal Triangle" is a story acted entirely
r dogs. It is a triangle, to be sure,
lexander Airedale, an unscrupulous loafer,
most wins away the affections of Mrs.
'oofen. the loving wife of a shepherd
lUie. In the course of Mr. Woofen's
ndication of his honor, we meet every
>g in town — "both mongrel, puppy, whelp,
id hound, and curs of low degree," in-
ading the Ki-yi-zer dog. Dachshund von
ohenzollem.

Pertinext Scccestioxs to Teachers
If your class doesn't know how to wxite
jries. ^why not show them snch a story
cture? From such a story as this they
>uld learn the possibilities of material in
eir everyday surroundings. .Ask them to
ten this story on paper, and see if you
■n't get some real action, real description.

Then reverse the process. Have them write
them from the point of view, "Is this in-
teresting enough to make a moving pic-
ture?"

The results will surprise you. It will
teach them straightforward vigor of wTiting
and clear away many of their difficulties
based on their erroneous idea of a "compo-
sition." The motion picture helps to place
the "on paper" part of a story in its proper
light — that simply of a medium for trans-
ferring bits of life seen by the author to the
brain of the reader.

EVERY LITTLE BIT HELPS! ~
The ordinary program of motion pic-
tures seen in a theater almost invariably
affords suggestions to the educator. Teach-
ers preparing pupils for college might find
it a useful experiment to request their
classes to take notes on an educational or
news picture, and thus teach them that
most useful and valuable art! From the
notes the teacher will then find many sug-
gestions for research work, which wilL in
turn, lead also to an increased interest in
how to use reference books.

Fifteen minutes in a theater afforded
the following suggestions, suitable for
grammar school pupils:

Police parade in St. Louis reviewed by
all living governors and mayors of state.
A lesson in community civics.

Junk melted into iron for street car
rails in Pittsburgh. Caption: "Dante
would have felt at home here." Iron in-
dustry. Who was Dante and why would
he have been familiar with this scene?

Marines ascend Sugar Loaf Mountain in
Rio. by cable car. — A lesson in geography
and physical geography.

.■\erial patrol over Mexican border.
Britain follows the hunt again. Memorize
a hunting song, perhaps Scott's:
"W aken. lords and ladies gay.
On the mountain dawns the day:
-Vll the jolly chase is here —
With hawk and horse and hunting spear."
Or. if the idea of hunting is not wel-
come, a song of fairy-hunting, like Wil-
liam --Ulingham's. which is even jollier:
"Lp the airy- mountain.
Down the rushy glen.
We daren't go a-hunting

For fear of little men ;
Wee folk, goo'l folk.

Trooping all together:
Green jacket, red cap.
-And white owl's feather."
Why not connect the often wearisome
"memory selections" with something the
child has seen ?

Cattle shows at San Francisco and Los
Angeles. — Grazing industry. What do you
know about the meat packers?

Wild teal stopping at Oakland in the
course of their migration are protected
and fed by the city. — Preservation of our
birds. Prevention of cruelty to animals.
Exhibit of cats, dogs, birds and mice.
House cat rears kittens in woods and when
they are grown brings them back to the
house. — Lesson in natural history: animal's
care for its young: other members of cat
family, characteristics, etc.

-Almost every subject as reported on bv
the child can be made the basis of a brief
lesson, and the child wiU be convinced
that what he is learning in school can be
immediately made use of elsewhere; in
fact is /lecessary for his full enjoyment
and understanding of what he sees and
hears.

We Want a Man Who Can Write
Motion Picture Scenarios

that will measure up to the demands of
executives of large industrial concerns.

We serve national advertisers, mano-
facturers and others who require written
scenarios so that they may visualize in
advance what we propose to do in filling
their motion picture needs.

Our connections with many of the big
industrial people of the country enable
us to offer to the riglit man a rare opjwr-
tunity in a rich field. Address Box 10,
Kducational Film Magazine.

PHONE BRYANT 360S

WTM

I ffi^KstQulity Lantern Slides
TITSCyEIITH AVE, NEW YORK

Otto J. Nass

Distributor of educational and relig-
ious films for the State of Rhode Island
and Eastern Massachusetts. 5 years'
experience Good subjects solicited
79 Fountain St., Providence, R. 1-

Films for Educational and
Religious Institutions

The New Atlas CataloE Now Readv
Bulletins of .New Subjects Bi-.Monthiv

ATLAS EDUCATIONAL niM CO.,

63 E. Adam» St-

Chii

POOR SLIDES

Cost more than good ones in the end.
Let us make your slides for you. we can
bring out all the definition of the orig-
inal, and where necessary do artistic
coloring, and the cost will be surpris-
ingly reasonable. Send for our Price
List.'

COMING: Some special FE-\TL'RE
Educational Sets to be released about
February 1st and weekly thereafter.
Send for particulars. Rent and Sale.

Sa/«j Agents for SIclmoth Stereoptiroru
ASK .\BOLT F L E X O Tl REWRITES SUDES

RILEY OPTICAL INSTRUMENT COMPANY. Inc.

*u«:f*.^or5 lo RilcT Bro^.. E^t. 1883
111 Fiflh ATe., Dcpl. ~i^ »w Vork. >'. Y.

Ready for Release

"MODERN EDUCATION
OF THE BLIND"

.■1 Feature in One Reel

The Blind at work, play and
school.

See them weaving cloth, tun-
ing pianos, sewing by machine,
cooking, doing gymnastic stunts,
threading a needle with their
tongue, and numerous other
wonderful scenes.

"A Remarkable Picture"

Endorsed b\ Mr. Edward .M.
Van Cleve. principal of the X. Y.
Institute for the Education of the
Blind, and many others.

For terms and circular address

M. H.WHITELAW

145 WEST 45TH STREET

New York. N. Y.

Suite 702 Brvant 2087

You Can Pick Up
$50 to $500 Easy Money— in Your Spare Time

WRITE US NOW and we will show you how to get from 100
to 1000 subscribers for EDUCATIONAL FILM MAGAZINE
— with hardly any effort on your part.

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Circulation Manager, EDUCATIONAL FILM MAGAZINE

35 West 42nd Street, New York City

Power's Cameragraph I

The Machine of
Quality

All Trvt Experience
Skilled Workmen and
Finest Materl\ls
^ Can put ikto a Projector

TN competitive test by the
■'• Board of Education, New^ark,
New Jersey, fifteen of the eigh-
teen professional projectors pur-
chased w^ere

Power's
Cameragraphs

This test w^as of a most exacting
nature and again demonstrated
the superiority of the Power's
Cameragraph where the highest
type of professional projection
is desired.

NICHOLAS POWER COMPANY

NINETY GOLD ST.

INCORPORATED
EDWARD EAKLE, President

NEW YORK, N. Y.

41£ C«ntr« St.,

trwrtcnif B.J., BoTVcbor 3, 1919,

Velka & JtBB«s Ino*
ZS2 Kast Ontario St. ,
Cble^o, 111.

0«xtlaB«)i-

I CB fonrar&lng to jrort nadar stp&reto oercr *
p hrt »sriyh of Oovvrtior ItaaToa of 1:9* Jsrsaj aa « oaoansaa Titt
as« of jrvor UftlTvrmal CsswraA* Tiim flgorva Id tt« plotor* art
u fvllevs,

Ob th« (l«rt) Got. Sanroa of Sn J«r*«7f (Csntro)
Pl.r*otor» Ilr> L^.BlaSf I>^'t. of lavtltatloai asd i^wnolM 9ttf«
Of I«v Jara^, (Rl^it) Official Cis^stognjibar rrnk i^ Kreasar
of IMp't. of iDBtltutioaa asd ^Lgaaoioa.

Cm Dapfftsaat of lastitntlTna asd i^aoiaa of
th« 3ta(t« of 5a* Jaraay aa far aa I know art tlie first la tba
oomitzy to adept tha Botion plotum oas^al^ to thot tha poblio
te« la* Jaraay oarea for it's v&rda Alob iaalndaa all tba itata
Eoapltala for tha laaana, Stata ?riaoDt Girlt Eosa, Hod* for BoTa^
Tgbku £afoz^toi7, and rario'aa otbar luatitationa.

That I imat to aa? la thla, that w haTt tre
CtaiTtraal Cacaraa 400 ft. oapaoity, one antoemtle dissolT«j and
tba other no dlaaolTv, and tha? hsra girsn tba t«i7 b«at of aarrloa
both is X-fia7 and Solantifio Saaa&roh votk aod in atral^t pletora
Mlciae. I hara abet tmnty tbcosand faet op to tha preaant data
cad an pleaaad to aa; I haira not lost oca foot of film throng
eanera tronl>la. j Is all b? exparisnca vith tha tlniTeraal Cscara
«Ulo In tha Ph£ko.DiT. of the Bigc^ Corpa U.S.Axe? and kj froaaat
poaitlos with tba 3t&ta of 5e« Jaraa? it haa oavar falXad to dallTav
tba gooda for na.

I vlab 7011 voold BS3d laa a catalofoa or ajiy otbar
litarmtnn that Ton hora on hand aa thara ara aarraral atotaa is
Ibion Aloh ara vritlngua for infonaatisn aa to our adnaatlos
oas^aiffi -W9 »T» ao ably ocDdnotine foatarad ty CosBla^i-oaar 9ardatt*
C.Lanria and I>T.L.B.Blas of tfca Dap't. of Inatitattoa and icamiaa
ablla I- KB doin^ tba pboto^apMo aodc.

4ie C antra 3t

The Governor
of New Jersey
making pic-
tures with a
UNIVERSAL

i|N the State of New
Jersey they are
using moving pic
ture cameras for
educational purposes in con'
nection with State Hospitals,
Prisons, Homes, P.eforma'
tories and various other
institutions. Mr. Frank A.
Krueger is the official motion
picture photographer for the
State and naturally uses a
UNIVERSAL, as with this
camera, he knows he gets
perfect film all the time and
every time.

Educators, Explorers, Army
Photographers, in fact every
operator who has to depend
on his camera els a soldier
depends on his gun uses a
UNIVERSAL.

Read what Mr. Krueger
says of his trusty machine
and then write for illustrated
book, catalogue and full
particulars.

BURKE & TAMES

(INCORPORATED)
253 EAST ONTARIO STREET, CHICAGO
225 FIFTH AVENUE, NEW YORK CITY

PERTH AMBOy. N. J. POINTING CO.

UNITED

THEATRE EQUIPMENT CORPORATION

EXPECTS TO HAVE READY FOR THE MARKET ON OR BEFORE MARCH 1st, 1920

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J. H. HALLBERG.

Vice President

Branch stores in Boston, Chicago, Cincinnati, Cleveland, Detroit,
Minneapolis, New York, Omaha, Philadelphia, Pittsburgh,
Kansas City Machine and Supply Co., Inc., Kansas City, Mo.

IMPORTANT: Address your inquiry to Dept. "E" for prompt attention

~' ,1- ';', t ■

Seatlln Pn':::' ^ -;,r

., "SAFETY FIRST!'' ^^^ocu^ai d^v.

mrtTTTPr;.

i^MId:ki

EDUCATIONAL

FILM

MAGAZINE

The National Authority

^'m^

i^ »

15 cents a codv

MARCH. 1920

$1 a year L

ijintj. 1. B; t. luttrftlla.

t 9'jrfca Aod jB««a,
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bifora t l»rt for th» !•■ 3«t>Pl<l*«. MWo aontria ««a, I
Uuiieht. jr,j aoull ba gjad lo Knoa that Mtti Unl-xranla
atO'id up cr«ftt, «a apant alx aontha aooos Itui ^Mad nint.or«
aM oanntbUa of lAlakula, and uaad 01XI7 tba tao 'Jnlvera.Ia.

I aava Jjat flnlahal pplntlas t>K> poal'.lvoa,
ani .-. oj'. a doubt I'm/ ara tlia flnaal rilaa I haira
a»ar a«d<.--ln fact flora la not a foot of poor flla a»yai
tha t>*3t;-ri*« tnouaand faat.

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^Shooting^ the
wild men with a
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HE UNIVERSAL

Motion Picture
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The compactness, strength and re'
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"going" is rough and conditions are
bad. The Universal stands up under
the hardest kind of usage and gets
perfect film under the most adverse
conditions.

Read this letter from Martin John'
son, the intrepid explorer, whose pic
tures of the savage cannibals of the
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sation. The pictures show him film-
ing the "Wild Men of Malekula." He
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(INCORPORATED)

253 EAST ONTARIO STREET, CHICAGO
22,- FIFTH AVENUE, NEW YORK CITY

Biological Motion Pictures

Schools, Universities and Learned Societies
Exclusive Service

Our age calls for this visualization of biological phenomena, for the purpose
of education. Realization of this led to the foundation of "The Scientific
Film Corporation".

Its aim is to supply the needed materials for \ isualization in biological teaching
adapted to school work of all grades, from the primary up to the purely scientific
treatment of the subject in university teaching.

"The Scientific Film Corporation" is in a position to guarantee accurate, reliable work
through the well planned co-operation of approved technical skill and expert scientific
supervision. Our laboratories in Harrison, N. Y. (New York suburban district) are
equipped with the most modern installations, many of them personally devised.

Our sensational novelty is the utilization of the living tissue culture in micro-cine-
matography.

Correspondence invited in regard to rates and terms of purchase and rentals.

First Release

A Microscopical Vieiv of the Blood Circulation

These are a few of the features of this film :

The \ ascular system of the chick embryo Differentiation of the blood in centrifugal

The Capillary" net work in the area pellucida ... " . , . <• i i i i i

Microscopical views oi the blood, showing its

Arterial and Venous circulation ingredients

Histological reflections <^'°^e up of Bone marrow, where the blood

originates
Arterial Anastomoses Living and beating heart at close up

THE SCIENTIFIC FILM CORPORATION

13 DITCH STREET NEW YORK CITY

Telephone John 1717

URBAN • POPULAR • CLASSICS

TO AMERICAN EDUCATORS:

In this original problem which confronts us all today, viz: How best can we
make and supply Educational Pictures to the Schools, the first difficulty that con-
fronts us, after the pictures are made, is : How can we best distribute these pictures
to the Schools.

We have many inquiries from Schools, Churches, Centers, etc., zisking for
URBAN "MOVIE CHATS" and "REVIEWS," but plainly it is impossible for us
to send these films, let us say to Oklahoma or Oregon, on account of the transpor-
tation charges, among other things, which would be excessive from New York,
Furthermore, we believe in selling our films rather than charging a rental each time
they are used. This gives the School an opportunity to form a permanent Library
so that each year it can supply to its new scholars its ever-interesting subjects.

Many Schools, however, are not able, at the present, to afford the outright
purchase of a great niunber of films — hence the value to our American Educational
Institutions of the Film Libraries, which I mentioned in the Convention issue of the
Educational Film Magazine.

Would you kindly, in the interest of all concerned, send me the names of any
reliable distributors of short reel subjects that you know of in your territory, so
that we may at the earliest date, obtain reliable amd effective distributing centers,
thus saving you time and expense in obtaining your films.

This service will be appreciated by,

Yours very truly.

&^,

President.

KINETO COMPANY OF AMERICA, Inc

PUBLISHERS

Distributors for New York and New Jersey
CINEMA CLASSICS, Inc.

.482 Bro^way. New York City ^1 West Twenty-third Street, New York O

FASCIIMATING • METHOD • OF • EDUCATIO

M> EDUCATIONAL FILM MAGAZINE 'm

'ublished Monthly at 33 West 42nd Street. (Aeolian Hall), New York City. DOLPH EASTMAN, Editor. Subscription: United
States and Possessions, $1 a year; other countries, $2 a year; single copies, 15 cents. Advertising rates on application.

III.

MARCH, 1920

No. 3

PRINCIPAL CONTENTS

Index to Articles

•ORIAL 5

"Safety First!"

AL INSTRUCTION ACTIVITIES AT N. E. A. CONVEN-
riON 7

lES TO GET TEACHERS MORE PAY 9

IS IN COLLEGE RESEARCH WORK 9

VER LIBRARY SHOWS JUVENILE FILMS 9

;iNG MOVIES PAY FOR NEW BUILDING 9

UNDERWRITERS' RESPONSIBILITY TO THE PUBLIC 10

Bj Dana Pierce — Illustrated ,

PICTURE'S THE THING 12

By Charles R. Stone — Illustrated

MUNITY MOVIES IN SAN DIEGO CHURCH 14

By H. V. Mather — Illustrated

C\TIONAL MOVIES IN MINNESOTA CHURCH 15

By Rev. Dr. E. C. Horn — Illustrated

WORLD'S SUPREME TRAGEDY REVERENTLY TOLD 16

By M. Elisabeth Edland — Illustrated

CROSS EFFICIENCY EXPERTS USE SLOW MOVIES 18

Illustrated

[OR RED CROSS MOVIES 18

CE RULES OUT FILM AT MURDER TRIAL 19

FEDERAL AID FOR ORAL HYGIENE FILM 19

REVIEWS OF FILMS 20

Edited by Gladys B oilman — Illustrated

THE LAW SAYS: "SAFEGUARD LIFE AND PROPERTY"—
AMERICAS SLOGAN IS "SAFETY FIRST " 24

By James R. Cameron — Illustrated

BAPTLSTS TO RAISE $100,000,000 BY MEANS OF SLIDES 26

By W. Howard Ramsey

WORK OF NATIONAL M. P. LEAGUE 28

By Adele F. Woodward — Conclusioyi

FLASHES ON THE WORLD'S SCREEN 29

CATALOG OF FILMS 30

INDUSTRIAL ITEMS 31

Index to Advertisements

Goldwyn Pictures Corp. Front covet
Burke & James Inc.

Inside front cover

Scientific Film Corp „ 1

Kineto Co. of America. 2

Community M. P. Bureau 4

Am. Type Founders Co 25

Graphoscope Co 25

Underwood & Underwood 26

Victor Animatograph Co 26

Radio Mat-Slide Co 27

Prizma. Inc i..,.. 27

Eastman Kodak Co 27

Carter Cinema Co 29

Worcester Film Corp 29

Otto J. Nass 30

Atlas Ed. Film Co 30

Riley Optical Inst. Co 30

C. J. Wertsner & Son 31

Theatre Supply Co 32

De Vry Corp 32

Nicholas Power Co 32

Goldwyn- Bray Inside back cover

United Theatre Equip. Corp

Back cover

Tear This Out and Mail with Your Dollar NOW

SUBSCRIPTION RATES IN U. S. AND POSSESSIONS: 1 year, $1; 2 years, $1.80; 3 years, $2.40,

Clubs of 20 Subscriptions or more 50c year each.
FOREIGN: 1 year, $2; 2 years, 5.3.50; 3 years, $4.50.

Date. 19

EDUCATIONAL FILM MAGAZINE,

33 West 42iid Street, New York City.

Please enter my subscription to your magazine for years for which

find enclosed $ Subscription to begin with the issue.

NAME , JiOME ADDRESS

CITY AND STATE

This Dollar Will Bring You Hundreds of Dollars In Idea^

■FOR COMMUNITY SERflCE"

C U M M U W I T Y M U i 1 O N PICTURE BUREAU

In again devoting its resources to the protluctiou, selection, editing, distribution, su-
pervision and presentation of instructional motion picture courses, it is but
fulfilling its primary purpose, following its war work, which is still continuing
on a large scale. In the past two and one-half years, Commimity has presented
practically all the motion picture service for the American army and navy, and
the bulk of that for the Allied armies and navies.

This war service, including the comprehensive program of visual instruction for
the Army Educational Commission, gives Community a greater power and skill
in creating instructional and recreational courses which meet the needs of public
and private elementary and secondary schools, colleges and civic organizations, for
which Community service was organized in 1911.

The largest distributor and exhibitor of motion pictures in the world. Community
Motion Picture Bureau is. an educational institution, upon a business basis. It is
not in any sense a theatrical enterprise nor an adjunct to one. Community always
regards its task from the educational and community point of view.

The Educational Board of the Community Motion Picture Bureau is
headed by Dr. Jeremiah W. Jenks, Chairman, Research Professor of
Government and Public Administration, New York University, and Dr.
Frank McMurry, Vice Chairman, Professor of Elementary Education,
Teachers College, Columbia University. This Board is assisted by a large
staff of professionally trained educators, editors and assistants.

Frank L. Crone, formerly Director of Education for llie Philippine Islands, is in
charge of the School Section.

Community builds motion picture courses upon the basis of the educational needs
of each institution it serves. You are cordially invited to make inquiry as lo how
Community service \v\\\ meet yoiu- needs.

Our (lislrihuting system encircles the world

Community Motion Picture Bureau

Accredited Agent for United States War Department
Motion Picture Service

WARREN DUNHAM FOSTER, PRESIDENT
46 WEST TWENTY-FOURTH STREET. NEW YORK CITY

The National Authority

jvenng

Educational, Scientific, Agricultural, Literary, Historical, Juvenile, Governmental, Reli
Scenic, Social Welfare, Industrial, and News Motion Pictures

Published Monthly by the City iVetvs Publishing Co.,- 33 West 42m/ Street {Aeolian Hall), .Vp.v York

DOLPH EASTMAN, £<ii/or

fl. 111.

MARCH, 1920

gious. Travel

City

No. 3

"SAFETY FIRST!'-

HE first issue of this magtizine. dated Janu-
an'. 1919. contained an editorial announce-
ment entitled ""Plan. Purpose, and Policy."
""Each article will be published
serve our readers in some useful way," we wrote,
»r to promote the acceptance and practical daily
iployment of what Mr. Edison calls 'one of the
eatest things in the world.' " Under the sub-title
rhe Policy" we said furdier:

The editorial policv of this magazine will be in

complete harmony with the plan and the purpose .

not small-minded. It will not be "trade-paperish." It
will not provoke and promote controversy. It will
give the news and tell the truth. It will lead all great
movements tending toiiard the accomplishment of our
purpose. It icill be constructive, not destructive. It
will have ideals, and adhere to those ideals. It will
have principles, and never swerve from those prin-
ciples. And the pages of the Edlcation'.a.l Film
Mag.\zine will always be open to those who have an
idea to suggest, a plan to propose, a truth to impart, a
tvrong to right. Its message and its mission are plain,
and are fraught with profound significance to mankind.

Thorouglily in accord with this policy, and pur-
ant to an investigation of conditions prevailing in
e non-theatrical field of motion pictures, we have
solved to take a firm stand for safety in the exhibi-
»n and handling of motion picture film — a stand
th which we have always been in sympathy but to
lich we did not give expression because of factors
t now concerned. We are taking this stand because
! no longer wish to shirk the moral responsibility of
feguarding thousands of human lives nor longer to

placed in the position of tacitly or impliedly en-
uraging violation of the country's laws.
Moral responsibility and civic duty- — here are two
ligations enough for any loyal American citizen
d any member of the motion picture industry to live
I to and respect not only in passive obedience but

actively seeing that the laws are enforced without
ar or favor. Nearly all manufacturers, distributors,
,d exhibitors connected with this industry are good
yal Americans and law-abiding citizens: they
oved that beyond a doubt during the late war. But

there are- a few, a very few, among them who are
eitlier indifferent to the law, or evasive of it, or
deliberate in their violation of it. It is these few
who constitute a menace to the vast majority in the
industry, a menace even to themselves if they were
only broad-gauged and far-visioned enough to realize
the fact. For should disaster come the blow will fall
alike upon the just and the unjust, and those who
helped to pull do^vn the house will be buried in the
ruins alongside of those who helped to build it up.
The time has come for plain speaking and fearless
action. With the sale of each projection machine
using nitro-cellulose film and operated in utter dis-
regard of the wise rules adopted years ago by fire
insurance underwriters and state and municipal fire
audiorities all over the United States, a new hazard
is added to the many already existing, thereby in-
creasing the possibility if not the probability of
another Iroquois theater disaster. We have no desire
or intention of creating a state of terror or of unduly
alarming users or prospective users of inflammable
film in unprotected projectors, which are safe enough
in themselves but which encourage the handling of
such film under unsafe and dangerous conditions.
We desire not to alami but to warn, not to prophesy
ill but to try and prevent ill from befalling the entire
non-theatrical field of motion pictures.

\\ hat is the life of your child worth?

Is it worth the price of a fireproof booth, or the cost
of an expert operator; of a reel of film, or a thou-
sand reels, or a million reels? \oii would not sell
or give away or lose your precious little one for all
the wealth of the world. Hundreds of thousands of
other parents feel the same way about their children.

Educational films are wonderful things, but their
use nmst be made safe — relatively safe — under all
conditions. A vampire may be beautiful to look
upon, but in her heart is a black menace to all weak
men.

In this issue two experts — one the very able and
highly respected director of the Underwriters' Labo-

ratories, the other our own projection and equipment
editor — discuss the technical and engineering phases
of this question of the fire hazard and law evasion
and violation in the handling and showing of motion
pictures. We shall not here enter into an elucidation
of our view of tliese phases; that is better leit to the
specialists. We are here concerned mainly ^vith the
ethical, civic, and economic phases of this matter
which no self-respecting publication in the field can
ignore, or side-step, or dally with any longer. The
publisher who tries to ride two horses is likely to fall
between them and be crushed. One sturdy steed is
sufficient for us, and his name is Truth. He has a
venerable Latin name also. Pro Bono Publico, but he
responds to the other without whip or spur.

And now to ride Truth a little way out into the
open country where we itiay drink in the fresh free
air of the hills and forests and look unblinkingly
upon the sun blazing away in a cloudless sky of blue.

Three salient facts in the situation stand out in
sharp relief: The large standard professional pro-
jectors, safeguarded with fireproof booths, licensed
operators, and other provisions for safety, are within
the law. Portable or semi-portable projectors,
ecjuipped to run standard inflammable film, which
are used without fireproof booths, expert operators,
and other protective and preventive devices approved
by the underwriters and fire authorities, are not within
the law and, as such, tlie sellers and the buyers of
such machines are liable to prosecution. Each sepa-
rate use of such machine, with nifro-cellulose film,
is a distinct violation of the law or of the under-
writers' rules. (It so happens that there is very little
slow burning film in the standard 3.5 millimeter
width; herice. the evasion and violation of law is
intentional and inexcusable.) The third fact is that
acetate-cellulose film of 28 millimeter width, known
as safety standard and adopted as such two years ago
by the Society of Motion Picture Engineers, is a de
facto safety film, slow to ignite, slow to burn, as com-
paratively safe as your evening newspaper.

These three outstanding facts should be held clearly
before one in attempting to reach a solution of the
problem of fire hazard in the use of motion picture
film. The evaders and violators of the law are not
the film people but the machine manufacturers on the
one side and the purchasers of machines on the other,
who ignorantly or wilfully handle highly inflammable
reels of film, which are nothing but fuses 1,000 feet
long, in utter disregard of the lives of those iimocents
who are gathered around the machine or open cans
of nitro-cellulose. A case came recently to the
writer's attention, wherein an operator was smoking
a cigar directly over some open cans of inflammable
film, and seated in chairs nearby were two or three

hundred little children waiting for the show to stai
If a spark had fallen from that cigar on a bit of thi
film, the show would have started — but it would m
have been the kind of show they came to see.

This is not a plea for anybody's film or anybody,
machine. It is a plea for safety, for decency, f*
moral and civic righteousness. We are not here an
now concerned with the technical, mechanical, <
physical working out of the problems. These wi
be worked out in time to the satisfaction of all i
terests. Large professional projectors will contini
to use regular theater film, with proper safeguan
and under relatively safe conditions. Safety stan^
ard machines using the narrower or 28 millimeti
width slow-burning film will grow in numbers ar
importance, no doubt, as their film libraries grov
and from present indications, it looks as though the:
safety film libraries will outstrip in time other no
theatrical film libraries. There is, of course, a fund
mentally sound reason for this — the safety factor -
the dominant one in the hujnan mind. "Safei
First!" was the cry that resounded throughout the lar
a few years ago, and back came the echo "Safe
First!" That cry in reality was back of our entrant
into the world war; it was the one thing that forc(
Germany and the Allies, too, into the armistice; it
the moving spirit in Russia today.

Makers of portable and semi-portable projectic
machines designed to use standard theater film mu
soon see the light and adopt one of two alternative
Sell their machines only on a written and sign(
agreement that the purchaser must use fireproi
booth, expert operator, fireproof receptacle for reel
and other safeguards provided by law; or change tl
gauge of their machines to take the safety standai
and encourage the development of production and di
tribution in that field. Two standard width portab
projector manufacturers are reported about to jo3
the two now active in the safety standard field.

It nmst be remembered that the market is wic
open, that every manufacturer, distributor, exhibito^
exporter and importer is free to make, sell, use, ar:
exploit the 28 millimeter safety standard princip
in any way he sees fit. There is no patent, r
monopoly. On the contrary, those now in this fiel
are doing everything in their power to encouraj
odiers to join them and make a big thing of it f<
all concerned. Its weakness hitherto has been tl
insufficiency of subjects in its film library. Th
defect is being remedied; and the reports are, wil
apparently sound foundation, that important financi:
interests are beginning to take hold of the safel
standard idea and make a commercial market of
on a large scale.

{Continued on page 7, secoml rohtmn)

VISUAL INSTRUCTION ACTIVITIES AT THE N. E. A. CONVENTION

One Afternoon Devoted to the Reading of Papers and Discussions-
Informal Conferences Lead to Appointment of National Committee of
Educators to Form a National Visual Education Association — Films
Show-n at Hotel Cleveland, Advertising Club, and Commercial BXhibits

ByDolph Eastman

"IHE semi-centennial meeting of the Department of
Superintendence of the National Education Associa-
. tion, whose first gathering took place five years after
:lose of the Civil War. in 1870. was a success worthy
he occasion. Should the same ratio of progress be
i during the fifty years to follow, the educational sys-
of the Lnited States will lead the entire world in
lods. in thoroughness, and in practical results,
le registered attendance, exclusive of local participation,
)nvention headquarters in the Hotel Cleveland, Cleve-
, Ohio, during the week beginning Mondav, Febru-
23, was about 4,500. Vi ith the addition of the names
lleveland superintendents, principals and teachers and
bose who failed to register, the total attendance was
over 5.000. The lack of hotel and rooming accommo-
)ns in the city undoubtedly prevented many more from
ing to the meeting and drove others away several days
re they would otherwise have left. The commercial
bitors were disappointed at the comparatively ^mall
ber of visitors in their hall, due no doubt to the fact
the building was several blocks away from the leading
Is save one, and in a rather inaccessible part of the city.

Intense Interest in Visual Education
)r the first time in the history of the National Education
elation there is a Department of \ isual Education for-
y established as an official section of the Department of
?rintendence. The officers during the past year, who
! re-elected, are: President, L. N. Hines, state superin-
Ent of public instruction, Indianapolis; vice-president.
. Beveridge, superintendent of schools. Omaha; secre-
C. F. Pye. secretary Iowa State Teachers" Association,
Moines. The official program of the visual education
Jtment on Wednesday afternoon, February 2.5, in the
•oom of the Hotel Hollenden, was as follows:

i.L Education In Communtty Center Work
Zharles Roach. Assistant Professor in charge Instruction Service.
Iowa State College. Ames, Iowa.

KETENESS In EDUCATION

fohn H. Francis, Superintendent of Schools, Columbus, Ohio.
Economic Side of Visual Eduovtion
r. Paul Goode, University of Chicago. Chicago 111.
I'D Table Discussion On Visual Eot cation

^ed by Frank A. Cause. Superintendent of Schools, Bav C^ilv.
Mich.

le reading of papers was limited to twenty minutes and
oral discussion to five minutes for each speaker. Mr.
:h was able to read only a portion of his valuable
ribution on "Visual Education in Communitv Center
k," which this magazine will publish in full in a forth-
ing issue. Superintendent Francis spoke without notes

in a direct, forceful manner brought out the salient,
landing features concerning the use of visual instruc-

material in the schools. Both Prof. Goode and Mr.
5e added many helpful ideas and suggestions in their
;rs, as did the several speakers who followed,
ne incident occurred toward the close of the round
B discussion, which smacked of commercialism, was in
ous bad taste, and should not have been permitted bv
iident Hines. who was in the chair. It was an attempt
ave the Department of Visual Education of the N. E. A.
in record as officially approxing the standard theater

film. 35 millimeters in width, as the only film to be used
in the schools of the United States. The presiding officer
allowed the resolution to come to a viva voce vote without
recording the ayes and nays, but the feeble response of
affirmatives and the thundering chorus of negatives showed
unmistakably that the sentiment of the assemblage was that
the N. E. A. had better leave the question of the use of
standard theater film or safety standard non-theatrical film
to the individual school or college, to decide as the local
authorities see fit. It was the first public demonstration
of flie difference of opinion on this subject, with an over-
whelming sentiment in favor of an open, independent mind
and a disposition to consider both sides.

The Informal Conferences
Due to the initiative of W. H. Dudley, of the University
of Wisconsin; W. D. Henderson, of the University of Mich-
igan: and J. \X . Shepherd, of the University of Texas, con-
stituting the visual instruction committee of the \atienal
Lniversity Extension Association, there was an informal
conference Monday afternoon, February 23, on the ninth
floor of the Hotel Cleveland, and on Wednesday evening
at the Hotel Hollenden following an informal dinner in the
cafeteria of the hotel.

The discussions at these two conferences, presided over
by .Mr. Dudley, had to do with ways and means of using
films, slides, stereographs, maps, charts and other visual
instruction material in the schools and colleges but were
primarily concerned with motion pictures. Some interest-
ing developments were noted at these meetings, but the
only decisive action taken was the adoption of a motion
that Mr. Dudley appoint a national committee of nine
educators having no connection with commercial interests,
who are to call a general conference within two months, if
possible, of all individuals and groups who would like to
get together and form a National Visual Education .Asso-

{Continued from page 6)

.\fter all. it is not a matter of whether it is Tom's
machine. Dick's screen or Harn's film. The issue
is larger and higher than that. It is a matter of
ethical principle and obedience to law and order,- of
moral responsibilit}- and civic dut)- towards the public
and our individual selves. We said in the beginning,
and we say now, that we shall do everything within
our power to develop the educational use of motion
pictures. The thing is too big, the industry is too
big, to permit commercial interests, or selfish motives,
or mere comfort, convenience, and "cheapness" to
endanger the entire non-theatrical field when it is so
easy to play safe. By advocating the principle of
■'Safety First,'" compliance with law, and safeguard-
ing of human life — especially tlie precious life of
Young America — we are taking steps to make the
future of educational films secure, no matter what
developments may come.

ciation. To this conference will be invited in an advisory
capacity all commercial interests who can help educators
and others to solve the problems in this field, and it is hoped
that out of this general conference will arise a strong na-
tional organization in which non-theatrical motion picture
exhibitors and commercial manufacturers and distributors
of equipment and films can cooperate and bring about a
great national market in the non-theatrical field.

The dominant note at these informal conference> was that
no flavor of commercialism must taint the work of the
organization committee or of the organization itself after
being formally established. The same tendency towards
influencing or controlling the action of the N. E. A. which
cropped out at the afternoon meeting was observed during
the evening, namely, the commercializing of an eff"ort which
can only succeed if maintained on a high educational and
ethical level. The committee to be selected will no doubt
avoid this pitfall and will see to it that the confergnce
leading to the formation of the association will adopt pro-
cedure which will make it impossible for commercial in-
terests to have anything more than an advisory hand in the
proposed organization. In other words, the feeling on the
part of the educators, the editors, and other non-commercial
interests present at these gatherings was that the initiative
and the demand must come from the schools, churches, and
other uncommercial institutions and that they must dictate
the policies and the methods of the organization. The
suggestion put forth that the active members of the associa-
tion, the school men and women, should not pay dues and
that the commercial people should "foot the bills" was
properly frowned upon and cast aside. The feeling was
that there should be no sense of obligation whatsoever to
the manufacturers and distributors, who will be welcome
to offer advice and to cooperate with the exhibitors.

Report of .Action of an Informal Conference on Educational

Use of Visiai. Aids Held at the Hotel Hollenden. Cleveland,

Ohio, Wednesday, February 25, 1920.

Dr. W. H. Dudley, University of Wisconsin, in the chair. Moved
by Mr. Wilson of Detroit, and passed:

That a committee of nine educators, in no way concerned
in or connected with commercial visual instruction organizations.
be appointed to invite all persons interested in the educational
use of visual aids, including representatives of commercial and
industrial organiations, to a conference to be held within two
months if possible, for the purpose of perfecting a permanent
organization.

Discussion at the conference indicated that the desire was ihat
the organization committee of nine .should draft tentative plans
for the organization and conduct of the permanent association, such
plans to be used as the basis of discussion at the conference. This
was embodied in no motion.

The opinion of the conference seemed to he that control of the
permanent organization should be vested in the educators but that
support should be accepted from and close cooperative relations
established with commercial and industrial interests.

Ninety five dollars was subscribed by those present for meeting
the expenses of the organization committee of nine.

\. J. Klein,
Secretary of Informal Conference.

34,000,000 Feet of Government Film

Arthur J. Klein, secretary of the National University
Extension Association, at the Monday afternoon confer-
ence gave some interesting figures on the distribution of
the government's war films from Washington. He said
that there were now 42 distributing centers in state uni-
versities and other institutions and that this number would
probably increase. About 9,000,000 feet of positive film
have been distributed through these centers, of which more
than 600,000 feet were sent out since September 1, 1919.
Mr. Klein estimated that about 25,000,000 feet additional

of government film remain to be distributed for public (
hibition throughout the country. The work of distributi
is handled by the extension association in cooperation w
the Bureau of Education in Washington.

Although most of this film deals with the late war, si
Mr. Klein, a considerable proportion of it can be used
conjunction with history studies. In the series entiti
"Training of a Soldier," there are 36 reels which ;
valuable for instructional purposes. These are among i
most thoroughgoing pedagogical motion pictures so i
produced, such pictures as "Military Map Reading," "T
Three Inch Shrapnel" and similar ones being models
simplicity and clearness.

Mr. Dudley, who was associated last year with the 1
vision of Educational Extension, Bureau of Eiducation, stat
that the bureau estimated that about 3,000 American scho(
were equipped with motion picture projection machines
all types. The questionnaire mailed by the bureau 1;
year to 38,000 schools and colleges revealed that 1,1
were then equipped and 384 others were planning to eqtj
for the use of films. More than 2,100 schools had lot
arrangements with theaters, churches, halls, clubs, and oth
institutions for showing special educational film progran
The figure mentioned, 3,000, appears to be conservatii
inasmuch as the questionnaire did not reach all education
institutions by any means and only about 30 per cent
those' questioned replied.

Major L. G. Mitchell, of the United States Armv. Medic
Corps, told the Wednesday evening gathering of his thr
reel film on oral and dental hygiene, "Come Clean," whi
has been shown to the members of the Senate and Hou
military committees in Washington. The picture was ma
largely at the Army Medical Museum in that city, and
said to be a valuable contribution to the visual side
medical education.

Films Screened at Convention
Considering the vital importance of motion pictures
any scheme of visual education, and the voluminous di
cussion of the subject,, there was comparatively little acti
ity at the convention in the way of actually screening su
jects of an educational nature. A few films were shov
in the main assembly room of the Hotel Cleveland, such
"Feet and Shoes," with a lecture bv Miss Eleanor Bertin
of the Y. W. C. A. War Work Council; "Come Clean." tl
Major Mitchell picture; and one or two others of th
character at the meetings of the American School Hygiei
Association. Several reels on school gardening were shoM
at the meetings of the School Garden Association in tl
rooms of the Cleveland Advertising Club, Hotel Statler, <
Tuesday and Wednesday afternoons.

.\l the Thursday afternoon conference of the Communi:
Centers Association, February 26,'Frank L. Crone, former
director of education in the Philippine Islands and no
director of the school service section, Community Motio
Picture Bureau, spoke on the topic "Obtaining Motion Pi
tures for a Community Center."

On Friday Mr. Klein, of the University Extensic
Association, was one of three speakers on the subject "Wh;
the University Extension Association Offers School Centers
emphasizing the community value of motion pictures an
telling of the mass of government film available in the 4
distributing centers of the association. Conunissioner Cla:
ton was heard with great interest on "Wliat the United Stati
Bureau Offers Local Community Center Movements." Du
ing the three days of papers and discussions on the acti'
ilies of school community centers it was brought out thi

notion pictures were playing and could be made to play
in extremely vital part in Americanization, cultural, recre-
ational, and other objects of community work.

"How Life Begins," the four-reel botannical and bio-
logical film produced by Captain George E. Stone, was
shown at the Y. M. C. A. on Wednesday afternoon during
the conference on sex education in the high school called
by the federal bureau of health.

There was some brief discussion of the utilization of the
screen at the February 27 meeting of the Safety Education
Section of the N. E. A. On Thursday afternoon at the
National Geographic Society conference there was a round
table discussion on ways and means of providing visual
instruction in schoolrooms, based upon the use of the so-
ciety's collection of geographic still pictures. Eight two-
minute talks were given under the general topic "Geography
in Action."

The Commercial Exhibits

The Society for Visual Education, Inc., was the only
concern represented at convention headquarters in the Hotel
Cleveland, having two rooms on the ninth floor and dis-
tributing there and in other places to interested visitors
the first number of their official monthly publication "Visual
Education," which is reviewed elsewhere in this issue.
Other commercial exhibitors in the visual instruction field
were represented by booths in the Bolivar-Ninth Building,
the entire second floor of which was given over for the week
to the N. E. A. exhibits. A list of these exhibitors follows:

Acme Motion Picture Projector Co., American Projecting
Co., Argus Enterprises, Inc., Bausch & Lomb Optical Co.,
Community Motion Picture Bureau, DeVry Corporation,
Edoscope Mfg. Co., Enterprise Optical Mfg. Co., Ford Edu-
cational Weekly, International Harvester Co., Mcintosh
Stereopticon Co., Moving Picture Age, National Geographic
Society, A. J. Nystrom & Co., Pathescope Co., Underwood &
Underwood, Inc., United Projector & Film Co., Universal
Film Mfg. Co., Victor Animatograph Co., Keystone View
Co., Nicholas Power Co.

Motion pictures and lantern slides were shown almost
continuously in many of these booths during the five active
days of the convention. Several thousand copies of the
February issue of Educational Film MACAzmE, entitled
"N. E. A. Convention and Americanization Number," were
distributed during the week to interested visitors.

MOVIES TO GET TEACHERS MORE P.\Y

The following typewritten slip, headed "More Pay for
Teachers," was given out for signature at the N. E. A. regis-
tration desk and many signed the pledge of cooperation in
the movement to obtain a living wage for those who are
building the next generation of American citizens:

W'UKHKAS the Fox Film Corporation is ready and willing to
undertake a national motion picture campaign to aid the movement
to give school teachers, '^^^llege professors and other educators a
living wage, and

WHEREA.S the success of this campaign depends upon the as-
surance of the whole-souled support of all teachers, superintendents
and other educators throughout the country, and

WHEREAS a committee is about to be formed to work out with
ibe Fox Film Corporation of New York City, through its motion
picture weekly department. Fox News, the details in handling said
campaign.

RESOLVED that I do hereby personally pledge myself to give
the said committee my active and enthusiastic support whenever
called upon, and further promise to act as local agent of the campaign
in my district, or community, and to make it my special business
to urge all teachers and other educators within my province to
support the theaters displaying this film and to aid to the utmost
extent of their power in furthering its circulation.

FILMS IN COLLEGE RESEARCH WORK

Motion picture films have a great future in educational
institutions for purposes of research and general instruction
according to Arthur G. Eldredge of the photographic de-
partment of the University of Illinois. Educators are just
beginning to realize the possibilities that may be found in
presenting the lecture and demonstration work in moving
piclure form. Movies can be made of all sorts of demon-
stration and shown to thousands of students simultaneously
while only a few can witness an actual demonstration in
some departments.

The real advantage of the movie over the original demon-
stration is that the films can be run more slowly; thus
bringing out details that were not observed in the actual
demonstration. A graphic illustration of this fact is por-
trayed in a movie film of athletic contests. When the films
are run slowly upon the screen each movement of the
event is brought out by the camera in a distinct manner that
the eye cannot observe during the swift movements of the
athletes.

Movie films are being used continuously by the various
departments of the university in research and demonstra-
tion work. The pictures are taken by Mr. Eldredge of the
photographic department and developed in the university
studio on the fourth floor of the physics building.

DENVER LIBRARY SHOWS JUVENILE FILMS

The public library of Denver, Colorado, has purchased
a motion picture projection machine to be used at the main
and branch libraries in conjunction with the children's
departments. The machine is fully equipped to show films
of any length and is intended to arouse interest of children
in books that it is considered well for them to read. The
firm from which the machine was purchased maintains and
lends a library of film-dramatized books and fairv tales.

""By showing the film version of the popular children's
classics the matter of the book is presentetl to the child
in a way that arouses his interest and leads him to read
the book, later," said Chalmers Hadley librarian.

"We have a regular schedule of piwure shows at the
children's departments of all the libraries, and in two
weeks we are able to show a film in all parts of the city."'

The machine will also be used in conjunction with the
art lectures given by Reginald Poland, art director. Mr.
Poland has been able to obtain pictures showing the
masterpieces in the field of painting and sculpture.

Educational films of industries, agricultural metho<ls,
and animal and botanical life will be interspersed with
the film dramas.

MAKING MOVIES PAY FOR NEW BUILDING

The Boston Suffolk Law School will have a big new building and
under a plan devised by Dean Gleason H. Archer is going to make
moving pictures pay for it and create an endowment besides. The
school auditorium in the new building will be fitted out to seat L500
persons and will be equipped as a high class moving picture theater.
The proceeds of the show will go toward paying off the indebtedness
nf ihe building. Dean Archer states that he has figured out thai
within seven years the building will have paid for itself with a
surplus besides.

W If

The Bray Pictures Corporation, b> their uni(|ue nielhod ol making
animated technical drawings, illustrate with great clearness how
the moon exerts a pulling force upon the waters of the earth, causing
tides. Here are shown the revolution of the earth, the high and low
tides, with spring tides — neap tides. The pictures taken show a
harbor on the east coast of the United .States, where the tide is
several feet high.

THE UNDER\^ RITERS RESPONSIBILITY TO THE PUBLIC

The Moral Responsibility for Evading a
Distinct Duty Cannot and Should Not Be
Shouldered bv Fire Insurance Interest?

B'^ Dana Pierck

Vtcr-Presiilenl, I ml

liters' laboratories. New York Citv

FKOM the very beginning of the motion piiture
industry the fire insurance underwriters took the
position that nitro-cellulose film, being a highly
inilanimahle article, should have all possible safe-
guards thrown around it both when in use in projection
machines and when not in use. Years ago the L nderwriters"
Laboratories in New York and other cities subjected the
nitro-cellulose film to the most rigid tests and decided that
as it was a dangerous substance and was likelv to be used
by the millions of feet and in the midst of crowds of many
thousands of people, every precaution must be taken to
protect life and property where cellulose film was con-
cerned. The fact that its principal use was in close contact
with sources of heat and light made it infinitely more
perilous to life and propertv than would have been the
case had its use been confined to instances where heat and
light contact was not involved.

The condition which obtained during the formative years
of the film industry has not changed but has become in-
tensified as the business expanded and took in non-theatrical
markets in addition to the ever-growing theatrical field. The
wider use of inflammable film, instead of having a tendency
to cause the fire underwriters to become less rigid in their
requirements and let down the bars to some extent, has,
on the contrarv, led to the feeling that the rules laid down
long ago were wise and sound and that it would be ex-
tremelv unwise and unsound to modifv them in any par-
ticular. The underwriters are satisfied that the comparative
freedom from film fires of a serious nature in theaters, ex-
changes, and other places where approved booths, licensed
expert operators, fireproof vaults, proper containers and
other safeguards are emploved is due to the general ob- ,
servance of these legal requirements. Without such safe-

guards the record of the industry would in all probability
have been such as to have caused its condemnation by the
public long before it had reached its present value and
importance.

The growing importance of the educational, religious,
industrial and non-theatrical use of motion pictures makes
it doublv imperative that the Underwriters, the State Fire
Marshals, and the local fire departments of our cities and
towns should be on the lookout to protect the lives and
property involved in such use of nitro-cellulose film. For
years the proper safeguards have been thrown around its
daily use in places of amusement. Why should not the
same safeguards be demanded in schools, churches, hos-
pitals, asvlums, prisons, manufacturing plants, and other
institutions as are demanded in theatres? Certainly the
lives of these thousands are as precious to the community
as of the other thousands who flock to the theaters. We
cannot have one law for places of amusement and a less
rigid law for the other places. The logic of the case is
irrefutable.

Moral Responsibility of Motion Picture Industry
It is squarely up to the motion picture interests to safe-
guard and conserve human life and to obey the laws. The
moral responsibliitv for evading this distinct dutv and for
violating the law cannot and should not be shouldered bv
fire insurance interests. If any state or municipal official
charged with the observance of the fire laws chooses to
violate his oath of office and turn his face the other wav
while the lives of hundreds of children are at stake, that
is his affair and a matter for the courts and his own con-
science to deal with. The pressure on the underwriters
from the film industry has been very great, and the com-
plaints have been numerous. But there is no tendency, as

'p HE life of the Pres'dent of the Utiitcd States was imperilled by the operation of these two standard professional projection machines, without
■"• fireproof booth or other fire protection, on the steamship George Washington which bore Mr. Wilson to and from the Peace Conference in Paris.
The danger lay not in the machines themselves but in the exposure and handling of hishly inflammable nitro-cellulose film outside of the machines. No
room or auditorium is safe, on land or sea. unless the use of such film is properly safeguarded.

as I can see. to weaken in our determination to safe-
rd the public and at the same time tlie many millions
loUars worth of property placed in jeopardy when such
sguards are disregarded.

Lcelate-cellulose or slow burning film costs a little more
a and is not as efficient nor as durable as nitro-cellulose
1. but is not the life of vour child worth the difference
price and quality? "But." you say. "we cannot obtain
Qts on slow burning stock in standard width, at least.

in anv desirable subjects or appreciable quantity.'"
haps not. because the underwriters will not approve

use of either inflammable or non-inflammable film in
[idard width unless fireproof booths, expert operators.
I the other safety provisions laid down are observed,
rtable projectors using both kinds of film which do not
; up to the letter of the law cannot be approved by the
lerwriters because, even though the user would promise
writing to emplov only slow burning film and would be
•ject to fines or imprisonment for violation, the tempta-
n to substitute inflammable film for the other would be
I great for the average owner of a projector to resist,
e onlv way to avoid this risk is to make it impossible
take it.

50 far as the large standard professional projectors are
icerned, the question as to the use of dangerous film was
■ the most part settled years ago. Each of the states has
ingent laws on this subject and these laws are carefully
served. If thev were not observed, the operators and
! owners would find themselves behind prison bars, or the
eration of such machines would be prohibited.
This brings us to the question of portable and semi-
rtable motion picture projection machines. The growing
; of these tvpes of projectors for non-theatrical purposes
s led to a laxitv in the observance and enforcement of the
«rs. This condition is to be deplored, for I fear that if
; bars are let down we shall wake up some morning and
id that a horrible calamity has occurred with the loss

many little lives.

Fire Haz.\rds Mainly Outside of Machines
The danger is not so much in the machine itself — many

the portable machines are safe enough within themselves
■but in the handling of nitro-cellulose film outside of the
achine. I have made this statement hundreds of times
It persons both within and without the film industry do
>t seem to get the point. Furthermore, all devices which
e designed to make the handling of hazardous film less
izardous within the machine and outside of it. which do
)t comply with the laws, are merely evasive and do not
eet with the approval of the underwriters, no matter
hat state and local authorities may think of them. We
«1 that our adamant attitude in this matter is justified
f the ever-present menace to life and property, and if a
isaster does occur the responsibility will be on their heads
ad not on ours. It will not require more than one holo-
iust of the kind to bring about a tightening of the lines
nd strengthening of the fire laws everywhere. But it is

great pity to think that we must face such a possibility,
le perhaps many lives may have to be paid as the price
f carelessness, to call it by no harsher name.

At the present time a very promising development for
le non-theatrical motion picture industry, in so far as the
se of portable projectors is concerned, is the safety stand-
rd which was adopted in 1918 by the Society of Motion
'icture Engineers. As the number of small machines used
acreases and as the pictures on the narrow slow-burning
ilms become still more widely distributed the wisdom of
he Society's decision will become more apparent. The

movement itself must naturally become accelerated by the
insistent demand of educators, churchmen, industrial man-
agers and others for motion picture facilities which are at
"lice efficient, practicable, and above all safe. The im-
]'ortaiit '"Safety First" campaign which was inaugurated
in the United States a few years ago was started by the
industrial interests of the country — hard-headed, practical
business men and publicists who realized that the safelv
factor was of the very greatest importance in all lines of
industry. Today there is not a manufacturing plant of any
consequence which does not provide for safeguarding the
lives and limbs and even the health of its workers, and
the "Safety First" movement has penetrated even into log-
ging camps and the most out-of-the-way places.
Safety Idea Shoh.d Be Encouraged

Portable projection machines using the regular theater
film, without booths, competent operators, and the other
fire preventive and protective provisions of the law, are
unquestionably a menace to life and propertv. Safety
standard projectors and the slow burning film which thev
employ are officially approved by the underwriters and bv
fire officials evervwhere because nitro-cellulose film such
as the theaters use cannot be used on such machines; be-
cause the handling of safety standard film by amateurs and
inexpert operators is not dangerous. The future of the
non-theatrical field of motion pictures, if it is to depend
upon portable or semi-portable projection machines largely,
lies apparently in the broad development of the safety idea
in machines and film libraries.

GOLDWYN-BRAY FAR EAST EXPEDITION

E. Alexander Powell, famous as a traveler, war corre-
spondent and author, has started on a tour in the interest
of the Goldwyn-Bray Pictograph and other releases of the
organization. Mr. Powell and his cameraman, E. L. Haw-
kinson. will visit Japan, the Island of Formosa. China, India
and other places in the Far East. Manv of the localities
on Mr. Powell's itinerary have not been visited bv a photog-
raphic expedition.

• This trip is in accord with the policy of the recently
allied Goldwyn-Bray companies to send the most ex-
perienced men available to far-away comers of the world
where interesting and instructive films may be secured.
Thev will make an important addition to the service sup-
plied theaters and also will be a valuable contribution to
the librarv of films being compiled for schools and other
educational institutions. It is expected that the e.xpedition
will be of six months" duration, during which approxi-
matelv eightv 1.000-foot reels of film will be exposed.

S- 9"
CHURCH AND THEATER COMPETITION

Rev. Charles \^entworth of the First Methodist Church.
St. Joseph, Mo., recently announced something out of the
ordinarv for his Sunday night service. The theme was
■'How Can the Church Compete With the Movies?" Mr.
Wentworth was the first minister on the Pacific Coast to
install a motion picture machine in his church. He has
had more experience than the average minister in movies,
and many came to hear what he had to say. During the
week seven members of the congregation were delegated
to visit that number of picture theaters and they reported
on the subject. ""Vi'hat Did You Observe in the Program
That Might Elevate the Educational or Religious Standards
of the City ?" Each gave a three-minute report. It would
be interesting to read the opinions of these seven lay
critics.

THE PICTURE'S THE THING

Wherewith to Catch the Conscience of the King- —
in Thi- In-tance the Child and His Mind, Too

By Charles R. Stonk

SiiperinlrnHrnt of Piihlif Schrols. Munball, J'a.

WHAl (In we mean \<\ visual instruction'.'' In its
largest sense we might include for discussion such
aids to instrurtion as charts, maps, experiments,
and models. All of these aid the mind through
the eye to a more perfect understanding of the subject
taught. Charts by their simplicity and coloring; experi-
ments bv their appeal to the curiosity; models by their
mechanism which presents something that can be taken
a))art, moved or observe/l. with a third dimension appeal.

But the main thought these days centers around the pic-
ture — slereoplicdii. stereoscopic, or moving — the picture's
the thing.

I ERK IS a Rruup oi children waiting uutsiUc uf a movie theater,
eager for the doors to open. Nothing makes a deeper or more
lasting impression upon their plastic minds than motion pictures. Will
Ihcy ever forget them ?

The modern form of the stereoscope was devised by 0. W.
Holmes. For about ten years following 1850 the stereo-
scope took the country by storm. By 1870 it had been
discarded. It has now been revived and is considered a
vital factor in teaching.

Stereographs Kivai, Nature

The stereoscopic photograph is of course different from
the ordinary photograph. It is taken by a special camera
with two lenses more than three inches apart. To illustrate:
Hold a sheet of paper or a book before your nose. Look
at the two sides, one with each eye. Neither eye gets the
same picture. This is the case with the special camera.
Kxamine closely the two stereoscopic prints and observe
corresponding positions of an tibject in the near foreground
with a distant object on the skyline in the two photographs.
The blending of the two bv the lenses gives us the depth.
We gel a perfect space idea, life size. We have not been
able to put this third dimension or depth on .the screen as
yel, but we may reach it. Dr. Krank McMurry says: "The
stereoscopic picture is undoubtedly the best substitute for
the real object. It gives abundance of detail that rivals
nature itself."

This article has been prcp.ireJ from a summary o{ a talk given by Mr.
Stone at a meeting of the Principals' Round Table of Allegheny County.
Pennsylvania, at the Y. M. C. A. in Pittsburg on January 10. 1920.

We use more than 1,000 of these stereographs in ou
schools. We could not get along without them. Childre
thus get the real geography.

Commissioner P. P. Claxton was one of the hrst expoi
ents of the use of the stereograph. In a recent magazin
article he champions the value of such aids in these w^trds
"Were I a superintendent of schools or member of a schoc
board now, I should equip every school under my directio
with all kinds of visual instruction material, and woul
expect teachers to make constant use of it."

"Teach Geography THKor(;H Pictlres"

Miss Jessie Burrall. chief of the school service ot th
National Geographic Society, says that geography has bee
one of the most neglected school studies. "Teach geograph
through pictures," she says. Miss Burrall explained thi
one reason for this neglect was the inadequate medium c
the printed page for the teaching of geography. That, sh
said, is why the National Geographic Society has adopte
a slogan of "Teach geographv through pictures." a sloga
that is being widely accepted.

"The reason geography is hard to teach will be clear i
vou will but recall your own school days." Miss Bu
rail continued. "Wliat mental picture did you get from th
definition, 'A lake is a bod\ of water in a depression of th
earth's surface'?

"Whatever the mental picture was, it was depressing, an
also vague. Put into a child's hand a picture of Lak
Como, of Lake Geneva, of Lake Michigan, and he will thril

GRAMM.^R school children in an art gallery, looking at paintings
and having them explained by their teacher. Child psycholo-
gists find that both still and moving pictures are indispensable in
modern educational practice.

at the spectacle. Show him pictures of islands, of cape
of mountains, and he will get the idea at a flash.

"Then again the peoples of foreign lands, the crops the
raise, the houses they live in, the clothes they wear — a
become real to the child. There you lay the foundatio
for an intelligent interest in the massed production an
distribution of these elemental things, which is econoiiucs
and (if the habits of these peoples, which is sociology, an

u arri\e at the precise problem? which intelligent consid-
Uion i)f the League of Nations entails.
"Let me beg of you. take the definition out of geography
d put the picture in."

\ ALIE OF InSTRLCTIONAL SlIDES
The ~tere(ipti(on offers a means of geting all pupils to see
r ^-anie picture at the same time, to hold the slide long
Bugh for study and explanation bv pupils. It has this
vantage over the movie. \^ eeklv I am giving special
usiraled talks to my pupils below the seventh grades on
! next month's work in geographv, giving them material

supjdement their text, matter to recall as they proceed
th their study. It used to be our practice to use the
de exercise tor review work. The main objection to
It is that when new countries are immediately taken up
i pictures have no longer any place in the class discus-
ins. I do not mean to say that I do all the talking. The
pils trv to find out the points after leading questions.
In tlie junior high school the pupils have a weekly stere-
ticon Exercise in each geography class in both seventh
i eighth grades. Here the pupils do all the talking, after
study of the slide, text book, and slide description,
nong the most helpful and interesting classes in our entire
agram are to be placed these days of visual instruction.
e stereoscope is used often for class exercise, but more
iquently for individual study before and after school.

Class Movie Difficulties
The movie presents some difficulties for class use. A
lied operator is necessary for the standard machines.
me difficulty is experienced in getting suitable films, when
u need them. Often the films are not suited to class
irk. Lack of editing for class use is the main criticism.
The I niversal Film Manufacturing Company is promis-
r a fine series of films to illustrate the text books of D.
)pleton Company. The most satisfactory form of film
iting known to me at present is done by the Community
)tion Picture Bureau of N. Y. City. Here things are done

the liking of a school man. Of course Ihere are tTie
'ety standard projectors with their claims. We had a
)rt demonstration at the round table meeting by the
lited Projector and Film Company to show what the
aller machine had to offer. This is steadily gaining
adway in our section of the country. Its advantages are
iW'-burning film, a machine that is nearly fool-proof, and
[air-sized film library which is being carefully edited at
• present time.

Magazines were distributed at the meeting calling atten-
n to the care which is now being taken to make the
de and movie real aids to the schoolroom. One of the
igazines thankfully received was the EdlC-VTIONAL Film
IG.AZINE. From its columns I have gained much valuable
;gestion and help.

A portion of a set of slides from the International Har-
iter Company was shown to demonstrate what a wonder-
I teaching agency is offered in agriculture at little cost

the real educator. I would urge every schoolman to
: in touch with this great company.
The unconverted should write to the Communitv Motion
rture Bureau at 46 West 24th Street, New York City,
r "The Motion Picture in Americanization'' bv William
;An<lrew. It is the best pamphlet I have read in manv
lay.

Educators will find much help in the pamphlet issued
the New ^ ork Department of Education, Albany,
'caching of Fifth Grade Geography"' is the title. Send
r it before the edition is exhausted.

"Will [he\ Ever Foroet It?"

The subject of visual instruction is one of my hobbies
lit which I am proud. We are working it hard in the
Munhall schools. My teachers are in sympathy with the
movement and are assisting to give the boys and girls
Something that they will remember longer than most text-
book facts.

.About every six weeks I have a general assembly of the
entire school in the large auditorium of the Carnegie
Library one block from the school. There we sing and see
the best of movies selected by such organizations as the
Community Bureau. My 1 .000 youngsters get something
worth while bv going to these gatherings. Last year we ,'
showed "Alice in Wonderland" after each grade, from the
first through the high school, had spent two weeks with
the story. Will they ever forget it'?

•VISLAL EDUCATION"

■"\ isual Education." edited by Nelson L. Greene, formerly instructor
in French at Amherst College and official lecturer with films and
slides to the French army during the late war, is the official puhlica-
tion of the Society for Visual Education, Incorporated, of 327 Soiiili
LaSalle street. Chicago, Illinois. This is a commercial enterprise
organized by educators in all parts of the United States whose object
is to provide schools and colleges with visual instruction material of
a pedagogical character, chiefly motion picture films. The journal
is a monthly and is designed to promote the movement for visual
education in general and the affairs of the society in particular.

On the covers of the number, dated January 1920, are printed the
names of the officers, directors, general advisory board, and commit-
tees of the society. There is an interesting "Foreword"' by the edi-
tor, followed bv significant articles from Otis W. Caldwell. William
F. Russell. W.' Arthur Justice. Wallace W. Atwood. Forest R.
Moulton. and C. H. Ward. The journal is to be issued monthly
except during July and .\ugust. The following brief extract from
the "Foreword" is so thoroughly expressive of what Educational
Film Mac.\zine has stood for from the beginning that itis reprinted
here with gratitude to the editor of "Visual Education:'"

We believe tljat the future awaiting tlie present efforts toward visuat
education will be more brilliant than the dreams of its most ardent devotees.
Undoubtedly, much of the prophecy now being uttered so freely on all sides
will prove to have been either false or gravely misdirected. But the future
will come — as the future always does — and it will bring to American educa-
tion great beneBt or untold harm according as it is moulded by the sound
judgments of educational experts or by the bungling hands of enthusiastic
tvros.

^ s-

CAMERA TO SCREEN-30 MINUTES

In the report of a meeting at the Royal College of Science.
London, a demonstration in flashlight photography was given by
K. Hickman. .\ "snap" of the audience was taken and a photogri'ili
of the chairman. The plates were then given a rapid development,
with a lightning wash; fixation in a fi-xing solution which was ef-
fective in 30 seconds, an invention of the lecturer: a further washing
for 2 minutes, in which time the hypo was removed by dilute per-
manganate: a bath for 2 minutes in formalin solution, after which
the plate was rinsed, dried in a stream of hot air from a machine
of the lecturer's design, and finally printed on a lantern plate. Within
half an hour of the exposure, a lantern-slide photograph of the
chairman was projected onto the screen.

Mr. Hickman also dealt with the screen-plate method of color
photography which, he said, by its simplicity and the beauty of its
productions, had ousted all other methods for amateur work. Many
examples were screened of slides taken by the Paget process, in-
cluding flowers and scenic studies and portraits.

FOl R KINDS OF FILM SERMCE FOR L. S. NAVY

The Sixth Division of the I. S. Na\y, the morale division, has
completed arrangements to supply the latest motion picture films to
be used for the sailors throughout the service. This will make it
possible for the very latest releases to be shown aboard ship and
at shore stations at the same time they have their initial showings
at the theaters. The ser\ice will be paid for out of the funds of
the welfare office. The shows, as at present, will be without charge
lo the men.

This service will be of four kinds: "Daily" for individual ships
and stations; "Fleet" for large units; "Long Term" for a period of
eighteen months and "Distant" for ships and stations in isolated
places. The new arrangement will take the place of the former
■\". M. C. \., Knights of Columbus and Jewish Welfare Board service.

COMMUNITY MOVIES IN SAN DIEGO CHURCH

Travelof:^. S^■enil•^. XTeeklie?. Comedies.

Dramatic and Historic Features Found

of Great Value

By H. V. Mather

Director ut Religious KHucatioD, First Methuilist Churrh, San Die^o, Cat.

education at the First Methodist
Church, San DieRO. California. He is in
charce of the community service programs
which arc offered without charge to the
public each Tuesday evening, as a jiart of
the educational and recreational work of
the church. These programs, largely mo-
tion pictures, attract many from churches
of all sects, the attendance sometimes
numbering 1,200 persons.

THE ptogiej^si ve,
forw arding-looking
church of today is
rapidly coming to
realize that its Christian
dutv lies not only in open-
ing its doors to religious
worship four times each
Sunday and once in the
middle of the week, but
is also conscious of the
existence of a great op-
portunity to be of service
to the conimunitv at large
by raising moral, recrea-
tional, and physical, as
uell as spiritual stand-
ards.

The progress of recent
years has brought with
it a demand for a re-
ligion that is real, a re-
ligion that is alive, a
religion that appeals to
red-blooded young man-
hood and young woman-
hood, a religion that
teaches and demon-
strates that Christianitv
and somber demeanor.

does not demand long faces
but permits and encourages joy in both service and worship,
and provides healthful, wholesome recreation and amuse-
ment.

In the motion picture the church with a vision has an
unequalled opportunity to provide for its members and
constituency a ])rogram which is both educational and
recreational, and which at the same time maintains the
dignity of the church and the reverence in which it is held.
True, the tnotion picture contains many elements of evil
which, when made use of without supervision, and for
commercial purposes, do not tend in any degree to fit in
with the plan of the Christian church. But the motion
picture, like all other agencies or institutions, has unlimited
possibilities for good as well as for evil. It is an institution
which has come to stay; the church can use it for its own
upbuilding, and for the betterment, recreationally and edu-
cationally, of the community. Hence, an opportunity to
do real community service is ofi'ered to the church tiirough
the motion picture.

The time has come whi-n the producers are turning a
listening ear to the demand for better pictures. This is,
in a large measure, due to the influence of the church. The
demand will, to a great extent, govern the supply. Because

of this fact, the church has it within its power to raise
tiie standard of the inotion picture to a higher level.

It is not the province of the church to compete with
the motion picture theaters: it is for the church to offer
programs which are above reproach, and through this
means not only provide entertainment and instruction for
the community, but also create in the community a demand
for better pictures — pictures which do not blight the morals
of those who witness them — in the theaters. j

Community Sermce Progr.\ms

The First Methodist Church of San Diego, California,
has been conducting a program of community service for
a number of months, and has found motion pictures to be
of great value. On Tuesday evening of each week a pro-
gram is offered free of charge to all in the community
who desire to attend. Large numbers of persons who have
not attended this particular church, and many who are
not affiliated with any church, are always in the audiences,
which verv often tax the capacity of the large auditorium.
The programs which are offered include motion pictures,
popular lectures, educational addresses, stereopticon lec-
tures, recitals, musical programs, and other similar features.
Cooperation with the State L niversitv has brought some
good programs, in which lecturers, still and motion pictures
have been used to advantage. The motion picture exchanges
have shown an increasing desire to provide subjects which
meet the needs of the church and from which objectionajile
scenes have been removed. On some occasions results have
not been very satisfactory. A great variety of subjects have
been used, including travelogs, scenics, weeklies, comedies,
dramas and history features.

In commencing its work, this church determined to secure
the very best in the way of equipment, and feels amply
repaid for the investment made. Instead of producing
mediocer results, which would have beeti detrimental to
the success of the project, its motion pictures are on a par
with those shown in any picture theater in the city. This
fact has had much to do with the success of the program,
and will undoubtedly have the same effect in other localities.

Rev. Dr. Lincoln A. Ferris, tHe energetic and wide-visionetl
pastor of the church, believes that motion pictures can be
used to advantage by any church as a portion of its com-
munity service program, provided they are used with judg-
ment and under proper supervision.

[Ml [M)

MORMON CHLRCH TAKES LP MOVIES

I'nder the direction of the scientific society of the latter Day
.Saints" t niversitv. Salt Lake City. I tah, a series of motion picture pro-
ductions are lieing screened at this church school. This is said to
he the first time the Mormon (.'hurch has taken up the use of movies.

EDUCATIONAL MOVIES IN MINNESOTA CHURCH

Special Friday Matinee? for School
Children and Mother- Are a Feature

Bv Rev. Dr. E. C. Horn

pMior. Mrthodiat Charrh. KcKood Fall'

HE government of the I niteil State* and many in-
dustrial corporations have adopted moving pictures
as the quickest and best means of imparting instruc-
tion to employes. Government specialists, according
to reports, have ascertained that a course of instruction
requiring ten weeks in the old way can now be given in
fifteen minutes by the use of pictures showing the actual
processes involved.

Contracts have been made for educational moving pic-
tures to be screened at the Methodist Church auditorium.
Redwood Falls, Minn., every
Friday evening beginning at
7:45 o'clock, the presentation
to consist of from five to eight
reels of the very best moving
pictures of an educational nature
procurable. The strictest cen-
sorship will constantly be main-
tained so that objectionable
features will be reduced to the
verv minimum if not entirely
eliminated. Lp to date several
thousand feet of film have been
returned to the film exchanges
unused because these particular
pictures did not measure up to
the high standard that has been
set.

About S800 have been expend-
ed in the purchase of moving
picture projector, booth, screen,
and blinds for the windows, in-
stallation, and no expense will
be spared in securing the best
and highest class films to be pro-
cured. Two contracts for film
service have been placed in New-
York City, one in Chicago, one
in St. Louis, and five in Minne-
apolis.

For the benefit of the school
children and parents who cannot
attend at night, the entire film
service will be presented every
Friday afternoon at 4:15, the

teachers as far as possible coming with the pupils and
sitting with them. As the films are purely educational and
not sectarian, this service will prove to be worth thousands
of dollars annually to the public schools from an educa-
tional standpoint, proving that a church auditorium may
be made to minister to the upbuilding of a city on week
days as well as on Sundays.

Admission is free to all though a collection is taken to
meet the expense of the film service, the use of the audi-
toriiun. fuel and light being given by the church without
charge.

p EV. DR. E. C. HORN, who has been pastor of the Meth-
-^ odist Church, Redwood Falls. Minn., since 1917, gives the
following biographical data about himself: .\Iumnus Ohio North-
em L'niversity and DePauw University; doctorate in divinity,
Nebraska Wesleyan L'niversity: instractor for two years in U, S.
Grant University and two years in DePauw University; special
••.\round the World" press correspondent; inspected missions in
Japan, China. Philippines, Malaysia. India. Africa. Turkey and
Europe under special appointment of the Missionary Society of
World.' and "Mazes and Marvels of Wind Cave" ijow in sixth
edition; for three years vice president of the International
Sunday School .Association; pastor Trinity Methodist Episcopal
Church. Minneapolis; president State Epworth League since 1914.

Films Contracted For
The following are among the films that have been con-
tracted for and are suggested as samples of what those
attending will see:

Cold Pack Canning: Fight the Fly: Making Mother's Work
Easier: Tractor Farming; Making Shoes: Royal Gorge of Colorado:
The Great Volcano in Hawaii; Story of a Box of Candy; San Fran-
ci?c<i: A S<iiiare Deal for His Wife: Fountain Pen Making; A Wild
Goose Chase: Cleveland. Ohio: Yellowstone Park; Mining Coal;
American Wonderlands: Canning Lessons: a Brush with the Enemy,
• •r Care of the Teeth: A Day in Dogdom: Mt. Wilson: Making Rope:

The Presidents of the United States;
Visit to Luther Burbank: Roosevelt
Dam; Fighting Fire: Los Angeles,
California: Electricity: A True Fish
Storv-; Making a Newspaper; Safety
First: World at Work (10 reels,
serial ' : Tour of the World • 10 reels,
serial I : Fergus Falls Cyclone: .Amer-
ica at Play: Glacier National Park;
Official War Review Tyler Cyclone;
Northern Minnesota Forest Fire;
Pathe News Weekly: and others, in-
cluding The Crisis.

Among the classics to be
screened will be "Scrooge," by
Dickens; "Treasure Island,"
Stevenson: "The Adventures of
LTvsses," by Homer, also "The
Fail of Troy." In the realm of
history will be seen: "The Land-
ing of the Pilgrims": "The Mid-
night Ride of Paul Revere":
"The Boston Tea Party." Espe-
cially for the children the fol-
lowing are listed: "Little Shep-
herd and Golden Locks" and
■The Three Bears"; "Nature's
Children, Lions. Alligators, and
.Monkeys": "The Pied Piper of
Hamelin"; "The House that Jack
Built"; and scenics permitting
those attending to visit almost
everywhere. The destruction
wrought by the cyclone at Tyler
and Fergus Falls and the North-
ern Minnesota forest fire will be

The most important news items the world over are pho-
tographed each week and filmed. gi\-ing all an opportunity
to see what has required space on the first pages of the
great dailies of two hemispheres.

Rev, C, R, Montague, of Tulare. California, has installed a new Simplex
projector in his church. The Fresno. Cal., Republican, commenting upon
this fact, says "he has the system for bringing his congregation to church
an<! away from the theaters.'*

Kev. Howard A. Talbot, pastor of the Presbjterian Church, De Pere,
W-.-.. recently installed a Mazda Simplex projector in his church. He is
.isirg it for leeture work and various church gatherings.

THE WORLDS SUPREME TRAGEDY REVERENTLY TOLD

"Krotn (lie Manger to the C>o?s." in Six

ReeU. Piitiires the Birth. Life. Death and

Resurrection of Christ in a Form Ailapted to

I'rotestant Churches

By M. Elisabeth Eijlanu

WHK\ >i>ii enter it I the Temple of Christ i yuu liear a
sound a sound of some mighty poem chanted. Listen
Inn? enough, and you will learn that it is made up of
ihe healing of human hearts, of the nameless music of
mens souls— that is. if you have ears. If you have
eyes, you will presently see the church itself — a looming
mystery of many shapes and shadows, leaphig sheer from the
door to dome. The work of no ordinary huilder. The pillars of
it go up like the brawny trunks of heroes: the sweet human flesh
of men and women is moulded about its bulwarks, strong, impreg-
nable: the faces of little children laugh out from every corner-
stone: the terrible spans and arches of it are the joined hands
of comrades: and up in the heights and spaces there are inscribed
llie numberless musings of the dreamers of the world.

•ft is yet building— building and built upon. Sometimes the
work goes forward in deep darkness: sometimes in blinding light:
now^ beneath the burden of unutterable anguish: now to the tune
of great laughter and heroic shoutings like the cry of thunder.
Sometimes, in the silence of the nighttime, one may hear the tiny
hammerings of the comrades at work up in the dome — the com-
rades that have climbed ahead."

So Manson says, in Charles Rann Kennedy's play, "The Ser-
vant in the House." as he tells two other characters of the
building of God's Churcli on earth. Manson's description sounds
like a fairy story to many of us: we do not hear the beating of the
human hearts and the music of men"s souls that have gone into
the building of that Church: we cannot see the spans and arches
iliat are made of the joined hands of comrades. Jesus Christ and
the many builders of his Church are hazy to us. and we have a
feeling ihal if the mist, which in our minds envelops them, were
cleared away, we would understand better what Christ's life and
his work means to the world.

Six Reverent Reels
With ihis ihought in mind, one of our large moving picture
companies has made .1 film depicting the life of Christ: and
ihey have given to us a piclurizalinn. handled delicately and rev-

' HK Baby in the Manager. The most important events in Christ's
Life have been touched upon in the film.

erently. from the lime of his birth in a manger in Bethlehem to
his crucifixion on the cross on Ml. Calvary. The scenes relating
111 llie birth of Chri.st are especially beautiful. We see the shep-
herds on a hillside flooded with moonlight "keeping watch by
night over their flock." We see Mary and Joseph and the little
baby Jesus in Egypt, sleeping on the desert sands and guarded by
the Sphinx. Later in the picture follow the scenes of the grown
Jesus, preaching on the shores of Galilee with the crowds throng-
ing about him. These situations are handled artistically throughout.
The Garden of Gethsemane. the betrayal of Judas, the trial before
Pilate, and the crucifixion pass vividly before us. At the present time
the picture ends with the crucifixion, but the producers are planning to
release in the near future one more reel picturing the resurrection.

Insofar as possible.

•THe Flight into Egypt. Marj- and Joseph are really in F.k> pt
tions used for the story.

the pyramids show. .\n illustration of the loca-

the

liicaiion of the scenes is
llie same as that in which
the incidents portrayed
actually occurred. Cos-
tuming and the customs
of the people agree with
ihe best authorities we
have on those subjects.
The players are consistent
with the characters they
portray and the con-
trast in characters adds
much to the interest in the
picture. The faces of
Mary. Judas, the blind
man. Pilate, the scourgers,
and of Jesus himself make
a deep impression upon
ihe spectator and remain
with ihem.

The film. From the Man-
ser Id tin- Cross ( released
by Vitagraph. Inc.), is five
reels long, and if run at
ihe correct speed will re-
quire one hour and a
quarter for showing. The
leaders ( guide words in-
serted in the film to give
clues to the action* are the
Bible story itself, except in

£SUS HealiiiR the Blind Man outside Jerichn. 'I'liis iiu-mrc iHu-itratL-s llie careful character purtrayal
faroiiphout the lilni. .Nr>tur the expression on the blind itian's face.

few instances where the Bihle passage was too long and had to
condensed for use as a leader.

World's Supreme Tr.xgedy

Mm h responsihilily rests upon the pastor or siiperinlendent .show-

g this picture: it must he presented carefulK. This is no ordinan,-

jvinp pirinre. it is the worlds supreme lrage(l\. the story in pic-
res, of the life of our Saviour. Jesus Christ. It is perhaps unnecessary-
say that no other fihn should lie

n the same evening From the

an^er to ihi- 6>os.s is presented.

iless educational scenic pictures
the Holy Land can he secured.

le same company which releases

e film of the story of Christ's life

IS a few educational scenics of

llesline and Egypt.

Plan to have the music synchro-

ze with the picture as far as

issihle. Diirini; the first Iwo reels

e organist or pianist can plan our

;11 known h\mns, filling them in
the right moment — HarL the Her-

d Ansseh Sing: While Shepherds

'atched Their Flochs: We Three

ings of Orient Are: () Little Toiin
Bethlehem. During the showing
the period of Jesus" life relating
his minislr>. these hymns may be

ayed: Fairest l.nrd Jesus: I Think

'hen I Rend That Street Slorv of

Id: Break Thniis the Bread of Life;

\sui Calls Us: Love Divine. All

tves Excelling; My Jesus I Love

hee. During the scene of the tri-

nphal entry into Jerusalem. Crown

im uith Many Crnuns will be fit-

ng. For the last reel, dealing with

le last days of Christ's life, these

ITDins are suggested: When I Survey

le Wondrous Cross; There is a

Teen Hill Far ,'ttvny ; The Church's

'tie Foundation : and al the close of

le picture, using full organ. Christ

ie Lord /.« Risen Today. In place

f these hymns selected portions of

landel'- Messiah may be used.

L'sE Hv.M.Ns A^u Bible Readings
If planned carefully, parts of the
Bible story may l)e read while the
corresponding scenes pass before the
spectator. As most of the scenes
run rather short, however, the reader
would need to have the film run for
him several times in order that he
might cul and condense the Bible
stories so lliat they will be correctly
limed in reading with the running
of the scenes. As this plan is a little
difficult, the committee responsible
(or the showing of the film may pre-
fer to have the appropriate stories
read between reels: that is, the stor-
ies relating lo ihe scenes pictured in
a reel are read from the Bible before
thai reel is run. The reading of the
stories is not necessary, as the lead-
ers are sufficient explanation, but.
if ihey are read, the picture will be
more impressive.

From the Mant-er to the Cross
must have much influence upon
those who see it. Christ and the
message of his life are made real.
We know that Christianity is built
upon the rock, and though the rains
descend, and the floods come, and
ihe winds blow, il cannot fall:
for il is founded upon ihe rock,
s work must go on and on. We under-
stand and appreciate better the sacrifices of his followers who have
given themselves that his work might go on and on. In seeing tins
picture, although this may seem a paradox, we '"hear the tiny ham-
merings of the comrades at work up in the dome^-.the, comrades
that have climbed ahead": and lo us comes the realization that
we. too, must have a part in the building of that temple.

idiTsland better win

'pliK Last Supper. The customs of the people have been adhered to
■^ when eating, and have taken off their sandals.

The .\postles recline on couches

From ihf C/iurrh Srhaal. Copyrighl 1911. hy Irthur F. Slei'ens. Illtttlraled l>y Coiirl.^y aj I Ko^rra/./i. In

RED CROSS EFFICIENCY EXPERTS USE SLOW MOVIES

By Running The Film Rapidly and Slowly Instructors Were Able
to Reduce a Task to ils Fewest Possible IVuniber of Movements

TirE motion picture is stepping out of its accustomed
role of entertainer and educator, and is qualifying
as a labor expert.

Red Cross instructors who have been investigating
the possible vocations open to blind soldiers find the cinema
invaluable in devising courses of instruction designed to
make the blind man as efticient a worker as his fellow with
vision. The Red Cross Institute for the Blind at E\ergreen,
near Baltimore. Maryland, conducted an exhaustive indus-
trial survev for a vear to determine the occupations for
which a blind man could be fitted. Motion pictures, pro-
viding' the hasps for time, motion, and fatigue studies, were

gl.IXn -.iMi.is .mil -.iiliiV, Ic.iriiiiJK t,i typewrile at llu K.-i Cro^^
Instuulf, hvtr^'reen. Maryland. Slow motion ptctnres were used
by experts to calculate tlie fewest possible number of motions needed
for efficiency in variovis trades.

taken of actual work that it was believed might appeal to
blind men and the instruction is based on these.

By a careful study of the pictures projected on the screen,
and by running the films rapidly and slowlv. experts were
able to reduce a task to ils few'est possible number of mo-
tions and to calculate accurately what a worker's output
might be. allowing for fatigue. When it seemed that a
trade had been reduced to its simplest terms, the course of
study was regarded as ready for application to the student.
MoMKs Help Overcome H.andic.^ps

The average observer is amazed at the efficiencv which
blind soldiers attain in occupations for which they are pre-
pared through this and other methods. Auto repairing, in-
surance salesmanship, typewriting, bookbinding, carpentry,
farming, poultry raising, and a dozen other means of earn-
ing a livelihood are taught at the institute, and a nimiber
of graduates are engaging successfully in their chosen
pursuits.

Despite the widespread conviction to the contrary, the
deprivation of his eyesight does not bring to a man com-
pensating senses and abilities that he formerlv lacked. What
blindness does for him is to cause him to develop senses and
abilities that other-vise would be latent, just as a man who
has lost his right hand learns easily to write with his left.
The blind man. deprived of his sight, endeavors to perceive
wholly through his other senses.

A visitor to the Evergreen Institute was strolling about
the grounds with a blind friend. "What lovely roses there
are to our right," said the blind man. The visitor, who had
not noticed the flowers, looked around. To be sure there
was a garden of beautiful roses in full bloom. The blipd
man had recognized their presence, their location, and their
nature through his sense of smell.

Two hundred Americans were blinded in the World War
and more than half of them already have passed through
the institute. It is located on the outskirts of Baltimore
in beautiful grounds the use of which was given to the gov-
ernment by Mrs. T. Harrison Garrett and later turned over
to the American Red Cross.

JUNIOR RED CROSS MOVIES

Have you seen the Junior Red Cross films? There are
two Junior films now, and they are about as much alike
as salted peanuts and watermelon. One is called "America,
Junior." The story is about Mary Clark and how she
made her neighbor, little Donald Murray's father, change
his mind about a good manv things. Mary was a good
swimmer so everything came out right in the end.

The other film was taken last summer at the Junior
Red Cross camp in the mountains of Czecho-Slovakia.
After you have seen this film you will never wonder
whether boys are really boys in that new country in the
center of Europe. There are cold-water fights and there
are wild Indian scalping parties, and you should see the
rough-and-tumble when our old friend codliver oil comes
on the scene. Only the pushing is toward the oil, not away ■
'from it, and if vou had the same reason — a gnawing hunger
for fats — vou would be pushing in the same direction.

Ask the school committee of your Red Cross chapter
to arrange for the showing of these Junior films.

9 9
"THE WOMAN WHO WORKS"

Carlvle Ellis of Autographed Films, with James Goebel I
in charge of photography, has begun a three-reel produc-
tion entitled "The Woman Who Works," for the Industrial
Committee of the Y. W. C. A. Hours, wages, safety, and
sanitation each make a one-reel subject. The story is a
review of the progress made in the betterment of conditions-
for women in industry and of things still due them. Woman
as a vital factor in industry, its reaction on her, and her
effect on industry and the community are vividly drama-
tized in a series of episodes.

9 9

M.\PPING THE EARTH FROM AIRPLANES

At the present rale 200 years will be needed lo finish mapping
the earth. Great areas remain unexplored and little is known of
millions of square miles of land. By using the airplane for niap-
inaking this work may be done in the next twenty years. Instead
of climbing mountains and laboriously measuring the land foot by
foot, we shall do the work while flying a hundred miles an hour.
A special camera is placed in the bottom of the car and photographs
are taken automatically, so many to the second or minute. These
photographs are then fitted together in what is known as a mosaic
map which shows every house of towns or cities and ever> road and
tree of the country. No such maps have ever been made before.

JUDGE RULES OUT FILM AT MURDER TRL\L

Motion Pictures Admissible as Evidence under Certain ConditioM>.
but Not in This Case

The trial of Mrs. Gertrude Wilson, accused of the murder
of Charles Brown at Marysville, Cal., which has been at-
tracting much attention on the Pacific Coast, has come into
even greater prominence through the efforts to introduce
moving pictures as evidence. These pictures were made by
the defense at the actual scene of the shooting with the
assistance of eve-witnesses.

Judge Ernest \^ eyand permittetl the pictures to be shown
in court, but had the jury excluded at the time, as well
as during the entire half-day given over to arguments for
and against their introduction as evidence. He later ren-
dered a ruling against the admission of the film, expressing
the opinion that such evidence might tend undulv to sway
the jur\ bv its dramatic effect, as well as set a dangerous
precedent.

The defense contended that the film showed the oc-
currence in the exact manner in which it happened and
that in no other way could it properlv be described. It
set forth that twelve men in the jurv box form twelve
separate mental pictures from spoken testimony, some of
which must be inaccurate, while the testimonv of an eve-
witness in moving picture form would give one clear im-
pression.

Jldge VI'eyand's Opinion

In giving his decision to refuse the admission of the
films as evidence. Judge Weyand spoke at considerable
length and went into the matter in detail, stating that he
realized that the proposition was a novel and very important
one. He quoted authorities on the use of photographs and
expressed an opinion that if "juries are naturallv prone
to accept them as absolutely correct," as is asserted in
"Moore on Facts." this would be even more so in regard
to moving pictures.

He also directed attention to the fact that an actor alwavs
places special stress upon his attempted reproduction of
the alleged acts of the person he represents, and suggested
that since the actor in the film in question who represented
the murdered man had never seen the original, his natural
tendencies would be to overact the picture in favor of the
side whose version was taken as a guide.

He expressed an opinion that moving pictures had their
place in courts as evidence and went into detail outlining
the possible use of these. In part he said :

When They May Be Used

"It is highly proper to use a moving picture in aid of
any disputed issue in court in an attempt to have clear
and truthful mental picture of the incident under investi-
gation in order to have it clearly and firmly impressed
on the minds of the court and jury. Any court that would
refuse to allow the moving picture as evidence in such a
case would, in my judgment, be committing a. reversible
error.

"I may give some instances where I think it would be
proper: Suppose the method of operation of some mechan-
ical contrivance should be the subject of dispute, and it
would be impracticable to show the actual operation of
the contrivance to the court and jury; in my judgment,
moving pictures that would fully show such operation
should be received. Assume that the operator of a moving
picture machine were taking a picture on the street showing
the movements of men or machines and other movable
objects, and an altercation or accident should happen within

the scope of the machine, and thereafter the incident be-
come the subject of legal inquiry: it would be gross error
to refuse the introduction of the moving picture, if proven
to have been honestly taken.

PiCTlRE.S THE BeST EVIDENCE

"I am informed that during a recent strike a moving
picture machine was stationed in a secreted position and
was made to photograph the actual movements of the
strikers. Were this strike or the question as to who may
hiive participated therein or the actions of the several
participants to become the subject of judicial inquiry, a
picture of the persons, their acts and movements so taken
would be the verv best evidence in such investigation.

"A picture showing the actual progress of a fire or a
flood, or showing the action of a windstorm, should be
received when it can illustrate any disputed issue or fact.
In all these instances it will be noted that the direct fact
in issue is shown in the picture."

Judge Weyand stated that if the question at issue in
the trial in progress was, "Could the homicide have so hap-
pened.' the use of moving pictures would have been per-
niirsible. but that this was not the real matter in dispute.

FEDERAL AID FOR ORAL HYGIENE FILM

There is now before congress an amendment to the Legis-
lative Appropriation Bill to provide for printing and cir-
culating in the states the dental film prepared by the army
during the war. The amendment carries an appropriation
of S15,000. Part of this sum will be used by the Bureau
of Education, if the item is approved by congress, to print
copies from the negative of "Come Clean," a three-reel
feature owned bv the government and the remainder for
paving the expenses of Major Mitchell who was responsible
for and directed the preparation of the film. Major
Mitchell will be engaged bv the bureau and sent to the
various states to cooperate with the state institutions in
promoting better health through care of the teeth.

The film, although prepared for army use, shows by
means of pictures and diagrams the proper care of chil-
dren's teeth. It is woven about a story of keen interest.
An exciting fist fight is one of the most interesting features
of the picture.

The School Hygiene Association and the Society on Oral
Hvgiene have approved the film and requested congress
to appropriate the money for its use in the states.

9' 9'

60,000 Feet of American Educalional-InJustrial Film
for China

That natives of twenty-eight Chinese cities may "see America
first," a number of American industries, including the Ford_ Motor
Company, the Western Electric Company and the Hoover Vacuum
Sweeper Company, have united in preparing 60.000 feet of edu-
cational film. This is now on its way to Shanghai. There are two
copies of each reel, and they will be used for Chinese lecture
courses, directed by Prof. C. H. Robertson. V. M. C. A. educa-
tional director in the Orient. The cities in which the pictures will
be screened are among the largest in China, running in popuplaton
from 225,000 to more than 1,000,000. The course in each place
will continue several days.

Twenty subjects are treated. Five large American cities will be
shown: New York (2 reels). Boston, Philadelphia, Washington
and San Francisco. The wonders of these nature spots will be
revealed: Niagara Falls, Yellowstone Park, the Grand Canyon of
Colorado. Yosmite Valley, Mount Wilson and the Roosevelt Dam.
these typical industries will be treated: Orange growing, lumtier.
?iiBar, wheat, milk. Ford plant (two reels), shoes (two reels), coal
rrining (two reels), newspaper making (two reels).

Before any of the films are shown the Y. M. C. A. will insert
Chinese titles and Professor Robertson will prepare his lectures to
be delivered in conjunction with the exhibits.

The American Telephone and Telegraph Company has in prepa-
ration a film. "Speeding the Spoken Word." which will be dis-
r--hured in Hawaii by the Y. M. C. .A.

REVIEWS OF FILMS

Editp,l'.hy^ GLADYS BOLLMAN

WHEN A NATlOiN NEEDS FRIENDS

A TACTFUL, genuine, and forceful appeal to ])atri-
(ilism of the highest type is made in Thr Land of
Opportunity. A radical young man. w.ho contin-
ually preaches his doctrines at his club and else-
where and who refuses to be convinced by any of his wealthy
friends, is finally converted to reason by the relation of an
incident in Loncoln"s career. The incident chosen is that
in which Lincoln walked twenty miles and broke a campaign
engagement to defend the innocent son of a woman who
had once been kind to him.

Back in the days when he was a young woodsman, often
hungry and sometimes discouraged, she had encouraged him
— with a hot meal, and with such sage advice as "Look
hard; and use your hands and head while you are looking.'
Lincoln never forgot her and what she did for him. He
defended the boy successfully and after the trial was over
told him. "If you are guilty you will curse me a million
times for what I have done for you this day." But the
boy was innocent, and has in some measure repaid the
debt by a long, upright, contented life. It is he who tells the
story to the radical, and it matters not that he is a steward in
the radical's club — he is an honest, self-respecting, and
thoughtful American. He argues soundly against Bol-
shevism and when he makes his final plea — "Nations some-
times need friends who believe in them, as Lincoln believed
in me'" — it carries weight.

This picture is of the greatest value. It reveals the
humble circumstances from which Lincoln rose in this land
of opportuintv. It shows him as a young woodsman, as a
speaker, as a lawyer. It also emphasizes the truth that al-
though men mav do different work in life, thev are not
therefore necessarily unequal. It defends the honest and
philanthropic man who has made wealth — "Any man who
has earned his mone\ through hard plugging and gives it
away is worth a carload of Bolshevists." It brings out the
point that many radicals are natural rebels against all
forms of law and order, and that it is they who create tur-
moil and trouble for the nation. It makes a striking plea
for the nation's friends to come to her aid in a time when
everything looks dark and there is none to defend her good
name.

The scenes are all extremely well staged and played.
Ralph Ince gives a fine characterization of the sturdy, am-
liilious Lincoln of 18.S3. The picture cannot be too highly
|)raise<l, and we are glad to know that there are others
of the same kind to follow. This series of fifty-two pictures
is being made by the National Association of the Motion
Picture Industry in cooperation with former Secretary Lane
of the Interior and at the request of Congress. Secretary
Lane said, in speaking of this series,

"We are not unappreciative of the service — the immense service--
thai was Hone by the induplry during the war: we think that the
ihing that you did thi-n did mucli In strengthen yiiur standing as a
permanent factor in the development of the conception of the motion
picture as an educational force in the United Stales. That undoubt-
edly is true.

"There was your opportunity. You took advantage of it, and you
made the people of the country feel that the motion picture was as
real as the newspaper or as ihe pulpit — as real, probably, as the
pulpit used to be when religion had more definite hold upon the
people.

"Now your opportunity is to continue to emphasize that spirit and
that attitude. Instead of simply giving a certain degree of amuse-

Ralph Ince as Lincolis in "The U\!nd of Opportunitv"

ment to the people, you want also to convey to them ideas that are
stimulating — that man has a finer nature as well as a grosser nature.
"Democracy is just this: It is a lifting of the inhibitions that are
upon men, so as to give them an opportunity to show themselves.
That ideal cannot be realized immediately. ... It does not mean
that it is going to make a man out of a corn-stalk ... it does not
mean that there is any miracle by which you transmute dross into pure
gold: it means that if there is the pure gold in you it will have a
chance under, freedom to show itself. .\nd that is the significance of
as .\mericans. ... I have no doubt that you will put into the
mind of the .Xmerican bo> and girl and man and woman . . . the
thought that this is the land of hope."

The Land of Opportunity. Produced by Selziiick. Distributed br
Ki-piiblic. 2 Reels.

'JUBILO"

■"Second thoughts on first sights" often reveal new charm
in a picture. .\ film which easily bears two sittings is Jubilo,
issued under the Goldwyn standard. The cover of the Jan-
urary 1920 number of this magazine bore a picture of the

quaint, good-natured, lovable tramp who i* the hero. The
story is a simple and oft-repeated one — the making of a man.
In this case the raw material is a tramp, and he comes to
his better self through being confronted bv a nice question
of loyalt\ . The luck\ turn of fate which helps out the di<-
inherited and well-tailored son of fortune in most picture?
is not vouchsafed to Jubilo — he learned to know right from
wrong by nothing less than an administration of old-fash-
ioned corporal punishment. But the result is far more
convincing than usual.

A comfortable background of country life is used, and is
most excellently worked out. The characters are distinc-
tive and interesting. The story, from the first moment to
the last, is told with a rare skill which at once stimulates
and satisfies one's curiosity.

Surely all those who see motion pictures do not live in the
drawing-rooms and boutloirs of palatial mansions, unac-
quainted with their own back-steps. Is it not curious that
the motion picture so consistently ignores the kitchen, the
sewing-room, and the back porch, which mav all be very
pleasant and are surely yery necessary parts of the house?
Jubilo takes us into the real life of a good, honest, middle-
class home, and shows that great emotions, idealism, fine-
ness of motive, and fulfilment are no less the characteristics
of these millions of ''average" homes than of those furnished
h\ interior decorators.

Just as the early Elizabethans demanded in their new
drama a superabundance of emotion, tragedy and confu-
sion, (typified by the wide variety of murders in the Span-
ish Tragedy, lor instance I. these early days of the motion
picture show a similar tendency to extravagance of setting
and incident. But we are being educated to an interest in
each other — the common people — and some dav we will
have an Ibsen of the screen who shows us life as most of
us live it. Then lecturers will explain to their college
classes that pictures like Jubilo pointed the way to a wel-
come age of genuineness and realism.

Jubilo. Produced ami Distriimted by Goldwyn. 5 reels.

•AN EQUAL CHANCE"

A valuable public health film which was photographed
in Dutchess County, New York, in co-operation with the
New York State Department of Health is entitled "An
Exjual Chance." This film, which is in two reels, presents
the public health nurse and her work, and was directed
by Carlyle Ellis, of Autographed Films, from a scenario
by Gilbert Tucker and James Rorty.

The story of the film deals with conditions in Shirley-
ville Township, where during the influenza epidemic of 1918
the inhabitants find themselves with only one doctor and
no public health nurse. The overworked physician applies
to the nursing association in a neighboring city, and a
nurse is sent to help out the situation. The nurse points
out the necessity for giving all the families in the district
an equal chance in the emergency. As a result of her
efforts the children in the country schools are taught health
habits, and are given regular examinations by a doctor.
Through the efforts of one of the nurse's admirers in the
district the Healthmobile. showing motion pictures cover-
ing various branches of the subject, comes to Shirleyville,
exhibiting the work of the public health nurse in open
air schools for tuberculosis children, also work among the
Shoshone and Arapahoe Indians on the Wind River reserva-
tion in Wyoming, and among the negroes in Louisiana.

Besides the demonstrations of bedside care, home instruc-
tion, and country school nursing which are woven into the
body of the story, the "film within a film" makes it possible

to include accurate representations of other branches of
public health nursing, such as maternity care, infant wel-
fare and tuberculosis.

.■in Equal Cttance. Produced by .\utographcd Films. Distributed by The
Nat. Organization for PnMic Health N'ursing, 156 Fifth a\i-tiiif \>w York.

•THK IMMORTAL HLCKLKBERR\ LINN'
Huck Finn li\es anew. We all know his adventures and
evploits, so they need not be chronicled again. But we have

TXH^r-IL icc^e^ Iroiu ' .-vii ^^aa. *^Q<iilve. a Uim uCitriuiiitj ^.v.-
■"■torially the valuable work of the public health nurse. The
New York State Department of Health cooperated in the making
of this picture.

not all seen the round-faced, round-eyed boy who not only
plays Huck Finn but seems to just naturally be Huck Finn.
Huck and Tom Sawyer; the immortal pair of swindlers who
staged the great tragedy of the Cameleopard: "nigger Jim,"
Miss Watson, and Aunt Polly — all are as much themselves
as could be desired. The story, with the exception of an un-
fortunately sentimental interpolation, or rather misplaced
emphasis, at the end. runs along properly — we only wish
there Were more of it and that there were some way of cap-
turing all of the book for the screen. But of course there
isn't.

A serious detriment to the film is the footage given to the
drunkenness and brutality of Huck's father. For an opti-

ence of children this must and for anv optience this should
he greatly reduced. The producers should re-edit this part
of the film without delay. Otherwise, the sympathetic im-
agination of the adaptation has created a picture which will
appeal for years to come. Huckleberry Finn is one of the
exceptions which reconcile one to the screen's adaptation of
a story instead of its use of material built especially for it.

Huckleberry Finn. Produced by .Mark Twain (."onipan.v. Distri'.iuted by
Famous I'la.vcrs. 7 reels.

[Ill [Ml

THE GLAD, GLAD, GLAD GIRL

"This is really not a story" begins the first caption, and
however much it is to be regretted the reviewer must agree
uilh the statement. Pollynnna on the screen was a disap-
[lointnient. Kven if one preferred to the original the ribald
parodies and sallies thereupon, still one expected that
"The Glad Book" would at least carry as much conviction
on the screen as on paper.

Only praise can be given the acting of Mary Pickford
and her able cast. In retrospect the personalities of Aunt
Pollv. Jimmv Bean, and the friendly maid stand out as
remarkable bits of work. Mrs. Porter should be grateful
to Miss Pickford for the charm with which she invests this
indomitable heroine.

But one carries away a consciousness of having spent a
rather lugubrious hour after seeing the production. We
wish that the pleasant and positive incidents of the book

A ll:-.\^l'- iHuniciit Iroin the British Actors' production of "Lady
■^ Clare," based upon the Tennysonian ballad of the same name.

(if such there be), like Pollvanna's success in cheering
the hypochondriac Mrs. Strong, or in winning permission
for Jimmv Bean to sleep in the cellar, had been chronicled,
rather than the long succession of mishaps and sorrows
which befall this angel child. "Gladness" rather than
meekness and long-suffering is what one looks for.

The screening of Pollyanna makes clearer than ever the
mistake of adapting novels to screen use. In the case of
a classic, where the director dares lake no liberties with
the original, where the structure of the story is firm and
clear, where the movement is so rhythmic and steady that
it cannot be tampered with, success is more nearly possible.
But if we are dealing with the usual level of mediocrity,
let us at least have it at first hand.

To catch a mood, give an impression, as in the interpre-
tation of a brief poem, is possible and sometimes most
successful. But to attempt to express the elaborate indi-
viduality, color, and movement of a novel by a means
which necessarily leaves out so much of it, is apparently
a mistake.

The motion picture might be said to bear somewhat the

same relation to the novel as marble to tapsstry. It must

be simpler, sav more by connotation and less bv detail,

choose different figures and different poses, discover rather

than weave. Who would try to reproduce one form in the
other? For the sake of familiarizing the masses with the
classics, the effort is worth making in certain cases. But
why not start fresh in most cases, and give the screen
a fair chance?

Fo!'\anua. Produced and Distributed by United .\rtists. 6 reels.

"Back to Nature," a one-reeler shown recently in Lon-
don, records the adventures of a man who. for a wager,
goes to the woods in a state of nature and finds for him-
self, without the aid of food, clothing, shelter or tools,
save such as he can get by his own unaided efforts, for a
period of six weeks. He is shown building himself a hut,
snaring birds and animals for food and clothing, and the
final scene shows him returning to civilization in the strange
garb that he has managed to make for himself,

9 ©
"SOMEHOW GOOD"

In Other Mens Shoes, an Edgar Lewis production dis-
tributed by Pathe, are scenes depicting a great new play
school in full swing, the result of a poor child's remark
on returning to his tenement street, "There ain't no place
to play there, but we gotta go back there just the same,"
There is also a man who dares defy a blackmailer, a thing
far above the moral reach of must screen characters thus far.

This picture unfortunately reflects the conception of
ministers expressed by Pollyanna in her screen incarna-
tion, "They are easy to cook for because they don't eat
much,'' The clergyman needn't have been so bloodless, and
a few changes in the story would have made it ideal for
church use. Although a great opportunity is lost, the
choice of subject matter proves that church relationships
afford a splendid field for drama, and more pictures using
this material would be acceptable.

Other Men's Shoes. Produced by Edgar Lewis. Distributed by Pathe.
7 reels.

9 9
MAKING NATURAL COLOR FILMS

Prizma explains itself to the public in a reel with the
above title. By means of a rotating gelatin disk, various
parts of which cover the lens during exposures, red-orange
records and green-blue records are made. In printing the
positive these records are combined, giving the colored
picture as a result.

Two complex views are given to prove the unlikelihood
of the use of stencils or hand coloring. An artistic shot
in sea tones of a hydroplane skimming over the water, an
impression of the rainbow over Niagara, and a brilliant
coast view similar to the old stereoscopic effects are par-
ticularly striking and reveal a wide range of color and
mood. The gem of the collection, however, is a bubble
in which the camera has caught every play of color.

Making Natural Color Fihnj. Produced by Prizma. Distributed by Re-
public. 1 reel.

9 9
"NINES-AND-A-HALF"

.\ good example of an industrial picture is N ines-and-a-
Half, a Ford weekly distributed by Goldwyn, It makes
patent the elaborate complexity of supplying daily needs
in the twentieth century. The subject chosen is the mak-
ing of silk stockings, and when one learns that it takes
22,000 yards of raw silk and the work of 6,319 needles
to make one pair of silk stockings, "it is to think," Stock-
ings are carefully inspected and all defective ones are
ravelled out again. The operation of complex machinery
tnd the ironing process show the most modern methods "
in industry, A trip to the stocking factory would interest
particularly school children who are studying manufac-
'uring,

Xines-and-a-Half. Produced by Ford Motor Company. Distributed by
Cloldwyn. 1 reel.

THE HISTORY OF A> AMERICAN FAMILY

An interestinH photodrama. not strictly educational, but

imewhat above the average in its conception, and of value

; a studv of American social conditions, is The Third Gen-

ation. so named, says L. C. Ha\-nes, the producer, "'to sug-

!st that it is not really until the third- generation that the

al American is established and the ideals and solid strength

hich he mav have drawn from his alien ancestors are

laken down and adapted to his environment in this

luntry."

Mahlon Hamilton portrays Alden \ an Dusen, of the third genera-
»n, and the characterization cleverly embodies the whole of the his-
ry of the \ an Dusen family. Brought up in every' luxury and in a
Uef that social duties are of paramount importance, he becomes the
lancial victim of tvto unscrupulous partners who play upon his
iakness and neglect. The business is on the verge of bankruptcy,
ne partner proposes a crooked trick to save the day, to which our
JO replies "I choose death rather than dishonor my grandfather's
jne." and walks ofif to the rivers brink, tiiinking that his wife and
ild will share in the profits of the heavy insurance which he caxried
[d that he has done all that can be expected of him.
But Fate, not wishing the struggle to end so easily, sends a thug
lio attacks him just as he is on the water's edge. In the ensuing
apple the thug is drowned. A change of clothes, and "Jim,", once
;den Van Dusen, seeks the west, where he almost goes under. But
e '"real .\merican"' and the fighting spirit of the pioneer who w^as
5 ancestor come to his aid. Vhen he learns of his partners' trickery
turns East again, to fight to a finish, .\fter the tangle is unravelled.
I goes back to the west with his wife and child, to make a success
r himself in a simple, genuine way.

The theme is a good one. The lavish negligence, easy dis-
)uragement. and triviality of a generation brought up with-
it a knowledge of responsibility; the acute sense of honor,
le love for home, the courage and integritv of the pioneer —
lese qualities in conflict produce a struggle not uncoimnon
I the indixidual and to the nation. The man who makes the
ght response to the tempting arguments of the sophisticated
-■■\\ ill your sense of honor get you anwhere after you're
roke'r" and "Don't be a fool — self-preservation is the first
iw of nature" — is of the right caliber, even though he does
ot act tmtil the crisis comes. It seems hardlv necessarv
lat he should literally follow the saying "From shirt-sleeves
) shirt-sleeves by the third generation,'' but no doubt he
jund exactly his environment in the course of time, which
i all that matters.
As the motion picture tmiverse is arranged, it seems to
e quite the usual thing to eat one's cake and have it too.
t is refreshing to see for once a picture which has dared to
ollow. instead, the order of life as most of us know it.
f the motion picture as a whole could be made to grasp this
erhaps tmpleasant but undoubtedly true maxim, it might
elp us to solve otir .Americanization problem before the
lird generation.

The Third Generation. Produced by Brentwood Fitm Corporation. Dis-
ibutec bv Robertson Cole Companr. 5 reels.

A >E\r ENGLAND IDYL

"Still sits the school-house bv the road,
\ ragged beggar simning — "
^XTiittier s poem School Days is dramatized in color imder
lie title Memories. .Admirably suited for almost any non-
heatrical (as well as theatrical) use is the storv of the little
irl who regrets that her succcess in the spelling match
aeant disappointment for her little sweetheart. In New
-ngland meadows and cotmtry roads and in a typical road-
ide school-house the action takes place, captioned whenever
>ossible in the words of the poem. "Recess,'' with the jovs
if games and lunch, the spelling match, the afternoon walk
lome are portrayed vividly and charmingly. The little
Irama of childhood is enacted well, and the part of the
•Id school-master in whom all this awakens "memories"
s excellentiv taken.

A series of .American poems would be welcomed bv
>choiils, churches, and welfare organizations. Will not
?ome producer give them to us?

M.".ories. Produced by Prizma. DUtriSuied by Republic. 2 reels.

"LADY CLARE"

^'«.'labIe for its distinction and beauty as a production, this cttarming
romance of Georgian England is a picture-version, considerably ex-
tended and elaborated by Dale Laurence, of Tennyson's well-known
ballad, says a reviewer in the London Bioscope.

In developing a full-grown drama from what is in the original
merely an episode .Mr. Laurence has worked with the scientific care
of an anatomist reconstructing an organized body from the evidence
of a single bone. Not merely has he supplied credible full-lengih
portraits of characters whom Tennyson merely sketched, but he has
also reasoned the story" backwards from the vaguest data to a point
some twenty years before the action of the poem begins. In accom-
plishing this feat of literary craftsmanship. Mr. Laurence had been
concerned to preserve the style and spirit as well as the facts of
Tennyson. And the scenario has been pictured by Wilfred Noy. with
a similar reverence for a great tradition.

Since the modem film drama has little in common with the idylls
is an imusual kind of picture, related but remotely with the average
of Tennyson either in form or in feeling, it follows that "Lady Clare"
screen play of quintessentihsed plot and concentrated passion. Its
very pace has been modulated to the stately, well-measured Tenny-
sonian rhtyhm, and. although this minuet movement is grateful to
the eye that is wearied by the furious jazz-time of the .\merican high-
speed drama, it risks a charge of dullness by the ordinary picture-goer.
Without suggesting that Mr. Laurence should have sought to instil
"punch'' into Tennyson, we think he might have compromised so far
as to have sharpened somewhat the edge of his dramatic situations
which are, at times, over-soberly developed. In view", moreover, of
the fact that one of the film's chief charms lies in its perfection as a
period-picture, he could still further have increased its interest by
the introduction of further historical characters of the events.

Lady Clare is undeniably one of the most beautiful and most fin-
ished pictures yet created by a British producer. The detail work in
the staging of the interiors is extraordinarily perfect. The whole
production has the rich tone of rare old mahogany, the soft, deep
polish of fine silver. In such episodes as the country" wedding of "The
Merry" Bachelor." the Earl of Robhurst, you seem to be transported
back to the very heart of Georgian England.

\nRELESS TELEPHONY EXPLAINED ON SCREEN

A marvelous invention developed in the stress of the world war
is the mechanism by which the human voic« talks across the ocean,
linking continent with continent How" is it possible for the voice
to travel 3,000 miles when the shrillest call that man can make is
limited to a mile or two? Expanding the range by which the human
voice may go by wireless is even a greater manel than sending a
telegram without the use of wires. F. Lyle Goldman, of the Bray
Pictures Corporation, has directed an unusually clear exposition of
how" this manel is accomplished. The picture, edited by the Western
Electric Company, is scientifically correct.

It shows how" sound waves travelling in the air are similar to
ripples of water when a stone is thrown in. A device for transmitting
electric waves, which readily travel a great distance, is clearly
pictured. Then the remarkable invention by which the electric waves
are made to carry the sound waves is shown with telling effect.
Even a child can comprehend this clear and thrilling story.

THE HUNTING \^ ASP IN PICTOGRAPH 7025

The days of the relentless freebooter have not passed. The Picto-
graph camera man has caught a modem Captain Kidd red-handed.
while kidnapping and poisoning a helpless victim. He shows a
rogue's gallery portrait of this celebrated criminaL known to law
as the hunting wasp. This unusual insect is shown committing his
infamous deeds. You see pictured a complete kit of his tools —
fearsome jaws, the grappling hooks on the bottom of his feet, and
the poison dagger. Can you imagine that this ruthless freebooter
is a lady wasp? Yet, such is the case.

She first digs a hole in a safe spot for burying the loot. When
the cave is dug, off she goes to start the "dirty work." One thrust
of the poison dagger, and the victim is no more The helpless body
is lugged into the murderer's den, where it is used for feeding the
wasp babies. XiTien the larder is filled this winged hunter "gum-
shoes' outside to conceal the crime, and when the job is complete
she goes hone-gathering as frivolous as any debutante at an after-
noon tea.

\w^' PROJECTION-EQUIPMENT ' '^¥>

i_ _»___i____i.-— — - ■'■■

Edited by JAMES R. CAMERON. Projection Enaineer

THE LAW SAYS: "SAFEGUARD LIFE AND PROPERTY ■---
AMERICA'S SLOGAN IS "SAFETY FIRST I •

IN New York Stale and, in fact, every
state of the Union certain very
stringent rules and regulations have
been drawn up and must be complied
with before it is possible to obtain a
permit for the purpose of showing mo-
tion pictures. We advise all those in

iuho>p knowledge of projection matter is limited to the
threading up of the machine and the switching on of the
current i who is using a projecting machine set up on thC'
top of some table — minus the booth, minus the variou^
safety devices called for by the authorities, with probabin
hundreds of youngsters crowded around the machine — we?
come to the conclusion that either too much precaution is'

any way interested in the showing of taken in the case of the theaters or not enough in the church

James R. Camtron

motion pictures to get a copy of the law
and read it carefully over.

The code distinctly states that no
motion picture machine shall be used
unless same has been approved by the
Board of Fire Underwriters. This
board demands that all motion picture
machine manufacturers shall make the machines as fire-
proof as possible; the machine must be so constructed that
only a short length of film can be exposed while the ma-
chine is in operation. The machine must be equipped with
an automatic fire shutter, so arranged that the shutter will
immediately drop in case of trouble and thus cut off the
heat of the arc lamp from the film.

Read the Law; It Is Clear

The law then goes on to state that even this machine
equipped as it is with all these fire prevention devices
shall not be used unless the said machine is installed in
a fireproof booth. They are as particular regarding the
booth as thev are with the machine; the booth must be
constructed of asbestos, concrete, brick, or some other ap-
proved fireproof material. Certain minimum dimensions
are given as the size of the booth and it must have a door
that is automatically self-closing. The projector and ob-
servation ports in the booth must be equipped with metal
or asbestos shutters, so arranged that they will automatically
close in case of fire in the booth. There must be a flue or
vent running from the booth to the open air to carry off
the smoke in case of fire. The booth must also contain fire
bucket, pails of sand, and fire extinguishers.

Now that we have a fireproof projecting machine in-
stalled in a fireproof booth, the authorities go one better
and state that with all these precautions there is still a great
danger of fire unless a duly qualified licensed man is placed
in charge of the handling of film and the operating of the
projection machine. They demand that theater managers
shall take all these necessary i)recautions against fire on
account of the highly infiammable nature of the film. Both
the theater manager and the professional operator lay them-
selves open to severe penalties should they not live up fb
the letter of the law. These rules are not laid down to
throw obstacles in the way of those desirous of showing
motion pictures; they were drawn up after due and careful
consideration for the public safety.

Lack of Caution Outside of Theaters
When we stop to consider that a film is run today in a
theater where all these very necessary precautions are taken,
and the following day the same film is sent to some class-
room or church, there to he run by some amateur operator

and classroom. We come out here and state that it is the
latter. There are hundreds of churches, schools, and edu-
cational bodies throughout the country which are using
inflammable film without taking the necessary precaution
against the ever-present fire risk.

When inflammable film is used it matters not what makel]
of projector vou are using, you must install the machine
in a fireproof booth that has been approved by the proper
authorities, and an experienced man should be placed in
charge. The law is very clear and definite on this point.
America's Slogan Is Safety First!

If conditions are such that it is impossible to install a
fireproof booth, then use nothing but the narrow-width,
slow-burning film I acetate of cellulose) adopted bv the
Society of Motion Picture Engineers as the "safety stand-
ard. This film will not give quite as good screen results
as the inflammable film, and the choice of subjects at pres-
ent is limited — a condition, however, which we understand
is improving steadily. But you will be living up to Amer-
ica's slogan of today. ^'SAFETY FIRST!"

!■ 9

NEW MOVIE SCREENS DEMONSTRATED

\ I iiiuave motion picture screen constructed l)y Dr. J. Louis Pedi.
"I tlic University of Montpelier. France, was exliibited in use tO'
invited spectators recently at the Rivoli Theater. Nevs' York City.
The surface of the screen, according to its designer, is curved so that
any point on it is the same distance from the lens of the projectioni
machine as any other point, whereas the points on the surface of the
usual flat screen are not equidistant from the projection machine.
The result, as observers remarked, is that the figures in a movingi
picture are not distorted on the concave screen as they sometimes are^
on a flat surface. The eye strain, of which persons occupying side
and front seats, have complained, seemed praclicallv eliminated withi
the new screen.

One of the observers was Professor John J. Fuiia nl llir Department
ol Physics of New York University, who, when asked lo comment on
the exhibition, said:

"The curvature principle is the only scientific principle iip,»n which
a screen should be built, because of the fact thai llie image given by
ihe projection machine is not flat, but has a curvature similar to that
(►f the curved screen, w'ith tile new screen there is correct focus at
the corners, which is not the case ivith the flat screen, and there is
eliniinatiiMi of curvature distortion. These two improvements are
especially noticeable from points of the theater close up and off' to
the side. Distortion fatigues the eye. and its elimination pr.\. m-
fatigue."

The London Daily News states that British in\entors haie nude a
screen similar to the German invention which will reproduce pictures
in daylight or in a brightly lighted room as clearly and distinctb
as those now shown in a darkened theater. This invention, known
as the "Q. K. D. daylight cinematograph screen," has been placed on
the market by the Moving Picture Exhibition of British Industries
(Ltd.). who have already given a public demonstration, staled to
have been completely successful. According to Mr. Verily, one of
ihe patentees, the picture is projected from behind onto the .screen,
which is made of a very translucent material. He believes that the
invenlion will prove invaluable for educational purposes, as it en-
ables pictures to be shown in a school or lecture room in Iiroad
daylight.

^nnounccjjiciit

In connection with its efforts to facilitate
general education bv ad\ ocat'ing and installing
printing outfits in public schools the

EDUCATION DEPARTMENT

American Type Founders
Company

has decided to enlarge its scope of activities to
include the sale of motion picture projecting
machines and supplies, and to furnish infor-
mation regarding films tor educational pur-
poses. After a thorough in\estigation, and after
consulting leading educators, we are con\ inced
that the portable motion picture projector is
the kind best adapted to general educational
work, and we are pleased to announce that «e
ha\e made arrangements to sell

The DeVry Portable

Motion Picture

Projector

FOR I'SE WITH >LO\V-lll- KMNU FILM

Information regarding these machines may be
secured upon application to the Education De-
partment^ or to the following Selling Houses of
the American Tvpe Founders Company;

CLEVELAND . . i :; St. Clair Avenue, N. E.
CHICAGO 5 I --5 19 West Monroe Street

MINNEAPOLIS . . 42 1 Fourth Street, South
KANSAS CITY . 1 oth and Wyandotte Streets
PITTSBURGH .... 525 Third Avenue
DETROIT .... 169 West Larned Street
ST. LOUIS ... Ninth and Walnut Streets

DENVER 1621 Blake Street

PHILADELPHIA, Ke)Stone Type Foundry Supply
House, 8th and Locust Streets

Rapidly
Becoming
the I
Standard
of

Church and
School
Projectors

Motion pictures are be-
coming a part of the
curriculum in churches and
schools throughout the
country.

The Graphoscope Jr

is rapidly becoming the standard
machine for churches and schools.

It is free from complicated parts,
making it extremely easy to operate.
It is compact and weighs but 100 lbs.,
making it portable, yet sturdy and
dependable. Uses standard film, is
equipped with a powerful incan-
descent lamp, and projects pictures
of unsurpassed steadiness and bril-
liancy.

ff rite ]0T

Graphoscope Junior
catalogue "WI"
giving full details

The Graphoscope Company

50 East 42nd Street

New York City

LANTERN SLIDES

BAPTISTS TO RAISE $100,000,000 BY MEANS OF SLIDES

52 Lectures and Nearly 15,000 Slides Available

from 16 Depositories in Different Parts of the

Countr)' — Unique Features of This Visual Work

Undertaken by 10,666 Baptist Churches

By W. Howard Ramsey

THE educative value of the stereoplicon in religious and social
visual appeal with its vividness of impression and universality
work is being increasingly realized by the churches. The
of appeal to both the educated and the ignorant is making the
pictured story that the slides tell one of the greatest helps that
missionaries and preachers at home and abroad have yet discovered.

For example, the Northern Baptist Convention, which is to launch
a campiign from April 25 to May 2 to raise $100,000,000 for the
New World Movement of Northern Baptists, has a librar>- of up-
wards of 10,000 slides already on hand and is adding between 3,000
and 4,000 more as fast as the orders for lliem can be filled.

These slides are made up into lecture sets which are kept iu
circulation throughout the 10,666 Baptist churches from sixteen dif-
ferent depositories located at strategic points in the leading cities
from Boston. Massachusetts, to Portland, Oregon. The distributioii
ie in charge of Harry S. Myers of the Northern Baptist Board of
Promotion.

There are 52 lectures in the series so that, if any church desired,
it might have a new lecture with a full complement of slides every
week in the year whh no duplication. Some are particularly adapted
to the reeds" of Sunday schools, but the majority are suited to any
audience.

The text which accompanies the slides is prepared in looseleaf
form so that the lecture may be revised, new slides added or old
ones removed without involvinj: llie preparation of a complete new

manuscript. Moreover, in the latest lectures sent out the leaves in
addition to bearing the slide number and the number of the negative
also have pasted to them, above the reading matter, a photographic
print so that the lecturer, who may have received the text the same
day that he is to deliver the talk, can study the pictures in the book
and will have the same view before him that his hearers see pro-
jected upon the screen.

Slides Cover Missionary Activities
The lectures cover a wide range of material, principally relating
to home and foreign mission fields and most of them include one
slide with the words of an appropriate hymn. In connection with
the New World Movement of Northern Baptists thirty copies each
have been prepared of two lectures, one covering the five year
program of the denomination at home and the other the foreign
mission work that is proposed. These will be delivered hundreds
of times in all parts of the country where there are Northern Bap-
tist churches with a view to educating the general membership in
regard to the past accomplishments and the future needs of the
church.

But it is not in America alone that the Baptists are making use
of the stereopticon in their religious endeavor. In China, India,
the Philippines, Africa, and other mission fields they have projecting
machines at various mission stations and slides teaching the dangers
of tuberculosis, the way to care for babies, the value of sanitation,
and other practical things of which the natives are in almost abject
ignorance.

THE TOURISCOPE

AT L ST-Lantern Slides ON FILMS
Greatest Invention in
History of the Stere-
opticon -— 1 akes
100 slides or more .

on one continuous ^
<ilm;non-inflammabl
vreighing only
3 ounces
attaches to or-

USE

The VICTOR

Portable Stereopticon

The Choice of.THousands of Users

Send for Catalogue
rOURlSCOPE DEPT.

UNDERWOOD & UNDERWOOD

417 FIFTH AVCNUE, NEW YORK

Chicago Depository. Geo. W. Bonn Slide Co., U W. Washington St.

This is an Era of Visualization

VISUALIZE EDUCATIONAL. AMERICANIZATION and

INDUSTRIAL WORK

VICTOR STANDARD FEATHERWEIGHT SLIDE SUBJECTS

Special Shdes Made from Any Copy.

Catalogues and Trial Terms Mailed
Upon Request

The Manufacturers

VICTOR ANIMATOGRAPH; CO.

INCORPORATED

122 Victor Bldg.

Davenport, la.

One of the greatest values of the stereoplicon is that it speaks a
language that ever> tribe can instantly understand. The language
of the eye is universal. This is a factor of no small importance
when, as in Burma, where there have been Baptist missionaries for
over a centurv, there are no less than forty distinct races with as
many tongues and more dialects in an area smaller than the stat-
of Texas and a population about equal to that of New York state.
Paintixcs by the Old 'Masters

Id evangelistic work the missionaries find that their story of Christ
and the message that He brought can be much more readUy under-
stood if it is illustrated and they have therefore made extensive use
of the stereoplicon in connection with their sermons. Reproductions
of the paintings by the old masters have given them a wonderful
collection of sides covering practically the entire field of old and
new testament history.

In order to keep its library of foreign and home missionary slides
up-to-date, every mission is equipped with at least one camera and
the missionaries are encouraged to submit negatives which might
prove useful in making new slides. In this way the mission boards
are assured of having early photographic evidence of progress in
any field and of a running pictorial history of the development of
each mission station and school.

A part of the cost of handling the slides is covered by a nominal
rental charge for each lecture. The carriage on the slides is paid
by the church, both to and from the nearest depository, and slides
broken or lost are charged up at cost to the church which has lost
or broken them.

PHEASANTS, ARISTOCRATS OF BIRDLAKD

Pheasants are North .\merican birds. In pioneer days they were
so plentiful that an expert shot could bag his dinner with little
difficulty. Since they have become so scarce, they are scientifically
reared on many game farms throughout the L nited States. One ni
the most interesting is that of the New Jersey Fish and Game Com-
mission at Fork River, N. J. Here the Pictograph camera man show-
hundreds of nests in the main hatcherv. The pheasant mother is a
frivolous gadabout. Though she lays her eggs, she has no interest
in hatching the young, so domestic hens that are devoted foster
mothers hatch out the young pheasants.

The baby pheasants are fed on a specially prepared diet and are
kept to themselves. As they grow older, they become more demi'
cratic, and when the "eats" call is sounded, they "go over the top"
for a good meal. Many difiFerent varieties of pheasants are shown.
-Mme i.f them unusual.

PRIZMA

\ new method of practical,
color motion photography
thai re-creates Nature on the
screen in all her splendid
colors.

Entertaining, instructive, and
altogether delightful!

.\ow showing in leading
theatres.

.Ask the manager of your
favorite theatre.

Distributed by Republic Distributing
Corporation

NIGHT CINEMATOGR.APHY WITH ORDINARY LIGHTS

A remarkable new photographic emulsion, by means of which
night and interior cinematography is slated to be possible without
the aid of special illuminants, was described in London recently by
Arrigo Bocchi, the motion picture producer. So highly sensitive-
's this new film, says .Mr. Bocchi, that moving pictures can be taken
. V the light of ordinarv street or restaurant lamps. The film is
prepared in six different grades, according to the quality of the light-
ing available, and is stated to give perfect results under condition-
which would normally involve a time exposure.

A series of snapshots taken with an ordinary camera on plates
coated with this new emulsion was produced by .Mr. Bocchi, who hai
also made successful tests with cinematograph film. The still
.pictures included remarkable snaps taken on the stage atid in the
auditorium of an Italian theater: the bursting of a rocket during
1 firework display: restaurant interiors: and a view of Monte Carlo
by twilight.

-Mr. Bocchi controls the sole rights of this new process, the inven-
tion of an Italian. He proposes to employ il extensively in forth-
coming productions. .Meanwhile a short example of its possibilities
was shown in "Polar Star."

Radio

Slide

-the slide which carries
YOUR thoughts TYPEWRITTEN

25 Radios-with bind-
ing tape & glasses,
$1.00. Patented-
accept no substitute.

For Sale by all Leading Dealers

EASTMAN
FILM

is identified by the words
"Eastman" and 'Kodak"
in the fihn margin.

If 7S thejilm that first made
motion pictures practical

EASTMAN KODAK COMPANY
ROCHESTER. N. Y.

WORK OF THE NATIONAL ^MOTION PICTURE LEAGUE

In Response to Its Nation-Wide Educational Campaign for Better Pictures, Parents

Are Demanding, Producers Are Making, and Exhibitor, Are Screening Photoplays

and OUier Films of a Higher Standard

By Adele F. Woodard

PresidtDt. National Motion i'i<-tur«r League

Conclusion

LlliKAKItS are willing lo posl notices
of matinees and churches will fur-
nish chaperones and other workers.
Speakers present the plans and purposes of
the series of performances to parent's associ-
ations, women's cluhs, churches and other
welfare organizations. .\ genuine interest in
turning the tide of juvenile attendance upon
the movies into channels of good is secured,
hefore any matinees are given.

A committee of capable persons is formed
to organize and supervise the matinees,
which are given on Saturday morning or
afternoon for little children, and on some
day during the school week after school is
dismissed, for the older children.

The exliibitor is visited by a committee,
who present the plan to him and secure his
signature to the league's agreement. His
interest is secured on the ground that aside
from the prestige which the selection of his
theater gives, and the publicity which is
procured for him, he is able to make a
proht financially. A keen sighted exhibitor
always sees far more advantat,tt m the two
first named benefits than in the financial
profit. The exhibitor furnishes the operator,
music, ushers, etc., and pays for the rental
of films, which the committee assist him in
selecting from the bulletins of the league.
He may select from these lists any films,
new or old. which can be arranged into a
well-balanced program, but may not play any
picture not on the lists oX this league.
Failure to comply with this request must be
followed by a withdrawal of the support of
the committee.

■ Channels of publicity must be furnished
by the committee, the most effective one
being the distribution of circulars announc-
ing the performances through the schools.
Circulars have been approved by the board
of education of New York City which are
distributed in the schools by the teachers,
to the children living in the vicinity of the
theater where a performance is to be gi\en.
This practically assures the exhibitor of his
audience. It also gives the committee the
power to extend or uilhdraw an assured
audience.

FiN.iNCED BY Its Membership

The league receives no financial support
from any department of the motion picture
industry and has no connection with any of
the several censorship boards. It is financed
entirely by its membership.

You should join the National Juvenile
Motion Picture League because you owe it
to yourself, your children, and other people's
children to see to it that the entertainment
furnished to boys and girls is pure, whole-
some, and attractive.

Each new member adds his or her name
to the list of persons presented to the pro-
ducers of ^notion pictures requesting clever,
wholesome pictures for children, young
people and adults. Individuals and clubs
are urged to join. In this time of recon-
struction and rebuilding, unprecedented
elTort must be expended upon our children

and young people who have necessarily been
cheated of much of their heritage on ac-
count of the preoccupation which the four
years of war have made in the activities of
parents. This neglect which our children
are beginning to feel must be made up to
them. Motion pictures can be an agency
for good in the lives of our children. Let
us select the-e pictures judiciously and then
encourage our children and young people to
support them by their attendance

The league has lately announced the follow-
ing plan of establishing local branches
throughout the United States, thereby making
the organization truly national and vastly
broadening its scope, influence, and power:

In ordtr to assist local comnuiimies in securing
a better class of pictures, local branches are es-
tablished.- These branches create and coordinate
a demand for wholesome pictures locally and
arrange definite bookings for them. The league
thus secures a countrywide demand for the pic-
tures receiving its endorsement. It seeks to
encourage so strong a patronage as to make them
more profitable to their producers, than pictures
rejected by the league. A capable committee in
all the pritcipal cities and towns giving definite
support to this plan can furnish the impetus and
permanency to the production of wholesome pic-
tures, which the industry needs.

Plan . The plan of local branches is three-fold.
(A) A Children's Matinee and Family Pro-
gram committee provides suitable entertainment
for children, young people and adults, thus se-
curing actual bookings for endorsed pictures,
entertaining the family wholesomely and dem-
onstrating that wholesome pictures are financially
profitable.

(B") A Membership Committee secures mem-
bers for the league. All memners receive the
weekly bulletins of endorsed motion pictiares.
Increased membership means increased publicity
for endorsed films.

(C) A Reviewing Committee reports to the
executive offices on all pictures seen in local
theaters, which are considered suitable for the
lists of the league. The reviewing board in New
York City sees practically all pictures before
they are released, yet the league desires reports
from local committees in order that the standards
may be kept truly representative of the entire
country. *

All localities are urged to establish a branch
of the league. If there is no motion picture
theater, the entertainments may be given in a
church or school or other public building. The
league supplies its local branches with detailed
instructions for establishing and conducting enter-
tainments. It also furnishes weekly bulletins
of newly endorsed films, a cumulative list of'avail-
able films endorsed during the last six years, and
other helps for conducting the work in a sys-
tematic way. Membership dues for local branches
are ten dollars a year.

The only way this enormous motion picture in-
dustry can be affected is to erect alongside it an
organization as powerful and as persistent as the
industry itself. Individual committees working
alone can make little impression. It is only by
combined effort that strength and efficiency can
be secured.

The democratic way to secure the welfare of a
community is to institute an educational cam-
paign, presenting not only the need for improve-
ment but a definite, workablfe plan of operation.
The plan of the league is being tried in all parts
of the Itniteil States — why not try it in your
community?

If possible, make your committee truly repre-
sentative, by inviting into its tnembershin a
member of the Kiwanis Club, the Rotary Club,
the Women's Club, and the Parent Teacher Asso-
ciations, also, prominent ministers, and the library
and school officials. Send to the headquarters of
the league the names and addresses of the follow-
ing officers of the branch; Branch Chairman.
Chairman of Membership Committee, Chairman of
Matinee Committee, and Chairman of Reviewing
Committee.

Join your efforts to those of this national organ-
ization and help secure for all. the benefits y..n
wish to secure for your own community.

' TWO ALASKAN FILM PIONEERS

Even up in the Far North, in Rex Beach's
.■Vlaskan countr\% the motion picture is de

livering its message from the silver screen
Richard Suratt. of Wrangell. Alaska, stepped
into the office of this magazine a few weeks
ago and laid down a dollar for a year's sub-
scription. He said that he was interested in
scenics. travel pictures, and industrials, hav-
ing made thousands of feet himself up in
his own country. He promised to send the
editor a full stor\ later. In the few movie
theaters of Alaska, he said, most of the pic-
tures shown are of the blood-and-thunder
variety, but the taste of the rough frontiers-
men is veering around lo educationals. in-
dustrials, scenic, travel, and current events
films.

.\nolher film pioneer in that region is Wil-
liam \^oodworlh whose exchange is on a
boat in Ketchikan Harbor, .\laska, not far
from the Arctic Circle. His shows are sent
around various circuits by means of dog
trains when the nights are cold and long.
During the short summer the reels are
shipped by boats which ply up and down
the inland rivers of .\laskan Yukon Terrhory
or along the shores of Behring Sea. This
fall Mr. Woodworth hopes to have projection
machines installed in fish canneries and other
industrial plants so that shows can be held
regularly in these places. These canneries
will be organized into circuits and reel ship-
ments booked for a whole circuit.

CAMERON'S BOOK ON PROJECTION

Bv George O. Ross

Many persons who have had no experience in
the operation of projection machines nor closely
witnessed their operation are under the im-.
pression that all that is necessary is to thread
the film in the machine and turn on the current.
This is far from being the case, because a cer-
tain amount of knowledge is necessary to install
and operate a projector properly. For that rea-
son several books on the subject have been pub-
lished. While most of the books are quite
thorough, they are, as a rule, too highly technical
to be used by any but experienced operators.
It is the writer's opinion that a long felt want
has been filled by James R. Cameron who has
published and is now offering for sale to the pub-
lic an Elementary Text Book on Motion Picture
Projection, part of which is in question-and-
answer form.

The textbook is written in Mr. Cameron's
characteristic style; it deals with the subject from
A to Z and is written and illustrated in such a
manner that the subject is readily understood by
the amateur as well as the professional. The
book is published by the Theatre Supply Com-
pany of New York City, who also publish Mr.
Cameron's Pocket Reference Book for PrO'
jectionists and Managers. Both of these booKs
should be in the hands of those who are inter-
ested in motion pictures.

When this country entered the war \[r.
Cameron was placed in charge of reconstruction
work at the American Red Cross Institute; he
also took charge of the school of projection of the
Community Motion Picture Bureau and the Y.
M. C. A. Through these schools came men from
all walks of life, most of them knowing nothing:
whatever of electricity, mechanics, or optics. In
order to facilitate matters and rush these students
through quickly and with a thorough knowledge,
he prepared a series of instruction papers deal-
ing with the subject of projection. The results
obtained through the use of these papers was so
astounding that he was persuaded to publish them
in textbook form. The value of the book was
recognized from the first and after comparative
■ tests was adopted by the American Red Cross,
Community Motion Picture Bureau. Y. M. C. A.
Knights nf Columbus, and most of the army and
navy hospitals and government training stations
throughout this country and abroad. The sale of
the books to these organizations exceeded 10,-
OOi) copies during the first twelve months.

The Inter Ocean Film Corporation have pur-
chased the foreign rights to the book _and are
having it translated into French. Italian, and
Spanish.

FLASHES ON THl \^ ORLDS SCREEN

News Notes and Comment on Educational and Allied Films
from In^lilIltioD^, Organizati.n-.I'roducersaiid Individuals
. in the United State? ami ' . nada and ( (verseas

'fTj^BIOL.\." founded on Cardinal X^ise-
J_ man's celebrated story, was screened
recently in London. Father Bernard
^aiighan and the London County Council
ducation committee have given the picture
heir approval. Life in ancient Rome is said_
be vividlv portraved in the fi!ni.

The chamber of commerce of Richmond,
'irginia, is giving a seiies of industrial
Qovie shows at the Lincoln auditorium in
hat city. Sugar refining, the manufacture
if matches, carpets, pottery and other use-
ul articles are being exhibited.

The department of immigration of the
itate of North Dakota is having films made
ly the Publicity Film Company, of Bis-
aarck. N. D., of various scenes and indus-
rial activities in the state to be shown to
rospective settlers throughout the middle
rest. Features of the wheat and livestock
ndustry and farming life will be pictured
a detail.

In the rifle range of the Tower of Lon-
Jon. where German spies are said to have
been shot during the late war. troops in
jarracks during the recent strike troubles
»ere amused with film comedies. The
■creen was placed upon the wall before
(fhich the condemned men stood.

The Club women of L)i - Moines, Iowa, are
catnpaigning for better films in that city.
Some of the pictures shown in small theaters,
they say, are "crime breeders" and "a dis-
grace to the city." One m>mber of the active
committee charges "seven tenths of juvenile
crime can be traced direciU- to the movies."
The Lucas, Willard. and Hubbell public
schools and Highland Park Christian Church
are showing better film programs.

The Fox News, serai-weekly, contains pic-
tures of instructional value. No. 1 gives in-
struction to mothers on the Qare of babies
and is edited by Dr. Josephine Baker, of the
Bureau of Child Hygiene, New York City.
No. 2 shows how a professional clown teaches
hygiene and proper living to public school
children and their mothers. No. 3 portrays
the use of school children in small towns
near Chicago in saving the potato crop which
was threatened with loss because of lack of
labor.

Motion pictures are being used in France
to train athletes for the Ohinpic Games this
year. Correct methods of putting the shot,
throwing the javelin and other exercises are
screened. The pictures are first projected
at normal speed, then slowed down so that
every movement of the body can be studied
bv the combatants.

-V Swedish engineer named Burglund is
reported to have solved the problem of the
speaking film by means of photography. The
synchronization of picture and voice by his
process is said to be perfect.

At a teachers' meeting held in the Midland
Institute. Birmingham. England, Dr. P. C.
Innes. the chief educational officer of the
city, spoke of the value of the cinema as an
aid in the instruction of backward children.
He said that film teaching would train the
reasoning power of adolescents and bring
about a mental development which otherwise
might remain subnormal.

"A Mouthful of X^'isdom," the one reeler
treating of pyorrhea and its prevention
and relief through the use of pyorricide,
which was made by Baumer Films, Inc.,
was shown recently to the members of the
Y. M. C. A. industrial committee at its
meeting at Silver Bay, N. Y. The film is
considered one of the best on oral and
dental hygiene so far produced.

"Shift the Gear. Freck," "The Demand
of Dugan" and "Gum Drops and Overalls"
are the titles of the latest releases of Judge
Brown's juvenile reform films. It will be
recalled that Judge Willis Brown presided
over tlie Juvenile Court of Salt Lake Qty,
and his experiences form the basis for these

For a Proper i nderstanding of Lifers
Responsibilities

children and young people need the knowledge which is scien-
tifically and inspiringly presented in the biological
motion picture

HOW LIFE BEGINS -4 Parts

Living embryo of chick .S2 hours old. From "How Life Begins."

It shows how plants and animals come into existence and
gives a reverent understanding of life processes.
Used by l". S. Government. Sute Boards of Health, Universities,
High Schools. Velfare Organizations, and private homes

For rental and purchase price address

Carter Cinema Co.. 220 W. 42nd St.. N. Y.

Telephone Bryant 7d94-759o
JTe are in the market for negatives of Educational subjects.

IT WAS IMPOSSIBLE

to film at normal speed actual rays of light passing
through actual lenses — not in cartoons, but in
straight motion picture photographs. But we did it.
And those few feet of film alone cost more than the
average "educational." That's why nobody has
copied those wonderful scenes, any more than they
can copy Professor Woll's masterly dissections of
real eyes, as shown in

THROUGH UFE'S WINDOWS

P. D. Hugon's Masterpiece on
THE HUMAN EYE

Illustrated circular from

WORCESTER FILM CORPORATION

145 West 45th Street, New York

■^(,

CATALOG OF FILMS

FROM THE TIBER TO THt PIAVE.

Reel, 1; Producer, Burton Holmes; Exchange,
Paramount; Remarks: — Modern Rome, Hadri-
an's Tomb, bridge 136 A. D.. the Vatican,
Egyption Obelisk, the Colonnades, the Gani-
culum Hill, statue of Victor Emanuel II., first
King of United Italy. Arch of Constantine,
the Colosseum and Roman Forum, modern
ruins, Nervesa after the war, shore of the Piavc
River, looking otwards the Austrian lines.

ACROSS THE BROAD rACIFIC.
Reel, 1; Producer, Essanay; Exchange, Beseler;
Remarks: — Reissue. Across the Pacific on the
Japanese ship Tengo Maru, Japanese games,
arriving in Yokohama, Japanese warship, wo-
men workers loading ship with coal, street
scenes in Yokohama, market men, fire depart-
ment, etc.

PICTURESQUE JAPAN.

Reel, 1; Producer, Pathe; Exchange, Beseler;
Remarks: — Reissue. The Ainus, the hairy
race of Japan, spend a great deal of time on
the water, the chief's hut, the chief's wife and
daughter weaving a mat, Matsushiraa Islands,
dredging oysters, sunset, moonrise.

LIFE IN JAPAN.

Reel, 1; Producer. Pathe; Exchange, Beseler;
Remarks: — Reissue. A religious pageant to
Kyoto, once the capital of Japan; modes of
travel in Japan.

ENCHANTING JAPAN.

Reel, 1; Producer, Pathe; Exchange, Beseler;
Remarks. — Reissue. Gishia girls, dances, iris
gardens, gold fish, silver fish and carp. 3-year-
old rooster with tail 15 feet long, visteria tree
in poor man's garden, children dancing, pic-
turesque bridge more ornamental than useful,
afternoon tea under the visteria, fields of iris.

SCENES IN TOKIO, JAPAN.

Reel. 1; Exchange. Beseler; Remarks: — Re-
issue. The fish market, vegetable market, festi-
vals of the "God of Kitchen,'' semi-circular
bridge, New Year's celebration in Japan, page-
ant, the street of theatres, about January 1st
the dwarf peach tree begins to bloom, crowds
attending sermon to the God of Mercy.

TOAD TRAITS.

Reel, 1; Exchange, Beseler; Remarks: — The
toad tadpoles change into little bits of toads
while only a few days old, the spadefoot toad.
just a plain hoptoad, the natterjack is a toad
known in Europe and Asia, African water
toad, the American gray tree toad.

MEMORIES.

Reel, 1; Producer, Prizma; Exchange, Repub-
lic. Remarks :^ — ^An adaptation of John Green-
leaf Whittier'- poem, "School Days."

MARIMBA LAND.
Reel, 1; Producer, Prizma; Exchange, Repub-
lic. Remarks: — A study of the manners and
customs of the descendants of the Aztecs in
Guatemala.

A DAY WITH JOHN BURROUGHS.

Reel, I; Producer. Prizma; Exchange, Repub-
lic. Remarks: — John Burroughs barn-door
study with children, chipmunk, blue birds' nest,
an orderly kingdom of ants, flower and weeds
for insects, magnifying the flower, the grass-
hopper as clown of the insects, and making
her toilet, wood frog, drinking at nature's foun-
tain, the spring.

THE REFRESHING RIVIERA

Reel, 1; Producer, Prizma; Exchange, Repub-
lic. Remarks: — Mentone La Ville on French-
Italian boundary day before yesterday sec-
tion of Mentone, fishermen casting nets,
churches and cathedral of St. Michel, Cap
Martin, home of elite, Mentone itself is a
garden, flowers are found everywhere, Roque-
brune, two of our destroyers at Ville Franche,
important naval port, roads of Southern
France.

THE APACHE TRAIL.

Reel, 1; Producer, Prizma; Exchange, Repub-
lic. Remarks: — Historic trail followed by the
early Spanish explorers who searched for the
fabaled "Seven Cities of Cibold." Supersti-
tion Mountains, scenes of Roosevelt Dam, Fish
Creek Canyon, the White Man's buildings, the
Grand Canyon of the Apache, Mining possi-
bilities, gila monster, flowering cactus, Apache
camp, the Apache Indians at home and ruins
01 homes of the cliff dwellers.

CONSTANTINOPLE.

Reel, 1; Producer, Red Cross; Exchange, Edu-
cational. Remarks: — Stamboul, Gatala Bridge,
highway leading to the Orient, the modern
section of the city, under the Crescent, feeding
refugees, little Turks, queer characters. Serag-
lio, old palace firemen, street cleaners, the
Sultan goes to the Mosque in state, birds-eye
views of city with over 200 Mosques, religious
fakirs.

FLASHES ON THK WORLDS SCREENS
"How Life Begins" recently made the rounds
of the schoo'.s in Grand Rapids. Mich. It
was screened at Central High School, Union
High School, and Walker School. Students
from Turner, Stocking and Pine schools at-
tended the showings.

Princess Mona Darkfeather is the heroine
of a new series of fifteen Indian photo-
plays, each one reel in length. The C. B.
Prirp Company are to distribute them.

Unc hundred foot sections from various
reels gathered by the Community Motion Pic-
ture Bureau, on conditions in European coun-
tries, formed an interesting exhibit at the
(Chamber of Commerce, Rochester, N. Y.,
under the direction of the Central Racial
Advisory Council.

Village schools in Notts. .Nottingham, Eng-
land, have been licensed by the local justices
10 give cinematograph shows. These are in
charge of a Mr. Sanderson,
f

Motion pictures of medical and surgical
lechnique were exhibited in Jewell Hall,
Y. M. C. A. Iniilding. Hartford, Conn, re-
cently by the Clinical Film Company of New
York.

Films of the transatlantic flight of the
NC-4 are being shown on the. U. S. S.
Isabel, a converted yacht, in connection
with the recruiting cruise of that historic
naval flying boat, the first to cross the
Atlantic ocean by air. All of the large
seaport towns on the Atlantic coast are
being visited.

AMERICA'S HERITAGE.

Reels, 2 ; Exchange, Universal. Remarks: —
A Boy Scout picture. Part 1 : The boy of to-
day is the man o fto-morrow, the "Boy Scout
Oath." a "Motor Truck Hike," pitching tents,
raising "Old Glory," saluting the flag, drilling,
wig- wagging, making fire by friction, making
"trails." Part 2: On a hike, bathing, back
just in time to get the flag down before the
sun sets, Sunday morning service, scenes from
Niagara Falls. Lake Champlain. Crazy landing.
Old Orchard Beach, first aid in drowning,
breaking camp, etc.

CHINA AND THE CHINESE.

Reel. 1; Exchange, Beseler. Remarks: —
Shanghai, street scenes, various conveyances,
cargo collies at work, European Quarters, race
course, racing, on the roofs, funeral, gin-rick
shows, Chinese wheelbarrows, open air res-
taurant, war ships, Buddha fete and parade, tea
house, Chinese wedding, etc.

CHINESE SCENES.

Reel, 1; Exchange. Beseler. Remarks: — Eating
with chopsticks, small feet of woman, showing
bandaging, prisoner loses his queue, family con-
veyances, irrigation of rice field, plowing,
grinding millet, Foochow Road, wedding pro-
cession, hair dress of Manchu woman, funeral
procession.

SCENES IN KOREA.

Reel. 1 ; Exchange. Beseler; main business
street, ancient conveyances of all kinds used in
bringing food to city; a Korean artisan at work,
doing the family washing, Korean dances,
Korean types, grinding corn, a tramping gob-
bler, the old Imperial Palace, Lotus Palace,
etc.

COME WATCH WITH ME, THE PASSING
NIGHT.

Reel, 1; Producer. Post; Exchange, Para-
mount; Remarks:^Post Nature Picture, sum-
mer twilight, clouds in the night, moon rising,
etc.

SUNSHINE AND SHADOW.

Reel, 1; Exchange, Famous Players-Laslcy.
Remarks: — Post Nature Picture. A scenic
showing effects of sunshine and shadow on
water, mountains, etc.

A NIGHT IN JUNE.

Reel, 1; Producer, Post; Exchange, Paramount;
Remarks: — Views of summer skie, scenics, etc

During the recent newspaper strike in Paris
news films actually took the place of the
daily newspapers, thus refuting the recent
statement in a New York Globe editorial that
such a thing would never be and confirming
Thomas A. Edison in his prediction that such
a thing some day would be universal.

The fine "Nelson" film was shown recently
in Clitheroe. Scotland, to 1.800 scholars in
llie elementary schools as their history les-
son. On the advice of the educational
authorities, the teachers took their pupils to
one of the local cinemas during school hours,
afterwards talking about the picture in the
classrooms.

58*

Miss Eugenia Remelin, chairman of the
motion picture committee of the Woman's
Cily Club, Cincinnati, is conducting a sur-
vey to ascertain whether the pictures shown
in local theaters are of any educational
value for children. Members of the public
recreation department of the club are
assisting her.

At the annual convention of the Mary-
land Sunday -School Association, held at
Holand Park, Md., in October, motion pic-
tures of Sunday school work in foreign
lands were shown to the superintendents
as the commander of the A. E. F. in
France and Germany are also pictured.

The high school of Jiihiistown, Pa., has
added a motion picture projector to its equip-
ment. -\ benefit show was given there re-
cently to demonstrate the machine and raise
money for its purchase. The machine is
portable and will be used in the grade
schools as well.

The forest fire films o^vned by the State
Conservation Commission of New York
were shown at the tri-state conference on
forest resources held at Indianapolis in
October by the conservation commission of
Indiana. Illinois and Ohio.

Otto J. Nass

Distributor of educational and relig-
ious films for the State of Rhode Island
and Eastern Massachusetts. 5 years"
experience Good subjects solicited.
79 Fountain St., Providence, R. 1-

Films for Educational and
Relig-ious Institutions

The New Alias Catalog Now Ready
Bulletins of New Subjecls Bi-Monlhlv

ATLAS EDUCATIONAL FILM CO.,

63 E. Adam* St. Chicsgo

POOR SLIDES

COMING: Some special FEATURE
Educational Sets to be released about
Februar)' 1st and weekly thereafter.
Send for particulars. Rent and Sale.

Salf^ Agents for Mcintosh Stereopticons
ASK .\BOUT F L E X O TYPEWBIIFR SLIDES

RILEY OPTICAL INSTRUMENT COMPANY, Inc.

Succrosors lo Kilcy Bros.. Eot. 1883
111 Fifth A ve.. Pg pl. "Y" New Yo rk, W. Y.

SAFETY WARNINGS ON SCREEN

"Careless America," the feature picture
produced by Lniversal for the Firestone Tire
& Rubber Co., Akron. Ohio was shown at
the Capitol Theater, New York City, in Jan-
uary at the "safety first rally" organized by
Harry Levey, manager of L ruversal's indus-
trial department; Secretary of State Hugo,
Superintendent of Schools Ettinger, Police
Commissioner Enright, a committee of 100
headed by John D. Rockefeller. Jr.. the au-
tomobile interests led by H. S. Firestone,
and Director Bowes of the theater. The
object of the rally was to inaugurate an
educational campaign to reduce the loss of
life due to motor car accidents. Secretary
of AVar Baker spoke to 6.000 Manhattan
school children present in the big playhouse,
and when the speech was over the New York
police band played "The Star Spangled
Banner"' to the accompaniment of these
thousands of voices.

Of a similar character is the film being
used by E. Austin Baughman. commissioner
of motor vehicles of Maryland, showing the
dangers of speeding and impressing constant
care upon the public. Some of the evils
emphasized in the picture are obscured tags,
delayed purchase of tags, speeding, delayed
registration, tags improperly fastened, and
children playing carelessly in the streets.
C W. Galloway of the Baltimore & Ohio
Railroad, and John S. Bridges, president of
the Maryland .\utomobile Club, financed the
production.

LAND CLE.\RLNG FILM SCREENED
.\ motion picture of „ thousand feet, show-
ing tractors working wiih all different kinds
of plows, stump puller-, heaving out big
jiuraps four and five 1 '^t through, and dyna-
mite blowing out drainage ditches 200 feet
long at one shot, was ?hown at the Elite
Theater. .•Vthens. Georgia, in connection with
the regular program.

This film was made during the land clear-
ing demonstration held recently by the .Ag-
ricultural College in South Georgia and it
*hows the best methods of clearing land of
stumps and preparing it with tractors for
ma.ximum crop production The scenes are
laid at Cordele and Camilla and show the
crowd of 5000 people who attended these two
demonstrations. During the eighteen demon-
strations which were held in as many counties
36.000 people were taught how to use dyna-
mite in blasting of stumps and digging drain-
age ditches, how to operate a stump puller
successfully, and how to use and care for a
tractor so that it will be ready at all times
for service.

The picture demonstrates by actual work
how each operation is carried out. Thus in
stump pulling there is the hitching to the
stump and the ties with cable so as to get
the best results with the stump pullers. The
d>"namite man bores an auger hole in the
stump and affixes a cap to the charge in just
the right manner that wiU throw the big
stump high into the air and split it into
kindlinff wood. Dvnamite is again placed

through a cypress bog down in three feet of
water and under the roots of trees. The
electric charge is given to the first stick of
dynamite and the whole 200 feet of ditch is
blown into the air at one mighty blast.

-THE STORY «)F A TIRE"

What is said to be a most interesting in-
dustrial and educational film of the rubber
industry has just been completed by The
Goodyear Tire & Rubber Company, of .\tron,
Ohio, in three reels. Starting with a view of
crude rubber as it arrives after its long voy-
age from the company's own plantation in
Sumatra, having traveled 10.000 miles by
every form of transportation from sinewy
natives to modem railroads. The Story of a
Tire" takes the viewer step by step through
intricate manufacturing processes until the
tire is ready for use.

"The Story of a Tire" visualizes the de-
scriptions given in the booklet of the same
name, which was published by the com-
pany recently as an educational feature and
which more than 8.000 schools, libraries,
and colleges are using for educational and
reference purposes. The picture was made
by the company's own corps of experts and
cameramen under the direction of Ralph M.
Lembeck.

Films of the United States Department of
.\griculture were shown during the meeting
of the Virginia-Carolina Peanut Growers'
-\ssociation in Suffolk. Virginia, recently at
the Fotosho theater

WERTSNER'S

FAMOUS SILVER SCREEN

for

MOTION PICTURES

The leading screen for schools, churches, hospitals. libraries, industrial plants
and other organizations.

The screen \shich tatches the image has more effect on the projection of a perfect
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Wertsner's Silver Screen will not oxidize, gives a bright clear picture, and eliminates
eye strain.

Sold by the leading jobbers throughout the United States and Canada.

Mounted on spring rollers, wood rollers and frames.

If vou cannot secure Wertsner's Screen from vour supply house, write us.

Manufactured by

C. S. \^ ERTS>ER & SON

211-21 .North 13th Street.
Philadelphia. Pa.

Educational Film Magazine

is the only independent high-class (not high-brow) magazine
covering all non-theatrical uses of the motion picture. IVot
a house organ, no axe to grind, plays no favorites, give- a
square deal to all. Only articles of news or magazine value
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accepted. One subscription and advertising rate to ever>-
body. Mail your dollar now for a year's subscription to 120'i
Aeolian Hall. New York Citv.

10,000 Copies Solil If'ilhin the Last Tuelve Monlhs

Elementary Text Book

Motion Picture Projection

BY JAMES R. CAMEUO>

The Text Book used by

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Written in plain, everyday, understandable language, and
the only Text Book published covering Motion Picture projec-
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82.00 PRICE S2.00

Just Off the Press

Pocket Reference Book

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Contains a number of electrical, mechanical and optical
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81.00 PRICE $1.00

THEATRE SUPPLY COMPANY

126 West 45th Street, New York City

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If you are an amateur you will be immediately
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^ rite for new booklet. Abo let u« delIIorl^t^ale the DeVr> in yonr iiome
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\de/ The De Vry Corporation

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Power's Cameragraph

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TN competitive test by the
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This test w^as of a most exacting
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the superiority of the Power's
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NINETY GOLD ST.

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KDVl AKD EARLE, President

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■.i2

Goldwyn-Bray Pictograph

T he M a g (I z i n c o f Worth - W h i I e F e <t t u r e s

OCIENCE, biography, invention, biology and
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The wonder and mystery of the invisible are revealed
in the Pictograph — fascinating lessons in botany
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microscope.

For purposes of instruction as an aid to the teacher,
The Goldwyn BRAY Pictograph has no rival in
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oldwynJjraijJMeases

Produced by

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We contract for your entire equipment ami furnish everything except the film

United Theatre Equipment Corporation

H. T. EDWARDS.

President

Executive Offices

1604 Broadway, New York

J. H. HALLBERG.

Vice President

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APRIL, 1920

a vear

The Victor Safety Film
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offers to the School, Church and Community
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library of films yet assembled.

Each production has been selected because of its special application
to the need of the non-theatrical user; and every requirement of this
class of user will find its answer in our extensive list of subjects.

Science, Religion, Drama, Literature, Travel, History, Wholesome Fic-
tion, Entertaining Comedy. All your moods and all your needs are
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The Vascular system of the chick embryo Differentiation of the blood in centrifugal

The Capillary net work in the area peliucida ,.. "". , . r , . . , ■

* -^ '- Microscopical views or the blood, showing its

Arterial and Venous circulation ingredients

TT- . 1 • 1 fl .■ Close up of Bone marrow, where the blood

Histological reflections *^. .

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^ol. III.

APRIL, 1920

No.4

PRrNCIPAL CONTENTS

Index to Articles

■DITORL\L ..- 7

Make Visual Teaching an Exact Science

^SU.\L INSTRUCTION IN COMMUNITY' CENTER
WORK 8

By Charles Roach — Illustrated

*LMERIC.\N FIL-MS SPREAD Y.\NTCEE IDEAS IN
JAPAN 10

Illustrated

tfOVIES TO ENTERTAIN HOTEL GL"ESTS

J6 IC\NSAS ClTi SCHOOLS RLN MOVIES

U.L EV.\NSTON SCHOOLS IL\M: PROJECTORS.

L\nL\L FILMS SCREENTD .\T LIBRARY

T.\LY BARS H.\RMFL"L FILMS

MOVIES EDUCATE THE ^LVSSES

11
11
11
11
11
12

Bv Clinord Lament Snowdea. Ph.D.

\. Y. STATE HE.\LTH DEPT. FILM ACTRTHES.... 13

Illustrated

TREET C.\R L\MS SCREENTD AT HE.\RING 13

ICHURCH SCREENS PROGR\MS ON SATURD.\Y

AFTERNOONS „ 14

Illustrated

'ARIS FILMS AID FRENCH TEACHING. 14

■HOTION PICTURE ACTIVITIES IN THE

COUNTRY'S CHLUCHES 15

SUNDAY MOVIES IN CHURCHES 17

GREAT RELIGIOUS LE.\DERS ON SCREEN 17

CL^E^L\ AND SUNDAY SCHOOL 17

RE\ TEWS OF FILMS 18

Edited by G!adv5 BoUman — Illustrated

THREE WIRE WIRLNG SYSTE.U 20

Bv James R. Cameron — Illustrated

CAT.\LOG OF FILMS 21

Recreational — Scenic and Travel — Industrial

Miscellaneous — Safer;- Standard Subjects

HOW MOMES LOWER LIVING COST._ 21

.VMERIC.\N FILMS IN BRITAIN 24

B%- Percival' Gassett

they' ^L\KE INDUSTRI.\L MOVIES FROM THE

SKY 24

liiustrated

FL-\SHES ON THE WORLD'S SCREEN _. 27

Index to Advertisements

Goldwyn Pictures Front cover

Victor Safety Film Corp.

Inside front cover

Kineto Co. of America \

United Projector & Film Co". 2-3

Scientific Film Corp 4

Comruunitv M. P. Bureau 6

Eastman Kodak Co 2S

Worcester Film Co 25

Prizma, Inc. 25

Carter Cinema Co 25

DeVrv Corp 27

The Dwyer Bros. & Co 27

Nicholas Power Co.
National M. P. Co.

New Era Films

Otto T. Nass

Atlas Ed. Film Co. .
Theatre Supply Co.

V'ictor .\nimatogTaph Co 29-32

Radio Mat-Slide Co 29

Underwood & Underwood 29

Pathescope Co. of America 30-31

Burke & James, Inc.,

Inside back cover
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Date 19

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Please enter my subscription to yoar magazine for years for which

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N.4ME MOME .\D DRESS

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"FOR COMMUNITY SERVICE"

COMMUNITY MOTION PICTURE BUREAU

In again devoting its resources to the production, selection, editing, distribution, su-
pervision and presentation of instructional motion picture courses, it is but
fulfilling its primary purpose, following its war work, which is still continuing
on a large scale. In the past two and one-half years. Community has presented
practically all the motion picture service for the American army and navy, and
the bulk of that for the Allied armies and navies.

The largest distributor and exhibitor of motion pictures in the world. Community
Motion Picture Bureau is an educational institution, upon a business basis. It is
not in any sense a theatrical enterprise nor an adjunct to one. Community always
regards its task from the educational and community point of view.

The Educational Board of the Community Motion Picture Bureau is
headed by Dr. leremiah W. Jenks. Chairman, Research Professor of
Government and Public Administration, New York University, and Dr.
Frank McMurry, Vice Chairman, Professor of Elementary Education.
Teachers College, Cohunbia University. This Board is assisted by a large
staff of professionally trained educators, editors and assistants.

Frank L. Oone, formerly Director of Education for the Philippiue Islands, is in
charge of llic School Section.

Community builds motion picture courses upon the basis of the educational needs of each
institution it serves. You are cordially invited to make inqiiirv as to how Community
service will meet your needs.

Our distrlhuting system encircles the world

Community Motion Picture Bureau

Accredited Agent for United Si^ntcs IVar Departrr.ent
Motion Picture Service

WARREN DUNHAM FOSTER. PRESTOENT

46 WEST TWENTY-FOURTH STREET NEW YORK CITY

nriopjAEL

The National Authority

Covering Educational. Scientific, Agricultural. Literary'. Historical. Juvenile. Governmental. Religious, Travel

Scenic. Social Welfare. Industrial, and News Motion Pictures

Published Monthly hy the City News Publishing Co., 5 j IVest 42nd Street (Aeolian Hill), New York City

DOLPH EAST.\LA.N, Editor

IVol. III.

APRIL, 1920

No. 4

MAKE VISUAL TEACHING AN EXACT SCIENCE

ISLAL aids to learning cannot hope to win guidance, conscientious educators would seem justi-

Vtlie unqualified approval of educationa
experts until they have been placed peda
gogically on a par with the printed text
and the oral lecture. No guess-work, no hit-or-miss
method, can be tolerated in the classroom. The
motion picture and the lantern slide are merely
deceptio thus in the view of the sceptical school man
until they are demonstrated, beyond a reasonable
doubt, by tests, comparisons, measurements and other
scientific data, to be an indispensable teaching tool,
a part of the school equipment as important as black-
board and chalk.

Such data is practically non-existent today, as re-
lated to both still and motion pictures. There have

iied in their apparent indifference to motion pictures
in the school.

The use of films for other than instructional pur-
poses in assembly hall or classroom is an altogether
different matter. A schoolhouse may serve as a com-
munity center in which case the recreational employ-
ment of movies is entirely warranted. But the super-
intendent, principal or teacher must keep this distinc-
tion in mind when using the screen for one purpose or
the other. Dr. McMurry has expressed a fear that the
entertainment use of films in the school may damage
their educational use, but we believe this danger is
more apparent than real. With carefully selected pic-
lure programs and in the hands of a competent super-

been isolated instances of attempts to undertake some visor, the two uses will not clash but will tend rather
more or less accurate investigations in the field of to blend and one aid the other. The reactions of chil-

visual instruction, and one of these, made at the
'Peabody High School in Pittsburgh, was described in
tliis magazine about a year ago. Before the war, in
France, some research of this kind had been dis-
cussed and it had been proposed in Germany as well.
So far as we have been able to discover, however, no

dren to recreational and cultural films and slides have
not been accurately observed and recorded, so far as
we are aware.

Dr. A. H. Sutherland, psychologist of the Los Ange-
les School District, last year suggested in these pages

comprehensive and dependable data are available at ilie following psychological analyses of motion pic-
tl i< time upon which to base soimid judgments as to the ture films:

relative teaching values of oral, written, and visual
methods in the various grades, from kindergarten to
postgraduate.

Opinions and beliefs, enthusiastic acceptance and

caustic rejection we have had in full measure. Facts

• and prima facie evidence for or against the principle

'of visualization in educational method we have not

had and it is time that we began to do something about

. it. \^'e know in a general sort of way that the motion

' picture and the still picture are helpful pedagogically,

but it is knowledge based upon faith and optimism

and not upon such sound doctrine as "t^vo plus two

equal four" and '"action and reaction are equal and op-

First, to show what mental processes are stimulated.

Second, to show how the imagination is appealed to.

Third, to show how the pictures and processes are
retained in the memory.

Fourth, to show how the values of the material are
impressed upon the pupil so that he may use them in the
daily contacts of life.

Fifth, to show how this material becomes organized
as scientific material.

Sixth, to show how the pupil would be led to am-
bitions by the discovery of additional information
through their use.

In this issue Mr. Roach suggests a careful investi-
gation of the best methods of visual presentation that
thev may be placed on a parity with other teaching
methods. WTien we know how actually efficient the
film and the slide are in any given subject or course,

posite." Until we have such a scientific foimdation up

on which to formulate definite precepts and classroom much scepticism now prevalent will be removed

VISUAL LXSTRUCTIO-N L\ CUALMLMT\ CENTER WORK

Be?t Method for VUnal Presentation Should B- :- Tmined by-
Scientific Research — Fihn Production. Distribnl-- Exhibition

Problems to Be Solved-The Idle Schoolhouse j- reh: Why

Not Show Movies There?

B\ Charles Roach

Dixedor, Vuaal liutractMMi Scxriee, Iowa fczt« A^ricnltimJ CoUe^, Ames. Iowa

tising and pul most of the sum in pictures we must be per- '
suaded that it pays, because dollars, not sentiment, guid» i
big business. Truly the visual method for education (adf ]i-
vertising is education, you will admitj has proved practical '
and worthy of consideration.

Meetings such as these naturallv lead to discussiona^

ML CH has been said about the use of fihns by oi-
ihusiastic educators who, from the first, have had
visions of young America being educated by the
imwinding of reels. So much has been claimed
and so verv little proved that we are sometimes forced to
attribute the statements of visual instructionists to over-
exercised enthusiasm or to highly imaginative minds which
substitue fiction for fact. While no one questions the
relative importance of visual as compared with aural or
any other sense stimulus, no one actually knows how efiFec-
tive the cinema or the stereopticon really may be as a
vehicle for teaching. No intensive
and extensive study has been made
which can command the attention
and wholesome respect of the teach-
ing profession. Occasionally a
teacher or a super\-isor has attempted
to evaluate the motion picture, the
stereopticon slide and the stere-
ograph, but no elaborate, highly
scientific study has ever been made
which has taken into consideration a
sufficiently large group of individ-
uals to give anything like an intelli-
gent report, worthy of more than
passing notice.

In view of these facts, I feel per-
fectly calm and exercise no concern
about the possibitit\- of being placed
in the Ananias Club when I say:
"We do not know the relative value
of the motion picture, the slide or
the stereograph in education." But
it is our business as educators to
know. It is our business to investi-
gate. Most all we have read, pos-
sibly more we have heard, is the
result of hasty conclusions drawn
from preconceived notions, from in-
di%'idual isolated experience and
from limited observation. If, as the
result of this conference, this de-
partment can do nothing more than
create sufficient interest to begin a
nation-wide study of visual instruc-
tion, it will have done a most commendable piece of work.
We grant that we do not know the relative value
of the chart, slide and film method of presentation;
we may also grant the psychological soundness of appeal
(that is, if we are to credit a certain educational
psychologist who says more than 85 per cent, of our per-
cepts are visual). Business and industrial concerns believe
in the visual method of presentation, .\dvertising is now
reduced to a fine art. and pictures are invariably used to
carry the message. That it is successful may be proved
by the fact that companies increase rather than decrease
their advertising a'.livities. When large industrial con-
cerns spend himdreds of thousands of dollars for adver-

Mr. Roach read a portion of this valuable paper at the meeting of the
pepartaient of Visna] Education, National Edncation Association, in Oeve-
lajid, Ohio, on Febi-oari- 25. 1920. The paper is poblijhed in Ml in tbis
israe.

pH.VRLES ROACH has done

^ anv other man or woma^' in

more, perhaps, than
Iowa to advance^ the
iau?e ot Tisaal education. He describes himself as
"a musician by indination. a printer by trade, a
teacher by accident, an educational motion picture
enthusiast by conTersion.*' He was bom in Lisbon.
Iowa. July 9. 18S9, grad-^-ed from high sdiool in
1907 and from Cornell Cr.:.i,, in 1911. He was a
graduate student at the State University of Iowa 1913
and 1915. He taught in .^— es High School from
1911 to 1913. .\: Centerri'.:.. Iowa. High School,
where he was principal, he began his visual instruc-
tion work in 1913_and contir-jti until 1917. He took
charge of the \ isual Instr-jction Service at Iowa

State College at .Ames in 1517 and

concerning the history of the motion picture. Motion pic-'
ture< seem to be the result of many minds rather than of
any one single mind, and no one is entitled to entire credit.
Suffice it to say that the record Is not clear, but the earli
devices showing animated pictures were probably made
ia33. In 1893 Edison displayed pii
tures at the \^ orld's Fair in Chicago,*
and in 1894 he Introduced his kineto-;iE
scope. Some writers give C. Francis-' t
Jenkins the credit for our modenk^ioi
development. It was he who In 1895'1 »
made possible projection on a screen.„_('
His patent sold for S5,700, and it is^fc
estimated that the profits from the-
motion picture industry based on
Jenkins' patents amount to nearly
$500,000,000 annually. Thus iik
about twenty-five years the motioiki ^
picture business has grovra from in-
significance to our fifth greatest
Industry.

Only fifteen years ago the motioa
picture was a toy, a pla\-thlng, a
fad. Ten years ago preachers and
teachers associated the five-cent the-
ater with the poolroom and the-
saloon. Persons who would frequent
exhibitions were considered just a
little worldly and not exactly re-
ligious. At best the motion picture-
was nothing more or less than a
cheap and vulgar amusement Five
years later a change of opinion gave
it respectability, and today teachers
are calling it the imiversal language,
the story teller of the ages, the rich
main's diversion and the poor man's
pleasure. Preachers who once con-
demned it as an Imp of Satan now
u?e it as a hand maiden of the church w-ields a greater in-
fluence for good or ill than any other one thing excepting
the home and the school, even going so far as not to except
even these. Today, as never before, brains and big business
are trjring to make the motion picture function for good.

Don't Fight Momes — Use Them

Motion pictures have forced themselves upon every
school, church and community in the nation, and even
though the teacher may refuse to endorse the introduction
of film as a part of the course of study, the local theater
is teaching a standard of ethics and morals, and shapin
the modes of thinking of every boy and girl in the school.
Mr. Superintendent, motion pictures are here, and here to

still

director.

Yoa cannot tlod^e them ; so mimt mre yxm going to do
it? Sav what you will aarainst them, oppose them
that is TOUT wish, call them a fad, deride them as being
p and trashv. make tun of them, TTt;»HorT^ them. 3res, evoi
lit them, but Tou cannot alter the fact. The modoa pic-
re industry has iarri-red the attacks of competition in the
Ids of amusement It has weathered the storms of bosi-
difficnlties and mechanical obstacles. Yoa cannot
sue it away, .\notha course is far more becoming,
mely. vou should accept the best there is in motion
rtures and build ap«n that.

Happily, prejudices though long standing are gradnally
sappearing, and quite recently an uncommon intHCst has
Teloped in that field of education commonly called risoal
stniction. Preachers have observed that films, like books,
e to be fudged by content, not by the BoeckainEal con-
ruction- and that after all there may be a place in ike
.arch for projection apparatus, just the same as there is
plice for musical instruments. Teachers have found diat
)t all films are vicious. vTilgar. obscene: in fact, some
nre experienced instances where a reel of modoB pictiiie
iK actually contained more teaching value than mairr
iges of printed matter.

At first thought it seems quite scranze that schools
icald have been so slow to accept so valuable an instm-

(en; for education as the scre«u We are not surprised
ciie lethargy of the church because we rather expected
e church to be ultra conservatrve.

ChCHCHES WoRKtSG CoXSTKCCriTELT

Quite singularly the churches have actually dooe moie

instructive and effective w^ork with the screai dian have

schools. When we remember that only a few hsadied

ears ago men were exconuBimicated or killed for heresy

dared to say the eardt and not the sun moved: when

ur own forebears burned witches at the stake and did so

1 ie name of religion: whau within the memory of every

dult present, there were and still are godly old saints

dk> associate the violin with the devil and any other tfaaa

laccompanied singing as sacreligious: when we observe

tolerance evai at the present day, we would not be snr-

riied if the church would actually be the last to accept

uch an unconventional instrument as a motion picture

oaine. The Methodist Church was responsible for the

nos: spectacular motion picture scoop of last year at &>-

u=bus. Ohio. The Catholic Church has formulated as

ictive motion picture policy. Oth« Protestant bodies aie

:o— ing to realize that good motion pictures, like good

Moks. are able to iitwtiimti' to the glorification of God

md tbe ^tiNnldii^ of Hts Kingdom here on earth. Bat

tttea we see s^ook, which should be the founLiin of

iroad libexal ririnfciiig, actBaDy rejecting the motion pic~

nre on ac t jamA oi fKxfm£ee, or otho- trivial reasons, we

ire nBy>Ie to Baderstaiid die l ethaigj of the teaching {hto-

In the aaaller nmTmiiiii r iri. wbece oppoctMities for
w>w> n iafafd aHHEoaoC aie not to be iiad, Aae alwqps
Exists ^ seed for winlesaHe leoeatioa amd pkasan.
Rural people seed tfae braadeaiztg fnfWiin' of Ae Urn
even more acotely dtan do the city people^ The fanKr
needs mental exercise oc exhilaiatkn and pkysical rdais-
tioe. Social oppoitadties aie few. The loceiiness of
seclusioa and IsolatiaB dtiics many a boy and girl to sedk
his or ho- fotHie TocAiaB is Ae city. What an opportrnkj
b offered the ngaaiovs and dear-risioned rural teadber,
especially in ceasoBdated se&ook!

1 HE Idle Schoolhocse a.nd Church: .\.n OppoKrtnarr
The coming of prohibition has closed the saloon. Labor

z:w works the fewest number of hours and has the sreatest
amount of leisare. How will this leisure be spent?
^iihin walking distance of every home, in everv citv com-
~-.ir-itv. th«e are sch.:o[hoases idle at least 30 per .^mL of
Lie daytime during nine months and closed for three
E.^Qths during the summer. Near by are churches which
represent an investment of millions in the aggregate, but
used, possibly, not more than eight hours a week. Many
or them are attractive structures, comiortablv seated, well
illuminated and exceUoitly equipped with wonderful
musical instmrnents which remain silent except for an
hour or two weekly. What an opportunity is offered here
tor wideawake msa and womoi for social welfare work!

Churches, schoolhouses. libsaries and town halls repre-
sent millions of dollars of public money. No business or
private entHprise would think of closing up its doors even
for a few days, and yet Sunday is the onlv time most
churches open their doors. Saturday and Sunday the
schools are closed. Town hall; may be the scene of an
occasional caocos, indignation meeting or a justice court,
when some yonngsto^ gets into trouble trying to save him-
self from dying of amuL The church deplores the worldi-
ness of the g«H.«ration: the school loses half the bovs and
girls before they get through high school: vet neither
church nsx school functions anywhere near its limits of
possibility.

The needs for socialization are apparoiL Manv churches,
schools and town halls coold nse raotKHi pictures for the
improToitent of local social cooditkins. .\ grade school
in Des Moines. Iowa, makes motion pictures serve both for
recreation and class work. The principal says:

How 0>"E School PHCictPAi. Does It

"Tile motioa pictures shown at Locos School axe ased quite often
~ i^'xnphT classes. A poster, upon witich k printed the sabjecte,
etl in a pruminent position in the h-iH From f^T^ the pupils
> veeiLS aiiead what the subjects of pictures ire to be. R^^-
ecces to books, papers and magazines are assi^ed: and infocmatiaa
iaiered at home, toiecher with that obtained from citr, state '^'f
sc20ol libraries, fnniish the material for the discussion on the day
rictnres are shown. Thus there is a de£nite preporatniii for die pic-
r^ires. .\fter the eThirition time Es iiven for qnestions and answers.
T":!"? English teacher uses the knowledge gained from pictures as
Lie ::asis for written composition. Even in the first, second md
tiiird trades die pictures furnish material for oral Lmauage work.
la the foortk and fifth grades the pupils are tctt much interested
m wQzkiiig out in sand and clay snt^ pictures as Mount Ranio;
Like >"Timnpl.trn The Old Fort of St. .\uaustiiie. and the adobe
iweflings of the >few Mexican Indians. Thus by the use of film
md slides we haTe found visual aids of greate-t »alne in classroom
isstmcticn. An interest is awakened whicb causes even the dullest
pcpils to try to enter into the discussions. Then. .^fi'Ti there 'Mmea
with this kind of instruction a trainina in observation, which is of
value even to the youngest childien."

Instances such as this illustrate what may be dose in
iny other school where teachers have a keen initiative and
can seise the proper method of presentatioa. If Ae fic-
tures bad been ntra tbro^b tfe ptojectcH- w^oat ptevioas
prepazatioa or fnrdier expIanatKA it is ^e to say Ar time
? pent would have been of considaably less value.

A wonderhil opportunity is offered the saperintendent
of eonsoBdtfed schools, particularly ^ose located in mral
seetioBs or in small villages. Mingo. Ohio, and .\lta, Iowa,
are examples of what progressive md wideawake men can
Jo. Tbese caanB^uties are linked up intimately with tk
schools. Near Sfitfonl, Iowa, there is a consolidated scbool
located several miles oat in the country. Recently mod<m
pictures were given a trial and patrons from the far cor-
cers of the district join each week for social pleasure as
well as moital improvemenL

L '-cinaiii as page 36)

AMERICAN FILMS SPREAD YANKEE IDEAS IN JAPAN

Geisha Girls Have Their Special Sob Corners in
Theaters — Policemen Cannot Be Insulted and Wives
Must Kiss Their Own Husbands on the Screen

fii

nis,

ANY thousands of Japanese
are movie mad. As prac-
tically all of the films
shown here are American
the pictures are accomplish-
ing much towards educating the
E^n^K {a orientals in the details of American
i^ A 1^ life, character, dress, fun, and trag-
"i ^," edy. And the movies are working

~ a gradual change in the Japanese

attitude toward American dress and
habits of everyday life. \^ hile only a few Japanes women
have discarded the kimono and the fetching sash, with its
saucy obli, or loop of richly tinted silk at the back, the
number of those in skirt and blouse and tailored suit is
growing daily.

Gradually the girls and women are discovering from the
screen beauties that the oiled and stiffly conventional coiffure
which has been tlie distinguishing characteristic of Japanese
hairdressing these many ages is not to be compared . with
the American coils and braids and knots that bring out the
individual graces of the dearies in America. So they are
taking to American styles in hairdressing.

The American Wifeocracy
One wonders whether the Japanese ladies, watching
breathlessly the conduct of film wives, may not be learning
also that the American woman has much more freedom and
independence in her home than has the Japanese woman.
She is fascinated by the manner in which screen scolds boss
their henpecked mates about.

Again, the Japanese boys and girls regret that they cannot
read the English captions and titles on the pictures. At
present these are translated for them by a man who stands
on the stage behind the screen and delivers an interpretation
of the pictures.

I went to the Komparu theater on Sunday afternoon and
witnessed a show without paying much attention to the pic-
tures. For 70 sen (about 35 cents) I obtained a seat in the
balcony. At the bottom of the stairway I had to pick my
wav among hundreds of clogs and sandals which had been
left there by movie fans.

Strong for Sob Stuff
At the stairway there was a tele-
phone and it jingled merrily as I
was waiting to have my shoes at-
tended to. The American owner of
the theater explained to me a mo-
ment later that the call was from a
Cieisha girl, representing a little part
of Geishas who wanted to come over
to see the show if the manager was
quite sure that there would be plenty
of pictures to "make them cry."

"The Japanese women and girls would be ashamed and
afraid to weep before their husbands and brothers at home,"
said the manager, "and so they welcome the sobby film as
a grief producer.' They come and sit in the public theater
and crv and splutter to their heart's content, and go away
feeling fine after the April shower."

Wife or None

There was some confusion at the door owing to a Jap

anese law which forbids men and women to sit together ii

a theater unless they be united in the holy bonds of matri

mony.

"Are you married?" is not an uncommon question ad
dressed to some man who seeks tickets for himself and lad'l

together.

"Yes," says the ticket buyer.

"Prove it," demands the ticket
seller.

"You prove that we are not mar-
ried," retorts the ticket buyer. The
ticket seller surrenders. He is sure
the man and the little lady are put-
ting one over on him, but he has no
time to search the official records and
take depositions and so he tells the
couple to go along inside and not
keep the line waiting. The Japanese
youth and sweetheart step inside,
smiling behind their fans.

In the Sob Corner

For a distance of ten feet behind
the balcancy rail there is a space
without chairs. Mats are on the
floor, and on these sit the Geisha
girls, their legs doubled under them
in a fashion that would be torture
to an American girl. But thev sit
there for hours, smoking cigarets.
crying, laughing occasionally, but
all the time thrilling with the ebb
and flow of emotions. How Laura
Jean Libbw could work on those
Geisha girls with one of her varus
of suffering love and shivering dis-
aster !

The Japanese are quick of percep-
tion. They get all there is on the
film. No flash of an eye or curl of a lip is too swift foi
them and the significances are duly registered.

The Police Censor
This was the only movie theater in Tokio where childrei
may go. The police are the censors in Japan, as in Chicago
and they perform their task of weeding out the immora
and the unethical and the dangerous without aid of civiliail
Iicards.

In a Japanese picture show an actor is not permitted U,
lieat up a policeman, or hit him in the eye with a custarcj
pie or in any way to discomfit or discredit him and hiil
dignity. The policeman always comes out on top or elsi
there is no j)oliceman in the reel.

Mary Pickford cannot kiss anybody excepting her bus
band in Japanese picture houses. She might possibly b<
permitted to kiss her brother, but that would require deej
ronsideration on the part of the police censors. Tliere car
he no violent struggles or knife plays in Japan.

The Last Thrill Lost

And now it is desired to show the young artist in his
idio, the young artist whose father is a prominent banker,
e young artist with bushy hair and Robert Mantell eyes
10 is making a ^L^donna portrait of tlie little girl of the
nil house district and who will surely marry the little
iden as soon as she has been heartbroken and they have
ifted apart, only to meet on a battlefield, where he is a
lughty doughboy and she a wonderfully gowned Red Cross
rl, with the shells bursting all around them.
They have gone over the top together, you know, and
e wears white so that the Germans may know just where
e American line is, and he wears a sport shirt and carries
Id Glory in one hand while he waves a rifle in the other
md and carries a trench knife in his teeth.

That Censor Again

Oh it is a terrible strain on the Japanese girls to have
at man wounded ! The Red Cross girl bends over his
eeding form and — she recognizes him! They start to
nbrace, when the Japanese censor intervenes. The artist
covers and they live happily ever after in a million dollar
lifornia bungalow, where so many other movie mates
ve lived before them.

I But it was started to be said that if the young artist
ould be shown in his studio, gazing soulfully at his Hull
(Use model, the background must first be divested of all
de statues. The Japanese censor moves all such out into
e hall, and I doubt not many a villain stumbles over
em — in Japanese picture shows — when he dashes in to
t the canvas into shreds with a German souvenir bayonet.
And the Geisha girls don't miss the statues at all —
ey are so busy hurling Nipponese anathema at the villain.

MOMES TO ENTERTAIN HOTEL GUESTS

"Amusement directors in the big resort hotels of the

ilion," said Charles C. Ritz, of the Ritz-Carlton hotel

stem, "have come to the conclusion that through neglect

motion picture entertainment they have been missing a

kluable business opportunity. The attitude of their guests

^s been reflected in willingness to patronize motion pic-

^res.

"Hotel oiScials are recognizing the progress which the
rt has made, and also its appeal as entertainment. The
smand for hotel shows is tremendous. \^lien negotiations
re finally concluded we will show motion pictures in resort
otels throughout the country, but only those productions
f the better class. Eventually many of these hostelries
ill have their own auditoriums for the sole purpose of
iTojecting motion pictures. Recognizing that their guests
re people of education and discernment, they will present
ig-time pictures, and the very latest to be iiad. Arrange-
lents made with Realart Pictures Corporation will insure
le presentation of these high-grade films in the best of
irroundings."

By the installation of three complete motor-driven Sim-
lex projectors in a large, well-equipped projection room
1 the balcony of the ballroom, the management of Green
riers Hotel. White Sulphur Springs, W. Va., has met the
esire of its guests for modern entertainment. Here every
I'ening first-class features are run off in a manner that
utdoes many large city theaters. These shows precede
ancing, and there is no admission charge for them.

26 KANSAS CITY SCHOOLS RUN MOVIES
Twenty-six public schools in Kansas City are giving movie
shows successfully six afternoons and evenings a week.
The school board has indorsed the work directed by C. H.
Mills, community center director. More schools in Kansas
City are planning to run pictures following the realization
that they pay. "The Bluebird" was shown to 16,000 per-
sons. It was run at twenty-one schools to a box office total
of Sl,431, making a profit of 8800. Half of the surplus
reverted to the community centers to be used in improving
schools and communities. The other half went to the
school board to be used in buying educational films.

ALL EVANSTON SCHOOLS HAVE PROJECTORS

According to a local newspaper, all Evanston (Illinois)
schools are now equipped with motion picture projection
machines. Literature, geography, history, science and other
lessons are illustrated to the students in a regular weekly
program for each class and a bureau of visual education
has been established to select and to present these pictures.
This bureau is organizing a central museum of illustrative
material for classroom work.

ANIMAL FILMS SCREENED AT LIBRARY
Three reels of moving pictures ot the bird and animal
life of the Northwest, with an explanatory lecture by W. A.
Eliot, bird expert, was an outstanding feature of the meet-
ing of the Portland Federation of Women's Organizations
on a recent Saturday afternoon at Central Library, Portland,
Oregon. The pictures were the same that Mr. Eliot showed'
to more than 100,000 doughboys and poilus during the war,
when he traveled throughout France with the entertainment
department of the Y. M. C. A. The purpose of the lectures
was to acquaint the club women with the necessity of pre-
serving the bird life of Oregon.

ITALY BARS HARMFUL FILMS
Henceforth all films showTi in Italy are to be censored
by the Ministry of the Interior and heavy fines will be
imposed on producers who have not obtained government
permits before showing films in public. The new rule
has been made owing to complaints from priests, professors
and many heads of families that films now being shown are
highly inmioral and lower the moral standard of children
and grown-ups.

The new censorship may aff'ect American films which
tend to show crime and criminals in a favorable light, and
American film producers are warned that it is useless to
send such films over there in future. Magistrates and
social workers affirm that the increase of crime among
youngsters is largely due to the bad influence of "criminal"
films.

MAETERLINCK ON THE MOTION PICTURE

It seems to me that America does not give the motion picture the
aril-tic importance it merits. People seem to consider it an
inferior type of art form. In my opinion, however, its potentialitiea
are unfathomable, for it can teach in terms of beauty and of ideal*
in a manner not to be found in any other medium of expression. —
Maurice MaeterlincL

Albert Edward Wiggam's lecture "Climbing the Family Tree," deal-
ing with heredity and Mendelian laws, illustrated with slides, was
given recently in New York City in the Miles Projection Room,
Candler Building.

MOVIES EDUCATE THE MASSES

The Screen Speaks Directly to the Human Heart, Causing the Passerby
to Stop and Heed

By Clifford Lamont Snowden, Ph. D.

Editor "Evening Profjrcas." Peter-*burg. Va.

MOVING pictures which began as curiosities, very
crude and very hard on the eyes, and gradually
assumed prime importance as a means of recre-
action and amusement finally have become the
first educational medium of the times. Manners, morals,
dress, geography, economics and sociology are taught for
better or worse more widely by the screen than by any
other agency. More people go to the moving picture shows
than go to church or college or high school. More young
people are moulded in manners and dress by the "movie
queens and kings" than by their parents and quardians.
No preacher in any church in a community speaks to a
larger audience than "The Miracle Man" or some other
such exponent of the spiritual elements in life. As time
passes we should see increasingly the silent drama giving
deeper and deeper lessons of spiritual meaning, so pres-
ented that the densest mind may understand,
guilty man are of no avail.

So prominent a part has the educational element played
among the theater exhibitors that their national association
has decided to go more largely into productions of this
nature. Alfred S. Black, president of the association, says:
"I have reached the conclusion that such pictures are as
much a part of American national life as the pictures made
exclusively for entertainment purposes, and in this view
I am supported by nine-tenths of the exhibitors of the
country who are members of this organization. Better
conditions of living and continued prosperity demand a
broadening of the uses of the screen."

The motion picture screen speaks all languages and di
lects directly to the human heart, and so plainly that ti
wayfaring man, though a fool, may not err in his inte
pretation. Therefore, its mission as an Americanizer ca
not be overestimated. For general welfare work the motu
picture is supreme, because it brings to the public mil
in an unforgettable manner the dangers of unsanitai
houses, carelessness in living, and the risking of life ai'
limb in street accidents and the like.

Industrial development in shops, on farms, in mines ai'
forests will have its important place on the screen of tl
future in abundance, and many a "white collar boy" wl
otherwise would spend his life behind a counter or on i
office stool will be prompted to go out in the world on
man's job and leave the easier ones to the girls.

The industrial welfare of the country must be advanci
by all means; wonderful things looking toward a bett,
understanding between labor and capital are being doni|
the foreigner in our midst is being turned into an Amei
can citizen, and we must all know what is being done aloij
modern lines. Comparatively few read the magazines ai,
higher priced reviews; too few people read the serio
portions of the daily papers. Everybody, high-brow, Ic
brow and medium-brow, sees the pictures and is coi
sciously or unconsciously influenced by them.

More and more the fate of civilization rests upon ti
good sense, good morals, and good Americanism of t
producers and exhibitors of moving pictures.

MINISTER RUNS MOYIE-IHEATER

How a minister and his flock use a motion picture theater
to better social conditions in the home town was told to
members of the Saint Andrew's Church Brotherhood, of
Buffalo, at a recent meeting by the Rev. Dr. Robert E.
Robbins, of Saint Mary's Church, Salamanca, N. Y. He
discussed the social service problem of the modern com-
munity and advocated more recreation properly directed

COTTAR FILMS AFRICAN PYGMIES

Charles Cottar, big game hunter and explorer, has reached the
land of the pygmies in the heart of darkest Africa and is busily
engaged in photographing these liny people for the C. L. Chester
Productions. Never before has the strange life of these jungle
villages appeared on the screen.

It is less than fifty years since the Akka tribes, as they are called
were discovered. Famed in Greek mythology as the pygmies and
known as the Lilliputians of Gulliver's travels they had long been
considered the creation of imaginative ^vriters until adventurou.-
explorers, prowling about the forests in the Aruwimi district of
the Congo Free State, found such human beings actually existed.

They are a negroid race, with coffee-colored skin and hair. Their
average height is less than four feet, though many are much
smaller. Nomads of the forest, they hunt with poisoned arrows,
pitfalls and traps. They gather ivory and honey and manufacture
poison, which they bring to market in exchange for cereals, tobacco
and iron weapons. They are courageous hunters, who do not hesitate
to attack the largest elephants.

Their habits of life are curious. Round hnis built of branchc-
and leaves are their homes. Those who have seen them trailing wild
game through the jungles report them possessed of an astounding
agility, for they le.\p about in the tall grass like grasshoppers.

In the presence of strangers they are timid and retiring, but on
the slightest provocation give way to wild hursts of treachery and
malevolence.

for the young men and women. Dr. Robbins was one
the factors in bringing about better social conditions
Salamanca. With the assistance of members of his cc
gregation he took over a motion picture theater in th
city and put on the best pictures available. The hot)
is now paying a good profit. This is a tip for the paste
ot otlier cities.

A CREED— AND A PLEDGE
By King W. Vidor

I believe in the motion picture that carries a mes-
sage to humanity.

I believe in the picture that will help himianity to
free itself from the shackles of fear and suffering
that have so long bound it with iron chains.

I will not knowingly produce a picture that con-
tains anything I do not believe to be absolutely true
to human nature, anything that could injure anyone,
nor anything unclean in thought and action.

Nor will I deliberately portray anything to cause
fright, suggest fear, glorify mischief, condone cruelty,
or extenuate malice.

I will never picture evil or wrong, except to prove
the fallacy of its lure.

So long as I direct pictures, I will make only those
founded upon the principle of right, and I will en-
deavor to draw upon the inexhaustible source of Good
for my stories, my guidance, and my inspiration.

hli

NEW YORK STATE HEALTH DE}»\RTAIE\T FIIAI ACTHTTTES

HE most conspicuous new
undertaking in 1919 was
the purchase and fitting
up of the healthmobile
is a large motor true.-,
quipped with a special body
nd furnished with a complete
lotion pictiu-e outfit, electr:
oierator, motion picture pr
xtor and a variety of screens.

With this car it is possible to
isit small and remote communi-
ies and to show health films an
iher exhibits, either indepena-
ntly or in connection with
1th projects of one kind or
nether. Since the car generates
ts own current it can be used
ndependently of the local
ource of electricity and the pro-
ector and screen can be easilv
unted on the top of the car.
ins making outdoor movies pos-
jble. If desired a screen may
rigged against a tree or build-

ng, the motion picture machine t

nounted in or on the car and the
Hctures thrown from a greater
listance, thus permittin

a larger screen than can be put on the roof of the
ar itself. The car can also be parked outside of a hall,
iurch or school and by carrying a lead into the build-
sr. the motion picture exhibition may be given indoors.
The outfit was first used in connection with exhibits at
ount\- fairs and the State Fair, and has since been tried
nt in several sections of the State. It is now believed that
he car is fully equipped and the crew proficient in handling
In the spring the healthmobile will be sent out on the
■oad and will be kept in constant use throughout the season.
Experience ha; shown that there are few more effective or
nore popular means of public health education than motion
jictures. A number of new films have been purchased, in-
:Iuding t»vo copies of a t%\-o reel film on child welfare work,
two reel fihn on venereal diseases and one reel pictures
)n infant feeding, the fly. the mosqnito, the eve. and tuber-
mlosis. ".\n Equal Chance."' produced in cooperation with
he National Organization for Public Health Nursing, has
ilso been added to the film librarv.

C lANpARjJiZED Whi-e J-ton rr;,ec:;:= trjci for pa..-k: a:;d rural service aad for aie ic the Indian
. *~ P-'^ ^^° 4t.' Orient: also yn-l bv the Bureau of Commercial Economics for outdoor movie shows in
tais conntry. The New \oTk S:a-e HeaiJi DerartTcents healthmobile is of this t^-t)e but is emploved
g. jjjg ^jg dd-istveiy tor pubhc health edncatiot:.

STREET CAR JAMS SCREENED AT HEARING

Assistant Corporation Counsel Chester Cleveland rose to
his feet at a hearing on inadequate street car service in the
Chicago rooms of the Illinois Public Utilities Commission.

~\niy, conditions are so bad in Chicago that we can't
show you them by the testimony of witnesses." he shouted.
'"I have had some moving pictures taken and I want leave
to bring them in here and show what the camera has to say."

He was granted permission, and at the afternoon hearing
the lights were turned out and the movies started to grind.
The pictures had been taken at the comer of Halsted and
Madison Streets during the rush hours, and at other comers.

Each picture showed a packed street car, with men and
boys hanging on the steps and on the trucks and holdins
on by the screens over the windows. Many scenes showed
jammed cars moving away and leading twenty-five or fift>-
persons standing on the street In the picture a crippled
man who could not get on a crowded car was forced to pass
up ele\-en cars before he could enter one.

THE POWER OF \TSUAEIZ.\TION— Bv Sm FiLOias G.^lton

The free action of a vivid visualizing faculty is of much
importance in coimection with the higher processes of gen-
ieralized thought A visual image is the most perfect form
of mental representation wherever the shape, position and
relations of objects in space are concerned. The best
Workmen are those who visualize the whole of what they
[propose to do before they take a tool in their hands.
Strategists, artists of all denominations, physicists who con-
irive new experiments, and, in short, all who do not follow
routine, have need of it The pleasure its use can afford
is immense.

I have many correspondents who say that the delight
: recalling beautiful scenery and great works of art is
:.-.e highest that they know; they carry whole picture gal-
. fries in their minds. Our bookish and wordy education
:t-nds to repress this valuable gift of nature. .\ faculty
that is of importance in all technical cind artistic occupa-
tions, that gives accuracy to our perceptions, and justice
to our generalizations, is starved by lazy disuse, instead of
being cultivated judiciously in such a way as will, on the
whole, brine the best return.

CHURCH SCREENS CHILDREN'S PROGRAMS ON SATURDAY AFTERNOONS

Education, Wholesome Entertainment, and Character

Development Objects of This Splendid Motion Picture

Philantliropy

AEW feature of church community service was in-
tituted on a recent Saturday afternoon at the
Tirst Union Congregational Church in Quincy. Illi-
ois. That organization has new motion picture
equipment in the chapel for the purpose of showing good,
clean, wholesome juvenile picture programs each Saturday
afternoon for the children of Quincy.

This progressive action on the part of the church is arous-
ing a great deal of interest and is causing considerable favor-
able comment among churchgoers and non-churchgoers
alike.

Rev. E. A. Thompson, pastor of the church, was asked,
"Just what is the purpose of these juvenile programs?"
Making the Child's Spare Time Pay
"It has been found that in the whole city of Quincy there
is not a good, wholesome program provided regularly on
Saturdays, which is exclusively for the entertainment, edu-
cation and moral development of our children," he replied.
"Most of the city's children have a great deal of spare
time on Saturday, and it is to help take care of this in an
effective manner that we are going to provide these juvenile
programs.

"The life of the average child is very greatly influenced
by motion pictures and I feel that it is the duty of the
church, as well as of parents, to see that children are al-
lowed to witness only pictures that will help make them
better citizens.

Good Movies Wonderful Character Builders
"Good pictures are wonderful character builders. Bad
or suggestive pictures are the most deadly character de-
stroyers. It is our purpose to help mould the character of
our children and young people by bringing clean, broaden-
ing entertainment for them.

"Such a need has long been felt in Quincy as has recently
been shown by the suggestions from the Chamber of Com-
merce, Rotary Club, Lions Club and the Parent-Teachers
Associations of the city.

"Our official board is strongly of the opinion that these
programs, properly conducted, will help meet this need in
a real and tangible manner.

Moral Results Not Measured by Expense
"The new equipment and the free weekly programs will
bring considerable expense upon the church, but we feel
that the results in moral uplift and character can never be
measured in dollars, but only in the infinite value of human
life.

"Parents may send or bring their children here with
perfect assurance of a good and helpful as well as an amus-
ing program. I am thoroughly convinced that these Satur-
day afternoon juvenile pictures should do much to pro-
mote a finer spirit of Christian manhood and womanhood
among the growing children."

Turning to the popular Sunday evening services which
have been held in that church for some time, which service
is supplemented by the use of motion pictures, the pastor
said:

'The church and the school are the natural meeting places, or community
centers, for the children of a community. What holds their interest mon
than good movies? Here is a group of kiddies waiting for the churcl
doors to open and eager to absorb the pictures, grave or gay, whiob th(
prudent pastor may give them.

Sunday Evening Success with Films
"It has always been and still is our purpose to make oui
popular Sunday evening service a strictly religious meet
ing, which at the same time is attractive and uplifting. Om
supreme motive in the Sunday service is to bring men int(
a vital realization of the power of Christian living and t(
present the principles of Christ in a telling manner.

"The results have indeed been gratifying, not only fron
the standpoint of large congregations, but from interes
shown and the many expressions from members of the cod
gregations, stating how the services have really helped then
in life's battle.

"I am looking forward with high expectations to large
Christian service in the days to come," concluded Mr
Thompson. "It is the avowed policy of the Official Boan
and members of First Union Congregational Church t
place our equipment, talents and Christian service at th
disposal of the people of Quincy when these can be of rea
moral service." ^ ^

PARIS FILMS AID FRENCH TEACHING

As part of an exhibition planned to show the value of French i
a high school subject, films of Paris were recently shown in all tl
high schools of greater New York. Needless to say, they were enthi
siastically received by the pupils. The demonstration was arrange
hy Miss Rita Hochheimer, of the Washington Irving High Schoo
a French teacher who has long used films and slides in her teachin,
in cooperation with the Pathescope Company. At the same tin
slides of French scenes were shown with the aid of the stereomoto
;:raph.

9 Sf

The Margaret Booth School, Montgomery. Alabama, has installe
a motion picture projector and is showing educational films. Mi
Booth, the principal, intends using the equipment for instruction
purposes.

9 9

Under the auspices of the local Home and School League, moti<
picture demonstrations took place recently in the High Scho
auditorium, Merchantville, N. J. Talks were given on the advis
bility of using movies in the local schools.

MOTION PICTURE ACTIVITIES IN THE COUNTRY'S CHURCHES

"The Church Is Being Born Anew." Declares a New York Clergy-
man, "'and Its Strengtli and Power Will Come through What It
Feared and Fought So Long — the Motion Picture" — Views of
Pastors and News of Church Movies from All Sections

rHE movie keeps marching on with God in the
churches of the United States. Each week, almost
each day, sees new accessions from the ranks of the
clergy and laity to the great work of visualizing
piritualitv and the moral lessons of the soul. More and
aore church workers of all sects are coming to see the vital
lecessity of utilizing the motion picture in all departments
f chiircli activities — in the church proper, in the Sunday
chool, in the Bible classes, in the men's and women's clubs,
t the prayer meetings, in the young people's societies, in
nissions and settlements, in fact, at all points and in all
laces where the spirit of Christ rules and where man de-
ires to help man rise above the merely sordid and material.
In this article are grouped together some of the motion
sicture activities of the country's churches, with some views
f pastors in various sections. It is a kind of resume of
vhat is happening and is to happen in religious circles
when the movie is used as "bait" and as "the whole fish"
IS well. In fact, the time has come when the film may be
3onsidered as much a part of the church and parish house
jquipment as prayer book or organ, and those ultra con-
servatives among the ministry who do not agree with this
statement will admit the correctness of it before many
months have passed. Not only is an increasing number of
churches everywhere installing equipment and preparing to
:apitalize the screen spiritually, but several promising de-
velopments in the production and distribution of films espe-
cially made for church and ethical uses are under way. The
old law of supply and demand is operating, and in the near
future church workers will be enabled to obtain an ample
supply of films for almost any purpose they desire and at
rentals they can easily afford.

[ Films Build Up Dying Churches

I Film? have been found to be a solution of the emptying
(church. They have been put on in churches where the con-
gregation was sadly depleted and at once it has begun to
build up. As an example of what motion pictures can do
for churches in towns of limited size is the First Baptist
Church at Hempstead. New York. Rev. S. W. Stackhouse
was the pastor. Church attendance had fallen off to where
hi- congregation was only fifty, twenty-five of whom were
soldiers. Mr. Stackhouse, casting about for ways and means
of building up his church, hit upon motion pictures. He
I was the first man in and around New York to make the
experiment, and has been carrying on the work continuously
longer than any other immediate church. In four months
'he raised his congregation to 250. These were permanent
land did not include the soldiers, who were transient. His
work is still being carried on with increasing success.

An example of the city church is the West End Presby-
terian Church, 105th Street and Amsterdam Avenue, New
York. This church hit upon the plan of having a regular
night for motion pictures where the members of the church
would be brought together for fellowship and general edu-

cation. Monday was selected. The first time the films were
put on the auditorium was only partly filled, as many did
not believe that a church could secure films of sufficient
interest to draw a crowd in competition with the motion
picture theaters. Next week the attendance had increased,
and steadily it has gained, until now on Monday night every
seat from which the screen can be seen is filled.

The program is seven reels long, giving as much as an
ordinary theater. Music is furnished by the pipe organ.
A screen is hung across the chancel and can be removed
for church service. One of the features as presented at
this^ church is a film weekly called "The World Today,"
which is a digest of the world's film news. It is presented
regularly and as the opening attraction.

Monday Afternoon and Evening Movies
So successful have these pictures been that it was decided
to have a matinee for the children of the neighborhood,
many of whom were too poor to go to a theater. The films
were carefully selected for the purpose. The auditoriiun
of this church is now filled twice each Monday; once in
the afternoon for the children and again at night for the
grown-ups. Different programs are shown.

Sometimes on special occasions motion pictures are put
on oftener than one day a week. One Tuesday night re-
cently an additional program was put on when Lieut.
Belvin W. Maynard, the "flying parson," told of his ex-
periences in his flight to San Francisco and back. On an
average Monday night the attendance at the West End Pres-
byterian Church is a thousand or a few over. No admission
is charged, but a collection is taken up. This rarely falls
under $100. In this way the films not only pay for them-
selves, but leave something in the church treasury. The
most popular feature discovered by the church of recent
years more than pays its own way.

Here motion pictures have developed a new idea, which
promises to be a big factor in the life of the church. It is
"community night." On these occasions more than half
the people in attendance are not church members. Thus
the church is getting hold of and influencing just the people
it has long sought to come in contact with.

Teaching Preachers Via the Screen
■'You may be surprised to know that I am to appear at
ihe Boston Theological Seminary on December 1 to teach
young preachers by the aid of motion pictures how to
preach," said Rev. Leslie Willis Sprague, of New York.
"Shortly I am to appear at the Judson Memorial Church,
Washington Square, with a model motion picture sermon.
I will preach to the accompaniment of motion pictures. I
believe it will be the first time New York ever has seen
such a sermon.

"We are now teaching Sunday school, Bible class and
young people's societies by means of motion pictures. We
are just starting upon ihe era of preaching with the aid of
motion pictures. It is something new, something untried.

but I believe it will be the solution of the so-called church
problem.

"Our organization (Community Motion Picture Bureau)
always has tried to give only the best films, where ethical
value stood first; now we are trying to put out films of a
purely religious nature. I believe we will be able to put
the churches back on a footing they enjoyed twenty years
ago, when they were a power in the community. The
church is being born anew, and its strength and power will
come through what it feared and fought so long — the mo-
tion picture. It is a strange case of the lion and the lamb
lying down together."

All Michigan Methodist Churches to Show Movies

That the moving picture machine is now recognized by
the Methodist church as an important asset and that it will
not be long before every Methodist church in Michigan
will use one as a part of its program of entertainment
was the statement of Rev. Sidney D. Eva, pastor of the
Methodist Church at Farmington, Mich.

"We have found the moving picture show is doing something for
the people that the church ought to do," he declared. "There is no
reason because commercial interests seized the opportunity of giving
the people something to amuse them that the church should not do
likewise. We have obtained enough reels of films of wholesome
plays to last this church for three years. The movies henceforth
will be a regular part of the church. We can give you just as good
entertainment as can the commercial place of amusement, and when
you parents bring your children here you know they will see nothing
that might tend to injure them. You cannot be so sure of that when
you take them to a regular movie.

"The church must make provision to operate all its activity in the
interests of young life. The church that fails to do so will lose its
place. It is the supreme task of the modern Christian home to make
every provision wisdom can conceive and love can devise for the
young life of the community. One of the great forces of today is
play life. Play has greater evangelistic opportunities than anything
we have ever thought of. You are wise in this church and have made
provision for your play life.

"One of the first rights of the young is to be happy. One of the
first tasks of the church is to provide play life that has no possibility
of danger. To take the play of youth and link it to religion will
make it a holy, perfect, beautiful thing.

The Price of "A Good Time"

"The church of former years has caused our young people to en-
danger their souls to have a good time. Your uncontrolled movies,
dance halls, white lights, and poolrooms have been burning out the
souls of our young people. Children have been obliged to leave
home to have a good time. They are entitled to a good time both
at home and in the church. The church can give you a better pro-
gram of community play or recreation than can any poolroom or
dance hall. The church with the community spirit can provide the
kind of play that is character making."

Rev. Dr. Joel H. Metcalf, pastor of the Unitarian Church,
\^ inchester, Mass., declares that motion pictures have an
"inherent power for good" and suggests that the churches
form a film exchange for the distribution of films for
churches and Sunday schools.

"There is nothii.g wrong with the movies themselves," declared
Dr. Metcalf. "They may be put to bad uses now and then, but that
in no way prohibits their inherent power for good. On a Sunday
niglit, for example, your churches are empty and your movie houses
are filled. Why could not the church have movies and bring the
people to herself?

Time for the Church to Wake Up

"I do not mean that the church should endeavor to compete with
the theaters. I mean that the church should endeavor to bring itself
up to the times and make itself attractive. The trouble with the
church is that it is, as far as methods are concerned, back somewhere
in the Stone Age. The men and women of today are modern children
and they want what is modem. It is the church that is to blame.
The church should step in and take the new inventions, the new
triumphs and make them her own, and the moving picture, one of
the century's achievements, should be one of her greatest instruments
for good.

"One would only wilh difficulty exaggerate the possibilities of the
movies in the hands of the church. As a means to wholesome recrea-
tion it is incomparable. The church, we know, should not separate
itself from life and hold itself as something apart. It should inter
twine itself with every branch of life. It should be social. So, if
the church should arrange to exhibit good, up-to-date movies on
evenings and Sunday afternoons, it would have taken a long step
toward the quickening of her own life and the life of the people.

Educational and Biblical Subjects
"I do not mean, you know, that the church should exhibit problei
plays and those thrilling dime novel dramas. Nor do I mean thai
the church should cease to have regular church services.

"We could start with educational films for children. They coul(
be confined to Biblical subjects. Then we could branch out on
broader educational field. One could have travelogs, studies
foreign peoples and places, studies of the habits of animals and th(
wonders of the mountains and the seas, and so on. Children wouli
no longer be loath to come to Sunday school. They would be eager.
.And it would be not only interesting but profitable.
Suggests Church Film Exchanges
"It is almost impossible for a solitary minister to put on the propi
movies. He is all alone and would be unable to get the films hi
wanted. Hence it is why the church, as an organization, sho
undertake the project. Moving picture shows should be started i
aU the churches. The church should organize, or at least superintend
an exchange where pastors can get the films they wanted, whethi
they are Biblical and religious or recreational. The exchange shoull
have up-to-date pictures, healthy, stimulating pictures. It shoull
have a method of quick and broad distribution. Once this is doni
the first step will have been taken. This step will accomplish mucl
toward the bringing of the world back into the church."

A Unique Movie Service

A unique movie service was that given recently at tht
Universalist Church, Auburn, N. Y. Rev. J. E. Price hat
as his topic "The Storm." The minister says that by an-
other winter he hopes to have a complete motion picture
outfit installed in the "People's Church."

"God gave us eyes to see with as well as ears to hear
with, and it is part of the church's duty, when everyone is
more or less picture-minded, to help present the wholesome
without the trash," says Mr. Price.

The animated sermon, "The Storm," shows how a sermon
may be illustrated and thus drive home certain truths in a
much more forceful manner than spoken words. The lights
of the church were turned out and little pointed preach-
ments began to appear on the screen. One was entitlei
"Respect for Mother."

"The Storm"

After several of these introductory sermonettes a by
was sung. This was followed by Scripture reading and
prayer, announcements and singing of old and new melodies,
and then "The Storm"' proper. The pastor told the story
of the picture as it was shown, and here and there pointed
out some of the lessons to be learned from it.

"The Storm" derives its name from a terrific storm in
nature, which was produced in realistic manner, and also
from a storm of anger and rivalry between two men who
seek the hand of the same girl, but with far different mo-
tives. The two fall in love with the girl, the storm which
threatened their lives came and went because both of them
listened to their cons'-ience and the promptings of true love.
The storm came <)t,(i went because a higher power did not
permit them to pe-i :-n.

How CHMir--:.s

.\LL Sects Everywhere Are Using Movies

Early .u Jecei :faer Prof. Burton L. Rockwood explained the use
of mo'ijr p'-turcs in the old John Street Methodist Episcopal Church,
.\l-w Kvri-: Cliy-tl'e mother church of Methodism in America. He
took ' I- iex! Ezekiel 1:14, "and the living creatures ran and re-
turn?', i.s '' p appearance of a flash of lightning."

^vest S.I k.ui (N. Y.) Baptist Church recently installed a Delco
lighting • ■ I and complete motion picture equipment costing $336.

The ' J' ' h Reformed Church at Kerhonkson, N. Y., has put in
Powe'': '.i.cernational \ equipment. This church is in the heart of
the ' kill Mountains and the pastor. Rev. Alex Paxson, will use
me .1 ■ ,"1 Sundays and open air movie shows during the week for the
b<- I'l, ■■! tourists and "summer boarders."

I ilowing a talk by Prof. Rockwood at the Maple .\venue Meth-
orli-i Protestant Church in Stamford. Conn., in January, the church
;nn'.orities decided to install a Graphoscope, Junior, projection
MKichine.

■Humanity's Battle Fronts, in Picture, Song and Story," Prof.
Rockwood's well-known lecture, was given recently in Olivet Baptist
< ihurch, Hartford, Conn., as a preliminary step toward motion pic-
ture equipment being placed in the church.

First Presbyterian Church, of Bay City, Mich., is the first in that
town to install movie equipment. Religious and wholesome uplift
pictures are used.

A Pathescope projector and safety standard film service are em
ployed by the First Presbyterian Church of Anderson, Ind., on Sunday
evenings.

Weekly motion picture shows are being given at the First Christian
Church in Yakima, Wash. At the first exhibition there were 400
paid admissions. There is a fireproof booth, the church pipe organ
provides good music, and the films are censored twice before being
shown. Rev. S. G. Buckner is the pastor.

First Methodist Church, Duluth, Minn., recently screened the five-
reel Methodist Centenary film '"The World at Columbus," which is
distributed by the Centenary Conservation Committee, 111 Fifth
Avenue, New York. D. W. Griffith supervised the making of this
picture, two reels of which are devoted to "The Wayfarer." No
admission fee was charged.

Rev. G. B. Smith, pastor of the Methodist Church in Gallatin, Mo.,
has induced his congregation to install a motion picture projector,
which is being used at some of the services. Mr. Smith was in the
army in France, and while over there saw the great possibilities
in the use of films.

The Women's Society of the Billings (Mont.) Congregational
Church recently purchased a movie machine and has been using
educational films obtained from the University of Montana. Chil-
dren's movie entertainments, instructional films, and educational and
religious subjects for Sunday evening services are planned.

Boyle Heights Methodist Episcopal Church of Los .\ngeles, Cal.,
has $5,000 available for community work, and as an important part
of this work the church is making good use of its new motion picture
projector. The pictures are not to be solely of a Biblical nature, but
those showing character development and helpful social tendencies
eire also to be screened.

.\sbury Methodist Church, Chicago, has a new movie projector and
picture shows are being given weekly for the instruction and enter-
tainment of the children and young people. Sacred reels are shown
occasionally on Sunday evenings to illustrate the sermons.

St. Paul's Cathedral, of .\tlanta. Ga., has installed a motion picture
machine and outfit in its chapter house, and feature pictures for the
children of the Sunday school are shown regularly. The first picture
shown was "The Little Princes*," featuring Alary Pickford. No
admission is charged and shows are to be given for the children and
their parents twice a week through a regular booking arrangement
with an .\tlanta film exchange.

SUND.AY MOVIES IN CHURCHES

Press reports state that on a recent Sunday a count was
made in Washington City, showing that there were fifty
thousand people at the movies and seven thousand at
church. Straightway the preachers met. the papers say,
and demanded that the moving picture theaters be closed
on Sunday.

That, of course, is one way of meeting the competition,
however humiliating its implication. The preachers' de-
mand for Sunday closing was fully justified, we are sure,
not only because the pictures kept people away from church,
but primarily as a protest against the commercializing of
the Sabbath, says the St. Louis Christian Advocate.

But whether the ministers succeed in closing the theaters
or not, the incident should suggest to them one very prac-
tical step, namely, the conversion of the moving picture to
the uses of the church. With its universal appeal, coupled
with limitless educational possibilities that are easily con-
vertible to moral and religious ends, it will be nothing
short of criminal should the church fail to adopt it and
utilize it for good, particularly in a day when the compe-
tition is so keen. L plifting pictures exhibited in every
Washington pulpit every Sunday evening would not only
go far toward giving the preachers full churches to preach
to. but might themselves embody appeals to righteousness
more powerful than the spoken word can usually hope to do.

For that matter, such pictures might be run night after
night, or all Sunday afternoon, silently preaching sermons
of character, of heroism, of love and sacrifice and brother-
hood, of temperance and hygiene, of the consequences of
sin. the joy of forgiveness, and the glory of regeneration.

There are such films, and they are increasing in nimiber.
Those who attended the Centenary Celebration at Columbus
had opportunity to see many such. There are firms that
make a specialty of their production. The supply will grow-
to keep pace with the demand. Every church, where it is at
all possible, would do well to avail itself speedily of this
new and wonderful agency for good.

GRE.\T RELIGIOUS LE.\DERS 0.\ SCREEN

British Company to Film Lives of Buddha, Mahomet, Christ,
Luther, and Wesley

In these days when the attitude of the churches towards
tiie art of the living pictures is being widely discussed,
the movements of such a company as East and West Films,
Limited, of Anglo House. Litchfield Street, London, are of
considerable interest.

The company is avowedly launched with its main plat-
form addressed to the task of presenting the lives and
the history of the great leaders of religious thought and
the consequences following upon their teachings.

Films to be Historical not Doctrin.il

The tragedy and pathos — the humanness and yearning
for human s)-mpathy — the apparent successes or failures
of the great teachers, will be portrayed, and histor^■ will
be left to tell for itself about the devious paths along which
the adherents of the respective schools of thought may have
been guided, or from which they may have gone astrav.

The initial film will be founded on the life of Buddha.
The scenario has been carefully and reverently prepared, and
has been submitted to and approved by no less an authoritv
than Professor Rhys Davids, and Lord Sinha has shown
his willingness to help by coming on to the advisory com-
mittee.

Although some of the well-known English artisU will
fill some of the important roles, yet the whole story will
be filmed in the East, and enacted by Eastern artists.
Sir Thom.\s Lipto.n Interested

sir Thomas Lipton has greatly interested himself in the
matter, and his well-known hospitality will be of immense
value in the production.

Dr. Jayalilaka, of Ceylon, a very prominent Buddhist
devotee, is giving the scheme the benefit of his invaluable
advice and introductions.

The outcome of this enterprise will be awaited with
peculiar interest, because ignorance, which is the base of
so many misimderstandings, will be largely dispelled, and
a way paved for a common platform, whereon in manv a
point of harmony will be found exponents of the chief
forms of religious creeds and beliefs, and the "world out-
look confused and blurred," to quote the Archbishop of
Canterbury, may become all the clearer.

CIXELMA .AND SLTsDAY SCHOOL
The Rev. Prebendarv' Isaacs of Chiswick. who is leaving
his Church to take up another living after 21 years incum-
bency, in a farewell to his parishioners, has lamented that
the cinema has taken the place of the Sunday school, and
that boys have became Pagans, says a writer in the London
Bioscope. The Daily News, I observe, has inter\'iewed the
headmaster of the largest school in the reverend gentle-
man's parish, and has elicited from him the opinion that
the much maligned cinema has quickened the boy's brains
and sharpened his faculties. It has not dulled his hero
worship, and it has made him a more receptive creature tlian
his predecessor ever was. \'ices of the pre\-ious genera-
tion, he says, were put down to the penny dreadful; now
they are put down to the cinema, and he suggests that if the
excitements of the cinema have taken the place of the Sun-
day school, he should carry the war into the enemy's cainp
and bring the cinema into the Sunday school. To ihe
schoolmaster's dictum. I utter a cordial "Hear, hear." .All
the same, I would point out to Prebendan,- Isaacs, that
cinemas in his locality are not and never have been open
on Sundays.

REVIEWS OF FILMS

Edited by GLADYS BOLLMAN

"CONFESSION" to the depths of the woods. He learns from his mother,

ON a tempestuous night, when the elements seem to who comes in search of him, that Creighton was his sister's

~et the scene for the darkest passions, Father husband, and his conscience, which is already beginning

Bartlett receives in his study a woodsman, Joseph j^ trouble him. makes him still more uneasy.
Dumont. Dumonl asks to be confessed, and says .j.^^^^^ during a visit from Father Bartlett. overpowers

that he has just killed Jimmie Creighton, whom he believes j^._^^ ^^^^j ._^ j^j^ clerical garb escapes to Canada.

Father Bartlett sets out to bring him back, and also to
Dumont di*- ^'"^ Dumont and try to make him keep his promise given
in the confessional.

to have betrayed his sister. Father Bartlett hears his story,
and absolves him after his promise to make reparation for
his crime, should the guilt
appears into the storm.

fall on another.

Father Bartlett is anxious
about the absence of his
brother Tom, a hot-headed
youth who is somewhat too
fond of remaining at the
tavern. At last Tom returns,
dishevelled and trembling.
and tells his brother that he
had a quarrel with Creigh-
ton, and that in the struggle
Creighton lost his life,
though not at his (Tom's I
hands. Father Bartlett is
aghast at the situation he
foresees. His fears are
realized. The murde
disco vered ;
Tom is sus-
pected ; when
Dumont is
questioned, he
tells of seeing
Creighton fall
dead while
fighting with
Tom; Tom is
arrested.
Father Bart-
lett may not
violate the sa-
credness o f
the confes-
sional, and his
stern and
appealing
glances at the
guiltv man are of no avail.

Action follows rapidly. Tom
is imprisoned. His mother, his

REX BEACH

AUTHOR OF -THE S1L\ KR HORDE"

sweetheart, who is Creighlon's
sister, and, of course, his brother, are the only ones who
believe in his innocence, though there is a general feeling
that if the conversation of Dumont and Father Bartlett
could be known, more of 'the truth would be revealed.

Tom is rebellious and almost mad with the injustice of
his position. He presses Father Bartlett to reveal what
Dumont said to him in confession, but neither in Tom's
cell nor in the courtroom does Father Bartlett do so. Tom
is convicted.

Dumont, after testifying against Tom, escapes and goes

From this point on, the
story becomes rather con-
fused and rather tiresome,
although there are many
high points in the action,
and with cutting the remain-
der of the story would be
equal to the first part.

The results are that Tom

is returned under the hand

of the law, and is about to

be hanged. Father Bartlett

at last finds Dumont, nurses

him in a fever, and after

many adventures gets him

to a United States official,

to whom his dying words

and a letter

of confession

prove his

guilt. Tom is

saved.

This is a
most remarka-
ble drama. In
i m a g i nation
and in execu-
tion the scenes
chosen are
mem o r a b 1 e
ones; distinc-
tive, too, is
p h otography.
The camera
man is not
merely a photographer, but a
genuine master of the complex
technique which is photog-
raphy's claim to a place among
the arts. The particularly effective use of the close-up and
the remarkable lighting effects strengthen the dramatice
appeal. The use of contrast and climax is effective.

Henry Walthall gives a most finished and imaginative
performance of a rather meager part and is convincing
so far as the film editors have given him space to be. It
is a pity that we cannot see more of the man's human
struggle, as well as the priest's remorseless faithfulness.
A necessary bit of editing is the removal of the gallows
scene, for non-theatrical use, at any rate. The dragging
last third of the film should be reduced at least by half, in
order that the splendid tenseness of the first part be main-

tained. However, Confession is a most unusual drama. It
cannot be called merely propaganda, because of the fine
artistic treatment which first tells the story and leaves to
the individual the application — that obedience to God
works out for right in the end.

What use of this film a Protestant optience would make,
the reviewer is not prepared to say. It deals, of course,
with a question wholly confined to the limits of the Roman
church. But it carries an appeal so artistic, a conflict of
so vital a nature — (for everyone is at some time a confidant
and is at some time confronted with the question "Is it
right for me to tell?") — that it is one of the few pictures
one who is interested in the highest development of the
motion picture cannot afford to miss.

Confession, Produced by National Film Corporation. Distributed on

States Rights basis. 6 Reels.

INDUSTRY AS DRAMATIC MOTIF
By Jerome Lachenbruch

Thomas Hardy invited the world to the hills and downs
of Wessex in his "Tess of the D'Urbevilles," "The Mayor
of Casterbridge," "Jude the Obscure" and other novels.
Eden Philpotts in his series of Dartmoor stories has told
of the drama that binds men's souls to their particular
trades. He has taken us into the hearts of the pottery
makers in "Brunei's Tower," and has shown us that be-
neath the daily grind of mixing, firing, painting, the hearts
of the workers burned at fever heat, and their minds clashed
with the same flinty spark that characterizes intellectual
progress in other lands and places.

The unusual element in these stories is the centering of
the dramatic interest in an industry with a force equal in
power to the interest one finds in the characters. The de-
tails of an industrial craft have furnished a new dramatic
theme to these English novelists, a theme that some Ameri-
cans have learned to handle with exceptional skill.

Perhaps Rex Beach, with his powerful story of the salmon
industry of America's Northwest, has succeeded as well as
any of his colleags. Those who have read "The Silver
Horde" remember the pages of exact information about the
instincts of the salmon, and have marvelled at the vital
interest aroused by the active role they play in the lives
of the characters of the story.

Just how powerful a theme this can be may be realized
in the new form in which "The Silver Horde" is being
presented to the public. As a photoplay the return of the
salmon — millions of them — to their native streams, where
they spawn and die, is the center of the story's dramatic
climax. The characters regulate the details of their lives
to conform with the annual return of the salmon. Their
loves and their hates mark time when the salmon rush is
on, and all their energies are spent in tending the nets.

And not only are the passions of the characters in the
story bent upon the return of the salmon, but the audience
as well is as eagerly interested in the annual rush of the
silver horde as are the silent actors on the screen. To the
beholders the world temporarily is centered on the return
of the salmon. The author has succeeded in transferring,
or rather dividing, his dramatic interest between his char-
acters in their relation to each other and in their relation
to the industry in which they are all engaged.

The Sih'er Horde. Produced and distributed by Goldwyn.

A HYGIENE FILM OF LASTING VALUE
The educational film, as much as the textbook, is of
more than ephemeral value. An excellent example is

Come Clean, a film issued by the office of the Surgeon
General of the United States Army during the war, and
shown recently to a gathering of physicians, dentists, and
social workers in the Exeter Theater, Boston.

The first part of the film tells of a doughboy who under-
went more than a little ridicule from his mates because
of his assiduity in brushing his teeth. A sound thrashing
administered to his chief persecutor, and an explanation
of his reasons (by request), assured his companions that
the care of the teeth is nothing to be ridiculed or neg-
lected. After telling how he was rejected for the army
because of his teeth, he passes on the information given
him by the doctor who rejected him and the dentist whose
treatment enabled him to enlist after all. He learns that
diseases such as joint rheumatism, and diseases of the heart,
liver, and intestines, may be caused by poor condition of
the teeth, even when there is no pain in the tooth. He
urges his friends who have ofl"ered themselves to their coun-
try to "come clean," and receives their thanks and interest.

Then follows the explanation of how diseases may be
caused by neglect of the teeth. This portion of tlie film
uses the animated cartoon, and models, in its demonstration.
The topics are as follows: The formation of a cavity,
and spreading of decay. Poisoning of nerves and of blood
supply. Eff'ect on blood vessels; on heart valves; on walls
of stomach; on membranes; on appendix; on kidneys; on
joints of bones. Diseases resulting. Possible efl'ect — in-
sanity. Prevention of disease by treatment of teeth.

The growth of the teeth: deciduous teeth; roots of de-
ciduous teeth guide permanent teeth to place; impaction;
dangers of thumb -sucking, use of pacifier, and mouth
breathing.

The daily care of the teeth: the wrong way and the right
way; the brush.

Such a film may be used to great advantage by any
school or welfare organization, regardless of its date.

Come Clean. Produced by office of Surgeon General of the United
States Army. 2 reels.

EDUCATION FOR THE DEAF
Work in a day school for the deaf is portrayed in a
one-reel picture, Broken Silence. From the time when the
children arrive — in police department buses — to the end
of the day, every moment is devoted to equipping them
as well, educationally speaking, as other children who have
not their handicap of physical disability.

Little children learn confidence, attention, and imitation
by building blocks with the teacher. The first step in learn-
ing voice control, for children a little older, is the blowing
out of a candle. Then comes lip-reading, which calls for
close attention, and much individual as well as class work.
With the help of musical instruments, pupils not only learn
rhythm, but study and compare various sorts of vibration.
One very appealing picture shows a little girl discovering
her voice. With one hand on a 'cello and the other on her
breast, she compares the vibrations as the 'cello is played
and as she speaks.

As the pupils become more advanced, their instruction
grows more like that of any school — class work, board work,
study, and individual work, conducted in practically the
ordinary way. Physical education, manual training, and
domestic instruction are also a part of the curriculum.

The picture is excellently arranged and edited, and should
be useful for a variety of purposes.

Broken Silence. Produced by Ford Motor Company. Distributed by
Goldwyn. 1 reel.

Edited by JAMES R. CAMERON, Projection Engineer

THREE WIRE WIRING SYSTEM

SYSTEM of wiring where three instead of
two sets of two wires are used, generally
obtained by connecting two dynamos in
series and connecting the third or neutral wire to
a point common to both dynamos. The wires are
positive, negative and neutral. The advantage of
the system is the saving of copper. The disad-
vantages are that switches, cut-outs, etc., are
more expensive, and unless the system is kept
i^k. - t balanced (the same amount of amperage being

^^^^ ^^ drawn off either side of the system) you are
^^^^^^^ liable to damage the lamps on the line.

JAMES R. CAMERON The lamps are connected between either of the
outside wires and the enutral, and if an equal
number of lamps are connected on each side
(that is. if the system is balanced) there will be
no flow of current in the neutral wire.
In any case the amount of amperage in the neutral is the difference
between the amount of amperage drawn from either side. This
difference should be kept as small as possible.

Figure 1 shows a three-wire system, D and E being two 110 volt
dynamos connected in series, A is the positive wire, B the neutral
wire. The ten amperes
being drawn from the
positive wire A and re-
turning to the dynamo
over the negative wire

Figure 2 shows an
unbalanced three-wire

5MH

FKJ. .

system.

Taking it for granted that each of the lamps is drawing one ampere,
we have four amperes on one side and six amperes on the other, so
our system is unbalanced to the extent of two amperes, this repre-
sents the flow of current in the neutral wire. Connected between
wires A and C we would have 220 volts (the added voltage of the
dynamos). Connected between A and B or between B and C we
would have a pressure of 110 volts. Great care should be taken to
see that lamps rated for 110 volts are never connected between the
two outside wires.

Care of the Motor

The motor must be kept clean and free from dust and grit; if the
commutator becomes rough, smooth it up with No. 00 sandpaper
moistened with a little oil. When fitting new brushes, always sand-
paper them down to fit the commutator perfectly by passing to and
fro beneath the brushes a strip of sandpaper, having the rough side
toward the brushes.

Be careful to renew the brushes before they get too short, as
should the brush holders come in contact with the commutator great
damage may be done.

Brushes should cover at least two commutator segments and

•► ^

— 4-

should have just enough
tension to hold them
securely in place and
make good contact. If
the tension is too great,
it will cause excessive
wear on the commuta-
tor and sparking. If
the tension is not enough, the motor will lose cover.

Keep the oil cups well filled with some non-fluid oil and see that
the wick in the cups feeds the oil to the motor shafts.

Sparking of motors may be laid to several causes: overload, dirt,
uneven brushes, improper setting of brushes, high mica, broken
segment in commutation, etc.

Should the motor become excessively hot after running a while,
shut off the current and locate the trouble, which may be due to
one or more of the following causes: Improper lubrication of bear-
ings, excessive sparking, short circuited field or armature coils,
or maybe the driving belt is too tight.
Inspect motor prior to show.
Keep motor clean and well lubricated.

Do not connect a D. C. motor to an A. C. source of supply, or
vice versa.

See that the voltage marked on motor comes within 10 per cent,
of the line voltage.

See tliat the brushes are making proper contact and have the
rigbt tension.

Keep all electrical connections tight.

Remember dampness greatly impairs the life of the motor.

ISfUSHES

FlElM CoilS

SKefCH OF THE \NreR\op, of a xi-C.
jiym\no o« Moron,

QUESTIONS AND ANSWERS

I find it impossible to get a clear white li^zht on the screen. There is a brownisb
diecoloration that I cannot get rid of ; have tried chanfing the make of carbon.
The screen seems to be O. K. and my condensers and lens are perfectly clean. —
Operator, Trenton, N. J.

Your optical train is not set right. To obtain maximum results your arc must
be set a given distance from the back of your condensers, your condentert sboald
be of a given focal length, and your objective lens of a given diameter. If yoa will
write me again and give me the following information I shall be pleased to work
the ihing out for you: Amperage drawn at arc, A. C. or D. C. ; size of carbons
used, focal length of condensers, focal length and diameter of objective lens,
distance from front of objective lens to light shutter, and length of throw.

I AM THE MOTION PICTURE
By Arthur James

I am the Motion Picture.

I am tlie child of man's genius, the triumph of
man over space and time. I am a mute, but I am
eloquent to millions. I travel desert sands, I climb
the tallest mountain peaks, I traverse prairie, gla-
cier, jungle, forest and sea and air and bring the
vision of my journeys to the eyes of common men.

I am the pleasant hour of prince and child, of
master mind and little boy. I instruct, I delight,
I thrill, I entertain, I please, I shock, I cheer, I move
the world to laughter and to tears.

I am the sublime story teller of all the ages. I am
the dramas greater brother.

I have more friends than all the friendly men of
earth. I stir the blood. I quicken the pulses. I pir'^nr-
age the imagination. I stimulate the young, I comfort
and solace the old and sorrowing. I bring priceless
gifts and make them yours.

1 show inore of travel thati all the books penned
l>v all the writers of the world. I preach sermons
to congregations greater than the combined flocks
of the pulpits of all lands, I make for happiness, I
make for kindliness, I am the one great international
friend.

I am history, written for generations to come in a
tongue that every race and sect and creed can under-
stand. I preserve heroes for posterity. I give cen-
turies more of life to the arts and sciences. I am
man's greatest and noblest invention.

I am the Motion Picture.

EDUCATIONAL FILM MAGAZINE publishes each month classified lists of all motion picture films belonging to the various
grt.ups of which this publication treats. The aim is to give accurate and dependable information under each classification.
Tiiis magazine maintains for the free use of subscribers an Information Bureau which will endeavor to furnish data regarding
any motion picture film in the fields covered. All inquiries should be addressed Catalog Editor. EDUCATIONAL FILM .MAGA-
ZINE. 33 \^ est 42d Street. New York.

RECREATIONAL FILMS

PUPPY LO\E.

Reds, 5; Producer, Famous Players- Lasky;
Exchange, Paramount; Remarks: Lila Lee. In
part 1, cui title, "Darn il." In part 3,
cut titles, "Hully Gee" and "The darn town,"
eic. In part 4. cut scene where boy tnes
ID kiss girl.
■c-\ROLVX OF THE CORNERS.

Keels. 5 ; Producer, Pathe : Exchange, sam? ;
Remarks : — Bessie Love, in part 3, cut stick-
ing out of tongues. In part 4, cut scene
where tramp struggles with woman lor money.
i*ROPOSIXG BILL.

Reels, 2; Producer, National Film Corp.;
Exchange, Goldw>'n: Remarks: — Smiling Bill
Parsons. Cut sticking out of tongue, and
scene where man pulls girl by hair.
THE LIOX AXD THE MOUSE.

Reels. 5; Producer, V. L. S. E.; Exchange,
\"itagraph: Remarks: — Alice Joyce. Cut views
of nude statue in parts 2 and 4. Cut title
"The Public Be Damned." etc
THE MORAL DFAD LINE.

Reels. 5 ; Producer, World ; Exchange, same ;
Remarks: — Frank Mayo and June Elvidge.
In part 2 cut scene of man coming back and
leering at picture after Anti-Vice Society have
left room. In part 3 cut entire saloon scene.
SLXH A LITTLE QUEEN.

Reels. 5; Exchange, Famous Players-Lasky
Remarks: — Marj- Pickford and Carlyle Black-
well.
STRICTLY CONFIDENTIAL.

Reels. 5; Producer. Goldw>-n, Exchange, same.
Remarks: — Madge Kennedy. Cut all views of
dancers in costume. In part 1 cut views of
partially nude woman in studio, also views of
puppies nursing. In part 2 cut titles "gone
balmy" and "Champagne Bennett." In part
3 cut title "the whole damned family." In
part 4 cut title "good Lord."
AS YOU WERE.

Reel, 1; Producer, Universal; Exchange, same.
Remarks: — Neil Bums* comedy. Cut drink-
ing scene.
FUN IN A FLAT

Reel, 1; Producer. Universal; Exchange, same.
Remarks: — Lyon Moran Comedy.
AFRICAN LIONS AND AMERICAN BEAU-
TIES.
Reels. 2: Exchange. L^ni versa!. Remarks: —
Centurj- Comedy. Cut sub-title, "Hell."
DADDY NUMBER TWO.

Reels, 2 : Producer. Leon D. Osborne; Ex-
change, Pathe. Remarks:— Baby Marie Os-
borne.
A SON OF ERIN.

Reels. 5 ; Exchange, Famous Players-Lasky.
Remarks : — Dustin Famum.
THE BOTTLE IMP.

Reels, 5 ; Exchange. Famous Players-Lasky.
Remarks : — .\ Robert Louis Stevenson story,
Featuring Sessue Hayakawa.
DAY DREAMS.

Reel. 5 ; Producer. Goldwyn; Exchange, same.
Remarks: — Madge Kennedy. In part 3, cut
titles, "It's a damned shame" and "Damned
inconvenient." In part 5, cut drinking scenes.
THE PRIMROSE RING.

Reels, 5 ; Exchange. Famous Players-Lasky.
Remarks: — Tom Moore and Mae Murray.
BETTY TO THE RESCUE.

Reels. 4; Exchange. Famous Players-Lasky.
Remarks: — Fanny Ward and James Neill.
IT'S NO LAUGHING MATTER.

Reels. 4 ; Exchange, Famous Players-Lasky.
Remarks : — -Maclyn Arbuckle.
THE FORTUNES OF FIFE.

Reels. 5; Exchange, Famous Players-Lasky.
Remarks: — Marguerite Clark.
MOLLY MAKE BELIEVE.

Reels, 5 ; Exchange, Famous Players-Lasky.
Remarks : — Marguerite Clark.
THE WEB OF CHANCE.

Reels. 5; Exchange, Fox. Remarks: — Comedy.
In part 2. cut subtitle. "If these is anything in
the rumor, etc." In part 5, cut subtitle.
"In the days before the corkscrew lost its pull,
etc." and "You're a dem desperate looking
character."
A KISS FOR SUSIE.

Reels. 5; Exchange. Famous Players-Lasky.
Remarks: — Vivian Martin.

DAVID GARRICK.

Reels, 5 ; Exchange, Famous Players-Lasky.

Remarks:— Dustin Famum.
BILL'S FINISH.

Reel. 1; Producer. Universal; Exchange, same.

Remarks: — -"Okeh Comedy."
LUCK IX PAWN.

Reels, 5; Exchange, Famous Players-Lasky.

Remarks: — Marguerite Clark.
TAILOR iLAID.

Reel. 1 ; Exchange, Universal. Remarks: —

Billy W'est Comedy.

THE RAINBOW PRINCESS.

Reels, 5; Exchange, Famous Players-Lasky.
Remarks : — Ann Pennington.

THE TRAVELING SALESMAN.

Reels, 5; Exchange, Famous Players-Lasky.
Remarks: — Frank Mclntj-re.

ESMERALDA.

Reels, 4; Exchange. Famous Players-Lasky.
Remarks: — Mary Pickford.

OLD GLORY.

Reel, 1; Exchange. Beseler. Remarks: — Sign-
ing of Declaration of Independence, the birth
of the flag, Bets>- Ross, after surrender of
Comwallis, w;ar of ISIJ; Mexican war 1S46-48;
Lincoln signing proclamation of emancipation
1S63; Lee's surrender 1865; Spanish -American
war 1 898.

HIS OFFICIAL FIANCEE.

Reels, 5; Exchange. Famous Players-Lasky.
Remarks: — Vivian Martin.

EVANGELINE.

Reels, 5; Producer, Fox; Exchange, same
Remarks: — Longfellow's poem.

THE DR.\GON PAI.N'TER.

Reels, 5; Producer. Robert son- Cole; Exchange,
Same. Remarks: — Sessue Hayakawa. In part
2, cut title, "I'll slay any man that keeps
me from her." In part 4 cut attempt at
suicide.

THE LOST PRINCESS.

Reels, 5; Producer, Fox; Exchange, same.
Remarks: — Albert Ray and Elinor Fair. In
part 1 cut titles '"dern no good" and "dem site
better." In part 2 cut title "dern cornfed

ERSTW^HILE SUSAN.

Reels, 6; Exchange, Realart. Remarks: —
Constance Binney. in part 1, cut scene where
father gives girl a blow on the head. In part
4, cut title about lacing and following scene.
In part 6, cut tit-e. "You darn Dutchman."

SCENIC AXD TRA^TL
(Burton Holmes)

BANGKOK. THE ROYAL CITY.

Reel, 1; Exchange. Famous Players-Lasky. Re-
marks :-^Paramouni-Bur;on Holmes Travel
Picture. Siam, the city of a million pagodas,
river Manam, rice mills, the Broadway of
Bangkok, domed throne hall of the sovereigns.
audience hall, plated with 18-K. gold, palace of
King, palace guard, royal navy, royal body
guard. Roma IV, King of Siam.

FELLING BIG TREES IN THE GIANT

FORESTS. (T-1049)

If you want to learn something about the
biggest kind of lumbering. Mr. Holmes gives it
to you here. Giant trees are handled in gifTan-
tic wavs. The forest itself, in extent and in
size of trees, is gigantic, and the whole enter-
prise is carried on in a gigantic manner.
Ever>* process is ?hown ; huge trees are cut
down and you see them as they are tram
formed into lumber and shoot the chutes to
the railroad manv Tt^iles awav.

GOING SOME IN S\N FRANCISCO. (T-1050>
This release is a !a.igh from beginning to end.
San Francisco never was a "slow" town, and
Mr. Holmes — by means of his "speedo cam-
era" — makes it' even more lively. At th«
same time he does not sacrifice the "liaht-
seeing'* value of this picture: you will ac*
everything and everybody, but the whola
place will be "going some."

FIRE FIGHTING FOREST

RANGERS. (T-1051)

The forests of Arizona are lonely places for
the men who devote themselves to fighting
fires, but when a fire breaks out, by meant
of his apparatus, he immediately locates the
fire, summons help from miles around and
soon he has a small army of brave men like
himself risking their lives to save the lorest
and the lives and property of the settleri
who dwell therein. Mr. Holmes shows you

real men, — and real women,— holding down a
rt-al man's job. .\ big forest fire is wortn
seeing, — on the screen.

OLD AND NEW MANILA. (T-1052)

Mr. Holmes has been in Manila several timet
and he shows you in this picture what won-
derful things Uncle Sam has done there
since he undertook the job he took away
from Spain. He shows you the Manila of
1900, and then compares it with the irp-to-
date city of the present time.

BILIBID, THE "SING SING" OF THE

PHILIPPINES. (T-1053>

You would hardly expect to see the finest and
most humane of all penitentiaries in far-away
Manila, but Bilibid Prison has that reputa-
tion. Mr. Holmes takes you there and out
ag(un. Shows you the orderly prisoners, well
housed, well fed, clean and each one learning
some useful profession or trade. When a
prisoner graduates from this prison-school, he
finds a job ready and waiting for him.

THE PASIG RIVER. (T-I054)

The Pasig River is to Manila what the
Thames is to London, a navigable stream of
great beauty, along whose shores are iovely
villas, many commercial enterprises and fer-
tile fields. Mr. Holmes ukes vou '< r a
delightful cruise up its pictureque coui -e.

THROUGH THE LOWLANDS OF

LUZON. (T-1055)

The Lowlands of Luzon, as shown by Bur-
ton Holmes, are picturesque and quaint an J
most interesting in every way. You ,irri.-e
by a most unusual sort of ferry, you aUo go
to a native church, there to study '"your little
brown brother." Fruits and dowers abound,
the Jack Fruit a species of giant Bread Fruit,
Papaya, Bananas, Sensitive plants and others,
Mr. Holmes shows you a swarm of Crop-
devouring locusts, millions of them; Carabao
ploughing in a rice field, hemp growing and
being har\-ested. You will also see other in-
dustries of the natives, the weaving oi
exquisite fabrics done by fair Filiptna girls
and you will also go to see the pigmy Ne-
gritos doing their war-dances, bunting with
bows and arrows, and living their lives in
native style.

THE DOG E.\TERS OF BENGUET. (T-1056)
The natives of Benguet are partial to puppy-
dog stew ; even more mature dogs are not
sneered at Market day. with the sellers
bringing strings of dogs to market and with
the would-be purchasers picking and choosing,
is a sight of sights. Mr. Holmes will intro-
duce you to buyers and sellers and their
families and let you select a dog.

HIKING WITH THE IGOROTS. (T-1057)
Hiking over the lofty trails of Luzon in the
company of a band of Igorots is an unusual
experience and one not to be missed. The
Igorots, like the natives of the other islands
of the Philippines, are getting civilized, hence
less picturesque, and the trails are being con-
verted into automobile roads, so no one should
miss this opportunity to "hike" with Mr.
Holmes and his Igorots before the romance is
all gone.

AMONG THE HEAD HUNTERS. (T-1058)
Head-hunting used to be a popular pastime
before Uncle Sam and General Pershine took
a hand in the game. On one of Mr. Holmes'
earlier visits to the Philippines, head-hunting
was not entirely abolished. VVhile he does
not actually show the natives playing the game,
you can visit the natives and see the heads
and still run no dangc of losing your own.

CRUISING THROUGH THE

PHILIPPINES. (T-1059)

Mr. Holmes had the good fortune to be the
guest of the Governor General of the Philip-
pines on a delightful cruise through the three
hundred and sixt>- five Islands of the group.
He did not go to all of them, but he invites
you to visit a number of the more attractive
and to enjoy the life on board the govern-
ment c'jtter which carried Mr. Holmes and
the Governor General and staff. There ia
plenty of fun and novelty and sight-seeing of
an unusual variety.

MURDEROUS MOROS OF

MINDANAO. (T-1060)

Mr. Holmes was in Mindanao when General
Pershing was there putting down an insurrec-
tion of the Moros. These murderous nativei
are marvelous fighters: when they run amuck
they keep on fighting until after they are
killed — seemingly. Their bodies keep on going
even after they have received their death
blow. They arc haughty, proud, treacherous.

and jealous of their independence. Mr.
Holmes will introduce them to you at the
time when they were just beginning to realize
that Uncle Sam intended to he their firm-
handed friend rather than their cruel Master.
They were far from being entirely submissive.
however, and their barbaric, warlike splendor,
as they come to meet their visitors, is most
impressive.

VISITING THE SULTAN OF

SULC. (TI061)

George Ade has made the Sultan of Sulu
famous. Burton Uohnjs will present you to
him in all his glory, on his native heath.
Sulu itself is well worth a visit, and there
arc many amusm;^ and unusual sights to be
seen if you go about well-armed or accom-
oany Mr. Holmes.

(Rotharker)
DOING THE DELLS (Rothacker). No. 27.
\\c were at a deadlocK on the vacation ques-
tion. She wanted the Western mountains.
I was strong for the Eastern seashore. We
compromised on the Middle States and did
that Scenic Wonderland — the Dell* of Wis-
consin.

A BIT OF GOD'S COUNTRY (Rothacker).

No. 28.

Mythologists lell us that Venus was awarded
one Golden Apple as the first prize for beauty
— if this is so, our own little, old Yellow-
stone National Park should "cop" the whole
Golden Apple Orchard.

OUT WYOMING WAY (Rothacker). No. 29.
We went a-gunning for something swell in
scenery, and wc f*und it — out Wyoming way.
Here was beauty unadorned — mountains, rocks
and rivers, swathed in a misty, purplish haze
by Nature — master artist.

A PEEK AT PARADISE (Rothacker). No. 30.
The next time you're ripe for a scenic jam-
boree just jump a train for Estes Park. There
we found a million dollars worth of scenery
all dressed up and nowhere to go.
COLUMBIA. THE GEM OF THE HIGH-
WAYS (Rothacker), No. 31.

They can rave about the Roman roads of
Britain or the Appian Way of "Wopland," but
nut in Oregon they've a healthy bit of highway
that has 'em all beat for beauty and genuine
"Benzine Buggy Bliss."

AN KYEFUL OF EGYPT (Rothacker), No. 32.
A pleasant ramble in the land of the Pyramid
and the Sphinx, together with views of the
dtad Pharaohs, not to mention close-ups of
few "live ones."

I\ PYRAMID LAND (Rothacker). No. 33.
I'-gypt — the mystic— the dreamy land of the
Pharaohs and the Ptolemies — the pyramids —
the camels — the fascination of the unknown —
the birthplace of all things mysterious.

MID SAHARA SANDS (Rothacker). No. 34.
Jnteresting and rather intimate glimpses of an
Kgyptian wedding — the groom's first look at
His bride and a wedding junket on camels'
t>acks to a tented bridal chamber in the sands
ri the Sahara

(Mis(«-Ilaneou8)
THE ASTIAKHAN FISHERIES.

Reel, 1; Producer, Pathe; Exchange, Beseler;
Remarks:— Reissue. Fishermen leaving harbor,
casting nets, a good draw, arriving at reserv-
atory, cleaning, curing and salting fish.

WINTER UNDER THE URAL MOUNTAINS.
Reel, 1; Producer, Pathe; Exchange, Beseler;
Reissue. A fairy land in snow, Irbit Fair, the
fish and meat market, milk sold in blocks, a
traveling restaurant, a bear hunt.

The FOOLISH FISH OF SAWBACK.

Reel, 1; Exchange, State Rights. Remarks: —
Outing-Chester Picture. Banff in the Canadian
Rockies, a fishing trip, a two days' journey
up and across Sawback Pass, fishing in a green
and gold canyon.

GETTING A NEW ANGLE.

Reel, 1; Producer, C. R. Chester; Exchange.
State Rights. Remarks: — A Chester Field and
Stream scenic. Fishing, practicing casting,
Tobigue River, Maine. Zekel River, a big catch,
salmon pools. Mouse Lake, white tails (deer),
niiiose hunting. Serpentine River, through the
r.-ipids in a canoe, playing a big fish, landing
daintily tinted angcl fish, bl.ick angel fish,
marketing large turtles, imposing fishing tackle,
the catch, skate, turpon. whipray, hammer-
headed shark, harpooning hammer-headed
shark.

THE LAND THAT DOES NOT WIGGLE
MUCH.

Keel. 1: Producer. Kil, Film Corp.; Rc-
niarks: — Scenes from New Mexico. Rio
( Irande and Mexico, goat herds, sand storm,
mud mission and houses, grass hopper gate,
r ATTLE INDUSTRY IN NEW MEXICO.
Reel. 1 ; Producer, Selig; Exchange, Beseler;
Remarks: — .Ml cattle from Mexico must pass
the scnitinv of the U. S. inspectors, disin-
fecting bath, shipping ca'tlc. Mexican cow
boys, mountain goat from northern part of
»tate, lartjc herds of sheep brought in to be
shorn; before shearing they are given baths;
counting, shearing, sacking wool, transporting.
Fourth grade.

SAFETY STAINDARD FILMS

January. February and March 1920 Releases of United Projector & Film Company,

"Buffalo. N. y.— Pittsburg- Pa.— Harrij^bur-;, Pa.

For Index Numbers. Classifications, and Rental Prices Write

the Company at Any of These Offices.

into machines which automatically weigh and
barrel 25.0J0 barrels a day. Methods of test-
ing rising qualities of the flour. Complete
life history of the kernel of wheat is shown
in the series of films including: 1.1.18— Irri-
gation in Alberta. 1.1.36— The Raising of
Wheat. 1.2.34— Western Flour Mill.

THE MAN WITHOUT A COUNTRY.
Reels 4; Producer, Lincoln Parker. Remarks:
Due to the influence of Aaron Burr, Philip
Nolan becomes implicated in a plot against
the United States. At the trial he makes the
rash statement, "I wish I might never hear
of the United States again." For punishment
he is doomed to sail the seas the rest of his
life without sight of his country, or even
hearing the United States mentioned.
Reference: E. E. Hale.
THE LEGEND OF SLEEPY HOLLOW.

Reels. 4; Producer, Lincoln Parker. Remarks:
Delineates scenes of rural life of early eigh-
teenth century in the quiet Catskills; the
party at Van Tassels, clever Beau Brummel,
and the headless horseman. More attractive
than the story itself and tends to make the
characters real persons. Reference: Sketch
Book — Washington Irving.
THE CRAB— Frank Keenan.

Reels, 10; Producer, Triangle. Remarks:
How a wealthy recluse, embittered by the
death of his mother, considered by the vil^-
lagers an old grouch and called "The Crab.'"
is regenerated by an orphan child. Especially
interesting for children.
THE MATRIMANIAC— Douglas Fairbanks.
Reels, 7; Producer, Triangle. Remarks:
The course of true love certainly did not run
smooth when our hero and heroine eloped.
The plot thickens when he leaves the train
at a certain depot to engage the services of a
minister. The series of events lodge Doug-
las and the minister in jail in the same
town where the heroine and her despised but
persistent lover are staying at a hotel.
THE SQUARE DEAL MAN-^William S. Hart.
Reels, 10; Producer, Triangle. Remarks:
In an Arizona town, the minister takes up
money to care for a needy child, hut refuses
Jack's money. This causes Jack to gamble
no more with men who have families. An un-
known rancher loses his money and mort-
gages his ranch to Jack. The rancher is
killed in a quarrel. The rancher's daughter
comes to manage tlie ranch where Jack is
foreman, falls in love with him, but is led
to believe he killed her father, so discharges
him.
MARY AND GRETEL.
Reel, 1; Producer, Lincoln Parker. Remarks:
A picture which appeals to a child's fancy.
Two dolls asleep in a garden are warned by
a fairy not to pluck certain Howers. They
wander through fairyland meeting grotesque
characters like Rip Van Winkle, the Ninepin
Men, and a real live bunny. Forgetting the
warning, they pick the flowers, and with one
wave of the fairy's wand the dolls disappear.
THE PANAMA CANAL.

Reel. 1; Producer, Lincoln Parker. Remarks:
A trip through the canal viewing the Balboa
Dump, the process of letting water into the
.Miraflores Lock, the Gatun Spillway Dam and
the Culebra Cut. Interesting interior views
are given showing in operation the Lock
Control Board, the Gate Index and the Chain
Fender Index. References: The Americana,
Vol. 21; The Brittanica, Vol. 20.
YELLOWSTONE PARK.
Reel, 1; Producer, Lincoln Parker. Remarks:
\"iews of geysers, from which burst hot water
and steam; Mammoth Hot Springs, where
heated water flows down over colored ter-
races, giant Paint Pots, red, white and pink,
huge blisters of boiling mud, which fuss, fume,
splutter and spit. Falls of the Canon and
"Old Faithful." American Elk and Bison.
Reference : Government Publications — Our
National Parks.
HARVESTING CORN.
Reel. 1; Producer, Lincoln Parker. Remarks:
Compares the old methods of harvesting with
new. Machine that cuts, binds and shocks;
outdoor cribs; cup elevators which unload
a wagon in three or four minutes. Immense
silos; cattle fattened on the ijround. Refer-
ences: The Americana, The Brittanica.
APPLE GATHERING.
Reel, 1. Producer, Lincoln Parker. Remarks:
Orchard of trees loaded wit!i apples ready
for harvesting. Picking of apples by hand,
crating, transporting and ban eling.
WHEAT RAISING.
Reel, 1; Producer, Lincoln Parker. Remarks:
Great wheat farms of the we^i. Modern ma-
chines for ploughing many fm rows at once,
harrows and sowers. Farm ti.utnrs haul ma-
chines that cut, thresh and sack at one time
and transport to elevators. Great elevators at
lake ports which load three bu.us at one time,
hoisting machines for lifting whole carloads,
dumping devices and chutes by which ships
are loaded.
.\ WESTERN FLOUR-MILL.
Reel, 1; Producer. Lincoln Parker. Remarks:
Manufacture of flour from the time it is
taken from elevators to the barreling ready
for shipment. Close-up of the revolving screw
which carries the wheat from the basement
to the top of the mill. Analysis of kernel of
wheat showing its important parts. "Break
Rolls" crushing wheat berries ; vibrating
screens sifting flour. From chutes flour passes

ANTHRACITE COAL MINING.
Reel, 1; Producer, Lincoln Parker. Remarks:
Modern coal mine in Pennsylvania, showing:
coal shafts, miner's cap, entrance to the slope^
processes of sorting, automatic grading, and
work of "breaker Doys." Spiral mechanical
devices for sorting. Shipping and unloading.
10,000 tons of coal. Reference; The Amer-
icana, Vol. 7.
RUTLAND MARBLE QUARRY.
Reel, 1; Producer, Lincoln Parker. Remarks:
Exterior views of mountains and interior views-
of quarries 200 feet below surface; operations
of machinery for cutting, channeling, hoisting:
and loading huge blocks. Processes in pol-
ishing mills; handling with giant shears, saw-
ing with water and sand, turning of the
lathes and hand polishing and carving.
OREGON SAWMILLS

Reel, 1; Producer, Lincoln Parker. Remarks:
Giant redwoods, cedars and spruces. .These
are cut, taken to temporary railroads by
"skidders" where they are picked up by steam
loaders and put upon flat cars. Methods of
sawing immense logs, planing all sides of the-
boards, piling the lumber for drying, views of
huge piles along the Willamette River. Ref-
erence: Geography — ^Tarr and McMurry.
THE THERMIT PROCESS

Reel, 1; Producer, Pathe. Remarks: Cutting
out three inches of steel with oxyacetylene
torch ; packing wax matrix in the gap; mak-
ing mold of fire brick, fireclay and fire sand;
setting of crucibles lined with magnesia tar to
withstand the intense heat; placing the Ther-
mit, and later its ignition. The hiss, the
pulf of white smoke, the blinding glare and
sparks. Molten steel fills the gap and the
weld is made. Reference: New International
Encylopedia — Vol. I (Alumino Thermics). The
Americana — Vol. 1 (Alumino Thermics). Boys
Book of New Inventions— Chapter VII— Harry
E. Maule.
THE STORY OF JOSEPH.

Reels. 8; Producer, Lincoln Parker. Remarks:
The Bible story in which Joseph is sold into-
bondage, interprets Pharaoh's dream, and is
raised to the place of chief ruler of Egypt.
Later, as ruler, Joseph receives his brothers
as they come begging for corn, feasts with
them, reveals himself to them and causes his
father to be brought to the "Land of Goshen. "^
JUDITH OF BETHULIA— Blanche Sweet.
Henry Walthall. Mae Marsh, Lillian and
Dorothv Gish. Directed by D. W. Griffith.
Reels, 8; Producer, Biograph Co. Remarks:
This dramatic feature takes its name from
an illustrious woman by whose fortitude and
prayers the Children of Israel were preserved
from the destruction threatened by Holofernes.
Characters and scenes are taken from the
Apocrypha and the poem of Thomas Bailey
Aldrich entitled Judith and Holofernes. The
poem divides itself into three parts. The
Tower, The Assyrian Camp and The Flight.
HER TERRIBLE TIME— Billie Rhodes Comedy
Reels. 3; Producer, Strand. Remarks: Billie
Rhodes plays the part of Mary, guest of her
chum Helen. Because of her habit of keeping
a diary to which she confides her inmost
thoughts, complications arise.
BOBBY BUMPS HELPS OUT A BOOK
AGENT— Earl Kurd.

Reel, 1; Producer. Bray. Remarks: Bobby's
desire to skate makes him bold. He puts
skates on the head and feet of his sleeping
father, then sends a book agent to interview
him. Things happen at once, but Bobby is
safelv on his wav to the pond.
NEW 'ENGLAND HISTORIC SCENES.
Reels, 2; Producer, Lincoln Parker. Remarks:
Forefathers Rock brings its sacred significance.
Burial Hill tells the sad tale of the Pilgrims,
while the Standish monument reminds us of
the stalwart captain. Boston and Cambridge
stir one's imagination, Lexington and Con-
cord, famous for their battle grounds, build-
ings and monuments.
NEW ENGLAND COAST SCENES.
Reel, 1; Producer, Lincoln Parker. Remarks:
New England's "stern and rock bound coast"
is pictured by scenes from Maine to Rhode
Island. An old salt in Boston Harbor, New-
I>ort with its navy schools.
MANUFACTURING OF SILK

Reel, 1; Producer, Lincoln Parker. Remarks:
How the silk for my gown was made. From
skein to reel, from reel to spool and back to
skeins for dyeing. Spinning bobbins and
flving shuttles finish the work of weaving.
THE MAKING OF AN AMERICAN.

Reels. 2; Producer, Department of American-
ization. Remarks: Transformation of the il-
literate Italian, Pete, endeavoring to help his
countrymen. No stronger lesson in the im-
portance of Americanization can be given than
this picture, a fine subject for community
work, for schools and social service clubs.

THROUGH LIFE'S WINDOWS.

Reels. 2; Producer. Worcester Film Corpora-
tion- Guaranteed correct in optical principles
by J. T. C. Southall and Herman W. Farwcll.
of Columbia University and the Research De-
partment of the American Op ical Company.
Shows the wonderful power of the eye to ac-
commodate itself to different conditions. A
demonstration is made showing how the facial
muscles help reflect the cmotio.is of the soul.
The eye. which takes one-sixteenth of a
second to one-fourth to visual ze. is com-
pared with the camera which takes only one
one thousandth of a second. An interesting
dissection of the eye is made, emphasis being
given to the power of the crystalline lens, and
the delicate retina. An unusual analysis is
made of rays of light and the way in which
they are refracted, with a vivid comparison
of the crystalline lens to demonstrate how-
various optical lenses overcome farsightedness.

PEGGY— Billie Burke.
Reels, 12; Producer. Triangle- Kay. Remarks:
This feature will interest because the cap-
tivating Billie Burke is the staunch and true
Peggy, the popular Charles Ray is Colin Cam-
eron, the erring son of the stern and un-
vielding Scotchman, and William Desmond is
the Rev. Donald Bruce, who would "be nice
if he let himself smile."

SNOW* WHITE— Played entirely by children.
Reels. 8; Producer, Lincoln Parker. Remarks:
A delightful screen story of fairyland.
Abounds in beautiful scenes, aesthetic dances
and surprises. The vanity of Queen Alice and
the charming romance of Pnnce Paul and
Snow-White.

THE COLUMBIA RIVER.

Reel. 1: Producer. Lincoln Parker. Remarks:
An automobile trip up the Columbia River
through the Cascade Mountains. The gorge
with the river on one side and on the other
the loftv mountains. Reference: Automobile
Blue Book.

THE CANADIAN ROCKIES.

Reel. 1; Producer, Lincoln Parker. Remarks:
On the Canadian Pacific Railway in British
Columbia. Roaring mountain torrents, scenic
waterfalls, ice-crowned peaks, wild glaciers
and forests of immense pines and spruces.
Through the Van Home Range, past Lake
Louise and over the Great Divide into the
Voho Valley. References: The Americana;
National Geographic Magazine.

GI-ACIERS— In Washington and Alaska.

Reel, 1; Producer. Lincoln Parker. Remarks:
Panoramas of mountain and plain, fiord and
§;Iacier. Crevasses . several miles long, 1,000
leet deep, interlaced, forming labyrinths of
vawning gulfs. Wild ice cataracts and glis-
tening, thunderous falls on the steep glaciers
of Mt. Ranier and Mt. Baker. A tine travel
serie.*i — Up the Columbia River, Over the
Canadian Rockies and Among the Glaciers of
the Rockie?;. and Mt. Ranier. References: Gla-
ciers of North America; I. C. Russel; The
Americana; National Geographic Magazines.

PANAMA CANAL— A trip from Colon to Panma
featuring especially the Gatun Dam and
Locks.

Reels, 2; Producer. Lincoln Parker. Remarks:
■'Locking in" and "locking out" processes
shown in detail. Views of Gatun Lake, Spill-
way gates. Culebra Cut and Pedro Miguel
Locks. References: The Panama Canal. Mar-
shall ; The Panama Canal, Reuben E. Baken-
haus. S. B.

PAX.\MA .\ND ITS PEOPLE.

Reels, 2; Producer, Lincoln Parker. Remarks:
Native life and dwellings in the Panama
Canal region. Scenes in Colon and Cristobal
in native quarters and government section.
Gatun and vicinity; native houses along the
canal. Old city of Panama and harbor on
the Pacific. This feature should be used with
the Panama Canal pictures.

THE MISSISSIPPI RIVER— From Mouth to
Source.

Reel, 1: Producer. Lincoln Parker, Remarks:
A picturization of the Mississippi River with
views of the principal cities along the route
The Levees near the mouth ; types of river
boats and bridges. An instructional feature
for schools and travel clubs.

FLORIDA.

Reel . 1 ; Prod-Jcer, Li ncol n Parker. Remarks :
A trip presenting Lake Okechobee. the Sem
inole Indians at home, the Everglades, an
alli^tor farm, and attractions of Palm Beach
in January.

COLOMBIA. SOUTH AMERICA— SUGAR
PLANTATION.

Reels, 2; Producer, Lincoln Parker. Remarks:
In Cali and the Cauca River Valley of South
America are shown magnificent views of the
Andes and typical views of a South American
Village. The Patio, the Plazas and the Cathe-
drals. The water supply; life of the natives.
On the sugar plantations and in the sugar
mills.

OVER THE NORTHERN ANDES— COLOM-
BIA, SOUTH AMERICA— Cacao Plantation.
Reels, 2; Producer, Lincoln Parker. Remarks:
From Cali on the Caaca River, a great high-
way of the country, to Buenaventura the chief
seaport of Colombia on the Pacific. The citv
with adobe huts on stilts and natives at work
on the Cacao plantations. Close-ups of leaves.

blossoms and cacao beans as they are prepared
for market. References: Views from Colom-
bia Pan-American Bulletin ; Through South
.\merica by H. W. Van Dyke; National Geo
graphic Magazine.

MAKING OF MAPLE SUO-^R.

Keel, 1 ; Producer, Lincoln Parker. Remarks:
Tapping the trees, gathering the sap, boiling
it in the evaporator, and the "sugaring off.'

PRUNE RAISING.
Reel. 1; Producer, Lincoln Parker. ReiparHs.:

Processes of picking. crackiLj- tae sWias,' dry-
ing, grading in the vibrator, "^r^espin^,* ; and
packing in specially prepared boxes, pressing
and shipping. ^ , ,

WILD HORSES ON THE PLAINS AND -THfe"
CATTLE INDUSTRY.

Reels, 2; Producer, Lincoln Parker. Remarks:
"Roping out" and breaking of wild horses.
The fall **rourd-up" for branding cattle. This
should be foliowed by 1.2.21, 'The Packing
House."

CANE SUGAR INDUSTRY OF THE U. S.
Reel, 1; Producer, Lincoln Parker. Remark*:
Planting, harvesting, refining and crystalizing
processes. To illustrate the geography lessoi..
Reference: The Amenciana.

ORANGE RAISING IN CALIFORNIA.

Reel, 1 ; Producer, Lincoln Parker. Remarks :
Planting seed and grafting by means of bud-
ding. Views of orange grroves; processes of
picking, washing, grading, packing and ship-
ping.

COTl'ON — Production and Manufacture.

Reels, 4; Producer, Lincoln Parker. Remarks:
Lessons on efficiency, skilled labor and the
value of modem machinery in Americian mills.
Explains how checks and stripes are made.
Flying spinning wheels and revolving looms.

SHOE INDUSTRY.
Reels, 2; Producer, Lincoln Parker. Remarks:
The technicalities of no industry lend them
selves more vividly to the motion picture
screen than the complex processes of the
manufacture of shoes. The sub-titles explain
the operations of the various machines ana
give the technical terms.

GOLD MINING AND COINING.

Reel, 1; Producer, Lincoln Parker. Remarks:
Mining, crushing and reducing or "stamping"
of the ore and pouring of the molten goid in.o
molds to form bars or "pigs." In the mint
coining of the money.

AUTOMOBILE INDUSTRY.

Reels, 2; Producer, Lincoln Parker. Remarks:
Making of trucks and assembling of pleasure
cars. Speed and skill with which 8,000
different operations are performed.

THE UNBELIEVER CON*\'INCED.

Reels, 3; Producer, Underwriters Laboratories.
Remarks: A powerful lesson on "Safety
First." Beware of repentance which comes
too late! This real estate owner was urged
and warned to make his factory safe against
fire. When the fire actually breaks out there
are tremendous thrilils and tense moments.
while tlie firemea rescue the factory girls.
Many fire scenes are shown with telling ef-
fect. The climax is reached when the owner
recognizes his daughter as one of the victims
of his criminal carelessness.

THE OYSTER INDUSTRY.

Reel. 1 ; Producer, Li iiC 3ln Parker. Remarks :
Dredging oysters furr.ishes a strong educa-
tional feature of sca-nshing. Buoys mark out
the oyster beds, fishermen pull in their big
hauls in dredging nets and return to unload
p.t the docks. Close-ups of oyster enemies,
the star-fish and horse-shoe crab. How beds
are made for baby oysters and photographs of
the oyster itself from the age of six months
to the full-grown specimen.

SALMON HATCHING IN NEW ENGLAND.
Reel, 1; Producer, Lincoln Parker. Remarks:
Mature salmon are caught in dams prepared
near the fish hatcheries The eggs are taken
from the female, fertilized and placed in trays
for hatching. Fish without fins are seen
coming out of the eggs and at different stages
or grow^th. Interior views of packing and
shipping eggs and young fish.

MAKING POTTERY.

Reel, 1; Producer. I.: :oln Parker. Remarks:
The stages through ■.. i^^^h the exquisite vases
are produced from ordinary clay bank.

To students of cera::.:^s and persons' skillful
with their hands, :h!5 may suggest some
cultural and profitable i-nes of work.

THE PRICELESS GII T OF HEALTH.

Reel 1; Producer, C mmonwealth of Massa-
chusetts. Remarks: In the portrayal of the
story of Bob and '.' : ^ Cousin Richard, we
have a vivid presen::i:ion of things as they
are, contrasted with things as they ought to
be. A visualization ■:: the new Bill of Rights
of Childhood forces one to believe that a
child has a right to l:ve. to play and to be
happy. Abstract facts are made so vivid and
Pleasures of camp life for girls. A picture
concrete, and woven into the story in such
an interesting manner that a strong impression
is made.

A DAY AT ALOHA C.\MP. Fairlee. Vermont.
By courtesy of Mr. and Mr?. E. L. Gulick .
Reels. 2; Producer. Lincoln Parker. Remarks:
day with stress on drilling and swimming
full of rep, presenting events and fun of the
activities.

FLASHES ON \^ORLD'S SCREEN

C1NE.MAT0GR.\PH apparatus is now
being manufactured at the great
Krupp works in Essen, Germany,
where hitherto only giant engines of de-
struction were turned out. When Germany
gives up fighting the world and decides to
help ei|Qf4te; ?nd civJite it, there is hope for
the futiire of ihf 'hu.n£n race.

The Sheffield film showing the iron, steel,
;cull<,T>'. and silver trades at work is two and
a niiarir miles long, that is, about 11,880
feet, requiring nearly three hours for screen-
ing. These pictures are to tour the world
and will be exhibited in China, New Zealand,
Australia, South Africa. Scandinavia, Can-
ada, and the United States.

The Berkley Legion of the National Pro-
tective Legion gave a movie show at their
c.ubhouse in Berkley. Illinois, recently.
Scenics, comics, and a six reel feature photo-
play were screened. '"Whaling in the Japan
Sea" was one of the films on the program.

Jesse Lasky. of Famous Players-Lasky
Corporation, has presented a motion picture
projecting machine and screen to the Barlow
Sanatorium, of Los Angeles. Cal., and the
patients wrote him a letter of thanks. There
is a Hospital Picture Machine Fund whose
object is to place movie projectors in all of
the Los Angeles hospitals.

An ambitious film production has been
made in Palestine, of a religious and histor-
ical character. English optiences are to see
it soon.

Ro'and Park, a suburb of Baltimore, is to
have a community movie theater. Mrs.
N. R. M. Thom is chairman of the commun-
ity service committee in charge of the pro-
ject.

Gran L. Pease, of the Buffalo Society of
Natural Science, is making films of the
harbor, grain elevators, coal trestles, stock
and lumber yards to illustrate lectures on
local geography in the Buffalo public schools.
The society has an interesting visual in-
struction exhibit in the basement of the
public library building.

"From Chattanooga to the Sea" is a reel of
historic and scenic interest made "on the
spot" in Tennessee and Georgia under the
direction of Roy Buckley, .\merican ace.
The Griever Distributing Corporation of Chi-
cago are the distributors.

Southwest Teachers' College. Springfield.
Missouri, has installed a movie projector to
show one high class picture weekly, .\mong
those contracted for are '"Vanity Fair."
-Vicar of Wakefield." "'David Copperfield,"
"The Last Days of Pompeii." ""Little Mother
Hubbard Travel Pictures." and "Cannibals
of the South Sea Isles."

The schools of Chariton, Iowa, have pur-
chased a portable projector which will be
carried around and used in different build-
ings. Ford Educational Weeklies as well as
entertainment pictures are being shown.

Th» nmarkable film of Sir Ernest Shack-
!»;on'? 19141917 expedition to the .Antarctic
regions had its first showing recently at
Roval Albert Hall. London, for the benefit of
the Middlesex Hospital Appeal Fund.

The churches of Glasgow, Scotland, are
beginning to make good use of the cinema
at their weekly social meetings. .\ lecture
on "Pictures from the Beginning to the
Present Day," illustrated with films and
slides, was recently given.

Ninety per cent of the pictures shown in
rhe cinemas of India hail from the U. S. A.
American cowboy dramas are the greatest
a'.lraction for the natives.

HOW MOVIES LOWER LIVING COST

One of the new uses for ejiacatianal films
is a practice that has- coVje jiito" vogue with
industrial concerns, namely,'" giving the
workers worth-while entertainment to make
them come to work on time, k is comraonty;
acknowledged that the reason for prescnJ-
day high prices is, among other things, the
lack of adequate production. Workers are
being paid 100 per cent, to 400 per cent,
more than before the war, and the average
workman turns out less than 75 per cent,
of what he formerly produced. Part of this
decreased production is due to lack of punc-
tuality, nor can the employer be too severe
about this tardiness lest the workman
might take advantage of it.

Into this breach the more progressive
American manufacturers, including the
United States Rubber Company, have in-
jected or are planning to inject the motion
picture, in order that the workers may be
drawn to the plant thirty minutes to an hour
before the blowing of the whistle. They
are meanwhile shown some worth-while film,
and best of all, a good attendance is as-
sured, it having been proved in actual
practice that the old saying, "You can draw
more tlies with molasses than with vinegar,"
is equally good in this instance, and that
more workers show up by reason of the
entertainment than they do under threats.

Nor is this all that the worth-while edu-
cational picture or entertainment feature
has to do for the workman. Ever)' student
of the subject realizes that each bit of in-
formation that is added to the workman's
store of knowledge is making that workman
more worth while. The more he knows the
better is his work, be it in a factory or an
office. Therefore, the better the films that
are shown to the workman in these com-
mercial auditoriums the more certain the
prestige of the commercial house; hence,
improvement in the product, increase in pro-
duction, and gradual lowering of the high
cost of living.

This might seem to be a far cry 'as a re-
sult of using the worth-while motion pic-
ture, but any earnest student of the situa-
tion will agree that there is more in this
idea than appears on the surface.

coming to St. Louis for work, got its first
run at the Orpheum Theater in that city
recSntiy. , '

Considerable local interest has been
aroused in the film by reason of the number
of prominent men and women in the cast,
quite apart from the purpose of assisting
in the campaign for $500,000 to house era-
ployed women.

The scenario of "No Address" and the
entire production is a "made in St. Louis"
one. It was produced by the publicity com-
mittee of the Y. W. C. .\.-Letmar Housing
Campaign and tells a graphic story of St.
Louis housing conditions. Tlie mayor ap-
pears in the cast.

AMERICAN FILMS IN BRITAIN
Bv Percival Gassett

Leede, England

American motion picture films are im-
ported into Great Britain by film-renting
agencies whose headquarters are in London
or Manchester. Business in 1918 with the
local branches of these companies was good,
and supplies were fairly plentiful. There
were restrictions on the importation of
American and other films, largely on account
of the shortage of shipping. The local
branches, however, were not directly con-
cerned with these restrictions, which did not
reduce the supplies to any great extent. In
a few instances films were lost on torpedoed
ships, but as a rule supplies were fairly
regular in 1918.

The proportion of American films ex-
hibited in Leeds is estimated to be at pres-
ent from 80 to 85 per cent of the total num-
ber. It is thought, though, that American
producers will not be able to maintain this
lead for long after conditions have become
normal, as British producers will probably
secure a large part of the business if their
films become more attractive. There was
no advance in the prices of films or film hire
during 1918 as compared with 1917, although

exhibitors hfve increased the prices of seats
and also made larger profits by the increased
attendance during the war.

BRITISH FILM IMPORTS AND EXPORTS

Cinematograph films amounting to 78,-
653.751 linear feet, valued at $3,751,502,
were imported to the Uniiti BCingdom in
1917. In 1918 film imports fell to 53,650,709
linear feet, valued at $2,615,471. In 1917
the customs duties on these films were
$899,903 and the following year were
$824,395. On the other hand, the United
Kingdom exported to the United States
motion picture films amounting to $714,966
in 1917, but the next year the exports
dropped to $407,990. Thus the film im-
ports into Great Britain, coming almost en-
tirely from this country, were nearly seven
times greater in valuation than the British
film exports to the United States. Condi-
tions brought about by the war were re-
sponsible for this wide difference, but now
the film producing and distributing interests
of Britain are planning to offset this dis-
parity to some extent by invading the
American field.

SIX REEL SHOE FILM

The national retail shoe dealers' conven-
tion was in Boston in January, but the dele-
gates made trips tlirough shoe factories
in St. Louis hundreds of miles away. The
International Shoe Company selected the
Rothacker Film Manufacturing Company, of
Chicago, to make a six-reel motion picture of
the world's largest shoe industry.

Watterson R. Rothacker dispatched a di-
rector and two cameramen to St. Louis to
pack the shoe plants snugly upon the "cellu-
loid magic carpet" for transportation to
Boston. After the Boston convention the
picture was shown to smaller gatherings
of dealers over the country, and later a one-
reel educational film will be made up from
the 6,000 feet.

THEY MAKE INDUSTRIAL MOVIES FROM THE SKY

ADVERTISING DENVER VIA FILMS

A new plan of introducing Denver and
Colorado to the thousands of visitors to that
city has been evolved by the Denver Manu-
facturers' Association in cooperation with
other bureaus of the Civic and Commercial
Association. This plan is to have motion
pictures of Colorado activity shown at the
noonday concerts at the auditorium during
the summer.

The manufacturers', tourists', jobbers',
realty, retail merchants', membership and
agricultural and live stock bureaus have
united to prepare many reels of pictures of
Colorado scenery, industry and general com-
mercial activity for this purpose.

"NO ADDRESS"— A HOUSING FILM

The St. Louis film *'No Address," telling
the human interest story of how a lonely
girl failed lo find any place to live after

'P HE Venard Photographic Co.. of Peoria, 111.,
is the first industrial motion picture com-
]':\uy to own their aeroplane to make movies from
tlie clouds. The machine Is an American-Curtiss
tiiplane and is equipped with a small fortune in
instruments including special attachment for
haii'iling the movie camera and a regulation
army camera for film work. The photograph at
tin- left is that of C. L. Venard president of the
* iTitpany. whi'e at the right is J. W. Becker, the
I'l'n'. who had two years experience in the
T' S. Army.

EASTMAN
FILM

is identified by the words
"Eastman" and "Kodak"
in the film mar^n.

It is the film that first made
motion pictures practical

EASTMAN KODAK COMPANY
ROCHESTER. X. Y.

Healthy boys vant to MAKE tilings. You can. direct tKe
boy's energ\- into tbe right channels by shoving him i and his

parents, too

The State of Connecticut's One-Reel Film

OPPORTUNITY

A Story For Your Boy

Illustrated Descriptive Circular From

Worcester Film Corporation

145 ^'est 45th Street Ne^* York Cirv

PRIZMA

A new method of practical,
color motion photography
that re-creates Nature on
the screen in all her splen-
did colors.

Entertaining. instructive,
and altogether delightful!

Now showing in leading
theatres.

Ask the manager of vour
favorite theatre.

Distributed bv Republic Distributing
Corporation

For a Proper Understanding of Life's
Kesponsibiiities

children and young people need the knowledge v» hich U ?cien-

tificallv and inipiringly pre?ented in the biological

motion picture

How Life Begins--4 Parts

Living embryo of chick 52 honi^ old. From •'How Life Begins"
It shows how plants and animals come into existence and
iive* a reverent onderstanding of life processes.
Used by U. S. Government. 5utp Boards of Health. Universities.
High Schools. Welfare Organizations, and private homes.

For Totusl and purchase prict addrtii

Carter Cinema Co.. 220 W. 42nd St.. N. Y.

Telephone Bryant 7594-7595

VISUAL INSTRUCTION IN COMMUNITY CENTER WORK

Boys' and Girls' Club Work
An Eastern Iowa county agent recently hit
upon a novel plan to put over his boys' and
girls' club work. He bought a light truck
upon which he mounted a home lighting
plant, a motion picture projector, and a
stereopticon. During the mild season of the
year he advertises his coming and all the
farmers of a certain section are invited to
bring their baskets for a picnic lunch which
is enjoyed at the schoolhouse. The grounds
and building are lighted and the county
agent presents his subject by aid of motion
pictures and slides. The blazing liglits
would be a drawing card in any rural dis-
trict, but a picture show always insures a
crowd. Needless to say, the county agent
is a real factor in the social as well as
business life of that county. Interest in
club work is hot mth activity, and the
county agent claims he will have a larger
delegation of boys' and girls" club mem-
bers than any other county in the state.

Again, please permit your attention to
be C2dled to the effectiveness of the film
propaganda during our recent national and
international holocaust. Every liberty loan
campaign, every Red Cross drive, every
activity requiring unanimity of national con-
currence, was preceded by a barrage of
motion pictures, not excluding other means
of visual instruction, such as the slide and
printed posters or charts. The War De-
partment taught recruits the fundamentals
of bayonet drill, gas drill, first aid, care
of health, target designation, operation of
machine guns, and how to shoot, by means
of motion pictures. Yes, the government
believed in the effectiveness of the screen.
Saving a Community with Movies
Another striking illustration which may
show how motion pictures may function
constructively is found in a little mid-
western village of about 200 people. One
year ago last November a young minister
took up a pastorate in this community. He
was quick to size up his task, and his first
<liscover\- was that gambling was rampant
among the schoolboys. Petty vices and
some not quite so petty ruled the lives of
the young people. The pastor saw the situ-
.ation at a glance and called the most in-
fluential members of his congregation into
a conference. He pointed out that the
neighboring large town was the siren which
lured the young fellows away from the
village continually because there was
nothing more than a disreputable pool hall
to keep them at home. Neither the church
nor the school offered any social or recrea-
tional privileges. The pastor opened his
church, and after having convinced his
board of trustees that the church was failing
in its opportunity as well as its duly, he
persuaded them to install a motion picture
machine. •

.At first educational films were obtained
from the state college, but these were later
supplemented by carefully selected subjects
rented from commercial exchanges. The
young people filled the church and gave
the minister the opportunity of meeting
and knowing tbem in a social way. Crowds
grew so large that the little church could
not accommodate all those who came. In
the summer months the pictures were shown
in the village park. Business men soon
noticed that the free motion pictures
brought people into the town who, even

(Continued from Page 9)

though they lived in local trade territory,
had been going to the neighboring town
previously. Motion pictures proved to be
the thing that was responsible for almost
revolutionarj- conditions. The pastor was
able to use his wholesome influence upon
the boys and led them into wholesome sports.
He had gained their friendship through his
association with pictures and had substi-
tuted innocent pleasures in place of vicious
pastimes. So appreciative have been the
business men that they agreed to under-
write the enterprise for the ensuing year.

Thus we could continue to relate many
other instances of community betterment
traceable to the instruments of visual in-
struction, but we must consider another
phase.

\'isu.\L Instruction an Educational

Economy
We hear quite a bit these days about
an overcrowded curriculum and committees
on elimination have made frequent reports
about dropping certain subject matter from
our courses of study. Evidently such action
is wise. Each school year sees new responsi-
bilities placed upon the schools and stUl
greater demands imposed upon the teachers.
With rare exceptions every time the home
fails to do its duty the responsibility is
thrust upon the schools. Physiology, sani-
tation and health studies are good examples.
Mothers failed to teach the daughters how
to bake and brew, knit and sew — home eco-
nomics was introduced. Sex hygiene is be-
ing forced upon some schools. Quite re-
cently we heard about a demand for courses
in Americanization. Naturally there are
those who look upon visual instruction as
another one of the uninvited guests trying
to take a part of the too crowded school day.
Fortunately visual instruction is a form of
teaching that promises to justify its pres-
ence by the time it will save. It promises
not to crowd out other subjects, but rather
to teach more quickly and effectively.
Someone has said, "More can be poured
into the eye with a teaspoon than into the
ear with a scoop shovel."' Subjects such
as geography, natural , nd applied science,
adapt themselves quite advantageously to the
visual method of presentation. .A Detroit
company is now working on a course of
geography which is being tried out in the
Detroit schools. Trade journals recently
announced that an Easli-rn book publisher
is working in conjunction with a New York
film manufacturing concern in an attempt to
present subject matter in motion picture as
well as printed form. Even the most en-
thusiastic sponsor for the screen does not
believe pictures will ever completely sup-
plant books in the schoolroom, but obtuse
indeed is he who canni.r see the important
and immensely valuable fiild they may fill if
permitted to do so. IS e are glad to see a
serious effort to prove ilie worth-whUeness
of the screen.

Many obstacles stand in the way of visual
instruction, to be sure, but none are un-
surmountable. The whole matter of pro-
duction is a matter of wise direction; dis-
tribution is a problem of cooperation; and
both are problems of finance.
Production and Disthibution Problems
Visual instruction is unique, inasmuch as
it must depend, for the most part, upon
slate and federal support more liberally
than any other form of instruction. Ap-

parently it is impossible for any except the
very largest school system to own an ade-
quate film library. The original cost of such
a collection is all out of proportion to the
actual use which would be made of it.
FUms deteriorate rapidly and must be fre-
quently replaced. A central depository- or
exchange is absolutely necessary so that
materials may be properly repaired and
carefully stored. The life of a single print
is estimated at 300 runs through a projector,
if most carefully handled. Theatrical ex-
changes usually retire a print after three
to six months of service unless there is an
uncommon demand for the print; then a
new copy replaces the old. Probably no
school system except in the largest cities
would ever have occasion to project a pic-
ture more than ten or twelve times a year,
and then the entire number of exhibitions
for the print would be made within a week
or ten days.

If the state should own or control the
print so that every other school could use
this same print it would mean a consider-
able saving of time, energy, and needless
duplication of investment. If some national
educational institution could be the produc-
ing center and function as the source for
educational releases from which state dis-
tributing centers could secure material at
cost; if machinery for production and dis-
tribution could be economically and effi-
ciently supplied; if the national educational
institution could save needless duplication,
permit equitable division of costs of pro-
duction and make film work in the smallest
school a possibility, motion pictures would
soon be well established.

Many commercial motion picture concerns,
incorporated to produce educational film,
have come and gone during the life of the
industrv-. With rarely an exception they
have come and gone without making more
than a ripple in the educational sea. Dur-
ing recent months several of the largest
theatrical film producing concerns have an-
nounced "non-theatrical" departments, and
schools are interested and awaiting develop-
ments. A greater part of the so-called non-
theatrical film is merely an attempt to use
old theatrical production bearing new titles,
the old ones being expurgated or revised
and the questionable scenes cut. It is also
an unfortunate condition which makes it
impossible for the teacher to secure the
material he wants through a few, rather than
many sources; thus, school superintendents
find themselves in a maze when they try
to locate the film they want. The film in-
dustry changes rapidly, new syndicates are
formed, dissolved or absorbed over night,
and it is difficult to locate the productions
of only a few years past.

Where Is "Silas Marner"?
"Silas Marner," a splendid production,
was released through the exchanges a few
years ago. The company reorganized later.
Recently it dissolved into several distinct
companies, and now where can the school
man write for "Silas Marner"? A splendid
educational has been lost on account of a
lack of a depositorv' and the necessarv' dis-
tributing centers where the negatives could
have otherwise been preserved forever.
Lost, because the schools were not prepared
to create a sufficient demand to keep the
film working. Lost, because it had served
{Continued on page 28)

f!^

-'J3i^

Vihrdtion
in the
DeVryl

You can baUinii- ;i l;i- \ry on ;i lea cup ali<i
it produces motion pictures as if shot from
a stone wall.

You can put tlie De \'ry on a table, a chair — on
mv non-rockiner object with tour less or none.
Ltnd it does perfect work. It's in a class by itself
in this, as in all other respects. S'ee it and know
:or yourself.

""he De Vry stays in its case while at work. It
!.s simple in construction — perfect in workman-
ship. Weighs 20 pounds. You can carry it any-
.vhere. Has its own motor, .\ttach the plug to
anv lamp socket, press a button, and a picture up
to 12 feet square is projected and up to SO feet
liistant.

If you are an amateur you will be immediately
at home with a De Vry. You can quickly make
iUotion-pictures of professional quality.

Write for new booklet. Also let us demonstrate the DeVry
HI your home or your office. If you write us, it will
promptly bring our representative from one of 60 cities —
ilie one nearest you, and then you will see why the DeVry
has become standard.

De/ The De Vry Corporation

1230 Marianna Street, Chicago
New York Office : 141 West 42nd Street

"THE COSMOGRAPH"

S('ini-P rofessiotud Portable Projector
MAKES FRIENDS ON ITS QUALITY
KEEPS THEM ON ITS PERFORMANCE

Weight n>/2 lbs. GRAPH

without carrying

Model

-Takes Safety Standard
Width Film

The COSMO-
represents
an ideal successfully
achieved. That ideal
has been to produce
a portable projector
compact, and light in
weight, simple and
economical to operate,
of sturdy construc-
tion, and surpassing
in performance.

THE DWYER BROS. 8c CO.

BROADWAY FILM BUILDING

CINCINNATI, OHIO

729 SEVENTH AVENUE

NEW YORK CITY

ATTRACTIVE PROPOSITION TO DEALERS

Power's Cameragraph

The Machine of
Quality

./>

Au. Trai Experience
Skilled Workmen .■\nd
Finest Materuls
r, Can put into a Projecioe

iStOhOLAS POWEk CO-VvHAnY

90 Gold Street Iscorpok-athd New York

Edward Earl. F^esident

Manufactureks of ^(ovlN^> fVruRE Mjw:hini3

TN competitive test by the
Board of Education, New-
ark, New Jersey, fifteen of
the eighteen professional pro-
jectors purchased were

Power's
Cameragraphs

This test was of a most ex-
acting nature and again dem-
onstrated the superiority of the
Power's Cameragraph where the
highest type of professional
projection is desired.

NICHOLAS POWER COMPANY

INCORPORATED
EDWARD EARLE. President

NINETY GOLD STREET

NEW YORK, N. Y

{Continued from page 26)
its time in the theaters. Potentially it was
worth no more to the motion picture com-
pany than the silver in the emulsion or the
cellulose in the stock. Had a public edu-
cational institution been able to possess
the negative, new prints could be made
cheaply and schools served accordingly.

Quite naturally the industry has hereto-
fore directed superficial attention to the
school business. The theatrical end pays
the dividends because there are 14,000 the-
aters which have a source of income at
14,000 bo.K offices. Churches, Y. M. C. A's,
colleges and schools are eternally poor. The
yearly income from an ordinary church would
be a poor day's business for many a theater.
A nominal theatrical rental would be pro-
hibitive for the small school.

Projector and Fire Problems
Another difficulty, though not an impos-
sible problem, is the matter of selection of
a projector. There are two types, the nar-
row width, or safety standard, and the
standard width. The former type is in-
tended to preclude the use of inflammable
film and thereby solve the fire hazard. The
standard type of projector predominates and
is used in all theaters. Of course, the
standard type projector may use non-
inflammable film, but the motion picture
industry has not as yet seen fit to accept
the non-inflammable film. Why safety film
is not used I have been unable to find any-
thing other than contradictory opinions.

When the law compels non-inflammable
film to be used, as is the case in some
countries,' or when the industry finds a
non-inflammaljle film equal to the celluloid
stock, the real argument in favor of the
safety standard projectors will have been
met. Some stales have sufficient faith in
the future of non-inflammable film and will
supply standard width film on celluloid stock
until such time as producers do print on
non-inflammable stock. The federal govern-
ment, including the Departments of the
Interior, Treasury, War, Agriculture, and
Labor, are printing on standard width film.
Thus, any school, church or community
center purchasing a safety standard projector
must depend upon other than these public
sources for their film."

Some community centers and schools be-
lieve they can afford to provide the necessary
fireproof room in which to house a pro-
jector and employ a competent operator
rather than be subject to conditions which
do not permit them to have an unlimited
amount of film from which to choose.
Others are convinced that safety standard
projectors can best serve their particular
purpose.

Show or Lesson — Which?
Before introducing film work in the schools
the superintendent should decide what he
hopes to do with motion pictures. Too
many times film work is put on as a show
and not as a lesson. Here many teachers
fail. A school teacher or preacher who

*Thcre are local laws requiring the exclusive
use of non-inflammable film in Paris and other
French cities and police rcKtilations to this effect
in some German municipalities: and there has
been such a law on the statute books of New
York State for a number of years. Norie of
these laws is obser\'cd. however, for the simple
reason that prints on non-inflammable stock are
not generally available. These laws are a "dead
letter" because it is physically impossible to en-
force them.

'Since the above was written it has been'
learned that one of the most active of these
government departments has arranged to have
all of their prints made on safety standard stock.
— Editor.

tries his hand in the show business is apt
to make as great a failure as the theater
manager who tries to run a school. Many
misunderstandings between the local mo-
tion picture theater and the school or com-
munity center would never have arisen had
each assumed the proper point of view.

Unfortunately, most all film available is
theatrical rather than pedagogical. The
motion picture director is familiar with the
psychology of the stage, but is absolutely
deficient in his knowledge of schools and
teaching methods. Quite naturally, discern-
ing educators who recognize the possibility
of films in education also recognize the
present limitations and are unwilling to
endorse motion picture work until such a
time as they may be able to find film which
will fit exactly into their plans or ideas of
what constitutes good pedagogy. The dis-
cerning producer sees his so-called educa-
tional productions in small demand, and he
will not produce other films until the demand
is sufficient to insure financial returns some-
what nearly commensurate with the expendi-
ture necessary to produce such film. Film
manufacturers have thus far tried to care
for the requests of educators by revised and
retitled old theatrical releases. Experience
has taught that the life of most educational
manufacturing concerns is at best decidedly
ephemeral.

The school superintendent says to the film
producer: "When you have the film I want
I'll install a projector and use motion pic-
tures." The manufacturer replies: "We
have produced educationals and you say
you cannot use them. Just as soon as you
are ready to project pictures and you know
what you want and will assure a fair return
on money invested, I will produce for you."
Both are willing, but each expects the other
to do the pioneering.

We never will get much farther with visual
instruction unless schools create a demand
for truly educational film. There is sufficient
material now in existence to justify any
school investing in a projector. What if it
does not meet your ideal? What time better
than the present offers an opportunity to
gain experience in the use of film? Visual
instruction is primarily an educational prob-
lem which must be worked out by educators.
The sooner the problem is solved and a
method of presentation is offered, the sooner
will the motion picture function as it ought,
on a tangible, constructive, pedagogical basis.

Scientific Research Needed

We have intimated before that enthusi-
astic claims need substantiiUed proof. Valu-
able indeed would be the contribution to
education if a definite study be made to
determine the actual value of various forms
of visual instruction. There is a best way
for doing every task; sunly there must be
a best method for visual presentation.
What is it? Will not someone make a
study which may compare in scope with
the studies made in other branches by Cur-
tis, Stone and Thorndike? Here is a task
which will challenge the efforts of the big-
gest men in educational work.

The initiative should come from super-
intendents because they are most intimate
with the problems of the classroom. Their
relation to the supervision of visual instruc-
tion is obvious. Nothing can enter the
course of study without their approval.
Happily, interest in the visual method is
commanding the attention of educators, and

we are encouraged to believe that the future
is bright for the work.

Our first source of encouragement is the
favorable attitude of our United States Com-
missioner of Education, Dr. P. P. Qaxton.
Dr. Claxton admonishes every' school super-
intendent or school board to install every
kind of visual instruction apparatus pos-
sible.

Our second source of encouragement is the-
attitude of many state institutions, which
are looking with favor upon the work of
visual instruction. Not a few have made
a start and are making satisfactory progress.
"A Real Millionaire's Job"
.\ third source of inspiration is the atti-
tude of nationally known men who are
putting millions into educational film week-
lies. May we inspire someone to assume
a real millionaire's job, so that he shall do
for education by the way of the screen what
Mr. Carnegie did by way of books?

Another source of inspiration is the en-
thusiasm and interest of public school and
church men everywhere. This alone indi-
cates that the light is dawning.

Another very important cause for gratifi-
cation is the attitude of the motion picture
industry itself. Today it is honestly trying
to purge itself of the base and vile producer,
who is in the last analysis the real enemy
of the screen.

It is quite a significant fact that 67 per
cent, of all motion picture projectors sold
during the past few months were bought by
non-theatrical institutions. This is the re-
port contained in a recent edition of a film
industry trade journal. How will these pro-
jectors be used? Will they supply fun and
frivolity or will they function for instruction,
inspiration and information?

In conclusion may 1 repeat, motion pic-
tures have arrived. They are here to stay.
Billions of dollars have stabilized this in-
dustry. Millions of people contribute daily
to the perpetuation of this industry. The
field is as broad as our imaginations, but
practically little more than touched by col-
leges and public schools. Wbether school
men or show men shall direct the film for
the classroom remains for the teachers to^j
decide. Someone has said, "It takes schooH]
men ten years to do anything." If it does
take school men that long to do a thing,
then surelv it is time to begin now.

WANTED

Negatives of actual fire scenes of different
kinds, 20 to 100 ft. Will pay 60c per foot
for acceptable negative. Send positives for
screen examination.

National Motion Pictures Co.
Indianapolis, Indiana

Otto J.

Nass

Distributor of educational and re
films for tbe Slate of Rbode
and Eastern Massachusetts. 5

igious
Island
vears'

experience. Good
79 Fountain St.,

subjects so
Providence

icited.

,R.I.

Films for Educational and
Religious Institutions

The New Atlas Catalog Now Ready
Bulletins of New Subjects Bi-Montbly

Atlas Educational Film Co.,

63 E. Adams St.

Chicago

Clean, Wholesome, Entertaining Motion Pictures

especially adapted for use by Churches. Schools, Clubs,
Social and Civic OryanizaOons. Let us help you solve
t'nis diflicuit problem.
Send for our special non-theatrical catalog. Address

THE NEW ERA FILMS (Non-theatrical Dept.)
207 SOUTH WABASH AVENUE, • CHICAGO, ILL.

FOR SALE
100 Reels of Film

All in First Class Condition
Single Reel Comedies and Dramas

Two Reelers and a Few Three and
Five Reel Subjects

Price $400

We Also Have For Sale A Number of
Used Portable Projectors

THEATRE SUPPLY COMPANY

124 West 45th Street, New York City

Dr, Frank Dowd, 705 Schofield Building, and E. George Lindstrom,
1j66 Rosewood Avenue, Lakewood, gave stereopticon lectures to
Mate hospital patients, in Cleveland, Ohio, at the invitation of Supt.
b. H. Williams. Dr, Dowd talked on "The Wonders of the West,"
while Mr, Ltndstrom described "The Wonders of the East"

EDUCATIONAL FIJ M MAGAZINE

is tlic only independent liisli-class (not high-brow) magazine
cnviTing all non-theatrical usls of the motion picture. Not
a liduse organ, no axe to grind, plays no favorites, gives a
square deal lo all. Only arlicles of news or magazine value
pulilished. No quosli(iiial)le or inharmonious advertising
accepted. One subscriiition and advertising rate to every-
liody. Mail your dollar now for a year's subscription to 1815
Aeolian Hall. New York City.

USE

The VICTOR

Portable Stereopticon

The Choice of Thoiusands of Users

This is an Era of Visualization

\'isiialize Educational, Amei-icaiiization and

Indu.strial Work

Victor StantUtrd Featherweight Slide Subjects

Special Slides Made from Any Copy

Catalogues and Trial Terms Mailed
Upon Request

Til*. >l.-)iiiil.'iotiirers

VICTORSANIMATOGRAPH CO.

INCORPORATED

122 Victor Bldg. Davenport, la.

Still Pictures on Film-Rolls

Tlie Whole Lecture Set in One

Continuous Film

and Used in an Ordinary Lantern hv Means of

The TOURISCOPE Attachment

which converts your lan-
tern into a film machine
and enables you to use
either glass slides
slides made on a
continuous film
which is non-in-
flainmablc and j
weighs only 3
ounces to
100 slides

Think wliat
this means :
No more
broken
slides.

Slides never
out of order,

nor

iil)side-dowii,

nor

handled

and only
l/40th the weight
l/20tli the bulk
1/2 the expense
of glass slides

So'd for catalog
Department EF '

UNDERWOOD & UNDERWOOD, Inc. i?J„'^'l'b7,-

Since Safety Standard Film

HAS BECOME

THE RECOGNIZED LEADER

in the Non-Theatrical Field, remember it was the

PATHESCOPE

that made it so!

This PIONEER in SAFETY PROJECTION
easily maintains its superiority.

Its design, construction and projection embody the experience

gained in

23 Years of Cinema Supremacy!

No licensed operator
ror insurance
restrictions.

Machine and Films
inspected by Underwriters
Laboratories, Inc., and
labeled: "Enclosing Booth
Not Required."

THE NEW PREMIER PATHESCOPE

Greater illumination guaranteed than obtainable with any
other Portable Projector and only surpassed by the arc.

There are more Pathescopes in
use than all other makes of Port-
able Projectors combined.

Originated by Pathe Freres —
producers for twenty years of the
best Educational Films the world
has ever seen.

Also the inventors of the slow-
burning film which has made it
possible for you to enjoy SAFE
MOTION PICTURES.

THE PATHESCOPE CO. OF AMERICA, Inc.

Willard B. Cook, President

Dept. FM, AEOLIAN HALL

NEW YORK CITY

Agencies and Service Statwm in Principal Cities

The New Premier Pathescope

FLICKERLESS -SAFETY ST.AND.^RD" MOTION-PICTURE PROJECTOR
Because of its Special. SLOW BURNING FILM

Bears the Undenxriters' Official Approval Label "Enclosure Booth Not Rec[uired. "

Adopted by Everg School Board that INVESTIGATES the Merits of Portable Projectors

Jlony of them adopted the Pathescope after unsatisfactory and exijensive efforts to use the onapproTed pro-
jectors and dangerous cellnloid films. You cannot afford to take the chance of having a serious accident

There are more Pathescoi>es in schools today than all
other portable projectors combined, because they are
designed particularly for SCHOOL USE and embody
seven years of successful e5:perience gained in the
world-wide sale and use of over ten thousand former
models in Schools. Churches. Institutions, etc.

Th.? Pathescope Film Idbrary now contains thousands For the fifth consecutire year we have been awarded
of reels and is growing rapidly. the contract for furnishing Pathescope Education.-il

All on Underwriters' Approved and Label-Inspected

Slow-Burning Films.

The largest assortment of available educational and

entertainment films ever offered for uni^erssl use.

Film Service to the New York Public Schools, on
r-commendatioE of their Investigating Committee.
i: Tou reaUy wish the BEST you will eventually use
the Pathesccpe: in the meantime

Write for Booklets:
■Educaiion by Visualization' '5th Edition, 100,000).
■"Educational Films for the Paihescoi>e."
"Endorsements of Educat:;--'. ESciency, Etc."

The Pathescope Co. of America, Inc

\>^TLL-\RD B. COOK. President
Dept ::■:

AEOLIAN HALL

-NEW YORK

.Agencies and Branches in Priccipe! Cities

The Standard That Knocked the 'Tlam''

Out of Film and the Booth Out of

Projection Equipment

O amount of mechanical cleverness in making a projector can
take the "flam" out of inflammable film.

Every projector, — no matter how many fire shutters it may have,
no matter how small and innocent it may appear, — is a menace to
your safety if it employs standard theatre film, without firepoof
booth.

Existing fire and insurance laws insist upon the use of fireproof
booths whenever and wherever standard theatre film is used.

SAFETY STANDARD FILM, as
adopted by the SOCIETY OF MOTION
PICTURE ENGINEERS and approved by
the board of Fire Underwriters Laboratory,
meets the requirements of the non-theatrical
user. It may be used safely and legally, any-
where without fireproof booth.

THE VICTOR SAFETY CINEMA is
the first professional projector designed pspe-
cially for the use of Safety Standard Film.
It delivers to you a brilliant professional pic-
ture any time and place you have an incandes-
cent socket to connect it to.

The machine insures you perfect screen
results^ — the film insures you perfect safety.

Write us for information regarding
equipment and film service.

Victor Animatograph Company

Davenport, Iowa

Eastern Distributors:

UNITED PROJECTOR 8C FILM CO.
BUFFALO, N. Y.

Canadian Distributors:

PATHESCOPE OF CANADA, Ltd.
TORONTO, ONT.

THE MAYFLOWER PRESS, INC., FLORAL PARK, N. Y.

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!• parfaet — It cm til •*!• a= li. ■.•« 5i;T*r»»la.

^Shooting^ the
wild men with a
UNIVERSAL

heat, averaging 130
degrees, traveling in
whale boats and through
trackless forests, Martin
Johnson, the noted explorer,
carried the Universal
Camera to v^hich he refers
in this letter.

With this camera he made 25,000

feet of perfect film, and it came
through this endurance test as sound
and perfect as the day it left our
factory.

When you see Johnson's wonderful
pictures of the savage South Sea
Islanders, you will have demonstrated
to you the kind of film the Universal
makes. This is the camera used
exclusively by explorers, travelers,
the United States Army and educa'
tional film makers.

Write for illustrated booklet on the
Universal. It tells why the Universal
will one day be ycur camera.

Burke & Janie^ m

253 EAST ONTARIO STREET, CHICAGO
225 FIFTH AVENUE, N^W YORK CITY

BACK TO THE REPUBLIC!

A National Educational Campaign to be Started in Every American City

®Ij^ Irtt^r Ammra IC^rtttr^ ^nmn. 3nr,

An Appeal to the Eye and the Intellect

THIS is a national campaign to put ten illustrated lectures on patriotism into every church, school
and industry in America with the hope of making millions of Americans (including children and
youth) inunune against Marx's socialism, Trotzky's bolshevism, and Haywood's communism and
I. W. W. radicalism.

These ten illustrated lectures of the "Better America" Series on Americanizing America, by Newell
Dwight Hillis, were first given in Plymouth Church, Brooklyn, New York. Later they were tested out in one
hundred towns and cities in Michigan. We believe that these illustrated lectures represent the only method
that has stood the test and has actually accomplished results, as shown by scores of testimonials received.

ailir Brttrr Antprtra iCrrturr ftpmirp, Stir, has been formed by a group of representative men who have
arrant^ed with the Victor Animatograph Company to produce immediately these illustrated lectures, which
will be delivered in Sunday Schools. Y. M. C. A.'s, churches, etc., on Sundays and in the country school
houses and public school houses and industries during the week.

With all of his power to state facts and figures, with such emphasis as to burn them into your very
soul, Dr. Hillis has taken his ten lectures on Americanism, and with much additional matter has woven
them into the "Better America" series of lectures and slides, which should be heard by every man and woman
in America.

The titles of the ten illustrated lectures which comprise the Better America Series are as follows :
The Sanctity of Property. How Bolshevism Ruined Russia.

How Ability Can Increase Worker's Wage and

Country's Wealth.
The Loyal Classes Who Build the State and

Enemies Who Undermine It.
Why There Is No Excuse for Poverty in Our
Country.
Each lecture is illustrated by from thirty-five to thirty-seven colored stereopticon slides.
A new invention, the "Daylight Screen" (American Lux Products Corp.. 50 E. 4-?d St.. New York)
makes it possible to show these illustrated lectures day or night.

With the consent of the trustees of Plymouth Church Dr. Hillis has finally agreed to give the Better
America Lecture Service, Inc., a few months of his time for the organizing of this work. A nominal rental
charge will be asked for the use of the lectures and slides.

Ab&rpBB all ini)uiripa ta tl|p

Irttrr Amrrtra ICrrturr ^rrmrr, Jnr.. Brpt A

251 iFourtl) Aopttur, Nrtu ^ork Qlity

Karl Marx's Socialism.
What Our Fathers Paid.
The Republic the Golden Mean.
Gains of the Last Century.
America of To-morrow.

Better America Lecture Service, Inc.,

Dept. A, 2.">1 Fourth .Avenue, New York City.

Gentlemen :

Send us more information about the Better America
Series of ten lectures by Dr. Hillis.

EFM

In all of his activities as a minister, lecturer,
writer and publicist, Newell Dwight Hillis prob-
ably never did a more important piece of work
for humanity than in giving to the world his ten
lectures and stereopticon slides comprising the
"Better America" series.

Sezitdr; F

feriudi

rtmeD!

rsi

'lit

ilt\\ ^^L-

EDUCATIONAL

FILM

MAGAZINE

The National Authority

i^-.^i.

lai

Free Motion Picture Libraries

By Rev. Wm. Sheafe Chase, D.D.

Motion Pictures in Teaching Geography

By Edwin H. Reeder

Standard and Safety Standard Films

A General Discussion

By C. Francis Jenkins, A. E. Gundelach, A. F. Victor,
Willard B. Cook, Henry Bollman

The Cannibal and The Cinema

By Martin Johnson

Films for Farmers

By Homer Croy

Educational Value in Industrial Films

By Dolph Eastman

15 cents a copy

MAY, 1920

$1 a year

The Victor Safety Film
Corporation

offers to the School, Church and Community
Center, the largest and most carefully selected
library of films yet assembled.

Science, Religion, Drama, Literature, Travel, History, Wholesome Fic-
tion, Entertaining Comedy. All your moods and all your needs are
served by the Victor Film Library.

Write for list of film subjects and rental terms.

Victor Safety Film Corporation

A. F. Victor, President

First National Bank Building

CHICAGO, ILLINOIS

^ URBAN - POPULAR - CLASSICS -

KINETO REVIEWS

deal witli 0A£ Country, Subject or Event in
one reel lengths of 1,000 feet approximately
TWO REELS ADDED WEEKLY

These issues include such
topics as —

Manhattan Life

Unusual Shots of Life in Greater New York

^ew York

America's Gateway

Beauty Spots

In the U. S. A. and Canada

Babyhood

An Ever Popular Subject

Childhood

Health Promoting Pastimes

Sirlhood

No School Should Miss This

The Boy Scout

of England and America

CHARLES URBAN'S
MOVIE CHATS

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TWO "MOVIE CHATS" ISSUED WEEKLY
(Averaging 950 feet per reel)
"OF PERMANENT VALUE and INTEREST"

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I n c

FASCINATING METHOD

"Trade Mark"

OF EDUCATION

"The person who cannot enjoy Edgar
and his friends is almost unimaginable"

This Is the comment of the screen critic of the
New York Times, after seeing "Edgar's Hamlet."

Goldwyn offers the Edgar Stories as an example
of what can be done with the original work of a
great writer, with a proper exercise of taste and
understanding.

The triumphs and miseries and mental excursions
of Edgar will afford your audiences much mirth
— and perhaps a wayward pang of envy.

In any case, these delightful two-reel comedies
are sure to win a joyous reception. Inquire at
the nearest Goldwyn Exchange.

Samuel Goldwyn Presents

BOOTH

TARKINGTONS

The Adventures and Emotions of Ed§ar Pomerqy

EDGARS HAMLET

Directed hy E. MaSOR HoppCr

Goldwyn

Kxchanges

Atlanta, Georgia Minneapolis, Minnesota

III Walton St. 1 6 N. 4th Street

Boston, Massachusetts New York, New York

42 Piedmont St. 509 Fifth Avenue

Buffalo, New York New Orleans, Louisiana

200 Pearl Street 714 Poydras Street

Chicago, Illinois Omaha, Nebraska

207 S. Wabash Avenue 1508 Howard Street

Cincinnati, Ohio Philadelphia, Pennsylvania

216 E. 5th Street 1335 Vine Street

Cleveland, Ohio Pittsburgh, Pennsylvania

403 Stand. Theater Buildmg 1201 Liberty Avenue

Dallas, Texas San Francisco, California

1922 Main Street 985 Market Street

Denver, Colorado St. Louis, Missouri

1440 Welton Street 3312 Lindell Blvd.

Detroit, Michigan Salt Lake City, Utah

Film Exchange Bldg. 135 E. 2nd So. Street

Kansas City, Missouri Seattle, Washington

17th and Main Street 2018 Third Street

Los Angeles, California Washington, D. C.

912 So. Olive Street 714 nth St. N.W.

Paramount Pictures Available
for Non-Theatrical Exhibition

The need for the right kind of
motion pictures for use in schools,
churches and institutions of all
icinds is met in the most practical
\va}- b\' Famous Players-Lasky

material available and its intrinsic
value.

Whether your purpose be to en-
tertain, educate or frankly amuse
you will find the best of its kind
among these Paramount Pictures

Corporation, both as to the kind of at a price you can pay.

Feature Pictures are Available that Have
Made Famous the Names of:

GEORGE BEBAN
LOUISE HUFF
JACK PICKFORD
WALLACE REID
VIVLAN MARTIN
MARY PICKFORD
DOUGLAS FAIRBANKS

MARGUERITE CLARK
ELSIE FERGUSON
PAULINE FREDERICK
WILLIAM S. HART
SESSUE HAYAKAWA
GERALDINE FARRAR
DOROTHY DALTOX

GEORGE M. COHAN
LI LA LEE
FRED STONE
SHIRLEY MASON
BRYANT WASHBURN
JOHN BARRYMORE
JULIAN ELTINGE

Paramount Pictures are produced by the greatest directors and
dramatists who have contributed to the success of the screen.

Short Subjects Including:

"Fatty" Arbuckle Comedies Flagg Comedies Burton Holmes Travel Pictures

Drew Comedies Mack Sennett Comedies Paramount Magazine

It is impossible to give here a complete list of all subjects available.

Full information and sound advice on your motion picture problems can be had
from the Manager of the Famous Players-Lasky Corporation Exchange in the fol-
lowing cities :

Denver. Colo 1T47 Welton St.

New Orleans, La 814 Perdido St.

Chicago, 111 845 So. Wabash Ave.

Des Moines. la 415 W. 8th St.

Cincinnati. 107 W. 3rd St.

Kansas City, Mo 2024 Broadway

New York 729 7th Ave.

San Francisco 821 Market St.

Charlotte, N. C 28 W. 4th St.

Minneapolis, Minn 608 1st Ave. N.

Pittsburgh, Pa 1018 Forbes St.

Philadelphia, Pa 1219 Vine St.

Buffalo. N. Y 145 Franklin St.

New Haven, Conn 132 Meadow St.

Omaha, Neebr 208 So. 13th St.

Detroit. Mich 63 Elizabeth St.

Salt Lake City, Utah 133 E. 2nd So. St.

Oklahoma City, Okla 128 W. 3rd St.

Washington, D. C 421 10th St. N.W.

-Atlanta, Ga 51 Luckie St.

St. Louis, Mo 3929 Olive St.

Los Angeles, Cal 112 W. 9th St.

Seattle, Wash 2017 Third Ave.

Cleveland, Ohio 811 Prospect Ave.

Dallas, Texas 1902 Commerce St.

Boston. Mass 8 Shawmut St.

\': FAMOUS PLAYERS-LASKY CORPORATION

»V— vT'Vf^^*. ADOLPH ZUKOR Pn-^ JESSt L.LASKY Vh.v Pr.-s CECIL B DE MILLE P'r.'cTjrO.-T.'rjl

^ ! EDUCATIONAL FILM MAGAZINE ! w

Published Monthly at Floral Park, N. Y., and 33 West 42nd Street, CAeolian Hall,; New York City. DOI.PH EASTMAN, Editor.

Subscription: ITnited States and Possessions, $1 a year; other rountries, $2 a year; sinf;le copies, IS cents.

Advertising rates on application.* Appli<'alioii for enlr) as sci-oiid-class matter at the post office

at Floral Park, N. Y., pending. Copyright, 1920, by City News Publishing Company.

Vol. III.

MAY, 1920

No. 5

IN THIS ISSUE

Index to Articles

JEDITORIAL 7

j Educational Value in Industrial Films

IciNEMA TO TEACH PARIS CHILDREN 8

ILET US HAVE FREE MOTION PICTURE LIBRARIES 9

By Rev. William Sheafe Chase, D.D.— Illustrated

HOW TO USE MOTION PICTURES IN TEACHING GEOG-
RAPHY 11

' By Edwin H. Reeder — Illustrated

GR.\MMAR ON THE SCREEN 12

nitistrated

BAD CONDITIONS IN N. Y. MOVIE THEATERS 12

A GENERAL DISCUSSION OF STANDARD AND SAFETY
STANDARD FILMS 13

By C. Francis Jenkins, A. E. Giindelach, A. F. Victor, Willard
B. Cook, Henry Bollman, George A. Blair, George Eastman

FILMS FOR FARMERS 21

By Homer Croy — Illustrated

TEACHING SOUTH AMERICA WITH SLIDES 22

By A. \V. Abrams

WORLD TOI R FOR BRITISH INDU.STRIAL FILMS 24

By Wilbur J. Tagc

CATALOG OF FILMS 24

FLASHES ON THE WORLD'S SCREEN 30

Index to Advertisements

THE CANNIBAL AND THE CINEMA..

By Martin Johnson — Illustrated

Vri'ROVED FILMS FOR CHl^RCH USE ..

\'ictor Safety Film Corp.

Inside front cover

Kineto Co 1

Goldwyn Dist. Corp 2-i

I'amous Players- Lasky Corp 4

Automatic Ilium. Adv. Corp 5

Community M. P. Bureau 6

New Era Films 23

Radio Mat-Slide Co 2i

Victor Aniniatngraph Co 23

Inside back cover

Underwood & Underwood 23

United Projector & Film Co 25-32

Worcester Filiu Corp 36

Carter Cinema Co

Scientific Film Corp

Homer Croy

Atlas Ed Film Co

Prizma, Inc

Dwyer Bros. & Co

Eastman Kodak Co

DeVry Corp

Graphoscope Co

Caroline Gentry

Nicholas Power Co

"Better America" Lecture Ser-
vice

r.'ithcsoopc ('< Ri

27
28
28

28
28
29

29
29

30
30

nvcr

FOR ALL EDUCATIONAL AND LECTURE WORK

t he Auto m a tic Ba lop t icon Service — for, being set for a given lecture, the

machine operates automatically and noiselessly, and the slide changes are controlled with absolute

arecision ( even from a distance ) , by the lecturer himself, with the electric push-button switch

(vhich he may hold in his hand — NO ASSISTANT REQUIRED. Write for booklet.

"FOR COMMUNITY SERVICE"

COMMUNITY MOTION PICTURE BUREAU

The Educational Board of the Community Motion Picture Bureau is
headed by Dr. leremiah W. Jenks, Chairman, Research Professor of
Government and Public Administration. New York University, and Dr.
Frank McMurry, Vice Chairman. Professor of Elementary Education,
Teachers College, Columbia University. This Board is assisted by a large
staff of professionally trained educators, editois and assistants.

Frank L. Crone, formerly Director of Education for the Philippine Islands, is in
charge of the School Section.

'»"

Coinmiuiity builds motion picture courses upon the basis of the educational needs of each
institution it serves. You are cordially invited to make inquiry as to how Community
service will meet your needs.

Our distributing system encircles the world

Community Motion Picture Bureau

Accredited Agent for United States IVar Department
Motion Picture Service

WARREN DUNHAM FOSTER. PRESIDENT

46 WEST TWENTY-FOURTH STREET NEW YORK CITY

AIL

The National Authority

Covering Educational. Scientific. Amcultural. Lite^ar^. Historical. Juvenile. Governmental. Reli<nous, Travel

Scenic, Social Welfare, Industrial, and News Motion Pictures

Pubtidxti Monthly at Floral Tark, S. >'., and 3} IVest 42nd Strett (Afolum Hall), Sew York City

DOLPH EAST\L\.\. EJuor

Vol. III.

>LA.Y. 1920

No.

EDUCATIONAL VALUE IN INDUSTRIAL FILMS

AD\ ERTI5ING, powerful driving force of the
commercial world, was the inspiration for
the first industrial motion pictures and con-
tinues to be the motif of many films which
may be classed under this head. Later in the evolu-
tion of the industrial film came the sales picture
designed to apply visually the selling doctrine of 1,
attention: 2, desire; 3, decision; 4, action. And now
\^'^ have the highest type of industrial of all — the one
ich is truly educational yet subtly, almost uncon-
sciously, advertises and sells for the manufacturer
through suggestion rather tlian by direct command.

In the industrial motion picture world no less than
in that of the educational, religious, social and topical
!~ it correct and just to say that few film productions
' ' to tliis time have been the enduring, wortli-while
J. The mastery of this great medium of the fleet-
ing shadows has not yet come to those in controL not
even in the photoplay which has advanced farther
perhaps than any of the others. But far as Griffith.
Toumeur, Ince, Tucker, NeUan, ^ idor and other mas-
ter directors have gone along the tortuous, tem-
pestuous road which leads from studio and location
to theater box office, their successors in the entertain-
ment field are destined to leave them hopelessly be-
hind in eflforts to attain artistic goals.

If this may be said with unerring critical judgment
of the photoplay, \\hat shall we say of the educational
and the industrial picture which today, generally
speaking, is a poor crude thing corresponding to the
early days of the movie show in a converted retail
store, wlien even.- raw reel projected was "wonder-
tul." \^ e know better now. And soon we shall knov.
Letter about educationals and industrials.

\^Tiat is it which constitutes intrinsic educational
value in an industrial film? Assuredly not the ad-
vertising or selling portions of it, for in that sense we
could assert that ever\' printed advertisement and
ever\- clever sales talk are educational. As we have

repeatedly said, the word is iLsed far too loosely. .\n
industrial motion picture which in the judgment of
experts has educational value is just as vital, just as
essential in school or college, in church or communitv
center, as a film labeled "for teaching purposes."

It is difficult at the moment to single out an indus-
trial production of such instructional worth as to
warrant frequent exhibition on non-theatrical as well
as theatrical screens; yet there have been several
notable ones — one or two of the telephone pictures,
the memorable silk film, the astonishing adding
machine picture, the massive steel series of thirty-two
reels, and some safet\\ sanitation and welfare films
of various companies. There are advertising and
sales films with occasional brilliant flashes or longer
footage containing some admirable educational ma-
terial, but there are also drear\- wastes of fUm by
thousands of feet which have been "put over" on some
concern mainly to line the pockets of the glib camera
man or so-called "producer." A goodly portion of
the himdreds of reels of negative and idle, useless
positive prints which have cost the advertisers of this
countr\- several million dollars are of little or no
value because the promoter of the picture, who was
interested only in getting his dollar or two per foot,
knew little and cared less about the merit of the film.

The weakness of ever\ non-technical motion picture
which does not revolve around a human story or in-
volve human relationships is that it lacks the breath
of life; it is too dull and uninteresting. Not theater?
alone but schools, churches and non-theatrical organi-
zations do not want to exhibit flat and futile films.
Why make stupid pictures when it is quite as possible
though not as easy to make brilliant pictures? Indus-
trial managers insult the intelligence and the discrim-
inating taste of movie viewers when they offer "bimk"'
and "junk" as entertainment or instruction.

Take an out-and-out advertising film with no ex-
ceptional points in its favor. One thousand feet of

this at normal unreeling takes thirteen to fifteen
minutes; two thousand feet, nearly half an hour.
Where is the printed advertisement, in many colors,
no matter how elaborate or costly, which would hold
the eye for more than a minute or two? (Long, small-
type mail order advertisements are not considered, as
they are sales talks and actually sell goods.) \^Tiy
should an advertising motion picture hold the atten-
tion longer than a printed advertisement, unless it
has unusual features, unless it is so cleverly con-
structed by a film technician that it gives the optience
a substitute for the story or the human interest which
serves to hold them spellbound?

A sales film, again, is strictly a business picture
just as a mail order advertisement is a business talk,
designed to sell goods without any publicity camou-
flage. One does not object to being solicited for an
order, in person, in a newspaper or magazine, or on
the screen, provided it is done openly, with all the
cards on the table. Of course the theater is no place
for such a picture, unless it is engaged especially for
that purpose, and for non-theatrical institution or
organization it is useful only to the buyer or pur-
chasing agent.

m Hi

For theater showings the industrial photoplay or
the industrial film with popular educational features
seems suitable, but one can understand the attitude of
opposition and resentment towards any but entertain-
ment movies on the part of exhibitor and patrons.
The theater is for amusement, and the patrons pay
for that and for nothing else. The plan of one com-
pany in engaging a theater, musicians and attendants
especially for the purpose of showing industrial film
programs to invited groups obviates this difficulty and
removes all cause for opposition by exhibitors and
their patrons.

For non-theatrical purposes industrial films most
in demand and of most value to institutions and organ-
izations are those which visualize a big thought, idea,
ideal, purpose or policy for which the company stands
that sponsored the picture; those films which repre-
sent real progress in important divisions of the world's
work, depicting methods and processes that the world
needs and must have; films of great constructive, up-
building power such as those on mining, metallurgy,
forestry, agricullure and the like; and films showing
the main streams of economic thought, action, energy
and accomplishment which irrigate our national life
and cause the United States to bloom as a garden of
wealth.

Distribution and exhibition have been the stum-
bling blocks of the industrial motion picture, and still
are, and will continue to be so long as the indus-
trial film lacks solid educational worth. One sonn

tires of a best seller, a sensation of the hour, but :
book of enduring qualities sells for generations.

There is no reason why the standards of industria'
film producers should not be at least as high, foi
example, as those of the photoplay directors; and
there is no reason why the average industrial should
not be largely educational in its best sense and only
incidentally and suggestively of advertising or selling
value to the manufacturer. He can continue to pul
out straight advertising and selling pictures; but ii
he desires wide distribution and continuous exhihi<i
tion of his film, particularly in non-theatrical chauH
nels, he must l)e satisfied with the indirect appeal
rather than the direct "punch." To an educator oi!
churchman as to a theater manager the greatest merit
which an industrial movie can have is that "it ha?
very little advertising matter on it." This fact, in thei
eyes of the professional man, gives the commercial
advertiser piestige and adds greatly to the respect for
and confidence in the advertiser's company and its
products. There is no doubt that this accounts in,
no small measure for the widespread success of the
Ford weekly releases; the company derives even more'
publicity from tlie informational and instructional'
value of the films than it would if they were plastered
with Ford signs and Ford cars in every scene. And
the permanent character of some of the film material
adds to its value. Distribution takes care of itself
when the picture is well worth while.

E> Mb

CINEMA TO TEACH PARIS CHILDREN

The cinema will play an important part in the education'
of Paris youngsters if a project put before the municipal^
council is adopted. It is proposed to make movies a regular •
part of the school curriculum. Once a week every pupil f
in the Paris schools will go to the movies, the visit being
preceded by an explanatory lecture. The course, or movie
program, will include films teaching natural history, geog-'
raphy, history, science and industry, and fiction films
designed to inculcate good morals. If the plan proves
successful the movies may be used every day.

A report presented by M. L. Riotor, who is pushing the
project, declares that the cinematograph is "an active aid in'
developing the young mind."

GERMAN "HOME-FILM ' HALTED BY POLICE

A new film industrv lately developed in Germany is the
so-called "home film"; that is, the manufacture and dis-
tribution of a small cheap apparatus for furnishing motion
picture enlcrtaiiinipnt in private homes. This industry has
lateh been interrupted by a police regulation, which con-
trols the exhibition of films. What this regulation is has
not been stated, but it is thought to refer to the inflammable
character of the film stock generally employed. There
have been police regulations in German municipalities for
some vears providing certain restrictions unless non-inflam-
mable film was employed, but apparently few subjects have
been printed on standard width slow-burning stock.

LET US HAVE FREE MOTION PICTURE LIBRARIES

Their Advantages Pointed Out in Di finite. Practical Fomi — Federal
Regulation and Film Foundation

|- Mr. Carnegie realized the public benefit of free
libraries so that he found joy in donating them pro-
fusely, is it not possible that some large hearted mil-
lionaire may see the immense advantage of founding

tee film libraries?

For everyone knows that the educational and amuse-
aent value of good motion pictures is a hundred times
ireater than that of good books. But it is also true that

bad motion picture is a hundred times more harmful
iian a bad book. For no one is injured by an e\il book
nless he can read it, nor unless he has imagination enough

reproduce in his mind the thoughi
irinted in the book. Neither does he
ead the book unless he deliberately
looses to do so. But a child too
oung to read who has no strong
ower of imagination, innocently led
y a desire for wholesome amusement,
ees an evil picture, not from choice
ut because it is forced upon him by

greedy manufacturer or exhibitor

d his mind is forever polluted by
'hat he has seen dramatized on the
H'een.

No T.\iNT OF Immorality

The benefits which would come

cm free film libraries are evident
ne advantage would be that films in

ich libraries would have no taint of
Mnorality. For, as in our public

)raries, a strict supervision is exer-

By Rev. "« iLLiAM Shii\fe Chase, D. D.

Rector of Christ Epi»ro|Mil Cburch, Brookl)rn, >. Y.

To Encourage CHimcn Use of Films
The tremendous help in portraying the historical events
in the religious life of mankind and the clearness with
ivhich the life and parables of our Lord would be depicted
would doubtless lead the churches to use motion pictures
in their work, especially with the young, as they now are
not able to do. Under present conditions two obstacles
prevent the churches making any large use of motion pic-
tures, the expense of the rental of the films and the scarc-
ity of pictures whicli are suitable for churches to use.
A fourth advantage would be that free film libraries
would encourage homes to purchase

a portable projecting machine which
needs no booth nor licensed oper-
ator and which can be used in any
house which has electric lights by
attaching it to an ordinary electric
socket. For it would make it easy
for such homes to have pictures of the
highest class.

The time is not far distant when mo-
tion picture machines will be as com-
mon in the home as the phonograph
is today. When that time comes it is
of vital importance that there should
be a large supply of clean films for
use in the homes.

In order for these film libraries to
accomplish their greatest good, it is
e\ident that there must be some
method of securing a higher grade of
pictures than is now manufactured.
Episcopalians F.wor Federal Regu-
lation

The General Convention of our

led to prevent books with an im

oral influence from getting into the pAXOX chase, of Brooklyn, is the father of the

»Tarv an Qnv man Inro-p hpnrtpd movement for federal regulation of the motion

wary, so any man large neartea p,^,^^^ industry, which the RlndaU bill, to come be-

OUgh to donate free film libraries fore Congress next December, is to embody in com-

/l . . prehensive form. Dr. Chase is also one of the most . . t^ • j-j

>uld provide that evil pictures active among the country's clergymen who are church at Detroit did an important

thing when it declared itself in favor
of the federal regulation of motion
pictures and authorized a petition to
Congress for such a law.
The following resolution on federal regulation of motion
[ictures was passed by both houses:

H 1 J 1 J ■ J • • using films successfully in connection with church

)Uld not be admittea into CirCU- work. Lately he has been running some Lincoln pic-
tures in the chapel, as part of the Americanization
ion. plans of the churches.

During the war neither the gov-

iment nor the Y. M. C. A. dared

allow the army and navy boys to see the movies as they

e shown in America to the children and adults in licensed
iarfi of amusement. They had to have them supervised
jd the best one selected and the evil one rejected.

1«- it not more important today to protect our children
loni the movie incitement to vice and crime, than it was
1 protect our boys, while they were under military dis-
ijline fighting the Germans?

A second advantage would be that in such film deposi-
In- there would be a vast number of films of educa-
ti:ial value such as are never shown in licensed places
< amusement. There would be scientific pictures mak-
ir jilain truths of natural history, mechanics, physiology,
tojiaphy, botany, zoology, geology, astronomy, chemis-
t'. literature and history.

.K third advantage would be that the possibility of get-
t p: a free use of films of the higher class would enable
t' -rhools, churches, social settlements, clubs and philan-
topic societies to give exhibitions of superior merit to
t)se which are given in the licensed places of public
«iusement.

"W hereas, the Committee on Education of the House of
Representatives, in the last two Congresses, has favorably
reported a bill for the federal regulation (not censorship)
of motion pictures in inler-state commerce.

"Therefore, be it resolved that this convention, the House
of Deputies concurring, favor the federal regulation of mo-
tion pictures as being a national business which can only be
effectively controlled by federal power, and thereby authorizes
the Joint Commission on Social Service to petition Congress
for the enactment of such a federal law as the Joint Com-
mission on Social Service shall deem wise."

The Randall bill for the federal regulation of the
morality of all motion pictures in interstate commerce, when
it is enacted by Congress, will doubtless raise the standard
to which all motion pictures in the future must conform.
But nevertheless, the motive to make films to be shown in
the theaters of our land cannot be expected to inspire the
production of the very highest type of pictures.

It is here where the free film libraries would be of
inestimable benefit, for they would furnish a new demand
{Continued on page 26)

HOW TO USE MOTION PICTURES IN TEACHING GEOGRAPHY

Constructive Pedagogical Ideas on the Aim of the Film, the Con-
tent, the Arrangement of Scenes, and the Titles — A Knowledge of
Child Psychology Essential in Order that the Picture May Accom-
plish Its Purpose

By Edwin H. Reeder

AssisUnt Director Instruction Section, Commnnity Motion Picture Bureau

THERE are four chief things upon which every educa-
tional motion picture should be judged. These are
the aim of the picture, the content, the arrange-
ment of the scenes, and the titles. We propose to
discuss each one of these four headings, giving the criteria
by which they should be judged from the educational point
of view. We are not primarily concerned in the discussion
of the motion picture film which is made up almost en-
tirely of beautiful scenic material. Such material will
^ no d o u b t lend

greatly to the
stimulation of a
love for the beau-
tiful in children,
and is to that ex-
t e n t educational.
Pictures which we
are discussing are
those which would
be used to supple-
ment regular
schoolroom in-
struction.

A I M M u s T Pre-
sent A Problem
First, as to the
principles which
govern the aim of
the motion picture.
The aim must pre-
sent a problem of
some sort. A prob-
lem is a challenge,
and the response
to a challenge is
as fundamental a quality of human nature as that of self-
preservation. One of the great criticisms which has been
inade against motion pictures is that they are a passive
form of education. If, however, they present a problem,
thev stir the pupil out of his lethargy, and the educational
process becomes active instead of passive.

Second, the aim must be specific rather than general.
We have seen again and again pictures of which the aim
was so general that it might almost be said not to exist.
For instance, we have in mind a picture called "Barbados."
This picture is supposed to show all that there is to show
about the island. Ihe aim is as broad as can be imagined
and within a space of fifteen minutes it is obviously im-
possible to carry it out. By a specific aim, we mean such
a one as the following: to show that Barbados will never
be of great importance to the commerce of the United
States.

Third, the aim of the picture must be worth while, not
trivial. It must be dignified enough to command the
respect of the pupil and the teacher. For instance, we
saw the other day a picture, the aim of which was to show,
in a jocular way, that prohibition will succeed because
camels get along all right on water. Such an aim is sillv
and futile.

Fo'irth. the aim should be interesting. We can conceive

'X'WO Peruvian natives shown in a recent
"Outing-Chester" release. Ethnic studies
of this kind on the motion picture screen are
highly valuable.

of an aim which would present a problem and which would
be specific. It might also be worth while for a certain
type of adult mind, but if it is not interesting to the mind
of the child, the problem of the film will not challenge

him.

Must Relate to Child's Life

Finally, the aim of the film must be related in some
way to the life of the child. To be sure, this statement
will lead us into some difficulties. Naturally, the child
of Holland has not had the same sort of life as the child
of the United States. It is obvious, therefore, that the
best motion picture for the Dutch child would not be the
same as the best motion picture for the American child.
If we carry this through ad ahsurdum we would come to
the conclusion that a motion picture must be designed
differently for every individual child. For the present a
happv medium in the matter would seem to me to be one
which would follow, more or less, national boundaries.
There is a certain heritage which every child in a nation
shares with every other child. We think, therefore, that
we can safely say, for the present at least, that the aim
of the picture should be related to the life of the child
of the nation to which he belongs.

Now as to content. The first principle we would lay
down would be that it must be of the sort to be interpreted
by the pupil with the help of the titles. This means that
the content must connect up in some way with the
life of the child. It is, for this reason, that in educa-
tional motion pictures life and action are to be preferred

to beautiful scenes,
since life aiKl ac-
tion are common
to all human be-:
ings and, there-
fore, furnish "hu-:
m a n interest."'
The little child,
who sees a Jav-
anese working a
pottery wheel with
his foot, while he
molds the wet clay
with his hands,:
wonders whether
he could learn to-
be so dextrous
with his own foot
and hands; where-
as if the same'
child were shown
pictures of the
ocean or of beau-
t i f u 1 mountains,
it would be more
difficult for him
to interpret the scene, because it does not relate to life.
As a general principle, therefore, we think it is safe to
say that wherever possible pictures of people are pre-
ferable to those of scenery.

The spco"d point with reference to content is that it

A CHUNfHO Indian of Peru in a recent
■^ OutiuK Chester picture. It is only when
we study the features. ex|)ression5, habits, cus-
toms, and ceremonials of such races on the
screen that we are able to visualize comparative
anthropolopy.

must definitely carry out the solution of the problem estab-
lished in the aim. Extraneous matter, however amusing
and appealing, should be strictly ruled out. We can im-
agine a film on Holland in which we are attempting to
solve a particular problem and in which the picture of a
bttle Dutch girl would have absolutely no place, although
the picture itself might be most delightful.

In the third place, the scenes of the motion picture should
be just long enough to bring out the point for which they
are introduced. We realize that this is a difficult matter
to determine. Since it is impracticable at present to design
different motion pictures for each grade, we can only say
that the scenes should be continued to such length that the
editor feels sure that a child of the upper grammar grades
and of average intelligence can comprehend the mean-
ing of it. If the scene is kept on the screen too long, the
attention of the child is likely to waver or be distracted
by non-essentials.

The fourth standard for judging the content of a film
relates to the selection of one scene from two or more
relating to the same problem. If the problem with which
this aspect is concerned is comparatively unimportant,
J so that it is undesirable to include more than one scene
on the subject, we believe that the one should be selected
which has the most life, action and interest to the pupil
for the reasons given above under topic one on content..

Akrangement of Scenes

Now as to the arrangement of the scenes, we must go
back and refer to the discussion of the picture. It seems
obvious that the scenes diould be so arranged that they
solve the problem formulated in the aim and that they
proceed in a logical manner, considering first the subsidi-
ary problem and last the more important ones. Now.
if we have two or more scenes which bring out the same

pact and problem, we are confonted with the difficulty
as to arrangement. For instance, suppose our film is deal-
ing with Peru: our general aim is to show why there has
never been any great commercial intercourse between the
United States and Peru, ^^'e have shown that the Panama
Canal has been only recently opened and that before its
opening it was necessary for boats to go down around
ihe continent of South America. We have shown, we will
that Peru has few good harbors, that the harbor of
Callao, for instance, is little more than an open roadstead.
We now wish to show the difficulties of transportation in
Peru. We have two scenes to show this: first, a panorama
of the Andes Mountains: second, a picture of some men
luilding a railroad trestle under exceedingly difficult con-

tions. Which of these should come first? We believe
that we should proceed from the general to the specific
that the specific leaves a final impression in the mind
if the child.

Turning to the fourth subject upon which we are to
udge motion pictures, we come to the consideration of the
itles. We are firnilv con\-inced that there are three prin-

ipal classes of titles and that they cannot be judged by

le same standards. First, there is the main title: second.

le first subtitle: and third, the other subtitles. Our con-
ception of the functions of these three classes of titles is

; follows:

hiPORTANCE OF TlTLES

We believe the main title should be short and very gen-
al in character. For instance, such a title as "A Coffee
lantation in Brazil" is justifiable, since a long title would

be unwieldy in the making of records and programs. The
most important title is the first subtitle. This should do
two things: First, it should orient the pupil to the new
environment which he \fi\\ enter when the pictures begin;
thus, if the film deals with Lima, Peru, the first subtitle
ought to give him some general facts about Peru, so that
he may have some basis for judging the scenes. Second,
the first subtitle should suggest the main problem of the
picture. As an illustration of these two principles the
following may be given:

Main Title: "A Coffee Planation in the .\mazon Valley."
First subtitle: "Coffee is one of the chief products of
Brazil. About seventy-five million dollars' worth was ex-
ported to the United States in 1916. The hot moist climate
of the Amazon Valley presents the greatest help as well
as the greatest difficult)* in coffee production." We have
thus given a general main heading. We have then tried
to give the child some conception of the importance of the
industry which he is to consider and finally have suggested
the aim of the film, which is to show the difficulties of
coffee raising in Brazil as well as the climatic advantages.

With regard to the other titles of the film the follo\4-ing
principles hold true: They should be as short as is con-
sistent with clarity and should contain words which are
simple and understandable to pupils of the grammar
grades. Thev should bring the pupils back to the main
or subsidiary problems unless the character of the scene
is such that this is unnecessary. They should act as a
sort of sign-post to point the attention of the pupil to the
part of the scene which helps to solve the main or sub-
sidiarv problems. Thus, in framing the titles, it is neces-
sarv that one should always keep in mind the aim of the
picture. As am illustration of what can be done with a
title, we will suppose a scene in Holland showing a road
which passes over a bridge. The bridge is one of the
sort which is raised by hand to let boats pass. Approaching
the bridge is a wagon in which sits a farmer on the way
to market. Now. if our main aim is to show the physical
difficulties under which Holland always labors, our title
would read somewhat as follows: "Because of the low-
h-ing character of the land, the banks of the canals are
very near water level. Bridges are raised in this way."
The eves of all the pupils are thus directed toward the
raising of the bridge. If. on the other hand, the titler
saw a chance to raise a laugh in the quaint dress of the
old man in the wagon and WTOte such a title as this:
"Balloon breeches are the style in Holland," the scene
would lose all of its use to satisfy the aim of the film be-
cause the attention of the children has been called to the
wTons thing.

Films Must Be Orcvnized

In conclusion, the wTiter is impressed every day with
the complete lack of organization in the average film.
But this does not indicate that it should not be used in
schools. Many recitations in geography are about as aim-
less and unorganized as the average motion picture and
vet facts are really acquired. The motion picture presents
a concrete method of teaching, even thoudi unorganized.
Bv careful organization of the facU which the pupils bring
in their minds to the \-iewing of the picture and by careful
mental organization afterwards of the scenes which they
have witnessed, even an unorganized film may be of im-
mense value. We must. howe\er. of course set up certain
standards toward which we must work in our effort to
nerfect the educational motion picture.

GRAMMAR ON THE SCREEN

The object of the edui;alio;uiI film Mr. '^'oun and Miss
Pronoun of Grammar Row is to show the logical relation
of the parts of speech to one another. Mr. Grammar, a
little old schoolmaster in professional blacks, with cocked
hat. spectacles and cane, conducts Dorothy, a little girl out
of sorts with her textbook, to Grammar Row, in order that
she may "'see how the Parts of Speech live when they are
at home." She sees Common Noun trying to rent a sentence
of Mr. Grammar, and unable to do this until he has found
his \ erb — what he is, has or does. She sees Pronoun, who
can take the place of a noun, manifesting an interest in

'T'HIS scene shows Miss Pronoun at the gate with Miss Adjective at
her side. The charm of these two little girls would make the most
restless boys in the class eager to learn the rules of grammar.

Common Noun's affairs, and rebuked therefor by the Rela-
tives. The story unfolds in strict accordance with the laws
brought in by the Rules, Mr. Grarmnar's Policemen. Com-
mon Noun rents a complex sentence to accommodate his
Relative Who, forever referring to her antecedents.

Adjectives limit and qualify other nouns; Adverbs modify
Verbs; Prepositions, the messenger boys, seek their objects;
Conjunctions, the carpenters, make proper connections.

CCEXE irum .Miss Alice Ward Uailc.v's iiuvcl pcd.L^'ugical film "Mr.
Noun and Miss Pronoun." The signs shown in this illustration in-
dicate the uniq r- yet accurate manner in which this difficult subject is
visualized on tl c motion picture screen.

Grammar Row illuminated by an idea becomes a paragraph,
and the Interjections exclaim. Many other things happen,
so many that the spectator has to watch out to catch them
all, and Dorothv awaking from her dream rushes for her
textbook to help explain the performance.

There are sixty-five children in the cast and they range
from three years to thirteen years of age. They are public
school children of Minneapolis, and Mrs. Alice Ward
RaiU'v. wlio trained them and wrote the scenario, was a

public school teacher in that city. Her work with backward
children taught her, she says, this and other "short cuts"
in educational methods.

BAD CONDITIONS IN N. Y. MOVIE THEATERS

National Motion Picture League Makes Public Reports and
Recommendations of School Principals

Charges that many of the neighborhood motion picture
theaters of New York City exert an unfavorable influence
on children are contained in a series of reports by public
school principals, made public by the National Motion
Picture League, of which Dr. William L. Ettinger, superin-
tendent of schools, is second vice-president. Although the
ichool principals were practically unanimous in condem-
ing present conditions they declared that they were in no
way hostile to motion pictures and theaters as such. One
of them stated that she considered "the moving picture the
greatest evil today for our boys and girls,'' but added that
"it could easily be made one of the greatest moral means
ior them."

A common complaint was laxity in observance of the law
forbidding the admission of children to theaters unless
accompanied by their parents or guardians. Some pro-
prietors were declared to "wink" at the law for the sake
of financial gain. Others were said to have "professional
guardians" in their pay to take children seeking admission
into the theater and leave them there. Another variety was
said to be the "voluntary guardian," a well meaning per-
son who, through misguided sympathy for a child or group
of children, passed them into the theater. A third and more
sinister variety was stated to be the vicious habitue of the
theater who buys the tickets for young girls and sits with
them in the darkened recesses of the theater.

A number of the principals found theaters unclean and
poorly ventilated. Complaints also were made of the prac-
tice in some theaters of permitting boys and girls to sit
together in the darkened galleries without adequate super-
vision. It was recommended that the galleries be open to
men and boys only.

Complaint was made of the sensational character of the
playbills in front of some theaters. The serial was con-
demned by some of the principals, both on the ground of
its usual sensationalism and because it was said to form
the motion picture habit, which in some cases had led boys
and girls to steal to get money to see the various episodes.

Suggestions looking to improvement of conditions were
made by many of the principals. The common opinion
was that some arrangement should be made whereby special
showings of films suitable for children might be scheduled
and arrangements made for the attendance of the children
of particular schools in a body or by as many as cared to
attend.

In making the reports public Mrs. Adele F. Woodard,
president of the league, asked for help to remedy the con-
ditions of which complaint was made.

BERTILLON SYSTEM ON THE SCREEN

The Paramount Magazine of March 21, covers the method
of using the Bertillon system in identifying criminals by
finger prints, which was planned by Inspector Faurot, who
also is the chief participant in the sketch. The picture
shows the system in actual operation when a lawbreaker
is apprehended, taken to Police Headquarters and held
for trial, through evidence furnished by the telltale marks
of his fingers.

A GENERAL DISCUSSION OF STANDARD AND SAFETY STANDARD FILMS

Intense Interest Aroused by Editorial and Articles on "Safety First"
in the March 1920 Issue of Kdi catio.nal Film MacazIiNK — Advo-
cates o( Each Standard Holly Defend Their Own and Assail the
Opposing Faction— Some Constnutive Ideas Brought Out— Discus-
sion Ends with This Number

I"- f DITORS' \OTE — The editorial and articles on "Saiety First'' ivhicli appeared in the March 1920 issue o{ Educa-

L^ Tio.NAL Film Magazine have excited general interest and aroused much discussion. This uas natural inasmuch

i V as the controversy between the advocates of standard theater [dm and safety standard film has been growing

in intensity with the growth of the narrow film interests. Heretofore the safety standard principle has been

, belittled and discouraged by the other faction; but now that several new projector manufacturers and film producers

and distributors are entering this promising field, the former ridicule and passive opposition have been converted into

act-ive competition on both sides.

The editors feel that nothing is to be gained by a long-draivn-oul controversy on this subject; hence the discus-
sion will close tvith this issue. The pages of the magazine are always open to suggestions tvhich are constructively help-
• ful to the non-theatrical motion picture field, but the magazine will not lend itself editorially to the exploitation of any
private or commercial interest. The articles having brought out most of the facts and ideas, the publishers will close
; the discussion with the following symposium of opposing views. JTe shall, however, continue to publish occasional articles
1 of a constructive character on certain phases of this subject.

By C. Francis Jenkins

PresideDt, Craphogcopi* Companv, Washioglon. D. G.

The subject of Mr. Pierce's article, in the March issue of Educa-
ruiNAL Film Magazine, was well presented but wouUl have been
more convincing if evidence had been cited to substantiate the allega-
tions made. 1 liold to an opposite view from Mr. Pierce, and your
editorial endiusing it, and believe the facts are in favor of my con-
tention. In any event, discussion is advantageous for it should bring
out the whole truth.

The motion picture is only just beginning actively its most useful
form, i. e.. an instrument for teaching, and it is altogether too valu-
able a medium to be hampered by antique restrictions wliich were
never made for tlie new use and new conditions.

Authorities are not a unit on the degree of danger involved in the
use and storage of nitrate of cellulose film. The Bureau of Stan-
dards, in bulletin 75. cautions the general public against panicy
contemplation of motion picture film, explaining that it is the same
substance "as the toilet articles on your dresser" and "less dangerous
than kerosene."

The Post Office Department strictly refuses to accept dangerous
sul)stances for transportation in mail cars, but apparently does not
ci insider motion picture film an extra hazard, for it handles about
five hundred tons of it daily, and without mishap.

Every photo supply shop carries quantities of this same celluloid
film, made for use in hand cameras, and no raise in insurance rates
«as ever made because of it.

Nitrate of cellulose motion picture film is not "liigldy inflammable,"
in the same sense that widely-used gasoline is, for example. It is
;not volatile, which is greatly in its favor. It will ignite easily and
iburn very rapidly when lying in a loose pile just as pine shavings
will. Film is, however, diiferently constituted chemically, and not
to easily extinguished by smothering, because it has sufficient oxygen
trithin itself to support slow combustion. Burning film is more
readily extinguished by chilling, as with large volumes of water, or

ith chemicals, tetrachloride, for example. Motion picture film in

9 usual tightly rolled form cannot readily be ignited with a match;

le match almost invariably burns itself out before the film will
>iaze. Tightly rolled film is rather difficult to fire; therefore, all
film should be handled in this form and kept so, in metal cans or
similar containers.

Motion picture film is more or less new to the majority and its
peculiar composition and characteristics should be better known in
Order that the hazard may be minimized. For hazard there is as
there is with anything else, even walking across the street. But
IS to preventing or seriously hampering its wide use as a means
of imparting all kinds of information — well, it simply can't be done,
the picture is too widely useful.

Another point may be wisely introduced here. I think — the ques-

rtion of the invalidation of insurance policies by the use of picture
Snachines. The courts have repeatedly held, until it is now estab-
lished law, that the presence of an extra hazardous substance in u
burning building does not invalidate insurance thereon, unless it
"a« the cause of the fire. The recent burning of a boy's school in
Baltimore is a case in point. The building caught fire from a tinner s
i orih on the roof. The insurance was paid though a bootldess
I ruction-picture machine had been in use in the school for two or
' hree years.

\nw as to the desirability of a booth, let me say that in no other
I mman employment involving hazard is it contended that conceal-
( ng the operator tends to added safety, makes him more careful.

"More light on the subject" is always a good slogan. We illuminate
dangerous places so that we may minimize the danger. We keep
tab on the railroad engineer by a system of block signals. Why,
we don't trust a paid watchman, for we put a clock to watching
the watchman. But when it comes to the picture projection risk,
've require the operator to work cijncealcd on the assumption that
he will be mure careful and more diligent in keeping the film off
the floor and in its metal container and that he will n<it smoke if
he works unseen, even though he may be a cigarette fiend. Tlie
concealing booth is an anomaly, a reversal of time-honored safety
piactice.

May 1 cite the report of the National Fire Protection Association,
in the January. 1918 bulletin, that "mure than fifty per cent of the
known commun causes of film fires is smoking in the booth"; and
.n discussing the question of a booth says that certainly such a device
"which serves only to conceal the operator is an unmixed evil."

From the best data available there are in use already about two
and a quarter times as many picture projectors outside as inside
of booths, and yet the only fires the proponents of a booth have ever
cited were booth fires, perhaps because there have never been any
non-booth picture projection fires.

It is well known that during the war, motion pictures were used
in cantonments, training camps, schools, public buildings, aboard
tiansports. etc.. and without booths by official written permission of
the War Department, provided only that incandescent lamp machines
were employed, and the judgment of the department was justified
by the subsequent record. Even the George Washington had four
such machines aboard when she carried the President to and from
France.

Nor do I admit that narrow-width, odd perforation, or other freak
film, tends toward safety, but rather to danger, for if ever there
aie enough of these machines in size to make it profitable, film for
use thereon will be made in "inflammable" stock rather than "non-
r.am " for the same reason lliat governs elsewhere in business, i. e..
it is cheaper. \ very serious condition would then arise, for lulled
to less caution by a false sense of security by the machine manu-
.acturer's statement that only "safety" film can possibly be used
..11 his machine, the user is less cautious than he would otherwise be
if he knew that only one kind of film existed and that he should
'Exercise caution accordingly.

No greater harm could come to the educator than the introduction
of two standards of picture film. In this many pmniinent men agree.
t^ere's what a few of them have said:

"The use of differing width (of film)) seems to me little less than »
calamity. Experience has developed a standard and variation from it
'csults only in confusion. Insistent demand everywhere for safe film
will force the use of proper stock and will obviate the inconvenience now
iiue to local protective demands."— Frederick Starr. I'niversity of Chicaco,
"The present size of film is standard the world over. It would be folly
to change it and I do not think it within the power of any man to do
it."— Thos. A. Edison.

"I can see no real excuse and no necessity for the narrow width, off-
standard film The adoption of narrow width film for one pnrpofe and
a standard width for another, seems to me to be as sensible as was the
reasoning of the notorious individual who cut a hole in his door for the
cat and a second one for the kitten."

— Chas. Roach, X'isual Instn. Service,_ Iowa State College.
"The introduction of two sizes of film for ediicationaj work is exceed-
ingly undesirable and is decidedly unfair and embarrassing to educational
institutions. The double standard is seriously curtailing the use of
motion pictures in schools."

—Don Carlos Ellis. Motion Picture Activities. Dept. of Agriculture.

There are millions of feet of film on standard stock. Travelers,
'lobe trotters, lecturers, all find their work greatly facilitated by
tie single standard of cameras and projectors the world over. .Vll
1 niled States Bureau of Education film (free to educators) is on

standard stock, as is all other federal, slate and municipal film,
including the 34,000,000 feet war history pictures mentioned in your
article, and all of this is available for instruction purposes to those
institutions equipped with standard film projectors. Nor should
one forget that the theaters are daily receiving and showing more
and more educational film which is also being rented for school
use.

Dr. Starr points out the logical line of advance when he urges
insistent demand for acetate of cellulose (safe) film instead oJ
nitrate film. If it is good for safety standard film, it is equally
desirable that all film be made on this stock. This is a subject, by
the by, on which the Society of Motion Picture Engineers voted
unanimously in passing the following resolution:

"To the United Stales Government Departments and Bureaus,
State Departments and Municipal Governments —

"It is the opinion of the Society of Motion Picture Engineers
that in the interest of public safety all motion picture films issued
in future by the Federal Government, State or Municipal Depart-
ments, shall be printed on slow-burning stock and that all film so
printed should be so labeled; first, for the purpose of securing
safe conditions in the use of these films; and, secondly, to give
by this means an example which should be followed as far as practi-
cable by all manufacturers and distributors of motion picture film.

The motion picture is already the fifth largest industry. It is
destined ultimately to be the greatest single industry in the whole
world and the most useful. It speaks tlie one universal language,
to the old and the young, aiul the learned and illiterate of every
tongue. Prof. EUiolt, I think it was, said that the theater use of
pictures will be but seven per cent of the total ultimate use of
the motion picture just as fiction is but seven per cent of literature.
The non-theater use of pictures is. therefore, worthy of our best effort
if only because of its future.

By A. E. GUNDELACH

Sales Manager, De Vry Corpoation, Chicago, HI.
(A teeter to the Editor)

On the strength of the statement made in the last issue ot Educa-
tional Film Magazine that "the pages of your magazine will always
be open to those who have an idea to suggest, a plan to propose,
a truth to impart and a wrong to right," we are taking tliis oppor-
tunity of explaining fully the elements that enter into the raison
d'etre that a controversy exists at all relative to the safety element
involved in the use of motion picture film in the non-theatrical field.

The emphasis you lay upon moral responsibility and civic duty
further strengthens our appreciation of taking advantage of this
opportunity. I do hope that this is thoroughly understood by all
concerned for if we fail in our understanding and appreciation of
that one phase of our existence, all else is for naught.

Vou state that with the sale of each projection machine using
•litro-cellulose film and operated in utter disregard of the vrise rules
adopted by fire insurance underwriters and state and municipal fire
authorities all over the United States, a new hazard is added to the
many already existing, thereby increasing the possibility, if not
the probability of another Iroquois Theater disaster.

In the first place, so-called wise rules of the underwriters are purely
recommendations, as explained later, and as far as municipal authori-
ties all over the United States are concerned, there are only the
[few of the many that have any regulations whatsoever or who have
in any way adopted the so-called wise rules of the insurance under-
writers; and today the progressive ones do not agree in many ways
v.ith the recommendations of the underwriters not only insofar as
al affects moving picture equipment but insbfar as it affects a great
many other articles.

You will find that insofar as the underwriters and municipal
authorities are concerned, that it is a constant see-saw, back and
forth, one at the head in one direction, the other at the head in the
other direction, one procrastinates here and the other there, and it
is a continual see-saw, back and forth, just as is the progress of
humanity in all other directions.

The statements that you make in your magazine, that are con-
tinually made bv the safety standard advocates, is the constant allud-
ing to "law evasion" and "violation in the handling and showing of
motion pictures." The only places there are any possibilities of law
evasion are in those territories where legislation exists pertinent to
regulations that only permit the showing of safety standard film.
In other places, the "law" is absolutely in favor of the standard
hlra with the full understanding that the moral responsibility entirely
rests upon the user; litis understanding further elucidated by the
user being brought to a full appreciation of what is necessary to
handle inflammable film safely.

You continue strelcliing the point in order to substantiate your
attitude by stating that portable or semi-portable projectors equipped
to run standard inflammable film which are used without fireproof
booths, expert operators and other prolcclive and preventive devices
approved by the underwriters and the fire authorities, are not within
the law and, as such, the sellers and buyers of such machines aro
liable to prosecution.

That statement is absolutely wrong. The manufacturers of portable
and semi-portable projectors equipped to run standard inflammable
iilm are within the "law" in the majority of instances and according
to the legal status, the majority constitutes a preponderance of
evidence and according to law, your contention is out of order, drops
of its own weight.

The safety standard advocates continually lie up the underwriters
with the law. The underwriters are just like any other business, a
commercial organization, are not public benefactors, but are purely
an organization to protect the interests of the people whom they
serve, not the public but the insurance companies.

You further state that the third fact is the safety of the acetate
cellulose film as adopted by the Society of Motion Picture Engineers.

Buy a safety standard machine and camera and make some
)notion pictures and then read what is expressed by the under-
writers, that it isn't the danger of the film in the macliine but the
liim outside of the machine; and then go and count up the thousands
of feet of negative film you have in the house and then put it down
in big letters in your memorandum that every foot of it is inflammable
I Im and all the time you are under the impression that it is non-
flam and will not take the precautions taken by those who are
conscious of the fact that they are handling inflammable fiJm when
handling the standard film. Is that honest, sincere and conscientious,
ot is it law evasion and all those things that the standard advocate
is damned for?

It is interesting what you state about an operator smoking S
cigar over open cans of inflammable film. Why, every cigar or
cigarette that is lit is just as potential a fire hazard as any thousana
feet of inflammable film produced, if not more so. Last year's fire*
of 88,500,000 to cigarette butts alone, is ample evidence of it. Now,
tthich was the hazard in the case you mention — the film or the cigar
ot the man who is smoking it?

The best thing in your article is that you are making a plea for
safety, for decency, for moral and civic righteousness. That's what
we are for and trying to obtain, but as long as the controversial
elements of standard versus safety standard are allowed to dominate
the thought that would otherwise assure of honest progress being
made toward an adequate solution, it will be a long time before
tiie problems will be worked out to the satisfaction ol all concernea.

You also state that the market is wide open and that every manu-
facturer, distributor, etc, is free to make, sell, use and exploit the
safety standard principle in any way he sees fit. You just try to
obtain safety standard film from your standard negative. Then try
to do it yourself and you will learn a few things of interest to you.

All the money in the world will not make it possible for two
standards to e.xist. Either we are ultimately cofing to safety standard
non-inflammable film for every purpose or standard non-inflammable
film. Which is it? To quote from Edison, "I do not think it is
within the power of any man to change the existing standard."

The article by your projection engineer is erroneous. He starts
out by making a flat-footed statement as a "fact" that "in every
state in the Union certain very stringent rules and regulations
have been drawn up," etc., and, then again, "Read the Law (?);
It Is Clear," etc., and then winds up with the impartial statement
in favor of the safety standard film as being the real solution for
"safety first," insisting that nothing be used but the narrow width
slow-burning film not forgetting to add as adopted by the Society
of Motion Picture Engineers as the safety standard."

In regard to Mr. Pierce's article, he states that the recommendations
the underwriters made were laid down long ago. were wise and sound,
and that it would be extremely unwise and unsound to modify them
in any particular. No. the under^vriters do not modify unless they
are forced to by the same pressure of circumstances that force the
issues of progress insofar as it concerns the majority of us. We
were the first ones to call to the attention of the industry, the
installation of standard machines not protected by booths on board
the President's ship.

Mr. Pierce comes out with the flat-footed statement that the under-
writers vfill not approve the use of either inflammable or non-inflam-
mable film in standard width unless fireproof booths, expert operators
and the other safety provisions, etc., are obsened. Neither the
underwriters nor the law can discriminate as to size. Standard non-
inflammable film fulfills the letter of the law where legislation exists
in the literal sense and as far as the temptations are concerned being
impossible to resist, etc., that is becoming his brother's keeper with
a vengeance. If he goes that far, why not all the way?
He winds up liis statement by saying "the only way to avoid this
risk is to make it impossible to take it." We say "How?" We
again ask. by narrow width? Then we say again most emphatically,
if so "How?"

The most interesting statement that Mr. Pierce makes and which
we are in full accord with and which the entire industry should
have a full realization of is, that "the danger is not so much in the
machine itself — many of the portable projectors are safe enough
within themselves — but in the handling of nitro-cellulose film out-
side of the machine." He further states "I have made this statement
hundreds of times but persons witliin and without the film industry
do not seem to get the point." No, I guess they do not and will
not for sometime to come. It will mean revolutionizing not only the
film industry from the standpoint of motion pictures, but also from

ihe standpoint of amateur and professional photography. Go into
a professional photographer's negative room or into the drying reom
•of kodak finishers and see if he complies with the law or under-
writers" approval in spite of the fact of the vast quantity of highly
in flammable and (according to the safety standard interests) spon-
■ taneously combustible tilm he has exposed.

Mr. Pierce winds up his statement that the safely standard pro-
jectors and slow-burning film which they employ are officially ap-
proved by the underwriters (wliich is correct* and by fire officials
' «Ter>"where, which is not correct and is a most erroneous implication.

^e fully concur with him in his last sentence, "that the future
of the non-theatrical field of motion pictures, if it is to depend upoa
portable or semi-portable machines largely, lies apparently in the
broad development of the safety idea in machines and film libraries."
We ask, "Why e.vploit one width at the expense of the other width?
Why duplicate expense, effort, etc.?"'

We have tried very assiduously to promote interests for the uni-
versal adoption of non-inflammable film not over night but by plan-
ning ahead so that at a pre-determined length of time, it would
hecome universally used. Non-inflammable film at the present time
costs one-fourth of a cent more, but if it cost twice as much it would
De much cheaper to all concerned from the standpoint of cheaper
insurance rates, elimination of restrictions in the use involved, in
the construction in theaters for the showing of films and of the
many expenses that film exchanges have to go to — expensive vaults,
special buildings in inconvenient locations, etc., and the many other
precautions that have to be taken in the handling of film. These
economies would more than offset the increased cost of the film
•vhich is of secondary consideration as everyone agrees just as
•stated by the safety standard advocates when they mention the lives
and the property that are involved as against the increased expense
attached. Non-inflammable film can be made just as cheap and just
as good — if not better — than the present inflammable film. K it is
fit for one, why not for the other? Every contention for its use
as safety standard is more emphatically an argument in favor of
all film being non-flam.

The burden of proof rests entirely upon the shoulders of the
aafety standard advocates. It's up to them to make useful the
many machines they have in the hands of would-be users. It's up
to them to render that service of safety they so ardently advocate.
It's up to us to see to it that the industry is made safe for all, that
all this effort, that is now wasted in seemingly endless controversies
(as to what is going to be the ultimate width — the standard or
safety standard — because there is ultimately going to be one width and
the largest phase of the industry, the theatrical or non-theatrical,
will absorb one the other and eventually it will be one width or the
other but it will be non-inflammable film) is applied constructively.
Why procrastinate? Why "safety first?" It"s up to all of us to
iuake "Safety First. Last and All the Time."

By A. F. Victor

President. Victor Safety Film Corporation, Chicago, lU.
(A Utter to the Editor)

I have carefully gone over the manuscript which you sent for
my inspection and -thank you for your invitation to reply to the
arg:uments advanced by the two authors.

The article written by Mr. Gundelach may be disposed of without
romment, inasmuch as it does not possess any arguments tending
to hurt the Safety Standard. He has defeated his own object by
an obvious hostility, which cannot expect sympathetic response from
the readers.

In the case of Mr. Jenkins' article, however, we are confronted by
an entirely different element. This article is exceedingly clever and
I pay high tribute to the writer's ability to present in a plausible
way that which is entirely erroneous and to give a semblance of
plausibility to a fatJty theory.

Your stand is the advocacy of fireproof booths with standard film
or the use of Safety Standard if booths are omitted. Mr. Jenkins"
article is directly advocating the use of inflammable film without
the use of booth. It minimizes the danger connected with the use
of inflammable film. It quotes several people's opinions, opinions
which were formed on the basis of an original misinformation. 1
iiave seen some of the letters which preceded some of the letters
quoted at the end of Mr. Jenkins" article and these letters were
couched in terms which did not give all of the information which
should have been furnished if an unbiased opinion had been ex-
pected. For your information I will show you wherein Mr. Jenkins
misrepresents or evades the truth.

Mr. Jenkins states that he may speak with authority, "being the
creator of the type of projector used everywhere the world over."
There is no authentic evidence to back Mr. Jenkins' claim and an
examination of the records of the United States Patent Office proves
the contrary.

In paragraph four he states that the Bureau of Standards cautions
the general public but fails to give the balance of Bulletin 75
referring to the precautions which should be taken. .-Vs a matter of
lact, the very fact that the Bureau of Standards, does warn the public

against the "panicy contemplation" shows that there have been rea-
sons for such a warning.

During the recent influenza epidemic people were also warned
against ■"panicy contemplations"" but such a warning did not in any
way alter the fact that the influenza epidemic killed thousands of
people and called for every possible precaution.

In paragraph five .Mr. Jenkins stales that the Post-Office Depart-
ment handles about 500 tons of inflammable film dailv and without
mishap. The reader, however, is not told that this lack of mishap
IS due to the fact that special fireproof containers of prescribed
thickness of material must be employed and that every can containing
1.1m must have the following label printed on yeUow paper: -.Notice
to railway employes. C.\UTIO.N. Keep away from Fire. Stoves.
Radiators, Lighted .Matches, Lanterns and Direct Sunlight. Any
Leaking packages must be removed to a safe place. SUpper has
certified on his Shipping Order to compliance with all regulations
that apply to this package."

In paragraph six he compares the use of motion picture film to
nlm used in hand cameras, etc. The hand cameras use film in
small quantities and do not use film in coimection with a high
power illuminant, concentrating a very hot beam of light on' the
film iUelf.

In paragraph seven Mr. Jenkins states that nilro cellulose motion
picture film is not highly inflammable. He says further that it
■viU ignite easily and bum very rapidly, etc., just as pine shavings
"ill. There is, however, a rule preventing people from accumulating
pine shavings in an open room. In fact, we have at our factory,
an inspector who makes it his business to examine our basement
at regular intervals and calls our attention to any non-observanco
of the rule, wliich prohibits the accumulation of such material.

He states that film has sufficient oxygen in itself to support slow-
combustion. I wonder what .Mr. Jenkins considers slow combustion,
since a reel of film will burn in 45 seconds; an actual test made by
myself to determine the time necessary during which a reel of film
can be consumed by fire. He states tliat tightly rolled film is rather
difficult to fire; therefore, all film should be handled in this form
and be kept in metal cans or similar containers. Yet he claims that
tills film can be used safely in an open room and handled out of
such containers while being inserted and taken out of the projecting
machine.

In paragraph eight he states that the laws which now control th«
use of motion pictures were formulated during the early part of tho
motion picture industry. This is not so. In the beginning of this
industry there were no laws and I myself operated a number of store
shows, the forerunners of tlie present motion picture theaters, and
used film absolutely without booth, magazines or other now proven
necessary adjuncts. It was only after a number of fires that the
authorities found it necessary to formulate relations governing
the use of projectors and film in order to protect the public.

In paragraph nine he calls attention to the burning of a boys'
school in Baltimore. From his statement the reader could infer
that it would be perfectly permissible to use a motion picture machine
without a booth, but as a matter of fact it was only owing to the
ability of the owners to prove that the fire emanated from anotner
source, that collection of insurance was made possible.

In paragraph ten: Does Mr. Jenkins expect anybody to believe
that the reason for the use of fireproof booths is in order to conceal
the operator? You must put a lion in a cage in a zoological garden,
but you do not put this cage around the lion to conceal him, but
as a protection to the public. The same tiling holds good in an
elevator; the walls of an elevator not serving to conceal the people,
but to protect them from contact with the receding walls of the
si.aft and to keep them from falling out. The fireproof booth is
what its name implies — fireproof^and is intended to confine the
films within the booth itself, so as to protect the audience in the
auditorium.

The Fulton Supply Company, of Chicago, have just issued a
circular, in wiiich they state as follows: ".An explosion of film at
tlie Liberty Theater, Sioux FaiUs, S. D., last week proved fatal to
the motion picture operator. Cause of the accident is not known.
The theater was operated by C. C. Sawyer, of that town. The only
damage incurred on the theater was within the booth, the operator
having remained at his post to quench the conflagration. Both
machines were put out of commission and the entire inside of the
booth damaged."

Here is an example of the value of the fireproof booth. What
might have happened had this booth not intervened as a protection
to the audience in that theater?

In paragraph eleven Mr. Jenkins cites a report from the National
Fire Protection .Association, that more than fifty per cent, etc. WTiy
not also inform the public, since he desires to bring out the FacB,
tiiat the National Fire Troteclion .Association also sent out a motion
picttire film hazard warning, in which they stated as follows: "The
nitro-cellulose motion picture film is of the character of GUN POW-
DER. This is the hichlv inflammable film in common use in motion
picture houses, in which a SPECIAL FIRE-RESISTIVE BOOTH is
required for public safety. The demand for motion pictures in
Libertv Bond. Red Cross, charitable and educational campaigns, in
places in which THE SAFETY BOO"rH IS NOT PROMDED. is
increasingly endangering life in the United States. These inflam-
mable films are being handled, cared for and displayed in places

Dy persons who do not undtTStaiul the danger that is present.
Members are urged to give this liazard attention in their home cities
and towns, and where. mulion pictures are to be displyed for any
special purpose outside of regular motion picture theaters, TO MAKE
SURE THAT THE PICTURES TO BE SHOWN ARE ON SLOW-
BURNING STOCK." The words in capital letters, were printed so
by the Association and not by myself. The preceding was signed
by Franklin H. Wentworth. Chairman of the Committee on Public
Information, and tlie circular in question was dated September 1st,
1918. 1 have a copy before me and any one who so wishes can
obtain one by writing to the National Fire Protection Association,
37 Milk St., Boston, Mass.

In paragraph twelve attention is called to the fact that no fires
ever cited were caused by boothless machines. I have cognizance
of one such fire per week for the past >ear. 1 have several portable
inacliines of various makes, which have been through such fires. I
have several statements by users as to how the hres occurred, .^ny
.■notion picture man catering to the non-thearical field does know
i-l such fires, or he certainly cannot be engaged in the industry in
any great extent.

In paragraph thirteen the fact that the law has been broken during
the war, or at other times, does not in any way affect the statemehi
and the opinions held by those qualified to know that inflammable
film is dangerous when not used under proper conditions.

In paragraph fifteen -Mr. Jenkins contends that the narrow width
fdm does not offer protection and cites the possibility of an unscru-
pulous manufacturer manufacturing this width from inflammable
stock. I do not claim that it would be impossible to manufacture
any width film in inflammable form, but Mr. Jenkins is speaking
of a future possibility, while we are dealing absolutely with the
present condition. Certainly, some unscrupulous manufacturer could
put out narrow width film on inflammable stock, but in doing so
he would have but one object in view and that would be to destroy
the only safeguard which is offered to the public. I tliink that any
manufacturer attempting such a thing could and would be easily
dealt with. However, should this be done, new laws and regulations
could be formulated, shutting off the narrow width industry entirely,
leaving us no choice whatsoever but to discontinue the use of
motion pictures, except under the same conditions now existing in
the theaters. Personally. 1 am perfectly willing to take my chances
in the matter and suffer the consequences of the act of any one
committing the crime suggested.

Paragraph seventeen merits consideration. No one regrets more
than mvself the necessity which compels the use of a second standard.
There appears to be no choice, however. Inflammable film has no
idace in a schoolroom filled with children. It has repeatedly demon-
strated its hazardous qualities. 1 grant you that many prominent
men agree, not only with Mr. Jenkins, but myself, that the use of
differing width of film is awkward. Any time any one else can offer
a better solution than that of the narrow width Safety Standard. I
am willing to adopt it. So far. the arguments have been destructive
rather than constructive and 1 cannot, myself, think of a better
plan whereby motion pictures may be safely used under the conditions
existing.

The citation of opinions by several educators are certainly not
conclusive because I cannot conceive that any of the men of such
standing would commit themselves willfully on anything which would
Dring danger into a schoolroom, of all places, unless they had only
been half-informed, which is unquestionably the case.

Mr. Jenkins goes on, after the quotation of Mr. Ellis, to state that
all government film is on standard reels. This is an untruth, as
much of the government material is already on Safety Standard and
arrangements have just been made whereby a great deal of the
balance is to be transferred in order to become available for portable
projectors.

In regard to the use of acetate cellulose for all film, would
state that I hold the same opinion as Mr. Jenkins; that when the
question was brought to the attention of the Society of Motion
Picture Engineers I, myself, seconded this motion and was heartily
in favor of it. It was at my request that Mr. Pierce wrote the form
in which an appeal was made to the government that in the future
all government material be put on acetate cellulose stock. It has
repeatedly been stated tliat 1 have been fighting this move and that
I am fishling the use of safety stock for standard film. On the
contrary. I shall be glad to see it come into universal use and if
there was only a method whereby present existing inflammable reels
could be removed from circulation, there would be no need for the
Safety Standard.

Mr. Jenkins states that the Safety Standard was the only standard
adopted by the Society which failed to obtain unanimous adoption.
Tlie Safety Standard is the nnly standard adopted by the society
as a new standard, for which reason comparison is not possible. He
slates that the standard received a majority of one vote only. This
is a falsehood, because there were only three dissenting votes
offered at the time, while there were something like fifty men present.
He speaks of a source of contention ever since. There have been
but two members who have been opposed to the Safety .Standard -
Mr. Jenkins and Mr. De Vry. What right does Mr. Jenkins or
Mr. De Vry have to enter a discussion on the subject of what the
educators should have in the way of film? Neither Mr. Jenkins nor
Mr. De Vry has added a single reel of film to the library so sadiv

lacking, in order to accomplish the hope that we all hold for the
educational motion picture. They have each added one projector
to the many clamoring for recognition. \\ e have plenty of pro-
jectors, but the unanimous verdict is that we lack suitable film.
subjecis.

I am triing to add to the world's stock in this field. On the
face of it am I not entitled and at liberty to put my film material
on the only width and standard that 1 know safely can be sold to
public schools and other institutions?

Mb »

By WILLARD B. COOK

President, Pattiescope Compsny of .America. Xew Yoric

(A tetter to the Editor)

The writer acknowledges with appreciation your courtesy in for-
warding proofs of articles written by Mr. C. Francis Jenkins of the
Graphoscope Company and Mr. A. E. Gundelach of the De Vry
Corporation, in criticism of your recent editorial on the subject of
"Safety First" and of Mr. Dana Pierce's masterly article on the
same subject from the Underwriters" standpoint. Also for your
courtesy in extending to tlie writer the privilege of making a reply
thereto for publication in connection with the criticisms.

A discriminating reader will have no difiiculty in forming his owa
opinion of much of the matter contained in these attacks. Therefore,
the writer will limit himself to an effort to answer some of the
assertions and refute some of the arguments, which, to one not
thoroughly conversant with both sides of the question might create
an erroneous and misleading impression.

Much is said in these articles about "new uses, new conditions-
and consequent necessity for the repeal of laws and removal of
restriction" upon an article which is just as hazardous today as it
ever was. No real logical reason is deduced on which to base sucb
repeal or removal.

The assertion that the Post Office department does not consider
motion picture films an extra hazard is completely refuted by their
refusal to receive film shipments unless packed in a rigidly specified
manner and conspicuouslv bearing the vellow label plainly inscribed
"CVUTION. KEEP FIRE AND LIGHTS AWAY." Statements that
rrelluloid film is not hazardous, or highly inflammable, seem hardly
to require any answer. .Mso the fact that insurance has been legally
collected only by a court action, when motion picture film was stored
in the house despite the terms of the policy, is neither a recommen-
dation of the practice nor an inducement toward its continuance.
The average owner of a house destroyed by fire does not want to go
to law in order to collect his insurance.

In order that the reader may better understand the inference of
Mr. Jenkins that "the sole object of the enclosing booth is to conceal
the operator." it should be explained that Mr. Jenkins has long
.idvocated the use of a plate glass enclosing booth, in which the
operator and machines could be observed by the audience rather
than the present method of an asbestos or other form of fireproot
booth. Mr. Jenkins has a perfect right to his opinion of the desira-
uilily of such a change in existing regulation, but should not attempt
to misconstrue the primary object of an enclosing booth in order to
establish his contention.

.\s to the assertion that "there have never been any non-booth
picture projection fires," we would respectfully refer to the able and
eloquent speech made by Mr. Washington Devereaux of the Phila-
delphia Fire Prevention Bureau at the April. 1919. convention of the
Society of Motion Picture Engineers held in Philadelphia, at which
meeting Mr. Jenkins was present and heard Mr. Devereaux mention
a number of fires which had occurred in Philailelphia alone, accom-
panied by serious injury to spectators, from the use of unapproved
portable projectors. Mr. Jenkins should recall this incident, as he
followed Mr. Devereaux on the floor at that time with a speech
attacking the action of the society in having adopted the Safety
Standard for use in portable projectors.

The assertion that Safety Standard film tends rather to danger than
ioward safety is indeed a remarkable one. It is based solely upon
the suggestion that utterly unscrupluous persons would counterfeit
the official Safety Standard with a supply of ordinary celluloid film
of similar appearance and perforations. It seems to have been entirely
overlooked that every reel of approved Safety Standard film bears
tlie underwriters' inspection label and that it would be impossible
to secure this approval and label on the counterfeit article. Should
we abandon the use of modern coin and paper money because it
might be successfully counterfeited by unscrupulous people?

At least one of the authorities quoted against the use of Safety
Standard film was evidently misinformed. Mr. Edison's statement
indicatcil clearly that he thought an effort was contemplated to
abolish the present professional standard and compel the universal
adoption of Safety Standard, than which no greater fallacy can be
imagined.

Proceeding next to Mr. Gundelach's article, our attention is first
arrested by the sweeping assertion that "all the statements' made
by those interested in the safety standard side of the controversy
are absolutely without foundation, purely speculative, and the main
issues far from facts." With such an assertion as a major premise,
the rest of the article closely harmonizes.

A natural sensitiveness anil intolerance of any mention of the
ieyal restrictions wisely imposed upon those who would otherwise
recklessly expose life and property to the hazards of careless handling
of dangerous celluloid films is to be expected from those who
frankly place themselves in the category of such violators.

A casual reader of the eloquent peroration against the danger of
negative film in the house will be impressed' by the argument until
he recalls the assurance of the same writer earlier in his article
that the danger is "purely speculative."

Is it not, however, rather an insult to the intelligence of the reader
to intimate that, as a taker of his own motion pictures, he does
not know that all negative film is inflammable? Furthermore — as
to its comparative hazard — the average home cinematographer seldom
or never takes his negative out of its tin box, in fact probably never
saw it! After taking he sent it to the laboratory (sealed*, to be
developed and printed, it came back in a light tin box (if it was
not stored in the laboratory vault for future prints i and this box
'will probably never be opened again unless at the laboratory for
idditional prints.

Also, not one projector owner in a hundred is also a camera owner
and. if there were any demand for safety negative, be sure it woidd
be speedily forthcoming.

jVs to the universal adoption of slow-burning film, no one questions

•its <lesirability ; but Mr. Gundelach heard the representatives of the

■• largest film manufacturers in the world assure the Society of

n Picture Engineers that it was impossible for them to change

. ; manufacturing facilities to that end without several years of

preparation and. as the theatrical field neither required nor desired

the change, it could not be forced upon the entire industry merely

for the benefit of the manufacturers of unapproved portable pro-

,ie<-t''r5; all other branches of the industry being already properly

•■ care of by the society in wisely adopting the two standards

le two widely differing classes of users — the theatrical and the

jieatrical fields.

^ s=

By Henry Bololo

Sales Manager. EdacationaJ Motion Picture Biireao, Inc., Bo«ton. Mass.

There is a curiously acrimonious attitude running constantly
luough the discussions of the relative merits of standard versus
safety standard width film. Indeed. I have found that the very
aention of the words ""narrow width'" to a standard tread film man
>perates like tlie red rag on the disposition of the bull..

Now, if truth is to be got at. we must be generous-minded. ^Se
nust analyze our own motives as well as our own arguments. I for

le shall attempt to achieve this point of view.

I shall, therefore, begin by admitting that, though I am in the
larrow tread business. I believe that the arguments, academically
ipeaking. are largely in favor of the standard tread interests; that
S, non-flam manufacturers. If a national non-flam, standard tread
aw could be passed, I would most certainly favor it.

But for me this is not an academic question. It is not subject

argument and discussion. I am faced with hard facts. Regardless
pf my views or desires. I have been compelled to reach the following
nnclusions. after years of experience in the educational film field:

First, that tlie laws in most communities are such that standard
read macliines must conform to so many restrictions in their usage
hat the sale of such machines is difficult and slow; and

Secondly, that the only way to obey the law and increase sales

to use the safety standard film on non-flam stock.

In other words. I am convinced that the only way to make the

in-theatrical motion picture a paving proposition at the present
ime is to use non-flam narrow tread film; and only by making the
losiness profitable will the truly educational film, or rather the
edagogical film, become a reality in the countless schools which
iemand it.

The important thing is to obtain action and results. Neither one
be obtained by attempting to remove immovable barriers to
ediate achievement. The laws and the underwriters are im-

ivable; they can only be changed by a long and expensive cam-

ign. Where are the stockholders in an educational film company
rho will spend the money necessary to remake the laws?

There will never be any considerable business in the non-theatrical
.dd imtil the following conditions are met. viz.:

A supply of films ACCUR.VTELY suited to the need;

A machine which sells for about SIOO.. and which does not require

booth, licensed operator, special wiring, exit lights, etc.

A producing organization directed and controlled by the non-
leatrical interests involved. For instance, church films made by
Imrchmen for churches; school films by educators for schools, and
{thers.

Film service at a price which schools and churches can actually
fford to pay.

The above conditions compel the use of the narroiw tread machine,
a starting point. There is no immediate avoidance of that fact.

Ihere may be an ultimate avoidance — but, the ultimate will not
pay immediate dividends.

The greatest service wliich can be rendered the non-theatrical field
■It the present time is for a company to make such an outstanding
financial success of the business that it will encourage capital to
•■liter the field more freely that it has in the past. This will make
possible the production of the vast amount of educational material
ivhich is now lying neglected for lack of money to produce it.

I know of only one company which has even approached success
— I mean financial success — in this field, and that company manu-
factures a safety standard machine and films. That is the only
company which can sell its product in quantity.

My point of view is, of course, tliat of the opportunist. I want
to see something done — something tangible. I want to see films
actually in use in the thousands of schools that want films, and I
want to see them in the schools NOW — not in five or ten or fifteen
years, when the laws may have been changed to suit standard tread
conditions, but NOW! The important thing is to put films into
M;hools and churches, and conform with the requirements of today.
The future is fully able to take care of itself, as th^ past has shown
from time immemorial.

E.\ST>L\N COMPjVNY SUPPLIES SLOW-BURNING FjlM

IN Both 35 .^nd 28 Mm. Width

Ejutman Kodak CompaoT
Rochester. N. Y.

^^r. Dolph Eastman. Editor and Manager,

Educational Film Magazine,
33 \^ est 42nd St.,
New York City.
Uear Mr. Eastman:

Replying to your letter of April 8th, we furnish Non-inflammable
or Safety positive motion picture film in 3.S and 28 millimeter widths,
and both bear the imprint "EASTMA.N S.VFETY FILM" along the
margin at intervals of one foot.

We furnish no positive motion picture film under 35 millimeters in
width on other than Non-inflammable or Safety stock, identifiable as
described above.

With best wishes.

Yours very truly,

EASTMAN KODAK CO.MPANY OF NEW JERSEY.
(Signed > Geo. A. Blair.

Sales Manager,
Motion Picture Film Department.

George Eastslvns Position on the "Safet\
Film" Qlxstion

EastnuLD Kodak CompaoT
Rochester. N. Y.

?vlr. B. De Vry, Secretary and Treasurer,

De \ ry Corporation,
Chicago, 111.,
Dear Sir:

I have read with interest your letter of January 24th and agree
with you that there are going to be great developments in the motion
picture business outside of the entertainment field but think it very
dovibtful whether the new development »ill ever overshadow the old.
In any case we cannot see any reason for saddling the vast extra cost
'millions of dollars a year) on to the amusement end of the business
just because safety film is desirable and necessary for what may be
called the development of a new field. We were the first manu-
facturers of cellulose acetate film in the world and probably you
know that we made it for two years in sufficient quantities to supply
ine whole amusement business in this country. During the war the
u-rmand for this material for aeroplane varnish led to our trebling
nur plant for the manufacture of raw acetate, so that we are in a
better position than anybody else to manufacture this material for
him base and always expect to be prepared to furnish it in quantities
required for the purpose for which it is most adapted. Our safety
him is all marked on the edge "Safety Film"' and we believe that as
f.ir as safety is concerned it will be sufficient to pass ordinances
requiring the use of film so marked for all macliines that are not
enclosed in fireproof booths. Today there is no danger whatever in
using ordinary film in the regulation booths and no danger connected
vith the handling of the film except in the exchanges. The movement
.r. foot to properly hou.se these exchanges will dispose of that danger
t 1. -without handicapping the industry with unwarranted expense.
Yours very truly,

(Signed) Geo. Eastmas,

President.

TRAVEL — RESEARCH

THE CANNIBAL AND THE CINEMA

South Sea Savages See Themselves on Screen Set Up in Malekula

Jungle. While the Movie Camera "Shoots" Their Amazement at the

White Man"s Wonders — Biggest Thrill of Their Lives, Say

The Johnsons

By Martin Johnson

CAi\ you imagine the thrill you could get if it were
possible to go back a thousand years in the life of
the world, and suddenly appear from nowhere —
seemingly, and without warning show moving pic-
lures to the people of the time, and witness their wonder-
ment and awe at such a marvelous spectacle? Well, we
have just had this wonderful experience, and now that I
look back over our last six months in Malekula, in the
New Hebrides Islands, it seems that I have just gone
through the most interesting part of
my life; and Mrs. Johnson says
though we may travel in every land,
and have no matter how many queer
experiences, none will ever stick to
her memory as will the weird
nights when we showed the Male-
kula savages the movies.

Two years ago we had some little
trouble on this island and barely
missed being the principal article
of a native feast, and with the in-
tention of learning more of these
wild people, and making a moving
picture record of their every-day
lives, we journeyed from New York
to Sydney, then on the French
steamer Pacifique to the New
Hebrides, and were finally set down
with our sixty-five pieces of bag-
gage on the little island of Vao.
just off the coast of the big island
of Malekula. Here we set up our
headquarters, hired native black
boys, and waited for the four
schooners and cutters that we had
arranged for. When they arrived
we set sail again for the north-
western coast of the big island, dropped anchor, and for
eight days we proceeded to make friends with the natives,
and in everv way we tried to get their confidence. There
were four of us white men, Mrs. Johnson, and thirty blacks,
all armed, but even with this guard we were careful where
we went, and it was the moving pictures that finally opened
up the island to us, and made it possible for us to make
the most wonderful films that have ever been made since

lime began.

Hours of Anxiety

[ was very doubtful as to the manner the movies would be
taken by the savages, and for my first attempt I decided
to set up my projection apparatus near the shore, so that
we could get away quickly should the natives get worked
up. Accordingly I started early one morning to unload
my apparatus from the cutter, and by noon had it ashore
and set up, but the blamed thing would not work. I had
the film, and mv Peerless was in good shape, but the

MMMIX JOHNSON, author of this article, appears
above in the small oval. Below are shown Nagapate,
cliicf of the Big Numbers tribe of cannibals on Malekula
Island. New Hebrides, South Pacific, and plucky Osa
lolmson, wife of the author. On a previous camera trip
through the islands, the Johnsons were captured by
Naeapate's men. Qti this last trip they^ turned the
tables and captured the savages with their marvelous
movies, even bringing to life on the screen a man who
died since the film was made.

generator would not work — I could not get the juice. I
could not find anything wrong and there were no directions
with the machine, as the entire outfit had been made to
order for me, and was the first of its kind the Peerless
people had put out. The day previous I had given out
the word, and the savages were already assembling. Squat-
ting around me were over a hundred warriors — all armedi
with rifles and big knives and bows and arrows; and Naga-
pate, the chief, was watching every move I made. I knew
I had to do one of two things:
either get the machine running or
go away and leave it. I had prom-i
ised the savages a big sensation;
I could not make them understand;
what it was, but if I did not pro-'
duce something I knew they would'
make short work of me that night.
I was so sure of this that I decided'
to sail away and leave the entire
plant on the beach if I could not
get the electricity to work. I would
never stay to pack up, for it would
have been impossible to make themi
understand it was not my fault.

Four hours I worked and
sweated, Mrs. Johnson did what
she could to help me, and the blackl
guards sat around and grew sullen.i
llipv had never seeri a moving pic-
ture, and would be just as angry
as the natives if I did not get the
pictures, and the four white men
were growing restless. They said
they would never be able to recruiti
along this coast again if I fooled
the people.

Yes, they said fooled. It seemed
to me at the time as though everyone thought I was trying
to fool them, and I was the most worried of the lot, and
had the most to lose. But after hours of work, and I was
seemingly no nearer to success. I sent Mrs. Johnson back
CO the cutter, as the mutterings of the savages were getting
worse, and I expected hell to break loose when I had to

give up.

Then the Miracle!

I had overhauled everything connected with the generat-
ing outfit, and the motor refused to give even a spark.
The outfit was a series of wheels and gears that were turned
by man power — ^two men on either side turning handles
th.at drove the wheels to such a speed that sufficient speed
was supposed to be produced, that it would have the same
effect of driving the motor by an engineer. But no juice
could be produced, and just before sundown I stood off
looking at the machine, about the most worried man on
earth at the time, and gave it up. I motioned to the boys

Who were turning the handles to quit. They misunderstood
me and started turning faster, and the miracle happened.
The lamp lit up, and on the screen forty feet away appeared
a perfect white light. I can only figure that the machine
being new, some connection was painted over so that the
proper joint was not possible, and in working with it 1
liad not been able to find it, until the boys burned a good
connection by tiieir sudden burst of speed.

It was completely dark when I had everything in readi-
ness. I sent for Mrs. Johnson, and had her squat in the
front row, with Nagapate on the one side and his prime
minister on the other. Then I stationed guards with Win-
chesters at the side and back of tlie screen, and others
around the edges of the squatting crowd, all stationed so
that we could handle a panic should one arise. I instructed
six boys how to relay each other at the generating outfit,
and then had them start it going, while I took on the actual
projecting.

' If I live to be a thousand I will never experience such
la thrill as I had on this night. First came a hundred feet
of titles which interested them but. of course, they could
not make them out; but the rays of the light from the pro-
jector to the sheet interested them so much that they were
constantly turning their heads, watching the machine and
ihe sheet, and keeping up a running jabber all the while.

I OsA Winked at Them

I had judged it better to show them something they would
lunderstand for an opener, and I found that I did right, for

here was Mrs. Johnson sitting amongst them and on the
^screen she faded in with her head down, which she gradually

raised, and winked her eve at them. She then burst out

laugliing and faded out. V^'ords can never explain the
lumult that broke loose. They made the jungles ring with
expressions of wonder — half way between fright and
laughter, then the whole bunch yelled "Osa-Osa-Osa!"
They had heard nie call her by her first name, and by this
lime they all knew it.

Well, these savages turned into small children for the
night; they yelled and screamed and pal)I>ered until I could
not make myself heard whe.i 1 tried to talk with Osa. All
savage thoughts were forgotten, and I noticed the thrill of
the movies had them so worked up that they forgot their
guns and knives and bows and arrows — they lay on the
uTound beside them; and for the first time in their lives
they had forgotten fear.

After Osa's picture I showed the regular first reel of
my "Cannibals of the South Seas." They showed that they
appreciated to some extent by their niurnmrs when I showed
'.lie Royal Palms in Hawaii. The Japanese children made
ihem laugh, and whenever they saw Osa in a scene they
shouted her name, and they nearly went into hysterics when
the Samoan dance came on, entitled "Fidgitv Fred." Sydney
to them was wonderful, and the bust pictures of the Solomon
types made them yell.

Movies Soothe the Savages

Nagapate forgot the dignity of being a chief — he yelled
as loud as the next one. I had turned the projection handle
over to the captain of our cutter, a young Frenchman, and
1 stood in front of the natives and watched their expressions.
Nagapate's powerful face never changed expression so
rapidly. The savage seemed to have left him, he was all
keyed up, and his mouth was open most of the time. All
(Conlinutd on page 2()i

1. Typical four-foot pvgmv of the Solomon Islands. 2. Artificial island, eniirely man-made, in the Solomon group. 3. Moi'mers of the Southwest Bay
tribe. Malekula Island, \ew Hebrides. 4. Three of "The Boys," Vao Isl .:id, New Hebrides group. 5. Cannibal of the Big Numbers tribe. New
Hebrides group. 6. Male natives of Leunemva investigating Johnson's mot. .i picture camera. /. Mourners remain over the §''»^'« »* " 'aj'^es from
six months to ten years. Food is brought to them. Leuneuwa Lagoon. 8. Caambal of Owa Raha tribe. Eastern Solomon Islands. 9. Chief of Malekula
tribe, New Hebrides group. .-V tine specimen.

APPROVED FILMS FOR CHIRCH USE

Motion Pirturo Division of lln- Inli-rclnirrli W Orlil Movciiicnt in

Tlicir Firs Dulli-tin Answers tlir Oui-slion "W here May Wp

Obtain Motion I'iclurci* Suitable for tbe Cburches"

The Motion I'itlure Division of the Interchurch World
Movement at 45 \^ Vst IBlli Street. New York City, places
its official stamp nf approval on the following list of feature
photoplays and one reel scenic, travel, and educational sub-
jects as lieinp snilalile for church movie programs and free
from objcclionalile matter. Representatives of the Division
are constantly reviewing many films and the list given below
is the final result of the weedinc-out process. An explana-
lorv note from the Division states:

" Ihis division is reviewing current and older releases and
has selected for publication certain pictures that we think
deserve the atlenlion of churches who wish to use motion
pictures for entertainment. (Churches must secure jjictures
from local ex( hanges, addresses of which may be had on
request. It should be kept in mind that different copies of
a picture in circulation may be composed differently. The
copy you gel from a local exchange may have in it a scene
or suhlitle that was not in the copy we reveiwed. To be
sure of the copv vou are going to show, see it all first."
rilF. < OIM'I-.KIIF.AD il'iirainmiiill. Star: Lionel Itarrymnre. btory
of an iiilinialr friend of Abraluim Lincoln wlio was in liis personal
service a» a spy in tlie Civil War. Me endured the Krcatest sorrow
in his own home rather than reveal his secret and endanger the
welfare of his country. A very fine picture featuring loyalty and
patriotism; excellent for an .\nicricani/.alion pronram. One or two
sublillrs may need to be cut. I.i'n(:tli, live reels.
POI.I.VANN.V (United Artists). Star: Mary Pickford. Picture is
based uiion Fleanor Porter's novil of the same name, and portrays
a little nirl who has been tauglit by her father to find some good
in everything. It is one of the best pictures Miss Pickford has
produced. One or two cuts will make it acceptable to the most
critical. I.en^jlh. six reels.
IIL'CKl.Fr>FI{l!V FINN I Paramount i. A picturization of Mark
Twain's book; well made and true to the original story. Interest-
inj; to adults and children alike. Length, five reels.
DOlini.F SI'Fi:i) (Paramount I. Star: Wallace Reid. A rich young
man starts lUi an auto camping trip. His car is st(den. Later
he finds it in the possession of a young women who has bought
it. He becomes her chaulTeur. and later her husband. A good
clean love slory with an interesting plot ami full of humor. Scene
of farewill parlv may need to be cut. Length, live reels.
I'llF WILLOW THKI': (Metn.t. Star: Viola Dana. A Japanese
slory based on nii imago which represents the spirit of a willow
lice. \n Fnglishmen buys llic image and it conu-s to life in the
person of the image-maker's ilaughter. \ pleasing love story with
a good moral. There are biief flaslies of a London ballroom,
length, five reels.
liASY TO i'.EV (Paramount). Star: Marguerite (lark. A young
bride overhears her husband boasting to a friend that she was
easy to get. .She runs away and makes her husband bring a largo
Sinn of raoiicN to ransom liir from a band of ruflians. One or
two titles mav need to be cut. Length, five reels.
TIIF Tl'liN OF TIIF ROAD i Robertson-Cole l. Story of a liomc
that is broken up by the death of a mother at the birth of her
first baby. Rccomilialion is brought about by the child a few
years later. One of the characters is a minister and the picture
has a prominent religious message. The death scene of the mother
may be objcctionuble to some and could be shortened. Length,
five reels.
HOOnOOFD (Paramount). Stars: Mr. and- Mrs. De Haven. \
comedy on the follv of superstition. .-Ml the common superstitious
praclices an- uscil bv the hero in an endeavor to win a favor from
his emplovcr. Ihe storv is amusing and clean. Length, two reels.
niK LAND OF OlM'ORTlMrY (Select and Republic). The first
picture made for the United Slates Congressional Committee on
Ainericani/alion. It is the slory of the conversion of a parlor
Holshevist bv the recital of an episode in the life of .\brali.Tm
Uncoln. It is chiefly interesting for the picture of Lincoln at
the cost of great personal sacrifice undertaking the defence of a
boy unjustlv chargeil with murder, and winning the case. Length.

TUFSTRFF.T CALI.FD STRAICIIT (Cddwyn). Storv of a young
.\nierican rescuing an embez/ler bv leniling him half a milll'm
dollars. The title refers to an unselfish way of life. .-V love storv

full of tense mental situations but with little action in it. T-
moral lone is high Length, five reels.
EDGAR A.\D THE TEACHER'S PEF (Coldwyn). Booth Tarkir
ton series. Edgar is a school lioy and seems to have a good ma
difficulties. He is not truthful but receives proper punishme i
for his falsehoods. An amusing and well-done treatment of br
hood's dreams and cares. Length, two reels.
SHEPHERD OF THE HILLS (W. T. Gaskell. 1482 Broadway, N. Y.
.■\ pi( (uri/atioii of Harold Bell Wright's novel of the same nam ,
well-done and trm^ to the original story. .\ few things in 1M
novel that might be objectionable in a picture have been omittfl
This film will delight all readers of tin- book. Length, eight rcH
ALARM CLOCK ANDY i Paramount i. Star: Charles Ray. A ilotfl
trodden clerk working for a manufacturer of motor trucks wil
his employer's daughter by selling an order when the favorlH
salesman met with failure. Some of the scenes arc at a summM
hotel, showing dancing in which the leading characters take pari
The acting of (iharles Ray is amusing and highly entertainiii|l
Length, five reels. I

.STREAM OF LIFE (Plymouth Film Corporation!. Life story cl
a modern business man. following him from his infancy to hil
death. As he succee<ls in life, he loses his failh. but after som
distressing experiences relurns to it again and dies a happ
honored man. A beautiful ( liristian story written and direcle<
by a minister, and has a strong evangelistic appeal. Length, si
reels.
THE CHOSEN PRINCE (United Projector & Film Co.). Life stor
of David, featuring especially his friendship with Jonathan. .\i
excellent production, well interpreted and historically good. Length
seven reels.
THE GOOD SAMARITAN (International Church Film Co.). Pic
turizaiion of Christ's parable, with a present day interpretatioi
of it. One of the best Bible pictures that has been produced
Length, one reel.
FROM THE .MANGER TO THE CROSS (Vitagraph). A com
plete life of Christ. A carefully staged production. pliotographe<
in Palestine, and is one of the best pictures of its kind that hai
been made. Length, six reels.

The following series of short scenic and educational subjects an
nearly all suitable for Church programs: Kineto, Prizma, Educa
lional Films, Ford Educational Weekly and Bray Pictographs,

BIBLE'S POPllL.\RITY FILM UPPORTUMTY

In listing the "six best sellers" the average man does not!
think of including the Bible: yet the .American Bible
Society reports the year 1919 as the biggest in all its history
with 35,000.000 copies of the Holy Scriptures sold andl
distributed in the United States. The society predicts that
1920 will exceed this high record. Large numbers of sol-!
diers became fascinated with the biblical records and have'
become habitual Bible students. Development of Bible'
classes by Sunday School and young people's societies has
been in part resjionsible for the' increased interest, but even
these facts do not completely explain the increase in the
demand for the good old book.

Here would seem to be a remarkable o|)portunity fori
individuals or grou]>s in the non-theatrical branches of the'
motion picture industry to capitalize the Bible's great popu-
larity by filming those portions of it for which there is a
pictorial demand. Several ambitious plans of this sort have
been announced, but thus far little has been actually accom-
plished.

The Interchurch Federation of Philadelphia has under-
taken to assist in protecting the juvenile public from the
exhibition of the wrong kind of motion pictures. One hun-
dred and fifty men and women volunteers have just com-
pleted a sur\ev of ihe moving picture theaters of the city
and upon the basis of their report the committee will pro-
ceed. The federation has undertaken a vigorous program
of social service for the city of which this movement is
but a part.

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TEACHING SOUTH AMERICA WITH SLIDES

By A. W. ABRAMS

Chief Visual Instruction Division. New York State Department
of Education, Albany, N. Y.

INDEX NtnVIBERS OF SLIDES

Venesuela
Fk LcZ — RaiUoad Along Mountain-
side. Near La Guayra.
Fk Mc9— Pile Dwellings in Lake

Maracaibo.
Fk X24 — River Boat on the Orinoco.
Fk X2 — Boat Taking on Cargo.

San Fernando de Apure.
FkXl — Transporting Supplies over

the Llanos.
Fk X3S — Llanero Crossing Flooded

Country. Central Venezuela.
Fk X85— Carib Indians. On Bank

of the Orinoco.
Fk Z2— Salt Gatherers. Isle of

Coche.
Fk Z22 — Native Women Carrying

Bags of Salt.
Fk Z24 — -Loading Bags of Salt onto

Steamer.
Fk CrX— Soldiers. Cristobal Colon.
Nu Cm I — Condor.

Trinidad
EuTY— Pitch Lake.
EuTY2— Digging Asphalt.
Nn Ca64 — Cacao Tree Trunk.
Nn Ca7# — Husking Cacao.
Nn Ru7 — Rubber Plantation.
De P15 — The Pan American Union
Building. Washington.

Maps

Ez 3 — Trade Routes Shortened by
Panama Canal.

F 1 — South America — Relative Size
or Brazil and United States.

F 2 — Physical Map of South Amer-
ica.

F J — Annual Rainfall and Winds in
South America.

F4 — Political Map of South Amer-

May of

South

and Uru-

Extremity, Magcl-

Bolivia,
Eucador

and Pan-

ica,
F 43— Railroad

America.
F 45 — Argentina, Chil<

guay.
F 5 — Southern

lan's Route.
F 55 — Peru and
F 6 — Colombia,

ama.
F 65 — Venezuela and Guiana.
F67 — Relief Map of Venezuela.
F 7 — Portion of La Plata Drainage

Area.
F 42— Drill Map of South America.

Argentina
Fa BH — Government House, Buenos

Aires,
fa BG — Capitol. Buenos Aires,
De H13 — Capitol. Washington.
Fa BC — Plaza del Congreso. Buenos

Aires.
Fa BG6 — Custom House. Buenos

Aires.
Fa BB — River Boats at Dock. Buenos

Aires.
Fa BS — Retiro Station. Buenos

Aires.
Fa BR — Railroad Clearing House

Building. Buenos Aires.
Fa BP— Plaza Hotel. Buenos Aires.
Fa BDl^A venue of Royal Palms.

Buenos Aires.
Fa BES — National Monument. Bue-
nos Aires.
Fa BD9 — Recoleta Cemetery. Buenos

Aires.
Fa BX — Emigrants from Northern

Europe. Buenos Aires.
Fa PoA — Posadas.
Fa PoB4 — View across the River.

Posadas.

Ff CcA — Panorama of Canar.

Fa PoY — Piles of Oranges on

Ground. Posadas.
Fa Pc2 — Steamer near Shore; Trav-
elers. Upper Parana River.
Fh Pc2 — Boats Coming to Meet

Steamer. Paraguay.
Fa Pn3 — View down Iguazu River,

Junction of Three Countries.
Fa Ig — Map of Iguazu.
Fa Tg2 — Icuazu Falls.
Fa Pa2 — Pampas and Foothills of

the Andes.
Fa Pa7 — Supplies Hauled across the

Pampas.
Fa X3 — .An Ona Archer and Fam-
ily. Tierra del Fuego.
Fa X4 — An Ona Woman and Huts.

Tierra Hel Fuepo.
Fa Yl 2— Huge Piles of Wheat.

Near Buenos Aires.
Fa Y14— Herd of Cattle Grazing.

Province of Buenos Aires.
FaYIS— Barn and Windmill on

Large Estate.
FaYie — Viewing Prize Bulls.
Fa Yl 7— Beef Cattle on Pampas

Plains.
Fa Y21 — Hauling Wood over the

Plain.
Fa Y3 — Loading Lighter with Bales

of Wool.
Fa Am5 — Train at Station. Trans-

Andine Railroad.
Fa Am3 — Beginning of Cog Road.

Trans-Andine Railroad.

Ecuador
Ff X9 — Donkey with Pack Saddle.
Ff InG — Ruins of Inca Fortress.
Ff X2 — Boy and Little Sister on

Way to Market.
Ff X4 — School Girls. Quito.

Fd SN — National Museum. Santi-
ago.

Fd SR — Private Residence. Santi-
ago.

Fd SZl— The Central Valley be-
tween Santiago and the Andes.

Fd SZ — Plantation Residence. Near
Santiago.

Fd Am6 — Train Leaving Tunnel.
Trans-Andine R. R.

Fd AmS — "The Christ of the An-
des." Trans-Andine R. R.

Fd LoY2— Coal Mine. Lota.

Fd Mb3 — Mountains along Straits of
Magellan.

Fd Sm2 — Guia Narrows. Smyth's
Channel.

Fd PuA2 — Panorama of Punta Are-
nas.

Fd PuA — Roadstead of Punta Are-
nas.

Fd X3 — Hut of Araucanian Indians.

Fd Ao.\ — Panorama of Antofagasta.

Fd IqA — Panorama of Iquique.

FH y2— Blast in. Nitrate Fields.

Fd Yl— Diagram of Nitrate Bed.

Fd Y3 — Man Working in Nitrate
Field.

Fd Y34 — Hauling Carts Filled with
Nitrate.

Fd y36— Portable R. R. in Nitrate
Fields.

Fd Y4— Settling Pans of Nitrate
Factory.

Dutch Guiana
Fgc .^X — Dutch Commandant and

F.-'mily. Albina.
Fgc X2 — Bush Negro Making a

Canoe.
Fgc X6 — Carib Indian Village.

Venezuela means "lillle Venice." What is the application? Let
pupils leam about dwellings on piles in Lake Maracaibo, Fk iMc9.
What does the picture tell of present civilization?

."^im to give a clear impression of the Orinoco drainage area. Gel
extent not by reciting figures, but through an interpretation of the
map, F 67. With the map discuss the delta. What kind of vessels
are used on the river? See Fk X24. For how many miles is the
river navigable? Use Fk X2, showing San Fernando, and locate on
map. How wide does the river appear here? Compare with some
stream known to pupils.

Fk XI, Fk X35 and Fk X3 present some characteristics of the

llanos. Give ideas presented a significant tropical grouping. What
evidences do these pictures present of lack of transportation facilities?
What is the usual relation of population and easy means of travel and
transportation? The picture of loading hides, Fk CuY. illustrates
not only a poor harbor, but represents a cattle product.

What is the life of the more wealthy inhabitants of Venezuela?
Base the topic on Fk X7. Fk X7.5 and Fk X77. How far do these
conditions prevail through the continent? Compare life among the
lower classes, using Fk CuB and Fk X85.

The backward state of agriculture is illustrated in Fk X4. First
analyze the picture — the kind of plow, the oxen, the bare-footed plow-
man. From their reading let pupils learn how far the scene is typical.

What a row of soldiers is seen in Fk CrX! This is a good picture
with which to associate some facts about the government of Venezuela.

If the views of salt gathering on the small Isle of Coche are used,
have pupils class the product as a mineral resource and ascertain the
method of procuring it, namely by solar evaporation. Who are doing
the labor?

Trinidad belongs properly with the Lesser .Antilles but may be
considered here. Get as clear an idea of the asphalt industr>- a? pos-
sible, distinguishing what is learned from the pictures from what is
acquired through reading and from obsenation of the uses of asphalt.
Locate a district in Venezuela that produces asphalt. Note that this
is a mineral resource.

The picture of rubber trees ser\es to review the rubber industry
and introduces the idea of a plantation.

The two views of cacao should be observed here, but pupils need
to go to their books to learn which of the countries are the chief
producers of cacao. Note that cacao pods, like apples, var\' in color
according to variety. Why do the pods grow on the trunk of the
tree? How large are they?

The Guianas are of little commercial importance and do not require
much attention. The five pictures offered are. however, significant.
What is the meaning of the white clothes worn in Fgc .\X? Do not
begrudge the time required to locate the scene on a map. Associate
those white clothes with latitude. The pictures of Indians and of the
negro are good studies of races in the Guianas and of their food,
clothing, shelter, etc.

But even with these countries make full use of the maps. Interpret
them. Tlie three pictures for Uruguay, however, are significant and
introduce factors not already presented,

Fj M.\2 A breakwater — wbal it is, when needed; the generali
question of harbor improvements,

Fj AL\1 Note name of vessel. \K'hat nationality? Competition
of Furope and the United States for South .American
trade.

Fj \2 Rural versus urban population: an agricultural country..

Note the natural advantages of Paraguay, its undeveloped resources,
its favorable conditions of soil and climate, its possibilities of river
transportation. Compare the Plata drainage area with that of the
Mississippi,

Southern End of the Continent

Obsene the boundary line (F 41 between .Argentina and Chile,
but otherwise disregard political divisions,

Obsene map F .5 closely especially for the Strait of Magellan and
Tierra del Fuego, From what ocean does the strait begin on the
east? the west. The strait may be represented by three straight lines.!
What is the relative length of each? What the direction? Make thifi
erercise a test in observation. Have some pupUs draw lines on board.
Note whether he has observed the relative position (latitude) of the
eastern and the western ends. From an inspection of the map the
class can see that the north-and-south section is about a degree long,i
Convert into miles.

Teaching points of Fd PuA2, Punta .Arenas, In which direction is
the obsener looking in the picture? If there is any hesitation, project
F S again and note location of city. Lead pupils to see snow. In
what month was the picture made? What season? Where is the sun
with reference to the observer? Determine by noting shadows made
by the houses. The aim is to teach concretely that the position of
the sun in the southern hemisphere is the opposite of that in the
northern.

Fd Pu.A. Kinds of ships; number. A port of call — why needed?
.A coaling station — where is the coal obtained? Strait of Magellan
belongs entirely to Chile, but it is free to all commerce — freedom of
waterways. Name other ship passages that are free. The most
southern city in the world, L'se map Ez 3, Compare latitude of

Punta Arenas with that of London. Size of city. Encourage pupils
to consult tables in textbook.

Fd Mb2. Tops of partly submerged mountains. Examine map of
west coast of Chile. Note latitude of Strait of Magellan: meaning of
snowcapped peaks (effect of altitude). Forests also tell of abundant
moisture. Use rainfall map.

There b time for all this, but the teacher must know for what each
picture is to be used and see that the exercise moves along rapidly.
She is chiefly concerned with awakening ideas, not in "hearing a
recitation."

Which part of ,\rgenlina is sparsely populated? Inspect map F 4.S.
Have pupils note where the railroads are. Let a pupil point out on
the screen each city indicated on the map for the northern part,
numbering in order as he does so; in the southern part. Train in
map reading. Do not be content merely to give information about
South America.

There are some people in this southern end of the continent. Use
pictures of Ona Indians. Their size; dress: houses. How do these
Indians get a living? What does the method of living tell about the
of civilization? Compare Fa X3 and Fa X4. How did the
in of Fa X3 get the material for his house? Have pupils recog-
nize the primary needs of food, clothing and shelter.

In the study of Indians of southern Argentina, have in mind the
toiic "people" and that there are very many Indian tribes in different
sijges of civilization in South America.

Regions of Chile

Note the length of Chile compared with width. The approximate
latitude of the southern end has been fixed in mind. .Mso the lati-
tude of Rio de Janeiro. Use map F 1 to get latitude of northern end
compared with that of Rio de Janeiro. Get more exact latitude from
some large scale map. Convert length of Chile in degrees into miles.
Inspecting F 1, compare with the east and west distance across the
I nited States, which should already be known or now ascertained.
The mean breadth is about 70 miles. Visualize by recalling some
place 70 miles from the pupil's home.

Tliink of Chile as divided into three sections — southern, central.
northern.

Emphasize agricultural interests. Have pupils read about products.
The plantation residence Fd SZ tells of the large estates that are char-
acteristic of the region. How far are large estates the rule in the
rural sections of South .\merica? Why? Compare with New Ydrk
State farms. V^Tiat are the teaching points of the chamber of deputies.
Fd SG, and of other fine buildings like Fd SN and Fd SR?

Compare \ alparaiso, Fd \ A, with Rio as to harbor conditions.
Where are the ships? Number? What do they carry? To what
countries do they go? Note from Fd VA2 the absence of a coastal
plain. England and Germany have had a much larger trade with
Chile than has the United States. Why? How should the Panama
canal affect this trade?

Copper mining, an important industry in Chile, is not illustrated
by the slides in this collection. In using these slides and the notes
accompanying them, the school course of study is not to be over-
looked. They emphasize certain features. The teacher must exercise
her own judgment in planning her work.

Four views of the trans-Andine railroad are cataloged under .Argen-
tina, two under Chile. In teaching the topic they may be thus
separated or all used here. In any case emphasize its function in
commerce and in uniting the people of two countries.

Clean, WTiolesome, Entertaining Motion Pictures

especially adapted for use by Churches. Schools. Clubs,
Social and Civic Organizations. Let us help you solve
this diflicuit problem.
Send for our special non-theatrical catalog. Address

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UNDERWOOD & UNDERWOOD. Inc. ^IJi^^.;

WORLD TOUR FOR BRITISH INDUSTRIAL FILMS

Steel and Cutler)- Industries of Sheffield and Industrjes of Birming-
ham, Glasgow. London and Liverpool Represented by Pictures of
Educational Value

By Wilbur J. Page

THE Moving Picture Exhibition of
British Industries I Ltd.) was organ-
ized in 1914, but, owing to the out
break of the war its plan for showing the
world how British industries manufactured
goods and what goods they can make was
necessarily delayed. With the armistice,
however, this concern resumed its activitiee.
The scope of the project is most complete.
While its ultimate purpuse is to widen the
aaarkets for English products throughout the
world, it will put distant buyers in direct
touch with British manufacturers of those
products which they most need. Foreign
buyers will be able to see with their own
■eyes the production of British works and
factories, from shipbuilding to the making
■of pins and needles, from plate and cutlery
to Worcester sauce, from cotton spinning to
■calendar making. The explanatory matter
on the films is in four languages. English.
Trench, Spanish, and Portuguese. The firm
plans to send representatives with the pic-
ttires who are competent linguists, able to
make explanations in the language (if tlie
■conntry where the films are being exhibited.

All Countries to See Films

On the first tour it has been decided to
■divide the world into three sections. One
«et of films will go to Latin America, an-
■other set to South .\frica. Australia, and the
Far East, and the tliird set to western
Europe, the United States, and Canada. By
this means 97 of the leading cities of the

world will see the exhibition of these films
during the next year.

The exhibition of the pictures will be
entirely gratuitous. Invitations wUl be
issued through the local chamber of com-
merce and other official organizations, and in
this way the company hopes to be assured
of the attendance of actual buyers and to
eliminate so far as possible the merely
curious. A program and time-table will ac-
company each invitation so that the reci-
pient may attend the exhibition at the time
the films which particularly interest him are
being shown. Provision is being made for
the quick and methodical attention to all
inquiries received during the tour of these
pictures.

The members of the Development Com-
mittee of the Corporation of Sheffield were
the first to avail themselves of the services
of this company. Through their co-opera-
tion they have enlisted the interest of 37
steel and cutlery manufacturers of Sheffield.
These manufacturers have combined in the
production of films which present Sheffield
as one of the greatest steel, cutlery, and
engineering centers in Great Britain, The
first private exhibition of these pictures took
place in Sheffield. January 16. The exhibi-
tion was divided into two periods, the morn-
ing exhibition covering the general pictures
showing the work of the Sheffield Develop-
ment Committee, buildings and parks of
Sheffield, and the manufacturing processes
and products of 13 of Sheffield's leading

steel and tool manufacturers. The after-
noon session was principally devoted to the
exhibition of pictures taken in the plaiil*
of the leading cudery manufacturers ■!
Sheffield. In all the two exhibitions con-
sumed four hours.
Industries of Other Cities to be Shown

Inasmuch as the different manufacturer*
who combined to defray the expenses of the
production of these films and their subse-
quent trip around the world naturally want
to have as much space on the film as possi-
ble, there is considerable duplication of
processes. For instance, the production of
crucible steel and the manufacture of files
is repeated in the course of the pictures
many times. The interior lighting of the
plants has made some of the pictures rather
unsatisfactory, but no doubt this will be
remedied in future productions. It would
have been interesting, and possibly vrtv
profitable, if these manufacturers could haM'
interspersed with the pictures historic al
representations of the development of tlif
steel and cutlery industries in Sheffield. P^r
sonally. the writer believes that this woiiM
have impressed foreign buyers very much.

The pictures are most impressive and
from an educational standpoint most instruc-
tive. As an advertisement of Sheffield as a
center of the steel industry they are going
to be most effective. While Sheffield is the
first city in England to make a start, the
pictures of the Sheffield industries will soon
be followed by those of Birmingham, Glas-
gow, London, and Liverpool.

CATALOG OF FILMS

SAFETY STANDARD FILMS

The subjects listed below arc available on
■special narrow-width, slow-burning I'athescope
film, for use by owners of Pathescopes, Victor
Safety Cinemas, and other projectors titled for
this purpose. These films may be obtained from
the Pathescope Company, Aeolian Hall. New
York City, and its branches; United Projector &
Tilm Co.. 69 VV. Mohawk St., Buffalo. N, Y,, and
its branches; Victor Animatograph Co., Daven-
port, Iowa, and its branches. To permit an in-
telligent selection of subects, they are divided in-
to classes, as follow.s:

Travel, hunting, manners, customs. Class 1;
industries, forestry, agriculture. Class 2; popular
science, natural history. Class 3; topical and war.
Class 4; fairy and trick scenes. Class 5; comic
scenes. Class 6; vaudeville. Class 7; comedies.
Class 8; dramas. Class 9; religious and Biblical
scenes. Class 10; reconstructed history. Class 11;
military sports, Class 12; detective stories. Class
1.^; animated cartoons. Class 14.

44— a. The Bicycle Thief 5

b. The Kind Hearted Constable 8

45 — Solomon's Judgment 10

b. Miss Davis and Her Colored Partners 7

"46 — a. Strasburg 1

b. Star Fish 3

47' — a. Barcelonia and its Park 1

b. Fairy Pastimes 5

48 — a. The Dionnes 7

b. Transformation Trick Pictures . , . . 5

-49— a. The Trout 3

b. The Cuttlefish 3

50 — ^. .^ Too Tnlkat \ Housewife ^

b. Gene Plavs a Mean Trick on TTis

Wif.- 6

51 —

52—
53— a.

b.
54 —
55— a.

b.
56— a.

b.
57— a.

b.
58—
59— a.

h.
60— a.

«i

fi' —
6.-!- a.

c.
64— a.

h.
65 — a.

h,
66-
67—
(iR— a.

"n— a.

h.
71— a.

b.
72— a.

■'— n.
h.

The Birth of Christ; the .adoration

of the Magi 10

A Happy Christmas for Mother .. 9

Old Toledo i

Some German Cities 1

Enthusiastic Boxers 8

A Grand Feed ... 6

■\ Terrible Confla_ *">

The Riviera ]

Wolf Hunting in Russia 1

Moth-r-in-Law in Trouble 6

His First .^ir Trip 6

Aunt Eliza Recovers IJer Pet .... 8
Johnni- H-is a Panther Thrown on

His Hands ,<!

Mary and Her P^onograpll 6

The Reward of Gallantry R

r.eontine's Boat 6

'V|,n,j„ ('i.-n,., r- 't - . . . "

The Sncietv Thief

Mvsterious Thief 5

T„r, ri,.p., \ fn:^.i„„.- o

Mr. Brack Catches th- 11.50 Train . 6

The Pork Butcher's Nightmare S

Pravertinie rit the Croat Mosque , . '

The R-ee Harvest in Tapan

The Elixir of Life '

Reconciliation ■^

,Snow Effects in .^ustria and Hun-
gary 1

Water Rit'-s on the Mekong 1

Baby's Strai-'cem 9

The ATrjT-c i-Titchen . -

nal>rieH'''s Birthdav 6

Polios Trio. Gvmnasts ~

Police Dofs .' '

The Crocnd'le 8

The Torn Trousers 8

Gatherin" Hemp 'n Brittany **

.^mo^g the Roses

79—

80— a.
b.
SI —
82—
S.l —
S4— a.

S6--

87-
88—
90-

'',1-

-a

04"

•^

o^_

nfi-

97-

-a

The Thief of Honor 9

Tlie Sportsman's "BaE*' ^

Cind-reHa '^

Siinar Cane Industry

The Fan 5

An Infectious Twitch 8

Dolly Does Not Wish Her Father

to Mary Asrain S

Canine SmuRRlers 7

Across Touraine 1

Babv as a Detective 8

Little Maurice Loves Rosalie 8

The DauRhter of Niaarara 9

Excursion in the Forest of Fontaine-

bleau 1

Tea CGatherintr and Preparation).. 2

We Have No Children 8

Life of Christ. (The Massacre of
the Innocents; the Flight int'>

Effypt) 10

Life of Christ. (His Childhood.

Kant'=ni and Mi'-acle'^t lf>

Lift of Christ. (The Miracle* con-
tinued) 10

Life of Christ. (Christ Before

Pilate^i 10

Life of_ Christ. (At Calvary; the

Crucifixion") 10

Life of Christ. (The Death and

Resurrection) \^

The Stellmann Sister-: 7

How to Become a Sailor 1-

An Unluckv Meetine ''

Pierott's Dream 7

Little Maurice Proposes to Rosalie . ^
Decn7pv''lle and Its Metallurc>i!

Works 2

The BitT Bit f^

^f nsic Has CTiarms ^

Max Takes a Bath «

THE CHOSEN PRINCE

A DRAMATIZATION OF THE LIFE S PORY OF DAVID AND JONATHAN

Will Hold Interest In Church and Sunday School
Throughout the Summer Months

THIS Photodrama covers the Sun-
day School lessons for the
summer. To visualize this won-
derful story will create an interest that
will last throughout the course of
study.

With painstaking fidelity to histor-
ical and Biblical facts, this picture
represents the ancient conditions, ar-
chitecture and costumes, and enrolls
upon the screen, history as well as
drama.

The story has not been cheapened
to meet any demand for spice, nor lo
compete with favor for only a season.
It has been told in terms of humanity
without turning aside to pander to the
desire of a cheap and easily forgotten
thrill.

If you do not have a Safety Standard Projector
we furnish complete equipment including operator

UNITED PROJECTOR AND FILM CO.
71 W. Mohawk Street Buffalo, N. Y.

FREE MOTION PICTURE LIBRARIES

(Continued from page 9)
and a new market for pictures which
scenario writers and film makers would en-
deavor to supply. Men who write for pic-
tures to be shown in schools and churches
would undoubtedly furnish a better class
of pictures than are now being made for
exhibition in the theaters.
Educational Film Foundation Essential

It is evident, however, that the free film
libraries could not accomplish their highest
usefulness unless some motion picture
foundation were endowed for the manufac-
ture of films for educational, moral, religious
and spiritual purposes.

The editor of the Educational Film
Magazine in the December number says that
"It has been suggested that some film foun-
dation should be established by Henry Ford,
George Eastman. Coleman Dupimt, or per-
haps either of the Rockefellers, senior or
junior."

But if no individual volunteers for such
a magnificent philanthropic enterprise, it
may be that the united churches of the coun-
try may undertake the work. The Inter-
church World Movement might very well
adopt this as one of its agencies to preach
the whole gospel to the whole world in the
only universal language. If our nation-wide
campaign is to have the glorious victory for
which we pray and there is a surplus beyond
the S42,OOO.o6o, as we planned, it may be
that the Presiding Bishop and Council would
deem it wise to enter into co-operation with
the Methodists, the Presbyterians, the Con-
gregationalists. tlie Baptists, and any other
communions which are feeling their respon-

sibility to deal with the large problems of
religion in a large way, to establish an inter-
church motion picture foundation to start
and to maintain free film libraries and to
produce motion pictures for moral, patriotic,
religious and spiritual purposes.

If Jesus who in all his teachings used
parables "and without parables spake he
nothing unto them" were on earth today, it
is very clear that he would use motion pic-
tures in the work of establisliing his king-
dom upon earth and in maintaining his reign
of love among men. His Church should do
likewise.

»■
THE CANNIBAL AND THE CINEMA

(Continued from page 19)
about him were hundreds of white eyes.
The reflection from my screen made their
mouths seem twice their normal size on
account of the glint of their perfect white
teeth, and when the reel was finished they
yelled the louder as they told each other all
about it.

And then I noticed that; Osa was crying;
with pure excitement the tears were running
down her face. On going close enough to
hear her, she told me that this was the
biggest moment of her life, that all the
hardships we had undergone to get here
were more than worth while.

I am a crank about good projection, and
I never saw a better projected picture than
we got on tills night. It was about five by
seven feet on the screen, a perfect and
powerful light, and the picture was so steady
that it seemed to stick to the sheet.

They See Manhattan's Wild People
Next I showed where Osa and I were leav-

ing the Hotel Astor in New York, then the
hundreds of thousands of people gone crazy
on the streets of Broadway and Fifth Avenue
the day the armistice was signed. I told
these savages that all the people were saying
good-bye as we left America to visit them.
I knew this picture interested them the most,
for through our interpreter, Nagapate told
me that he never knew so many white people
lived — he and the other savages thought the
Malekula was the biggest place on earth —
and here they had seen nearly a million people
on the streets of New York. Afterwards I
showed streets of Chicago, and Los Angeles
and San Francisco and Sydney, and Osa and
I on steamer and in automobiles, and then
a reel of elephants, aeroplanes, giraffes and
birds.

Following this I showed pictures of Vao
and Santo and other places in the New
Hebrides. These pictures they could under-
stand; they knew the natives for savages like
themselves, but they showed that they
thought them a very inferior race of people.
The Big Punch

Then came the big punch I had waited
two years for. I threaded up the last reel
showing Nagapate and his Big Numbers
people, the films 1 had made two years ago.
and I noticed that almost everyone of the
people I had in the film in my audience. \

Before starling the reel I set up my
moving picture cameras and instructed the
black guards how to light the radium Hares j
(these guards had forgotten their fear, hav-
ing become so excited in seeing moving pic-
tures for the first time that they leaned their
guns against trees) ; then I had ray yoimg
French captain take the projector handle,
(Continued on page 28)

Boys love to DO things. The Trade
School is the place. Get them interested
by showing them HOW

ll«?W

-^'ir-

r^il

i9l

rig

^^eS *'

If '^CT Jl

u-.-v^ -

[ '^^H

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OPPORTUNITY

A STORY FOR YOUR BOY

Illustrated circular from

Worcester Film Corporation

14^ West 4$th Street Ne^ York City

Health Campaign

To Make your town SAFE to live in the HOUSE FLY must
be exterminated

THE HOUSE FLY

This one-reel microscopic motion picture gives the complete life-history
of the House Fly and shows most convincingly the menace to health re-
sulting from its germ-carrying capacity.

Other Health Films

How to Spend a Healthiul

and Beneficial Sunday
Nature's Perfect Food

How Life Begins

For Rental and Purchase Price Address

CARTER CINEMA CO., 220 W. 42nd St., N. Y.,

Telephone Bryant 7594-7595

IVe Are in the Market for Negatives of Educational Subjects

Walking to Health
Man's Best Insurance
Good Teetli

Biological Motion Pictvires

Schools, Universities and Learned Societies
Exclusive Service

VISLALIZATIOX is the slogan in modern school work. Almost every-
thing filmable has been projected on the screen with the exception of
biological phenomena, most of these traceable onlv through the
microscope.

Our age calls for this visualization of biological phenomena, for the purpose
of education. Realization of this led to the foundation of "The Scientific
Film Corporation."

Its aim is to supply the needed materials for visualization in biological teaching
adapted to school work of all grades, from the primary up to the purelv scientific
treatment of the subject in university teaching.

"The Scientific Film Corporation" is in a position to guarantee accurate, reliable work
through the well planned co-operation of approved technical skill and expert scientific
supervision. Our laboratories in Harrison, N. Y. (New York suburban district) are
equipped mth the most modern installations, many of them personally devised.

Our sensational novelty is the utilization of the living tissue culture in micro-cine
matographv.

Correspondence invited in regard to rates and terms of purchase and rentals.

ECONOMY : Especial attention is called to the fact that bv renting our films a wonder-
ful opportunitv is created to show filmed and screened biolog)- even in schools and
places far removed from metropolitan centres.

First Release

A Microscopical View of the Blood Circulation

These are a few of the features of this film :

The Vascular system of the chick embryo Differentiation of the blood in centrifugal

The Capillarv net work in the area pellucida .,. "". , . /.,,,,,

■^ ■ "^ Microscopical views of the blood, showing its

Arterial and Venous circulation ingredients

m. 1 -I n .• Close up of Bone marrow, where the blood

stolooncal reflections ^. ■ ^

'^ originates

Arterial Anastomoses Living and beating heart at close up

THE SCIENTIFIC FIUM CORPORATION

13 DUTCH STREET NEW YORK CITY

Telephone John 1717

THE CANNIBAL AND THE CINEMA

{Continued front page 26)
and at the signal the picture and the radium
flares and my cameras all started at the same
time. But the flares were too much for the
savages — they jumped to their feet and ran;
at least two-thirds of them disappeared into
the jungle; but Nagapate and the savages
around him stuck, although they were
frightened. I made a wonderful film, the
first time in history that savages ever were
photographed under such novel conditions,
as they looked at themselves on the screen.

After the lights burned out we spent some
time in coaxing the savages back to their
places on the ground. Nagapate explained
what the lights were and then they returned.
I ran the film back to the start for their
benefit, and then they went through the
biggest moment of their lives as they saw
themselves as they looked two years ago.
They cried out the names of each savage as
he appeared, and wild was their e.xcitement
when they saw a man who had died since
the picture was made. He was talking, and
I was raised another niche in their respect —
to be able to bring back the dead.

When I explained that it was all over
they gave a great big shout of appreciation
— not applause, as we white people know it;
but it pleased me better than any applause
I have ever received. It was dark and I
could not see their ugly faces as they
jabbered among themselves, but they were
wildly excited.

Got Paid for Seeing Films

Then Nagapate and the interpreter came
to me and asked for their pay, and it wa»

made clear to me that they expected pay
for looking at my films; so I broke open a
case of tobacco and gave them half of it,
probably the first time anyone ever had to
pay his audience to look at films.

Then they gathered bamboo roots and lit
them, and I will never forget the sight of
them weaving their way up into the hills.
They had eight miles to go in order to reach
their bush village, and Jong after I had
packed up my apparatus and we had taken
it aboard the cutter I could see the dim
lights many miles back as they kept mount-
ing upwards.

That was my first show to the Big Num-
bers people, but afterwards I gave them
several performances; and for six months
we travelled over Malekula, where white men
had never trod — from one savage tribe to
another we went, and my moving pictures
were my passports. Word had gone from
one end of the island to another, and we
were welcomed to tribes where it would have
been impossible to have gone without the
films.

And all this time we were making films,
among savages who are in the same stage
of development as they were a thousand
years ago, and now that I have developed
my films, I find that I have 25,000 feet of
the most interesting matter that has ever
been made. There is no doubt of this, for
we found a race of long-pointed headed
people, and a race who live in the roots of
banyan trees, a race of people so small that
any of the tribe could easily walk under my
arm. Take it all in all. the savages took us
to their hearts, and that is a whole lot better
than being taken to their stomachs.

FILMS TEACH BRITISH SALESWOMEN

The cinematograph has come to the aid
of the British shop assistant to teach her
the correct way to serve customers, make
out bills, and handle stock. The pioneers
of this educational scheme in England are
.Messrs. Harrods of Bnimptim Road, London,
and a private show was given recently at-
tended by Sir Woodman Burbidge and the
directors and officials connected with the
school for assistants. Girls of 14 to 18 are
afforded an opportunity of continuing their
scholastic studies while in the firm's employ,
and the possibilities of the cinema as a
means of showing how to improve methods
of work and increase sales are demonstrated.

Films provided by Prizma, Triangle and
Republic were shown lately at the Boys''
High School. Brooklyn. N. Y., under the aus-i
pices of the Brooklyn Teachers' .\ssociation. '

FOR SALE

DeVry Motion Picture Projector. Have
used it only in my home. Suitable for
use in home, church or school. Price.
Sl.SO. HOMER CROV. 780 Riverside
Drive. New York.

Films for Educational and
Religious Institutions

The New Alias Catalog Now Ready
Bulletins of New Subjects Bi-Monthly

Atlas Educational Film Co.,

63 E. Adams St. Ctiicago

PRIZMA

A new method of practical,
color motion photography
that re-creates Nature on
the screen in all her splen-
did colors.

Entertaining, instructive,
and altogether delightful!

Now showing in leading
theatres.

Ask the manager of vour
favorite theatre.

Distributed by Republic Distributing
Corporation

THE COSMOGRAPH"

Semi-Professional Portable Projector
MAKES FRIENDS ON ITS QUALITY
KEEPS THEM ON ITS PERFORMANCE

. The COSMO-
weight 171/2 lbs. GRAPH represents

without carrying ^

case. an ideal successfully

achieved. That ideal
has been to produce
a portable projector
compact, and light in
weight, simple and
economical to operate,
of sturdy construc-
tion, and surpassing

Model B.— Takes Safety Standard . ,

Width Film in ]ierformance.

THE DWYER BROS. 8C CO.

BROADWAY FILM BUILDING
CINCINNATI, OHIO

729 SEVENTH AVENUE

NEW YORK CITY

ATTRACTIVE PROPOSITION TO DEALERS

EASTMAN
FILM

is identified by the words
"Eastman" and "Kodak"
in the fihii margin.

It is the film that first made
motion pictures practical

EASTMAN KODAK COMPANY
ROCHESTER, X. Y.

Vibration

the

DeVrv!

< U ;Ln balance a De Vry on a tea cup ana
it produces motion pictures as if shot from
a stone wall.

You can put the De Vry on a table, a chair — on
any non-rocking- object ^vith four legs or none,
and it does perfect work. It's in a class by itself
in this, as in all other respects. See it and know
for yourself.

The De Vry stays in its case while at work. It
is simple in construction — perfect in workman-
ship. Weighs 20 pounds. You can carry it any-
where. Has its o'wn motor. Attach the plug to
any lamp socket, press a button, and a picture up
to 12 feet square is projected and up to 80 feet
distant.

If you are an amateur you "will be immediately
at home with a De Vry. You can quickly make
motion-pictures of professional quality.

Write for new booklet. Also let us demonstrate the DeVry
in your home or your ofiFice. If you write us. it will
promptly bring our representative from one of 60 cities —
the one nearest you. and then you will see why the DcVry

has become standard.

The De Vry Corporation

1230 Marianna Street, Chicago
New York OfSce : 141 West 42nd Street

S£

Our Portmanto Model

Embodies All The

Mechanical Superiorities

of the Parent

The portability of our PORTMANTO model
has not been secured by a sacrifice of the
mechanical features essential to good results.
This compact, reliable projector can be car-
ried any place a man can go.

Invaluable in advertising and sales cam-
paigns. It is a necessarj' adjunct in factory
education and welfare work.

FEATURES

Intermittent, of Geneva Type.

Large Diameter, three blade shutter outside type.

High grade, large diameter, projecting lens.

Aluminum castings, bearings bushed in bronze.

Lateral projection — film in vertical alignment in

head.

Ground tool steel shafts.

Mechanism enclosed, fire rollers at entrance and

exit of film from magazine.

Standard. 1000 foot reel, 10-inch diameter.

Both reels in lower compartment.

Take-up. double cone type, simplest in use today.

Carrying case of Bakelite, fireproof and dampproof

Write for literature "G. 5" giving further details
of the GRAPHOSCOPE PORTMANTO.

THE

Graphoscope Companv

50 E. 42nd St.

New York

FLASHES ON THE WORLD S SCREEN

News Notes and Comments on Educational and Allied Films

from Institutions. Organizations, Producers and Individuals

in the United States and Canada and Overseas

U.NDER the directiim nf the scientific so-
ciety of the Latter Day Saints" Univer-
sity, Salt Lake City. Utah, a series nf
motion picture productions are being
screened at this church school. This is
said to be the first time the Mormon
Church has taken up the use of movies.

"Lorna Doone." the Harma film based
• upon R. D. Blackmore"s famous romance,
first issued before the war. in 1913, has been
reissued by its owners and is being shown
in England. No copies of this picture are
known to be in the United States.

The great Bannerman cotton mills of Man-
chester. England, have had a number of im-
portant cotton growing and manufacturing
films produced, as have other mills in that
city. In fact, there is an active demand for
good industrial films in England and Scot-
land at the present time.

The customs, ceremonies, racial character-
istics, and daily lives of the people of India
are said to be carefully recorded in the two
reel travel film called "India." produced by
Stratton Wells of Bohemian Films, a British
company, in collaboration with Timothy Rail-
ton, traveler and explorer.

Fletcher Collins, representing the A. M.
Byers Company of Pittsburg, showed a film
describing the manufacture of wrought iron
pipe at the recent meeting of the Indiana
Purchasing .\gents' .Association in Indian-
apolis.

Upon the request of the Minister of Public
Instruction of Costa Rica, the Bureau of
Commercial Economics is sending a weekly
release to that country, to be shown first in
the Capitol to government officials, then in
the principal educational institutions in San
Jose and other cities of that country.

Four plants of the vast Sheffield Steel
Works, in Sheffield, England, have regular
movie theaters for the benefit of their thou-
sands of workers. These places are as well
appointed as any cinema in Great Britain,
with standard projection equipment, slant-
ing floors, tip-up seats and all conveniences.
Films showing all the processes of steel
making, safety pictures, and others are be-
ing screened.

The Union Stock Yards. Montgomery, Ala-
bama, has been filmed. The industry is one
of the largest in the South. Governor Kilby
of Alabama is reported to have been present
when the camera man ground his crank.

By authority of the local school board, a
motion picture projection machine was in-
stalled in the Prevocational Grammar School,
Hartford. Conn., during the recent school ex-
hibition there.

The .\laddin Renew Electric Lamp Cor-
poration used a film showing how new lamps
were made from old ones at a meeting of
shareholders of the company in London, to
?liow the profit possibilities of the new ven-
ture.

Have You

Something to Sell

A Story to Tell

A Lesson to Teach

A Great Goal to Reach

On the Movie Screen?

A Film that's a Failure
to be Reconstructed into

A Real Screen Success?

I specialize in motion
picture screen publicity

Let me help you visualize
your problems on the screen

CAROLINE GENTRY

350 West 55th Street, New York

TN competitive test byl[the
Board of Education, New-

ark, New Jersey, fifteen
the eieliteen professional

e eignteen proiessional pro-
jectors purchased were

Povver's
Cameragraphs

This test was of a most ex-
acting nature and again dem-
onstrated the superiority of the
Power's Cameragraph where the
highest type of professional
projection is desired.

NICHOLAS POWER COMPANY

NINETY GOLD STREET

INCORPORATED
EDWARD EARLE, Treaident

NEW YORK, N. Y.

BACK TO THE REPUBLICI

A National Educational Camjiaign to be Started in Every American City

alir S^tt^r Am^rtra IC^rturr S^rntirr, 3nr.

An Appeal to the Eye and tKe Intellect

THIS is a national campaign to put ten illustrated lectures on patriotism into even- church, school
and industrj- in America with the hope of making millions of Americans (including children and
youth) immune against Marx's socialism, Trotzkj^'s bolshe\-ism. and Haj-vvood's communism and
I. \V. W. radicalism.

These ten illustrated lectures of the "Better America" Series on Americanizing America, by Newell
Dwight Hillis, were first given in Ph-mouth Church, Brookl>Ti. New York. Later they were tested out in one
hundred towns and cities in Michigan. We believe that these illustrated lectures represent the only method
that has stood the test and has actually accompUshed results, as shown by scores of testimonials received.

ehr Srttfr Amrrira Hrrttur iPrnrtrr. Inr. has been formed by a group of representative men who have
arranged with the Victor Animatograph Company to produce immediately these illustrated lectures, which
will be dehvered in Sunday Schools. Y. M. C. A.'s, churches, etc.. on Sundays and in the country' school
houses and public school houses and industries during the week.

With all of his power to state facts and figures, with such emphasis as to bum them into your very
soul. Dr. Hillis has taken his ten lectures on Americanism, and with much additional matter has woven
them into the "Better .\merica" series of lectures and s'.ides, which should be heard by ever\- man and woman
in America.

The titles of the ten illustrated lectures which comprise the Better America Series are as follows ;

The Sanctity of Property-. How Bolshevism Ruined Russia.

How Abilit)' Can Increase Worker's Wage and Karl Marx's Socialism.

Covmtry's Wealth. \Miat Our Fathers Paid.

The Loyal Classes Who Build the State and

Enemies ^^'ho Undermine It.
^^'hy There Is No Excuse for Poverty- in Our

Coimtry.

Each lecture is illustrated by from thirtj'-five to thirty-seven colored stereopticon slides.

A new invention, the 'T)aylight Screen" (American Lux Products Corp., 50 E. •t2d St.. New York)
makes it possible to show these illustrated lectures day or night.

With the consent of the trustees of Plj-mouth Church Dr. Hillis has finally agreed to give the Better
.\merica Lecture Ser^-ice, Inc., a few months of his time for the organizing of this work. A nominal rental
charge will be asked for the use of the lectures and slides.

AbittTSB all tnqnirirs In tbf

Irtlrr Amrrira ICrrturr ^rrmrr, 3nr., Bvpt A

251 S^aurtb Atirnur. ^tva Vark Cilo

The Republic the Golden Mean.
Gains of the Last Centun.-.
America of To-morrow.

Better America Leaure Service. Inc.,

Dept. A, 251 Fourth Avenue, Xew York City.

Gentlemen :

Send us more information about the Better .\merica
Series of ten lecnires by Dr. Hillis.

EFM

In all of his activities as a minister, lecturer,
writer and pubhcist. Newell Dwight HDlis prob-
ably never did a more important piece of work
for himianit>- than in giving to the world his ten
lectures and stereopticon slides comprising the
"Better .\merica" series.

PLAY SAFE - FEEL SAFE - BE SAFE

Conscientious and Careful Manufacturers

Use the VICTOR SAFETY CINEMA and

SAFETY STANDARD FILM

Sales

A prospect has faith in a product
when taken through a plant and
shown the material and quality of
workmanship. The salesman with
a Safety Cinema make this possible
in the prospect's own office.

A prospect has no confidence in
a concern that deliberately sub-
mits him to the fire dangers of in-
flammable film.

Publicity

Motor Driven

Weight 22 lbs. Carried in

neat appearing case.

Manufacturers have discovered
a unique source of publicity
through our libraries. A knowledge
of their products has reached hun-
dreds of thousands of people in the
home, school, church, and all other
institutions. This has not only been
of great benefit to the various in-
dustries but of wonderful educa-
tional value to the public.

Welfi

are

Pictures are more effective than talks when it comes to emphasizing fire and accident prevention, loss
of sales through faulty inspection or packing, and other points valuable to welfare and efficiency. Noon
hour "Movies" is a wholesome recreation. The employee goes back to work contented and happy.

Film Your Plant

y^BERWRlTHB^lABOMTORijj

MiNIMUReMotION ftoniBEMACHINE

FOR USE ONUr Wtm ^W BURNINS ftU*
OtCLOSING BOOTH NOT RtgUIREO.

An approval that means
something. Insist on a
projector bearing this
label.

Our Industrial Department with its expert cinemato-
graphers have filmed many of the biggest industries
in the country. These men are under the supervision
of directors who thoroughly understand the bringing
out, in the i)icture, of the strong selling points of a
product.

TRADE MARK

71 West Mohawk Street
Buffalo, N. Y. ''

PLAY SAFE - FEEL SAFE - BE SAFE

The Standard That Knocked the ^Tlam''

Out of Film and the Booth Out of

Projection Equipment

O amount of mechanical cleverness in making a projector can
take the "flam" out of inflammable film.

Existing fire and insurance laws insist upon the use of fireproof
booths whenever and wherever standard theatre film is used.

THE VICTOR SAFETY CINEMA is

the first professional projector designed -"spe-
cially for the use of Safety Standard Film.
It delivers to you a brilliant professional pic-
ture any time and place you have an incandes-
cent socket to connect it to.

The machine insures you perfect screen
results — the film insures you perfect safety.

Write us for information regarding
equipment and film service.

Victor Animatograph Company

Davenport, Iowa

Eastern Distributors:

UNITED PROJECTOR Sc FILM CO.
BUFFALO. N. Y.

Canadian Distributors:

PATHESCOPE OF CANADA, Ltd.
TORONTO, ONT.

Since Safety Standard Film

HAS BECOME

THE RECOGNIZED LEADER

in the Non-Theatrical Field, remember it was the

PATHESCOPE

that made it so!

This PIONEER in SAFETY PROJECTION
easily maintains its superiority.

Its design, construction and projection embody the experience

gained in

23 Years of Cinema Supremacy!

No licensed operator
nor insurance
restrictions.

Machine and Films
inspected by Underwriters
Laboratories, Inc., and
labeled: "Enclosing Booth
Not Required."

THE NEW PREMIER PATHESCOPE

Greater illumination guaranteed than obtainable with any
other Portable Projector and only surpassed by the arc.

There are more Pathescopes in
use than all other makes of Port-
able Projectors combined.

Originated by Pathe Freres —
producers for twenty years of the
best Educational Films the world
has ever seen.

Also the inventors of the slow-
burning film which has made it
possible for you to enjoy SAFE
MOTION PICTURES.

THE PATHESCOPE CO. OF AMERICA, Inc.

Dept. FM, AEOLIAN HALL

Willard B. Cook, President

Agencies and Service Slalions m Principal Cities

NEW YORK CITY

^eatilf. Public Ut>.»,^

EDUCATIONAL

FILM

MAGAZINE

The National Authority

'' -lM-

H F--r ""t-

^'..;/,V.,V^-'-^5

r/i

The Spoken Word and the Movie

By Ottilie G. Boetzkes, M.A.

Educational Film Libraries

By B. A. Holway

Academy of Visual Instruction

Movie Trip Around the World

Rev. Dr. Hillis' Picture-Lectures

Slow Motion Tire Films

By E. S. Underbill

:<' r '

!^«;^.fe^=^«^.=3'«l^«:

--' %. - > ^ - 1-,. — g£>^-. ^2^^ "^'^^ ■ ■,.^^;^_:J;^^:^

JUNE, 1920

$1 a year

THE CHOSEN PRINCE

I
A DRAMATIZATION OF THE LIFE STORY OF DAVID AND JONATHAN

Will Hold Interest In Church and Sunday School
Throughout the Summer Months

THIS Photodrama covers the Sun-
day School lessons for the
summer. To visualize this won-
derful storv will create an interest that
will last throughout the course of
study.

With painstaking fidelity to histor-
ical and Biblical facts, this picture
represents the ancient conditions, ar-
chitecture and costumes, and enrolls
upon the screen, history as well as
drama.

The story has not been cheapened
to meet any demand for spice, nor to
compete with favor for only a season.
It has been told in terms of humanitv
without turning aside to pander to the
desire of a cheap and easily forgotten
thrill.

If you do not have a Safety Standard Projector
tve furnish complete equipment including operator

UNITED PROJECTOR AND FILM CO.
71 W. Mohawk Street Buffalo, N. Y.

I'liblishcJ M.jiitllly by City News Puhlisliing Co . at Floral Park. X. Y., and jj West 42iid Street. (Aeolian HalO, Xew York City. Subscription pri
United States and possessions. $1 a vear; other countries. $3 a year; single copies. 15 cents. .Application for entrv as second class tnat
at the postoffice at Floral Park. N. Y.. pending. Copyright, 1920. by Citv News Publishing Co.

OS ANGELES LONDON CALCUTTA SINGAPORE,

SAN TRANCISCO SYDNEV BOMBAY RANGOON

Robertson -Cole Compaisty

jj DIVISIONOrriLMS

' I600 BROADWAY

^'poBcotr,? NEW YORK NEW YORK telephone -

BRY^ANT 9460

tdes Useo

ABC-FifTM EDITION rk/-»/\

WESTERN UNION JUnO 1, 1920

BENTuEVS

Educational Film Ua^azine,
.•53 West 42nd Street,
Hew York City,

Gentlemen:-

It occurs to us that a number of the Ro"bertson-Cole sub-
jects are admirably adapted to the uses of the schools,
churches, clubs, industrial plants and other institu-
tions and organizations who read your nagazine regular-
ly. All of the Brentwood productions are clean, whole-
some, uplifting and inspiring; the message of hope and
good cheer is in every one of them. The Martin Johnson
South Sea pictures possess large educational and mission-
ary value, and such a film as the record of Sir Ernest
Shackleton's Antartic Expedition offers studies in phy-
sical geography, meteorology, zoology and man's fight
against the forces of nature. Our Adventure Scenlcs
afford many instructional opportunities,

For some time past we have been investigating the com-
mercial possibilities of the non-theatrical motion pic-
ture field, with the result that we have decided to
make a special bid for business in that market. Your
publication has assisted us in arriving at this deci-
sion, and as we are convinced that advertising there-
in will reach the individuals and groups we desire to
reach, we hand you herewith our contract for twelve
paries to be used within the next year.

During the coming twelve months v/e expect to distrib-
ute other film productions that will appeal especially
to those in the non-theatrical field, announcements
of which will be made in your pages from time to time.
Within the near future we shall have a Special Announce-
ment to make of exceptional interest to school and church
people.

Assuring you of our hearty co-operation in the great work
you are engaged in, we are

Cordially yours,

ROBERT SO IT- COLE DISTRIBUTING COIiPORATION

ASK-JBB, Vice Pi^csT^ent and *Gineral Manager.

"The person who cannot enjoy Edgar
and his friends is almost unimaginable"

This Is the comment of the screen critic of the
New York Times, after seeing "Edgar's Hamlet."

Goldwyn offers the Edgar Stories as an example
of what can be done with the original work of a
great writer, with a proper exercise of taste and
understanding.

The triumphs and miseries and mental excursions
of Edgar will afford your audiences much mirth
— and perhaps a wayward pang of envy.

In any case, these delightful two-reel comedies
are sure to win a joyous reception. Inquire at
the nearest Goldwyn Exchange.

Samuel Goldwyn Presents

BOOTH

TARKINGTONS

The Adventures and Emotions of Ed^ar Pomerqy

EDGARS HAMLET

Directed hy E. MaSOn HoppCF

Goldw yn
Exchanges

Atlanta, Georgia
III Walton St.

Boston, Massachusetts
42 Piedmont St.

Buffalo, Xew York
200 Pearl Street

Chicago, Illinois

207 S. Wabash Avenue

Cincinnati, Ohio
216 E. 5th Street

Cleveland, Ohio

403 Stand. Theater Building

Dallas, Texas
1922 Main Street

Denver, Colorado
1440 Welton Street

Detroit, Michigan
Film Exchange Bldg.

Kansas City, Missouri
17th and Main Street

Los Angeles, California
912 So. Olive Street

Minneapolis, Minnesota
16 N. 4th Street

Xew York, Xew York
509 Fifth Avenue

Xew Orleans, Louisiana
714 Poydras Street

Omaha, Xebraska
1508 Howard Street

Philadelphia, Pennsylvania
1335 Vine Street

Pittsburgh, Pennsylvania
1 201 Liberty Avenue

San Francisco, California
985 Market Street

St. Louis, Missouri
3312 Lindell Blvd.

Salt Lake City, L'tah
13s E. 2nd So. Street

Seattle, Washington
2018 Third Street

Washington, D. C.
714 nth St. X.W.

Paramount Pictures Available
for Non-Theatrical Exhibition

The need for the right kind of
motion pictures for use in schools,
churches and institutions of all
iiinds is met in the most practical
way by Famous Players-Lasky
Corporation, both as to the kind of

material available and its intrinsic
value.

Whether your purpose be to en-
tertain, educate or frankly amuse
you will find the best of its kind
among these Paramount Pictures
at a price you can pay.

Feature Pictures are Available that Have
Made Famous the Names of:

GEORGE BEBAN
LOUISE HUFF
JACK PICKFORD
WALLACE REID
VIVIAN MARTIN
MARY PICKFORD
DOUGLAS FAIRBANKS

MARGUERITE CLARK
ELSIE FERGUSON
PAULINE FREDERICK
WILLIAM S. HART
SESSUE HAYAKAWA
GERALDINE FARRAR
DOROTHY DALTON

GEORGE M. COHAN
LILA LEE
FRED STONE
SHIRLEY MASON
BRYANT WASHBURN
JOHN BARRYMORE
JULIAN ELTINGE

Paramount Pictures are produced by the greatest directors and
dramatists who have contributed to the success of the screen.

Short Subjects Including:

"Fatty" Arbuckle Comedies Flagg Comedies Burton Holmes Travel Pictures

Drew Comedies Mack Sennett Comedies Paramount Magazine

It is impossible to give here a complete list of all subjects available.

Full information and sound advice on your motion picture problems can be had
from the Manager of the Famous Players-Lasky Corporation Exchange in the fol-
lowing cities :

Denver, Colo 1747 Welton St.

New Orleans. La 814 Perdido St.

Chicago, 111 845 So. Wabash Ave.

Des Moines, la 415 W. 8th St.

Cincinnati, 107 W. 3rd St.

Kansas" City, Mo 2024 Broadway

New York 729 7th Ave.

San Francisco 821 Market St.

Charlotte, N. C 28 W. 4th St.

Minneapolis, Minn 608 1st Ave. N.

Pittsburgh, Pa 1018 Forbes St.

Philadelphia, Pa 1219 Vine St.

Buffalo, N. Y 145 Franklin St.

New Haven, Conn 132 Meadow St.

Omaha, Neebr 208 So. 13th St.

Detroit. Mich 63 Elizabeth St.

Salt Lake City, Utah 133 E. 2nd So. St.

Oklahoma City, Okla. 128 W. 3rd St.

Washington, D. C 421 10th St. N.W.

Atlanta, Ga 51 Luckie St.

St. Louis, Mo 3929 Olive St.

Los Angeles, Cal 112 W. 9th St.

Seattle, Wash 2017 Third Ave.

Cleveland, Ohio 811 Prospect Ave.

Dallas, Texas 1902 Commerce St.

Boston, Mass 8 Shawmut St

'i,f}>ir/urr:s::"\

,: FAMOUS PLAYERS -LASRY CORPORATION

,VDOLPH 2UKOR Pws JESSE LIASKY iWf Pm CECIL 8 DF MtLLE DirnforQ^-ns-,

PubUshed Monthly at Floral Park, N. Y., and 33 West 42nd Street rVrolian Hall;, New York City. DOLPH EASTMAN, EdUor.

Advertising rates on application. Western advertisiii;; and news representative: Harry F. Rose,

20-1 Woods Theater Building. Chicago. III. Telephone Majestic 8026.

ol. III.

JUNE, 1920

No. 6

IN THIS ISSUE

Index to Articles

MTORIAL 7

IE SPOKEN WORD AND THE MOVIE 8

By Ottilie G. Boetzkts— Illustrated

iTIONAL ACADEMY OF VISUAL INSTRUCTION 9

i)AD\TERTISE HOLLAND WITH FILMS 9

\TIONAL EDUCATIONAL FILM LIBRARIES 10

By B. A. Holway

IMMUNITY MOVIE SHOWS IN SYRACUSE, N. Y 11

VIERICAN RED CROSS FILM SERVICE 11

'^VIEWS OF BOOKS 12

"Animated Cartoons" — "Motion Pictures and Equipment" —
"Best Motion Pictures for Church Entertainments" — "Rela-
tive Value of Motion Pictures as an Educational Agency."

OVIES SEVERAL THOUSAND YEARS OLD 13

By Dr. Walter Hough— Illustrated

FOUR-YEAR MOME TRIP AROUND THE WORLD 14

Illustrated

ORAL OPPORTUNITY OF THE nLM 15

VVING BROADWAY'S "SHEPHERDLESS SHEEP" 25

THE CHOSEN PRINCE" 16-17

Illustrated

SUGGESTED PROGRAMS

For Boys or Girls at Summer Camps — Summer Schools — Hospi-
tals — Asylums— Prisons — Parks and Playgrounds — Chautau*
quas — Industrial or Vocational Schools — Centenary Conserva-
tion Committee's Lists of Approved Films.

A NEW IDEA IN EDUCATIONAL ENTERTAINMENT

By E. M. Ihint—I I lust rated

SLOW MOTION TIRE FILMS 24

By E. S. Uiiderhill

INDUSTRIAL FILMS IN GERMANY 24

THE FORUM A 24

CATALOG OF FILMS 26

Productions of Clinical Film Co.

Index to Advertisements

United Projector & Film Co. ., 25
Inside front cover

Robertson-Cole Co 1

Goldwyn Dist. Corp 2-3

Famous Players-Lasky Corp. ... 4

Automatic Ilium. Adv. Corp 5

Community M. P. Bureau 6

Commercial Publicity Co 23

Carter Cinema Co 23

Radio Mat-Slide Co 23

Victor Animatograph Co 23

Inside back cover

Underwood & Underwood 23

Atlas Ed. Film Co 26

Kineto Co., of America 27

Worcester Film Corp 28

Nicholas Power Co 28

"Better America" Lecture Serv-
ice 29

Burke & James, Inc 30

Eastman Kodak Co 31

Graphoscope Co 31

Prizma. Inc 31

Victor Safety Film Corp 32

Pathescope Co Back cover

Automatic llluminatEd Advertising [orpordtion

MAIN OFFICE. 824

V\/ YORK CITY

E, BALTIMORE. MD,

\oi-V

t-v.

OR ALL EDUCATIONAL AND LECTURE WORK

fie Automatic Balopticon Service is most satisfactory — for, being sei

ir a given lecture, the machine operates automatically and noiselessly, and the slide changes are controlled

precision ( even from a distance ) , by the lecturer himself, with the electric push-button

may hold in his hand — NO ASSISTANT REQUIRED. Write for Booklet.

ith absolute
ivitch which

"FOR COMMUNITY SERVICE"

COMMUNITY MOTION PICTURE BUREAU

In again devoting its resources to the production, selection, editing, distribution, su-
pervision and presentation of instruct ional motion picture courses, it is but
fulfilling its primary purpose, following its war work, which is still continuing
on a large scale. In the past two and one-half years. Community has presented
practically all the motion picture service for the American army and navy, and
the bulk of that for the Allied armies and navies.

The Educational Board of the Community Motion Picture Bureau is
headed by Dr. Jeremiah W. Jenks, Chairman, Research Professor of
Government and Public Administration, New York University, and Dr.
Frank McMurry, Vice Chairman. Professor of Elementary Education,
Teachers College, Columbia University. This Board is assisted by a large
staff of professionally trained educators, editors and assistants.

Frank L. Crone, formerly Director of Education for the Philippine Islands, is in
charge of the School Section.

'»"^

Community builds motion picture courses upon the basis of the educational needs of each
institution it serves. You are cordially invited to make inquiry as to how Community
service will meet your needs.

Our distributing system encircles the world

Community Motion Picture Bureau

Accreditea Agent for United States iVar Department
Motion Picture Serrice

WARREN DUNHAM FOSTER. PRESIDENT

46 WEST TWENTY-FOURTH STREET NEW YORK CITY

.(GASDNIE

The National Authority

overing Educational, Scientific, Agricultural, Literary, Historical, Juvenile, Governmental, Religious, Travel
Scenic, Social Welfare, Industrial, and News Motion Pictures

Published Monthly at Floral Tark, N. Y., and 33 IVeH 42nd Street (Aeolian Hall), Nev York City

DOLPH EASTMAN. Editor

A. III.

JUNE, 1920

No. 6

FILM PROGRAMS FOR SUMMER

'^ LMMERTIME is outdoors time — a time for
^^ play, recreation, and healthful reaction from
/^ the weary winter grind of work, worry, and
inoney-gruhbing. Humans are so constituted
at their minds and hearts become attuned to the
)routing leaf and the chit-chat of the birds; and
hen simimer comes they are disposed to try and for-
■t their cares, studies and serious aims and, like
■lildren, eagerly seize upon the toys and joys of life.

For this reason, familiar enough to psychologists,
: is difficult to interest the public in informational,

stnictional, and cultural films during the warm
ionths. Outdoor sports, the cool of the woods, the

re of mountain and seashore are so much more
apealing than the pictorial study of these things.
.)Iks want to live these objectives at such a time
istead of merely seeing them on the screen.

Even the stay-at-homes, the shut-ins of congested
ty streets seem to desire a lighter type of stage and
ireen entertainment in summer than they accept
facefuUy during the winter months. "Heavy stuff"
1II not do for them, nor for the "high brows" either,
nile the mercury climbs and the foaming surf calls.

These climatic and psychological conditions must
I carefully considered in the selection of film pro-
lams for showing to various groups in the summer-
Ine. Obviously a chautauqua or religious camp
}oup in the country must be approached from a dif-
irent angle than a neighborhood group in the city

< an open air or mass group at some distant point.

Are such films available? They are, if culled with
STewd discrimination as to the intent and the desider-
vim one has in view. Judicious selection and editing
? Avell as titling will enable the program specialist to
vilize parts or the whole of many existing film sub-
j'ts and accomplish in large measure the aim or
fais sought after. Summer film problems are not
<fBcult for the programmist w'ho has a clear grasp

< the psychology of the hximan mind and heart in its
ijnim'er environment.

AN ACADEMY OF VISUAL INSTRUCTION

\Vhat some of us have pleaded and striven for dur-
ing recent months has come to pass, or at least will
cnme to pass if a sufficient number of interested per-
sons and commercial concerns lend active moral and
material support to the national society which has
just been launched by a few forward-looking edu-
cators of the middle west under the corporate name
of National Academy of Visual Instruction. A pre-
liniinar}- accoimt of the formation of the academy, its
objects, the classes and conditions of membership,
the fees, what it hopes to accomplish in the non-
theatrical motion picture field, and an announcement
of its forthcoming convention in July in Madison, Wis-
consin, are published in this issue.

It is hoped, through this academy, to bring about
ultimately a broad, clearly defined, solidly built,
nation-wide market for educational films, slides,
charts, maps, exhibit material, and other visual aids
to education. It is hoped to bring together in a big
constructive way educators and intellectual and social
forces on the one hand and commercial producers and
distributors on the other hand, one group comiselling
and co-operating with the other group, so that out of
the present chaotic situation will arise a practical
dav-by-day market based upon a steady demand at
standard rental and sale prices of certain visual in-
struction material. Such cooperation on the part of
the two groups most interested in coordinating and
systematizing the use of motion pictures in the non-
theatrical field ought to bring about gratifying results.

The prospectus is promising; those who are lead-
er- 11 the movement are able, experienced, and sin-
cere; and with a policy at once liberal, tolerant, and
prnrrressive and ideals worthy of that great academy
of the French immortelles, there is no reason why
this small but earnest and enthusiastic society may
not draw into its embrace thousands of visual in-
stiuctionists throughout the United States and thus
become a great constructive power in making visual
education a reality in place of the iridescent dream
it t"i\v is.

THE SPOKEN WORD AND THE MOME

Oral Impressions, Adding !•> ^ isual and Musical, Make

the Pictures Doubly Viviil ami Strengthen the Student's

Grasp ol a Subject

BY OTTILIE G. BOETZKES, M. A.

Formerly .X^sistant Prolessor of Mod<*rn Languages. UniversUv of Washii^on, Seattle

IN this day and age when comparatively few good
dramas can be enjoyed, where the spoken word as well
as the action leaves an impression on us, we have t^
seek another means to give the spoken word the proper
chance to work its influence upon us. We speak the lan-
guage of our associates, be it good or bad, nice refined
speech or tough and slang>- careless speech. There are two
strong processes which work an impression on our minds,
that which we hear and that which
we see. The \-isualizing process is
one of the strongest processes.

The boy comes home from town and
tells what he saw. 'T saw the Lincoln
Hotel fire and watched the firemen
climb up the ladders and let the
people down by a rope, etc." Al!
this he saw. The blind boy who has
to draw on his imagination for the
visualizing would perhaps narrate
what he heard, the engines, the crack-
ling of the fire, the screaming of the
women and all he heard about him.
while watching. Two distinct proc-
esses, each very strong, neither reflec-
tive, but depending upon a definite
outer impression.

The spoken -ivord — what does this
mean? If you ever have been in a
foreign country anxious to learn the
spoken language, you will remember
that you listened to every utterance
on the streets, in the hotel lobby, in
the trains, in the theatres, everywhere.
In the theaters you watched with
opera glasses the movement of the
lips of the actors. Now where would
the foreigner in his Americanization
process learn good English today, if
he goes no longer to school? You will
say from his associates and colleagues
daily intercourse so little chance of connected
formed phraseologv.

Let us combine two processes in the motion picture en-
tertainment and the result will be beneficial. There is a
very disturbing factor in the average motion picture sho^v.
and that is the reading of the long descriptive matter which
explains the action or the scene. This, I should suggest,
could be eliminated by having a speaker accompany the
pictures as the nmsic does at present. The music is a very
pleasing and necessary part of the recreative feature of
the entertainment, but there could be pauses or subdued
measures during which the spoken word could be heard.
Many pictures showing scenic beauty could be accompanied
by the reading of poetry; world events could be explained
fully by a good speaker and add to the enjoyment and
understanding of the film. It makes the pictures doubly
vivid. While we listen we can study the scene and scru-
tinize any part more closely and do not have to read the
explanatorv matter.

ii-LAi:, Lj. Ro£i.^r,r..T .. j? oorn in Wurz-

berR, Bavaria, in 1S77, and received her early

schooling in Duesseldorf-on-the-Rhine. At the

age of 15 she came to this country with her

Barents and graduated from Packer Collegiate
nstitute. Brooklyn, N. Y. In 19C1 she gradu-
ated from the University of Washington, mak-
ing the M. A. degree a year later. Miss
Boetzkes has taught in a country school, in the
Seattle High School, and for a number of years
was assistant professor of modem languages at
lier alma mater, the University of Washington.
She edited Die Burgkinder for D. C. Heath &
Co. and has written several photoplays, the last
being "The Tichbome Case." Recently she be-
came affiliated with the Seattle branch of the
Community Motion Picture Bureau.

How Speech .\.nd Picture M.\y Correl.\te
Now again, the school boy. Where does he hear n
connected well-phrased discourse? The teacher hears
sons, gives spelling words, hears lessons again, and g
orders. That does not give the child a chance to sit
and listen and let the nicely formed well-enunciated
tences work upon his impressionable mind. If we
motion pictures in every school for educational purpt
and recreation, the child would hai
chance after seeing a film to re|
duce in his words what he saw.

Let us say, he saw pictures oft
jungles and prairies of South Aa
ica. What words shall he use ;
how shall he pronounce cerl
words? Let the teacher prepare
clear lecture on the series to be \
sented, and certain expressions i
never leave the child. The \is
range is enlarged, the vocabulary
increased, and he will learn to 1
his mother tongue if he hears
spoken with refinement.

Supposing the high school stud
should hear "Evangeline" read al(
by the English teacher with interr
tent or accompanying pictures uj(
the screen. How doubly helpful i
process would be. In my opinion, j
sit back and listen by far too littlel
school. We hear the poor readii
with our books open, of the otll
student but no one really listens i\
you can not blame anyone.

But there is in our
carefuUv

English Language Slighted

In industrial pictures the same ho;
true. The workman cannot alw.'
read English well, or he does not kn
how to pronounce well; he,' too. would benefit by sue!
procedure and would enjoy the film twice as much as befo'
The average .American is keen in observing, but he d«
not appreciate the beauty of the English tongue. Mi
refinement could be taught to girls in the shops by heari
a cultured speaker from time to time. How few girls
to lectures now. It is the movie two or three times
week. It is restful and entertaining. They read the hei
lines of the paper and that is about all the English tl
get except the vernacular they hear at tlie shop. Whi
do they hear well-worked-out and elegantly modulated, a'
nected speech? The motion picture theater could perfo
a double service and lose nothing of its popularity.

DISEASE GER^IS IN PICTOGILA.PH

The GoMw>Ti-Bray Pictograph for release the third week in N
portrays the method used by Dr. Simon Flexner, head of the Roc
filler institute, in studying disease germs, h shows how the disea;
tissue is placed in mehed paraffin, which is aftenvard cooled in
water. It is then cut in very thin slices and dipped in dye, a proc
which causes the tissue to be revealed in color against the aim
transparent paraffin.

NATIONAL ACADEMY OF VISUAL INSTRUCTION FORMED

Purpose Is to Assist Educational Institu: ns and Local and National

Organizations in Obtaining Better Production, Distribution and

Exhibition Facilities in the Use of Vi-iial Aids of All kinds -First

General Convention in Madison, Wis., in JuU

HE National Academy of Visual Instruction, an or-
ganization whose purpose is to assist schools,
churches, welfare societies, clubs, etc., in securing
better production and use of slides, films, art col-
~, and all forms of visual aids, was formed in Ann
Michigan. April 7, as a direct outgrowth of delibera-
- it the Cleveland meeting of the N. E. A. Dr. William
1 I'uilley, Chief of the Bureau of Visual Instruction. Uni-
i -lU of \^ isconsin. presided while the committee of nine
ap.'iited at Cleveland discussed the constitutional policies
[ til ■ academy.

lilt almost unique feature about the National Academy

[ \ i-ual Instruction is that it is composed entirely of pro-

t-si<inal men actively engaged in promoting some form

visual instruction, who are in no way affiliated with

amiercial entei prises that have visual supplies of any

id to sell.

No CoMMERCi.\L Connections

This organization, which has no commercial connections
d will entertain no such advances, will exert a great and
pr-gTowing influence, and will stimulate a far more in-
ligent use of visual aids by bringing the school, club,
urch, etc.. into closer touch with the supply and equip-
;nt market.

The pur{)oses of the clearing house service of the academy
1 be to keep members fully informed on pi ogress being
de throughout the country and the world in visual in-
iiction methods and accomplishments: on film, slide,
art. map. and projector, sources of supply, etc., to the
d that those who undertake practical work in visual edu-
ion in any of its phases may be brought into immediate
ich with the most approved educational practices and the
st physical products and appliances.

To this end all commercial houses will be given the same
nsideration. Their membership in the academy as "con-
buting members"' is an endorsement of their product, and
ilv such concerns whose products and business methods
?et the approval of this organization will be granted such
?ni! ership. A mutual benefit to the professional and busi-
ss elements will result from this direct adherence to un-
liated policies.

At the Ann Arbor meeting Dr. Dudley was elected presi-
r.t: ("harles Roach. Visual Extension Service. Ames, Iowa,
■asurer: and Mr. J. H. Wilson. Department of Visual Ed-
ation, Detroit Public Schools, secretary. Those elected
the executive committee are Dr. G. E. Condra, Lincoln,
braska: .1. W. Scroggs, Norman, Oklahoma: Superint end-
it S. G. Reinertson. Alta, Iowa: A. W. Abrams: Albany,
, Y.: Prof. W. M. Gregory. Cleveland. Ohio: Prof. W. C.
osbv, Raleigh. N. C: and Dr. Dudley. Madison. Wis.

Six Classes of Membership

The constitution provides for the election of officers and
the holdi I'i of annual meetings. Membership is divided
ider six titles:

1. Active members composed only "of those engaged in educa-
inal. semi-educational or welfare work."' "No companies, dealers,
ems, or persons financialh interested in the sale of visual instruc-
in materials shall be eligible to active mebraership." Only active
embers are iiermitled to vote. . Fee. S3.

-. .\ssociate members, composed of those interested and not com-
mercially affiliated, may be admitted by a majority vote of the
executive committee. Fee. $1. .\ssociate members sliall receive
printed reports of the academy and be permitted to attend all but
the executive sessions.

3. Contributing membership admits one to all meetings (except
executive sessionsi and extemls all printed documents of general
interest to such members. Fee. $50.

1. llcmorary members may be elected and granted such privileges
as llie academy may desire to extend.

5. Life membership fee is SIOOO. It permits one to attend all of
the meetings, and extends all publications and such clearing house
service as the academy maintains.

6. Institutional membership (colleges, universities, libraries,
churches and other welfare organizations) carries with it tlie pub-
lication and clearing house service of the academy at a fee of $25.

Anv active member may propose names for membership
tu the executive committee for consideration at the suc-
ceeding meeting.

Academy's First Meeting in July

The first convention of the academy will be held in
Madison. Wisconsin, the second week of July. At this
meetii-.g will he displayed graphically the plans of opera-
tion employed bv those foremost in visual instruction work,
while what has been done and what is most needed will be
the basis of talk and discussion. An attempt will be made
to secure General John G. Pershing, who was intimately in-
terested in the film service development in the army, and
C. C. Meredith, Secretary of Agriculture, as speakers.
\ i.sual supplies and materials will be displayed by the
various commercial houses.

The invitation to the general convention includes the
following:

Visual Instruction Departments in universities, public school sys-
tems, etc.
Pri;icipals and teachers in schools and colleges where systematic work

in visual education is being undertaken or is contemplated.
\^e]fare organization, such as community center clubs.
Parent-teacher asosciations. etc.
Departments of Photography in colleges.
Federal departments offering service in films and slides.
Chi:rches and religious societies.
Y. M. C. A.', Y. W. C. A.s. K. C.s, etc.
The Red Cross.

\\elfare Departments in industrial plants.
State Survey Departments i agricultural. geologicaU.
Ccmmercial men— manufacturers of projection machines, producers
of films, slides, and other visual instruction aids, editors of
journals interested in visual instruction, etc.
Institutions intending to send delegates and commercial
co-icerns reserving space for concessions will please notify
the secretary so that proper accommodations can be secured
for all in advance.

TO ADVERTISE HOLLAND WITH FILMS

The managing committee of the society "Holland
Abroad" has decided to make cinematographic films repro-
du( ing the significance of Holland in the domain of letters,
science, industry, architecture, agriculture, and cattle breed-
ing. The Railway Administration has already given the
society permission to have films made from the trains.
The films will not give a historical survey of the country,
biit merely attractive pictures of modern Holland, in order
t . jive foreign countries an idea of Dutch life.

NATIONAL EDUCATIONAL FILM LIBRARIES

A Reply to a Recent Suggestion in Educational Film Magazine
Offered by Charles Urban — State University Extension Plan Sug-
gested As One Solution of the Problem

By B. a. Holway

Exteneion Service, University of South Carolina, Columbia, S- C.

WHETHER we pass in review over the experiences
of the past or attempt to peer into the future
and forecast coming events, consideration of the
general subject of visual instruction by means
of the motion picture points conclusively to the need of a
practical, efficient system of film distribution, co-ordinating
supply and demand and possessing the complete confidence
of the educator as a class.

Practical distribution is essential of educational subjects,
subjects that have true classroom value or real worth from
a welfare or religious point of view, in which both tech-
nical phases and pedagogical features are given proper
consideration.

Charles Urban in the February issue of Educationai,
Film Magazine touches on this subject and offers a solu-
tion — the establishment of film libraries in local communi-
ties maintained by popular subscription or subscriptions of
users, the film being purchased outright.

The Urban suggestion contains the nucleus of the solu-
tion but in its full detail is too far in advance of the develop-
ments in this field of motion pictures to be essentially
practical at the present time. There is no question but the
time for such distribution is coming to a certain extent.
Objections to the Urban Plan

Without going too deeply into the subject, two criticisms
come to mind. First, such a library in most instances could
not be large enough to be of much practical value and
many of the subjects would soon exhaust their usefulness
after being shown once or twice. Secondly, as has already
been pointed out, the technical handling of the film, inspec-
tion and booking should be in the hands of an expert or
dt least one more or less experienced in that line. Such
persons are not easy to procure for community work of
this nature.

The medium of distribution which would best meet the
requirements of visual instruction development would be
an exchange system devoted exclusively to non-theatrical
interests, where the necessary technical experience and the
physical handling of the films could be found together with
a certain amount of pedagogical training. In such a center
the complete confidence of the educator should be vested.
To function as effectively as practical in the strictly visual
instruction phases, such an exchange should not be operated
for monetary gain, but should be at least semi-self-
supporting.

University Extension Offers Solution

Such a medium is offered in the extension departments
of the forty-three states now actively engaged in the develop-
ment of motion pictures as an effective aid to education.
Motion picture distribution and handling machinery has
already been established and the field has been canvassed.
In most instances the work has developed under the direct
supervision of a technical man.

The National University Extension Association with head-
quarters in Washington, D. C, in co-operation with the
Bureau of Education, visual instruction section, of the
Department of the Interior, has done splendid work in get-
ting this machinery under way. The film subjects that have
been furnished have made possible the start. No one can
deny that these subjects are far from adequate. But they

form the nucleus of what may be developed into a worth
'.hile library of educational welfare and recreational filn
suitable to schools, colleges, churches, and welfare anc
industrial institutions.

In practically every instance the motion picture worl
now being done through the extension departments is ir
connection with either the state university or the state boarc
of education. State aid is therefore possible and practica
and that is what is needed. If the state legislatures wili
appropriate sufficient funds to carry on this work and pur
chase new film each year, visual instruction will receivf
an impetus that will launch well into the forward rank;
of the motion picture field and permit it to attain the prom
;nence that rightfully belongs to it.

While the federal government does not permit any chargr
of admission to be made in the use of government film, noi
any charge by the distribution center, there is no reasor
why a nominal charge to cover necessary expense, such a;
inspection, etc., should not be made on film purchasec
with state funds. This would enable the exchange to In
at least semi-self-supporting annd any balances that migh
develop could be used for the purchase of additiona
subjects.

Advantages of State-Aid Plan i

Let us consider briefly what the results reasonably ex
pected from active participation by the state in the develop
ment of visual instruction might mean. A state appropria,
tion for educational films on a basis similar to the appro j
priations for textbooks, etc., would establish the market foi|
educational subjects. On forty-three prints a produceii
certainly has a chance to get back his investment. Con'
sequently, with a known market established, the incentivei
for production heretofore lacking will become an active;
factor. With pedagogical supervision entering into thfi
purchase and distribution of educational film, producers!
will of necessity be compelled to consider classroom valutj
as predominant, thus correcting the present difficulty some;
limes found with so-called educational subjects. j

With an adequate supply of film subjects for educational!
]nirposes available in every state at a very nominal or noj
rental charge as the case may be, coupled with the strategij
cal value the distribution of such film through the educaj
tional departments of the state government would have, visi
ual instruction could reasonably be expected to develop b>!
leaps and bounds. Extension departments of the state edu'
calional boards or universities are in a position to foster thfi
use of motion pictures in the educational field, to encourage;
'.he installation of equipment and render practical assistancej
and advice to the individual institution. A co-ordination of
supply and demand is thus assured. i

It is entirely up to the extension departments. If the))
realize the possibilities and responsibilities confronting!
them and take the suggestions herein contained seriously, thf j
writer is confident that within the next year or two visual'
instruction will have attained more nearlv to its true promi-
nence and the motion picture have entered into the field foi
which it was primarily intended.

A certain amount of development work will probably
have to be done with the legislature — ves, and the educa-
tors, too — of the various states. But it can be done. There

I a great deal of talk about overcrowded school conditions
id consequential lack of personal attention to the individ-

I I pupil. The motion picture will remedy that to a certain
cent by enabling the instructor to convey his message to
jy number of pupils in such a manner that every one vdl\
jve a thorough comprehension of its meaning. But this
tbject has been threshed over again and again and has no
fice here.

St.\te Distribution Not Competitive
The distribution of educational film for visual instruction
trposes should by all means be done through a non-
tratrical distributing agency. The film exchange of today
ii the commercial institution catering to the wants of the
rn-theatrical field are not in a position adequately to meet
t; real need of the visual instructionists. And this is
sted with all respect to such exchanges and in no wise
r;ant to be derogatory. State distribution of film should
It be considered as in any way entering into competition
\lh the established exchanges, whether theatrical or non-
Uatrical. Rather it develops and fosters interest in the
r)tion picture and is actually to be considered as an asset.
Let's hear from someone else.

:0-MMl MTY MOVIE SHOWS IN SYRACUSE. N. Y.

Ce of the Pioneer Eastern Cities in the Movement Now Embraincg
380 School Community Centers in This Country

A ( omniunilv motion picture show was given recently at
Haware school, Syracuse, N. Y., under auspices of the
Jtle\sare Women's Club, which has been working out
lirious community activities under the supervision of the
lal recreation board. There were two performances, at
|iind 9 p. m.

The feature was "The Land of Opportunity" and there

s a comedy reel also. The picture equipment was in-

Ued by the board of education in Delaware school when
'as first built. G. Carl Alverson, principal, assisted the

men in their efforts to hold community mo\ies.

This was the first community movie shown in the city,
ticing SvTacuse among the 380 cities where centers have
hn organized and motion pictures are one of the neighbor-
led interests. The neighborhood movie is popular in
vstern cities and towns. S\Tacuse is among the pioneer
Ktern cities in this movement.

Mrs. Gustavus Young is the club leader who, bv tireless
fort, succeeded in bringing the motion picture to the
sioolhouse where the children of that section of the city
pld convenientlv attend. In other communities where
p movie has become a neighborhood actiNity, it has been
i?d to teach community, civic, health and other lessons
has been a vital factor in Americanization work.

GOLDWYTS HAS FI>XEY BIRD FILMS

recent risit to New York by X^ illiam L. Finley. nationally known
naturalist, has resulted in the GoIdw>n-Bray organization acquir-
16.000 feet of Mr. Finley "s motion pictures of wild bird and
life. The pictures represent the work of Mr. Finley and his
the past three years. It is their custom to take to the field
mer with a motion picture camera and about 20,000 feet
negative to photgraph wild birds and animals in their
nvironment. The average result of a summer's v.ork is about
et of good film. On their trips Mr. and Mrs. Finley live
^ tent and are accompanied by their two young sons.
fhe work of Mr. Finley is unique, as few lovers of wild life hunt
Ih the camera. Tlirough his painstaking work a careful record
i been compiled on tlie motion picture screen of the actual condi-
is under which wild birds and animals live. The difficulty in
aining these pictures is due to the fact that the subjects are
ays shy. not only of man but of the camera. In order to get close
ugh to the birds and animals to photograph them. Mr. Finley has
had to plant his camera the night before and wait for the
or animals to come to their feeding or drinking place at day-
laL — Moving Picture World.

AMERICAN RED CROSS FH.M SERVICE

\\ . E. ij'addell. Director of Their Motion Picture Bureau. Gives

Exclusive Statement to This Magazine on Their

Producing and Distributing .Activities

^ . E. \^'addell, director of the Bureau of Pictures of the
American Red Cross, Department of Publicity, was asked
by a representative of this magazine for a concise statement
of the organization's producing activities with motion pic-
tures and the nature of the film service which the Red Cross
was offering schools, churches, clubs, and other non-
theatrical institutions.

'"Heretofore," he said, "we have devoted our film activities
almost exclusively to our 3,700 Red Cross Chapters. We
have recently compiled a list of non-theatrical exhibitors in
the United States, such as churches, schools, clubs, etc. We
will hereafter distribute motion pictures through our
thirteen division oflSces to all such exhibitors.

"We are producing from time to time in this country,
films on such subjects as Home Hygiene, Dietetics, etc.

"We have a large corps of cameramen in various sections
of the world from whom we are receiving most interesting
negatives, not only of Red Cross activities but those of
scenic and educational value. For the sake of variety we
also release industrial pictures that are of sufficient value
to warrant our distributing them.

"Heretofore churches and schools have found it most
difficult to secure a sufficient number of appropriate films
for their showings, and we believe that the Red Cross is
the logical agency to supply this much needed demand.
A very nominal rental charge will be made — in fact, merely
enough to cover the cost of handling."

S" 9=

PATHESCOPE DINNER TO N. Y. PRINCIPALS

Interestiiig Addresses and Convincing Demonstration of the
Latest Model Projector

Ordinarily when a commercial concern tenders a dinner to its
customers and prospective customers the affair turns out to be a
clever business-producing scheme rather than one for mental help
and social betterment. The informal dinner given by the Pathescope
Company of .America. Incorporated, to some of the principals of the
New > ork City public schools on Friday evening. -April 30. at the
Cafe Boulevard. New York, was a refreshing exception to the rule.
The menu stated tliat the dinner was given "in the interest of
educational motion pictures" and "the royal road to learning lies
alone the film highway" was a significant and lyrical phrase which
appeared on the menu cover.

W iUard B. Cook, president of the company, was toastmaster at the
dinner, but did not take advantage of his official position to ''talk
shop" and make a plea for business, for which ever>one present
was grateful. In fai-l. such a plea was unnecessary as those present
had a \'isual and convincing demonstration of the improvements
which have been embodied in the latest model Pathescope projector
as ci>mpared with the old model. One of the most interesting fea-
tures of the evening was the comparison on the screen of the pic-
tures projected by the old model and the new model, both machines
runninir at the same time and projecting pictures and blank rect-
angle- of light side by side.

The speakers in their order were: Frank D. X^ilsey. Commissioner
and \ i..e-President. New York City Board of Education, whose topic
was "Safety First in Visual Education": Dr. Ernest L. Crandall.
Dir' i>r of Lectures and Visual Instruction. New York City Board
of 1 Mcation. "Some Recent Experiments in Visual Education": Don
Carlo- Ellis, Director Educational Production. Universal Film Man-
ufai taring Company. "The Place of Films in Class Room Instruc-
tion": William P. McCarthy. Principal of Public School 52. the
Bronx. New York City. "The Selection of Projectors for School
Use": Dr. Edward W. Stitt. District Superintendent of Schools, New
Y'ork. City. "Do We Teachers Talk Too Much?"

Jlr. Wilsey made the interesting statement that the Pathescope
ma. hines. of which there are about 150 in the New York City
scho -Is. are an unqualified success, lie said that there is an average
of .'I tires a year in the New Y'ork schools, and although these
ma' ines had been in use for four years and thousands of reels
had ! -en handled, no fire had yet occurred which could be traced to
the i:~e of these machines and films. In connection with the work
in 'lie city schools Mr. Cook generously oflfered to replace anv old
moile machine with a -New Premier latest model, without additional cost.

"ANIMATED CARTOONS"

By E. G. Lltz

EG. LUTZ, an illustrator and maker of animated
drawings, for the first time discloses some of the
secrets of the craft in his 260-page book, "Ani-
mated Cartoons: How They Are Made — Their
Oiigin and Development," published by Charles Scribner's
Sons, New York. One naturally looks for explanatory il-
lustrations in a work of this character, and the reader oi
student is not disappointed in this instance. The book is
of an introductory or elementary character rather than an
exhaustive treatise on the subject.

The first chapter consists of a brief historical survey
entitled "The Beginning of Animated Drawings," followed
logically by "The Genesis of Motion Pictures." Forty
pages are devoted to the details of making animated car-
toons, and there are chapters on "Movement in the Hu-
man Figure," "Animal Locomotion" and "Inanimate Things
in Movement."

One of the most interesting chapters in the book de-
scribes how various comic effects are obtained in animated
drawings. Thousands of movie viewers in the theaters have
been mystified by the exceedingly clever and natural man-
ner in which the illustrations of little human and animal
figures have been made to do all sorts of amusing things,
but now the author takes the public into his confidence and
for the first time lifts the magic veil.

The final chapter on "Animated Educational Films in the
Future" is of especial interest to the readers of this mag-
azine. Although brief, it contains some artistic and pro-
phetic material of real value. One of the most instructive
and amusing pictures in the book is the frontispiece, illus-
trating the method of making animated cartoons by cut-
outs. On the whole the book is a valuable contribution to
an important yet little understood phase of motion picture
production, and no library of filmiana will be complete
without this work. As the use of educational films grows
in extent and urgency in the American school and college
system, the essential need of the animated drawing, dia-
gram, chart and map will be universally admitted. Even
now it is playing a vital part in some types of film, and for
certain purposes in the future it is destined to play an
indispensable part.

"MOTION PICTURES AND EQUIPMENT"

We are in receipt of Bulletin 82— 1919— "Motion Pic-
tures and Motion Picture Equipment," a handbook of gen-
eral information by F. W. Reynolds and Carl Anderson,
issued by the Bureau of Education, Department of the In-
terior, Washington, D. C. The letter of transmittal from
Commissioner Claxton to the Secretary of the Interior was
dated October 21, 1919; therefore the pamphlet is more
than a year and a half old. This is a long time in the mo-
tion picture business in which conditions change over
night. Much of the information, such as descriptions of
technical terms, directions on handling and operating pro-
jection machines, shipping containers, etc., is still helpful
to the purchaser and user of a projector.

The fact, however, that only standard theater or pro-
fessional film is endorsed and recommended deprives the
booklet of a good deal of its practical value. Nothing was

gained by ignoring the extent, possibilities and progress
safety standard film, because since this brochure came frc
the government printing office hundreds of schools and c
leges have equipped themselves with safety standard p
jectors, according to authentic reports, and the product!
of narrow width, slow burning films seems to have gair
considerable impetus. It is surprising, to say the least, tl
the Bureau of Education of the United States Governmc;
would lend itself officially to the exclusive approval of i
millimeter film and absolutely ignore the 28 millime
width, officially approved bv fire insurance authorities a
others for use in educational institutions without affecti
insurance rates and without the restrictions to which t
professional standard film is subject. The only way ;
can account for this strange attitude on the part of an .
ficial department of the government is that they did i
canvass thoroughly the exact situation in regard to portal
projection machines and the possibilities of safety proj
tors and film, and that they permitted the apparent pre
dices of the authors of the bulletin to color this offic
information and thereby, consciously or unconsciously,
condemn by omission and innuendo all projectors a
film not of the professional or theatrical standard.

"BEST MOTION PICTURES FOR CHURCH

ENTERTAINMENTS"

•"The Best Motion Pictures for Church and Semi-Rel
io s Entertainments — 900 Dramatic, Americanizati
Comic, Travel, Missionary and Instructional Pictu
Gathered and Cataloged by the National Board of Revii
National Committee for Better Films," is the title ol
20-page booklet recently issued by the board. Copies
this booklet may be obtained by sending 25 cents to
board at 70 Fifth Avenue, New York City. For the m
part the pictures seem to have been intelligently selec
and classified, although a few titles have slipped in wh'
should not have been included. \

On the whole, however, the work has been rather ce]
fully done and institutions and organizations interested^
films in the above-mentioned classifications would do wi
to have a copy of this printed list. /

It is the hope of the Educational Film Macazine,|
some time in the not too distant future, to issue a v
complete and comprehensive catalog of motion picture f
suitable and available for the non-theatrical field,
matter has been deferred pending important developmc^
in the production of real classroom subjects and cour
for no educational film catalog can be complete unles:
iicludes genuine pedagogical films. When the proper t
arrives announcement will be made in these pages.

"RELATIVE VALUE OF MOTION PICTURES AS
EDUCATIONAL AGENCY"

In the November. 1919. issue of Teachers College h
r-(L issued by the Bureau of Publications. Teachers Collt
Columbia University. New York City, John V. Lacy, i
r.-tary for Sunday School work in Korea under the Bo
of Sunday Schools of the Methodist Episcopal Church,
;-'i experimental study "The Relative Value of Motion 1
tures as an Educational Asencv." The following are

conclusions:

' r "Under the conditions of our experiments, questions of
'jd, inference or naoral discrimination can be answered
ore adequately when the narrative material has been pre-
nted by a story-teller or as reading matter than when pre-
• iJited through the motion picture; of the two more success-
1 methods of presentation, the story-telling has the ad-
intage."

Stated more exactly, the relative merit of the above
ethods of presentation given by the author is as follows:
;[ Superiority of presentation through reading matter to
■esentation through the motion picture on questions of
ct, 7.26 per cent; inference, 8.375 per cent: moral dis-
imination, 5.525 per cent.

Superiority of oral presentation to presentation through
e motion picture on questions of fact, 12.21 per cent;
ference, 9.475 per cent; moral discrimination, 5.35 per
nt.

Mr. Lacy's article might have proved a welcome and
duable contribution to the rather meager collection of
ita, tests, measurements and research material available
1 til the present time in motion picture teaching; but, un-
ijiliily, he made the unpardonable error of judgment in
lecting "The Hoosier School Master," a five reel feature
m. with which to make comparisons with oral and silent
•ading methods. The weakness in the selection of this
articular film will be at once apparent to competent
idffps in the motion picture world, for "The Hoosier
111 ml Master" is generally considered a crude, inartistic
id woefully inadequate picturization of James Whitcomb
ilev's story. It is a serious reflection upon the artistic
ijirfciation and literary judgment of the author of this
til K\ and those associated with him in making the experi-
lent. that such an unfortunate selection took place by
hicli to make comparisons of the screen and the two other
ethods employed.

.Another fatal error which the article discloses is the in-
irence that the motion picture can be used alone and un-
ided as a method of teaching. Only well meaning but
liiiformed enthusiasts, who have not given deep anahtical
uily to the problem, would venture to make such an un-
ualified statement. The best informed minds — those who
re studying this question night and day — believe that the
lotion picture can never be more than an extremely valu-
ble supplernentary aid to the text book, the blackboard,
jie map and chart, the still picture and the stereopticon
iiide. Up to the present their investigations lead them to
;el that the film will be the most important of these sup-
lementary teaching aids which, however, in the judgment
f calm reasoning minds, will not be utterly displaced by
le movie. For this reason experimenters like Mr. Lacv
nd others are proceeding from false premises, through
seless parallelisms and syllogisms, to false conclusions;
nd when it is understood that the motion picture is only
ne important visual means — not the only one — and that
can never entirely take the place of the printed text,
ivestigations and conclusions of well-meaning educators
ased upon such an inference seem a little absurd, to say
le least.

. Workers in casual education will welcome all impartial
nd scholarly investigation and research in this field; it is
ceded and should be done. But, first of all, pedagogical
nd psychological analyses and experiments with motion
ictures must be predicated upon the thesis that they are a
leans to an end and not the end itself; that they are a
ause, not an efifect; that the films which are selected for
nalysis, comparison, and experiment must be the highest
,nd best in their class — not the lowest, crudest, and worst.
It would be manifestly unfair to judge the art of paint-

ing ly crude chromos produced by a lightning dauber in
fil!ii:i minutes in a store window, and the comparison is
noi "lore ridiculous than when an unsuccessful and prac-
tii ill\ worthles.s film production is used as a test upon
wlii. Ii to base the teaching value of motion pictures.

SLIDES AND PH(^TOS OF NEW YORK BIRDS

The Visual Instruction Division of the New York State
Department of Education at Albany, N. Y., has issued list
29, describing slides and photographs of birds of New York
State. It is quite an elaborate book of 172 pages covering,
ac( Diiling to A. W. Abranis, chief of the division and au-
thor of this book, "700 titles representing 162 species. It
is confined to birds of New York and includes most of the
conunon and many of the rarer ones. The collection
is distinctive in that it consists almost exclusively of pho-
tographic reproductions of living specimens of birds, nests
and eggs in their normal conditions and actual habitats."

MOVIES SEVERAL THOUSAND YEARS OLD

Javanese Shadow Piitiires in National .Mnsenin Have
Articulated .\rms Moved by Kods in Han<ls of Operator

By Dk. W Ai.TFJi Hough

Curator of Elhnolof^y, Siiiillisoiiian Insliluliou. \^ attliinf^lnn. D. C

In reference to the shadow pictures, I wish to make a
correction in the articles which have been published on this
subject. There are two types in the National Museum: One
consisting of an entire screen cut from rawhide and pro-
jected on the screen as a picture. These are Siamese and
were presented to the Museum by the King of Siani in
1876. The other tvpe is the Javanese shadow pictures,
which are articulated, i. e., they have joined arms which
are moved by slender rods in the hands of the operator.

There is no connection between the Javanese shadows and
those presented bv the King of Siam, whidi the writer in
a recent magazine article unfortunately mixed up. The

Siamese pic-
tures number
about thirty
and consist of
a complete
play, with all
the supernatu-
ral beings rep-
resented. The
Javanese shad-
ow manikins
are not suffi-
c i e n t for a
complete rep-
resentation.
These objects
attracted but
little attention
in the Nation-
al Museum until the invention of the movies stimulated
someone's mind to connect up this method of representa-
tion with the familiar institution with us now.

It will be impossible in a small space to give the his-
torical facts connected with these shadow pictures, but the
use of them appears to be of considerable antiquity and
ratlier widespread in the Oriental countries. Some writers
believe that they had their origin in India and spread from
that center to China, Persia, Turkey, the East Indies, and
other places where they occur. They do not appear to
have penetrated into Europe, their place being taken there
bv the puppets known as "Punch and Judy."

tAV.'

luseum, Washington, D. C. The arms arc jointed
and are moved by slender rods. The manikins arc
hel'i between the Hcht and the screen and give the
effect of lifelike silhouettes.

A FOUR- YEAR MOVIE TRIP AROUND THE WORLD

The Peters Photographic Expedition Probably the Most
Important from an Educational Viewpoint Ever Planned

WORLD-WIDE hunting ex-
pedition using still and
motion picture cameras
instead of rifles will leave
New York shortly for a four years"
sojourn in the Pacific islands, the
Far East and India. The party
will consist of Thomas Kimmwood
Peters, Thomas Clinton Bartlani,
Mrs. Peters, and two camera men.
The expedition will carry scien-
tific apparatus, and a complete equip-
ment for making safety standard films
for educational use.

Contracts have been made with
several organizations to photograph
for them special pictures showing;
their work in foreign countries and
with the army, marine corps, and
navy showing these branches of the
service throughout the world.

Visual Instruction Throughout

China

In China, Mr. Peters will organize

a Bureau of Visual Instruction, which

will operate through the village

temples. The need for this form of

education is great ii? China owing to

the large number of dialects which

render the communication of ideas

except through the Mandarin language

a di f f icu 1 1

that the Chinese so ardently de-
sire to know.

The Northwest Provinces of In-
dia have officially appropriated a
fund to provide mition pictures
for school use, according to a re-
port received by Mr. Peters from
the educational authorities of In-
dia. In view of the fact that the
New York City Board of Educa-
tion, through its lecture bureau, is

trying to achieve this happy result t
news from the Orient will be read wi
peculiar gratification by school boar
in this country. During the stay
the party in India Mr. Peters will (
considerable work of an educationii
nature for the Indian government, aii
will enjoy exceptional advantag
there for obtaining pictures.

To Correlate Pictures with
Textbooks

thing. It is al-
most as diffi-
cult for the
Chinese boy
to learn this
language as it
would be for
him to learn
English, and

for that reason a movement is now
on to formulate a standard Chinese
language which will be spoken
from one end of China to the other.
The new language will have an al-
phabet of thirty-six letters or
sound signs and will entirely do
away with the ancient ideograph?
which have been in use continu-
ously for thousands of years. In
line wath this new movement will be
the use of the motion picture in in-
struction as it will show more
clearlv than by any other means all
tho.se phases of Western learning

The pictures used to illustrate this article and those on page 10 oi'
the April issue were made by Mr. Peters on his last trip to the (Orient.

'piKIMAS KIMMWiiol) PETER.S was one of
tile early travelog camera men. He was with
the International Botanical Societies' Expedi-
tion to Yucatan in 1896, and later toured Europe
and Egypt, making negative for Paul of London
and Pathe. Four trips to the Orient he took in
1904-5, making movies. During the last fifteen
years he has worked in California and the East
with various motion i)icture producers, in every
capacity from darkrooTU man to director.

Mr. Peters is the autlinr of Technique of Cine-
matography and scientilic articles on aeronauti-
cal instruments for ScicTitihc American. During
the late war he deveIo|ied new instruments for
the United .States army. Mrs. Peters, who will
accompany her husband on this latest tour, is an
experienced camera woman and will be able to
take pictures in harems and zenanas where a
male photograper would hot be allowed.

It is Mr. Peters' intention to co:
late all the educational pictures tal
by the expedition with existing t^
hooks and to this end he has taW
copies of all the standard textliooks (
g eography,
physical geog-
raphy, agri-
culture, biol-
ogy, botany,
e n t o mology,
and zoology,
and made lists
of subjects
which could
be illustrated
by the motion

and still, pic-
tures taken on the expedition. In
addition, such popular children's
stories as "The Seven Little Sis-
ters" and others of its kind will be
made among appropriate settings.
No particular textbook has been se-
lerted for each subject but a stan-
dard list has been prepared em-
bodying the pictures sontained in
all of them. In this manner a ref-
erence catalog of films will b*"
available which will be adaptable
to the work of any srhool.

Manners and customs and native
life will be recorded in a sympa-
thelic manner and with an under-
standino- of the reasons actuating
(Continued on page 15)

OJLSf)

RELICOUS

MOR-\L opkikti'm:] of the film

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"THE CHOSEN PRINCE"— A Photodr^

'HERE are certain outstanding stories in the Bible which one longs to read and hear told o'
and over again, and the toucliing story of brother love which existed between David, son of Jes
and Jonathan, son of the all-powerful Saul, king of Israel, is one of these. T
Biblical account of this great affection, not second even to the love of Damon and Pvthi
may be found in I Samuel, Chapters 16 to 22 inclusive; Chapter 24, and Verse 4 of Chap
31. Among orthodox Jews even at this day it is customary for elderly parents to chi
their children into brotherly and sisterly peace and harmony by speaki
of the classic pledge of David and Jonathan, writ in each other's wi
living blood. Indeed, this scene is one of the most effective in 'The Cho

Prince," an eight reel mo-

lion picture productioni

J which is said to have cost

^» more than S5U.UO0 to produce

in California and which is

available for the use of

churches. Sunday schools^

church societies, lodges, clubs, etc.

The film follows the sacred narrative
rather faithfully, and upon the whole is
little short of masterly in portraying on
the screen the life, manners, customs, hu-
man characteristics and emotions existing
during the formative period of Israel when
the first of the long line of kings began
to reign. The scenic effects have been
neither cheapened nor over-elaborated, and the
soft air of the Orient lies like some unrisett
incense of the past over each scene. The tone
and tempo of the production are well gauged;!
the photography is modern and without blemish
save for a few minor exceptions, and the same
is true of the lighting which for the most
part is adequate. The acting of Edward
Alexander as David. Charles Perlev as Jonathan,
and Verna Felton as Michal, Sauls younger
daughter and David's sweetheart, is capital and
leaves nothing to be desired. Moah Beery.
Jr., as Saul is effective at times but in some
scenes is inclined to overdo his part and be-
come star>'. Most of the characters, however.
«re sustained in a natural and convincing manner and the picture holds one's interest from beginning to end.

Institutions and organizations interested in showing a photodrama of this type, in which brotherly love is the dominant note and in which
the director has wisely refrained from tampering with the beautiful Bible story to any injurious extent, will do well to include this film as
part of their religions, moral and social program, whatever the occasion. The picture is not over the heads of any group and is admirably
adapted for young people between the ages of fourteen and twenty.

Condensed Synopsis of thf. Eight Reels
Samuel, the last of the judges ruling over Israel, had anointed Saul, the herdsman, to become the first king. When Saul first assembled
the Israelites for battle they were armed with sharpened goads and sickles and only Saul and Jonathan had swords and armor. Saul led to
victory and soon became so vain that he refused to follow Samuel's advice.

j^ljovc Doeg interrupts a message to Michal from David telling her he is safe.

3elQW— Bethlehem the home of Tesse. David returns from the hills with his sheep.

16 Center — ^The marriage of David and M

ai of the Lives of Da^dd and Jonathan

I Samuel had commanded Saul to destroy the Amalekites and to take : • -poil, but he brought back herds,
flocks, plunder, and even Agag, King of the Amalekites. While Saul w is waiting at Gilgal, Samuel ap-
peared and upbraided him for his disobedience. The old prophet, in ,.n excess of indignation, seized a
sword and hewed Agag to pieces and left Saul with the warning that In, kingdom would be taken from
■him and given to another. At this point begins the photodrama.

1 Samuel receives a revelation to go to Bethlehem and there find one tu to become great
•in Israel. He takes with him a heifer for sacrifice and appears before Jesse
in Bethlehem. Six of Jesse's sons are presented and Samuel is ab.iut to
select Eliab the eldest when a warning comes to Samuel, and on his d.-niand

sse signals for David
10 is with his sheep.
While David is telling

father and brothers about
s fight with a lion, Samuel
itens and decides to anoint
avid, but DaWd does not
nderstand that he is anointed to become
ing. Doeg, the Edomite. of alien race.
!es the anointing and later uses the fact

inflame Saul's jealousy.

The fields of Boaz, the oriental life, and
le always beautiful scene of Ruth and
aomi are strikingly presented.

Saul orders his army in battle array to
leet the Philistines, coming in great

rdes over the hills. The Philistines put forth
leir champion. Goliath, to fight a duel, the

lult of which shall determine which side
tall be victor. Saul trembles and will not
Jonathan fight the giant. David, bringing
revisions, finds his brothers in fear of the
iant and, against their counsel, offers to fight

Goliath, in contempt of David's size, throws
ack the "visor of his helmet so that the stone
lirown by David reaches its mark.

David's slaying of the giant encourages the

raelites and arouses the admiration of Jona-
lan, so that the foundation of an everlasting

endship is there laid. Jonathan proposes and i j i l- c ■ -c t

ley take a sacred covenant of blood brotherhood before the prophet, Samuel. Into this scene is condensed the history ol a signincant.

icient custom from which raanv modem fraternal ideas have been d'velnped. j t rt -A

David returns to his flocks; Saul's malady grows rapidly worse. Jonatlmn persuades Saul after one of his paroxysms to send lor uavia
expel the evil spirits bv his music. , ., i j-a . •. ^ -. tk.

David in Saul's court giiickly gains favor and excites jealousy. In this scene, and m many others of widely different situations, tne
Ventv-third Psalm is developed, and the theme of Browning's poem. Snul. is visualized.

The people rejoicing over David's victories arouses Saul's jealousy, and Doeg plots with Saul to send him agamst the Philistines so tlut

^T^e picture' rapidly sketches in thrilling scenes, the home life of Saul's daughters, David's courtship and marriage, his advancement Saiil's
kalous rage. Doeg's plotting. David's escape, Jonathan's fidelity, and Saul's pursuit of David through the vaUeys and mountains for ten

,bove— Saul and Doeg plot to send David against the Philistines with scan- troops. ^^
low— "And I will shoot three arrows on the side, thereof, as though I shot at a mark.
"or his victory over the Philistines. »7

(Continued on page 20)

W> I SUGGESTED PROGRAMS

PROGRAMS FOR VARIED PURPOSES

The pictures listed in the suggested programs given be-
low, of which many were released for exhibition several
months ago, should all be available at the exchanges of
the companies by which they were produced or by whicli
they are being distributed. In planning these programs the
nature of the institution or purpose for which they are
designated has been taken into consideration, and the pic
tures chosen are of the best quality.

FOR BOYS OR GIRLS AT SUMMER CAMPS

CANOE AND CAMPFIRE—Kepiiblic.

( Prizma color production showing tiie result of carelessness of
campers in leaving behind thera partially extinguished fires. This
picture contains some remarkable views of forest fires in natural
colors. )

NEWS REEL

SATURDAY— fr;mrtus Players-Lasky

(Briggs comedy showing how Skinney puts in his Saturday scrub-
bing the steps, and also his adventures in the old swimming hole,
and his endeavors to escape his Saturday bath.)

HEART 0' THE HILLS— f(>i/ National

(Five-part storv of the Kentucky mountains, featuring Mary Pick
ford. )

FOR SUMMER SCHOOLS

PATHE REVIEW No. 29

(Containing slow camera views of juggling. There is also shown
the making of lenses, sextant mirrors and prism binoculars, date-
raising in California, and scenes of beauty in France.)

KILAUE.V— /?e/)u6/(f

(Shewing wonderful natural color views in the crater of the
Hawaiian volcano. I

MOVING DAY— Cnldwyn

(A Carter De Haven comedy in which a young couple attempt to
move to another house, and meet with amusing difficulties through
a misinterpreted order.)

BROKEN BLOSSOMS— United Artists

(A 1). W. Griffith production, proving by means of a Chinaman
that kindness of heart and poetry of thought belong to no in-
dividual nation or race — a wonderful human interest story.)

FOR HOSPITALS

THE WANDERER AND THE ^VHOZITT— Educational Films Cor-
poration

{A story of two dogs who met in the hills and formed a com-
panionship in the great outdoors, contains comedy situations.)

KINOGRAMS— (Preferablv a late issue)— Republic

FROM HAND TO MOUTH— PorAe

(A clean farce comedv. featuring Harold Lloyd.)

RED HOT DOLLARS— famous Players-Lasky

(An entertaining Charles Ray comedy in which a pair of lovers
find themselves at the mercy of a business quarrel between their
respective guardians.)

FOR ASYLUMS

THROUGH WINDING WALLS— Educational Films Corporation

(A beautiful Chester scenic displaying the charms of the Ausable

river and chasm.)
THE KID AND THE COWBOY— Universal

(A Western comedy-drama of fine quality.)
FOUR TIMES FOILED— ^(/ucafiono/ Films Corporation

(An amusing animal comedy in which a monkey is one of the

chief actors.)
LUCK IN PAWN— FamoHs Players-Lasky

(A bubbling comedy-drama featuring Marguerite Clark.)

FOR PRISONS

NEWS REEL < Preferablv the latest.)
PATHE REVIEW No. 39

(Showing "The Walled City of the Wasp," "The Dust that Builds

Cities." and a slow motion number called "Eight Hands vs. One

Bounce.')
ERSTWHILE SUSAN— «cfl/«r(

(.A six-reel story of life among the Pennsylvania Dutch farmers.

featuring Constance Cinney.)
BACK ST.-VGE — Famous Players-Lasky

(A two-reel farce comedy on the troubles of a traveling stock

company, featuring Roscoe Arbuckle.)

FOR PARKS AND PLAYGROUNDS

JOHN BURR0UGHS-7?e/)«fc/ic

(A Prizma natural color film, picturing a delightful day sf

by a couple of children in the company of the famous naturali
MONKEY CAPERS — Educational Films Corporation

I A series of amusing scenes in which the unconscious corned)

the species prevails. )
TO.M SAWYEK— Famous Players-Lasky

I An adaptation of Mark Twain's "Adventures of Tom Sawyi

fealuiing Jack Pickford. I
THE KITCHEN LADY— FomoHS Players-Lasky

i A Mack Sennett farce comedy in which a slavey turns out .

be an heiress.)

FOR CHAUTAUQUAS

NEWS REEL

(Preferablv the latest.)
COME WATCH WITH ME THE PASSING NIGHT— Famous PI

crs-Lasky

tA beautiful Post scenic including a number of delightful ck

studies. )
WHEN THE CLOUDS ROLL BY— United Artists

(A Douglas Fairbanks comedy of which mental suggestion form

part. Amusing dream scenes in slow photography follow

over-indulgence in lobster salad. The picture has also a pleasi

love interest.)
CO.MPANY— Famous Players-Lasky

( A Briggs comedy presenting a sketch of .\merican country I

in a homely and amusing way. )

FOR INDUSTRIAL OR VOCATIONAL SCHOOLS

MAGIC CLAY— /?e/)u6/ic

l.\ Prizma natural color demonstration of the art of making p

terv — an especially artistic industrial. )
TROUT RAISING— «ep«6/ic

I Interesting incidents in the life of a trout, according to I

Prizma natural color method. )
A GAY OLD BOG— Paihe

(Five-reel comedy of exceptional merit, featuring John Cumbi

land.)
THE FLOWING BOAD—Goldwyn

(A Ford scenic, beautifully photographed, tinted and tonnl.

LISTS OF APPROVED FILMS

Issued by Centenary Conservation Committee, Division of Stei
opticons. Motion Pictures and Lectures.Methodist Episcopal
Church. Ill Fifth Avenue, New York City

If unable to secure address of nearest film exchange of desiti
company, write the company at New York address, for informatio
enclosing postage. If in question as to necessary cuts apply to tb
department. If any parts are cut out they must be replaced wi.
scrupulous care and accuracy, or damages will be charged ai
further service cut off.
WORLD AT COLUMBUS

6 reels, distributed through -\rea Offices. Rental $20. First thn
reels sketch origin of Methodism and show the Centenary Celebr.
tion at Columbus. Reel four gives a brief idea of the Wayfare
Reels five and six present the Centenary program visually.

STREAM OF LIFE

7 reels. Plymouth Film Corp.. 784 Broad street. Newark. N.
Rental §25. Story of a country boy who came to the city an
found success but lost his religion. His experiences of life tall
him through the phases of doubt, unbelief and bitterness till I
last he finds God again. A beautifully strong, evangelistic pk
ture. Best religious story ever put in pictures.

MANGER TO CROSS

5 reels. Vitagraph. 1600 Broadway. New York. Best thing of j)
kind ever done. Unqualifiedly endorse for single evening or it
five nights with sermon series on the life of Christ.

SATAN'S SCHEME

5 reels. Paragon Film Bureau, 811 Garrick Bldg.. Chicago, II
Built on Bible prophecy. "The seed of the woman shall bruise tb
liead of the serpent. " Biblical — fine. Inspect for manv cuts.

GOD AND THE MAN

6 reels. Shows preaching of John Wesley and work of earl
Methodists, a story of love and hate and victory of love. S. H
lladley, 130 West 46th street, New York City, care Frank Hall. ,

iSEAREK .\n GOD TO I'HEF.
5 reels. Reginald W arde, 7l9 Sevciilii avenue. New York City.

' \ erv tine slorv; story ot naiicnback orguiiisl. Lnglish tilm.

JFEOF -MOSES
5 reels. Beseler Film Co., , 1 West 23rd street. New York City.

, Could be nsed excellently with Sermon series on Life of Moses.
Good as olil material goes.

THE M1II.\CLE .MAN
8 reels. Famous Players-Lasky Corp., 485 Fifth avenue. New York,
N. Y. Considered the best picture produced in 1919. Splendid
story of the power of divine faith in the healing of the sick and
the transformation of sinners. There is much of the underworld

' vividly pictured, and the picture should therefore be inspected
in advance of showing to determine whether for the conditions
under which it is shown certain cuts must be made. \^ atch par-
ticularly for bathroom scene in Reel 3. If cuts are made he
sure to reinsert after using.

I^ASSING OF THE THIRD FLOOR BACK
5 reels. First National Exhibitors Circuit, 6 W est 48th street, New

' York. N. Y. Great sermon. Cuts necessary.

JIGN OF THE CROSS

4 reels F. P. Great sermon on present day demands of Christian-
ity. Cut Bacchanalian scenes in reels 3 and 4.

THE TtRN IN THE ROAD

5 reels. Robertson-Cole. 1600 Broadway, New Y'ork City. Great
Sermon. Influence of cliild's faith on hard old man. Two cuts
in third reel.

REDEMPTION OF DAVID CORSON

I 5 reels. F. P. Cuts but verv strong storv sermon.

[VIARTYRDOM OF PHILIP STRONG

5 reels. F. P. From Sheldon's book. Inspect carefully for cuts.

::annibals of solth sea isles

Robertson-Cole. New York City. 4 reels. Fine missionary picture.
Cuts in first, third and fourth reels.
JON AND THE MOUSE

6 reels. Vilagraph. Fine story. Entertainment.
THE wishing ring MAN

5 reels. Vitagraph. Good story.
fANKEE PRINCESS

5 reels. Vitagraph. Good. Cut reel 5 — drinking scene — repulsive.
DADDY LONG LEGS

7 reels. Mary Pickford. \ ery fine, possible cut in second reel.
Inspect this reel. Entertainment. First National Exhibitors' Cir-

HOO.s'lER SCHOOL MASTER
5 reels. Beseler Film Co., 71 West 23rd street, New York City.
Good entertainment.

^fEIGHBORS
5 reels. World Film Corp.. 130 West 46th street. New York Citv.

JHOST OF SLIMBER MOUNTAIN
5 reels. World. Good entertainment.

.ITTI.E ORPHANT ANNIE
5 reels. World. Good entertainment.

^AITH
5 reels. Metro Film Company, Longacre Building, New York
Citv. Strong storv. Good entertainment.

THE DEEMSTER
7 reels. Arrow Film Co.. 220 West 42nd street. New York City.
Fine, strong, artistic dramatization Hall Ciine's fiovel. Could b-
I'sed as sermon. Four cuts, reel 1. Ta\f-rn scene. Reel 2. "why
pay tavern." Reel 4. Cut drink. Reel 5, Cut "Sign of Cross."

TARZAN OF THE APES
First National Exhib. Circuit. Wonderfully interesting entertain-
ment. Inspect for cuts. 7 reels.
HE DRIFTERS

5 reels. W. W. Hodkinson Corp.. 527 Fifth avenue. N. Y. C.
Grippinc story of Yukon and fight against drink. A fight to for-
get in drink and a fight to remember — beautiful love story. Con-
siderable drinking — usually necessary for plot.
HE CRAB
Triangle Film Company, 1459 Broadway, New York City. Good

5 reels. Crabbed old man — melted by child. Two cuts. Reel 3.
Reel 5. cut title.

THE BLUEBIRD

6 reels. F. P. Sermon or week night. Cut Springtime Reel 5.
Cut Reel 5. Just before stars rise. Cut Reel 5, Unborn children
long strip. View 5 carefully for cuts.

JAWN OF A TOMORROW
5 reels. F. P. Sermon or week night. Two cuts. Frances Hodg-
son Burnett's storv. Splendid. Mutual Film Corp., 1600 Broad-
way. New York Citv.

BYES OF THE SOUL

5 reels F. P. Cabaret girl (pure! engaged to rich judge. Auto
strikes blind soldier. She realizes he represents salt of earth
scattered. She gives all her time and strength to caring for him.
Learns to love, and becomes the eyes of his soul. Beautiful
story and strone plea for the disabled. Several cuts. Reel 1. four
cuts. Reel S. three cuts.

li'RECKLES

5 reels. F. P. Splendid photoplay of book. No cuts. Jaik
Pickford.
;ENTLE\L\N FROM INDIANA
5 reels. F. P. Splendid photoplay of book. No cuts. Famum.

•i.l AT EXPECTATIONS

' reels. F. P. Fine Dickens story. Few cuts.

'W COl LD YOU JEAN

' reels. F. P. Good story — beautiful scenery — few cuts.
HMK. .YND TOM

' reels. F. P. Rich Mark Twain story.
LI r ILE WO.MEN

fi reels. F. P. .\dmirable for Mother's Day or anv time.
'U IVER TWIST

■') reels. F. P. Fine, few cuts.
I'AKSON OF PANA.MINT

5 reels. F. P. Fine. Inspect for cuts.
I'KINCE AND PAUPER

5 reels. F. P. Fine.
SNOW WHITE

7 reels. F. P. Fine.
SEVEN SWANS

V. P. Fine. 7 reels.
ROMANCE OF HAPPY VALLEY

Marv Pickford. 6 reels. F. P.
THE SECRET GARDEN

Extra good story. 5 reels. English parents die in India. Child

reared bv guardian in England. F. P.
.STRING BEANS

5 reels. F. P. Charles Rav. Wholesome country story.
THREE MEN AND A GIRL '

-Marguerite Clark. 5 reels. F. P. Good story.
YOU NE\ER SAW SUCH A GIRL

5 reels. F. P. Good clean story.
LESS THAN THE DUST

5 reels. F. P. Fine. Mar\ Pickford.
WHITE HEATHER

5 reels. F. P. Thrilling storv. Beautiful Scotch scenery.
TALE OF TWO CITIES

7 reels. Fox Film Co., 126 West 46th street. New York City.

Faithful, wonderful portrayal of Dickens' novel.
TO H.WE AND TO HOLD

5 reels. F. P. Beautiful dramatization of -Marv Johnston's book,
DR. JEKYLL AND -MR. HYDE

7 reels. F. P. John Barr\more. Very wonderful drama.
LITTLE MISS OPTIMIST

5 reels. F. P. Vivian Martin. Good lesson, splendid story.
PRIDE OF THE CLAN

6 reels. F. P. A really interesting picture with Mary Pickford at
her best. W'atch Reel 3 for cannibal scene.

COMEDIES
ONCE A MASON

2 reels. Drew-F.P.
AMATEUR LIARS

2 reels. DrewF. P. O.K.
ROMANCE AND BRASS TACKS

Drew-F. P. 2 reels. O.K.
BELL BOY

-Vrbuckle. 2 reels. F. P. Two cuts. Reel 1. dancing; Reel 2,

dancine.
ROMANCE AND RINGS

Drew. 2 reels. F. P.
LOVE

Arbuckle. 2 reels. F. P. Three cuts.
HIDE AND SEEK COMEDY

Sennett-F. P. Tolerably good, inspect carefully.
ONE EVERY ^HNUTE

FlagE. 2 reels. F. P. Tolerably good, inspect carefully.
VILL.\GE SMITHY

2 reels. Mack-Sennett-F. P. Cuts— Reel 1, Reel 2, two cuts.

Borders on vulgar but funnv.
TELL IT TO THE MARINES

2 reels. Flagg-F. P. Inspect carefully. Reel 1, cut dance. Reel

2, cut title.
SCARED STIFF

1 reel. Universal. 1600 Broadway, New York, N. Y'. Two men

think they have killed each other.
PATRIOTIC MANDY

1 reel. Drew-Metro Film Co., New York City.
MUSIC H.\TH CHARMS

1 reel. Drew-Metro Film Co.. New York City.
M \TCH MAKER

1 reel. Drew-Metro Film Co., New York City.
] KST WE FORGET

1 reel. Drew-Metro Film Co., New Y'ork City.
; f:NRY"S ANCESTORS

1 reel. Drew-Metro Film Co., New Y'ork City.
irONO^HC INDEPENDENCE

1 reel. Drew-Metro Film Co.. New York City.
THE DENTIST

1 reel. Drew-Metro Film Co.. New York City.

COINUC FEATURES

( \I'T. KIDD. JR.

Y. P. 5 reels. Mary Pickford. Six cuU. Delightful eniertain-

ment.
HE COMES UP SNHUNG

Doug. Fairbanks. 5 reels. F. P. Fine.

HIT THE TRAIL HOLLIDAY

5 reels. F. T. Wonderful temperance propaganda and side-
splitring comedy, few cuts. Barroom scenes essential to story.
JOHNNY GET YOUR GUN

5 reels. F. P. Fred Stone. Very funny.
STRINGBEANS

Charles Ray. 5 reels. Wholesome fun. F. P.
REACHING FOR THE MOON

Douglas Fairbanks. 5 reels. F. P. Good fun. Clean. One
scene in reel 1, men at table. View in advance to determine
whether to cut.

WAR AND PATRIOTIC

CRASHING THROUGH TO BERLIN

6 reels. Universal.
EVERY MOTHER'S SON

5 reels. Fox. Beautiful war story. Every mother's suffering.
Tried to hold back lliird son from war. Awakened by refugees
from submarine atrocity.

THE GIRL WHO STAYED HOME

7 reels. GrifTith-F. P. Girl makes over her worthless, slacker
lover. Three cuts.

HEART OF HUMANITY

6 reels. Universal. Good war story. Few cuts
MY FOUR YEARS IN GERMANY

Gerard. First National Exhib. Circuit. New York City. 8 reels.

UNDER FOUR FLAGS

5 reels. World. Fine.
PERSHING'S CRUSADERS

First National Exhib. Circuit. 7 reels.

THE WARRIOR

6 reels. Metro. Maciste the Italian Giant. \S ar between Italy
and Austria. Marvelous exploits, scenes and mountain fighting.

FIGHllNG ROOSEVELTS
5 reels. First National Exhib. Circuit. Fine.

LINCOLN CYCLES

10 sets, 2 reels each. Beautiful, humorous, historical. One of
the finest things I know. Write us for catalog. 85.00 per cycle
of two reels. Famous Players-Lasky Corporation.

CHILDREN'S PICTURES

JACK AND THE BEANSTALK SNOW WHITE

10 reels. Fox. Great. 7 reels. F. P. Great.

PRINCE AND THE PAUPER TREASURE ISLAND

5 reels F. P. Fair. 6 reels. Fox. Fox Kiddies.

HUCK AND TOM SEVEN SWANS

5 reels. F. P. Fine 7 reels. F. P. Great.

TOM SAWYER LITTLE ORPHANT ANNIE

5 reels. F. P. Fine 5 reels. World Film Co.

FAN FAN

.S reels. Fox Film Co., 130 West 46th street. The Fox Kiddies.

Inspect Reel 2 to determine whether to cut out stork.
THE NEW \S IZARD OF OZ

.5 reels. Alexander Film Co., 130 West 46th street. New Y'ork.

Watch for outs in Reels 1, 3 and 5. Excellent children's story.
RAGGED GIRL OF OZ

Alexander Film Co. Watch for cut in Reel 2, fairy sprite ringmg

bell. Excellent children's storv. 5 reels.
HUCKLEBERRY FINN

5 reels. F. P. One of finest Mark Twain stories. Excellent

picture for children.
ALI BABA AND THE FORTY THIEVES

5 reels. Fox Film Co. Delightful children's stories by the Fox

Kiddies. Might be wise to view in advance of showing for any

possible cuts.
LES MISERABLES

9 reels. Fox Film Co. Great storv. Victor Hugo. ExceptionaL
MOTHER O' MINE

5 reels. Universal Film Companv.
20.000 LEAGUES UNDER THE SEA

7 reels. Universal Film Co., 1600 Broadway. New York City.
Fine, few cuts.

MOTHER'S DAY

EVERY MOTHER'S SON

5 reels. Fox.
MOTHER 0' MINE

5 reels. Universal Film.
LITTLE Vn'OMFN

6 reels. Famous Plavers.
'■MY MOTHER'"

Lincoln Cvcle. 2 reels. Famous Players.
TENDER MEMORIES
Lincoln Cycle. 2 reels. Famous Players.

SHORT SUBJECTS

BURTON HOLMES TRAVELOGS

F. P. $2..50 per reel. There are hundreds of these. Write con|l
pany for catalog. Fine with stereopticon lecture sermon.

BR-AY PICTOGRAPHS

Goldwyn Distributing Corp.. 509 Fifth avenue. New York, N. \

BURLINGHAM TRAVELOGS

F. P. Write company for list.
POST NATURE SERIES

F. P. Marvelous. Write company for list.
.NE W.MAN TRAVELOGS

Educational Films Corp., 729 Seventh avenue. New York City.

BRUCE SCEMCS

Educational Films Corp.
KINETO TRAVELOGS

Kineto Co., 71 West 23rd street. New York.

EDUCATIONAL FILMS CORP. OF AMERICA
729 Seventh avenue. New York City. Have many very fine edu
national pictures. Write them for catalogs.

ATLAS FILM CO.

Chicago, 111. Write for catalog. Very reasonable. Religious ani
educational films. Somewhat old. Owing to the fact that thei
office is in Chicago we are unable to inspect or list their films.

PRIZMA

\\ rite us for full catalog of Prizma. natural colors, incomparabL
beauty. Special church rate of S5 per reel, very cheap con
siilering qualitv.

FORD WEEKLIES

1 reel. -Sl.OO a week. Released through Goldwyn Distributinf
Corp.. 509 Fifth avenue. New York City.

GOVERNMENT FILMS
For information concerning these films, it will be most satisfactor
to apply direct to the Bureau of Commercial Economics. Wash
ington. b. C. (Not a government but a private bureau.)

INDUSTRIAL FILMS

By applying to your local Y. M. C. A. Secretary, or if you hav>
none in your town, by application to the "Y" in your neares
city, you can get information and lists. This is usually a fre^
service.- -carriage charges only to be paid by you.

CHRISTMAS

SNOW WHITE

7 reels. Famous Players.
SEVEN SWANS
7 reels. Famous Players.

Rental — It is impossible to induce film companies to put a figun
on these but a letter to the exchange manager, asking for specia
consideration, will usually be very effective. An average of abou
$2.50 per reel may be maintained, wliich is very considerablv le
than the rental price to regular exhibitors.

Promptness in return shipment and care in use of film are ab
solutely essential to maintain the good will of exchange managers

F. P. is Famous Players-Lasky Corp., 485 Fifth avenue. Nev
York, N. Y. The New York address of each film company appear
with its first mention in the foregoing list.

The American Red Cross has a large list of films of an educa
tional, scenic and industrial character in one and two reels. Renta
ranging from $\ to $3. Write American Red Cross. Motion Pictun
Dept.. 220 West 42nd street. New York, N. Y.. for address o
nearest division and for catalog of films.

REVIEW OF "THE CHOSEN PRINCE"

(Continued from page 17)

years. The Judean hills, clothed with cedar and spreading oak as ii
Davids time, are reproduced in the ieauty that inspired the psalmis
to lift his eves to the hills whence came his help.

At the end of ten years David has an opportunity to slay Saul, bui
he remembers his vow with Jonathan, and makes his escape to Ziklag
in the land of the Philistines.

Saul in his rage causes the priests of Nob to be slain, attempts U
kill his own son. and yet there are moments when his weakness en
lists sympathy. David, in exile, lives the simple life of poet anc
singer. In Saul's last battle on the plains of Esdraelon the Philis.
tine chariots ride down the Israelites; Jonathan is slain; and Saul
coming upon the dead body of Jonathan, falls by his own sword. A
thrilling chariot pursuit occurs wlien the .\malekite flees with tiding!
to David closely pressed by the warrior Jashobeam.

David in Ziklag weeps over the news of the death of Jonathan,
and refuses the crown given him by the Amalekites who stole il
from Saul's body.

David returns to Hebron amid great rejoicing, is reunited _ to
Michal, and the prophet Gad places Saul's crown upon him as king
in Judah. The crippled son of Jonathan is adopted by David. Inf
excess of joy David chants the last verse of the twenty-third psalm

The photodrama having taken its living characters through love
and intrigue, ambition and fidelity— in closing, enjoins universal
brotherhood and fidelity to friendship.

The simplicitv of the times gives value to the story; the ruggea-
ness of these primitive characters emphasizes their fine sentiments.

The Chosen Prince: 8 reels. Distributed by United Projector and Film
Co., on Safety Standard film only.

LANTERN SLIDES

A NEW IDEA IN EDUCATIONAL ENTERTAINMENT

The Americanization Lecture-Slide Series Prepared by
Rev. Dr. Newell Dwight Hillis Is Unique and Effective

BY E. M. Hint

Cooyright

by Newell Dwight Hillis

Photograph posed by
Victor Animatograph Co.

AN entirely new plan
for exhibiting stere-
oplicon slides in
connection with lec-
ture work has been worked
out recently by the Better
America Lecture Service.
The new plan is called an
Educational Entertain-
ment and consists of ten
especially illustrated pic-
ture lectures by Rev. Dr.
Newell Dwight Hillis,
successor to Henry Ward
Beecher, and famous as
pastor of Ply-
mouth Church,
Brooklyn, N. Y.

The picture
lecture idea
promises to fill
a long-felt want

"pRIMINALS F.\IL," one of the impressive
^-^ slides of the "Better America" series.

now felt by
churches. Sunday schools and welfare workers in factories,
Chautauqua circuits, clubs, and other organizations where
there is a continuous demand for new features of a digni-
fied, yet interesting, character.

Lectlhes Written First, Then Illustrated
The Hillis lectures have a great many of the attributes
of the movies. The incidents are intensely dramatic and
the slides are made up with a keen eye to the sort of pic-
ture the public appreciates. Instead of producing a series
of slides and writing the description around each, which is
the generally accepted plan of lecture courses, these lec-
tures were wTitten first and illustrated afterwards. Those
who have seen them say that the success of this combination
is unusuallv brilliant and overcomes a great manv of the
objections often made bv lecturers to the use of the so-
called "'canned"' lecture.

The big theme behind the first of the Hillis series, com-
prising ten lectures in all, is Americanization. Dr. Hillis
wrote the lectures after a trip through the middle west in
which he gave especial attention to the influences behind
the big strikes which so agitated the entire country. He
visited Gary. Indiana, Boston, Pittsburgh and other strike
I centers to try and find out the type of mind involved in
I this agitation and think out a way to reason with it.
: \^Tien the lectures first appeared, they immediately at-
! tracted the attention of Henry M. Leland, president of the
I Lincoln Motors Company, who interested a group of Mich-
j igan manufacturers in giving them as a part of their in-
j diistrial Americanization program in Detroit and at other
Michigan points. The lectures caught on with the work-
ers at once, because they contained the very essence of
what was needed to arouse inspiration and patriotism and
1 dispel the feeling of antagonism which had been growing
up in the minds of workers.

Facts, Nor Arguments

The lectures do not contain arguments; they merely pre-
sent facts. But the facts are so striking and impressive and
so full of dramatic appeal that in many cases the audiences
in these Michigan towns actually cheered when the lecture
was over.

Dr. Hillis' peculiar method of digging deep into history,
piiilosophy, sociology, geography, and human nature it-
self seems to furnish, for many different types of persons
who are called upon to reach big audiences, an entirely
new equipment. Here is one of the passages from the
first of the lectures:

■'Then along came a man of ability. Look at these new looms in
Manchtster, N. H. They weave a strip of coUon 3.500 miles in
length, and do this between Monday morning and Saturday noon.
Now start a train of cars from Boston to San Francisco; let the
train be the Empire Express; make that train run seventy miles
an hour during the five and a half days of nine hours each, and
the train will not cover the 3.500 miles of length of cloth woven
by these new looms. What makes the difference between that old
spinning wheel and this new loom? It is ability and not labor."

This type of discourse is not expressed alone in the above
passage but continues throughout the entire ten lectures,
while the slides fix the subject vividly in the mind of the
hearer.

An Education in Americanism

The entire series of ten lectures is, in reality, a liberal
education, for the manuscripts as furnished to speakers

Copyrichl by

-Newell Dwight Hillis

Photograph posed by
Victor Animatograph Co.

■rjRUNKARDS FAIL." another striking slide from the "Better
America" Lecture Campaign.

exactly in the form in which they were given cover every
[lossihle phase of successful American life, pointing with
^ibsolute sureness the permanent and positively sound ideals
iif the American form of government.

The lectures are not a mere recital of American history,
nor do they contain any specially pointed moral, but it is
ililficult to imagine any collectio:) of hearers who leave a
K-tture hall without an unfailing and definite idea that the
L'nited States is the best place to live in. that American

men are the best men to work for, and that American life
is the best kind of a life to live in a clean, honest, and
wholesome way.

The following talk goes with Slide ISo. 7 of the first
lecture on "The Sanctity of Property"' and it will do every
honest American and every would-be American much good
to hear it and ponder over it:

Lincoln's W.\rning

Abraham Lincoln is our best loved American. His intellect was
solid sunshine, and his heart was full of love for slaves and the
poor. Lincoln was a man of genius. God gave him a vision of
the future. One day he heard that a mob had looted buildings
in New York, and he became alarmed. In that hour, Lincoln
called before his mind all of the American people. He told them
plainly that "no state is safe that does not assure security to the
property of its citizens." He saw that the home was our first
American institution. Lincoln knew that it was the love of the
family that inspired in men invention, industry and thrift. In
his desire to safeguard his wife and children, in the event of death,
the husband and father toiled tirelessly to build a liouse and grow

money against the

words of warn-

.\thens. and

fe that does

ty to the

citizens.'"

iiis garden, and save a little
future. How solemn these
ing after Palmyra and
\pres, — "no state is sa
not assure securi
property of its

And these
talks to accom-
pany the tenth
and eleventh
slides of the
first study em-
phasize facts and
truths which lukt
warm American-,
parlor bolshevists, .;j
and radicals of all
shades of red from baby
pink to deepest scarlet
should take to heart be-
fore they go too far on
their mad plunge into
the unknown:
10th Slide. Trotsky.
THE Bolshevist

No city, country or re-
public can be safe that en-
dures traitors like Trotsky.
That malignant and apostate
Jew named Braunstein, has
changed his name to "Trot-
sky." He is typical of many
aliens in New York. He
looked toward the riches of
the Llnited States as rats
look toward the cheese, as
burglars look toward the
door of a sleeping house-
holder. They have no stake in the republic. They are furious with
anger, because Daniel Webster in his address before the supreme
court obtained the desision that "Christianity is a part of the com-
mon law of our land." Our language is not their language. Our
heroes are not their heroes. They get their livelihood in this republic.
Ihey have their own foreign language newspapers, organize con-
spiracies to keep the Bible out of the public school, utterly refuse
to play the business game in the American way with the result
that there is a tide of indignation rising in this country like the
advance of a majestic storm. These men who are secretly traitors
to this country, and who are sharpening their knives to stab the
republic in the back, will be swept out of the national house like
cockroaches, mice and vermin. The people of this republic have
reached the stale of mind where they will no longer permit any
Trotsky to repeat his advice to his followers in New York, — "Throw
down your spade, buy a gun and be rich before dark."

11th Slide. Founders of the Republic Guar.\nteed
Security to Property

The founders of the republic were men like Washington, Franklin
and Hamilton. They were not only giants of i)hysical strength, but
giants of intellect. At the ver> beginning they saw that civilization
was based upon first, security of life, and second, security of prop-

■ ■ ii''Mn|Mi Ji ■ h

■ ■ ■ ■ (i'«;C p'm •

■ ■ ■ » ■•••'tSs'ft * «

■ ■ .■ ■

■ ■ ■ ■

■ ■ ■ '

■ !■■'

'"PHESE Jhree slides, which form part of Dr. Hillis* notable

series of ten lectures to bring about a "Better -\merica," apply
in pictorial story form the theme "Ignorant Men Fail." At the left
— Man reads of the great value of fresh water pearls. In the center —
Going home, he finds that his child has broken with a hammer
the white object discovered in the clam shell. At the right — In taking the broken
pieces of pearl to an expert he was told that it was the most beautiful fresh water
pearl the expert had ever seen, and had his child not broken it the gem would have
been worth thousands of dollars.

erty. They knew that the Bible said. "Thou shalt not kill," to saf<
.uard man's life. They knew the Bible said, ""Thou shalt not steal,
to safeguard mans property. Therefore, they based our governmeD
upon the sanctity of life and the security of property.

To go with Slide I\o. 22 of "Sancity of Property" lectur

are these words: "Look at this steel mill near Pittsburgh

.\nd now look at this mob assembled to loot that mill.'

Then comes Slide No. 23, "The Mob and the Revolutionar;

Leader," with this illuminating explanation of the frac

tional part which labor plays in the production of stee

nd which it is hoped many thousands of laboring mei

throughout the country will see and appreciate:

It is at this point that the I. W, W. claims that since labor pu
its hand into a ton of steel, the steel rail belongs to the workman
just as the fish pole belonged to the boy that made it. But thi
difference is right here. That boy and that boy alone made thi
pole and the whistle, but this steel worker was only one of sevei
in a series who made the steel rail. First was the explorer, wh<
found the iron ore in Michigan; second, the manufacturer win
bored the ore and developed the mine; third, the man who risket
liis savings and built a little railway to carry the ore to Duluth
fourth, the group of men who built the barge to carry the ort
to Buffalo; fifth, the man who built the furnace to produce th<
jiig iron; sixth, the man who risked a fortune on a steel furnace;
and seventh, this foreign workman. I. W. W., who rolled the hoi
steel into a rail for the road. It is silly for this man to say. "Laboi
produced this steel. It is ours." The essence of a thousand revo
lutions is in this stupid and hypocritical lie that muscle men oht

the rail, because they madt
it. More than six-sevenths
of that steel rail belongs to
the six men of ability who
brought the rude iron ore
from Michigan, on and on
llirough the steel furnace
ready for the last workers'
hands.

The Hillis picture lee
tures are offered for ren
tal on a basis of S50 for
the ten, payable ini
two payments of S25
each. They are
being used all
over the coun
trv: most of
the slides
were specially
made by the
\ ictor ."Vnimato
graph Company,
Davenport, Iowa,
Manv were specially"
osed and all are artis-
tically colored under the
supervision of Hostetler,
famous for his similar
work in the movies.

A partial list of the subjects covered by a few of the
lectures follows to indicate the type of educational enter-
tainment which is being offered.

First Study: The Sanctity of Property, as the Logical
Inference from the Sanctity of Life.

Second Study: How Ability Can Increase the Worker's
Wage and the Country's Wealth.

Third Study: The Loyal Classes WTio Build the State
and the Enemies \^Tio Undermine It.

Fourth Study: \^Tiy There Is No Excuse for Poverty in
Our Country.

Fifth Study: How Bolshevism Ruined Russia.

Sixth Study: Karl Marx's Socialism.

Seventh Study: \^1iat Our Fathers Paid.

Eighth Study: The Republic the Golden Mean.

Ninth Study: Gains of the Last Century.

Tenth Studv: America of Tomorrow.

PERSONAL SERVICE

INDUSTRIAL FILMS

Motion Pictures made of your plant, your
organization, your product, your employ-
ees,, vour processes, for sales, advertising
or welfare purposes. Specialized, high-
grade work for manufacturers, advertisers,
and production managers.

Extract from recent letter n'c received
from JVcstern Electric Co. X. Y.

"Kindly accept our thanks for the pains
you took in producing this subject for us.
which was of a ver\- difficult nature."

CONSULTATION DOES NOT OBLIGATE

Send for a copy of "A Real Achicz'ement:'

Commercial Publicity Film Co.

507 Fifth Avenue -:- New York

Phone Vanderbill 8232

USE

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This is an Era of Visualization

Visualize Educational. Ajnericanization and

Industrial Woik

Victor Standard Featherweight Slide Subjects

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122 Victor BIdg.

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Our country loses three

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year

Make vour touTi SAPE
for babies bg extermin-
ating the common

Still Pictures

The ^ hole Lee ture Set in I 'ne

Continuous Film

and t ?ed in an Ordinarv Lantern bv Means of

The TOURISCOPE Attachment

Think what
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broken
slides.

Slides never
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nor

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nor

handled

Slow Motion Tire Films

United States Tire Company Stages Gruelling
Tests for Analysis on the Screen

By E. S. Underbill

SLO\S motion pictures of the type tliat
liave amused movie devotees by slowing
down swiftly moving hodies to the point
where every action may be analyzed have
been utilized by the United States Tire
Company for a scientific study of just what
happens when a heavily-loaded motor truck
climbs a curb, drops off an elevation, or
bumps over a railroad track.

This is said to be the first time this val-
uable form of motion photography has been
used by a tire company. The results ob-
tained were so successful that the pictures
were shown at a meeting of the executive
committee and directors of the United
States Rubber Company. Among the ques-
tions the pictures will aid in solving are
the effects of heavy blows on highways,
trucks, loads and tires.

The experiments took place at the com-
pany's truck tire factory at Providence.
R. I. While the pictures contained many
spectacular elements, their chief value lay
in the scientific results obtained.

The most thrilling test from the specta-
tors' viewpoint was the truck jump. A two-
ton truck weighing 6400 pounds and carry-
ing a load of 4400 pounds — making a total
weight of 10.800 pounds for the tires — got
under full headway on an asphalt runway.
While running at top speed it mounted a
sharp incline eighteen inches high set in
its path and made an eighteen foot jump
through the air before it struck the asphalt.
At the take-off the truck was registering
twenty miles an hour. The truck was
equipped on the rear with eight-inch nobby

cord pneumatic truck tires, and on the
front with six-inch ti;es of the same sort.

The truck made the jump eight times and
the experiments came to an end without the
slightest damage to the tires. When the
tests had been concluded members of the
company's technical staff dissected the tires
in a search for evidences of damage but
none were found.

In a similar series of tests made by the
International Motor Company a few weeks
ago equally good results were obtained on
nobby cord pneumatics. The noteworthy
feature of this series was that the tires on
the trucks were a set. every one of which
had already traveled more than 25.000
miles. They all went through the gruelling
jumps without injury.

Another highly spectacular performance
for the movies was given when a truck
weighing with its load 15.800 pounds was
set astride a railroad track at such an
angle that one rear wheel and one front
wheel were in close contact with the steel
rails. When an attempt was made to ex-
tricate the truck from that position the
wheels spun around, the big ''nobs" on the
tread beating a tattoo against the rails
and causing so much friction that a column
of smoke floated up. When the truck
finally bumped its way off the track, it was
found that the tires had chewed ruts in
the ties at the points where the wheels had
spun around. But the tires bore no marks
of injury. This experiment was regarded
as a most thorough test of the tread strength
of the tires.

FLOUR MILL HLMS AT LIBRARY

Two Portland, Oregon, flour milling m»
— David A. PattuUo of the Crown Mills aB
J. A. Ganong of the Portland Flouring Mil
Company — lectured with monng picta
illustrations on a recent Friday evening, ;
connection with the monthly exhibit in Ce
tral Library. The exliibit featured Poi
land's flour and feed industry. Films sho'
ed the processes through which the grail
pass before they become flour, the model
machinery used in model plants, and tl
equipment for preparing the finished pr
duct for marketing.

INDUSTRIAL FILMS IN GERMANY'

The Deutches Lichtbilt at Berlin is
German motion picture advertising concer
backed by the government and certain pt
vate corporations such as the Krupps, whit
produces and distributes industrial film
This concern has endeavored to adverti
German industries in South America at
other foreign countries by distributing sue
films. Within the last few months it hi'
also begun industrial educational work :
Germany. This concern has lately takt'
over the National Pictoral News Week!,
which corresponds to the Pathe News. A
arrangement has been made between tl'
Deutches Lichtbilt and an American Coi
pany to exchange weekly news films.

AMERICAN FILM IMPORTS AT |
LIVERPOOL, 1918 ^

During the year 1918 cinematograph filn
from the United States were imported in;;
Encland through the port of Liverpool as ft
lows: Blanks (raw film stock), 30.625,6t
linear feet valued at S668.174; 2,628,7*
linear feet, valued at $1,095,638.

GRATITUDE FROM A MOTHER

Bruoklyn. New York.
£di*(?r. Educational Film Magazine. New York.

Sir: — A hundred and one thanks for the copicB
of your magazine just received. So far I have
read about one-half of the June issue and
glanced through both numbers. I think it is a
Tery instructive magazine, as well as an inter
esting one. and decidedly high class. I never
quite realized before what a factor the motion
picture can be made in the teaching of children

I think Miss Christiansen's article is well
written and very much to the point. I enjoyed
your own review of "Bolshevism on Trial"
immensely. It was simply written but sustained
the interest to the end.

As a mother I want to thank you for your
fight ioT clean, high class, educational pictures
You are doing a wonderful work for education,
not only in our own country, but overseas as
well. The best of health and good fortune to
you and may you live many years to realize and
enjoy all your dreams come true.

Florence D. Donnelly.

FINDS EVERY COPY HELPFUL

41 7 Fifth Avenue, New York City.
Editor, Educational Film Magazine. New York.
Sir : — I find every copy of the Educational
Film Magazine interesting, helpful, and in-
structive, and will gladly contribute to its pagci
in any way that will be conducive to the gen
cral good. G. P. Foutb.

COMPARES US TO THE GODDESS OF
LIBERTY

435 Buchanan Street, Toprka. Kansas.
ErfiVor. Educational Film Magazine, New York.
Sir: — "She is all you claim for her" — The
Educational Film Magazine, a nice little girl,
who will yearly grow toward womanhood; her
teeth are of the right size, and I like the double
space between her curls ; and her head is well
poised, like that of the Statue of Liberty; and
I know you will fill the compartments thereof
so as to extend the vision of everybody, for in
her hand is the light of the educational world.

E. C. BfeYNON.

THE CORRECT MAGAZINE STANDARD

G'.n?see Nurstrics, Flint, Michipan.
Crfitor, Educational Film Magazine, New York.
Sir: — My heartiest _ wishes for the continued
success of the magazine. I have read carefully
all your issues so far. There is no doubt but
that you are on the right track and have estab-
lished the correct stand.ird for a magazine in
the field of educational motion pictures of the
be:t and most valuable k l.iss. Everyone inter-
ested in this great contin<?nt which now lies
dimly on the screen horizon will join me in
congratulating you on the publication which you
have established. If at any time I can be of
pervice to you, you may count upon me.

Akthur E. Cl-RTIS.

WILL RECOMMEND TO THEIR FRIEND!

Grand Rapids, Michigan.
Editor, Educational Film Magazine, New Yorl
Sir: — Wo find your magazine most entertai
ing and educational and will recommend san
to our friends and to such institutions as a
interested in motion pictures for educatioc
purposes.

Ideal Electric and M. P. Theatre Supply C
SiGMUND L. Dennis. Manager.

HELPED THE "Y" GET GOOD FILMS
100 Watervliet Ave.. Albany, N.
Editor, Educational Film Magazine, New Yor

Sir: — I want to express my appreciation
your magazine. It has given me many splend
ideas and it has helped us lo get good education
ti'ms for our work.

F. H. Everingham, Secretary,
W. Albany R. R. Branch Y. M. C. A.

A MAGAZINE THEY MUST HAVE

San Antonio, TcM
Editor, Educational Film Magazine, New Yor

Sir: — ■ Sample copy received. Find enclos*
one dollar for which send your magazine for oj
year. It is a magazine we must have. Best wisht
Special Attraction Film Co.

Chas. B. Bell, Gen. Mgr.

Write the Editor what

you th ink of the magazine

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Use the VICTOR SAFETY CINEMA and
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vhen taken through a plant and
ho'VNm tlie material and quality of
'orkmanship. Tlie salesman with
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are

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y^OERWRlTOSUBOWTORiEs

MiNinTUREMonoN PiciubeM«hine
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of directors who thoroughly understand the bringing
out, in the picture, of the ? roiig selling points of a
product.

r^-C TO fi

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71 West Mohawk Street
Buffalo, N. Y.

PLAY SAFE - FEEL SAFE - BE SAFE

EDUCATIONAL FILxM MAGAZINE publishes each niontli classified lists of all motion picture films belonging 1
the various group ol which this publication treats. The aim is to give accurate and dependable information undi
each classification. This magazine maintains for the free use of subscribers an Information Bureau which vA
endeavor to furnish data regarding any motion picture film in the fields covered. All inquiries should I
addressed Catalog Editor, EDUCAITONAL FILM MAGAZINE, 33 West 42d Street, New York

PRODUCTIONS OF CLINICAL FILM CO.,
NEW YORK CITY

Dental
127— PERIODONTIA CLI.MC. PROPHYLAX-
IS fOR PYORRHEA.

Dr. Paul R. Sillmao
131— .-^PICOECTOMY; A.MPUTATION OF

ROOT.

Dr. Joseph M. Levy
135— ROOl CAX.\L FILLI.NG, TECHNIQUE

OF ASEPTIC.

Dr. R. Ottolengui
144— NURSES, TRAINING OF; N. Y. POST-
GRADUATE TRAINING SCHOOL FOR
NURSES. ARRANGED BY

Miss Murdock.
146— FRACTURE OF JAW. REPAIR OF.

Dr. A. Berger
14-a— ANGLE'S ORIGINAL METHOD OF

TAKING IMPRESSIONS 1 reelt

Dr. Edward H. Angle
147b— APPLICATION OF ANGLE'S NEW

RIBBON ARCH APPLIANCE FOR COR-
RECTION OF MALOCCLUSION ...3 reeli

Dr. Edward H. Angle
148— EXTRACTION OF TEETH, UNDER

NITROUS O.XID ANESTHESIA ....1 reel

Dr. J. D. Thomas
149— GOLD FOIL FILLING, INSERTION OF

A NOX-COHESI\E (CYLINDER METHOD

AND HAND PRESSURE) 1 reel

Dr. Edwin T. Darby

MEDICAL AND SURGICAL
151— WOUND STERILIZATION. TAKEN AT
THE HOSPITAL ROND ROYAL AT COM-
PIEGNE, FRANCE.

Alexis Carrel, M.D.
152— PLASTIC SURGERY, FACE AND JAW,
AT LYON, FRANCE.

Dr. Pont.
153— FUNCTIO.N'AL CONDITIONS CON-
TRACTED FROM LIFE IN THE TRENCHES.

Dr. Sollier.
154— REEDUCATION CENTER, AT VI-
ZILLE. FRANCE.

156— (a) CYST (INTRA-MESO-SIGMOID) ;
OVARIAN ABSCESS; LEFT— OOPHORO
CYSTECTOMY.

John F. Erdmann. M.D.
156— (b) HYSTERECTOMY FOR FIBROIDS.

John F. Erdmann, M.D.
157— BLOOD TRANSFUSION (CITRATE
METHOD).

Richard Lewisohn, M D.
158— BO.NE-GRAFT (INLAY), REPLACING
PORTION OF HUMERUS-

Fred H. Albee. M.D.
159— ENDOSCOPY AND CYSTASCOPY.

Edgar G. Ballenger. M.D., and

Omar F. Elder, M.D.
162— REMOVAL OF CYST.

Dr. A. Berger
163— APICOECTOMV: AMPUT.-^TION OF

ROOT.

Dr. A Berger
164— POSTERIOR GASTROENTEROSTOMY
FOR PYLORIC STENOSIS-

Beni. T. Tilton, M.D.
165— DERMOID CYST OF BACK.

Fred H. Albee, M.D.
169— PERINEAL PROSTATECTOMY.

Parker Syms. M. D.
171— rONGENTTAL CLUB FOOT ADULT

ASTRAGALECTOMY, CORRECTION.

Fred H. Albee, M.D-
175— DENTAL PROPHYLAXIS (IN FOUR

PARTS) 4 reel!

Dr. Alfred C. Fonts
176— THE DENTAL HYGIENIST (IN THREF,

PARTS) 3 reel*

Dr. Alfred C. Fones
179— TRANSPLANTATION OF TENDON

FOR INFANTILE PARALYSIS.

Fred H Alhee, M.D
]f<2— HAWLEV TABLE— ITS USES IN
FRACTURE AND ORTHOPEDIC TREAT-
MENT.

Ofr.rffe W, H.iwley. M.D.
183— LEFT NEPHRECTOMY FOR RENAT.

TUBERCULOSIS.

T. B^ntlev Squier. M. D.
184- SMITH INTRACAPSULAR CATA

RACT OPERATION.

A. S. Green. M.D.. L. D Green. M.D.
1 8S— TIBIAL BONE GRAFT FOR LOSS OF

PORTION OF LOWER JAW,

Fred H Albee. M.D.
186— TIRKTERO VESICAL ANASTOMOSIS

FOR STRICTURE OF URETER.

Henrv Dawson Furniss, IM.D.
187— TRANSPLANTATION OF THF. THV.

ROID GLAND WITH RESTORATION

OF ITS riRrULATlON.

188— SIMPLE MASTti:^ OPERATION

Wendell C. Phillips, ->1.D.
189— PRIMARY MAJOR THORACOTOMY

AND LUNG MOBILIZATION FOR ACUTE

LEFT POST-PNEU.MONIC E.MPYEMA OF

THORAX.

Howard Lilienthal, M.D.
191— OPERATION FOR PRURITUS-ANI:

LIG.\TUR£ HEMORRHOIDEirrOMY AND

RECTAL INSTRUMENTATION.

Samuel G. Gant, M.D.
192— A SIMPLIFIED .METHOD OF RE.MOV-

ABLE BRIDGEWOKK, USING THE VIRI-

KIAN ATTACHMENT 3 reels

(a) Pulp Devitalization and Removal Under
Local Anaesthesia.

(b) Root Filling, Including Ionization.

Dr. Joseph M. Levy

193— RIGHT COLECTO.MY.
Edgar R. McGuire. M.D.

194— CHOLECYSTECTOMY WITH THE
HELP OF RECTTANGULAR FLAP INCI-
SION (PERTHES).
Willy Meyer. M.D.

195— .METHOD OF BRUSHING TEETH.
Dr. M. L. Rhein

196— (1) SIGMOIDOPEXY FOR CONSTI-
PATION.

(2) FISTULECTOMY.

(3) REMOVAL OF PERI-ANAL CON-
DYLOMATA.

Samuel G. Gant, M.D.

197— OPERATION FOR COMPLETE PER-
INEAL LACERATION.
Edward J. Ill, M.D.

198— P.ARTIAL GASTRECTOMY FOR CAR-
CINOMA OF THE PYLORUS.
Albert A. Berg, M.D.

200— GASTROSTOMY.
Willy Meyer, M.D.

201- (1) OPERATION FOR EXTERNAL
THROMBOTIC HE.MORRHOID.

(2)— SLOUGHING FOLLOWING CAR-
BOLIC ACID INJECTION OF HEM-
ORRHOIDS.

(3) FISTULECTOMY FOR EXTEN-
SIVE TUBERCULAR SINUS.
Samuel G. Gant. M.I>.

202- PLASTIC SURGERY OF THE UPPER
AND LOWER JAW.
Fred H. Albee, M.D.

204— NEW FRACrrURE FRAME, ESPE-
CIALLY USEFUL IN MILITARY SURGERY.
George W. Hawley, M.D.

205— (1) CYSTOSCOPIC EXAMINATION
OF THE BLADDER.

(2) PROSTATECTOMY (PERINEAL).
Hugh H. Young. M.D.

233— APPLICATION OF RADIUM IN THE
TREATMENT OF BLADDER LESIONS.
Hugh H. Young, M.D.

206— EONE.PL.\TING FOR FRACTURE OF
FEMUR.
Wm. H. Bishop, M.D.

207— ROOT AMPUTATION AND IMMEDI-'
ATE ROOT-FILLING.
Dr. R. W. Waddell

20S— FIRST DENTAL CLINIC FOR U. S.
SOLDIERS AT BRIDGEPORT. CONN.
Dr. .Mfred C. Fone»

209— SKIN IMPLANT FOR RADICAL CURE
OF LUNG ABSCESS.
Emil G. Beck, M.D.

210— DEMONSTRATiriN OF TECHNIOUE
OF BISML^TH PAST TRFAT^fFVT IN
CHRONIC SUPPURATIVE SIXl'SES AND
FISTLT.AE.
Emil G Beck, M.D.

211— RADICAL MASTOID OPER.XTION
FEATURING TlIK ELECTRICALLY

DRIVEN BURR.
Joseph C. Beck. M.D. „„„..,

212— OVARIOTOMY FOR OVARIAN CYST

AND APPENDECTOMY 1 reel

Emil Ries. M.D.

213— COMBINED VAGlN.aiL AND ABDOM
INAL PLASTIC FOR UTERINE AND
VAGINAL PROLAPSE. STERILIZATION
Emil Ries, M.D. 1 reel

225— ROOT TECHNIQUE.
Dr. M. L. Rhein

214— SUPRAni'ODENAL '(HHOLEDOCHOS
TOMY (REMOVAL OF CALCULI FROM
COMMON DUCT. SURGICAL ANATOMY

AND TECHNIQUE) 2 reels

Daniel N. Eisendrath, M.D.

215— FERGUSON-ANDREW'S OPERATION
FOR RADICAL CURE OF INGUINAT

HERNIA ...: 1 reel

.Albert J. Ochsner, M.D.

2ri

216— DEGENER.-\TING SARCOMA

CHEST WALL AFTER PRELI.MIN.\R

INTENSIVE X-RAY TREATMENT . . 1 re

Albert J. Ochsner, M.D.
217— EXOPHTHALMIC GOITRE

Albert T. Ochsner. M.D.
218— NEW METHODS OF PYLOROPLAST

FOR CONGENITAL PYLORIC STENOSIl

.Alfred A. Strauss. M.D.
219— NEW METHOD OF PYLORIC CLOl

URE BY THE SUBMUCOUS FACIA

TRANSPLANT FOR PYLORIC AND DU(

DENAL ULCER.

Alfred A. Strauss, M.D.
220— RECONSTRUCTION OF PYLORIC AN

DUODENAL REGIONS OF THE STOi

ACH BY FACIAL TRANSPLANTS. AFTE

RESECTION OF ULCER WITHOUT GAi

TRO ENTEROSTOMY.

.Alfred A. Strauss, M.D.
2:1— APPENDECTOMY FOR CHRONIC A)

PENDICITIS.

Herbert W. Hewitt, M.D.
222— ABDOMINAL FIXATION OF TH

UTERUS FOR PROCIDENTIA (MOD

FIED MURPHY TECHNIQUE).

Herbert W. Hewitt. M.D.
223— ABDOMIN.AL HYSTERECTOMY Fff

FIBROID.

Herbert W. Hewitt, M.D.
224— TRACHELORRHAPHY.

Herbert W. Hewitt, M.D.
227— EXTRAPERITONEAL SHORTENING

OF THE ROUND LIGAMENTS FOR RET

ROVERSION OF THE UTERUS (B.AI

RETT).

Herbert W. Hewitt. M.D.
228— CARREL-DAKIN METHOD AND OTHE!
SUBJECTS PRODUCED .AT THE ROCKi
FELLER WAR DEMONSTRATION HOS
PITAL.

(Special folder on request).

Alexis Carrel, M.D.
229— TYING A SURGICAL KNOT (NEV

METHOD).

.Arthur Rogers Grant. M.D.
2,10— WAR NEUROSES— RESULT OF SHEL'
SHOCK. TAKEN IN THE BRITISH WA!
HOSPITALS.

231— THE SURGICAL TRE.ATMENT OF AE
NORMAL MOUTHS.
Dr. P. Ruyl.

240— CHRONIC DIARRHEA— ULCER.ATIVI
IRRITATIVE, OBSTRUCTIVE.

Dr. S. Gant.
241— COLOSTOMY.

Dr. S. Gant.
242— TECHNIQUE OF OBSTETRICS, NOB,
MAL AND ABNORMAL. \

Dr. J. W. Markoe. I

247— TECHNIQUE USED .AT THE PENT)
SVLVANI.A HOSPITAL IN THE TREAT
MENT OF INFECTIONS AND INFECTEI
»OUNDS WITH DICHI.ORAMINET.

Mayor Ed. Martin, C'aotains Lee and FurniH

Charles Goodman. M.D.

Films for Educational and
Religious Institutions

The New Alias Catalog Now Ready
Bulletins of New Subjects Bi-Monthly

Atlas Educational Film Co.,

29 E. Madison St.

Chicago

Want a Year's Subscription to
EDUCATIONAL
FILM MAGAZINE

Free?

Ask us on your letterhead — HOW?

Subscription Department
1815 Aeolian HalJ New York City

- URBAN - POPULAR - CLASSICS -

<:iNETO REVIEWS CHARLES URBAN'S
Vli^ci*^ KCViEwa MOVIE CHATS

deal with 0\E Country, Subject or Event in
one reel lengths of 1,000 feet approximately
TWO REELS ADDED WEEKLY

deal with 3 to 20 Subjects of
International Interest in each reel.
Additional Negatives constantly received from the fol-
lowing countries and otlier sections of the World not
previously" covered, viz.: —

These issues include such
topics as —

Vlanhattan Life

I Unusual Shots of Life in Greater New York

N[ew York

America's Gateway

3eauty Spots

In the U. S. A. and Canada

3abyhood

An Ever Popular Subject

Childhood

Health Promoting Pastimes

jrirlhood

No School Should Miss This

The Boy Scout

of En"land and America

ABYSSINIA

AFRICA

ALASKA

ALGERIA

ARABIA

AMERICA

ARGENTINE

ASIA MINOR

AUSTRALIA

AUSTRIA

AZORES ISLANDS

BALKAN STATES

BARBADOS

BELGIUM

BORNEO

BRAZIL

BURMA

CANADA

CENTRAL AMERICA

CHILI

CHINA

CUBA

DENMARK

EGYPT

ENGLAND

FINLAND

FRANCE

GERMANY

GREECE

GREENLAND

HAWAII

HOLLAND

HUNGARY

ICELAND

INDIA

IRELAND
ITALY
JAMAICA
JAPAN
JAVA
KOREA

UNITED STATES OF
AMERICA

TWO "MOVIE CHATS" ISSUED WEEKLY
(Averaging 950 feet per reel)
"OF PERMANENT VALUE and INTEREST"

Apply for Detailed Catalogue

PUBLISH' D BY

^INETO COMPANY OF AMERICA, Inc

71 WEST TWENTY-THIRD STREET, NEW YORK CITY

■ASCINATING METHOD

^ — _

r.aaeMark" QF EDUCATION

•3:

"It Was MY Life Story
You Told!"

\-:mu^r

"The Making oi an American" has al-
ready made hundreds of Americans. It hits
the right spot. Try it.

Illustrated circular from Worcester Film Corporation,
14^ West 4}th Street, N. Y. City

THE COSMOGRAPH "

Semi-Professional Portable Projector^
MAKES FRIENDS ON ITS QUALITY
KEEPS THEM ON ITS PERFORMANCE

Weight 171/2 lbs.
without carrying

Model B.— Takes Safety Standard
Width Film

The COSMO-
GRAPH represents
an ideal successfully
achieved. That ideal
has been to produce
a portable projector
compact, and light in
weight, simple and
economical to operate,
of sturdy construc-
tion, and surpassing
in performance.

THE DWYER BROS. 8c CO.

BROADWAY FILM BUILDING

CINCINNATI, OHIO

729 SEVENTH AVENUE
NEW YORK CITY

ATTRACTTVE PROPOSITION TO DEALERS

Power's Cameragraph

The Machine of y> ah. trw experience

/^ ^ ^^ w Skilled Workmen ANt

Quality'

AND

Finest Materuls
Can put into a Projector

'''•-Nicholas Power Comr)^'

90 Cold Street Iwcoppokated New Y<-:

Edward ELxrl. President

Manufacturevs OF Moving >'»irn.'HE M\ofiNEs

TN competitive test by
Board of Education, IS

the
New-
ark, New Jersey, fifteen of
the eighteen professional pro-
jectors purchased were

Povi^er's
Cameragraphs

This test was of a most ex-
acting nature and again dem-
onstrated the superiority of the
Power's Cameragraph where the
highest type of professional
projection is desired.

NICHOLAS POWER COMPANY

INCORPORATED
EDWARD EARLE. President

NINETY GOLD STREET

NEW YORK, N. Y.

2 a

Jimmy's Prayer

A Story of Today — of intense human
and dramatic Interest showing the victory
of a child's simple faith over the theories of
men and the triumph of God-given hope
over hell-born despair.

A Picture

For young and old, rich and poor
Christian and heathen.

The first of a new type of Motion Pictures

for the Churches.

Written and Produced by Rev. O. Hagedorn

Distributed by

Victor Safety Film Corporation

710 First National Bank Bldg., Chicago

Bjin»j, I, B; t. &u«lr»lLk.

■0»»Ob«P ?t.h. liiS".

f Burk* wd ;«•••,
340 Oolarlo 3lr«»t,
dhloaso. 111.

teftT Blrsf

On « cauat of lh» hMir l»iur I BiyiW /ou j^«
b»for« I l*rt for Um !•■ a«brld««. Mno ■ontFis sfo. I
UlOUght lou BoiUd b* sl^ ^° ^°' ^^^ ^f& arUT«ri&la
•tood up &r«*t, «• Ipsat ill •on'.U &*ona ^tw twftd niters
*tf OAonlb^I* of l&ltkal*, sad ua*d oalj IM t*o Unlvarsila,

I l»v» Jaat flnlitwd printing ttw psaUlvsa,
ftnd •ithokit • ftaufet thaj w« Um fUwat fllM I tuvs
• ^r ■«da--ln fset tbar* la not c foot oT poor flla ^aon^
the ta*nt7<ri*« Uuiuand f**t.

Tte old eftoar* that t uMd don> har« two yaara
^o atood kip •• vail ■« tha nsw ona, and outai'a of »et.r»
wtd acraichaa cauaad bj lon^ aipadltlooa throu&M tha
JuQClaa aod oTtr ■ountalnai It la aa sood aa aaa--lo faot,
It'a UK* an old ahoa. It la Ilka a part of W. aad I alU
alaaja via* it in prvfaranoa to aaj othar.

fill aaod jo\i aoaa photographj oa ttia aazt

Slnearalj jeura

;^^-i;z=^,^i^/

Ttu aa; iiaa thia latur or aoy part la advartlaing, mj
oait faatura tbat '111 b* raloaaad In abo^ ait Kintha
«111 cnat a aanaatlon, it la tha koat aondarful flla ot
aiploratlon that baa arar baan aado, and tba pbotosraphy
la parfaot — It aaa all sado on tha t*o Unlranala.

It *U1 probally ba oallad «ILO HEM OP lULTEULA.

^Shooting^ the
wild men with a
UNIVERSAL

IN a climate of intense
heat, averaging 130
degrees, traveling in
^vhale boats and through
trackless forests, Martin
Johnson, the noted explorer,
carried the Universal
Camera to which he refers
in this letter.

With this camera he made 25,000
feet of perfect film, and it came
through this endurance test as sound
and perfect as the day it left our
factory.

Write for illustrated booklet on the
Universal. It tells why the Universal
will one day be your camera.

Bufke& Janice ii«

253 EAST ONTARIO STREET, CHICAGO
225 FIFTH AVENUE, NEW YORK CITY

;.o

If Eastman Film was not
as good as it is. Kodak
Park, where it is manu-
factured, would not be as
large as it is — and Kodak
Park is the largest photo-
graphic manufacturing
plant in the world.

EASTMAN KODAK COMPANY
ROCHESTER, N. Y.

PRIZMA

A new method of practical,
color motion photography
that re-creates Nature on
the screen in all her splen-
did colors.

Entertaining, instructive,
and altogether delightful !

Now showing in leading
theatres.

Ask the manager of your
favorite theatre.

Distributed by Republic Distributing
Corporation

A A aliiable Assistant
to the Educator

The Graphoscope Portmauto

This machine stands out among portable
machines on account of its combination of
simplicity and durability. It can be car-
ried wherever man can go.

Xothing which is mechanically essential has been
left out of it. Guaranteed to stand hard knocks.
Uses standard film. Electric motor drive. Incan-
descent lamp.

FEATURES

Intermittent, of Geneva type.

Large diameter, three blade
shutter outside.

High gra(^. large diameter,
projecting lens.

Aluminum castings, bearing
bushed in bronze.

Eliminates twist in the film
near the aperture plate.

Ground tool steel shafts.

Mechanism enclosed, fire roll-
ers at entrance and exit of film
from magazine.

Standard. 1,000 foot reel, 10
i nch diameter. Both reels i n
lower compartment.

Take-up. double cone type,
simplest in use today.

Carrying case of Bakelite, fire-
proof and dampproof.

Let us Send You
Literature G6 on this Machine R*

THE

Graphoscope

Conipaiiv

50 E.\ST 42nd STREE 1
NEW YORK

The Victor Safety Film
Corporation

offers to the School, Church and Community
Center, the largest and most carefully selected
library of films yet assembled.

Science, Religion, Drama, Literature, Travel, History, Wholesome Fic-
tion, Entertaining Comedy. All your moods and all your needs are
served by the Victor Film Library.

Write for list of film subjects and rental terms.

Victor Safety Film Corporation

A. F. Victor, President

First National Bank Building

CHICAGO, ILLINOIS

The Standard That Knocked the ^Tlam''

Out of Film and the Booth Out of

Projection Equipment

O amount of mechanical cleverness in making a projector can
take the "flam" out of inflammable film.

Existing fire and insurance laws insist upon the use of fireproof
booths whenever and wherever standard theatre film is used.

SAFETY STANDARD FILM, as
adopted bv the SOCIETY OF MOTION
PICTURE ENGINEERS and approved by
the board of Fire Underwriters Laboratory,
meets the requirements of the non-theatrical
user. It may be used safely and legally, any-
where without fireproof booth.

THE VICTOR SAFETY CINEMA is
the first professional projector designed ''spe-
cially for the use of Safety Standard Film.
It delivers to you a brilliant professional pic-
ture anv time and place you have an incandes-
cent socket to connect it to.

The machine insures you perfect screen
results — the film insures you perfect safety.

Write us for information regarding
equipment and film service.

Victor Animatograph Company

Davenport, Iowa

Eastern Distributors:

UNITED PROJECTOR & FILM CO.
BUFFALO, N. Y.

Canadian Distributors:

PATHESCOPE OF CANADA, Ltd.
TORONTO, ONT.

Since Safety Standard Film

HAS BECOME

THE RECOGNIZED LEADER

in the Non-Theatrical Field, remember it was the

PATHESCOPE

that made it so!

This PIONEER in SAFETY PROJECTION
easily maintains its superiority.

Its design, construction and projection embody the experience

gained in

23 Years of Cinema Supremacy!

No licensed operator
nor insurance
restrictions.

Machine and Films
inspected by Underwriters'
Laboratories, Inc., and
labeled: "Enclosing booth
Not Required."

THE NEW PREMIER PATHESCOPE

Greater illumination guaranteed than obtainable with any
other Portable Projector and only surpassed by the arc.

There are more Pathescopes in
use than all other makes of Port-
able Projectors combined.

Originated by Pathe Freres —
producers for twenty years of the
best Educational Films the world
has ever seen.

Also the inventors of the slow-
burning film which has made it
possible for you to enjoy SAFE
MOTION PICTURES.

THE PATHESCOPE CO. OF AMERICA, Inc.

Dept. FM, AEOLIAN HALL

Willard B. Cook, President

Agencies and SeryUe Stations in Principal Cities

NEW YORK CITY

>GaU!r. Public L.i*,,

jeildl'LLUbUL

^<•~S.;

'/-H

EDUCATIONAL

FILM

MAGAZINE

The National Authority

The Case Against the Movies

By Lawrence Augustus Averill, M. A., Ph. D.

> .«

Electrical Phenomena Visualized

By Jerome Lachenbruch

Taking Safety Movies to Miners

By F. A. Christiancy

Industrial Uses of the;Motion Picture

By Raymond Cavanagh

Is the Movie Industry Killing
The Golden Goose?

By Dolph Eastman

1 S cents a copy

JULY, 1920

3(tmmy*B Prayer

A Story of Today — of intense human
and dramatic interest showing the victory
of a child's simple faith over the theories of
men and the triumph of God-given hope
over hell-born despair.

A Picture

For young and old, rich and poor
Christian and heathen.

The first of a new type of Motion Pictures

for the Churches.

Written and Produced by Rev. O. Hagedorn

Distributed by

Victor Safety Film Corporation

710 First National Bank Bldg., Chicago

OS ANGELES LONDON CALCUTTA SINGAPORE ,

SAN FRANCISCO SYDNEY BOMBAV RANGOON

Robertson- Cole Company

•DIVISION OF FILMS
I600 BROADWAY
bie Address fsjfva/n'ORK

BOBCOLf IL NEW VOSK IN C. W Y 1 1 ht r\ TEl-EPHONE *

desUseO BRYANT 9460

*6C-ftfTH EDITtOM

WESTERN UN. ON June 1. 1920

Educational Film Llafjazine,
33 West 42nd Street,
Hew York City.

Gentlenien:-

It occurs to us that a number of the Ro'bertson-Cole sub-
jects are adnirably adapted to the uses of the schools,
churches, clubs, industrial plants and other institu-
tions and organizations who read yoior nagazine regular-
ly. All of the Brent\700d productions are clean, whole-
some, uplifting and inspiring; the message of hope and
good cheer is in every one of than. The "artin Johnson
South Sea pictures possess large educational and mission-
ary value, and such a filn as the record of Sir Ilrnest
Shackleton's Antartic Expedition offers studies in ph^'-
sical geography, meteorology, zoology and man's fight
against the forces of nature. Our Adventure Scenics
afford many instructiona.1 opportunities.

During the coming twelve months we expect to distrib-
ute other fiLm productions that will appeal especially
to those in the non-theatrical field, announcements
of which will be made in your pages from time to time.
Within the near future we shall have a Special Announce-
ment to make of exceptional interest to school and church
people.

Assuring you of our hearty co-operation in the great work
you are engaged in, we are

Cordially yours,

ROBERT son- COLE DISTRIBUTING CORPORATION

ASK-JB3. Vice Pi^rsTaent and vjEneral Manager,

1. Inertia

2. Equilibrium

3. Movable Pulleys

GENERAL PHYSICS

Over 150 Striking Experiments

A remarkable series of motion picture demonstra-
:i()ns covering in logical sequence the fundamental
principles and applications of elementary and advanced
physics

B Y

PROFESSOR W. D. HENDERSON

University of Michigan

Keeognized as one of the leading Physicists in the
United States. His appearance as the Demonstrator
of these experiments guarantees their correctness and
autliority.

SUBJECTS

MECHANICS OF SOLIDS
MECHANICS OF FLUIDS
MOLECULAR MECHANICS
WAVE MOTION (SOUND)

HEAT

LIGHT

MAGNETISM

ELECTRICITY

4. Wheel and Axle

WITH PRACTICAL APPLICATIONS

A Complete Descriptive Handbook
Accompanies the Course

This picture Avas taken in tlie thoroughly equipped
Laboratory of the University of iNIichigan, one of tin-
largest and finest in the countrj\

The essentials for building a satisfactory Physics Course are:

.1 Plii/xicist of long cjprrieiici' and lui (intliorifi/ in lii.i subject

A Ldhoiatori/ icith the most complete anil liest equipment obtainable

A Film Company tcliose director is in thorough sijmpathi/ xcith the
educational film.

A Camera Wan capable of doing ctpert Xi-ork

This rtniarkable fihii can be credited with all of tJiese important

essentials

>3fiURC3!!^

.5. Centrifiii:Ml ]■

li. Archiiiiedt> Pi

Air Has Weight

8. Surface Tension

-i-- . - .

!)\ilirating Plates

' 1I'_ ;t Expansion

1 rtozing Boiling
Water

IT WILL MEET YOUR NEED

This film is not to take the place of the regular lah-
oratory work of the student hut to enable hini to gain
a wider knowledge of experimental physics possible
only with apparatus with which the average school is
not equipped.

This course is arranged so as to meet the demands of
SUMMER SCHOOLS FOR TEACHER TRAIX-
IXG AXD PREPARATION FOR COLLEGE
ENTRANCE ELEMENTARY SCHOOLS

TECHNICAL SCHOOLS HIGH SCHOOLS
NORMAL SCHOOLS COLLEGES

AND UNIVERSITIES

More Advantages At Less Cost

Experiments always correct

Saves valuable time of Instructor

Saves cost of laboratory equipment

Covers many times the usual number of experiment>
all of which are in the text books but are seldom dem-
onstrated.

This is the first of many similar releases by the
United Safety Film Service

UNITED PROJECTOR & FILM CO.

71 W. Mohawk Street Buffalo, N. Y.

^■^^■J

1 10

^•mL^I

l~J

»— • -^^1

" ^mvI

r-e^

13. Refraction of Light

11. l.kctro Magnet

Reflection of Light

15. Practical L'se of
Klcrtrn Magnet

=^>-«i^

#' >*

li. M.-iutic Field Abou1
A Bar Magnet

Paramount Pictures Available
for Non-Theatrical Exhibition

The need for the right kind of
motion pictures for use in schools,
churches and institutions of all
kinds is met in the most practical
way by Famous Players-Lasky
Corporation, both as to the kind of

material available and its intrinsic
value.

W hether your purpose be to en-
tertain, educate or frankly amuse
>-ou will find the best of its kind
among these Paramount Pictures
at a price you can pay.

Feature Pictures are Available that Have
Made Famous the Names of:

GEORGE BEB.AX
LOUISE HUFF
JACK PICKFORD
WALLACE REID
VIVIAN MARTIN
MARY PICKFORD
DOUGLAS FAIRBANKS

MARGUERITE CLARK
ELSIE FERGUSON
PAULINE FREDERICK
WILLIAM S. HART
SESSUE HAYAKAWA
GERALDINE FARRAR
DOROTHY DALTON

GEORGE M. COHAN >|
LILA LEE
FRED STONE
SHIRLEY MASON
BRYANT WASHBURN
JOHN BARRYMORE
JULIAN ELTINGE

Paramount Pictures are produced by the greatest directors and
dramatists who have contributed to the success of the screen.

Sliort Subjects lucluding:

'Fatty" Arbuckle Comedies Flagg Comedies Burton Holmes Travel Pictures

Drew Comedies Mack Sennett Comedies Paramount Magazine

It is impossible to give here a complete list of all subjects available.

Full information and sound advice on your motion picture problems can be had
frorn the Manager of the Famous Players-Lasky Corporation E.xchange in the fol-
lowing cities :

Denver, Colo 1747 Welton St.

New Orleans, La 814 Perdido St.

Chicago, 111 845 So. Wabash Ave.

Des Moines, la 415 W. 8th St.

•Cincinnati, 107 W. 3rd St.

Kansas City, Mo 2024 Broadway

New York 729 7th Ave.

San Francisco 821 Market St.

Oiarlotte, N. C 2S W. 4th St.

Minneapolis, Minn COS 1st Ave. N.

Pittsburgh, Pa 1018 Forbes St.

Philadelphia, Pa 1219 Vine St.

Buffalo. N. Y 145 Franklin St.

New Haven, Conn '. 132 Meadow St.

Omaha, Neebr 2O8 So. 13th St.

Detroit, Mich 63 Elizabeth St.

Salt Lake City, Utah 133 E. 2nd So. St.

Oklahoma City, Okla 128 W. 3rd St.

Washington, D. C 421 10th St. N.W.

Atlanta, Ga 51 Luckie St.

St. Louis, Mo 3929 Olive St.

Los .\ngeles, Cal 112 W. 9th St.

Seattle, Wash 2017 Third Ave.

Qeveland, Ohio 811 Prospect Ave.

Dallas, Texas 1902 Commerce St.

Boston, Mass s Shawmut St.

FAMOUS PLAYERS-LASKY CORPORATION

• .(J>iftt/rs.*i ■ MEW voi^K.

^: EDUCATIONAL FILM MAGAZINE

Published Monthly at 33 Vest 42nd Street ^Aeolian Hall/. New York Qty-. DOLPH E.\ST>L\.\, Eduor.

Subscription: I nited States and Possessions. ?1 a yean other countries. $2 a year, single copies, 15 cents.

Advertising rates on application. Copyright. 142(1. by City News Publishing Companv.

JULY. 1920

IN THIS ISSUE

Index to Articles

►ORIAL

Is ifce Movie Industry Killing the Golden Goose?

No. 1

REVlE\fS OF FILMS 17

Edited by Gladys BoUmzit— I Ihstrated

«• WE BREATHE" IN PICTOGR.\PH 8

BGVSE AGAINST THE MOMES 9

! Bt Lawrence .\ugu5lus .^verill, M..\., 'Ph.T>..—I!!ustratcd

■ ^n CROSS HLM SUBJECTS 12

rcU-d

SUGGESTED PROGR\.MS ....

Edited by Gladys Bollman

INDUSTRIAL USES OF THE MOTION PICTURE _ 20

By Raymond Cavanagb — Illustrated

FLASHES ON THE TTORLD'S SCREEN 22

JTRir_\L PHE.NOMENA MSUAUZED..

B> Terome Lochenbruch

•MISSIONARYLOGS" AT BAPTIST CON^STNTION 24

By Mary B. MacKellar

lj\GE OF 1200 USES COMMUNITY nLM PROGR.\MS.... 14
-AFEIY' MO^^ES TO >nNERS 15

A. Christiancy — llhistratcd

PANDTNG YEARS" _ 16

l: mission HEPCRT made in HLM 16

Index to Advertisements

Victor Safety Film Corp 27

Inside front cover

Robertson-Cole Co 1

Vr.ited Projector & Film Co 2-3

Famous Players-Lasky Corp 4

A-Jtomatic Ilium. Adv. Corp 5

Community M. P, Bureau 6

Worcester Film Corp 21

Carter Tiner-.?. f' 22

Radio Mat-Slide Co 23

Victor Animatograpb Co 23

Inside back cover

Kineto Co. of Am. 25

Paul E. Parker 26

;!k)ldwTn EHst. Corp. 2S-29

Elastman Kodak Co 30

jraphoscope Co 30

Burke & James, loc 31

Pathescope Co c: Arr: ..Back rcver

OR ALL EDUCATIONAL AND LECTURE WORK

» Automatic Balopticon Service is most satisfactory — for, being set

fi given lecture, the machine operates automatically and noiselessly, and the slide changes are controlled
rt absolute precision ( even from a distance ) . bv the lecturer himself, 'onih the electric push-button
% which he may hold in his hand — NO \-lSSISTANT REQUIRED. Write for Booklet.

■FOR COMMUNITY SERVICE"

COMMUNITY MOTION PICTURE BUREAU

EVERY CHURCH needs the
kind of service furnished hy the Bu-
reau, both for Sunday and for week
days.

Sunday programs of an\' required
length offer wholesome stories and
dramas illustrating definite religious,
ethical and social truth; also carefully
selected reels showing missionary ac-
tivity and God at work in this and
other lands.

In many churches the work of the
Rui-eau has resulted in a remarkable
gro\\-th of moral and religious influence,
reacting u])on the entire community
while it has Ijrought increased member-
shi]) and revenues.

With our service, every church can
bring its neighborhood within its Malls
and influence for s])iritual culture and
community upbuilding.

Every church needs the kind of week
day recreational service furnished bv

the Bureau. Our recreational pro-
grams jnit the church into its rightful
place as the Commimity center.

The Bureau's films enable the church
to give the people, young and old, the
uplifting recreation they rightfully de-
mand.

Our selections provide plenty of
Avholesome fun, strong, ethical drama
and real education in a form that grips
and develops the right kind of com-
munity spirit.

The films we furnish afford a basis
for discussion by the members of the
Young Peoples' Societies, the Brother-
hoods, and Forum organizations.

The Bureau served all the Armies
and Xavies of the Allied Xations dur-
ing the late zcar. It is today serving
churches and schools and other civic
bodies, tvith the same spirit rohich ac-
tuated the tear icork.

Such service based ujion the sympathetic activities of a trained editorial group
and upon hundieds of thousands of careullv analvzed motion pictures, is offered
to e\ery church desn-ous of increasing its poM-er and influence for good.

Write us. or send someone to see us.
Our distributing system encircles the world

Community Motion Picture Bureau

WARREN DUNH.4M FOSTER. PRESIDENT
46 WEST TWENTY-FOURTH STREET NEW YORK CITY

The National Authority

ving Educational, Scientific, AgricuUiiral. Literars-, Historical. Juvenile. Governmental. Religious, Travel
Scenic, Social Welfare, Industrial, and News Motion Pictures
Published Monthly at jj West 42nd Street (Aeolian Hall), New York City
DOLPH E.\STMAN, Editor

IV.

JULY, 1920

No. 1

IS THE ^lOME INDUSTRY KILLING THE GOLDEN GOOSE?

rr "TE once knew a business man whose slogan
1^/ ever}' minute of the day was '"Get the
\ Y Facts — Then Analyze Them." Does
this not seem a pretty good slogan for
lotion picture industry' to adopt, since it does
:ppear to be in possession of the facts?
tiat woidd be thought of a law}'er, a doctor, an
Jtect. an engineer or other member of a learned
» ssion, or even of a merchant, who failed to as-
le his facts and figures, analyze and syndiesize
k digest and diagnose them, and thereby reach
Dfid solution of the problem he is attacking? The
In picture engineer and projectionist is a pains-
tj and accurate person compared with the aver-
l^roducer and exhibitor.

[ere is a certain amount of mental and moral
riliness on the part of theatrical and motion pic-
eproducers and exhibitors, a certain quality of
lUiansliip which appraises box office values re-
lifess of the moral principle involved, that is
li' reflected in the trade press, in exaggerated and
Boyant advertisements and press stories, and in
siional one-sheets and posters alluringly dis-
\d. Sensation, coarseness, vulgarity and sug-
I'eness dangerously bordering on lewdness ap-
Bon the screen, in front of the theaters, in the
fiapers. trade papers and magazines, and thence

I into our homes, schools, churches, libraries, and
) U places where there are impressionable minds.
t: it any wonder indeed that the movies have
i name among community leaders who are com-

II to see these harmful effects all around them?
f' our rather superficially-minded masses in this
I oung America been helped or hurt by the screen
Hum which has been their daily fare for a dec-
i When a child psychologist like Dr. Averill is
tpted to make a survey of the film comedies
M in a city of 200,000 and draw up a scathing
iment against the producers of such filth, it is
f;o begin gathering our facts, studying them and

voring to find a way out.

Film producers and exhibitors have a stock reply
ready for those critics of the pictures who find them
positively hurtful to both children and adults. They
say that such pictures pay, that the people w-ant to
see them, that the movie business is growing, that
new theaters are springing up, that there is no evi-
dence of any demand for better films from the ma-
jority — and it is the majority that puts down its
money at the box office and fills movie houses to
overflowing.

This answer of the motion picture men to their
critics, to the uplifters, reformers, and child welfare
workers, comes like an echo of the old reply of the
saloon men, the promoters of prize fights and gam-
bling dens, to the social and moral leaders who had
laid the curse of Cain upon them and had resolved
to throw all social vermin onto the dung-heap. The
latter said: "To drink, to fight and to gamble is hu-
man nature, and you cannot stop it; while it is here
we intend to make monev out of it. Stop us if you
dare."

A few years later this traffic in souls ivas stopped,
and who would have the temerity today to try and
revive it? Drinking, prize-fighting, gambling, pros-
titution, and other vices will go on until education
shows men and women the better way; but meanwhile
they are outlaws, and it is the majority — the ma-,
jority, remember — who in each instance has sup-
ported the movement which outlawed them.

Because the movies are seemingly so strongly in-
trenched in public favor at the present time, it by no
means follows that some bold leader or group of
leaders may not successfully attempt to control or
regulate the motion picture industry by law, whether
through the several states or by federal authority
from the national capital. Indeed, signs are not
wanting that home, social, religious, civic and indus-
trial forces may in time overcome the political power

wielded heretofore by members of the industr\, and
bring about radical changes for the better in the
production and exhibition of films. If the industry
does not gracefully accede to the growing demand of
the parents, the teachers, the preachers, the civic and
social workers of the nation that it purify itself by
casting out from the screen all unclean things, the
bitter alternative will be universal state or national
regulation and supervision; or, failinj;; that, the ulti-
mate possibility of strangulation of one of the great
businesses of this country and of the world.

Of course no sane man in the motion picture busi-
ness wants willingly to kill the goose which has laid
and is laying so many golden eggs. But have the
leaders of tliis industry the facts? And if they have
the facts, are they deliberately indiiferent or antag-
onistic to them? Care they nothing about the warn-
ings which are being uttered with increasing signifi-
cance by the intellectual and moral leaders of each
community? Will they fly in the face of facts —
which, after all, are only history in the making — and
suicidally ignore the fate of the saloon, the prize-
ring, the pool room, the gambling hall, and the house
of prostitution?

Despite promising developments in our own special
provinces, it must be admitted that for some time to
come the non-theatrical motion picture field must de-
pend for its supply of films largely upon existing and
projected producing and distributing facilities of the
theatrical field. For this reason the attitude of the
present film industr)- as a whole toward the character
of its photoplay and comedy productions is more im-
portant to exhibitors in our field than might appear
on first thought. This is one motive, but not the only
one, which actuates us in our efforts to raise the en-
tire tone of film production to a standard worthy of
the schools, churches, libraries, art museums, com-
munity centers and other local institutions and oi-
ganizations which value the minds and souls of chil-
dren in other terms than dollars and cents.

It must be remembered that of the 25,000,000
children of school age in the United States a large
proportion are in constant attendance at the movie
theaters, and about eighty per cent of these theaters
are comparatively small neighborhood houses show-
ing more or less trashy program pictures and ques-
tionable "comedies" for the most part. What would
be thought of public or private libraries which per-
mitted impressionable children to read such stories
or come into contact with such scenes as are daily
screened in theaters around the corner from these
libraries? j* re educators, child welfare workers and
parents mistaken when they declare that the good
influences of the home, the school, the church, the
library, the community center and other constructive

social forces are being undermined and destroyed
the bad influences of the typical neighborhood mc
theater? We think not, and we are not blinded
the fact that hundreds of good theaters present
general clean, wholesome programs and that m:^
dramatic and comedy productions are in general 1
mirable and worthy of commendation and encoun
ment. The bulk of picture income, however, con
from the smaller houses making up eighty per (i
of the exhibitors, and the bulk of the mental i<
moral injury to our young people occurs in tl
places.

Various solutions have been offered, among t'j
censorship, careful selection, federal regulation, s
cial pictures and special performances for ado
cents and adults, and there are some extremists
every community who would abolish the movies a
gether. Like the solution of most problems, it i
probably be found somewhere between the two ,
tremes; but of this we are certain — that if the thi
rical division of the motion picture industry, a1
whole, does not voluntarily see to it that the tone i
character of its output are up to the high standa
of public and private libraries, thus eliminating
neutralizing and demoralizing effects of many of
present productions, public opinion will comj
through force of law the adoption of surh standai
Education was never a more important factor in
life of the people and the future of the race than i
today, following the social tunnoil of the gvea
war in history; and if we cannot have screen enj
tainment that is clean, wholesome, uplifting an(!
source of auxiliary- strength to the sohool, the chui'
the library and the home rather than a source!
weakness and danger, it were better — a thousij
times better — to confine film production, distribut
and exhibition to those subjects which are helpfu
character and citizenship and which the non-theatri
motion picture field welcomes with relief i
gratitude.

"HOW WE BREATHE' IN PICTOGRAPH

\^ ith the aid of animated technical drawings. J. F. Lc
thai has shown clearly and interestingly the function
breathing. One first sees a single cell, the simplest f<
of life, and how necessary it is for this cell to receiv
constant supply of oxygen to keep it alive. One is t
shown that the human body consists of billions of tl
cells, and how they receive their supply of oxygen from
\ast number of tiny blood vessels all over the body,
function of the heart and lungs in pumping the pure bl
to the cells, and absorbing the carbon dioxide, takin;
to the lungs to be purified, is also explained and the C'
plete respiratory action shown. The drawings are so cle
and so vivid that you imagine you can actually see
lungs absorbing oxygen and giving off caibon dioxide
well as hear the heart beats, as that organ pumps the bb
through the body.

THE CASE AGAINST THE MOVIES

Degeneration in Film Comedies Produces. Reactions which Coun-
teract All the Good Effects of 'Vrhole?oine Drama*

By Laxtrence Augustus Averill, M. a.. Ph. D.

II ^ HOSE of us who keep our fingers more or less con-
I tinually on the pulsebeat of life often find oiirselves
I diagnosing in their incipiency diverse sorts and va-
rieties of human ills which, unchecked, might come
■'-r or later to jeopardize life itself. For manv months
!iere has been developing in one phase of our human
"Urse a condition which is eliciting a considerable
!>t of comment and vituperation on the part of those
n.i have at heart the best welfare
I thi^mselves and their fellows.
fh'' writer is referring to the re-
jt unseemly injection of the vul-
r, the immodest and the indecent

the motion picture comedy. He
;ls that he is in a position to raise
i voice in the matter owing to the
it that for several years he has
;n a member of the executive com-
ttee of a moving picture board
ich has been closelv allied with

1 police department in a large citv.
ring which time he has had excep-
nal opportunity to study the whole
iblem of the movnng picture from
great many diflferent angles and
wpoints. So common is film de-
leration becoming that it is grow-
to be a frequent topic of conver-

ion among mothers — not to say
ir children as well — and of delib-
lion among moving picture cen-
ship boards in m.ost cities where
;h local means of protection have
!n organized.

As a result of this germinating
blicily. careful and solicitous
rents are beginning to scrutinize
ferply the quality of program ad-
rtised even by the best theaters he-
re permitting their pubescent and
descent sons and daughters to pa-
inize them. They realize that the

le seems to have arrived, owing to a great number of
atributory causes, among which the organization of the
»\ing picture industry itself is perhaps the strongest,
len no film manufacturer is willing to rule out the vulgar
d the coarse from his production, and when no manager
left in a position to protect either the erstwhile good
)ute of his house or the discriminating tasle of his patrons
an the offensive and the immoilest. ^lore and n^.ore, it
pears, the programs in even the higher class of theaters
5 coming to be a bizarre and unwholesome commingling
the noblest virtues with the basest vices. One moment
! strength and beauty of a human soul is unwinding he-
re the eyes: the next, the coarsest and most unseemly
Igarities flash before one; and there is no guarantee
It when a program is headed by the most wholesome
tors and actresses there will not be injected somewhere
tween times a reel or two which will take away the good
ite left bv the feature pictures and leave a bitter in its
ad.

]-)R LAWRENCE AUGUSTUS AVERILL is or.c
■^-^ of the youngest men who have occupied such
an important chair as that of Professor of Psyscho-
logy. On the first day of May he was 29 years old.
When his alma mater was known as Clark College
he was instructor in modern languages there from
1912 to 1914, In 1913 he was a traveling student in
Europe, Two years later he received from Clark
University both the M,A. and the Ph,D. degrees, a
striking testimonial to his scholarship. Since 1915
Dr, .\verill has been the head of the Department
of School Hygiene and Educational and Child Psycho-
logy at the Massachusetts State Normal School.
Worcester, Mass, He is the founder and editor of
''The American Journal of School Hygiene" and an
authoritative writer on various phases of educational
and child psychology and educational hygiene.

The L.\uch Without the Blush
Now when comedies started off it was different. They
actually created humorous situations without making clowns
their mouthpieces; they actually made their optiences laugh-
without making them blush the next moment. Thev were
exciting, dazzling, silly, if you will, but they did not ex-
ploit faithlessness, fickleness and indecency. They were
at worst neutral so far as moral effect went. Men and
women — and children — laughed im-
moderately at the impossible and ab-
surd experiences of their film enter-
tainers, and then went away none the
poorer mentally or morally. It is,
however, only the occasional film
nowadays that is content with comedy
merely: with it must needs be the
blase, the suggestive and the ques-
tionable.

Please do not misunderstand me.
I am not a prude, and would not
vote to do away with good comedy.
Rather. I should like to see more of
it. There is no question as to the
relaxational value of a few hours
spent in the standard moving picture
theater. I am writing this article,
however, from the viewpoint of an
humble offii ial who would like to
seek after truth and, when it has
been discovered, spread it broadcast.
Let our task here be, then, to de-
termine if possible what situations,
what relationships, what suggestions
make undesirable impressions in the
minds of the juveniles. I think I am
safe in believing that if there is any
portrayal in a motion picture reel,
or for that matter anywhere else on
the stage or off. which is going to be
detrimental to the gro^rth in children
of the finest qualities and the noblest
aspirations and the highest impulses
of youth, then the curtain should be drawn over such por-
trayal. The child mind is a keenly activi mind, weaving
the most imaginative and diverse fabric from the material
which is given it. The child mind is a highly impressionable
mind, reacting freely and uniestrainedly to the forces which
play upon it. The child mind is a very omnivorous mind,
turning over within its secret recesses the good as well as
the bad which it encounters. The child mind is a highly
riagnijying mind, immediately and for long afterward en-
larging upon the situations and their possibilities which
their senses have encountered. The child mind is a very
illogical mind, thus raising at once the trivial experience
to the major experience, and relegating the major to the
trivial. Applied to the moving picture situation, the mind
of the child is tremendously open to every sort of influence
and suggestion which appean before his eyes upon the
screen. Good and bad are drunk in with equal relish, or
at least wth equal vividness, and the whole mental life is
thenceforward colored to a greater or less degree bv

what has been imbibed. In consequence, the alarming m-
irease in the amount of indecency and unwholesomeness
V hich is creeping into our comedy like a serpent is a matter
which merits the careful attention of everyone who has
children to be amused or who is possessed of keen interest
in the hygiene of mind.

Crluities .-v.nd Vulgarities

Needless to say, perhaps, the moving picture is not de-
signed primarily as a form of juvenile entertainment. It
is intended rather for the adult. Even so, it is rather ob-
vious. I believe, that the portrayal of crudities and vul-
f-arities can hardly have a very .salubrious influence upon
the minds and hearts of the adult onlooker. But even
though the film was not designed as a form of juvenile re-
laxation, it is nevertheless true that a goodly percentage
of the patrons of the moving picture theater is made up of
the h.nppv-go-iuckv, Inimniing-over boy and the not less
impressionable though more reserved girl. Hence, any
consideration of the moral effects of the moving picture is
by no means complete unless the juvenile consumer has been
reckoned with.

Glance carefully over any average moving picture opti-
ence, outside of school hours, and you will find percent-
ages varying between perhaps 10 per cent and 90 per cent
ot boys and girls — some of them under the full spell of
adolescence, some of them in incipient glamor of pubes-
cence, some of them rollicking, noisy boys and girls of six
and eight, some of them babes in arms even! And then,
as the program proceeds, remember that any situation which
is problematic or unwholesome or indecent to your own
adult wav of thinking, enriched and trained with experi-
ence and maturity, may be searing into the soul of dozens
of children around you as though veritably it were a red-
hot brand. Do not look for such situations in wild west
hair-raisers, nor in recklessly driven automobiles, nor in
y-printing clowns and tramps. All these things, though
often a bit unattractive to your adult, practical way of
ihinking, are just the sort of situations which appeal most
keenlv to boys and girls. They are harmless, therefore not
lo be despised. The exciting chase, the zig-zagging auto-
mobile, the racing train, the pursuer and the pursued make
situations that are filled with rapid action and dear to
the heart of the boy as the sunlight. Even the pie-throwng
and the pastrv-walloping and the whistling hat-raising are
comical, essentiallv active or action-producing, and hence
enjoyable. No. The danger is not here: the danger lurks
in more subtle suggestions.

In order to obtain an impersonal and unprejudiced notion
of exactly what is tending to be the goal of moving picture
comedy, the writer undertook for himself the following
task. In a certain citv of some 200.000 people there are
ten regular moving picture houses, without including the
vaudeville theaters where films are also shown. During
the past summer four of the ten houses were closed, but the
remaining six were running their regular three-hour pro-
grams. The wTiter resolved to visit each of the six theaters
during a single week in midsummer, when the children were
all free from school, for the purpose of studying the
comedy films. He succeeded in covering the six houses
in two successive days, thus obtaining a sort of snap-
shot cross section of the entertainment provided by moving
pictures in a city of 30.000' children. He did not select the
films which were being shown during anv definite week,
merely taking for his task the week which was available
for the purpose. No note was made of the films seen other

than the comedy, although it should be said in passing (hi
not everything in the feature pictures could be given a cli
bill as safe juvenile amusement. He made careful notesi
each theater, and later in the same day wrote them up
order to give as correct version of the pictures seen
possible. In the following paragraphs are presented
outlines, in generous abridgement, of the comedv fi,
shown in the six theaters. Or, in other words