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EDUCATIONAL 




1348 









THE MAGAZINE DEVOTED TO AUDIO-VISUAL MATERIALS 




JANUARY 1948 




DESIGNED SPECIFICALLY 

FOR YOUR CLASSROOM 



rhe world of knowledge comes to life 
in each and every classroom with the use V 
of the new Victor Lite-Weight — the qual- %. 
ity sound projector specifically designed for 
your classroom. 

Simple to set up and easy to operate, the Victor 
Lite-Weight assures a new concept in visual educa- 
tion. Its flawless performance makes teaching easier, 
learning more accessible. 

Write today for descriptive literature on the revolu- 
tionary new Lite- Weight — the portable 
projector At The Head Of Its Pass. 




And the Victor Triumph 60 (or auditorium 
use and larger audiences indoorf and outdoors. 



The World of Knowledge 
Comes to Life 



WOi 



L>4RGEST SERV/CE ORGANIZATION 



T^/^J^imm/^f/r^^ ^(^/m^a^o/i^ 



CUKTISS-WmCHT CORPORATION 



New York 

ERS OF MOV 



Chicoqe • DUfrlbutori Throghoyt ^\^• World 

MOVIE EQUIPMENT SINCE 



THE STAFF 

PAUL C, REED— Editor 

JUNE N. SARK— Assistant Editor 

WILLIAM S. HOCKMAN — Editor for the 
Church Field 

ROBERT E. SCHREIBER— Editor for the Com- 
mercial Field 

DAVID E. CAESAR— Advertising Manager 

PATRICK A. PHILIPPI— Circulation Manager 

JOSEPHINE HOFFMAN— Business Manager 

DEPARTMENT EDITORS 

JOHN E. DUGAN __ Jenkintown, Pa. 

L, C. LARSON .^.Bloomington, Ind. 

ETTA SCHNEIDER RESS New York, N. Y. 

DAVID SCHNEIDER . . ..New York, N. Y. 

EDITORIAL ADVISORY BOARD 

V^/ALTER S. BELL, Director of Audio-Visual 
Education, Atlanta Public Schools. Atlanta. 
Georgia 

EDV^ARD G. BERNARD, Head, Instructional 
Materials Program, Board of Education, 
City of New York. 

I. C. BOERLIN — Supervisor, Audio-Visual Aids, 
Pennsylvania State College 

JAMES BROVi'N, Assistant Professor of Edu- 
cation. Syracuse University, Syracuse, New 
York 

EDGAR DALE. Head, Curriculum Division, 
Bureau of Educational Research, Ohio 
State University. 

AMO DE BERNARDIS, Supervisor, Audio-Visual 
Education, Public Schools, Portland, Ore. 

ELIZABETH GOLTERMAN, Director, Division 
of Audio-Visual Education, St. Louis Public 
Schools, St. Louis, Missouri 

GARDNER L. HART, Director, Audio-Visual 
Education, Oakland Public Schools, Oak- 
land. California 

FRANCIS W. NOEL, Chief, Division of Audio- 
Visual Education, California State Depart- 
ment of Education, Sacramento, Calif. 

F. DEAN McCLUSKY, Lecturer in Education 
and Director of Audio-Visual Education, 
University of California at Los Angeles 

PAUL VVENDT, Director of Visual Education 
Service, University of Minnesota 

THURMAN WHITE, Head of Department of 
Visual Education. University of Oklahoma 



The EDUCATIONAL SCREEN is published 
monthly except July and August by The Edu- 
cational Screen, Inc. Publication Office, Fontiac, 
Illinois; Executive Office, 64 East Lake St., 
Chicago, Illinois. Printed in the U.S.A. Entered 
October II, 1937, at the Post Office at 
Pontlac, Illinois, as Second Class Matter under 
the act of March 3, 1879. Mrs. Nelson L. 
Greene, Publisher. 

Address communications to The Educational 
Screen, 64 East Lake St., Chicago, III. 

SUBSCRIPTION PRICE 

Domestic $3.00 

Canada _ $3.50 

Foreign . $4.00 

Single Copies .35 



50- •;'78S3 



Educational 

see 




THE MAGAZINE DEVOTED TO AUDIO-VISUAL MATERIALS 

Founded in 1922 by Nelson L. Greene 



Contents for January, 1948 



Are You Guilty? 

As Viewed From Here. 

Seeing the Meaning 

Tommy's Day in the First Grade 
It's a "Snap" for San Jose Teachers 



Page 

.John H. Griffith 6 

Paul C. Reed 10 

Edgar Dale I I 

Ruth Hartlte 13 

.C. W. Palmer 15 



The Church Department William S. Hockman, Editor 17 

A Motion Picture Work Shop 21 

The Audio-Visual Club Royden M. Tripp 23 

School Made Motion Pictures David Schneider, Editor 25 

Teacher-Committee Evaluation of New Films L. C. Larson, Editor 26 

Conference of DAVI National 

Executive Committee Vernon Dameron 28 

The Literature in Visual Instruction Etta Schneider Ress, Editor 32 

News and Notes 36 

Audio-Visual Trade Review Robert E. Schreiber, Editor 41 

Current Film iNews 45 

Index to Volun;^ XXVI (1947) 48 

Index to Advertisers 49 

A Trade Directory for the Audio- Visual Field 50 

COVER: A scene from the Encyclopaedia Britannica film "Play In the Snow". The 
collaborator Is Lawrence E. Briggs, M.S., Massachusetts State College, Amherst, 
Mass. The film is intended for elementary school children and shows the healthy, 
happy relationships of children playing in the snow. 



Volume XXVII 



Number I, Whole Number 258 



fc.-.,-... 




'ine in4iUinwn4(^ €^ i^^ic€i£ et^ui ptecAaH4C€i/ h/i.ec€^u>n 



. . . for Distinct Screen Images 
Under General Illumination 

Highly efficient slide projection is provided by the Model B Balopticon*. 
Popular for general instruction or visual demonstration with standard 
slides, this projector can be used with various lenses, at distances from 4 to 
80 feet from the screen. Critically sharp screen images measuring up to 10 
feet on the longer side, brilliantly illuminated from edge-to-edge, are pro- 
jected in rooms lighted adequately for note-taking or sketching. 

Extremely simple, light in weight, the Model B is easily operated and 
portable. Design and sturdy construction afford protection against damage 
from shock or tampering. Details available in catalog E-11. Bausch & Lomb 
Optical Company, 688-M St. Paul Street, Rochester 2, New York. 



"TraJemurk registered U.S. Pat. Off. 




Page 4 



Educational Screen 



FIVE NEW 

SCIENCE FILMS 

YOUR SCHOOL 
WILL WANT TO USE! 



Here are five new 16 mm. sound films that 
teachers and students alike will welcome. They 
vividly portray, in microscopic detail and with 
time-lapse technique, the biological develop- 
ment of the fly, the earthworm, the chick, the 
sea urchin and the frog. 

Each is a scientifically correct, expertly pro- 
duced, single reel film, especially edited for 
use in the science classrooms of America. They 
may be purchased for $45.00 a reel. 

Wherever they have been previewed, at the 
American Museum of Natural History and 
other leading institutions, they have received 
a ready acclaim and acceptance. 

These five films are typical of the excelle:ice 
of all United World product— not only in 
the educational field, but in recreational and 
religious fields as well. 



SEE YOUR UNITED WORLD DEALER OR 
SEND THIS HANDY ORDER FORM TODAY! 




Distributors for 

Universal-International and J. Arthur Rank 

Incorporating 

Bell & Howell Filmosound Library & Castle Films 

445 Park Avenue • New York 22, N. Y. 



I 

B 
I 
I 
I 
I 



o 

Memo O 

"aiAS°;^^e Audio Via. 

„^^6n,n,.sou;,J^^-!-? award 

"l'^ of these five n"*^^^"^ 
^^s to the scL 7- «^ience 
ftate and terror ''^^^ each 

^as made the j[S^ ^-^-A., 

'" '^' ««tabhsW r^"''^ 
P^'npremisesorT^u on its 






United World Filmi, Inc., 445 Park Avenue, New York 22,N. Y. 
Please send me the following films: 



TITLE 


No. of PRINTS 


PRICE 


TOTAL 


"LIFE CYCLE OF A FLY" 








"DEVELOPMENT OF THE CHICK" 








"EARTHWORMS" 








"THE FROG" 








"THESEAORCHIN" 









Remittance enclosed D Ship C. O. D. O 
Position 



(nstifufion- 



Addri 
Cily- 



Stot»- 



1 am interested in the following film catalogues: j.i 
Educational D Recreational D Religious D 



January, 1948 



Page 5 



THE GREAT NEW FILM ON THE 

MOST VITAL SUBJECT IN THE 

WORLD TODAY... FOOD! 



■*K* 




WORLD 



A Paul Rotha Film 

Produced By 
Films of Fact Ltd. 



Written By 

A. Calder-Marshoi! 

RCA Sound 



^Successor Film to THE WORLD OF PLENTY) 

The Real Story of The World Food 
Situation Today, and THE UNITED 
NATIONS LONG RANGE PLAN 

Produced with the cooperation of Australia, Canada, 
India, Great Britain, The Netherlands, South Africa, 
The U.S.S.R., and the U.S.A. 

Animations by Diagram Films Ltd. 
Maps and Charts by Isotypes Itjsfitute 

THE WORLD IS RICH is a clear presentation of the basic 
facts. The world food shortage is due not only to the War; 
there has never been enough food to feed the people of 
the world property. The U.N. measures formulated in the 
Food and Agriculture Organizations ore dramatized, and 
the plan drawn up by the F.A.O. for the permanent 
improvement of farming throughout the world are de- 
scribed. Diagrams explain the trade relationships be- 
tween surplus producers and food importing countries. 

THE WORLD IS RICH asks: The suffering victims of the 
Atom Bomb ends one World War, but what about the 
suffering, poverty and hunger which may stort another 
one? The film answers: An assured world food supply is 
the only basis for world peace. 

Preview Prints Available at 25 Nationwide 
Service Points. Order Your Copy Now! 

43 MIN. 1 6mm SOUNDFILM Sale Price $1 00.00 

Releosed in the U.S.A. by FILM ALLIANCE OF 
AMERICA Inc. for the British Information Service 



Disfribufed Tbro 



The Foci/ides Ol 



m 




1600 BROADWAY 
NEW YORK 19, N. Y. Circle 6-4868 



Are You Guilty? 



JOHN H. GRIFFITH 
Director, Visual Education 

Galeshurg (Illinois) Public Schools 

THE following mistakes in the use of Audio- 
Visual aids can probably be duplicated in 
almost every school system. 

1. Are you guilty of going on a picture drunk? 
Have you been guilty of showing several complete film 
strips, sets of 2 x 2 slides, or .several moving pictures 
all at one time? 

2. Are you guilty of failing to prepare the student 
for that which you want him to see or understand? 

3. Are you guilty of expecting a student to under- 
stand a picture, film, or diagram just because he 
looks at it? (A picture is not necessarily worth a 
thousand words.) 

4. Are you guilty of failing to follow up the use 
of each aid with an explanation of points not under- 
stood and a check on what has been learned? 

5. Are you guilty of failing to place the new vo- 
cabulary to be encountered in the film on the board? 

6. Are you guilty of failing to ask unanswered 
questions about what is to be seen in order that the 
student will be alert in finding the answers to those 
questions? 

7. Are you guilty of thinking, that because a cer- 
tain film is good, the whole school ought to see it 
whether it fits into their unit of work or not? 

8. Are you guilty of thinking that a film which 
lasts only 10 minutes is a waste of time? (Atten- 
tion span of many children is not longer than this.) 

9. Are you guilty of thinking. "I won't have to 
teach today because we are going to have a film"? 

10. Are you guilty of thinking that a child gets all 
there is in a filmstrip or moving picture by seeing 
it once? 

11. Are you guilty of failing to realize that many 
of the words you use are empty, meaningless words 
to your students and that they will continue to be 
so unless you are able to put meat on these word 
skeletons in the form of real and vicarious experi- 
ences ? 

12. Are you guilty of not realizing that materials 
in this field which you may have considered worth- 
less in the past are now being replaced by excellent 
up-to-date materials? 

13. Are you guilty of failing to think of visual 
aids as just one of the fine tools for learning and 
not a substitute for the teacher? 

14. Are you guilty of believing that, because you 
have had bad experiences with poor films or strip 
films, poor projection, improper lighting, poor 
acoustics, failure to get materials at the time needed 
or failure to get them at all. no place to show them, 
etc. that this field can be of no future help to you? 



Page 6 



Educational Screen 





an opaque 
projector 
comes ni 




An opaque projector is the primary projector for classroom use. No 
other type of projector can serve the same multifold purpose. No other 
projector is as economical to use. An opaque projector requires no 
expensive equipment such as slides or films. No tedious preparatory 
work is involved in its use. 

Take current events, for example. With an opaque projector, you can project 
important items directly from today's newspaper onto a screen in front of the 
class, so that the attention of everyone in the group is focused simultaneously 
on the happenings under discussion. 

In other subjects, too, an opaque projector is an unsurpassed aid. You can 
project full pages from books and magazines. You can project maps. Beautiful 
photographs, drawings, and paintings from Life, National Geographic, and 
other publications can be reproduced on the screen in their natural full colors. 
You can show your class actual objects . . . the form and colors of biological, 
botanical and geological specimens — rocks, plants, flowers, etc. You can show 
moving mechanisms such as the workings of a watch. 

The uses to which an opaque projector can be put in classroom and assembly 
hall are practically endless — limited only by the bounds of your imagination. 
It is a creative tool in a good teacher's hands. Every classroom should have an 
opaque projector. 

Charles Beseler Company has a complete seleaion of opaque projectors for class- 
room use. They range from simple, inexpensive models to projectors that accom- 
modate full SVi" X 11" page material from magazines and books. 




VU-GRAPH 
An amazing over- 
head projector 
that enables you 
to pro|e<t material 
and face your stu- 
dents ot the »ome 
time. 



The Best Projector is a Beseler Projector 

The World's largest Manufacturer of 
Opaque Proiection Equipment 



mODEl 0A3 
An opaque pro- 
jector that pro- 
jects full pages 
In magazines and 
books, maps, and 
other large size 
material. 




Mail the coupon below for literature describing Beseler Opaque 
Projectors. Or ask for a free demonstration. 



CHARLES BESELER COMPANY, Dept. E 

243 tast 23rd Street, New York 10, N. Y. 

Q Please send me literature describing Beseler 

Opaque Projectors 
Q I would like to hove a free demonstration of 

Beseler Opaque Projectors 

Name 

School 

Address 

City 1 Zone State 



I 
I 



January, 1948 



Page 9 



As Viewed From Here 



Paul C. Reed 



/t's the same loose and unenlightened talk all over again. 



Such Claims Are Ridiculous! 



• Way back in the earlier days of motion pictures there were vis- 
ionary dreamers who became over-enthusiastic about the educational 
implications of this new medium. They may have meant well, but 
the harm they did by their loose and unenlightened talk took years 
to overcome. They made wild predictions that the motion picture 
would teach hundreds simultaneously. Class size could be increased 
manyfold. And teachers could be relieved for other duties or other 
jobs. 

It took many years, and a lot of convincing demonstrations, to 
prove to some of the more fearsome teachers that the 
day of the robot teacher had not arrived. 

BUT, NOW LOOK!! I knew you wouldn't believe 
it possible, so I tore out the paragraph and you can 
read it on this page. 

It's the same loose and unenlightened talk all 
over again. This time it's television that is going 
to take the place of classroom teachers. New ex- 
perts have come forth, and in their naive enthu- 
siasm for their great new medium are making 
claims that are not only stupid and dangerous, 
but are absolutely unnecessary. 

There is no doubt that television has much 
to offer education — both the formal and in- 
formal kinds of education. Television is much 
more than motion pictures plus radio. The 
■combination of these two powerful media into 
one has probably produced a medium much 
greater than the sum of its parts. Television is 
so potentially important to education that it should 
not endanger its future with the words of inept and in 
experienced advocates. 

We know that this is an age of specialization, even in education. 
We have our "visual educators" and we have our "radio educators". 
Maybe we'll have to have our "television educators" too, but it seems 
to us that television education should look to the visual and radio 
education fields for its talent and prophets. No visual or radio edu- 
cator with an earned reputation would make the ludicrous mistake 
of claiming that television "could help teacher shortage." 

Maybe the trouble is that visual and radio educators are too much 
concerned with their own specialized media. Maybe they should be 
paying more attention to television — and to one another, too, for 
that matter. 




Page 10 



EducaHonal Screen 



Pictures 

bring the 

Rockies 

into the 

classroom. 




SEEING THE MEANING 



W~M'VE all had students who "read" an assign- 
ment and didn't know what it meant. They 
could "say"' the words but they couldn't "see" 
their meaning. Now a good reader ought to be 
able not only to recognize the printed symbols but 
also to have a clear grasp of their meaning. A 
history textbook, for example, said that a certain 
document was printed on vellum and members of the 
class "read" this fact and so reported in class. But 
not one of them knew what "vellum" was. 

Sometimes we read a mistaken meaning into a 
word like the boy in Zanesville, Ohio, who thought 
that swine was the plural for swan. Certainly the 
boy who read that the king had an abbess on his knee 
needed a little visual education. 

Now there is nothing very complicated about 
the way we get our understanding of persons, ani- 
mals, or things. Sometimes we experience them at 



Editor's Note: This article by Edgar Dale, dealing as it does 
so practically with the how and why of using pictures, seemed 
so worthwhile that we sought permission to bring it to Edu- 
cATioNAi. Screen readers even though it also is to be pub- 
lished with other articles in a booklet, "How to Teach With 
Pictures". 

We acknowledge with appreciation the permission granted by 
R. E. Fideler of Informative Classroom Pictures Publishers 
for this preprint privilege, and commend their initiative in 
providing this kind of guidance toward most effective picture 
utilization. 



EDGAR DALE 

Professor of Education, 

Bureau of Educational Research, 

Ohio State University 

firsthand. We see or feel or hear or smell or taste them. 
We are quite sure, therefore, what water is, of the 
characteristics of a skunk, or of the c|ualities of a 
rose. 

Substitutes for Experience 

But many things are not met at firsthand. A boy 
in England might not have seen a skunk. Some 
things are distant in time or space and we must 
meet them secondhand. Most of us knew what an 
elephant looked like before we ever saw one. You 
jjrobablv saw the Rocky Mountains or the New 
York skylin^ or wheat-raising in the Middle West 
in a picture before you saw the real thing. ( Unless, 
of course, you live in one of these places.) The 
Eiffel Tower or London Bridge or the Swiss Alps 
are not new to those travelers who saw them first 
in a picture. 

.\ jiicture, then, may be a substitute for the real 
thing. But sometimes we have seen the real thing 
and use a ])icture as a reminder, or for further study. 
It helps to sharpen u]) our memory of places we 



January, 1948 



Page I I 



■■p-r^^^iWII' ^ — v_,'— 


•'i 




a 



It is easy to get pupil participation with pictures. 

have been or things we have studied. We use the 
picture to reconstruct or to recreate an experience 
much as you look over your snapshots of a trip. 

Now when can we use a picture as a substitute 
experience? We can do this if we have enough re- 
lated experience to understand the picture. Some 
children who had not seen a cow thought that it 
was about the same size as a mouse. And indeed 
in some of their books, the pictures of the mouse and 
the cow were almost equal in size. So when we are 
getting a new experience we need to have some of 
the older experiences tied in with it in order to 
understand it. 

We can do three things in "reading" a picture. 
We can simply enumerate the objects in it. We can 
say, "I see a grass hut. There are four people in 
front of it." Or we can go beyond this and describe 
what the people are doing. Or we can go still fur- 
ther and interpret what we see. 

To interpret a picture, and this is our chief inter- 
est, you must infer certain things that may not be 
visually present. You fill in certain things from 
your own experience. You infer that the climate is 
a wet one because of the sharp slope of the roof. 
You infer that the agricultural methods are ad- 
vanced because you see a tractor in the picture. 
Some of these deductions are very simple ; some are 
complicated. 

Making Pictures Meaningful 

You must put meaning into the picture to get mean- 
ing out of it. A geographer, a biologist, a sociologist, 
and a farmer would see some common things and 
some dififerent things in a picture showing a farm 
scene in China. A child who has not had the ex- 
perience of seeing a pioneer flatboat, or a model, or 
a picture of one, finds it impossible to put much real 
meaning into the word flatboat used in his history book. 
The word is "empty" until it is "filled" by seeing a 
picture, or by some other similar experience. 

An Indiana county superintendent who found a 
class studying the ocean liner "The Queen Mary" 
in connection with a unit on transportation asked 
how many of the members of the class had ever 
been in a rowboat. .About two-thirds had never 

Page 12 



been in a rowboat although the Tippecanoe River 
was only a mile away. 

Pointers on Picture Utilization 

Here are some of the ways we might use pictures 
in the meaningful way just suggested. They are 
not all different ways, some of them are quite closely 
related. 

1. Use pictures for careful study. 

Children may find answers to certain questions 
more readily in pictures than in written material. 
A written description of making soap in colonial 
days, or of the process of spinning, lacks the im- 
portant details to be found in good pictures of these 
processes. Teachers can encourage children to find 
answers to their questions by consulting pictures. 
Children may prepare good questions to ask other 
members of the class. 

2. Use pupil participation. 

It is easy to get pupil participation with pictures. 
Children will readily talk about an excellent photo- 
graph. There can be excellent discussions about 
pictures and their meaning. 

A pupil reporting to a class may choose a few 
pictures for illustrating his report. He may say 
"I've told you about how wheat was harvested with 
a cradle in pioneer days. Here is a picture showing 
how they used the cradle, and what it looked like." 

3. Introduce a subject and arouse interest. 

.•\ few good pictures of life in India will help to 
interest pupils in that country. Keen interest re- 
sults in a desire to read, find out, do and make. 

4. Bring the outside world into the classroom. 
The school was once thought of as a place in 

which the children unthinkingly memorized certain 
facts and practiced certain skills. There was little 
teaching material which could be used for creating 
a rich classroom environment or for bringing the 
outside world into the classroom. 

Xow we think of a school as a group of children 
with a leader whom we call the teacher, whose job 
it is to help create a rich, educational environment. 
The teacher tries to bring the local community, the 
state, the nation, and later the whole outside world 
into the classroom. If we are to bring the world to 
the children, we must use pictures. 

In geography textbooks, we may find only five or 
six pages devoted to the territory of Alaska and 
about as many pictures. This is because the text- 
book, of necessity, must be limited in size. The 
publisher would like to include more pictures and 
do more visual teaching in the books he publishes,., 
but the cost would be too high. An adequately il- 
lustrated geography book of two thousand pages 
might cost as much as ten dollars. However, an 
excellent file of well-selected pictures in the class- 
room makes it possible to provide rich learning ex- 
periences that would otherwise be impossible to 
get. 

5. Enrich reading. 

Still picture.^^ are so inexpensive that any teacher 

( Concluded on pacie 40) 
Educafional Screen. 



Tommy's Day 

In the First Grade 



RUTH HARTKE 

Board of Education, 
Dearborn, Michigan 



A primary-grade film which led to a 
^^make-believe" play and a valuable learning experience. 



IX these days the privilege of being a teacher 
carries with it ever greater challenge. Producers 
and others interested in audio-visual materials 
are giving us substantial help in guiding the de- 
velopment of children into well-adjusted personali- 
ties. It is our privilege to choose and our challenge 
to use those materials best suited to further the 
education of our children, socially, emotionally, 
physically and mentally. Until recently there were 
few films within the primary grade range ; now 
there are quite a few. One film which we recently 
selected and used was Tommy's Day* 

May we share our experience with you ? 

An Opportune Moment 

Children of six, seven, and often eight or nine lose 
teeth. Johnny comes up and says, "My tooth is 
loose but I don't want it pulled." Mary says, "My 
tooth came out when I bit into my apple. I must 
have swallowed it. Oh, dear, I wanted to give it 
to the fairy." So when Sandra came in with a, 
""Please pull my tooth for me," and the usual num- 
ber of interested children gathered around, it seemed 
like the opportune moment to make use of our print 
of Toniniy's Day. 

The faces of the children as they gave their un- 
divided attention to viewing the film left no doubt 
as to their interest. One child's "May we see it 
again?" was echoed by others, and a unanimous 
vote made a second showing mandatory. But this 
was only the beginning. 

Tommy As a Springboard 

Their interest in Tommy and his day served as 
A springboard for our health program, which in- 
cluded a study and discussion of food, teeth, dent- 
ists, doctors, cleanliness, neatness, play and safety. 
The children also thought it a good plan to use 
Tommy for our daily penmanship. This idea cul- 
minated in an interestingly illustrated Tommy's Day 
story. Deletions and additions changed the original 
story somewhat, but not fundamentally. "I think 
we should see Tommy's Day again" became a fre- 
quent remark when there were differences of opin- 
ion about the original story. The film was also 
used as an example of harmonious home-life, en- 
joyable living-together, home-hap])iness. Tommy 
was an example they could follow. Finally, it was 

*Produced by Youns America Films 



decided to use Tommy's Day as a basis for develop- 
ing a "make-believe" play for an assembly program. 

The Play's the Thing 

Much work had been done previously with dif- 
ferent kinds of stories — stories that could happen 
but didn't, stories which just couldn't happen but 
were fun if we realized that they were just "pre- 
tend" stories. With this background and this new 
e-xperience of a motion picture with a Narrator, we 
fell into the idea of having narrators and using 
pantomime for our assembly play. 

"Try-outs" were held to determine which voices 
would be best for narrators. In order to be chosen 
as one of the eight narrators, a child had to enunci- 
ate clearly over the microphone, as well as make up 
his own continuity. "Try-outs" were also held for 
the selection of the pantomime actors. Narrators and 
actors were chosen by the group. All twenty-seven 
pu])ils in the First Grade took part in the play, as 




THE LOOSE TOOTH 

A scene from "Tommy's Day," produced by Young 
America Films. 



January, 1948 



Page 13 




Hand-made signs set the scenes in the "make-believe" play 
inspired by "Tommy's Day." 



narrator, actor or stage hand. The characters in- 
cUided in the play Avere Tommy, Peggy, Father, 
Mother, Teacher, and pupils. On the day of the 
performance the full responsibility of "'putting on" 
the play was assumed by the group. 

Scenes and "Props" 

The four scenes were Bathroom, Breakfast. 
School, and Evening. The children made huge 
signs for each scene. Preceding the Bathroom scene, 
two stage hands (small boys) walked to the front 
of the stage with the sign "Bathroom", held it for a 
few seconds, then walked off; returned with the sign 
"Washbowl", kneeled and hid behind it while Tommy 
and Peggy came out, sleepily, stretching and yawning. 
Xo other stage properties were used — wash cloth, 
towel, soap, tooth brush were all "pretend" ones. Even 
the speaking on the stage was pantomimed. The Nar- 
rator interpolated such remarks as, "My, Tommy 
and Peggy! You look sleepy this morning. Hurrv 
and wash!! Wash your face, Tommy. Wash your 
ears. Don't forget your neck. That's right. Tommy, 
hang up your towel — and your wash cloth. Brush 
your teeth. Did you find a loose tooth, Tommy? 
. . . Help Peggy button her dress. Tommy." 

The Plot 

It was interesting to note the timing of the Nar- 
rator. He didn't hurry. Plenty of time was al- 
lowed for the performers to "act out" the comments. 
This procedure continued until Tommy and I'eggv 
were dressed and ready for breakfast. Then they 
hurried off the stage . . . The "Breakfast" sign 
was produced and another narrator took his turn 
at the microphone. Mother got breakfast while the 
comments concerned good breakfasts. Further 
statements were given concerning Tommy and 
Peggy's breakfast and the loose tooth while the 
family of four ate . . . The School Scene opened 
with a discussion on loose teeth, actual experiences 
with the dentist were given off stage. This led into 
a discussion of proper foods. The whole stage 
background consisted of huge pictures of labeled 
good foods. The Reading Class read a health story. 
A folk dance followed for the rela.xation period. 
.School closes . . . The last scene was an Evening 
at Home with Tommy, Peggy, and Mother listening 
to a story read by Father. Then, "off to bed" was 
the close of another happy day for Tommy. 

Pleasure and Profit 

The audience of three hundred kindergarten, first, 
second, and third grade children enjoyed this "pre- 
tend play" as given by the First Grade. The par- 
ticipants had fun and learned a great deal. 

Toiniiiy's Day proved to be a valuable educating 
e.x])erience for our grade. The positive approach 
in the picture did much in placing the emphasis 
where it belongs. The simplicity of development 
enabled the children to put themselves in Tommv's 
place and follow through. The simple theme gave 
them an opportunity for enlargement in many di- 
rections. The privilege and opportunity of using 
such materials does much to hel]) us meet the chal- 
lenge of educating today's children. 



Page 14 



Educational Screen 



It's a "Snap" 

For San Jose Teachers 



Provision has been made for them to make their 
own 2x2 slides — and to learn how to do it. 



MOST teachers are discerning when they 
begin to look for and to evaluate 
something to be used in the classroom. 
On excursions, trips during vacation, on the way 
to school and on the \va\- home, they see objects, 
story-telling scenes, and beauties of nature — all 
visual lessons. Often the writer has heard a teacher 
remark, "If only 1 could have my class see this 
just as I'm seeing it." 

It has been said that "Learning to See," is the 
first rule of photography. The camera, then, can 
become a means to an end — to bring what is seen 
into the classroom. 

The jierson who does the seeing, who makes the 
evaluation of what is being seen, and who plans 
how to use the picture once taken on film, is the 
most important element in the picture taking pro- 
cess. When that person makes the proper camera 
adjustments and takes a picture, he is really seeing 
things "for keeps." 

What an excellent medium for teachers to use! 
Of course many teachers are taking pictures to be 
used in the classroom, but too few are taking ad- 
\antage of this splendid technique. 

San Jose Experiment 

Recently a study embracing this visual instruc- 
tion area was conducted in the elementary schools 
of San Jose. California. 

This was done to determine whether elementary 
teachers would be interested in making use of this 
area of the visual arts field to take their own pic- 
tures for school use. The thought was that these 
could be used as : 

1. Functional teaching materials. 2. Unit Moti- 
vation. 3. Unit Evaluation. 



C. W. PALMER 

Superintendent's Office, 

San Jose School Department, 

San Jose, California 



The study was made in two ))arts: the first to 
discover the needs of teachers on the elementary 
grade levels in relationship to the pictures they 
could make : the second part to set u]) an in-service 
training ]>rograni to meet the needs as discovered. 

In taking pictures for class use, we had in mind 
the use of a .^.Snini camera, black and white film, 
and the making of 2x2 slides. 

There is no longer need to fear the mechanics 
of the camera. With the e(|uipment being produced 
today, many of the difficulties of taking a good 
picture have been solved by invention and design. 
It is as simple to use the present 35 miniature 
camera as it is to use the well-known "Box" type 
with results that far sur])ass the latter. 

The Objectives 

In the first part of the study we hoped to dis- 
cover answers for four major questions : 

1. W'hat kinds of pictures should be taken? 

2. Who shall take the proposed pictures? 

3. What administrative problems should be an- 
ticipated? 

4. Would such a program be beneficial to teach- 
ers and pu])ils? 

The study reciuired six months to complete. .-Ml 
fourteen elementary schools in San Jo.se were vi.s- 
ited and the faculties of each elementary school 
were cimsidted individuallv. Two hundred ele- 






Men at work in the community are shown in these pictures taken by San Jose teachers. 




lueiitary teachers were reached in this manner 
and all were given an opportunity to answer the 
questions. 

The superintendent of schools, the elementary 
supervisor, and the head of visual education 
watched the study with interest. The superinten- 
dent was advised of every move, and he was most 
helpful as a consultant. The study became 
more meaningful to the department because of the 
interest, alertness, and responsiveness of the ad- 
ministration in making it something worthwhile 
and significant. 

It was found as one problem led to another that 
the visual education program depends upon many 
interrelated factors. When this study was begun, 
it had only one purpose. As it progressed, other 
problems were discovered and discussed. Since 
some of these problems were basic to the whole field 
of visual instruction, they had to be solved before 
San Jose's visual education program could advance. 
The discovery of these problems had in itself been 
of value to the school system. 

The Results 

A summary of the investigation follows: 
There are 200 elementary teachers teaching in 14 
elementary schools in the city of San Jose. 

1. To the question^ — 

"How many would be interested in an in-service 
training class in your own school to learn the use 
of this one specific camera and this one specific 
film?" 165 elementary teachers answered that they 
would be interested in such a class. 

2. "Would you find it an advantage to take your 
own pictures?" 134 of the elementary teachers oi 
San Jose answ^ered "yes". 

3. "If the methods and procedures projjosed were 
put into practice, how many feel you could use these 
materials to advantage?" 178 answered aftirma- 
tively. 

4. "How many are using projected visual materi- 
als in your classroom at the present time?" 169 
stated that they were using such materials getting 
them either from our own department or from other 
sources. 

5. The reasons that were given for not using 
more projected visual materials were these: (a) 
Teachers felt they lacked time to get materials 



(b) lack of electrical outlets so as to use the pro- 
jector (c) didn't realize a projector was kept in the 
school (d) couldn't see use for visual aids in upper 
grades fe) fear of the mechanics of operating pro- 
jectors (f) can't see the use of projected visual 
materials for lower grades (g) too difficult to 
darken rooms (h) not enough material for primary 
grades (i) no material of interest on Santa Clara 
Valley (j) no material on community in which we 
live (k) materials too old — outdated (1) material 
not on child level (m) when material is wanted it 
is usually being used elsewhere (n) equipment too 
heavy to "lug" (o) not enough material for social 
science upper grades (p) no materials on explorers (q) 
material too vague (r) material not organized along 
subject matter lines (s) must transport class (t) no 
materials for airplane unit (u) some pictures taken 
poorly (v) ventilation becomes a problem with use 
of movie projector (w) can't keep materials long 
enough fx) more extension cords needed. 

6. "What kinds of new picture subjects could 
you use in your classroom as an aid to your teach- 
ing?" The teachers answered: Home — neighbor- 
hood — school helpers — teaching traffic procedures 
— safety — how to play new types of games — health 
— social science dramatizations by elementary stu- 
dents and by high school students for elementary 
students — excursions — community activity — com- 
munity helpers such as postoffice. mailman, fire de- 
partment, lumber yard, milk man, police man, groc- 
ery man, vegetable truck, street cleaners etc. — ex- 
plorers — farm — points of interest in Santa Clara 
Valley — industry — pioneers — colonial period — west- 
ward expansion — charts for use with the funda- 
mentals — missions parent classes — places of interest 
in California — the California Indian — transporta- 
tion — pets — food — clothing — shelter — communica- 
tions — school orientation— nature study — animals — 
aviation near us (Moffett l-^ield ) — hcalih habits. 



Conclusions 

Piecause of the expressed enthusiasm tor such a 
program as indicated by this study the administra- 
tion arrived at the following definite conclusions : 

1. It has been decided that teachers may take photo- 
graphs from wdiich slides may be used for class 
use. These will be made into sets to be retained bv 



( Coiicludi-d ,>n page 34) 



Construction activities provide excellent subjects for the cameras of San Jose teachers. 




WILLIAM S. HOCKMAN. Editor, 1616 Marlowe Avenue. Lakewood 7. Ohio 



Motion Picture 
Worship Services 



THE TEMPI. ED HILLS is the tlrst of a series 
of eight complete worship services in sotind 
and natural color, running 40 minutes each, 
to be i^roduced by Youth Films Inc., headed by 
the Rev. Borland P. Dryer, of Hollywood, Cali- 
fornia (6406 Sunset Blvd.). 

The nature of the film will be better understood 
if the sequences, together with their duration in 
minutes, are given: Organ Prelude (3), Opening 
Service (2), The Doxology (1), Responsive Read- 
ing (1J4)- Congregational Hymn — "Come Thou 
.■\lniighty King" — (2), Introduction to the Film 
(yi). The Worship xMeditation (16), The Sermon 
on the Screen (8), Closing Meditation (31/4), Bene- 
diction and Prayer (1), Close of Service (1) The 
Organ Postlude (3). 

In the responsive reading Mr. Dryer takes the 
role of the preacher. In the worship meditation, 
the scenic splendors of certain Western canyons 
are presented on the screen and the meditative 
comments revolve around the theme "I will lift 
up mine eyes unto the hills." The screen-sermon 
stresses two thoughts : Half Dome in the Yosemite 
.Vational Park "graphically illustrates that God is 
eternal." and the "soft ujjright formations of re- 
cent geological erosions in Bryce Xational Park 
signify that human beings should also remain pli- 
able, to be moulded by the Maker." No pictorial 
material accompanies the organ postlude. and dur- 
ing it the house lights sh(juld come on. 

Utilization 

The proposed utilization of this film is as fol- 
lows: Mid-week ser\ ices as a study in spiritual 
values ; church night or church dinner programs ; 
church school worship; men's nights and women's 
meetings ; Sunday and week-day youth programs ; 
college chapel, and hospital or rest-home inspira- 
tional service. 

Utilization helps come with the film. The "ex- 
])loitation package" contains a study guide giving 
a breakdown of the service, suggestions on how to 
use the service, suggested sermon material, sug- 
gested sermon outline, directions to the projection- 
ist for monitoring the amplifier, together with sug- 
gested newspaper stories and spot announcements 
for the local radio stations. 



The music of the films is (luite acceptable 
throughout. It is bright, full-bodied, and well-re- 
corded organ music. It wt)uld certainly be enjoyed 
and appreciated by most people. There is, how- 
ever, a sameness about it in the long scenic sections 
which might have been relieved by some well- 
placed silences and the introduction of new themes. 

Inadequacies 

In the three principal sequences which together 
add up to nearly -J^ths of the entire footage (27 
minutes), there is inadequate integration of the 
pictorial and auditory elements. The meditative 
comments are imposed upon the scenes presented. 
The ideas in the meditation are not suggested by 
the picture sequences. One gets the impression 
that the basic assumption is that religious thoughts 
can be gotten into the worshiper easier while he 
looks at pictures. The two principal points of the 
screen-sermon (see above) do not grow out of the 
inherent character of the pictorial material, and 
both points are too incidental and whimsical to 
carry much force. Is it possible that the psalmist 
of old sang of nature because he had experienced 
(jod rather than because nature revealed God to 
him? 

The photography of the film (as photography) 
is technicall}- good. The use of panoramic material, 
with very few e.xceptions. is one of the funda- 
mental weaknesses of the film. There are no me- 
dium shots, no closeups, no angle shots, and no 
shots giving detail. We are confronted by the 
enormous, the spacious, the far-away to such an 
extent that the eyes hunger for some kind of detail. 
This is probably due to the character of the foot- 
age available. There are no surprises to delight 
us and stir the emotions. Scene succeeds scene 
monotonously. This lack of variety is a grave 
shortcoming. 

The makers of this film claim that it was "s])e- 
cifically desigjied to arouse the emotional factor of 
the subconscious to the highest level of spiritual 
inspiration." If it was so designed, something went 
wrong with the execution. The filtn lacks psycho- 
logical organization. There is little evidence that 
the producers thought out what they wanted the 
w()rshi]ier to exjjeriencc and then went out with 
the camera to get the picture seipiences which 
would bring this reaction about. The film has no 
ob\ ions or effective climax. 



January, 1948 



Page 17 



A thoroiig'h reading of the promotional material 
on this film leads inevitably to the conclusion that 
the flesh pots of entertainment have not been left 
very far behind. The exploitation of the film's 
use in press and radio in the interest of the big 
crowd and the substantial oflfering, certainly does 
not harmonize with the concept of worship which 
exists in the minds of the great majority of clergy 
and laity. 

At $590 per print and at $20 per rental the film 
is not realistically priced. Where are the distribu- 
tors who can come out on such a print price? It 
will take the first year's rentals to pay for the 
print, and promotion and overhead will be accum- 
ulating in the meantime. Where are the churches 
who can pay out of the budget such a rental ]>rice? 
To "promote" a crowd and take up an offering 
(fortunately) is not the way most churches are em- 
nloj'ing films in the enrichment of their programs. 
Those who insist upon the production of these ex- 
pensive films are only kidding themselves about 
the economics of visual education in the church, 
and they would do well to keep focused on the 
average American church rather than upon a few 
affluent ones. 

Films for worship and inspiration will be pro- 
duced eventually. They will be made by those 
who seek and find the implications of the elemental 
nature of the film for worship, and then integrate 
this knowledge with an understanding of the psy- 
chology of private and public worship. None of 
the so-called worship and inspirational films thus 
far produced give evidence of more than skillful 
carpentry. Every one lacks power, internal or- 
ganization, and sound psychological construction. 
Mr. Dryer is to be praised for his willingness to 
venture in this difficult field, and, if the literature 
emanating from Youth Films Inc. does not over- 
state his empirical mindedness, he will learn much 
as he builds other films, and by the end of the 
series which he has undertaken he may develop 
a formula which will be more satisfactory than is 
found in The Templed Hills. 

Some Suggestions 

In the meantime several judgments are ven- 
tured for what they are worth : The motion picture 
worship service, when it comes, will consist of at 
least three distinct parts : 

a) There will be an introductory segment which 
will bring the audience gradually, yet firmly, into 
the mood and the expectancy for worship. To pro- 
duce this, the best craftsmen of studio and chapel 
will need to join hands, and have a humble respect 
for several branches of psychology. Usual "orders 
of worship" may need to be discarded. 

b) The second part will be the body of the film, 
and it will be designed to evoke the worship re- 
sponses. The key for its organization will be the 
normal ])attern for emotional response and men- 
tal illumination. It will move to a climax, and it 
may be briefer than we now think. 

c) The closing part of the film will be distinct 
from the other two. It will ease the worshiper 



back into the work and moral striving of the world 
from whence he came for spiritual refreshment and 
a vision of everlasting values. 

(For more extended views on the film and wor- 
ship, see Chapter Six of Mr. Hockman's book. 
Projected Visual Aids in the Church. Pilgrim Press, 
Boston. ) 



News 



• The publishing interests of the Evangelical United 
lirethren have appointed visual aid personnel. The 
Evangelical Press, Harrisburg, Pa., has appointed the 
Rev. M. V. Fridinger as its full-time representative. 
The Otterbein Press, Dayton, Ohio, has named Floyd 
E. Watt as director of visual aids. Dr. Paul R. Koontz 
is the chairman of the committee on visual aids for the 
denomination's Hoard of Christian Education. 

• Three-dimension Bible pictures in color and in ac- 
tual photographs of living characters, developed jointly 
by Church-Craft Pictures, Inc., and Sawyer's Inc., Port- 
land, Oregon, will be released next month according 
to Victor B. Growcock, newly-appointed sales manager 
for Church-Craft. The.se Bible reels are seen through 
a (stereoscopic) Vievvmaster. Without doubt these 
pictures will be useful to ministers and chaplains in 
their visitation of the sick and other shut-ins. 



Left to right : Rev. Paul G. Kiehl of Church-Craft Pictures, 
Inc., Joe Leslie, sales manager of Sawyer's, Inc. and Ed 
Mayer and Harold Graves, executive officers of Sawyer's, Inc. 




Church-Craft Pictures 

• United World Films. Inc., has established a special 
Religious Films Division with William Sherman 
f^reene in charge. Mr. Greene is church school super- 
intendent at Christ Church, Short Hills, N. J. His 
division will issue a periodic news letter dealing with 
tiiotion pictures for church use. Send your request 
for their catalogue now in preparation, to 445 Park 
.Ave.. New York 22. Summarized, the Division's con- 
ditions for preview are as follows: a) recjuest by user 
for film to arrive day early; b) preview by church 
conference or committee duly authorized and ap- 
proved : c ) preview by prospective purchasers. 

• The I-"und For Near East Colleges (Room 1209, 45 
Cedar St.. New York 5) is to be congratulated on its 
enterprise and wisdom in bringing to completion a 
60-minute color film. Outposts of American Edncation, 
which tells the stories of the eight Near East Colleges 



Page 18 



Educational Screen 



I'or which a fund of 15 milhon dollars is being sought. 
Across the years these colleges, little known to most 
Americans, have been oases of education and spiritual 
enlightenment. Their far-reaching iniluence is suggested 
by the fact that 29 alumni of these schools represented 
their respective countries in the San Francisco U. X. 
meeting. Serving the youth of six nations, they have 
an aggregate enrollment of ,'^.GOO students. The film 
is available on a rental basis. Write to the above ad- 
dress. Those churches and schf)ols who are interested 
but cannot project film, should asi< about the koda- 
chrome slides. 

• The World Council of Christian Education. New 
York, will establish a new department of religious 
films and slides. The department is made possible by 
a gift from Mrs. Clififord S. Heinz, Pittsburgh, a 
vice-president of the former World's Sunday School 
Association, predecessor of the Council. In London. 
J. Arthur Rank has underwritten the expenses of the 
project and is building studios specifically for the pro- 
duction of religious films. 

Films Seen 

AT the Green Lake Workshop and at several other 
seminars and conferences, the Editor had the op- 
portunity to see and u.se many films, some old and some 
liew, and observe the reaction of gronjis both large and 
small. 

Abralwin and Isaac is certainly not for children — 
unless you are unconcerned about concomitant learn- 
ings and attitudes. While it presents the story of 
Abraham's near-sacrifice of his son's life, it is too 
nakedly literal and gruesome for all save adults. .Itid 
No7v I Sec, new Cathedral film on stewardship for the 
United Lutherans, will be most useful within the spon- 
soring communion and have considerable value out- 
side. A bit slow and wordy, it gets its story told and 
Its point over. Some folks may be bothered by the 
miraculous element. 

Boundary Lines, impressionistic color and sound 
film, holds the attention and creates an impression. It 
can provoke discussion about the lines which separate 
men and groups from each other. Its informational con- 
tent is scant; its philosophy of history and its social 
psychology are pretty wobbly. In it picture, color, and 
music are neatly and elTectively integrated. Brother- 
hood of Alan was criticized on two counts ; the semi- 
comic cartoon medium, and on the easy assumption 
that the realization of proximity and inherent human 
equality results in altered behavior. We wish it did. 
The motives for brotherhood lie elsewhere — in the 
realm of religious ideas, motives, and attitudes. 

No Greater Poicer. the story of Zacchaeus, is con- 
sidered by many to lie the best film Cathedral has 
produced— with the ixissible excejition of their recent 
Queen Esther. It is not strange that this film is gener- 
ally prai.sed by church ])eo])le. It is a good film. 
Child of Beth!eheiii--hf. f(uality acceptable — is still the 
best film on the Christmas story. Faith Triumphant. 
one of the St. Paul series, is the best of the series and 
is widely used. 

The best Easter film to date is the British. First 
Faster, and there are so few prints of it in America 




Cathedral Films 

A frame from "How to Teach With Films." 

that it is probably booked solid for 1948. For All 
People, Cathedral film telling the story of the Church 
of All Nations in Los Angeles, is weak in that too 
little of the footage is devoted to an exposition of the 
work of the church. An older film. That They Might 
Have Life, on a similar story centering in N. Y., point 
by point is a better film, and cost much less to pi-o- 
duce. 

Home Are The Haunted, principally in color, tells 
the story of modern Palestine and contains some very 
fine ])hotography. It is not as compact, nor as useful 
as discussion background, as the March cf Time film, 
Palestine. How to Teach With Films (Cathedral) 
has limited usefulness because it implies a church 
school procedure many leaders consider basically un- 
.sound. Journey Into Faith, Cathedral's crucifixion 
dim, is not praised by those who know good films, 
even though is has considerable usage. 

Life With Baby. ^larch of Time's presentation of 
Dr. Gessell's notable work at Yale, finds general ap- 
jiroval. and religious leaders got out their notepads 
^md put it down as one for young parents to see. A 
Nation Is Born, new film telling of the fight for free- 
dom carried on by Philippine educators and others 
imder Japanese occupation, shows no missionary work, 
except by indirection. Not By Bread Alone, techni- 
cally weak, can be used to help congregations visualize 
the reception and distribution of church-given relief 
by church agencies in Europe. 

One World Or None, the best film-plea for the con- 
structive use of atomic energy so far, makes a pro- 
found im])ression on all groups. It has information, 
plus logic, plus an impression. Because it appeals 
to the mind, it cannot be .so easily shaken off as The 
Way of Peace ( Lutheran ) and Boundary Lines. It has 
un intellectual content. Those who saw it paired in 
preview with tlie foregoing, were discussing it several 
days later. 

Wherever shown this summer, the films of the 2000 
Years Ago series made a good impression on educa- 
tors, and were i^ronoiuiced useful. Here are films close 
to the "core" of church interest and need, and they 
;ire being widely used l)y the church and the school — 
as useful in the latter as in the former. 

Shy Guy, showing a high school youth getting into 
.social circulation, was considered useful with both 
}outh and ])arent groups. The follow-up would be 
varied to meet the general character of the grou]). and 



January, 1948 



Page \9 



the specific objectives being sought. Much contro- 
versy arose over the usefuhiess of the alcohol film, 
Where Does It Get Yon? While useful with youth 
groups in raising discussion, it does not have the sci- 
entific solidity of It's The Brain That Counts — • the 
best film yet made on the subject. 

The Way Of Peace, recent American Lutheran 
film calling for repentance lest we destroy ourselves 
with atomic power, fails to convince. While negative 
in its major notes and weak as a motion picture be- 
cause of its puppetry and miniature sets, it can be 
used to condition congregations for a positive mes- 
sage. To follow it with discussion, is to mis-use it. 
For discussion, use One World Or None. 

The new Cathedral film, Amos, was well received 
by the Green Lake Workshop and ought to be found 
useful by the church. However, future films on Old 
lestament characters ought to have more drama and 
story. A somewhat more imaginative treatment will 
be needed than was given the prophet of social jus- 
tice. 

In Production and Releases 

• McHenry Films (537 S. Dearborn St., Chicago 5) 
announced December ISth as the release date on the 
sound and color film, God Is My Landlord, which tells 
the story of Perry Hayden's world-famous tithing 
wheat growing demonstration. It contains original 
shots made during the six years, some gorgeous har- 
vest scenes. It is available to clubs, schools, and inter- 
ested groups on a free-will oflfering basis. 

• Three new films from the studios of Religious Films, 
Ltd., of Great Britain are expected at an early date. 
Ruth will tell the story of the ancestress of King David, 
debunks racial pride, and sets filial piety and simple 
family life amid the aftermaths of war in a constructive 
message to our generation. The Burden Bearer illumi- 
nates and illustrates the great saying of Jesus, "Come 
unto me all ye that labor." The Wedding Feast is a 
faithful and sparkling presentation of the Parable ( Matt. 
22 and Luke 14). The weakness of making excuses 
to justify disobedience is incisively revealed. 

• Let Us Give Thanks, a 30-frame filmstrip with the 
titles on the film, is an inspirational service of thanks- 
giving. The scripture, prayers, hymns, and meditation 
are completely visualized, and the film requires from 



20 to 30 minutes. It is finished in a new "color-tone" 
process which gives rich harvest brown and white. 
Pattern For Peace is a filmstrip of 40 frames which 
presents religion's pattern for peace as seen by one of 
America's great preachers, Dr. Roger T. Nooe, of 
Nashville, Tenn. Both are fall releases of Church 
Screen Productions, St. Louis 12, Mo. 

• Many churches holding their every member visita- 
tion in the spring may want to consider using the 97- 
frame filmstrip, Teamivork. The narration, by Ever- 
ett Mitchell, is recorded on two 78 r.p.m. vinylite 
records. The setting for the pictures is a Lutheran 
church in Chicago (Edgebrook) where the congrega- 
tion acted out the visitation activities. The Muhlen- 
berg Press, Philadelphia is the distributor. 

Did You Know 

. . . That you can get glass-mounted 2x2 slides of 
the popular songs from Long Filmslide Service, 944 
Regal Road, Berkeley 8, Calif.? Write for their film- 
strip and slide catalogue. 

. . . That the Veritone Recording Co., Box 30, Vil- 
lage Station, New York 14, will make chime records 
of the hymns and music which you desire? Each rec- 
ord is individually grooved directly from the finest 
grade genuine chimes. 

. . . That Cathedral Films has issued 21 of the fine 
hymns of the church on film ? Included are such hymns 
as Dear Lord and Father oj Mankind, Master Let 
Me Walk With Thee, and the Doxology. Most of 
them run three minutes ; a few four. Inquire of your 
dealer or rental library. 

. . . That a two-record album, Said of Tarsus: His 
Conversion has been issued by Cathedral Films? The 
writing was done by the Rev. Harley W. Smith, Vicar 
of St. Nicholas Episcopal Church, Encino, Calif. These 
records are 78 r.p.m. and should be useful in home, 
church school, youth groups, and religious services. 

. . . That the Standard Publishing Co. (Cincinnati 
10) is producing Biblicolor filmstrips on the Uniform 
lessons for 1948? Since no date or actual reference 
to the lessons appears on the filmstrip, they are useable 
in many other ways. There are 25 frames per film- 
strip, and two filmstrips per quarter. A theme and 
appropriate scripture is given on each frame. The 
color is of good quality. The legibility of the captions 
would be better if larger letters were used. 



SEND FOR YOUR COPY NOW 



First Printing Now Available — Price 60c 



The Religious Screeu 

WUliam S. Hockman, Editor 

A Reprint of 19 Helpful Articles from 
"The Church Department" of EDUCATIONAL SCREEN 

30 Photographs and Diagrams, 64 Valuable Pages 

Lists Denominational Audio-Visual Directors 

Many Helps and Suggestions for Use in Your 

Audio-Visual Program 



EDUCATIONAL SCREEN 
64 East Lake Street 
Chicago I, Illinois 

n Enclosed find 60c for which please send me 
one copy of "The Religious Screen." 

n Enclosed find $1.00 for which please send me 
one copy of "'1000 and ONE" as described 
elsewhere in this issue. 

Name .. 

Address 

City Zone State 



Page 20 



Educational Screen 



A Motion Picture Work Shop 



THE four-day Production Work Shop held in 
Kansas City in early November was prob- 
ably without precedent in the film industry. 
It was attended by men and women from all sec- 
tions of the country — from Connecticut to Califor- 
nia, Oregon to Florida, plus four from Canada. 
There were 110 participants altogether, from uni- 
versities, associations and from industrial compa- 
nies. All were seriously concerned with the pro- 
duction of 16mm motion pictures. 

Planning the Work Shop 

Plans for the Work Shoj) grew out of many 
individual requests for such an experience-sharing 
meeting. The rapidly increasing use of motion 
pictures by educators, religious organizations, and 
industry created production demands that exceeded 
production capacity. So many schools and churches 
were going into the production of their own films, 
so many new producers were setting up shop that 
a great demand for knowledge of working tech- 
niques had arisen. This knowledge could be gained 
only by costly and time-wasting experience or by 
learning from someone else's experience. 

The Kansas City company no doubt recognized 
that any improvement in 16mm standards, any in- 
crease in its productive capacity, would indirectly 
be of value to the company as a 16mm producer and 
service laboratory. At any rate, the Calvin Compa- 
ny decided to share its seventeen years' experience 
with other producers by devoting its time and fa- 
cilities to such a project. There were no charges or 
registration fees of any kind ; the company merely 
sent letters to some of its customers and to others 
who might be interested, inviting them to partici- 
pate in an open forum discussion on the problems 
and procedures involved in 16mm motion picture 





In the Work Shop: Right to left — Kenneth Edwards, East- 
man Kodak Co.; Everett Miller, R.C.A.; Elliott Cooley, 
The Cooley Co.; Robert M. Corbin, Eastman Kodak Co.; 
John H. Maynard, J. E. Brulatour, Inc.; H. M. Stoepple- 
werth, Stoepplewerth Productions. 

production. The reception this invitation received 
clearly indicated the need in the field. 

Well-Organized Sessions 

Each person attending the meetings was given 
a notebook containing an outline of all the ma- 
terial to be covered. Each session was devoted 
to a particular subject with a complete outline 
of that phase of production. The discussions were 
led by company department heads. All material 
was taken up in detail, with each point open to 
floor discussion. For practically every discussion 
period, certain film examples were shown to demon- 
strate the common errors that are made in motion 
picture production. Larry Sherwood, Vice Presi- 
dent, and Neal Keehn, Calvin Company Operations 
Manager, spent the better part of two months 
going through thousands of feet of film accumulat- 
ing the sequences shown. Incidentally, the company 
received several requests for prints of this "what 



One of the Work Shop Meetings in Session 
January, 1948 



Editor's Note 

This story of the 16mm motion picture produc- 
tion work shop recently held in Kansas City seems 
to us particularly significant for two reasons: 

1. Here was a commercial film producer. The Cal- 
vin Company, opening wide its doors for customers 
and competitors alike, and sharing with them the 
practical lessons learned in seventeen years of pro- 
duction experience, and 

2. Here was a real and valuable learning experience 
— a genuine "work shop", planned with careful at- 
tention to m-nute details and executed with con- 
summate skill. 

This is healthy evidence of growth in the 16mm 
industry, a frank recognition that the field is big 
enough for all, and that any improvement in standards 
is a gain for all. 



Page 21 




Larry Sherwood, Calvin Co. Vice-President, holds forth on 
production techniques during one of the Work Shop sessions. 

not to do" material from university instructors 
who wanted to show it to their classes. The 
outline material also seemed to fit educational re- 
(juirements because extra copies were requested. 

Throughout the meetings there was an amazing 
frankness in the discussion of problems, the com- 
parison of experiences. The sessions were all lu-ld 
on a large sound stage where everyone could be 
comfortably accommodated and demonstrations 
made. In general, the day sessions dealt with 
broad topics concerning jjroduction techni(|ucs 
while the evening meetings were devoted to tech- 
nical problems. The night sessions were for peo])le 
particularly interested in a certain phase of pro- 
duction, such as camera, sound, editing, etc. The 
whole series of meetings was conducted in a se- 
quence similar to that which would be encountered 
in actual production. In other words, first came 
the film outline, then shooting the photography, 
editing, animation, master script, recording, etc. 

Subjects Covered 

Monday was taken uj) with a discussion of the 
lilni outline, the function of photography, some 
practical demonstrations of the use and limitations 
of Kodachrome, and then a demonstration of some 

{Concluded on page 24) 




In the Work Shop: Left to right — J. A. Wheeler, Fanchon & 

Marco Service Corp.; Rev. R. E. Southard, S. J., St. Louis, 

Mo.; Rev. Angelus La Fleur, Mount St. Francis, Ind. 



Page 22 



Educational Screen 



9 Audio-Visual Club 



This playlet may be used in assembly programs to stimulate interest 
in audio-visual education and especially to recruit projectionists. 



iNE. The storage-repair room of the Audio-Visual Depart- 

•nt of any junior high school. In center of stage is a table 

th film rewind and repair kit. At rear of stage is a small 

letin board on one side and portable screen on other. At 

extreme left radio-phono on small table. E.xtreme right another 

work table and storage cabinet. 

TIME. Second period in the morning any day. 

Cast of Characters. Walter 
Carl 

Bill All members of the Audio- Visual 
Jack Club 
Ralph 
Jim 

( As the scene opens Walter, alone on stage, is rewinding a 

film, pausing now and then to make a careful inspection. Enter 

Carl, in a hurry.) 

CARL. What cooks? 

WALTER. Plenty. Where have you been ? 

CARL. I had to do an errand on my way. Am I late? What is . 

there to do anyway? 

WALTER. Look at the master sheet. It shows everything for the 

(Jay. (Points toward the bulletin board.) Help yourself. 

(Carl goes to bulletin and takes down master sheet.) 

CARL. Oh, yes! Let's see second period. (Reads) Rewind and 

clean films number 428 and 436. Teach boy from 8-A to cut 

a record. Give Jim a chance to take sound projector test. 

.Arrange for preview of film in auditorium. 

(Enter Bill from right. Carries silent projector, extension 

cord, reels of film, etc. Carefully rolls up cord and i)Uts it 

away. Inspects projector, checks inspection slip, and files it. 

as he speaks to boys. ) 

WALTER. How'd it go, Bill? 

BILL. Perfect! Not a single hitch. I'll just check over this 

projector and be on my way. Rewind these films for me will 

you, Walter? 

WALTER. Sure, Carl and I'll take care of it. Does this film go 

back to the Film Library? 

BILL. (On his way out) No. It's scheduled for the same rcmiii 

tomorrow, fourth period. I'll be seeing you. 

WALTER. So long. 

CARL. Who is the boy to learn about cutting records ? 

WALTER. Ralph ."Vnyboy. Do you know him? 

CARL. Don't seem to. When is he due? 

WALTER. He's scheduled for the first part of the period. 1 can't 

imagine what's keeping him. 

(Ralph enters.) 

RALPH. I'm Ralph .Anyboy. Is this where I learn to run the 

recording machine? 

WALTER. You've come to the right place all right. We'll teach 

you. 

CARL. You don't belong to the .'\udio-\'isual Club do you? 

RALPH. No, I couldn't get in. I'm going to try again next year 

though. Our English teacher wants a boy in 8-.A to operate 

the machine. I volunteered. Is it hard? 

WAITER. Nothing to it. We'll lielp you. 



ROYDEN M. TRIPP 

Central Junior High School 

New Britain, Conn. 



CARL. (Moves recording unit from left to the center of stage.) 

Well let's get going. 

WALTER. To begin with, you know this is a combination radio, 

record cutter, and playback. If you want to use it as a radio 

this small lever must point to the word "Radio." (Turns on 

radio, picks up few stations. Points out things to Ralph.) When 

you want to make a recording of something coming in on the 

radio, the lever must point to "Record Radio." If you want 

to make a record of someone's voice, turn it to "Record Mike." 

In order to play records, it must be on "Playback." In making 

records, this is the cutting head. This arm is lowered on the 

blank, and this point cuts the grooves. (Points as he talks) 

RALPH. (Interrupting) I think I'd get it better if you showed 

me. 

CARL. Do we have any blank records? 

WALTER. (Walking toward the cabinet, looking for record) 

Here's one. (Comes back with blank, shows Ralph how record 

is placed on turntable.) 

lARL. First step : turn pointer to "record microphone". Ralph, 

you're going to perform. (Hands him microphone) 

(Walter gets cutting head ready) 

RALPH. Oh! No! What'll 1 say? 

WALTER. Say "Mary had a little lamb." 

RALPH. That'll sound too silly. 

CARL. It was good enough for Thomas A. Edison when he 

made his first record, if the story's true, so it oaght to be good 

enough for us. Go ahead. 

WALTER. When I lower this cutting needle on the record, start 

talking. (Lowers cutting head — gives Ralph signal.) 

RALPH. Mary had a little lamb, etc. etc. 

(When record is finished, Walter lifts cutting head and stops 

turntable.) 

RALPH. How'd I do? 

CARL. The proof of the pudding, you know. You can hear it 

and decide for yourself. 

WALTER. Do you think you can play it back? 

RALPH. I'll try. Let's see. Turn the pointer to "playback". Start 

the turntable. Lower needle on record. 

(Listens to the record.) 

WALTER. Not bad, Ralph. You'll be on the radio before you 

know it. 

CARL. Anything else, Ralph? Want to try it yourself this time? 

Take something off the radio. That'll give you good practice. 

RALPH. That's a good idea. 

WALTER. Turn the record over and go ahead. 

RALPH. (Turns pointer to "Radio" and picks up a station on 

radio) How much volume? 

CARL. Turn it on loud. Watch the volume indicator. 

RALPH. Now check me if I'm wrong. Set the pointer toward 

"Record Radio." Put disc »n turntable. (Practices what he 



January, 1948 



Page 23 



is preaching) Start turntable. Lower cutting head. (Lets it 
record for a short time, then plays it back.) 
CARL. Not bad! Not half bad. You'll do, Ralph. 
RALPH. I'll run along now. I'll be seeing you. Thanks a lot, 
boys. (Ralph exits right.) 

WALTER. I'll get this radio out of the way while you get ready 
for Jim's test. 
(Jim comes in right) 
JIM. Am I late? 

WALTER. Too late for what? Making a record? 
JIM. No, I mean too late to take the test for my license. 
CARL. Oh, no! The machine is all ready for you. You're ex- 
pected to take it from the case, set it up, thread a film on it. 
run the film, control the sound, stop the projector, rewind the 
film, take down the projector and return it to its case. Do 
you understand? 
JIM. Oh, yes. I knew that. 
WALTER. Where's your check sheet? 

JIM. (Produces check sheet) Right here. (Gives it to Carl.) 
CARL. You have passed everything but the sound machine, haven't 
you? 

JIM. Yes. If I pass this, I get my license and operator's badge. 
Sure hope I can do it. Where's the film? 
WALTER. Here. Is it sound or silent? 
JIM. Sound. 

WALTER. How can you tell? 
JIM. It has sprocket holes on one side only. 
WALTER. Check that on the list, Carl. 

(Jim takes out projector, sets it up on table in center of stage, 
connects speaker. Cleans lens and makes good focus on screen 
at rear of stage. Cleans film gate, starts to thread film) 
CARL. I've checked you for all those steps, and I'm glad to see 
you've cleaned the film gate. That's important. 
■JIM. I've heard that before. 

WALTER. Well you can't hear it too often. It not only makt> 
good projection but prevents damage to films. 
(Jim completes threading film. Turns on amplifier. Walter 
switches projector to silent speed when Jim is not looking. 
Jim prepares to start.) 
JIM. Am I all right so far? 

CAFL. I've checked you as O.K. in every space so far. Keep 
going. 

JIM. Here she goes. 

(Jim turns on projector. Sound burbles. Jim hurriedly adjusts 
volume and tone control. Looks blank. Turns off projector. 
Looks over projector — finally finds difficulty and corrects it.) 
JIM. I get it. Trying to play a little joke on me, eh? Smart 
guys ! Left it on silent speed. No wonder the sound was crazy. 
WALTER. No, Jim, we weren't trying to be smart. But that's a 
thing any operator might run into. You didn't check the pro 
jector to see if it was ready to start. Your check list has the 
things you should check. You didn't do that. 
CARL. Don't feel too bad about it. That can happen to a fellow 
when he's in a hurry or nervous. Just take it easy and follow 
the check list in order. Try it again. 
(Jim runs projector a little.) 
WALTER. O.K. That's enough. 
(Jim stops machine.) 
JIM. Did I pass? 

CARL. Take it down, and pack it up. 
JIM. All right. (Does it) 

CARL. Well, Walt, what about it? Do we pass him? 
WALTER. Oh, I don't know. Everything was perfect except the 
right speed for the film. Doesn't seem right to keep his license 
away from him when he really knows how to operate the 
machine, and yet we must uphold our standards. What do 
you think? 

CARL. About the same as you. Think you can remember about 
that one thing, Jim? 
JIM. Do you think I'll ever forget now? 



WALTER. (To Carl) Let's give him his trial license. 

CARL. That suits me. (To Jim) Of course this will be only 

your trial license. Then if you project ten reels in classrooms 

and have no trouble, you can have your Junior License and 

badge. 

JIM. What do I do to get my Senior License? 

WALTER. Oh, there's a lot more. Learn to use two types of 

cameras, exposure meter, and all that. Look it up in your 

manual. 

JIM. I will. By the way when do I start to get some jobs to 

run films for classes ? 

WALTER. Do you have any study periods ? .^nd are you doing 

well enough in class so that you can get excused from them ? 

JIM. Oh sure. Thursday, fourth period. 

CARL. (Goes to bulletin board.) Next Thursday, period four, 

you can run the machine in room 224. 

JIM. I'll be there. 

WALTER. Come in before school and get everything ready. 

(Carl looks at watch) 

CARL. Time for the preview. (Looks out toward the audience) 

The customers are here. Boy do they look eager? 

WALTER. Do you want to run the projector, Jim? It's all set up. 

JIM. Sure! This'll be my first time under fire. 

WALTER. You can't go wrong. We'll be right here. Help me 

with the screen will you Carl? (Carl and Walter lower screen 

for auditorium showing. Jim goes to projector set up in center 

of auditorium.) 

JIM. Lights out. 

(They project a movie for the assembly.) 

End 



A Motion Picture Work Shop 

(Contiiuicd from page 22) 

things to axfiid in .shooting;. Tuesday contintied 
along the production pattern with editing and the 
function of optical effects, both with many dem- 
onstrations. Tuesday afternoon was devoted to ex- 
amples of master scripts and various types of nar- 
ration. The great difference between writing foi 
audio-visual aids and writing other types of script 
work was shown in many examples. 

Sound recording and laboratory work were the 
subjects of the Wednesday discussion. Allen Ja- 
cfjbs and Bill Hedden. sound engineer and labora- 
tory supervisor for the company, presented their 
material in a surprisingly simple and clear man- 
ner. .Several sound tracks had been especially re- 
corded to show some of the fundamentals of record- 
ing. The same was true of the laboratory discus- 
sion, including examples of what could be expected 
from a reliable laboratory and some things not to 
expect. The last day of the meeting was taken tiji 
with the problems of utilization and distribution 
of pictures. This portion of the program was es- 
pecially interesting to the 'idustrial users in at- 
tendance. The importance of showing conditions 
was particularly stressed : anything that would 
detract the audience's attention from the screen 
should be axoided at all costs. 

The final meeting, on Thursday afternoon, was 
thrown open to a general recapitulation of the 
whole session. Cjreat interest was shown in making 
the ^^"ork Shop a yearly meeting. 



Page 24 



Educational Screen 




DAVID SCHNEIDER. Editor, Evander Childs High School, New York City 



Navy's Special Devices 

ON Saturday, December 6, the Fourth Annual 
Higher Education Conference was held at the 
School of Education, New York University. The 
theme of this conference was: Aids to College 
Teaching, and, needless to add, those were Audio- 
Visual Aids. 

The exhibits included materials of instruction 
organized under different subject departments, such 
as Speech, Business, Home Economics, Music, 
Foreign Languages, Science, etc. 

Your editor was very much impressed with the 
materials produced by the U. S. Navy's Special 
Devices Center — truly school-made visual aids to 
learning. Among the most interesting of the Navy's 
devices was the Automatic Rater, a kind of pinball 
machine, consisting of pushbuttons, numbers, cards 
and lights — a gadget to tempt the worst cases offer- 
ing resistance to learning. The Automatic Rater 
can be used in every field of learning where mastery 
of certain facts is basic to further progress. On the 
vertical panel are seven pushbuttons, beneath each 
of which appear numbers 1 to 7, indicating multiple 
choice of answers. Below these numbers, to the 
left, is a small window indicating total questions 
(from 1 to 10, after which the numbers, though not 
the same questions, reappear.) To the right is an- 
other window which lights up with the total score. 
.\t the bottom of this panel is a sign which lights 
up in green (left side) with the words, "Correct 
.A.nswer", if the right pushbutton is moved — other- 
wise the red sign, "Wrong Answer" will show up 
at the right. 

The Question card with the multiple choice of 
answers appears in a window in the left side of the 
horizontal panel. The operator pushes the button 
in front of the panel to put the question card in po- 
sition. He then presses the button on the upper 
panel to correspond with the choice of his answer. 
There is a marked timing device which allows four 
seconds for reading the question, with the score 
thereafter computed at a decreasing rate of one 
point per second of delay. No score is recorded if 
the selected answer is incorrect or if no answer is 
triven within the twenty seconds, the maximum 



time limit. The operator can immediately learn 
the correct answer by looking in the upper right 
hand corner of the card, after it is fed into a second 
window following the registration of the score. 

As was pointed out previously, this machine may 
be very helpful for students in acquiring funda- 
mental facts based on the stimulus-recognition- 
response idea, but where, oh where, is the machine 
that can actually teach our non-verbal minded stu- 
dents to think? 

New EFLA Plan 

THE Educational Film Library Association — 
EFLA, to tho.se familiar with its organization 
and activities — has set up a plan, long overdue in 
the educational world, whereby it will undertake to 
distribute films produced by schools, colleges, and 
other educational institutions. EFLA will, through 
its literature, publicize those films acceptable for 
distribution and will send on to the producers all 
orders for purchase of such films. EFLA will defi- 
nitely not handle any requests for rentals. 

The advantage of this plan to prospective pur- 
chasers as well as producers is that they do not 
have to send their orders for films to three or four 
distributors. EFLA will act as a clearing house 
for them. Secondly, the EFLA stamp of approval 
will represent the certification that the film was 
pedagogically planned and produced — a certifica- 
tion, we hope, which will be on par with the AMA 
stamp placed on material things which enter the 
physical parts of the human body. 

Producers will benefit from this plan in two ways. 
EFLA will publicize their films to an exclusive list 
of film buyers. The prestige of an EFLA stamp of 
approval should certainly enhance the producer's 
reputation. 

The preliminary announcement lists the follow- 
ing films ; From Pennsylvania State College : Baby 
Care — Feeding, Construction of a Light Airplane, 
and Drafting Tips. From Association Films : Play 
Championship Basketball. Play Volleyball, West Point 
Championship Football. Vou and Your Family, and 
Vou and Your Friends. I-'or further information ad- 
dress the Educational Film Library .^ssn., 1600 Broad- 
wav. New York 19. N. Y. 



January, 1948 



Page 25 



TEACHER - COMMITTEE EVALUATION 




L. C. LARSON, Editor 
Director, Audio- Visual Center 
Indiana University. Bloomington 

Party Lines 

(Bell Telephone Company, distribution by local company) 
17 minutes, 16 mm, sound, color. Eddie .-Mbert Production. 
Loan, 

Description of Contents: 

The necessity for sharing many conveniences with our 
families and neighbors is dramatized by Bill Baird's marin- 
nettes. 

Arriving home from work, the hero greets his dog and 
tries to make a telephone call. His neighbor, however, is 
talking to her friend on their party line. After an animated 
diagram explains how telephone party lines operate, an- 
other scene shows what would happen if the neighljor 
woman were as inconsiderate about parking her car in the 
driveway as she is in monopolizing the telephone line. 
While the two women continue to chtv on a very lively 
conversation, the man's telephone itself explains that some 
people just don't realize how selfish they are. The good 
and bad natures of the neighbor woman, personified as 
an angel and a demon, fight each other, with the angei 
barely winning. Next, a giddy high school couple, he 
standing beside a juke box and she sprawled on a daven- 
port at home, get possession of the line. The demon en- 
courages the boy to continue his "jivey" conversation, 
while the girl's father fumes at having to wait to use the 
telephone, just as he has to wait while she lolls in the 
bathtub. 

The next time the hero tries to use the telephone, an- 
other man on the same line is making a long list of calls 
without giving others a chance between calls. Just as our 
friend's telephone rings and he begins a long-delayed con- 
versation, another neighbor interrupts to try to get the 
line. The resulting quarrel is compared to the battle be- 




CAROLYN GUSS, Instructor, School of Education 

RETTY STOOPS. Film Librarian. Audio-Visual Center 

Indiana University, Bloomington 

tween two medieval kni.ghts on a narrow bridge. The com- 
mentator points out that such a battle doesn't get us any- 
where, while a spirit of cooperation does get us places. 

.\nother day, the hero sees a fire in the neighhorhnnl 
When he tries to use the telephone to report it, a grouchy 
m^n refuses to give up the line. This same man discovers, 
too late, that it is his own house which is burning. The 
commentator again points out that although every call is 
not an emergency, sharing the line keeps everyone happier. 
.Several an,gels on a cloud illustrate desirable sharing of a 
line, and then the other characters follow the example anfl 
acquire halos. 

Committee Appraisal: 

Very clever marionettes are used to show with the humor 
of exaggeration how thoughtlessness and deliberate selfish- 
ness can inconvenience and irritate one's neighbors. Al- 
though the action throughout is based upon the sharing 
of a telephone party line, the implications are much wider, 
as the narrator points out repeatedly. The film should 
P'ove a thought-provoking basis for discussion by any 
.i^roup interested in problems of family and community 
relationships. The treatment is suitable for age levels 
ranging from elementary to adult. 



Pasteur's Legacy 



Eddie ,Ml)erl Pniduct'i.n 



Marionettes do the acting in "Party Lines.'" 
Page 26 



( Modern Film C orporation. 729 Seventh .\venue. New 
York City 19) 2i minutes. 16mm, sound, black and white, 
translated and copyrighted by Loew's International Cor- 
poration. 1947. Produced l>y l.es Films Minerva, Paris, 
France, with cooperation of l.'lnstitut Pasteur. 

Description of Contents: 

Filmed at the Pasteur Institute, the film ile))icts Pasteur's 
scientific research and discoveries as they contribute to 
the welfare of mankind. 

The film shows Pasteur ;it the age of thirty-three, com- 
missioned to do research, working on the causes of fer- 
mentation in wines, milk, and vegetable juices. His dis- 
covery of the microscopic organisms, or microbes, which 
cause milk to sour resulted in pasteurization of milk. 
The ne.xt sequence of the film is devoted to Pasteur's 
research in innoculation of chickens, sheep, and swine 
which resulted in the discovery of vaccines, valuable not 
only to animals but also to human beings. When Pasteur 
was sixty-six, the Pasteur Institute in Paris was founded 
in 188S. Pasteur worked here in his own niemorial for 
seven more years. The film first shows Pasteur at work here 
and then other scientists at work carrying on the Pasteur 
tradition. Pasteur's development and use of the rabies anti- 
toxin are shown in detail. Concluding scenes of the 
Institute's work in making industrial ferments and beneficial 
cultures and vaccines and using new and wonderful ma- 
chines offer interesting contrast to the opening ones showing 
I'astenr with only such equipment a,-- a P>\msen burner 
and a very poor microscope. 

Committee Appraisal: 

The three main purposes defined by the i>review com- 
mittee were (1) to present Pasteur's research and achieve- 

Educafional Screen 



nients. (2) to show the scientitic method tlirougli actual 
lahoratory experimentation, and (3) to develop an apprecia- 
tion and understanding of the importance of devotion and 
patience in scientific research, llie fihii should be effective 
for use by science classes in the high school, bacteriology 
classes in the university, and adult groups discussing public 
health. The Photomicrographs are excellent and the pho- 
tography, in general, is good. 



The Hare and the Tortoise 

(Encyclopaedia Britannica Films, 20 North Wacker Drive, 
Chicago 6, Illinois) 11 minutes, 16mm, sound, black and 
white." 1947. $50.00. less lO^r educational discount. 

Description of Contents: 

Based upon .Aesop's fable by the same name, the film 
through actual photography pictures the conclave of ani- 
mals who set up the race between the hare and the tortoise 
and are j resent as the tortoise crosses the tree root — a 
winner. 

As the rooster, goose, owl, fox, tortoise, and rabbit 
visit in the woods one day, the rabbit brags of his own 
fleetness. The tortoise, bored with the rabbit's bragging, 
challenges him to a race. The owl is chosen referee and 
appoints the fox to lay out the course. The fox marks 
a difficult one, and the owl starts the two contestants on 
their way. The film follows first the hare as he easily 
outruns his opponent and gains a safe lead on the tortoise 
— such a lead that he feels perfectly safe in taking time 
out to nap. As the rabbit falls deeper and deeper into 
sleep, the steady tortoise faithfully plods along through 
the hollow log, across the stream, over fallen debris, 
past his slumbering competitor, and over the victory line. 
The rabbit is awakened too late by his friend the raccoon, 
and his flashy efforts to out-run the tortoise avail him 
naught. The film ends as the owl blinks his eyes and 
utters the words of wisdom, "Slow and steady wins the 
race." 

Committee Appraisal : 

The film brings .Aesop's fable "The Hare and the 
Tortoise" to the screen through a delightful use of actual 
photography of real, live animals. Children in the kinder- 
garten and early primary grades shouUl enjoy the warm 




animal personalities and their almost-human behavior. 
The committee felt that the film would be effective in 
stimulating interest in reading and oral expression, as 
well as creative dramatics. .\ny liberties that Miss Storm 
and the producers may have taken with the original story 
or with actual animal behavior should not detract from 
the effectiveness of the film in terms of its contributions 
to developing a worthwhile nioral or evoking spontaneous 
expression. 




Encyclopaedia Britannica Films 

Aesop's Fable comes to life in "The Hare and the Tortoise." 
January, 1948 



Coronet Productions 

A member of the cast in the film "Snakes." 

Snakes 

(Coronet Productions, 65 E. South Water Street, Chicago, 
Illinois) 10 minutes, 16mm, sound, color and black-and- 
white, 1947. $90 and $45. 

Description of Contents: 

The three principal sequences of the film show (1) the 
structure and habitat of snakes, (2) the identifying char- 
acteristics of poisonous snakes, and (3) the various species 
and contributions of non-poisonous snakes. 

Close-up shots of snakes crawling show that they use 
the scoops, or scales, on the underneath part of their 
bodies and a sidewise form of locomotion, or winding. 
.•\ snake is shown catching live prey and swallowing it 
whole. .Again close-ups are used to show the structure of 
the mouth and the presence of skin between the scales 
which makes possible the encompassing of live food. 

The distinction between poisonous and non-poisonous 
snakes, in the case of the rattler, copperhead, and cotton- 
mouthed moccasm, is made on the basis of the presence 
of a pit between the eye and nostril. The fourth and 
only other type of poisonous snake, the coral snake, is 
identified by its markings. 

The last sequence of the film is devoted to such non- 
poisonous snakes as the garter snake, the corn snake, and 
the king snake. Such advantages as snakes' eating mice 
and rats are pointed out. A battle between the king snake 
and a rattler results in a victory for the king snake, against 
which the poison of the rattler is not effective. The 
concluding statement of the film points out that most of 
the hundreds of kinds of snakes are non-poisonous and can 
be studied and^ observed. 

Committee Appraisal: 

1 he him i- good for showing the appearance, habits, activ- 
ities, and structure of several types of reptiles. It should 
l)e very effective in bringing out the basic differences 
between poisonous and non-poisonous snakes. The ex- 
cellent color photography contributes a great deal to the 
value of the film. Recommended for use by general 
science and biology clisses from intermediate through 
senior high school level and adult nature study groups 
discussing snakes. 

Page 27 



Conference of DA VI 

National Executive Committee 



THE National Executive Committee of the 
NEA Department of Audio-Visual Instruc- 
tion held a series of meetings October 26 
and 27 at the Hotel Continental in Kansas City, 
Missouri. President Stephen M. Corey presided 
over the meetings. 

Ihe secretary presented a resume of the DAVl 
Progress Report for 1946-47, which had been pre- 
pared as background information for the meeting. 
He suggested an agenda, solicited proposals for any 
additional topics to be considered, and requested the 
group to assign an order of priority for discussion of 
the topics. The following agenda, and order of priority, 
was decided upon : 

1. Major objectives of the Department and means 
of attainment 

2. Relationship between DAVI and the NEA Divi 
sion of Audio- Visual Instructional Service 

3. Divisional organizations for afifiliation with thv; 
Department 

4. Constitutional matters for decision by the National 
Executive Committee 

5. Publication policies of the Department 

6. National conferences of the Department 

7. Piojects proposed for joint action by DAVI and 
other NEA departments 

8. Any additional topics growing out of the preced- 
ing discussions 

Major objectives of the Department and means of 
attainment. President Corey stated that the objec- 
tives of the Department should be expressed in terms 
of service, leadership, and research. Mr. Albright 
stated that the activities of the Department should 
be considered in two phases : an immediate program 
and a long-term program. He then presented a de- 
tailed plan for an immediate program based upon the 
objectives of the Department as specified in the Con- 
stitution. A subcommittee was appointed to study 
the matter further and was instructed to report back 
to the Committee the following day. Following is an 
outline of some of the major aspects of this report : 
I. Promote effective utilization of audio-visual 
materials. 

A. Offer assistance to affiliated divisional or- 
ganizations in planning and conducting their 
meetings. 

B. Establish a speakers' bureau to serve state 
education as,sociations upon request. 

C. Channel selected articles on audio-visual ma- 
terials to the journals of various NEA de- 
partments. 

[I. Serve as a clearinghouse of information on the 

audio-visual field. 

A. Prepare and distribute bulletins, each deal- 
ing with a single audio-visual subject or 
problem. 

P>. Refer inquirers to audio-visual specialists. 



VERNON DAMERON, Executive Secretary 

located in their respective areas, for consul- 
tation on local problems. 
C. Assemble and make available a series of 
reprints of selected articles on various audio- 
visual subjects and problems. 

III. Promote teacher education in audio-visual in- 
struction. 

A. In-service training. 

1. Provide guidance for audio-visual confer- 
ences in teachers colleges by collecting 
and making available copies of selected 
conference programs of various colleges. 

2. Provide guidance for audio-visual con- 
ferences in school systems by collecting 
and making available copies of selected 
conference programs of various school 
systems. 

B. Pre-service training. 

1. Cooperate with the teachers college asso- 
ciations to encourage increased use of 
audio-visual materials in the various 
colleges. 

2. Collect and make available to teachers 
colleges selected syllabi of audio-visual 
courses. 

3. Cooperate with state departments of edu- 
cation to promote pre-service education 
in state teachers colleges. 

4. Cooperate with state legislatures to en- 
courage the allocation of more adequate 
funds for pre-service education in state 
teachers colleges. 

IV. Promote audio-visual instruction via NEA 
departments. 

A. Provide information on audio-visual instruc- 
tion to the various departments. 

H. Offer assistance in planning audio-visual 
sessions for meetings of the various depart- 
ments. 

Some consideration also was given to the long-term 
program. 

I. Promote and conduct research in audio-visual 
instruction. 

.\. Contact deans of institutions of higher edu- 
cation, suggesting topics of needed research 
and offering the cooperation of the Depart- 
partment in supplying information. 

B. Assist institutions of higher education to 
obtain grants in aid when necessary and 
possible. 

C. Confine the research conducted by the De- 
partment to those jirojects which are most 
needed and practical, and for which the 



Page 28 



Educational Screen 



Department is uniquely qualified, such as : 

1. Organization, administration, and finance 
(Project I) 

2. Architectural facilities (Project II) 

In addition to the foregoing, the desirability of con- 
tinuing to interpret audio-visual instruction to the 
public via press, radio, and popular lay publications 
was discussed at considerable length, and several pro- 
posals were made in this regard. 

A plan was proposed for a project in cooperation 
with other national organizations to promote teacher 
education in audio-visual instruction thruout the na- 
tion. With reference to a related matter, a resolution 
was passed to the effect that the National Executive 
Committee attempt to obtain funds for a project aimed 
at studying and increasing the use of audio-visual 
materials in teacher education institutions. The presi- 
dent and secretary were instructed to investigate the 
possibilities of obtaining financial support for the pro- 
ject and to report back to the Committee not later 
than at the Atlantic City Conference next February. 

Relationship between DAVI and the NEA Di- 
vision of Audio-Visual Instructional Service. Some 
confusion exists in regard to the relationship be- 
tween DAVI and the NEA Division of Audio-Visual 
Instructional Service. Following is a brief explana- 
tion in regard to the matter : 

1. There are 29 Departments of the NEA, each of 
which is a membership organization, has its own elective 
officers and executive committee, and formulates its 
own policies and procedures in an autonomous manner 
within the general purposes and policies of the NEA. 
The major purpose of a department is to serve its own 
members. DAVI was given tlej^artmental status by 
the NEA in 1923. 



2. There are 15 divisions of the NEA. Divisions 
have no memberships and are an integral part of the 
headquarters staff, functioning under the direction of 
the NEA Executive Committee. Those divisions for 
which there is a related department are : Division of 
Adult Education Service — Department of Adult Edu- 
cation ; Division of Rural Education Service — Depart- 
ment of Rural Education ; and Division of Audio- 
Visual Instructional Service, which was established in 
September 1945. 

3. There is a close relationship between the objec- 
tives and activities of the Department and Division, 
although some of these are of more specific and direct 
interest to one than the other. 

4. The funds for all salaries, equipment, and operat- 
ing expenses — with exception of the expenses for cer- 
tain special Department activities — are paid thru the 
Division by the NEA. 

A motion was carried to the eflfect that the presi- 
dent and secretary explore the possibilities of effect- 
ing closer coordination between DAVI and the related 
Division. 

Proposals for a more adequate budget for the De- 
partment were discussed at considerable length. 

Divisional organizations for affiliation with the De- 
partment. The group concurred with the suggestion 
that the audio-visual sections of the state education 
associations should be encouraged to affiliate with the 
Department. However, it was recognized that even 
though this may be a desirable general pattern of 
affiliation, considerable flexibility would be permitted. 
Therefore, various local, regional, and state audio- 
visual organizations also are eligible for affiliation, as 
specified in the Constitution. A motion was carried to 
the effect that the establishment of new audio-visual 




The officers and national delegates are (left to right): F. Dean McClusky, University of 
California, Los Angeles, First Vice President; Grace Fisher Ramsey, American Museum of 
Natural History, New York, N. Y.; E. Winifred Crawford, Montclair Public Schools, Mont- 
clair. New Jersey: Vernon Dameron, National Education Association, Washington, D. C, 
Executive Secretary; Stephen M. Corey, University of Chicago. Chicago, Illinois, President; 
C. R. Reagan, President, Film Council of America, Austin, Texas; Helen M. Rachford, 
Los Angeles County Schools, Los Angeles, California; Thurman White, University of Okla- 
homa, Norman, Oklahoma. (Another national delegate, Roger Albright, Motion Picture Asso- 
ciation, Washington, D. C, participated in the meetings but was unable to be present when 

this photograph was taken.) 



January, 1948 



Page 29 



organizations and the expansion of existing organiza- 
tions for affiliation with the Department he encouraged 
regardless of whether all members of the local organi- 
zations are members of the Department. It was recog- 
nized that a national system of affiliated divisional or- 
ganizations would greatly strengthen the Department 
as an organization and substantially increase the effec- 
tiveness of its program. 

Constitutional matters for decision by the National 
Executive Committee. Following are the decisions 
which were made in regard to membership diies : 
active membership, $3 ; associate membership with 
publication, $3 ; associate membership without publica- 
tion, $1 ; institutional membership, $3. A motion was 
carried directing that the practice of allowing $1.50 
of each membership fee for a subscription to Educa- 
tional Screen be continued, until at least September 
1, 1948. A motion was carried specifying that 75c of 
each $3 membership fee be returned to the affiliated 
division, until at least June 30, 1948. A motion was 
carried authorizing the appointment of a committee to 
study the entire matter of membership dues and to de- 
termine their most equitable allocation. 

A motion was carried to the effect that the mem- 
bers of the National Executive Committee present 
recommendations at the next session of the Committee 
for any revisions of the Constitution. 

Publications policies of the Department. A motion 
was carried directing that Educational Screen be 
designated the official publication of the Department, 
until at least September 1, 1948. Several proposals were 
made in regard to more extensive and effective use of 
Educational Screen by the Department. 

The importance of cooperating with all educational 
audio-visual journals was recognized, as well as the 
need for channeling materials to non-audio-visual jour- 
nals in the field of education. 

National conferences of the Department. A sub- 
committee was appointed to formulate a suggested plan 
for the forthcoming Atlantic City conference of the 
Department and was instructed to report back to the 
Committee the following day. The plan was designated 
as one which the Atlantic City Conference Committee 
may wish to include for consideration along with other 
plans. President Corey appointed James W. Brown of 
Syracuse University as Chairman of the Atlantic City 
Conference Committee. The necessary funds were ap- 
propriated for a meeting of the Conference Committee. 
It was decided that the Atlantic City Conference would 
be held February 23 thru 25, with morning and after- 
noon sessions on the 23rd and 24th and an afternoon 
session on the 25th. 

It was pointed out that one of the general sessions 
of the NEA American Association of School Adminis- 
trators was being planned to feature a demonstration 
of the use of audio-visual materials and that three dis- 
cussion group meetings on the audio-visual field also 
were being planned. 

A resolution was passed to the effect that the Na- 
tional Executive Committee urges the American Asso- 
ciation of School Administrators to provide for the 
presentation of audio-visual instructional materials at a 
centralized location during the Atlantic City Convention. 



It was agreed that at the Atlantic City Conference, 
wider publicity shall be given to the official publica- 
tion, Educational Screen, and Sec and Hear. 

A motion was carried to the effect that, since the 
proceedings of the Atlantic City Conference last March 
and of the Cincinnati Conference last July have been 
published in Educational Screen, no further plans 
should be made for publication and distribution of these 
proceedings. 

It was proposed that an official decision be made 
in regard to the disposition of reports on the forth- 
coming Atlantic City Conference. 

A resolution was passed in which it was urged that 
a meeting of the constituent members of the Film 
Council of America be held during the AASA Conven- 
tion. 

Projects proposed for joint action by DAVI and 
other NEA departments. Consideration was given to 
five audio-visual projects proposed by NEA depart- 
ments for joint DAVI action. The various projects 
were proposed by the Department of Adult Education ; 
National Association of Health, Physical Education, 
and Recreation ; National Commission on Safety Edu- 
cation ; National Association of Secondary School Prin- 
cipals ; and National Science Teachers Association. 
Three additional proposals by other departments rec- 
ommending action by DAVI also were considered. 
Because of the urgency of two of the cooperative pro- 
jects, the secretary was authorized to proceed im- 
mediately to solicit the cooperation of DAVI members 
on these two projects. A motion was carried instruct- 
ing the president to appoint a DAVI Publications 
Committee, part of whose function will be to study 
the other proposals for cooperative projects and to 
make recommendations to the National Executive Com- 
mittee for action. A second motion in regard to this 
matter instructed the president to postpone the appoint- 
ment of the general Publications Committee until the 
existing special committee on official publications has 
made its report. It was agreed that the general Pub- 
lications Committee should be appointed before Janu- 
ary 1, 1948 if possible. 

Additional topics considered. The secretary w as in- 
structed to send communications to various individuals 
and organizations, including one with reference to the 
Department's availability to cooperate in an interna- 
tional meeting of United Nations members on audio- 
visual instructional materials and another in regard 
to the urgency of providing an adecjuate budget for 
the production of films explaining the United Nations 
to the peoples of the world. 

A motion was carried authorizing Miss Grace Fisher 
Ramsey to represent the Department as a member of 
the United States Film Committee of the United Na- 
tions ; another motion was carried authorizing Miss 
E. Winifred Crawford to serve as alternate member 
of this Committee. 

In view of the fact that many of the projects pro- 
posed for the immediate and long-term programs al- 
ready are in various stages of accomplishment, the 
secretary was directed to recommend an order of priority 
for engaging in new projects to efl'ect a well-bal- 
anced program of service. . 



Page 30 



Educational Screen 



ImpertanI news for teachers and pupils... 

6 IMPORTANT NEW 
ENCYCLOPAEDIA BRITANNICA FILMS! 



Every new EBFilm is a powerful contri- 
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Ready for you now are six new EBFilms: 
USING THE BANK, MEANING OF LONG DIVISION, 
A DAY AT THE FAIR, MAKING BRICKS FOR HOUSES, 

THE DOCTOR, and BUILDING A HOUSE ... ab- 
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You'll want to see these films right away 
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the meaning and use 
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USING THE BANK 



Explains banking functions so 
that even youngsters can grasp 
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Shows basic step-by-step proc- 
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A DAY AT THE FAIR 



This film shows the gay, bin 
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ENCYCLOPAEDIA BRITANNICA FILMS INC. 



^m I 



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January, 1948 



Page 31 



lITEMTUREm 



ni)''C" 



f^W. 



ISUAl INSTRUCTION 

ETTA SCHNEIDER RESS, Editor 



BOOK REVIEWS 

• The Art of the Motion Picture — Jean Benoit-Levy, 
Director of Films and Visual Information, United Na- 
tions Department of Public Information — Coward-Mc- 
Cann, N. Y. 1946. $3.50. Translated from the French 
by Theodore R. Jaeckel. (French original, Les Grandes 
Missions du Cinema, published by Parizeau in Montreal, 
Canada. 1945) 
An unusual book on the motion picture, The Art of the 
Motion Picture is the synthesis of one man's successful 
experience with all types: the theatrical, the documentary, 
and a variety of educational, scientific, and instructional 
films. Jean Benoit-Levy's life work has cut through every 
one of the "genres" to which he devotes a great deal of 
attention. In his opinion, the art of the cinema lies in 
the many types ("genres"), each with its own unique 
possibilities. 

The author is well-known in the I^'nited States as the 
director (more accurately, "film-author," which includes 
writer, director, editor) of such dramatic film classics as 
La Maternelle, Ballerina, and Helenc. These French films 
are perennial favorites in theaters throughout the world, 
for they are dramatizations of basic human problems that 
never go out of date. Surprisingly enough, the book 
begins with a serious discussion of the role of motion 
pictures in education, and postpones an analysis of the 
theatrical film until the latter portion. This is because 
the author, though occupied with dramatic film production 
for many years, believes strongly in the part that informa- 
tional and instructional films can play in bringing about 
mass enlightenment and international peace. 

Fundamental Laws of the Film 

For all types of motion picture production, the author 
believes that there are certain fundamental laws to be 
observed: first that the film author select a strong, concrete 
idea ; and secondly, that he choose the genre of film that 
will best interpret that idea. Genres of informational films 
include the classroom films (instructional, enrichment, or 
"the window opened on life", scientific, and professional 
films), films for adult education (those that are self- 
explanatory, as short subjects shown in theaters, and those 
that are to be accompanied by a lecture). 

Among documentary films, the author lists the promo- 
tional or advertising film and makes some interesting 
observations on the potentialities .of such films. But his 
great enthusiasm lies in the "film of life." the genre of 
which Robert Flaherty is the great master. This section 
of the book contains a unique history of the men and 
women who have produced documentary films in various 
nations of the world, recounted by one who has himself 
been intimately connected with the movement since its 
inception. 

The Dramatic Film 

The half of the book which deals with dramatic film 
production is both inspirational and provocative. The 
approach is that of the film maker who has operated in 
an atmosphere of freedom. Mr. Benoit-Levy speaks of 
the situation in which a film aullinr chooses a strong domina- 



ting idea, to be shown in a satisfactory life setting or 
milieu, and who is so strongly imbued with this idea that 
his goal in casting, photographing, and editing the film 
is how best to translate that idea to the screen, and not 
how many glamorous names or how stupendous a produc- 
tion can be built around this idea. The author gives 
many interesting anecdotes to implement his philosophy, 
with illustrations from American, French, British, Russian, 
and other productions. There is a constructive interpreta- 
tion of the Hollywood motion picture industry, which 
technically and organizationally is the ultimate in efficiency 
for a foreign film maker. But the author would also wish 
to see such excellence in the choice of subjects and in 
their interpretation. 

In brief. The Art of the Motion Picture is an inspirational 
l)eacon to those who believe in the great mission of motion 
pictures, but who have found little in print to guide them. 

• Films in Business and Industry — Henry Clay Gipson. 
McGraw-Hill Book Co., Inc., 330 W. 42nd St., New York 
18, N. Y. 1947. 291 pp. $4.00. 

Here is a book which tells in simple, nontechnical lan- 
guage when and how to use motion pictures and slidefilms 
— and the how and why of film construction. Designed pri- 
marily for business executives, sales managers, advertising 
managers, personnel managers, and others concerned with 
the application of visual aids to the problems of industry, 
it should be of interest and value to all who make and use 
visual materials. 

The book covers in detail the developments of the past 
fifty years in the non-theatrical field and includes much 
new information on the use of the motion picture as a vital 
means of communication. Careful consideration is given 
to the advantages of motion pictures over the printed and 
spoken word, and the limitations of the film medium are 
also discussed. The sections on the use of films in television 
and related fields should interest television producers, script 
writers, educators, religious teachers, and many others. 

The author is president of Filmfax Productions and 
the former Production Director of Films. Inc. 

TEACHER TRAINING 

• Audio-Visual Teaching-Training. .Uulio-l'isiwl Guide. 
14:no.2:p.7. October, 1947. 

Description of a pre-service training program at the 
Laboratory School of the University of Oklahoma, in 
which the audio-visual materials center was placed at the 
disposal of the various laboratory schools to be used by 
the regular teachers and student-teachers. It is recom- 
mended that every teacher-education institution establish 
a materials center, with a qualified coordinator of audio- 
visual education; that faculty and staff make frequent and 
effective use of such materials; that student-teachers be 
given adequate training and experience with such materials. 

SOURCES 

• Filmstrips for the Social Studies — Joseph B. Hillyard^ — 
Audio-Visual Guide. 14 :no.2 :p.lO. October, 1947. 

F.ach filmstrip is described at length, and teaching possi- 
bilities are indicated. 



Page 32 



Educafional Screen 




MAKE f ULL USE Of YOUR 



1& 



w 



^e&E. 



T MEETS EV£Ry NEED OF 
GROUP INSTRUCTION 




Of course, it gives you the finest 
obtainable projection of 

Standard Lantern Slides 

Have you seen the latest addi- 
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of educational slides? Some of 
these new units will make your 
work more effective — and easier. 



Many instructors realize the pos- 
sibilities of 

Handmade Lantern Slides 

— not only for the presentation 
of special subjects, but for obtain- 
ing enthusiastic group participa- 
tion. 



You can sometimes make a 
worthwhile cut in the cost of 
lantern slides, by using 

Quadruple Slides 

— with four exposures, which are 
screened singly by means of a 
quarter-size mask. 



Place a Flashmeter 
on your Overhead Pro- 
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Tachistoscope ^V 

— of thoroughly proven value for 
efficient training in spelling, read- 
ing, recognition and general visu- 
al skills. 



By means of an inexpensive adap- 
ter, you can show 

2-inch Slides 

— with the clear, inexpensive day- 
light projection made possible 
only by a 750 or 1000-watt lamp. 



You can also buy an attachment 
for showing 

Strip Film 

— and here again, have the ad- 
vantage of the Keystone Over- 
head Projector's powerful illu- 
mination. 



Supplementary Lens 




An adapter is also available for 

Microscopic Slides ^^ 

—and with the micro- ^^ 
srnoic slides (as well "■ 

as with two-inch slides and strip film) you can use the 
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SINCE 1892 PRODUCERS OF SUPERIOR VISUAL AIDS 



January, 1948 



Page 33 



It's a "Snap" for San Jose Teachers 

(Continued from page 16) 

the teachers. The master copy will he kept in the 
Visual Aids Library of the San Jose School De- 
partment. All materials are to be furnished by the 
department. 

2. Because of the interest shown in this area dur- 
ing this study, seven new slide projectors have been 
bought, and added to those already owned. A 35mm 
camera has also been purchased. This equipment 
will be used in the training of personnel. 

3. We will use the regular 35mm film, such as the 
well-known super xx type, and a reversal process. 
This will give us not only a 2 x 2 slide but a 2 x 2 
negative for prints or additional slides as well. 

4. The advantage in using the regular film is that 
we will have : 

(a) A master negative for filing 

(b) As many sets of slides as needed 

(c) Central Office control of their use 

(d) Central Office retention of "master copy" 

(e) School retention of individual sets. 

5. A photo finishing establishment in San Jose 
has been selected to do the processing. It promises 
that we may have completed slides four days after 
pictures have been taken. They will develop the 
roll of film and reprocess it so that the film will 
yield a set of 2 x 2 black and white miniature slides. 

6. Rolls of film will be stored for distribution in 
the Visual Aid Library of the San Jose School De- 
partment. 

7. An in-service training course was started in 
April, 1947. This training consisted of learning to 
use all the projected visual aid equipment as it per- 
tains to the 2x2 slide area, both colored and black 
and white. It is the intention of the department to 
continue to make this training available to small 
classes of teachers 10-12 so that they may "learn by 
doing". The first class of ten teachers seemed to 
enjoy the work and the slides they made show 



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mastery of the technifiue of taking 2 x 2's. This 
course comprised 14 hours of training given from 
3 :30 to 5 :00 once a week on Wednesday. Here- 
after, however, the course will be of a longer dura- 
tion, since both the writer and the department heads 
feel that twenty hours of training would be more 
\aluable. 

8. The Elementary Supervisor and \'isual De- 
partment Head will teach an advanced course on 
the use of the 2x2 slide in functional teaching. 

9. For the training received during these 20 
hours, teachers will receive one and one-half in- 
service training units. 

10. If a teacher presents a good reason for want- 
ing to take a set of slides in color instead of black 
and white it will be allowed, if the request is well 
based. 

11. The number of rolls of film an individual may 
take in a year will depend largely on the individual 
problem. This decision will rest with the Visual 
.Aid Department. 

12. Most of the slides will be taken to aid and 
supplement the social studies units. It is recom- 
mended that teachers follow the Source Unit and 
course of study in determining w-hat to take. 

13. Teachers will be taught not only how to take 
and what to take, but will be given an opportunity 
to see what is already taken, so that they will know 
the projected materials on hand which can be used 
as supplementary aids. 

14. Teacher groups will be encouraged to plan 
])ictures to be taken while teaching a unit. 

15. Teachers will be encouraged to work out plans 
with principals as to wdiat will be taken. 

16. There are many problems which will have to 
be met as they arise. The administration is aware 
of this fact and has pledged its cooperation to insure 
that the principles evolved in this study will be the 
basis for continuing this project. 

Starts Cooperative Film Library 

Clyde I'". Riley, director of Audio-\'isual Aids at 
Westboro, Mass., has brought together a group of 
small schools in Worcester County for the purpose 
of starting a cooperative film library. According to 
his plan, each school will purchase one-hundred dollars 
worth of films each year. 

Two meetings are to be held each year, one in the 
spring to determine the films to purchase, which must 
he done before .September first of the next fall and 
the other meeting in September to arrange the schedule 
for the year. Each school may choose its own films 
hut must make the information known to prevent du- 
plication. The chief advantages are that each film may 
1)L" used at a school for a period of at least two weeks 
and onlv six schools will lie using each film during 
the year. 

There arc other advantages which favor such an 
organization, liy purchasing one hundred dollars 
worth of films each school has the use of at least six 
lumdred dollars worth of films and yet still owns its 
own. Each school nia\- plan in advance for the extended 
use of each film. 



Page 34 



Educational Screen 











RECOGNITION FROM BELGIUM FOR AN OUTSTANDING FILM! 
















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1 
EN lEMOIGNAGE 

HE re:oonnaissange a 








The International Film Foundation is proud to be the recipient of this 
high honor from Belgium for its new color film, BOUNDARY LINES . . . 
an animated film on the imaginary lines that divide people from each other. 

!S THIS FILM IN YOUR LIBRARY? IS IT BEING USED IN YOUR COM- 
MUNITY? IF NOT. WHY NOT ORDER YOUR PRINT TODAY ... OR 
PERHAPS YOU NEED ADDITIONAL PRINTS. 

Write for a comp/ete description of this 
film and our other subjects now available. 

INTERNATIONAL FILM FOUNDATION 

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Other exclusive features include built-in-wall and ceiling 
mount (see inset) handsome grey-enameled hexagon-shaped 
case and choice of two famous Da-Lite screen surfaces — 
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January, 1948 



Page 35 



To help yon teach 

BEGinG FRENCH 

use these 

Educational French Films 

in yonr classroom 

At last — a series of films with which you can augment 

your classroom instruction in French. Each film presents 

an important geographical sidelight on French life. As the 

subject appears on the screen, a commentator describes 

it in French carefully edited for use in teaching the 

language to students. 

Through these films your pupils learn the language by 

seeing typical French scenes and hearing them described 

in faultless diction. 

Ask for full information about: 

A Paris • La Loire • La Garonne 

Le Rhone • En Bretagne • En Champagne 

En Normandie • Les Canaux 

These are not commercial foreign features. They are 
designed for the purpose of teaching French. 
You may rent these 16min films from your nearest educa- 
tional library, or purchase them outright from the Inter- 
national Film Bureau. 

Rental: $5 per film per day, or $7.50 
per school week. 

Purchase: 167.50 per film. A printed 
commentary in simple French included 
with each film. Extra copies for class- 
room use 10 cents each. 

International Film Bureau, Inc. 

84 E. Randolph St., Chicago 1, III. 




News m 




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Cleveland Film Council 

The recently organized Cleveland Film Council held 
its first dinner meeting on Thursday. December 4th, 
at the Cleveland Automobile Association headquarters 
ballroom. Mr. Thurman J. White, Executive Director 
of the Film Council of America with headquarters in 
Chicago, Illinois, was the principal speaker. Mr. White 
stressed the itnjjortance of the work of the Film Coun- 
cil in the audio-visual educational field. He explained 
to the group the purpose and scope of the Film Coun- 
cil nationally and the functions of the local chapters. 
Mr. White illustrated his talk with a very fine film 
worked out under the direction of the Newark Film 
Council, which gave the group an idea of the type of 
progress that can be undertaken by a Council. 

Mr. Charles Burris, President of the Cleveland Film 
Council, presided over the meeting, which was attended 
by approximately sixty people. The members of the 
Cleveland Council in attendance included people inter- 
ested in audio-visual education, with representatives 
from the Board of Education, Council of Churches, 
Cleveland Chamber of Commerce, Federation of Wo- 
men's Clubs, The Cleveland Museum of Natural His- 
tory, newspapers, and private industries, including mo- 
tion picture producers and distributors. 

Brotherhood Week — February 22-29 

"As never before the world needs brotherhood." 
With these introductory words President Truman 
accepted the honorary chairmanship of national 
Brotherhood Week, February 22-29, 1948, under 
the auspices of the National Conference of Chris- 
tians and Jews. The job of teachers and educators 
everywhere in getting the big idea of brotherhood 
across to children and adults is one of tremendous 
importance and urgency. It is the business of the 
schools and colleges to teach skills in living with 
people of different national origin, race, religion — 
people who are "diflerent" in any way. 

The observance in 1948 of national Brotherhood 
Week gives teachers and educators, and all others, 
the opportunity of eiuphasizing the necessity of 
inter-group education. Films, picture and poster 
displays, book illustrations are some of the visual 
materials which can be used along with other in- 
structional aids to teach the lesson of brotherhood. 

U.S. State Department Film 

As a part of their overseas prosiram. the U. S. 
State Department will produce a film, "The Story 
of Hoover Dam," to be distributed abroad. The 
film, translated into 27 languages, is a part of the 
State Department's program to show aspects of 
the American way of life. The picture will show 
])articularly how the individual etforts and initiative 
of groups of Americans resulted in better living 
conditions, increased agricultural output, and better 
industrial production — all benefiting not only one 
section of the country but the entire United States 
and nianv foreign countries. 



Page 36 



Educational Screen 



'otes 



New FCA Regional Committee 

A newly-organized regional committee of the 
Film Council of America met November 4th in 
Chicago to organize plans intended to stimulate 
general public knowledge and interest in the use of 
educational films. Results of this meeting will 
help to intensify an overall effort to use the mo- 
tion picture screen as a channel of communication. 

Arthur H. Motley, president of Parade Publica- 
tions, was chairman of the meeting. Other partici- 
[)ants were : Margaret Carter, Canadian National 
Film Board ; Donald White, executive director. 
Xational Association of Visual Education Dealers; 
Edward Myers, Educational Screen; Otto H. Coelln, 
Jr., publisher of Business Screen and See and Hear 
Magazine; Laurin Healy, Public Relations Director, 
Encyclopedia Britannica Films ; Patricia O. Blair, 
American Library .\ssociation ; Robert Faber, Coronet 
Instructional Films: and Paul Wagner, Bell & Howell. 

New Film Services at the University of Georgia 

With the movement of the Film Library of the 
University System of Georgia from Atlanta to 
.Athens, the campus of the University of Georgia 
has become the scene for important new educa- 
tional film services. Over 1500 16mm educational 
motion pictures, along with opaque slides, records, 
and slidefilnis, are available for classroom use. 
.\ projection room with operator is available for 
instructors. A detailed catalog of all hlms in the 
library has been published, and instruction is pro- 
\ ided in the use of all equipment. 

The Audio-Visual Extension Service serves ele- 
mentary and secondary schools, colleges and uni- 
versities, civic groups, and local church groups. 
Since the movement of the Film Library to Athens in 
late October. 1,357 films had been shipped to points 
throughout the United States by November 24. 



P 



The Tip of the Month 

You have all seen announcements of the FM 
tuner, an ingenious and inexpensive little piece 
of equipment with which you can convert any 
radio to an FM radio. 

But did you know this? 

By simply plugging a tuner into the micro- 
phone input of your sovmd motion picture 
projector or record player or public address 
system, these equipments can also be con- 
verted into FM radio receivers without loss 
of sound quality or volume. In other words : 
tuner plus amplifier plus speaker equals FM 
radio receiver. 

Two makes of tuners are available : the 
Pilotuner and the Meissner FM Timer. 




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Page 37 



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advantage of Dennis "In Series" REDUCED RENTALS on Ifinim 
Sonnd Films. Users of five or more complete programs ar;> en- 
titled to a frequency discount which represents a definite saving 
to the school. Write for complete details and new 1947-48 catalog 
of films, jnst being issued, listing many new and up-to-dale sub- 
jects . . . educational, major features, musical, travel, sports. 
serials, comedies, cartoons, religious, westerns and others. 
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New M.I.T. Cenfer for Learning Aids 

A center for scientific aids to learning to study 
methods of collecting;, organizing-, and communi- 
cating knowledge will be established at the Massa- 
chusetts Institute of Technology under a grant 
of $100,000 from the Carnegie Corporation of New 
^'(Jrk. Dr. Karl T. Compton. President ©f the In- 
stitute, announced recently. 

The new center is conceived as a national and 
international resource in its field and will concern 
itself with research and experimentation on aspects 
of printing, documentary reproduction, visual edu- 
cation, sound recording, ,and mechanical selection 
systems. It will also serve as a center for training 
technicians, librarians, and others in allied fields 
in the theories and practices of scientific aids to 
learning. 

Connmission to Release Film Evaluations 

The Commission on Motion Pictures in Adult Edu- 
cation is now completing the first phase of its long-term 
])rograni of evaluation of 16min films suitable for edu- 
cational programs of adult groups, reports Morse A. 
Cartwright, Director of the American Association for 
.\dult Education and Chairman of the Commission. 

To date .some 400 theatrical films — chiefly short sub- 
jects and e.xcerpted from longer productions — have been 
evaluated by reviewing groups working under the Com- 
mission's direction, and over 150 of these have been 
recommended for use in adult groups. 

A preliminary catalog containing the approved film 
titles has been prepared by the Executive Secretary, 
L. Harry Strauss. All of the films approved thus 
far by the Commission are distrilnited by Teaching 
Film Custodians, Inc.. and will be available to commu- 
nity groups through numerous educational film libraries, 
several public libraries, and Association Films. 

The second phase of the Commission's work will get 
under way early in 1948, and will concentrate on the 
evaluation of films produced by non-theatrical produc- 
ers. Additional information may be secured from the 
('ommission's oftice. Room 1414, 19 .South LaSalle 
Street. Chicago 3, Illinois, or from the .American Asso- 
ciation for Adult Education, 525 West 120th Street, 
.\'ew "^'ork 27, New York. 

"Films in Public Libraries" 

More and more public libraries are adding film divi- 
sions, and this trend has been stimulated by a publica- 
tion entitled films in Public Libraries which is being 
distributed by the Library Journal free of charge to 
every major library. 

This 90-page illustrated publication is sponsored by 
the Audio-Visual Committee of the American Library 
Association, and states in effect : (1) public libraries 
should use films ; (2) here's how to get started. 

According to a survey made by the Library Journal 
in July, 1947, 15% of the public libraries and 317o of 
the college libraries reported they handle films. The 
survey results indicated that 84S libraries "hope to be 
able to purchase 16mm films within the next three 
years." The figure was 831 libraries interested in 16mm 
])rojectors. 514 interested in slide films. 452 interested 
in slide film projectors, 288 interested in projection 



Page 38 



Educational Screen 



room equipment, and 209 interested in opaque projec- 
tors. 

One of the features of Films in Public Libraries is a 
list of 155 outstanding films, prepared on the basis of 
reports from public libraries having active film divisions. 
Patricia Blair conducts the regular, twice-a-month film 
evaluation section of the Library Journal, with the aid 
of a panel of reviewers representing seven U. S. public 
libraries having film divisions. 

Films in Public Libraries is by Hoyt R. Galvin, Di- 
rector of the Charlotte (N.C.) Public Library. 

Films For Labor 

A major attempt to organize the field of non- 
theatrical films to expand the use of motion pictures on 
behalf of the labor and democratic movement of this 
country was inaugurated at a New York meeting of a 
provisional executive committee for a national film 
centre, attended by representatives of a score of le;id- 
ing national civic and labor organizations. A survey 
committee was set up to formulate a plan to establish 
the film center as a cooperative non-profit venture, to 
operate its own film library and to engage in the dis- 
tribution and general promotion of films dealing with 
public affairs. 

The first executive committee meeting was held at 
Freedom House, 20 West 40th Street, N. Y. C. with 
Robert Delson, motion picture and labor attorney and 
chairman of the executive committee, presiding. 

"This is the first attempt to coordinate the film ac- 
tivities of those whose special interest lies in the for- 
ward movement of American democracy," Mr Delson 
said in announcing the plan for the centre. "The Holly- 
wood motion picture industry, with its hundreds of 
millions of dollars invested annually in production, 
believes, whether or not with reason, that it cannot 
profitably make films with social significance. The 
genius of American writers, directors, and technicians 
has not been utilized in the promotion of public aware- 
ness of social issues. Heretofore there has been no 
concerted attempt to utilize for education in pnljlic 
affairs the greatest weapon available in the arsenal of 
democratic education — the motion picture medium." 
Delson stated. 

The center expects to open key distribution offices 
in New York City, Chicago, and Los Angeles, and to 
work with and through the state and city chapters of 
the various labor and civic organizations involved. The 
activities of the film centre will include the screening, 
cataloguing, and indication of the sources of existing 
films on public affairs, including foreign films. Also 
a program guidance service to advise the organization 
members of the types of film suitable for various sub- 
jects and .sources from which to obtain such film will 
be a prime objective. 

A central library of films produced or controlled by 
member groups, including a distribution service and 
booking offices in key cities, will be set up also. The 
plan ultimately envisages the .stimulation of production 
of films by member groups, with the national film 
centre giving advice to these units on production of 
their own films, and finally, the production of films by 
the centre itself. 



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January, 1948 



Page 39 




The new V/CTOR 
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it's 
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359IM. SCIE]>rCE SLIDE FILMS 

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Seeing the Meaning 

(Continued jrom page 12) 

or school can afford to provide an abundant supply. 
Pictures can make new words meaningful. They 
can turn the word pictures of the textbook into con- 
crete visual pictures. Pictures are an excellent sup- 
plement to assigned reading. 

6. Correct wrong impressions. 

Every child has many mistaken impressions of 
geography, history, and other subjects. There are 
hundreds of words in his textbooks which he fails 
to understand and which result in mistaken impres- 
sions that confuse and discourage further progress. 
Well-selected and well-printed pictures help prevent 
this condition. 

7. Increase retention of what is taught. 

The cost of forgotten learning amotmts to mil- 
lions of dollars annually. Think of the millions of 
classroom hours that are wasted because of ineffect- 
ive learning and because of forgetting what was 
poorly learned. Why do my pupils retain so little of 
what I try to teach them? is a question that has been 
asked by thousands of teachers. Many a conscien- 
tious pupil has asked : "Why do I forget so much 
of what I am supposed to learn ?" Scientific studies 
and abundant classroom experience prove beyond 
doubt the value of audio-visual methods of instruc- 
tion in reducing forgetting and in making learning 
more permanent. 

Necessary Conditions 

If pictures are to be used effectively in the class- 
room, certain conditions must be present. The 
pictures must be easily available when needed. 
They must be filed so that the needed pictures can 
be found at once. Pictures that are filed in the 
classroom where they can be used at a moment's 
notice are many times more valuable to the teacher 
and class than those in some other part of the 
building. The pictures in the classroom collection 
must be clear, accurate and easily understood. 
There should be descriptive material accompanying 
the pictures so that relevant information is at hand. 
The pictures should be printed on stock that can 
stand wear. 

All of us like to look at pictures. As teachers we 
must capitalize on this interest and provide for our 
school an ample supply of excellent, informative 
picture materials. 



Safety Film May Soon Be 35mm Standard 

.A considerable amount of 35niiii .safety film of im- 
proved quality has been in experimental use by 35mm 
distributors. So far, this film seems to compare faror- 
ably with the nitrate (inflammable) stock as far as 
wearing qualities and shrinkage are concerned. It is 
understood that the new 35mm safety film is of dif- 
ferent composition from the 16mm safety film. 



Page 40 



Educational Screer> 



ArDIII-VISMl^^ADE REVIEW 




American Standards Association Announces 
Preparation of New Standards for Recordings 



Work is being started ininiediately 
to prepare standards which it is ex- 
pected will result in better performance 
of disc records used on home record 
players and in broadcast studios, the 
American Standards Association has 
announced recently. The work as 
planned will also include magnetic re- 
cordings and sound track on film. A 
new committee, under the leadership of 
the Society of Motion Picture Engin- 
eers and the Institute of Radio Engin- 
eers, has already taken the first steps 
toward this end. Representatives of the 
radio manufacturers, the motion picture 
industry, broadcasting companies, and 
the War and Navy Departments, are 
cooperating. 

Standard definitions of terms, meth- 
ods for determining the quality of the 
sound and standard dimensions to 
insure complete interchangeability and 
more satisfactory operation of automat- 
ic record changers are among the prob- 
lems to be undertaken immediately. 

The new process for recording sound 
on magnetic materials which is now 
gaining acceptance in Hollywood stu- 
dios, broadcast studios, and in combi- 
nation radio-phonographs for home use 
has helped to bring the need for stand- 

NAVED Regional Meetings 

The National Association of Visual 
Education Dealers will hold a nation- 
wide series of six regional meetings dur- 
ing February and March of 1948, accord- 
ing to an announcement made recently 
by Olson Anderson of Bay City, Michi- 
gan, President of NAVED. The sched- 
ule calls for two groups of three meet- 
ings each, meetings within the groups be- 
ing spaced approximately one week apart. 

Here are details on the individual 
meetings : 

Southern — Biltmore Hotel. Atlanta, Ga., 
February 6 and 7. E. E. "Jack" Carter, 
of Raleigh, N. C, will direct the meet- 
ing. 

Neiv Etujland — Hotel Statler. Boston, 
Mass., February 13 and 14. Douglas K. 
Hammett, of Portland, Me., in charge. 

Eastern — Senator Hotel, .Atlantic City, 
N. J., February 21 and 22. .Art Zeiller, 
of Newark, N. J., in charge. (This meet- 
ing is to be held during the .American 
Association of School .Administrators 



ardization into prominence. The dif- 
ferent groups concerned are anxious 
to take the necessary steps to provide 
standards before diflferences in dimen- 
sions in the magnetic material and in 
the recording and playback equipment 
have become widely accepted. At the 
same time, it will be the aim of the 
committee to avoid requirements which 
will prevent new developments. 

One general problem before the com- 
mittee will be agreement on uniform 
definitions of technical terms. Misun- 
lierstandings due to different interpre- 
tations of terms appearing on shipping 
vouchers, on instructions from record- 
ing studios to process plants, and even 
on customer's invoices have been the 
cause of economic loss and unsatisfac- 
tory service. Such words as "dub", 
"dupe", "re-recording", "track", "live 
recording", "original master," and 
"plates" may seem simple in them- 
selves but must be defined from one 
group in the industry to another. 

Lovers of music who operate home 
phonographs with automatic record 
changers have frequently been annoyed 
by the uneven volume level between 
one record and another and distortion 
of the sound. These are among the 



convention in Atlantic City, through cour- 
tesy of the .A AS A.) 

Mid'a'c'stcn! — Hotel Sherman. Chicago. 
111., March 12 and 13. Ernie Ryan, of 
Davenport, Iowa, will preside. 

Southurstern — Melrose Hotel, Dallas, 
Tex., March 19 and 20. John Gunstreani 
of Dallas will preside. 

IVestcrn — Hotel Clift, San Francisco, 
Calif., March 25 and 26. Howard Smith, 
of Los Angeles, in charge. 

As in 1947, the 1948 series will include 
informative talks on subjects of impor- 
tance to dealers, film libraries and sales- 
men. Slides, charts and other visual aids ' 
will be used to "visualize" these for rapid 
understanding. In addition, each person 
attending the meetings will have ample 
opportunity to participate in the open 
forum discussions which are a basic fea- 
ture of all N.AVED meetings. This year's 
discussions will center around film library 
and etiuipmcnt sales problems. Further 
information may be obtained by writing 
NAVED, 431 South Dearborn St.. Chi- 
cago 3, 111. 



ROBERT II. SCHREIBER, Editor 

Supervisor of Teaching Aids 

Mishawaka (Indiana) Public Schools 



performance problems that will be 
considered. Before recommendations 
can be made, however, methods of 
measurement to determine what consti- 
tutes distortion and how the volume 
of one record compares with another 
must first be set up. 

George M. Nixon, assistant develop- 
ment engineer of the National Broad- 
casting Company, Inc., has been elect- 
ed chairman of the Committee which 
will develop these standards, with 
John K. Hilliard of the Altec Lansing 
Corporation, as vice-chairman. 

In addition, five technical subcom- 
mittees are being set up to correlate 
the work of existing organizations and 
to develop standards in fields in which 
none exist at present. 

Cine Equipment Listing 

-A list of 864 standards, including cine 
equipment approved for national use of 
industry by the .American Standards As- 
sociation, has been made public and avail- 
able for general distribution. 

"The revised list of standards, which 
includes many of those developed under 
war procedure and now approved for 
peacetime use, will be made available 
to interested trade, technical, and gov- 
ernmental bodies and individuals without 
charge," Dr. Agnew said. 

The standards listed include definitions 
of technical terms, specifications for me- 
tals and other materials, methods of 
work and methods of test for finished 
products. They reach into every im- 
portant engineering field including still 
and motion picture photography. 

Television Service for 
Advertisers 

The establishment of a television 
department by Florez Incorporated, a 
training and promotion organization in 
Detroit, has been announced by Gen- 
aro A. Florez, president. The new 
department is under the direction of 
Charles E. Skinner formerly of Holly- 
wood and New York where he has 
had experience in both television and 
motion picture production. The de- 
partment is intended to help adver- 
tisers, through their agencies, take full 
advantage of the opportunities offered 
by television. 



January, 1948 



Page 41 



Production 
Activity 



Johnson-Hunt Distributors 

Johnson-Hunt Productions of Cali- 
fornia have announced recent additions 
to the distributors of their 16mm color 
productions: Audio- Video Institute as 
exclusive distributor for Texas, Na- 
tional School Supply Company for 
North and South Carolina and Virgin- 
ia, Photo and Sound Inc. for the West 
Coast, and Princeton Film Center in 
the East. 

In common with other color film 
producers, Johnson-Hunt has found it 
necessary to raise per reel color costs 
from $75.00 to $85.00. Black and White 
print costs remain the same. 

MPO Productions Formed 

Lawrence E. Madison and J. L. 
Pollock announce the formation of 
MPO Productions, Inc., with ofTice> 
at 342 Madison Avenue, New York 
City, to produce all types of sponsored 
motion pictures. 

The latest motion pictures pro- 
duced under Mr. Madison's direction 
are the Ford Motor Company films, 
^fcn of Gloucester, Pueblo Boy, and 
Southern Highlanders. 

Jam Handy Expands 

The Jam Handy Organization an 
nounces expansion of its national pro- 
gram for the distribution of visual aids 
in the educational field with the ap- 
pointment of three additional exclusive 
state distributors. 

John R. Moffitt, Montgomery, Ala- 
bama; Mississippi Office Supply Com- 
pany. Jackson, Mississippi; Newton 
.School Equipment, Jacksonville, Flor- 
ida, are the new distributors. 




Victor Builds 

Pictured is the architectural sketch 
of the new $1,500,000 building project 
of the Victor Animatograph Corpora 
tion, Davenport, Iowa. This modern 
structure will house the entire manu- 
facturing facilities and main offices. The 
project will include a cafeteria, play 
ground, ample parking lots and trackage 
facilities. 

Graham, .\nderson, Probst, and 
White, Chicago, are the architects of 
the new building. It is expected that 
the project will be completed in about 
one year. 

Ampro Acquires 
Additional Plant 

.\ five-story building, witli approxi 
niately 100,000 square feet, has been 
acquired by .-\mpro Corporation to ac- 
commodate their expansion program. 
1 his additional building at 240 E. On 
tario St., Chicago, will be used as an 
assembly plant for all Ampro products, 
which include 8 and 16mni silent and 
sound projectors, slide and strip-film 
models. 

.Ampro's original plant at 2830 N. 
Western .Avenue will continue opera- 
tion, and the removal of the assembly 
and shipping operations will g've this 
plant more space for the manufacture 
of parts and the cnlargeiiicnt of ex- 
ecutive departments. 




Equipment 



Busy Month at 
Bell & Howell 



Last month was a jack-pot affair lor 
news releases on new products from 
the Bell & Howell Company. An- 
nouncements of a new 16mm camera, 
film storage cases, adjusto-stand for 
projection, and a high-intensity lamp 




Ampro's New Chicago Plant 



Filmo Specialist Camera 

for film printing were included in the 
new equipment available. 

The Filmo Specialist 16mm camera 
(pictured) features professional shift- 
over focusing (lens stays in photo- 
graphic position during focusing), four- 
Icns turret which eliminates optical in- 
terference with longer lenses, view- 
finder parallax adjustment, positive 
viewfinder, light-baflfled shutter (pre- 
vents fogging of first frame), powered 
by hand-crank, spring motor, or elec- 
tricity, and 400-foot film capacity. 

The "Adjusto-Stand" is made of 
aluminum alloy and is guaranteed to 
support 300 pounds although weighing 
only 12 pounds itself. Height is ad- 
justable from 33 to 57 inches with a top 
surface of 12 by 22 inches. The unit 
is supported by tripod construction. 

The film storage cases of all metal 
construction with sectional divider are 
available in two sizes; one holds twelve 
8mm 200 foot reel cans, and the other 
twelve 16mni 400-foot cans. 



Page 42 



Educaflonal Screen 



The new high-intensity lamp for Bell 
& Howell continuous film printers fea- 
tures a 300 watt pre-aligned lamp, high 
speed motor and fan which also pro- 
tects gelatin color filters, and a variable 
voltage resistor. 

Further information may be obtained 
from Bell & Howell at 7100 McCor- 
nn'ck Road, Chicago 4S. 

Beseler Overhead Projector 

The VU-GRAPH. a unique type of 
overliead projector, is the latest prod- 
uct of Charles Beseler Company. The 
outstanding feature of this new projec- 
tor is that it affords a large size {7"-x.7") 
Iiorizontal, fully exposed projection 
stage upon which any transparent ma- 
terial tnay be placed and projected. 
Opaque material is projected in sil- 
houette. 

The apparatus is usually placed upon 
the lecture table projecting its image 
to a screen placed on the wall at the 
rear of the speaker. Not only is it pos- 
sible for the speaker to face his audi- 
ence, but the accessibility of the pro- 
jection stage permits him to readily 
point, underscore, write or draw on 
the material being projected, without 
turning away from the spectators, to 
change his own slides or copy and, with 
the aid of specially prepared films, to 
develop problems on the apparatus as 
they are being projected. The illumina- 
tion is such that only partial shading 
of the screen is required and in many 
cases no darkening of the room is nec- 
essary at all. 

Specially prepared films are avail- 
able which permit either white on 
black background reproductions, or 
the reverse. These films are priced so 
inexpensively that they can be dis- 
carded after use as so much scrap 




Beseler Vu-Graph 

paper. The films can also be preserved 
for future use by mounting in specially 
prepared card holders, facilitating 
handling in projecting them. With 
this film, stencils can be made on a 
typewriter or drawn with an ordinary 
I)encil. 

The apparatus consumes about SSO 

January, 1948 



watts, is air-cooled by forced draft and 
is applicable to any 11S-I20 volt com- 
mercial circuit, either A.C. or D.C. 
The Screen .Adette Equiptnent Cor- 
poration will handle this new projector 
exclusively on the West Coast. 

Eastman Kodak's 
Kodaflector Senior 

An "ambidextrous" lighting arrange- 
ment for indoor picture taking, which 
provides picture takers with two reflec- 
tors for flood lamps, both capable of 
swinging horizontally or vertically on 
easily adjustable arms, is now available 
in the Kodaflector Senior, Model 2. 

In addition to the greater flexibility 
of the arms, further improvement is of- 
fered over previous models, in that the 
legs are screwed into the base rather 
than being held by friction. 



Baby Boom Utility Light 
From Radiant 

Radiant Manufacturing Corp. have 
announced an addition to the Radiant 
product family. The newcomer is 
their new Baby Boom Utility Light. 
a device specifically designed to fulfill 
a long-felt need among home photog- 
raphers for a flexible, mobile light 
unit. Boom adjusts to an almost limit- 
less variety of angles and heights from 
vertical to more than 90 degrees. Fold- 
ing tripod features exclusive Radiant 
finger-tip control, to open or close unit 
at the flip of a finger. 

Perfect for use with floodlight, spot- 
light, or reflector, the new Radiant 
Baby Boom is made of steel and alumi- 
num, to create a sturdy, lightweight 
unit, which folds up compactly for 
easy carrying and storage. 




16mm. SOUND PROJECTOR 
AJ^PLIFIES, SPEAKER AND 
SCREEN — All- IN -ONE — 
SMAll, COMPACT CASE 
WEIGHING LESS THAN 31 IBS. 



The Naw Under 31 lb."Bantom" at $325 
Gives You BIG Projector Features Pjus 
Many New Exclusive DeVry Refinements 

• Brilliant, Flickerless Pictures 

• Amazingly Life-Like Sound 

• 2000 ft. Film Capacity 

• 750-1000 Watt Illumination 

• Light Out-Put Exceeds 200 Lumens 

• Sound and Silent Proiection 

• Fast Motor-Driven Rewinding 
■k Coated Projection Lens 

• Coated Condenser Lens 

• Automatic Loop Setter 

• Rotating Sound Drum 

• Prefocused Exciter Lamp 

• Simplest Film Threading 

• Instant, Positive Tilling 

• Precision Built of Quality Materials 

• Absolute Film Protection 

• Motor Driven Forced-Air Cooling 

• Operation on Either AC or DC 



Sinj!k- Cast: "Ban- 
with huili-in 
6-ioch ALNICO 5 
permanent magnet 
speaker, is readily 
detachable for 
placement at 
screen as desifL-d. 







^^§Mi« 



Dual Case "Baa*- 
lam" projector and 
amplifier in odc 
case. 8" ALNICO 5 
permanent magnet 
speaker in separate 
matched case. 




I DE VRY CORPORATION ES-EI I 

1111 Armitage Ave.. Chicago 14. III. 

I M««>*giv«ut full particwiari ofith*n«wDivtr"B«ntam'* | 




Page 43 



Spencer 2" x 2" Projector 

A new Spencer 2"x2" colorslide pro- 
jector, designed to provide greater 
screen brilliance, more even illumina- 
tion from edge to edge, coolness of 
operation and slide safety, is announced 
by American Optical Company. The 
new MK Delineascope is available in 
150, 200, and 300 watt models with all 
surfaces of the optical system scientifi- 
cally hard-coated to assure brilliance 
and image contrast. 





MK Delineascope 

Other features announced by the 
company include a new 5" focus f/3.75 
achroniatically corrected objective and 
a new slide carrier which automatically 
centers glass, cardboard or metal slides 
in the focal plane. No refocusing is 
necessary once adjustment has been made. 

The projector features spiral focus- 
ing, an efficient heat-absorbing glass 
(plus fan cooling in the 300 watt model), 
and easy access to bulb and condensers. 




\c9 



D th . fJ^y^tfWIfe^tMl/t^ 

64 PAGE PHOTOGRAPHIC 
EQUIPMENT 

CATALOG 



The most complete catalog ever published by the 
manufacturers of the famous SOLAR Enlargers, 
B&J Speed Press Cameras, GROVER and B&J 
View Cameras. Fully illustrates and describes 
hundreds of items every photographer needs. 
Nineteen full pages of lenses of every malie and 
description from one-half inch to 60-inch focal 
lengths. Cine, commercial, portrait and process. 
The most complete lens stock available! Every- 
thing photographic from America's leading 
photographic manufacturer and supply house. 
Write today for this valuable Free Boole. 

BURKE & JAMES. Inc. 

Manufaeturvrt for F/ffy feerx 
Dent. ES-I. 321 S. Wabash Ave.. Chicago 4. U.S.A. 



Eastman Ups Edwards and Hall 

Appointment of Kenneth Edwards 
to a newly-created post of adviser 
on non-theatrical films has been an- 
nounced by Eastman Kodak Company. 
As adviser, Edwards will head a new 
film counselling activity for users of 
motion pictures in the non-theatrical 
fiefd and in television. He will consult 
with educational institutions and groups 
which are settings up or maintain mo- 
tion picture departments and will coun- 
sel commercial and semi-professional 
producers who seek technical advice. 

Typical of those Edwards will aid 
are the producers of "documentary" 
films, commercial producers, and pro- 
ducers directing units at universities 
or in industry. He will devote full time 
to assisting all non-theatrical pro- 
ducers in adapting the motion picture 
medium to their own specific needs. 

Edwards served as production 
manager of Eastman Teaching Films 
from 1929 to 1943. Later he organized 
and managed the company's Informa- 
tional Films Division, which produces 
motion pictures for Kodak's own use. 




Kenneth Edwards 

Edward B. Hall succeeds Edwards 
as manager of Informational Films. 
Hall joined Kodak in 1935 and became 
an assistant on the executive staff at 
Kodak Office in 1936. In 1939 he was 
made secretary of the company's pack- 
aging committee. ,'\fter leaving for 
Navy service in 1942. he returned to 
Kodak in 1945 and joined Informa- 
tional Films. 

Cinema, Inc. Expands 

Cinema. Inc.. 234 Clarendon Street. 
Boston, Massachusetts, announces the 
appointment of F. M. "Nick" Carder 
as Audio Visual Aids Consultant to 
their newly opened .^udio Visual 
Equipment Division. The development 



of this department has been the result 
of a growing demand from the New 
England educational and industrial 
fields for a competent service which 
will be available for survey, recom- 
mendations, or installations of both 
sound and projection equipment. 

Sales representatives have been ap- 
pointed for each state in New England, 
and Mr. Carder will have associated 
with him Mr. Hobart Troop in charge 
of the sound department and Mr. 
Henry .\. Stebbins to direct sales in 
Connecticut and western Massachu- 
setts. 

Additions to United World Staff 

The appointment of Edwin H. Mac- 
Arthur as Manager of Educational 
Sales was announced recently by James 
M. Franey, president of United World 
Films, Inc. Increasing inter-relation- 
ship between textbooks and films as 
teaching tools is evidenced when edu- 
cational film producers draw trained 
textbook personnel into their work, as 
is the case of MacArthur, who for six- 
teen years was with Charles E. Merrill 
Co., Inc., as Educational Sales Repre- 
sentative, Divisional Manager, Assist- 
ant Sales Manager, and .Assistant to 
the President. 

The still more recent addition to the 
United World educational staff of Leo 
B. Guelpa, Jr., co-author of "The Physi- 
cal Universe," a new type college 
science textbook into which many 
sound film and visual aids have been 
integrated, is another case in point. 
He is the author of several other books, 
including mathematics workbooks used 
in the l^.S. Merchant Marine Academy 
where, with the naval rank of Lieuten- 
ant Commander, he served as chief of 
the Section of Natural Sciences. 

British Information Plans 
Baird in Midwest 

Thomas Baird comes to Chicago 
fresh from an extended visit to the 
British Isles, where his object was to 
bring himself up to date with recent 
events there and to familiarize himself 
with current feeling at the present time. 
He also spent some time at the Foreign 
Office in London. As Regional Direc- 
tor for British Information Services, 
he will be responsible for all B.I.S. 
services throughout the Midwest and 
Rocky Mountain area. 

Wagner Goes West 

Lawrence R. Wagner has been 
named district manager of Encyclopae- 
dia Britannica Films for the states of 
Washington and Oregon, it has been 
announced by H. R. I,issack, vice- 
president in charge of sales. 

Wagner will consult with school ad- 
ministrators and audio-visual education 
directors and assist them in carryina 
on their audio-visual programs. Wag- 
ner has temporarily established head- 
fjuarters at 412 N. E. Laurellnirst 
IMacc, in Portland, Oregon. 



Page 44 



Educational Screen 



Slidefilms 
and Slides 



has made available two new teaching 
aids on tlie subjects of food and nutri- 
tion : a slidefilni series and a slide set. 
The slidefilni series, entitled "Food and 
Nutrition." consists of five films : The 
Essentials of Diet; Eat Well! Live 
Well!: The Nutrients in Food: How 



New Home Economics 16 mm. Films 

Clearly Demonstrate and 

Explain 



■ SOCIETY FOR VISUAL EDU- 
CATION, INC., 100 East Ohio St., 
Chicago. Illinois, has produced a new 
Canadian Regional Geography Series 
with the cooperation of the Information 
Division, Department of External Afifairs, 
Canada. The series consists of three 
slidefilms. each accompanied by a teach- 
ing manual. 

Eastern Canada covers the Maritime 
Provinces and the two large provinces 
of Quebec and Ontario. Western Cana- 
da pictures the provinces of Manitoba, 
Saskatchewan, Alberta, and British Co- 
lumbia. These two slidefilms are in- 
tended to introduce tlie student to the 
environment and occupations of the Ca- 
nadian people, the natural resources of 
the vast land, the industrial and agri- 
cultural activities of the particular prov- 
inces. 

Nortliern Canada pictures the north- 
ern parts of the Canadian Provinces and 
the immense Canadian territories. Of 
particular interest are scenes of Port 
Radium, where, during World War II. 
225 people worked the Eldorado Mine 
to produce the pitch!)lende from which 
uranium, the vital component of the 
atomic bomb, was obtained. 

■ POPULAR SCIENCE PUBLISH- 
ING CO., .35,^ Fourtli Ave.. N'ew York, 




"Food and Nutrition." 

Food Is Digested: and Consumer Prob- 
lems in Nutrition. Original color photo- 
graphs and art work in color are used 
in the slidefilms. The slide set, also 
entitled "Food and Nutrition," consists 
of Kodachrome photographs and car- 
toons. Teaching guides accompany the 
slidefilni series and the slide set. 
■ KNOWLEDGE BUILDERS, 625 
Madison Ave., New York, N. Y., offers 
a slidefilm entitled Nezv England Indus- 
tries which shows interesting sidelights 
from the past followed by scenes of 
ten of New England's major sources of 
livelihood today. The film is accom- 
panied by a complete commentary 
script and manual. 



Current Film News 



■ UNITED WORLD FILMS, INC., 
445 Park Ave., New York 22, have 
produced a series of ten new motion 
pictures, designed to help train high 
school and college athletes in track 
and field sports. Approved coaching 
techniques in the various sports are 
presented and the demonstrated results 
of the practical application of these 




"The Hurdles." 
January, 1948 



techniques. The productions are par- 
ticularly timely, in view of the com- 
ing of the 1948 Olympic Games. 

Separate titles in this series of ap- 
proximately ten instructional films 
cover : Sprints, Middle Distances, One 
and Tivo-Mile Runs, Hurdles (high 
and low). Relays, High Jump, Broad 
Jump. Pole Vault, Shot Put, Discus- 
Javelin. Every bit of the photography 
is new, and especially shot for this pro- 
duction. Care was taken to show ath- 
letes of varying degrees of ability and 
of differing build, so as to make the 
lessons as widely applicable as jiossible. 
Wlicre several accepted styles exist, each 
was illustrated, and the reasons for pre- 
ference under stipulated conditions were 
made clear. 

Other new releases from United 
World Films are: 

Latitude and Longitude — 1 reel — 
functional presentation of two basic 
geographic concepts usually found 
most difficult of comiirehension by 
pupils. By use of the most modern 
film techniques, it teaches the "why's" 
of latitude and longitude. It was pro- 
duced with the collaboration of the 




New, a complete new series of teach- 
ing films — thoroughly integrated with 
leading Home Economics textbooks. For 
Junior-Senior High, Trade School and 
College. Each of the six films has a run- 
ning time of 1 minutes. Sold separately 
or together. Each, $38.50 Teachers' 
Guide included. 



SEWING 


SEWING - 


FUNDAMENTALS 


HANDLING 


Presents and explains 


MATERIALS 


slep-by-step the fun- 


Shows how to handle 


damentals of sewing 


cottons, woolens, silks. 


and basic tools. 


and synthetics in prep- 




aration for sewing. 


SCWING 


SEWING - 


ADVANCED 


PAHERN 


SEAMS 


INTERPRETATION 


Demonstrates con. 


Discusses markings on 


struclion of French, 


commercial patterns. 


Slot, Flat Fell, Welt, 


how to get pattern 


Tucked, and Piped 


size, yardage re- 


seams. 


quired; interpretation 




of instructions. 


SEWING - 


SEWING 


SLIDE 


SIMPLE 


FASTENERS 


SEAMS 


Shows how to set 


Demonstrates prepara- 


them. Explains con. 


tion for plain seams 


ceoled side openings 


with edges pinked. 


of skirts, dresses — and 


edges overcast. 


center-front or bock 


stitched, bound, catch- 


of garment for design 


stilched, and top- 


purposes. 


stitched. 



FREE:! 



Interesting, profusely 
illustrated new Young 
America Films Catalogue 
— describes teaching 
films, 2x2 slides, slide 
films. No obligation, 
mail postcard today. 



YOll\G 
AMERICA 
*■ FILMS, m. 

Dept. ES-I, 18 E. 4l$t Street, New York 17. N.Y. 

Page 45 




Royal Geographic Society. Grand 
Prix winner at the International Film 
Festival in Brussels, and honored at 
the World Film Festival in Chicago. 
Available also in color. 

Development of the Chick (1 reel) — 
the hour-hy hour development of a 
chicken embryo in the egg. The life 
cycle of the chicken is shown in clear 
detail. 




"Development of the Chick" 

■ KNOWLEDGE BUILDERS 
CLASSROOM FILMS, 625 Madison 
Avenue, New York 22, N. Y., offers 
the following mathematics 16mm 
sound teaching films: 

Properties of Triangles — which illus- 
trates the importance of the rigidity 
of triangles by comparing the strength 
of triangles with the strength of non- 
rigid figures. Animated treatments of 
the "Angle Bisectors Theorem," the 
"Perpendicular Bisectors Theorem," 
the "Altitudes Theorem," and the 
"Medians Theorem" follow. The film 
is intended for use when the theorems 
mentioned are studied. 

Pythagorean Theorem — which pre- 
sents the historical background of the 
theorem and includes a detailed dis- 
cussion of an interesting use of the 
3-4-5 triangle by the Egyptians. The 
basic importance of the theorem is 
stressed. 

Simple Fractions (1 reel) — animated 
in such a way as to give meaning to 
fractions. Simple additions are made 
reasonable by showing parts being 
combined. Concrete objects are used 
in the gradual development of abstract 
ideas of such fractions as Yi, Yi, ^, 
5/6, and 6/7. 

■ PORTAFILMS, 1520 N. La Brea 
Ave., Los Angeles 28, Calif., announces 
the early release of the second film 
in its safety series: 

A Safe Home — for which a series 
of classroom tests were conducted to 
carefully check student reactions to 
the techniques used in the film. As 
the story treatment is more unusual 
than the approach used in Let's Play 
Safe, the first film of the series, it was 
felt by the Audio- Visual Curriculum 
supervisors consulted that the only way 
to get a valid evaluation of the script 
would be by student testing. The 
test were conducted in Los Angeles 
City, Los Angeles County, and Paro- 
chial schools. 



■ THE MARCH OF TIME, 369 Lex- 
ington Avenue, New York 17, lists the 
following two subjects among their 
recent 16mni offerings: 

The American Cop (2 reels) — how 
the .\nierican policeman serves his 
community. The burden of putting 
down the increasing number of vio- 
lent crimes lies upon the "cop." A 
specific case is depicted. 

Problem Drinkers (2 reels) — the 
story of such well-known organiza- 
tions as Alcoholics .'\nonynious, the 
Research Council on Problems of Al- 
cohol, and the laboratories of the Yale 
School of Alcohol Studies and their 
efforts to control alcoholism and have 
it recognized as a disease. The film 
follows an alcoholic's course from his 
downfall to his rehabilitation. It shows 
how he slips from "moderate" drink- 
ing into uncontrolled excess. 

■ ENCYCLOPAEDIA BRITANNI- 
CA FILMS, INC., 20 North Wacker 
Drive, Chicago 6, Illinois has released 
the following new film: 

Live Teddy Bears (1 reel) — a film 
for primary children about the Aus- 
tralian koala bear. The film was pho- 




"Live Teddy Bears" 

tographed in an Australian park and 

in the remote bush country, sole 

place in the world where koalas live 
out of captivity. 

■ BRITISH INFORMATION 
SERVICES, 30 Rockefeller Plaza, 
New York 20. and branches report the 
availability of these new films: 

Rettim to Action (2 reels) — the 
rehabilitation of the disabled. The Dis- 
ablement Resettlement organization 
helps such persons to return to skilled 
or other useful employment. 

The Royal Tour (3 reels)— official 
film story of the British Royal Fami- 
ly's first visit to the Union of South 
Africa. During the tour, the Princess 
celebrated her 21st birthday, and the 
film records her dedication to the 
people of the British Commonwealth. 

Blood Transfusion 1947 (2 reels) — 
a survey of blood transfusion and its 
devolopment in international medical 
history from Landsteincr's discovery 
of the four blood groups in 1901. 
Suitable for both professional and lay 
groups. 

North East Corner (1 reel) — latest 
"Pattern of Britain" film. The setting 
is in Aberdeenshire and the surround- 
ing countryside with accent on the 



fishing industry but including shots 
of modern farms and the reclamation 
of land. 

■ CORONET INSTRUCTIONAL 
FILMS, Coronet Building, Chicago 1. 
include among their late productions: 

City Fire Fighters (1 reel, color or 
black and white) — the importance of 
organized fire fighting, filmed for ele- 
mentary social studies. Emphasis is 
placed on fire prevention. 

Panama: Crossroads of the Western 
World (1 reel, sound, color or black 
and white) — the effect of the inter- 
mingling of peoples on the cultural 
and economic life of the city. Valuable 
for classes in geography and social 
studies. Suitable for intermediate, 
junior and senior high school students, 
and adults. 

Pigs and Elephants (1 reel, black 
and white only) — introduces such 
foreign animals as the Babirusa of the 
East Indies, the Wart Hog of Africa, 
the Pigmy Hippopotanms, and others. 
The film shows the relationship of 
these animals to the pig and is intended 
for primary and intermediate students. 

What Is Science? (1 reel, color or 
black and white) — a visual definition 
of the word, "science." The five steps 
of the scientific method are illustrated: 
curiosity, observation, hypothesis, test- 
ing of hypothesis, and the conclusion. 

Magnetism (1 reel, color or black 
and white) — for general science courses 
in elementary and junior high schools. 
The film mentions types of permanent 
magnets, attraction, and repulsion, 
making magnets, fields of force, elec- 
tro-magnets, and uses of magnets. 

Oxygen (1 reel, color or black and 
white) — an introduction to this import- 
ant element through dramatic experi- 
ments. 

■ SOUTHERN EDUCATIONAL 
FILM PRODUCTION SERVICE, 
Athens, Ga., offers the following recent 
films: 

Florida: Wealth or Waste?— 22- 
minute sound film in color — filmed 
for the Florida Resources — Use Educa- 
tion Project. It tells the story of a 
state's fight for permanent prosperity 
despite such odds as winds, freezes, 
fires, unstable markets, and its de- 
pendence on tourist business. 

Mr. Williams Wakes Up — 29-minute 
film in black and white — concerning 
community health and sponsored by 
the North Carolina State Board of 
Health. The film shows what commu- 
nity health work has done in North 
Carolina, what it is doing now, how it 
cooperates with private physicians and 
volunteer groups, and what kind of 
citizen participation it needs to be 
more effective. 

16mm Movies. Rental^Sale — Sound — 
Silent. Equipment on Time Payment 
our specialty. Send for free catalog, 
stating your needs in first letter. 
INSTITUTIONAL CINEMA, Inc. 
Dept. ESC. 1560 Broadway, New York 
19, N. Y. 



Page 46 



Educational Screen 



■ YOUNG AMERICA FILMS, 
INC., 18 East 41st St., New York 17, 
N. Y., announces several new releases: 

The Teen Numbers — 1 reel — is a 
continuation of the Young America 
Arithmetic Series. It is an arithmetic 
teaching film prepared for the primary 
grade level and is a companion film 
to such previous releases in this series 
as What is Four, Parts of Nine, Ports 
of Things, and Meaning of Percentage. 

Sewing Fundamentals and Sewing- 
Slide Fasteners — each 1 reel — are con- 
tinuations of the Sewing Series begun 
with Sewing Advanced Seams and 
Sewing Simple Seams, all designed 
for home economics instruction in 
high school, trade school, college, and 
women's groups. 

Modem Guide to Health — 1 reel — 
is a cartoon-type film dealing with 
such health problems as posture, care 
and selection of clothing, and the im- 
portance of rest and sleep. It is aimed 
at parents and other adult groups but 
is regarded as having high value for 
school audiences. The film was made 
in Great Britain, and Young America 
Films has been appointed as the ex- 
clusive sales agent in the United States 
and Canada. 

■ FILM STUDIOS OF CHICAGO, 

135 S. La Salle St., Chicago 3, III., an- 
nounces that selected stories which 
have been or will be appearing in is- 
sues of "The Woman," digest-sized 
magazine with 500,000 monthly read- 
ers, will be filmed exclusively by IVo- 
man Speaks, woman's page of the 
screen. Devoted solely to activities 
and accomplishments of women, Wo- 
man Speaks was honored recently by 
being selected for permanent preser- 
vation in the film archives of the Li- 
brary of Congress in Washington. 

■ BRANDON FILMS, INC., 1600 
Broadway, New York 19 is distribu- 
ting the following film: 

Kitchen Come True (2 reels) — dem- 
onstration of how an old-fashioned 
farm kitchen may be converted into a 
modern and convenient one. The film 
was produced by the National Film 
Board of Canada. 



■ AMERICAN BANKERS ASSO- 
CIATION, 200 Madison Ave., New 
York 16, and EMERSON YORKE 

STUDIO, 35 West 4Sth St., New 
York 19, distribute a film of interest 
to agriculture groups, bankers, and 
economics students: 

Bill Bailey and the Four Pillars (2 
reels) — the value of diversification in 




"Bill Bailey and the Four Pillars" 

farming . . . four crops for four sea- 
sons: sheep, tobacco, cattle, and wheat. 
Bill Bailey, who stars in the film, is 
actually a banker in the town of 
Clarksville, Tennessee. He promoted 
the plan advanced in the film to pro- 
mote prosperity for the farmers of his 
area. 

■ FILMS OF THE NATIONS, 
INC., 18 W. 55th St., New York 19, 
N. Y., have acquired the exclusive 
sales rights for the new British In- 
formation Service's film: 

Charter of the United Nations — 
which analyzes the work and structure 
of the General Assembly, the Security 
Council, and the various commissions 
of U.N. 

■ THE PAN-AMERICAN UNION, 
which is now producing its own edu- 
cational films, offers four new 16mm 
sound films to schools and other in- 
stitutions with visual education pro- 
grams. These are Bogota, A Story of 
Coffee, A Story of Bananas, and The 
Republic of Colombia. Each film runs 
about 10 minutes. Bogota and The 
Republic of Colombia are in color. 




rosi 



I 



ftWlYOllPOSTH) 



on the Best 16mm 
SHORT SUBJECTS? 

fdutatlonal . . . Entertainiag! 

STRANGE 

AS IT 

SEEMS 

by John Hlx 

8 Sub/ccts 

Abiorbing dromotizations of historic 

ironioi, oddiriet, end coincid«nc«i, culled 

from the bywoys of human experience. 

One reel sound filmi; running time 9 

minutes each, 

Finy YEAR BARTER 

LAFAYETTE, CHAMPION Of IIURTY 

GOLD AND MAN 

SILVER THREADS 

MARK TWAIN 

EMPEROR NORTON 

IITTIE JACK NORNER 

STAR GAZERS 

LUt Prk*: $3S.0O Mth. 

Available of leading film Ubrorfel. 
Wrlr* for nttt catalog to Dept. 10. 



POST PICTURES CORP. 

lis W. 45th St., New York 19, N T 



"PUPPY TROUBLE" 

The First of the teries, TRAINING 
YOU TO TRAIN YOUR DOG. Three 
lAmm Sound Films !n Color ar Bleck- 
and-WhUe. 




Demonstrating 
the Puppy's 
First Lesson In 
House Manners. 



Helen Hayes & Lowell Thomas, Nar- 
rators. Blanche Saunders: Director. 
Louise Branch: Producer & Photogra- 
pher. 

UNITED SPECIALISTS, INC. 

America's foremoft producers of 

Dog Films 

PAWLING. NEW YORK 



T Northwestern University MARIMBA COEDS 

Full Reel Concert! 

National Trophy 

Winners — Dirwtfd by 

(lair Omar .Miingt-r — in 

•\VO.\IAN SPE.\K8' 

Tlirlllerl 

• • • 
Write H. A. Spinuth. 
Film Studios ot Chicago 

135 S. La Salle 
Dept. E Chicago 3 




Conversion of old kitchen into modern one ("Kitchen Come True") 
January, 1948 



Have you ordered your copy 
of "lOOOandOne?" 



Page 47 



Index to Volume XXVI (1947) 



EDITORIALS 

Mo. 

Nelson L. Greene. 1881-1947 Feb. 

Magsiines and Men (F. Dean lleClutky) Mar. 

Toward the Future Apr. 

"Speaking of Film Councils" May 

And the Greatest of These ... Is Distribution —Inex- 
pensive Materials Can Be FliTective Too June 

Salaries and Budgets — -The A.L.A. Film Project Sept. 

From the Experience of Others — Picture Power Oct. 

It Is Your Move — On Its Way — Not a Luncheon Club 

— -Seventy Per Cent Are Adults Nov. 

Best Materials Are Utilization-Centered Dec. 

FORMAL ARTICLES 

Mo. 

A.hl, Frances Norene, Visualizing and Vitalizing Govirn 

ment Mar. 

Andernon, Irving H., Improving Adult Reading Through 

Visual Aids -^pr. 

Badgeley, Ralph E., and Roben J. MaoHke, A Profes- 
sional Study In Audio-Visual Education May 

Borr, H. if., Means — Not Ends Mar. 

Bell, Walter S., Atlanta Audio- Visual Anniversary Nov. 

Boyer, Melvitte J., Visual Education Aids Historical 

Societies Feb. 

Cross, A. J. Fay, They Didn't Have Electricity Oct. 

Dobie, Albert J., The Care and Maintenance of Motion 

Picture Films . Apr. 

Elliott, Godfrey, Putting "Participation" Into the Film.... Feb. 

Flanders, Mark, Eat Your Cake — And Have It, Too Jan. 

Frazier, Alexander, Films Motivate English Activities Feb. 

Orindrod, Helen, and Don Barrinon, Audio-Visual 

Workshop for Administrators June 

Hansen, Henry R., Costs of Audio-Visual Materials June 

Harrison, Don, and Helen Orindrod, Audio-Visual 

Workshop for Administrators .Tune 

Howard, Jr., Alexander B., Textbook Illustrations: \ 

Visual Aid Jan. 

Jones, Joseph, The Filmstrip-— An Examination Proced-, 

ure in English Composition Nov. 

Kruse, William F., Engineering Progress Opens New 

Vistas May 

Lumsdaine, A. A., Experimental Research and the Im- 
provement of Teaching May 

Maaske, Roben ,/., and Ralph E. Badgeley, A Profes- 
sional Study in Audio-Visual Education May 

May, Mark A., Educational Projects Apr. 

Mennie, Jessie, Visual Education in Canada Sept. 

Micheels, William J., Wanted — Stimulation and Co- 
ordination May 

Shearman, John. Wartime Wedding — The Documentary 

and Fiction Film June 

Spalding, Willard B., Integration of Instructional 

Materials Sept. 

Swtn, Ming-Ching, The Fifth .Start Oct. 

Wagner Robert IV'., The University in Transition ..Oct. 

White, Thurman, Audio-Visual Materials in Adult 

Education Nov. 

Tri?*-i7i»07i, Cecil E., Teaching With the Aid of Motion 

Pic'ures Sept. 

Young, Kenneth W., Horizon Unlimited .Tan. 

THE FILM AND INTERNATIONAL UNDERSTANDING 

(Dr. John E. Dug.an, Editor) 

Double Anniversary Jan. 

Evaluative Understanding Through Films Feb. 

"Brotherhood of Man" and Re-orientation Mar. 

The State Department's OIC Film Program June 

A Local International Film Project (Bruce Underwood) . . . .June 
Ragan Plans Film Series for Internationa] Understand- 
ing (Dorothy Orafly) Sept. 

Films for International Understanding in the Whole 

School Program Oct. 

Let's Utilize United Nations Dec. 



I'uge 

80 

140 

194 

250 

300 
362 
424 

486 
542 



'age 

143 

)95 

252 
141 
494 

88 
427 

198 
84 
25 
81 

309 
306 

309 

27 

487 

262 

254 

252 
200 
365 

251 

310 

363 
430 

428 

489 

369 
22 



38 
102 
152 
313 
334 

375 

438 
557 



THE CHURCH DEPARTMENT 

(WiIjLia.m S. Hockm.\n, Editor) 

How Visual Should the Use of a Visual Aid Be? (Paul a. Kiehl) — 
Add Sound to Silent Pictures (Rer. Win. M. Hunter) — Shadow on the 
Land Jan. 33-5 

A Job for the P.F.C. — Why T.F.C. Films Are Not Available to the 
Churches (Wm. M. Rogers) — A Movie Situation Solved (Rer. Wm. F. 
Edge) — The Bible Society Films Feb. 97-100 

Residue of Participation — Make It a Thinkshop, Too — Films Reach 
the Pocketbook (Wm. M. Hunter) Mar. 153-4 

Visual Aids for the Extended Session — Slides Promote the Camp 
(Virgil E. Foster) — Setting Up Projection Equipment ... Apr. 209-11 

One Way to Improve Utilization — We Use Opaque Materials (A'. 
Eugene Kirchner) — Film on Atom Peril May 265-6 

Insufficient Liaison — American Lutheran Film — "The Spirit That 
Came to Earth" (Harold Clark) June 317-8 

Seeing and Doing in the Vacation School (Charles 11'. Tyrrell) — The 
Pastor Makes a Movie (Harold E. Wagner) — -Wheaton College Confer- 
ence on Audio-Visual Materials (Orovener C. Rust) ....Sept. 377-9 

The Primary Children See a Film on Palestinian Home Life — The 
Fourth Workshop at Green Lake, Wisconsin — Visual Aids in a P.T.A. 
Meeting (R. A. Hartman) — A Couples Group Uses a Filmstrip (Mr. 
and Mrs. Don W. Fein) Oct. 443-7 

The Primary Children See a Film on Palestinian Home Life (Part 
II) — The Seeing Experience in Worship (R. L. Krepps) — Filmstrips 
Previewed — P.F.C.'s First Film, "Beyond Our Own" ....Nov. 505-8 

South India Holds First Visual Aids Institute (Blaise Lerai) — New- 
Stewardship Materials — Filmstrips on Visual Methods .... Dec. 553-6 



THE LITERATURE IN VISUAL INSTRUCTION 

(Ett.\ ScllNElDKR KES.S, Editor) 

(This index includes only the more important literature and those 
books and articles treated at some length.) 

Planning the General Classroom for Audio-Visual Aids Use (E. De 
Alton Partridge, Sch. Exec.) — Transition to Visual Education (William 
M Dennis, N.E.A. Jl.) — The Tasks of an Internationl Film Institute 
(Adolf Nichtenhauser, Hollywood Quart.) — Industrial Films (Source 
of Occup. Inf. U.S. Employ. Serv. ) — Documentary News Letter (Nov.- 
Dec. 1946 Film Centre, London) — Use of Audio-Visual Materials 
Toward International Understanding (Helen Seaton Preston) — Audio- 
Visual Materials in the High School (Frances Xorene AM) — The Prep 
aration and Use of Visual Aids (Kenneth B. Haas-Harry Q. 
Packer) J»n. 40-2 

Audio-Visual Methods in Teaching (Edgar Dale) — Movies That Teach 
(Charles F. Hoban, Jr.) — The School Division Film Library (W. H. 
Durr) — Film Forum Review (Columbia U.) Feb 104-6 

Using the Opaque Projector in Teaching Composition (Mary Mar- 
garet Robinson) — Movies Enrich the Curriculum (W . C. Meier- 
Henry) Mar. 158 

Freedom of the Movies (Ruth A. Inglis) Apr. 216-8 

Establishing a Visual Education Program (Clifford B. Wise) — How- 
to Use Films in Teaching Intelligently (Beatrice Schwartz) — The 
Factual Film (Pol. and Econ. Plan. Com., Darlington Hall Trus- 
tees) May 272 

Audio-Visual Education in City-School Systems (Research Div., NEA) 
— Explaining the Schools through Films (Stephen M. Corey, Sch. Rev.) 
— A University's Audio-Visual Extension Service (Thurman J. White) 
—Did Movies Win the War! (William W. Wallenberg) . .June 321-2 

Art in Cinema (Frank Stauffacher, ed.) — Magic and Myth of the 
Movies (Parker Tyler) — Education on the Air (/. Keith Tyler-Nancy 
Mason Dasher) — Sponsored Films in Education (Wilfred F. Howard, 
Film and Radio Guide) Sept. 384-6 

The American Radio (Llewellyn White) — Foundations for Teacher- 
Education in Audio-Visual Instruction (Elizabeth Ciiudy Noel-J. Pwui 
Leonard) .Nov. 515 

Grierson on Documentary (Forsyth Hardy, ed.) — Composing for the 
Films (Hanns Eisler) Dec. 552 

SCHOOL MADE MOTION PICTURES 

( D.AVin .SCHNKIDKR, Editor) L 

The Status of the School Made Motion Picture Jan. 31 

( f Interest to Producers of School Made Films — Taking 

Interpretive School Movies (Margaret Parham) Feb. 90-1 

Y.C.C.A.. What It Is, How It Works, Where to Start 

- — Netherland Educational Film Mar. 157 

Oscars for Dr. Wheat — Film Production at George 

Washington (David K. Estluw) Apr. 213-4 

Slide Production at Midwood High School May 269-70 

Your (inide to Camera Buying June 323 

Kidelitv of Report, .\ Film for the Psychological Lab. 

( Wilhert S. Ray) Sept. 374 

Lights! Action: Camera! (William Allen) Nov. 510 

TEACHER COMMITTEE EVALUATION OF NEW FILMS 

(li. C. Larson, Kdiior) 

Know Your Librarj — Magnets — Speeding Y'our Read- 
ing — 'I'his Tjand of Ours: Washington, D. C. — 
People of the Soviet Union — Freezing Fruits and 
Vegetables Ian. 44-6 

Meet Your Federal (iovernment — Children's Charter — 

M'ings to Ireland — Paper Feb. 92 3 

Man: One Family — What Makes Rain — Vegetable In- 
sects — Hopi Horizons — Maps .\re Fun Mar. 150-1 

Let's Give a Tea — Brotherhood of Man — .Atomic 

Energ.v — Pudge Apr. 206-7 

Heidi — Return of the Vanishing Herd — Water Supply 

— The Librarian May 260-1' 

Making .Slioes — Seashore Oddities — Wild Fowl in Slow 
Motion — The Andes — Chile's Barrier — Introduc- 
tion to Fractions .lune 314-5 

Boundarv Lines — Wheat: The Staff of Life — Les 

Canaux — Chinese Shadow Play Sept. 372-3 

Shv Guv — .Vir Transportation — Making of a Mural — 

The" Curious Coati Oct. 440-1 

Near Home — Dining Together — Duties of a Secretary 

— People's Charter Nov. 498-9 

Behind the Scenes at the .\'rport — What Is Money.' — 
.Vrtisans of Florence — Sitting Right — Ins'ruments 
of the Orchestra Dec. 550-1 

NEWS AND NOTES 

(This index iticludes only thi' more important items and those 
treated at some length.) 

Dorothy Allard, Visual Pioneer. Dies — Film Board Formed by 
United Nations Jan. 54-5 

Visual Aids for Business — Second .-Vnnual .\wards Dinner Held by 
Metropolitan Branch of D.V.I. — Joint Services for U.N. Film and 
Visual Activities .Feb. 114-5 

J. C. Wardlaw, Audio-Visual Pioneer, Passes — California .\udio- 
Visual As.sociation Expand.s — Farm Film Fotindation . ...Mar. 166-9 

Commission on Motion Pictuns in Adult Education E.stablished — 
New Distribution Policy for USD.V Films — Hoard of Review Reor- 
ganization and Conference Apr. 228-31 

Chicago Film Festival, June 2 to 6 — Audio-Visual Awards to 
Schools May 281 

U.S.A. Sends Film Entries to Brussels World Film Festival — Inter- 
national Exhibition of Motion Picture Technique, Venice, Aug. 14 to 
Sept. 10 — Iowa Extension Division Given College Status — .Toint Film 
Program Planned by l^.N. Film Hoard lune 330-1 

Oklahoma A-V Appropriation — Film Advisorv Service for Public 
Libraries — Audio-Visual Awards Endorsed by ANFA, NAVED, FCA — 
Annual Film Festival at Cannes, Sept. 12 to 25 Sept. 396-8 

UNKCSO Survej-s Technical Needs Abroad — Study Role of Public 
Libraries in Promoting Use of Discussional Films Oct. 457-9 

Professional Training in Motion Pictures — Radio Center at Syra- 
cuse University — Sloan Foundation Reports on Motion Pictures and 
Radio ." Nov. 518-22 

Corey Speaks at Calif. Conference — Navy Research .V-V Project at 
Pennsylvania Dec. 561-2 



Page 48 



Educational Screen 



AtDIO-VISUAL TRADE REVIEW 

{Thi*i index includeg important newn it emu and itfmn concerninff 
■new equipment.) 

NAVED Resrional Meeting — RCA Mobile Unit for 16mni Location — 
Automatic Miniature Slide Pro.it dor — Single LenK Trivision Photo- 
graphic Process Ian. 59-63 

Magnetic Sound fur 16 and Hnini Kilms — Magnetic Paper Tape 
Recorders — Master Editing Outfit — The Kardon, New 35mm Camera 
—Cine Accessory — Radiant Screens — Hollis 555 Splicer — Pre-fabri- 

cated Portable Darkroom Feb. 119-23 

Teaching Films Inc. Is Born — NAVED Meet Is "Solid" in the South 
— 8mm, 16mm for Television at SMPE Chicago Meet — New Projector 
Stand — Rocket Cameras— New Master Model Kodaulide Projector — ■ 
Raising Cane for Good Pictures (Ambol Kanepod) — Bell & Howell 
Announces "Picture Master" 8mm Projector — "Premier-20" Is Ampro's 
Latest 16mm Sound Projector — Victor 16mm Model "60" — Television 

Launched in St. Louis Mar. 171-6 

NAVED Meetings — -Perfex Magazine Loading 8mm Camera — Sears 
Introduces a Wire Recorder — ^New Test Chart Set Checks Photo 

Equipment — Sound for 16 Frames Apr. 233-6 

RCA's 16mm Story — B. & L. Miniature Slide Projector — Movie 
Kodaguide — Kolograph 16mm Projector with Intermittent Sprocket — 
New Low-priced Portable Screen — G.E. Exposure Meter Acces- 
sory May 286-8 

NAVED Convention in Chicago. Aug. 3-6 — Film Preserver from 
Bolex — Weston Photographic Analyzer — New GoldE Color-in-Motion 

Rotochrome Spotlight — New Paper Tape Recorder June 335-8 

NAVED Convention Introduced New Products and Diseus.sed Dealer 
Problems — NAVED Elects Officer.s — RCA Ends Long "Weight", Intro- 
duces New Projector — GoldE Is Where You Find It — Color Facsimile 
Reception for the Home — Victor Announces New "Lite- Weight" Pro- 
jector with Demountable Speaker — -Educational Television Can Be 

Good Sept. 401-7 

Ampro Not Mute on Silents — Kodak's 750-Watt "8" — Turning the 
Tables on Silent Films — Webster-Chicago Wire Recorders Now Avail- 
able — New Table Model Victrola — G.E. Educational Radio Kits — Film 
Defect Indicator and Sprocket Guards from B & H — New Electro- 
Voice Crystal Microphone — Pay-asyou-see Television — 16mm Television 

Motion Picture Projector Oct. 464-6 

New 16 and 8mm Splicer — Empire Sound King Projector — Test 
Films Available in 16mm — New Projector Ends Need for Blackout — 
American Television Society Makes P'ifth Annual Awards . .Nov. 525-6 
Kodaslide Projector Model 1 A Announced — New RCA Wire Re- 
corder — Revere Rides into 16mm with Light-weight Sound Projector — 
Polyphonic Wire Recorder — New Low Cost Sound Projector Is An- 
nounced by Universal — DeVry Announces New 31-lb. Projector — Light 
Valve Tester — Television Rrrorrting Camera Developed bv 

Kodak Dec. 568 71 

MISCELLANEOUS 
We've Come a Lony: Way I Or Have Wei {Paul (■. 

Heed) " Jan. 29-30 

First Grade Mathematics — In Hand-made Lantern 

Slides {Ann Gale) 32 

Reports and '47 Aims Presented at FCA Year-End 

Meeting 48-9 

Flying Makes New Neighbors (Graphic Film Review) ... .Feb. 86-7 

rtica Schools Own a Film Library 89 

PiluLs That Meet Curriculum Needs (Paul C. Reed) 94-5 

Third Annual Museum, Audio-Visual Aids Institute 

{Irene F. Cypher-Grace F. Ramtiey) 95-6 

-Vtlantic City Program of DVI Conference 106 

Education in an Air Age 108 

The Centennial of Two Great Men: Alexander Graham 

Bell and Thomas A. Edison Mar. 144-5 

Films on Atomic Energy 146-8 

Raising Our Sights (Paul C. ReedWiUinm F. firuse) . , . . 149' 

Libraries to Handle Films for Community Education 160 

School for Screen Writers Apr. 184 

FCA Constitution Drafted at Atlantic City Meeting 188 

Juvenile Delinquency on Film (Graph'c F^ihn Review).... 202-4 

Utilization Can Be Democratic {Paul (\ Reed) 205 

New Biology Film Helps Girls (Film Review) 215 

Significant Conclusions at DVI Alhinlic City Con- 
ference 220 

Summer Courses in Audio- Visual Education, 1947 

(Part I) 222-4 

The DAVr Looks at UNESCO and Educational Recon 

struction {Edgar Dale) May 244-6 

Do "Motivation" and "Participation" Questions In- 
crease Learning.' (Motion Picture Research Pro- 
ject ) 256-9 

Summer Courses in Audio-VisunI Education, 1947 

(Part II) 276-9 

Film Council Operates on New Const ituti(»n lune 294 

"The Film Counselor" 296 

Tested Teacher Training Techniques, A Symposium 
[Corey, Dale, McCluxky, Ehy, TroHnger, RenH 

and Cochran) 301-n 

Observations on the Audio-Visual Movement in Canada 

(0. R. Crakes) 316 

EFLA Annual Conference 328 

Film Council Elects S. M. Corey. Acting Director Sept. 354 

Stephen Corev, New President. DAVI Holds Summer 

Meet 371 

Films of the World Festival Is .\nn<mneed for Chicago.... 388 

UN Film Production Assigned to Ten Countries 389 

Films of the World Festival Announces Program 

Schedule Oct. 416-8 

Round Trip (A Graphic Film Review^ 434-5 

George Eastman House to be a Photographic Museum 436-7 

An >]xplanation — The New DAVI Constitution {Ver- 
non G. Dameron) 442 

The Drama of Steel (A Graphic Film Review) 450 

University Film Producers Hold Conference at Iowa 

State 452-4 

Top-Ranking Broadcasters .Vtteud Television ('linic 467 

Films of the World Festival Opening Is a Success. ...... . \ov. 476 

DAVI Executive Committee Plans Three-Point Program.... 482 

Iowa State Audio-Visual Laboratory 492-3 

Filmstrips for Freedom (David J. Goodman ) 497 

■■Woman Speaks" Nov. 500 

£. What Is a Community Film Council .' 501 

H How to Organize a Filni Council 502-4 

H^ A Symposium; Tlie Corrt-latinn of Film.s witli Text- 
Hi books ( Roxfiihiifi. Sijii'iimin. fif/landrr, liUhiian. 
^. Render) Dec. 543-9 

^■January, 1948 



INDEX TO ADVERTISERS 

Ampro Corporation 7 

Bausch & Lomb 4 

Bell & Howell Inside Back Cover 

Beseier Co., Charles 9 

Brandon Films 6 

Burke & James 44 

Colburn Laboratory, Geo. W 40 

Coronet Instructional Films 8 

Da-Lite Screen Co. 35 

Dennis Film Bureau , 38 

DeVry Corporation 43 

Eastin Pictures Co 37 

Encyclopaedia Britannica Films 3! 

Film Studios of Chicago 47 

GoldE Manufacturing Co. 38 

Holmes Projector Co. 39 

Institutional Cinema Service 40, 46 

International Film Bureau . .. 36 

International Film Foundation 35 

Johnson Hunt Productions 39 

Karel Sound Film Library .. 40 

Keystone View Co. 33 

Lewis Film Service 40 

Mahnke Productions, Carl F. 34 

National Carbon Co. I 

Portafilms 38 

Post Pictures Corp. 47 

Radio Corporation of America 2 

Radio-Mat Slide Co 40 

Society for Visual Education Back Cover 

Swank Motion Pictures . 40 

United Specialists . 47 

United World Films 5 

Victor Animatograph Corp. Inside Front Cover, 36 

Viewlex 37 

Visual Sciences 40 

Young America Films 45 



Page 49 



Trade Directory 
For the Audio-Visual Field 



P9 



FILMS 



W. J. Ahern, Film Bookings 

126 Lexington Ave., New York 16. 

716 Federal St., Troy, N. Y. 
Association Films 

347 Madison Ave., New York 17, N. Y. 

19 S. La Salle St., Chicago 3, 111. 

351 Turk St., San Francisco 2, Cal. 

1700 Patterson Ave., Dallas 1, Tex. 
Award Films 

115 W. 44th St., New York 18, N. Y. 
Bray Stndlos. Inc. 

729 Seventh Ave., New York 19. N. Y. 
Castle Films. Dlv. of United World 
Films, Ino. 

445 Park Ave., New York 22, N. T. 
Catholic Movies 

220 W. 42nd St., New York 18, N. Y. 
Chnroh Film Service 

2595 Manderson St., Omaha 11, Neb. 
Collins Motion Picture Service 

502% & 506. St. Paul St., Baltimore 2, Md. 

4 Race St., Cambridge, Md. 
Coronet Instructional FilinH 

Coronet Bldg., Chicago 1, 111. 
Dudley Pictures Corp. 

9908 Santa Monica Blvd., Beverly 
Hills, Cal. 

501 Madison Ave., New York. N. Y. 
Rastman Kodak Stores. Inc. 

356 Madison Ave., New York 17, N. Y. 
Films, Inc. 

330 W. 42nd St.. New York 18, N. Y. 

64 E. Lake St., Chicago, 111. 

611 N. Tillamook St., Portland, Ore. 

109 N. Akard St., Dallas 1, Tex. 

101 Marietta St., Atlanta 3, (la. 

1709 W. 8th St., Los Angeles 14, Cal. 

68 Post St., San Francisco, Cal. 
Films of the Nations, Inc. 

55 W. 45th St., New York 19, N. Y. 
Fryan Film Service 

Film Building, Cleveland, Ohio 
Gallagher Film Service 

113 S. Washington, Green Bay, Wis. 

639 N. 7th St., Milwaukee 3, Wis. 
General Films, Ltd. 

1534 13th Ave., Regina, Sask. 

156 King St., W. Toronto, Ont. 
General Pictures Productions 

621 Sixth Ave., Des Moines 9, la. 
Heldenkamp Nature Pictures 

538 Glen Arden Dr., Pittsburgh 8. Pa. 
Hotfbere Productions. Inc. 

620 Ninth Ave., New York 18, N. Y. 
Institutional Cinema Service. Inc. 

1560 Broadway, New York 19, N. Y. 
International Film Bureau 

84 E. Randolph St., Chicago 1, 111. 
Kunn Motion Picture Service 

1319 Vine St., Philadelphia 7, Pa. 

432 N. Calvert St., Baltimore 2, Md. 

1905 Sanderson Ave., Scranton, Pa. 
Ijibrary Films. Inc. 

25 W. 45th St., New Y'ork 19, N. Y. 
MoKolTs, Inc. 

68 W. 48th St., New York 19, N. Y. 
Nn-Art Films, Inc. 

145 W. 45th St., New York 19, N. Y. 
OTonlon Films 

822 Penfleld Bldg., Philadelphia 7, Pa. 
Otncial Films. Inc. 

25 W. 45th St., New York 19, N. Y. 
Portnfllms 

1520 N. LaBrea Ave., Los Angeles 28, Cal. 
The l*rlnceton Film Center 

55 Mountain Ave., Princeton, N. J. 
Relifcious Film Service 

5121 W. Devon Ave., Chicago 30, 111. 
Simmel-Mttservey, Inc. 

321 S. Beverly Dr., Beverly Hills, Cal. 
Southern Visual Films 

686-9 Shrine Bldg., Memphis 1, Tenn. 



Vocational Guidance Films. Inc. 

2718 Beaver Ave., Des Moines, la. 
Williams. Brown and E^arie. Inc. 

918 Chestnut St., Philadelphia 7, Pa. 
Art Zcilirr Visual Fducation Service 

157 Washington St.. Newark 2. N. J. 



MOTION PICTURE 
PROJECTORS AND SUPPLIES 



licll ^k Howell Co. 

7117 McCormick Road, Chicago 45, 111. 
Calhoun Company 

101 Marietta St., N.W., Atlanta 3. Oa. 

lUOhi Taylor St., Columbia 6, S. C. 
Carroll W. Rice Co. 

Audio Visual Center, 

424 40th St., Oakland 9, Cal. 
Collins Motion Picture Service 

502 hi & 506 St. Paul St., Baltimore 2. Md. 

4 Race St., Cambridge, Md. 
t'omprehenslve Service Company 

245 W. 55th St., New Yorl; 19, N. Y. 
IJeVry Corporation 

1111 Armitage Ave., Chicago 14, III. 
Knstman Kodak Stores. Inc. 

356 Madison Ave., New York 17, N. Y. 
<aallajfher Film Service 

113 S. Washington. Green Bay. Wis. 

639 N. 7th St., Milwaukee, Wis. 
4>eneral Films, Ltd. 

1534 13th Ave., Regina, Sask. 

156 King St., W. Toronto, Ont. 
General Pictures Productions 

621 Sixth Ave., Des Moines 9, la. 
Hirsch & Kaye 

239 Grant Ave., San Francisco 8, Cal. 
Knnc Motion Picture Service 

1319 Vine St., Philadelphia 7, Pa. 

432 N. Calvert St., Baltimore 2. Md. 

1905 Sanderson Ave., Scranton. Pa. 
Moff:ull*s Inc. 

68 W. 48th St., New York 19, X. Y. 
Nn-Art Films. Inc. 

145 W. 45th St., New York 19, N. Y. 
Italke Contpany 

829 S. Flower St., Los Angeles 14, Cal. 
Ryan Visual Aids Service 

409 Harrison St., Davenport, la. 
S. O. S. Cinema Supply Corp. 

449 W. 42nd St., New York 18, N. Y. 
Southern Visual F^llms 

686-9 Shrine Bldg.. Memphis 1, Tenn. 
Swank Motion Pictures, Inc. 

614 N. Skinker Blvd., St. Louis 5, Mo. 
Visual Fducation Incorporated 

12th at Lamar, Austin, Tex. 

2010 N. Field St., Dallas 1, Tex. 

1012 Jennings Ave., Ft. Worth 2. Tex. 

3905 S. Main, Houston 4, Tex. 
Williams. Brown and Karle. Inc. 

918 Chestnut St., Philadelphia 7. Pa. 
Art Xclller Visual Kducation Service 

157 Washington St.. Newark 2. N. J. 



SCREENS 



Fryan Film Service 

Film Building, Cleveland. Ohio 
General l*ictures Productions 

i»21 Sixth Ave., Des Moines 9, la. 
lllrsch A Kaye 

239 Sixth Ave.. San Francisco S, i"al. 
Mof;ull*s Inc. 

68 W. 4Sth St.. New York 19, N. Y. 
^u-Art Films. Inc. 

145 W. ISth St., New York 19, N. \. 
Uadinnt Mnnufacturini!^ Corp. 

1215 S. Talman Ave., Chicago 8, III. 



Southern Visual Films 

686-9 Shrine Bldg., Memphis 1, Tenn. 
AVUIiams. BroYvn and Karle. Inc. 

918 Chestnut St., Philadelphia 7, Pa. 



PICTURES 



Inforninlive ClaMHrooni PU-ture Series 

40 Ionia X.AV., Grand Rapids 2, Mich. 



SLIDEFILMS 



Simmel-Meservey, Inc. 

321 S. Beverly Dr., Beverly Hills, Cal. 
Visual Research Company 

30 N. Dearborn St., Chicago 2, 111 
Williams. Brown and E^arie, Inc. 

918 Chestnut St., Philadelphia 7, Pa. 



SLIDES (KODACHROME 2 x 2) 



Hirsch & Kaye 

239 Grant Ave, San Francisco 8, Cal. 
Klein & Goodman. Inc. 

18 S. 10th St., Philadelphia 7, Pa. 
Nu-Art Films. Inc. 

145 W. 4 5th St., New York 19, N. V. 
Visual Research Company 

30 N. Dearborn St., Chicago 2, 111. 



SLIDES (Standard V/4 x 4) 



KeyMtone A'lew Co. 

Meadville. Pa. 
Ryan ViMunI Atdn Service 

401t Harrison St., Pavenport, 



SLIDE, FILMSUDE and 
OPAQUE PROJECTORS 



Ctmiprehensive Service Co. 

245 VV. 55th St., .N'ew York 19, N. Y. 
IJeVry Corporation 

mi Armitage Ave., Chicago 14, 111. 
General Films. Ltd. 

1534 13th Ave., Regina, Sask. 

156 King St., W. Toronto, Ont. 
<;nldK MannfactnrinK Co. 

1220 W. Madison St., Chicago 7, 111. 
Hirsch A Kaye 

2:!9 Grant Ave.. San Francisco 8. Cal. 
I\e.> stone View Co. 

Meadville. Pa. 
Italke Company 

S29 S. Flower St.. Los Angeles 14. ("al. 
ityan Visual Aids Service 

409 Harrison St.. Davenport. la. 
Southern A'isual Films 

«S(!-9 Shrine Bldg.. Memphis 1. Tenn. 
\'le>viex. inc. 

35-01 Queens Blvd., Long Island City 
\ Isiial Research Company 

■.',0 N. Dearborn St., Chicago 2, 111. 
W'illlnnis, Brown and F^arie. Inc. 

91S Chestnut St., Fhiladelphia 7. Pa. 



Page 50 



Educational Screen 



For Further Information 

about the products featured in this issue 
use the convenient 

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vertising in this issue, simply fill in and mail the Reader's Service 
Postcard. /Vo strimp required. EDUCATIONAL SCREEN'S Service 
Department will assist in obtaining it without cost or obligation 
to you. 



THE BOOK YOU NEED 

The new 23rd edition 



Tells where to get over 
6,600 films 



'MOGG and GNE'' 

(1948) 

The Blue Book of Non-Theatrical Films 

The largest, most complete edition of this annual film reference yet 
published — 160 pages of essential information on some 6610 available 
films and their sources, classified under 176 subject-headings, also listed 
alphabetically by title — indispensable to Supervisors, Teachers, Program 
Chairmen, Church Leaders, Directors of Industrial Training, and many 
others. 

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Films . . . Documentary Films 
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and a copy of "lOOOxind ONE" 
will be yours. 




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January, 1948 



Page 51 



Current Film ISews 

{Continued from f'age 47) 

■ ACADEMIC FILM CO., 113 West 
42nd St., Xew York 18 has added one 
new film to their American history 
series of five {Our Conslitulion, Our 
Monroe Doctrine, Our Bill of Rif/hts, 
Our Louisiana Purchase, and Our Dcc- 
kiralion of Indcf^rndence) : 

Ben Franklin's Albany Plan (1 reeH 
— a re-enactment of the Albany Con- 
gress held in 1754 by representatives 
of the American Colonies for the pur- 
pose of treating with the Six Indian 
Nations and drafting a scheme for a 
general union of the Colonies. Despite 
the failure of the plan, it contained the 
framework for the future constitution. 

■ ALL-SCOPE PICTURES, INC., 

1200 Taft Building, Hollywood 28, 
California, has completed, under the 
sponsorship of the California Prune 
and Apricot Growers .\ssociation, the 
following film: 

A Fortune in Two Old Trunks (3 
reels, color) — the story of the prune 
industry in California, explaining how 
Louis Pellier, a Frenchman who came 
to California seeking gold, established 
a nursery. Parent stock for prune 
trees was brought from France in two 
old trunks. 

■ U. S. DEPARTMENT OF AGRI- 
CULTURE, Motion Picture Service, 
Office of Information, Washington, 
D. C, has announced the following: 

The Frying Pan and the Fire (18 
minutes, color) — aimed primarily at 
the hiker and camper as a part of the 
cooperative forest fire prevention cam- 
paign. 

It's Your Land (4 minutes, 16 and 
35mm) — devil-in-phantom tells how 
through erosion he has been wasting 
land and people for centuries. 

■ THE NATIONAL FILM BOARD 
OF CANADA announces that start- 
ing in January, 1948, it will issue a 
monthly newsreel to be entitled Eye- 
ivitness. The film will show domestic 
Canadian news events. 



Join the 

MARCH 
>' OF DIMES 




JANUARY 15 30 




■ WARWICK M. TOMPKINS, 2031 
(ireenticid .'\ve., l.os .\ngeles 25, Cal- 
ifornia, announces a new film in Koda- 
chronie: 

A Tall Ship on Deep Water — run- 
ning time 21 minutes — which covers 
a cruise from San Francisco to Ha- 
waii and return. It shows the ship's 
young sailors engaged in all the many 
aspects of sea life. Animated charts 
and models have been utilized in ten 
of the 100 scenes to explain various 
meteorological and nautical terms. 
The film has accompanying study aids 
— a study outline and a colored cut- 
away picture of the ship. 

■ WORLD IN COLOR PRODUC- 
TIONS, Flinira. N'ew York, offers a 
film for the atomic age: 

Atomic Fury — 16mm Kodachrome 
and black and white (also 8mm) — 
composed entirely of shots of atom 
I)omb explosions, as filmed by .Army- 
Xavy Joint Task Force One. 



■ GRAPHIC SERVICES SECTION, 
BUREAU OF MINES. 4800 Forbes 
Street, l'ittsl)urgh 13, Pa., has added 
the following new films to its exten- 
sive educational film library: 

Sulphur (2 reels, color) — production 
operations and utilization of this im- 
portant mineral. The film was spon- 
sored by the Texas Gulf Sulphur Com- 
pany and makes effective use of ani- 
niated diagrams. 

This Is Aluminum (3 reels) — the 
mining and preparation of the ore as 
well as the fabrication of the metal. 
Graphically the film shows the produc- 
tion of pure metallic aluminum in a 
reduction i>lant by the only known 
process — the passing of an electric cur- 
rent through a bath of alumina dis- 
solved in melted cryolite. 

A Story of Texas and [ts \'alural 
Resources, The Drama of Steel, The 
Story of Nickel (revised), and The Fab- 
rication of Col>per are other Bureau of 
Mines films. 



FCA Film List for U.N. Appeal for Children 



THE Umm FOUNDATION FOR INFtNIlK PARtLTSIS 



The General Assembly of the Cnited 
Nations on December 11, 1946, en- 
dorsed a proposal which was amplified 
into a special world-wide appeal to 
meet emergency relief needs of children 
everywhere. A contribution of one 
day's effort from every citizen of the 
world is the goal of the appeal. 

Films can play a significant role in 
acquainting people with the plight of 
the world's children and with the ur- 
gency of the I'N.AC. .A special com- 
mittee of the Film Council of .\merica 
has prepared a bibliography of films 
which can be used in the classroom, as- 
sembly hall, church, adult forum — in 
any group interested in understandin.u 
and promoting the UN.-\C campaign. 
Almost all of the films listed have had 
wide national distribution. .All local 
sources, dealers, public libraries, school 
boards and state universities should 
be consulted before writing to the na- 
tional source of the producer. 

Films For UNAC 

Children of Tragedy (20 min.) AF— 
showing the consequences . of malnu- 
trition among the children of Xorway, 
Holland, Belgium, France. Produced 
for the "Save the Children Federation." 

Czechoslovakia Comes Back |18 
min.) FN — showing taniilies and chil- 
dren, orphans and displaced persons 
returning to their shattered homes. 

Friends in Need (S min.) IFB — 
showing the children of this continent 
gathering shoes and clothing to send 
to their "friends in need" across tlie 
sea. 

Italy Rebuilds (10 min.) IFF— a 
report by Julien Bryan of the ways in 
which the UNRR.A farm, food and 
medical supplies were put to use by 
the Italian people. 



Mary 'Visits Poland (10 min.) IFF— 
a picture of children and family life in 
Poland. 

The New France (17 min.) MT— 
a portrayal of life and jjrohlems in 
France today. 

Out of the Ruins (29 min.) NFBC— 
showing the Greek people's efforts to 
rise again from a land devastated by 
war. 

The Pale Horseman (19 min.) BF— 
a rei)ort on the health and food prob- 
lems following in the wake of war, 
what is being done to prevent the 
spread of famine and epidemic in 
Europe. 

Poland (18 min.) IFF — a picture of 
Poland, with emphasis on current so-- 
cial and economic problems. 

Seeds of Destiny (18 min.) FN— 
showing the present suffering of the 
children of Europe and the threat 
which their plight makes to the future 
peace of the world. 

Suffer Little Children (10 min.) NF- 
BC — showing the needs of the sick and 
hungry children of Europe, the work 
of l\'RR.\, the work yet to be done. 

The World Is Rich (43 min.) BF— 
the story of the world situation as it 
affects children and adults, and as it 
will affect future generations unless 
the U. N. plans for world food and farm- 
ing improvement are implemented 
wholeheartedly. 

AF Assi "'ation Films. ;',47 Mailiann Ave., 

N. Y. C. 
KN V\\m-> of the Nations, 18 W. 65th St., 

N. Y. C. 
IFB International Film Bureau. 84 E. Ran- 
dolph, Chicasro. 
IFF — International Film Foundation, 1600 

Broadway, N.Y.C., 84 E. Kandolph, Chicago. 
MT -Marefi of Time, 369 Le.NinKton Ave., 

N.Y.C. 
NFBC National Film Board of Canada. 620 

,5th Ave.. N.Y'.C. 84 E. Randolph. Chicago. 
BF Brandon Film.s, Inc.. 1600 Broadway, 

N.Y.C. 



Pago 52 



Educational Screen 



EDUCATIONAL 



BRETT HALL 









THE MAGAZINE DEVOTED TO AUDIO-VISUAL MATERIALS 




Film Evaluation in Practice 



Filmstrips for Primary and Elementary Grades 
Sound Projectors for the Classroom ; 



FEBRUARY 1948 




™, ,6mm sound Motion Pictures «re 
^^^ . c, force to lighten labor. 

.,^,/„,„..i.r' M''-l""'"" 



EWEIGHT 



16nim SOUND MOTION PICTURE PROJECTOR 



» I 



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designed specifically for 

convenient and economical classroom use" 

— and the Triumph 60 for auditorium use. 



(VISION Of CUKTISS-WmSHT COI«POII>»TI« 
Oept. G-6 — Home Office ani Faetery: Oovenperf, Iowa 
New York • Chicago • Dhtribufors Throughout the World 

MOVIE EQUIPMENT S 



THE STAFF 

PAUL C. REED— Editor 

JUNE N. SARK— Assistant Editor 

WILLIAM S. HOCKMAN — Editor for the 
Church Field 

ROBERT E. SCHREIBER— Editor for the Com- 
mercial Field 

DAVID E. CAESAR— Advertising Manager 

PATRICK A. PHILIPPI— Circulation Manager 

JOSEPHINE HOFFMAN— Business Manager 

DEPARTMENT EDITORS 

JOHN E. DUGAN Jenkintown, Pa. 

L. C. LARSON Bloomington, Ind. 

EHA SCHNEIDER RESS . New York. N. Y. 
DAVID SCHNEIDER New York, N. Y. 

EDITORIAL ADVISORY BOARD 

WALTER S. BELL, Director of Audio-Visual 
Education, Atlanta Public Schools, Atlanta, 
Georgia 

EDWARD G. BERNARD, Head, Instructional 
Materials Program, Board of Education, 
City of New York. 

I. C. BOERLIN— Supervisor, Audio-Visual Aids, 
Pennsylvania State College 

JAMES BROWN, Assistant ■ Professor of Edu- 
cation, Syracuse University, Syracuse, New 
York 

EDGAR DALE, Head, Curriculum Division, 
Bureau of Educational Research, Ohio 
State University. 

AMO DE BERNARDIS, Supervisor, Audio-Visual 
Education, Public Schools, Portland, Ore. 

ELIZABETH GOLTERMAN, Director, Division 
of Audio-Visual Education, St. Louis Public 
Schools, St. Louis, Missouri 

GARDNER L. HART, Director, Audio-Visual 
Education, Oakland Public Schools, Oak- 
land, California 

FRANCIS W. NOEL, Chief, Division of Audio- 
Visual Education. California State Depart- 
ment of Education, Sacramento, Calif. 

F. DEAN McCLUSKY, Lecturer in Education 
and Director of Audio-Visual Education, 
University of California at Los Angeles 

PAUL WENDT, Director of Visual Education 
Service, University of Minnesota 

THURMAN WHITE, Head of Department of 
Visual Education, University of Oklahoma 



The EDUCATIONAL SCREEN is published 
monthly except July and August by The Edu- 
cational Screen, Inc. Publication Office, Fontiac, 
Illinois; Executive Office, 64 East Lake St., 
Chicago, Illinois. Printed in the U.S.A. Entered 
October II, 1937, at the Post Office at 
Pontiac, Illinois, as Second Class Matter under 
the act of March 3, 1879. Mrs. Nelson L. 
Greene, Publisher. 

Address communications to The Educational 
Screen, 64 East Lake St., Chicago, III. 

SUBSCRIPTION PRICE 

Domestic $3.00 

Canada $3.50 

Foreign . $4.00 

Single Copies 35 



Educational 




THE MAGAZINE DEVOTED TO AUDIO-VISUAL MATERIALS 
Founded In 7922 by Nelson L. Greene 



Contents for February, 1948 



A Reader Writes 



AASA Annual Convention — Tentative Progrann for DAVI 
Atlantic City Conference 



Page 
56 

58 



As Viewed From Here — Preview Practice Is 

Changing ' Paul C. Reed 62 

Film Evaluation in Practice Charles F. Hoban, Jr.- 63 

Filmstrips for Primary and Elementary 

Grades Vera M. Falconer 66 

Let's Face Facts! . Gordon B. Halstead 69 



A Survey of Visual Materials Used in 
Vocational Guidance 

Sound Projectors for the Classroom 



Gordon H. Finn 72 

; 

Paul V. Mulligan 74| 



San Diego City Schools Achieve Equipment , J 

Goal Robert H. Burgert 79 

Latitude and Longitude — A Graphic Film Review 77 

Teacher-Committee Evaluation of New Films .1. C. Larson, Editor 7^ 

The Church Department William S. Hockman, Editor 81 



State Audio-Visual Directors Organize 

In New York 

In Indiana -... 



86 
87 



The Literature in Visual Instruction Etta Schneider Ress, Editor 88 

News and Notes 92 

Audio-Visual Trade Review Robert E. Schrelber, Editor 95 

Current Film News 100 

A Trade Directory for the Audio-Visual Field 102 

Index to Advertisers 104 



COVER: Picture by courtesy Coronet Instructional Films. The still is trom the 
Coronet production "We Discover Fractions", soon to be released. 



Volume XXVII 



Number 2, Whole Number 259 




ranee... 



/I Header WfUtel 

FROM time to time Educational ScreExN readers 
prove their interest in the magazine by writing in 
approval or, as in this case, in honest indignation. 
We feel the point of view expressed in the following 
tetter so significant that we sought and gained per- 
mission to publish it. — The Editor. 



A NEW COLOR SERIES 

Simmel-Meservey, Inc. is proud to 
announce the first post-war series of educational 
films to be made in France. Photographed by 
Eugene and Frederick Croizat of Paris, with 
cooperation by the French Government . . . the 
series will include pictures on many phases of 
present-day and historical France. Narration is in 
English with French narration contemplated. 
Despite post-war travel difficulties the Messrs. 
Croizat with specially trained crews completed 
over 30,000 feet of color material for this series. 
First to be released are : 



PARIS -CITY OF ART... first 
color interiors of the Louvre, 
with its famous paintings and 
sculptures . . . with views of 
Montmartre artists at work; 
representative buildings, and 
architecture such as Sacre 
Coeur, Notre Dame, the Pan- 
theon, Saint Peter's Garden, 
the Petit Palais, etc. Eleven 
minutes, sound, color or black 
and white. 




IIURNEY TO PROVENCE... His- 
torical and modern highlights 
of this ancient region of South- 
ern France. The film includes 
the annual religious pilgrim- 
age scenes showing local 
gypsies and their "saint pro- 
tectors" ... the little-known 
cowboys of Provence, walled 
cities and ancient monuments. 
Eleven minutes, sound, color 
or black and white. 




\j\immp(^mm, '^m.. 



*****, 



321 SOUTH BEVERLY DRIVE • BEVERLY HILLS, CALIFORNIA 



EniTOR, F",DUCATIONAL SCREEN I 

It will come as no surprise to you to learn that some of us 
engaged in the production of instructional films were aggrieved 
by much of what was said — and unsaid — in your December 
symposium on "The Correlation of Films with Te-xtbooks." 
I found myself wishing it were all taking place in an open 
forum so that I inigtit oflter a few heated words in rebuttal 
and ask a few sharp-edged questions. 

My purpose in writing, however, is not to quarrel with any 
parucular statements nor to defend the policies of my company, 
but to "view with alarm" certain basic themes which seem 
to run through the various articles. 

First, there is the heavily-plugged theme that films must be 
supervised by authors of textbooks. Most people working in 
the field of visual education will agree with that statement as 
far as it goes — but don't we also agree that it doesn't go far 
enough? Haven't we pretty well agreed that it's one thing 
to write a book — another thing to teach a class — and another 
thing to produce a good motion picture or filmstrip? By all 
means let's enlist the services of the "subject matter specialist" 
and the classroom teacher. Each has his own knowledge and 
experience to contribute. But let's also employ the services of 
—and recognize the vital role of— the professional filmmaker. A 
quick check into "Movies That Teach" reveals that our mutual 
friend says there: "educational groups and professional motion 
picture producers should work together to make films which 
conform to educational needs and standards." 

Another quotation from the same source will introduce my 
second point of issue; "Films should be produced as basic 
teaching materials, not as supplementary aid . . . films should 
be produced to spearhead new curriculum developments, not 
simply to support or reinforce a status quo." There is no ques- 
tion but that films can serve well, as your authors point out, 
in giving depth and breadth and impact to the lessons of the 
textbook. It is quite understandable that such should be the 
sole concern of the publishers in entering the field. However, 
it is alarming that (with the exception of Eric Bender), none 
of the writers seems to be aware of the infinitely richer field 
of opportunity. 

Finally, I close the appropriately seasonal cover on the sym- 
posium feeling that someone is attempting to do my thinking 
for me — that is, if I were a teacher. Did the various writers 
really mean (as I sense) that textbook authors will tell me 
what pictures I should show and what pictures I should not 
show, because I am not capable of making such decisions my- 
self? Did they say that I must not present a point of view 
slightly different from that taken by the textbook author; 
that my pupils must be shielded against knowing that recog- 
nized authorities often disagree, that this world is one of con- 
flicting ideas and ideals? Did they they mean that "correlation 
with the textbook" is the only key to "integration with the 
curriculum" ? 

For years now, Coronet has been working in close coordi- 
nation with practicing educators, authors of textbooks, and 
(even!) publishers of textbooks. We have never felt that 
they imposed upon us— or attempted to impose upon us — 
any of the restrictive concepts named above. 

RICHARD P. CREYKE 
Coronet Instructional Films 
Glenview, Illinois 



56 



Educational Screen 




f/ by m«scrH^ 



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model LRM Balopticon.* Serving a dual 
purpose, it projects both conventional slides 
and opaque objects, including printed illus- 
trations and text, photographs, and geo- 
logical or botanical specimens. 

Even when projected under illumination 
adequate for notetaking, screen images 
remain clear and brilliant. This is made 
possible by the LRM Balopti con's two fine- 



quality optical systems which yield flatness 
of field, critical definition, and high light 
transmission. 

Balanced illumination permits switching 
from opaque to slide projection without a 
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Slides and opaque materials are protected 
from heat damage by a built-in blower 
cooling system.. Details available in catalog 
E-11. Bausch & Lomb Optical Co., 688-N 
St. Paul St., Rochester 2, N. Y. 

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February. 1948 



57 



AASA Annual Convention 

ONE of the major educational events of the year, 
the Annual Convention of the American As- 
sociation of School Administrators, will be held at 
Atlantic City February 21-26. Some 40 other allied 
educational groups also will hold meetings at the 
same time. 

Speakers for the AASA convention program in- 
clude General Omar Nelson Bradley ; Pearl Buck ; 
Dr. Lyman Bryson, of the Columbia Broadcasting 
System ; Miss Eva Carmichael, exchange teacher 
from England, now teaching in Anderson, South 
Carolina; Dr. D. J. Rose, president of the National 
Council of State School Boards Associations; James 
Lee Ellenwood, secretary to New York State Execu- 
tive Committee of the YMCA; Oscar R. Ewing, 
Federal Security Administrator; Erwin D. Canham, 
editor of the Christian Science Monitor; Dr. Gerald 
Wendt, editorial director of Science Illustrated and 
former editor of Time; Congressman Walter Judd 
of Minnesota; T. V. Smith of the University of 
Chicago; and H. Roe Bartle, chief executive, Kansas 
City Area Council of the Boy Scouts of America. 

The AASA convention will feature a nationwide 
school building exhibit and a commercial exhibit of 
instructional supplies and school equipment, includ- 
ing everything from lead pencils and textbooks to 
school buses. 

Tentative Program for DA VI 
Atlantic City Conference 

THE Atlantic City conference of the Department 
of Audio-Visual Instruction of the National 
Education Association, to be held February 22, 23. 
and 24, features an emphasis upon the implications 
of recent developments in several dififerent fields of 
education for those concerned primarily with audio- 
visual instruction. Details of the Atlantic City con- 
ference were drawn up by a planning committee at 
a meeting at the American Museum of Natural 
History, New York City, in late December. The 
committee consisted of Floyde E. Brooker, U. S. 
Office of Education ; Grace Fisher Ramsay, Ameri- 
can Museum of Natural History; Louis Goodman, 
College of the City of New York; W. H. Durr, Vir- 
ginia State Department of Education; A. W. Van- 
derMeer, Pennsylvania State College; Vernon 
Dameron, Department of Audio-Visual Instruction; 
and James W. Brown, Syracuse University, chair- 
man. 

Meetings will be held in the Atlantic City Audito- 
rium, Atlantic City, and special rooms are being set 
aside for the purpose. 

Following is a tentative program for the DAVI 
conference ; 

Monday, February 23, 9:30-12:00— -"Informal Get- 
Together" 

Atlantic City Auditorium, registration, refreshments, 

contact your old friends. 
Monday, February 23, 12 : 15-2 :00— DAVI Luncheon 

Introduction of Executive Committee members; 



announcements by DAVI President, Stephen M. 
Corey ; announcements by DAVI Executive Secre- 
tary, Vernon Dameron ; demonstration of radio and 
television developments, with discussions, to be 
arranged by Louis Goodman, Supervisor, Audio- 
Visual Center, College of the City of New York, 
with displays of technical equipment by cooperating 
manufacturers. 

Monday, February 23, 2 :30-3 :45 — "Recent Trends in 
Teacher Education" 
Presentation of recent developments in the field of 
teacher education to be presented by nationally-known 
speaker ; followed by panel discussion of implications 
of such trends for audio-visual instruction by audio- 
visual specialists ; discussion from the floor. Chair- 
man : A. W. VanderMeer, College of Education, 
Pennsylvania State College, State College, Pennsyl- 
vania. 

Monday, February 23, 3 :45-5 :00 — "Production" 
Presentation of the problem of the producer (by a 
person selected by a committee from the industry) 
as they are related to the purcliaser and eventual 
user ; presentation nf visual materials representing 
crucial elements of the topic ; response to the prob- 
lem by educators re])resenting school, school system, 
business, and university and college users of audio- 
vi.sual instructional materials ; floor discussion. Chair- 
man: Floyde E. Brooker, U.S. Office of Education, 
Washington, D.C. 

Tuesday, February 24, 9:30-12:30 

Presentation by two nationally-known speakers of 
( 1 ) the application of mass media for communica- 
tion to problems of education and world peace, (2) 
recent trends in curriculum revision and school 
administration practices ; followed by panel dis- 
cussion of the topic, "Modern Tools for Modern 
Teaching," stressing implications for audio-visual 
instruction of the trends described by previous speak- 
ers. Visual presentation of a well-planned audio- 
visual program in action in a city school system to 
follow to express in concrete terms the principles 
developed by the panel. Chairman : Stephen M. 
Corey, Department of Education, University of Chi- 
cago, Chicago, Illinois. 

Tuesday, February 24, 2 :30-3 :45 — "Research" 
Round-up of research related to audio-visual instruc- 
tion currently under way in this country ; descriptions 
of research activities by several persons now engaged 
in them ; brief indication of research gaps ; floor dis- 
cussion. Chairman : James W. Brown, Syracuse 
University, Syracuse, N.Y. 

Tuesday, February 24, 3 :45-5 :00 — "Problems of the 
Audio- Visual Director" 
Presentation by speaker on significant problems of 
audio-visual directors, based on his experience and 
the experience of others in the field ; panel discussion 
of related problems, with indications of possible 
means of .solving problems considered ; floor discus- 
sion. Chairman : Mrs. Grace Fisher Ramsey, Curator 
of Educational Relations, American Museum of 
Natural History, New York City. 

(Continued on page 80) 



58 



EducaHonal Screen 





/im^ 




Follow the guide lines embossed on 
side of projector for path of the films. 
"Cushion Action" sprocket shoes, 
large 16-tooth sprockets, swing-out 
picture gate^make the RCA "400" 
the easiest of ail projectors to thread. 



MICROPHONE OR 
RECORD PLAYER 
FACILITY 




A lighter weight, ALL-PURPOSE 
16 mm projector for more 
effective teaching 

• CLASSROOM or AUDITORIUM. The 

easy portability and brilliant, sparkling perforM- 
ance of the RCA "400" make it the ideal prolix- 
tor for use in classroom or small auditorium. 
This sturdily constructed projector means extra 
years of dependable service. 

• SOUND or SILENT. The precision sound 
scanning and speaker systems reproduce music 
and voices with the realism of natural sound. 
You change from sound to silent operation by 
merely turning a knob. 

• BLACK-AND-WHITE or FULL-COLOR 
PICTURES. The straight-line optical-axis sys- 
tem, coated lens, 750- or 1000-watt lamp combine 
to show all films at their best in brilliance, con- 
trast and definition. 

SEE IT, . . HEAR IT . , . with your own films. For illustrated brochure and 

name of nearest dealer, write: Educational Sales 
Department, 28-B RCA, Camden, N. J. 

FIRST IN SOUND . . . FINEST IN PROJECTION 



THEATRICAL FRAMING 



FINGER-TIP TILT CONTROL 



You can make comments or play mu- 
sicwhilerunningsilent films. Provides 
a"PA"systemforpre-showannounce- 
ments or musical entertainment. 





Framing adjustments do not disturb 
picture or optical alignment. You give 
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Just turn the tilt control to lower or 
raise the projector. It's quick, acoa- 
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RADIO COHPORATKOM of AMERtCA 

EDUCATiOMAL SALES DERARTMEMT, CAMDEM, N,J» 



February, 1948 



61 



As Viewed From Here Paul a Reed 



Maybe there should be a "fair play" code! 



Preview Practice Is Changing 



• Previewing and evaluating visual materials troubles a lot of 
people. It troubles the producers, for what should they do about 
the ever-increasing requests for previews — not only from potential 
purchasers, but the merely curious as well? It troubles teachers 
and administrators, for they have the very real problem of selecting 
the best materials to use — and they want the best. It troubles editors 
and others who have the responsibility for telling you about the 
materials. 

Educational Screen does not take this responsibility lightly. 
We bring you announcements and descriptions of new materials. 
We publish regularly the "Teacher-Committee Evaluation of New 
Films" — a department ably edited by L. C. Larson and his staff 
of Indiana University. Significant new materials are featured in . " 

articles and illustrated reviews. And special articles, such as the one 
in this issue by Dr. Hoban, report current practice, stimulate think- 
ing, and reflect trends. But there are still troubles. 

Even the best of appraisals and evaluations, when made by 
others, can be only guides to selection. This was generally conceded 
as a fact at a recent conference of directors and co-ordinators of 
audio-visual programs in New York State. Evaluation of materials 
'■ for selection and acquisition must be based upon first-hand preview 

experience. It is further being realized that such previews cannot 
be conducted successfully in an ivory tower. Current best jiractice 
calls for previews close to the point of eventual use. Teacher and 
pupil judgment are being given most weight. I 

If this is a trend, and we believe it is, it will not lessen the 
troubles of producers. Teacher-pupil evaluations will be more time 
consuming and will increase the wear and tear on preview prints. 
It will increase the cost of doing business and the eventual cost of 
the materials. This imposes still greater responsibilities for "play- 
ing fair" on those who request materials for preview. 

Maybe there should be a "fair play" code! Preview requests 
should not be made unless definite previewing' procedures have 
been worked out in advance. Requests should not be filled unless 
there is honest intent to purchase, or unless the previewers have 
both a responsibility an^ a way to guide others through their evalua- 
tion. Assurance should be given of extra-careful handling of ma- 
terials. Evaluation results and decisions based upon previews 
should be communicated directly and promptly to producers. Such 
considerations could be the basis for better understandings. 

Would it not be to the advantage of producers and users alike 
for them to develop together a statement of policy and standards of 
practice that all could agree upon? 

62 Educational Screen 




Teaching Films, Inc. 

"Rhythm Is Everjrwhere" 

SUPPOSE we come at film evaluation in an oper- 
ational way. To be specific, let us start with the 
arrival of a preview print of the new film Rhythm 
Is Everywhere, produced by Teaching Films, Inc. The 
problem is whether the film should be purchased for 
use in schools, and, if so, in what quantity. 

Bear in mind that we are not attempting to isolate 
any particular technique in the film to determine its 
effectiveness, nor are we attempting to determine wheth- 
er motion pictures are an educationally effective form 
of communication. These are problems for research 
and experimentation. The question is whether this spe- 
cific film should be made available to teachers as one 
of the many experiences that teachers arrange for their 
pupils. 

The Print Arrives 

The preview print of Rhythm Is Everyzvhere arrived 
at the Administration Building of the Philadelphia Pub- 
lic Schools in the morning mail. It had been requested 
from the producer on the basis of a laudatory review 
appearing recently in one of the magazines devoted to 
audio-visual materials. At this point, the question may 
arise as to why the film was not purchased on the basis 
of the review alone. There are two reasons why not. 
First, the reviewer was not known to us either person- 
ally or through reputation. Second, we make it a prac- 
tice to bring representatives of our instructional divi- 
sions into decisions involving the purchase and use of 
instructional materials. This insures the selection of 
materials consistent with curriculum developments and 
objectives. It also insures the integration of these ma- 



Film Evaluation 
in Practice 



S3 



By CHARLES F. HOBAN, Jr. 

Associate Professor of Audio-Visual Services, 

School of Library Training and Service, 

Florida State University 



terials into the curriculum through the normal activ- 
ities of our instructional supervisors. When instruc- 
tional personnel are given a decisive voice in the selec- 
tion of instructional materials, they assume responsibil- 
ity for the wide and effective use of these materials in 
the curriculum. 

On the day the film arrived, we made it a point to 
have lunch with our director of music. In the course 
of the conversation, we mentioned that a new film on 
rhythm had just arrived, and would he like to see it? 
Sure he would, how about right after lunch? And 
would we mind if he brought some other members of 
his staff along and some teachers who were working 



EDITOR'S NOTE 

We asked Dr. Hoban what they were doing about 
evaluation in Philadelphia. This article was his reply. 

In the letter which accompanied it, he wrote, "The 
evaluation process described is an account of what 
actually happened here in previewing "Rhythm Is 
Everywhere." I have presented the material in nar- 
rative-descriptive form to convey the sense of actuality 
in the process. It is something we do right along, 
and we do it in connection with a lot of other things 
going on at the same time in the school system. That 
is, we don't evaluate in a vacuum. We keep the 
process flexible and informal, varying the technique 
(but not the principles) in the light of various cir- 
cumstances." 

Then he left for Florida! We wish him well in the 
challenge of his new position. 



February, 1948 



63 



on the music curriculum? We'd be delighted to have 
them. 

The Previewers React 

The preview was set for 1 :30 in the preview room, 
which doubled for an office and a sound studio. The 
showing was attended by mixed reactions. The super- 
visors and teachers close to actual teaching situations 
in the primary grades were highly enthusiastic ; those 
who worked on the high school level seemed to be more 
coldly critical. 

"It was too slow moving," said one of the high 
school people. "And they certainly could have been 
more imaginative and more dramatic in their choice of 
scenes and sequences. I don't think the children will 
get much out of it. They should have put a lot more 
into the film. It doesn't teach anything ! If the decision 
were up to me, I wouldn't waste money buying the 
film." 

The elementary tefachers and supervisors were not 
put "off by the criticism of their higher minded col- 
leagues. "The children in the primary grades will be 
crazy about it," they said. "It has a single, simple pur- 
pose ; to make children aware of the rhythm that is all 
around them. Everything in the film adds up to this 
purpose. The youngster in the film looks and acts like 
any youngster his age. Our children can easily iden- 
tify with him. As he becomes aware of the rhythms in 
the film and keeps time with them, the children will be- 
come aware of these same rhythms and mentally keep 
time with them. Most of the rhythms shown in the film 
are familiar to the children in our community, only 
they aren't alert to these rhythms. We think the choice 
of situations is very well suited to younger children. 
High school teachers aren't close to little children. They 
get bo}'s and girls in high school after we have taught 
them the foundations of rhythm and other music under- 
standings and skills. We must teach these understand- 
ings and skills and we must teach them fresh to young 
children. This film will definitely make children aware 
of rhythms right around them, and will help to build a 
good foundation in this basic music understanding and 
skill. Furthermore, we think it is paced just right for 
young children. Sure, the pace is too slow if you look 
at the film as an adult, or if you think of it in terms of 
the way high school pupils would respond. But if you 
look at it through children's eyes, its pace is just right. 

"And as far as not teaching anything, it teaches one 
of the hardest things we try to teach young children — 
an awareness of rhythm and a rhythmic response to it." 

Give and Take 

It was good-natured give and take among the 
teachers and music supervisors, with the usual ribbing 
that goes on between elementary and high school people. 
There was discussion of learning by imitation, how 
films are a natural and effective means of promoting 
such learning, and how so few educational films have 
been produced which employ this principle effectively 
and imaginatively. There was more talk of identifica- 
tion with characters in a film, about the learning values 
of new things in old and familiar settings, about basic 
music understandings, about awareness as an educa- 
tional objective, about pacing in films, and about the 



differences in responses and learning levels between 
younger and older children. They didn't use these 
words in the discussion, but they used the concepts and 
they understood them in the context of their employ- 
ment in this educational motion picture and its applica- 
tion to teaching rhythm to young children. 

A Diplomatic Suggestion 

As the discussion moved forward, it became apparent 
that the disagreement among members of the preview 
panel, in their evaluation of the film, was disagreement 
between those who were close to the children for whom 
the film was intended, and those whose teaching ex- 
perience was somewhat remote from these children. 
Both groups were competent in the special field of 
music instruction. 

After a while, the music director, a born diplomat 
and an accomplished music educator and director, 
stepped into the di.scussion. "Why not," he suggested, 
"take the film out to a school and try it out in the first 
several grades? Watch how the children react, and 
ask the teachers to report its values as they are able 
to observe them under typical conditions." 

The Pupils React 

Arrangements were made for such a tryout two 
days later. One of the teachers working on the revision 
of the music curriculum in the elementary schools took 
over this next phase of evaluation. It would have been 
better, perhaps, if the film were shown in classrooms 
under the direction of teachers who were, at the time, 
busy with rhythm experiences, but, because of the short 
time available, the film was shown in the auditorium 
to youngsters from the first through fourth grade. For 
many of the first-graders, it was the first movie they 
had ever seen. For all the first-graders, it was their first 
time in the school auditorium. 

Our teacher explained to the children that she was 
going to show them a new movie on rhythm and that 
she would like to have them tell their own teachers 
later how they liked it. The shades were drawn and the 
film went on the screen. 

They Get Rhythm 

When the showing was completed, the teacher asked 
the assembled pupils if they would like to have her play 
some music as they walked out of the auditorium. Of 
course they would. This was carefully planned, to be 
sure, but to the children it was just a nice teacher who 
would play some music on the piano. 

As the stirring notes of a march rose from the piano, 
the first-graders swung into line. They swayed in time 
with the march. Arms swinging, they tramped out of 
the auditorium in crisp cadence. They had never been 
in the auditorium before and they had never marched 
as a class to music. The other classes followed with 
the same swing and the same cadence. As they marched 
out, the projectionist looked at the teacher and said, 
"I guess you have the answer already." So she did. 

One of the unanticipated responses came from a 
teacher. "You know," she confided, "I have never been 
able to get up courage enough to introduce rhythm 
work with my children. I've seen how it's done, and I 
feel that I can do it. I'm going right out of here and 
start." 



64 



Educational Screen 



Rhythm Is Everywhere 

Here is what the classroom teachers told us a few 
days later. "The children understood the application 
of what they saw in the film — they began watching and 
listening for street activities .... Excellent film — 
particularly from the standpoint of outgrowths rather 
than mere immediate enjoyment . . . The film gave a 
wealth of material for future work and was especially 
helpful in the suggestions it gave to the child less rhyth- 
mically inclined . . . Points in film well emphasized 
— please send more of this type ... A decided stimulus 
to creative work ..." 

The first and second grades told their teachers things 
like this, "I liked it because it really happened ... I 
loved it ... It shows that music never stops . . . That 
little boy knows things ... I liked it when he kept 
time with his head . . . when he was skipping ... I 
liked the cow chewing . . . the man snipping the hedge 
. . . the horse trotting . . . They didn't hold the drum 
sticks right!" 

From the third and fourth-graders : "I kept time 
with Tommy ... I wanted to keep time with all the 
things he did ... I think I could keep time with that 
windmill ... It helped me to know more about keeping 
time." 

A little fourth-grade girl wrote this note to her 
teacher : "I liked the picture very much because I take 



piano lessons and I know about rhythm. It was nice 
to see how there is rhythm everywhere, the chewing 
of a cow, the windmill, and many others. I thought it 
was wonderful, and thanks for showing it." 
Proven Value 

On the basis of the immediate behavior of the pupils 
in marching out of the auditorium in cadence with 
music, on the behaviors teachers observed in the class- 
rooms in the days following the film showing, on the 
children's own reports of how they felt during the film 
showing and after it, and on the teacher's reports of 
even further probable outcomes in the future, we con- 
cluded that Rhythm is Everywhere would provide a 
worthwhile ten-minutes of experience to children in 
the first four grades, that its stimulating efltect would 
give rise to further pupil activities, and that hesitant 
teachers might be encouraged by it to introduce de- 
sirable activities in their classrooms. These are worthy 
purposes of instructional materials. Obviously this film 
constituted worthwhile instructional material that 
should be made available to teachers in Philadelphia's 
180 elementary schools. 

On the basis of the general enthusiastic response 
from all the teachers whose classes saw the film, and 
of the importance attached to rhythm activities by our 
music division, it appeared likely that there would be a 

(Concluded on page 71) 




Teaching Films. Inc. 

Tommy learns rhythm in "Rhythm Is Everywhere." Said one of the pupils who previewed the film: "I kept 
time with Tommy ... I wanted to keep time with all the things he did." 



February, 1948 



65 



Filmstrips for Primary 
And Elementary Grades 



By VERA M. FALCONER 

Consultant on Filmstrips and Motion Pictures 



iirlLMSTRIPS— A User's Guide and Descrip- 
r tive Index" is the title of the book, soon to 
be published by the McGraw-Hill Book Com- 
pany, from which this article has been taken. 

In the nearly six hundred pages of the book 
are the detailed reviews of over three thousand 
filmstrips, carefully and thoughtfully annotated. 
In addition, the forepart of the book contains 
several chapters of valuable general information 
about filmstrips and their use — well illustrated. 

Because everyone interested in the use of 
audio-visual materials has needed this kind of 
book for so long, we consider it a privilege to 
bring you this excerpt in advance of publication. 
We appreciate the permission granted us by the 
author. Vera M. Falconer, and by the publisher, 
the McGraw-Hill Book Company. — The Editor. 



IN SELECTION of filmstrips for primary 
grades, the suitability for that level and its 
particular requirements is perhaps more im- 
portant than at any other level, since the instruction 
received by primary pupils must not only give 
them factual information, but also provide them 
with a basis for future learning. The interests 
should be stimulated and directed ; good habits 
for group and individual play and work encouraged ; 
experience and vocabulary broadened ; and a readi- 
ness for learning established. 

Primary-Grade Filmstrips 

Well-produced filmstrips can help the primary 
teacher to meet these objectives, and usually it 
will be found that filmstrips produced specifically 
for this level meet the requirements best. Young 
America Films' "Primary Health" series, for ex- 
ample, stimulates interest in good health and 
directs these interests toward proper health habits 
through suitable motivation devices and reasons 
that appeal to the children themselves. A number 
of the available strips on different subjects can 
assist in providing vicarious experience and environ- 
mental vocabularies ; for example, Encyclopaedia 
Britannica Films, "Children of Many Lands" series; 
Popular Science Publishing Company's "On the 
Farm with Tom and Susan" series, which deals with 
elementary science topics ; and some of the reading 
series, such as Long Filmslide Service's "The 



Home" series and Stillfilm Company's "Primary 
Reading Set." 

Intermediate-Grade Filmstrips 

Selection of filmstrips for use in the intermediate 
grades should consider the contributions that film- 
strips can make to the special problems of that 
level. Perhaps one of the major tasks of the teacher 
in these grades is to satisfy the many divergent 
requirements of her pupils. Children at this level 
frequently vary much more in background, pre- 
vious learning, experiences, and interests than do 
primary pupils. 

Filmstrips can assist in the broadening of individ- 
ual backgrounds and providing vicarious experi- 
ences common to the entire group for use as a 
basis for further class study. They can be useful 
also as interest stimulators, helping to get the 
class as a unit ready for the ne.xt stage of learning. 
By the time children have reached this level, they 
are usually able to "read" pictures, gaining an 
understanding of what a picture means, while 
earlier they were able to describe only what they 
actually saw in the picture itself. Therefore, illus- 
trative filmstrips become more meaningful at this 
level than before and can be used for such purposes 
as bringing life and reality to the social studies, 
nature study, geography, and history. 

Reviews of Filmstrips 

{Editor's Note: The following reviews of filmstrips 
for primary and elementary grades have been 
chosen from the more than 3000 such reviews which 
appear in Vera M. Falconer's book.) 

■ Community Helpers (Popular Science, 6 films, 
silent, about 40 frames each, teacher's guide). 
This new group of primary instructional filmstrips 
may be found particularly helpful in development 
of attitudes and appreciations of workers and the 
work that each does and of realization of the de- 
pendence of people in communities upon various 
workers. The series, while suitable for reading, 
can be used profitably in social studies, language, 
and other primary activities. Child identification 
with the experiences presented is heightened by the 
use of stories concerning a small boy, Jerry, who 
introduces tlie subject of each strip. .The pictorial 
frames have brief superimposed captions and the 



66 



Educational Screen 




Hp tells us when to go and 
when to stop. ^ 



Popular Science Publishinij Co. 

Community Helpers: The Fireman (top) and The Police- 
man (bottom). 



strips contain many pupil-participation devices. 
(Miss Falconer describes each of the six films; 
one of the individual titles and its description are 
included here. — Ed.) 

The Fireman (40 frames). Opens with scenes of firemen at 
work stressing rapidity of their attack on the fire. Presents 
questions : Should Jerry cross the street when he hears the 
sirens? Why should automobiles not park by hydrants? 
Sequence showing how the fire engines came to the fire so 
quickly : alarm turned in ; how this reports the fire in the 
firehouse; signal board; sleeping quarters; use of the pole; 
firemen's training schools. Fire fighters on the water. Indicates 
need for firemen to be strong, brave, and healthy. Method 
of introducing pedestrian safety measures and child coopera- 
tion partioilarly well done. 

■ Nature Study Illustrated Series (SVE, 35 films, 
silent, about 50 frames each, manuals). Each strip 
provides general information concerning the sub- 
ject indicated by the individual titles, using text 
frames alternating with photographs. The text 
frames vary in length from very brief captions to 
lengthy text, but in general are fairly brief. Al- 
though the plants and animals shown are those 
of the west coast, particularly of California, classes 
in other areas may find selected strips applicable 
(such as the first ten). Treatment and subject 
matter suitable for intermediate and upper elemen- 



tary study. The strips may also interest clubs 
learning to identify flowers, trees, birds, or animals. 
Individual titles are listed below with brief descrip- 
tions where required. (Only three of the titles and 
descriptions are included here. — Ed.) 

Hozv Animals Get Food. Type of food and method 
of getting it of animals, including various insects, reptiles, 
birds, and a few small animals. 

Hozv Animals Get Air. Methods of breathing and breath- 
ing apparatus of various fish, shellfish, insects, reptiles, am- 
phibians, and a few mammals. 

Hozv Animals Reproduce Themselves. General information 
on reproduction of various insects, birds, and mammals. 

■ Good Health (Young America, 6 films, silent, 
40-45 frames each, teacher's guide). This recently 
produced series of health films for intermediate 
grades provides good motivation and acceptable 
reasons for development of proper health habits. 
The treatment combines motivation with straight- 
forward factual information. Simple drawings with 
brief superimposed captions visualize each subject 
interestingly and clearly. Questions and suggestions 
for pupil participation are included in all the strips; 
and all, except the strip on cold germs, end with 




Lone Filmslide Service 

Nature Study Illustrated Series: How Animals Get 

Food (top) ; How Animals Reproduce Themselves (bottom). 

Distributed by the Society for Visual Education, Inc. 



February, 1948 



67 




Look at her eat sweets after school : 




Young America Films, Inc. 

Good Health Series: Your Posture (top); You and Your 
Clothes (bottom). 

brief tests. (One of the individual filmstrips is 
described below. — Ed.) 

Vou and Your Clothes (No. 1, 41 frames). Introduction 
indicates that primitive men wore clotliing for protection (skins, 
woolens) and that today we also wear clothing for the same 
purpose, but have special clothes for each kind of weather. 
Stresses comfort. Shows proper clothing for hot, cool, cold. 
and rainy weatlier. Second part presents methods of caring 
for our clothing, neatness, changing to fresh clothing, bathing. 

■ Children of Many Lands (EB Films, 8 filmstrips, 
silent, 65-70 frames each). Designed for use in con- 
junction with motion pictures of the same titles, 
but so organized that they iziay be used independ- 
ently. Each strip presents various aspects of the 
life of children in other lands, arranged in short 
sequences dealing with such topics as the appear- 
ance of the country or the village in which children 
live, their home activities, clothing, school, and 
games. Each sequence contains one or two ques- 
tions for pupil participation, and each strip ends 
with a review followed by suggestions for further 
study, reading, or things to make. To aid in mak- 
ing the vicarious experience as personal as possible, 
the information is usually organized as the daily 
activities of one specific family. The opening frame 
suggests that the viewing class may wish to ask 
questions as the pictures are shown, providing 
motivation for expansion of subject matter presented. 
The series uses photographs with brief, simple super- 
imposed captions. (One of the individual titles is listed 
at the right with a brief description. — Ed.) 




Encyclopaedia Britannica Films, Inc. 

Children of Many Lands: Mexican Children (top); Eskimo 
Children (center); Children of China (bottom). 



Children of China (63 frames). Appearance of village; work; 
activities ; customs ; schools ; rickshas ; sedan cliairs ; merchants 
and their shops ; use of abacus ; grinding grain ; professional 
letter writer. Farm home life — working in garden, drawing 
water, cooking methods and foods, chopsticks, use of water 
buffalo and ancient tools. 



68 



Educational Screen 



Let's Face Facts! 



A realistic picture of current film usage at the adult level 



ISN'T it true that one of the really tough jobs in 
life is to get people to face facts? And that 
goes for film people too. As producers, dis- 
tributors or visual educators I often wonder if we 
don't live too frequently and too long in a film 
dream world of our own fancy. In that dream 
world we visualize most of the American people 
thinking and acting about films pretty much the 
way we do in our more optimistic moments. It's 
rough to have to come down to earth and to face 
the facts of film life; but it must be done. 

Red-Faced in Russia 

On this matter of fact facing, I am reminded of a 
personal experience some years ago in the course 
of a trip through the Soviet Union. Faced with the 
rather grim prospect of a long railroad journey in ' 
a third-class coach, I had purchased a cheap fife in a 
Moscow bazaar. The first day of the journey I 
sat on the unyielding wooden benches, fife in hand, 
trying to think of tunes to play. For some strange 
reason the first one that came to mind was the col- 
lege song, Hail Pennsylvania. With the first few notes 
my Russian fellow travellers (FBI please copy) looked 
up. From astonishment their faces rapidly registered 
looks of annoyance and finally anger. An inter- 
national incident was averted in the nick of time 
by a compatriot whose world knowledge of music 
exceeded mine. Grabbing my arm he said, "Hey, 
don't you know what you're playing? That's the 
Czarist hymn!" Right then and there I faced the 
fact that people don't all think alike in this world 
and that those who wish a pleasant and uninter- 
rupted journey across the Soviet Union just don't 
play the Czarist Hymn, even when it is Hail Pennsyl- 
vania. 

Misuse of 16mm Films 

Journeying across this country during the past 
year in connection with leadership training pro- 
grams in film utilization, I have had to face some 
pretty unpleasant facts about current film usage at 
the adult level. In this past year I have travelled to 
a large number of communities in various parts of 
the United States, talked with hundreds of presi- 
dents and program chairmen of all kinds of adult 
organizations about films, and conducted over a 
hundred film forums and other types of film pro- 
grams before widely varying audiences. We had 
better face the fact that there is a very wide misuse 
of 16mm films by adult organizational leaders. 

Like All Gaul . . . 

As film people we all ride our pet hobbies on the 
subject of why the potentially vast adult organiza- 

February, 1948 



GORDON B. HALSTEAD 



tion film market is so slow in developing. Like all 
Gaul, we can be roughly divided into three parts. 
There is (a) the-poor-quality-of production group, 
(b) the chaotic-state-of-distribution bunch, and (c) 
the-trouble-is-with-utilization fraternity. Many film 
workshops with leaders of adult organizations have 
led me into the company of the third fellowship. 
Over and over again I have asked audiences at the 
close of demonstration forums, "Do you believe that 
if more adult leaders were familiar with and trained 
in skillful and tested film utilization techniques, 
they would use more films and use them more fre- 
quently than they do at present?" The answer has 
always been a unanimous YES. I have tried to 
plumb for the chief film need of adult organizational 
leaders. Invariably and everywhere it has been re- 
vealed as the need for specific, practical, easily- 
applied information on how to use films successfully 
in adult programs. A very recent confirmation of 
this fact was found in the results of a questionnaire 
sent out by the Program Committee of the Moun- 
tain-Plains Conference on Adult Education. In the 
600 replies, interest in getting information on the 
techniques of education was much greater than in 
securing help on subject matter. And the technique 
most demanded was that of film utilization ! 

Consumer Education 

American industry has long recognized the wis- 
dom of customer education in the proper usage of 
products. 16mm projector companies have been 
among those who have followed this well-estab- 
lished business practice. These companies go to 
considerable effort and expense to try to teach pro- 
jector purchasers just how to operate projectors for 
best results. But it appears to be a totally different 
story when it comes to the item of consumer educa- 
tion in methods of effective film utilization. And 



About the Author 

Mr. Halstead, a consultant to Film Program Serv- 
icer, was in charge of the International Film Forums, 
a series of demonstrations of film forum techniques 
in the field of international relations conducted in 
14 cities and towns of Colorado and Iowa last spnng. 
The project, sponsored by the International Film 
Foundation, was financed by a grant from the Car- 
negie Endowment for International Peace, and was 
planned in consultation with the Commission to Study 
the Organization of Peace, the Foreign Policy As- 
sociation and the Institute of Pacific Relations. 



69 



Film Forum 

at Des 

Moines, 

Iowa, 

one of 

the International 

Film Forums 

conducted 

by Mr. 

Halstead 



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iijiifc- ~Jial^H^^^^I 



the strange thing is that the way in which a film is 
used has really a great deal more to do with that 
ultimate goal of business, "the satisfied customer," 
than the way the film is projected. (Please don't 
think, however, that high projection standards are 
unimportant.) 

Perhaps the 16mm industry, including film pro- 
ducers, would take more seriously this matter of 
instructing adult film consumers in the best known 
techniques of film utilization if it took a good look 
now and then at the way films are generally used 
in adult organizations. If my experience is any 
guide, what it would see would be (a) a sad picture 
of present film utilization practice, (b) generally 
unsatisfactory program results from the use of 
filtns, and (c) widespread disappointment over 
16mm films. 

Why the Misuse? 

Two factors explain, I believe, the present preva- 
lent adult abuse of 16mm films. The first is simply 
that most of these leaders do not realize that there 
is a definite "know-how" for successful film utiliza- 
tion and that it takes time, eiTort and experience 
to acquire this "know-how", as it does everything 
else worthwhile in life. The second fact is that 
very little has been, and is being, done by profes- 
sional film people to acquaint organization leaders 
with this "know-how". The existence and import- 
ance of techniques in the classroom use of films 
are widely recognized by educators. Many col- 
leges- and universities now oflfer training to teach- 
ers and prospective teachers in these techniques. 
Educators know that unless films are skillfully 
used by teachers in classrooms, school adminis- 
trators and boards of education will not appropri- 
ate increasing shares of school funds to visual 
education. Wise adult leaders take much the same 
position, I think, with respect to the use of films 
in adult organization programs. If films are to be 



used in greater volume at the adult level, there 
will have to be a very marked improvement in the 
ways they are being used. 

War and Peace 

There is an aspect to employment of films with 
adult groups, however, that is much more import- 
ant than the economic well-being of the 16mm 
film industry. Adult education has assumed in our 
day a vast importance and urgency. The reason 
is found in the deepening world crisis. We are 
faced with a crisis only slightly less serious than 
that of war itself. In war we harnessed the great 
power of the film for Victory. Our wartime experi- 
ence with films clearly demonstrated the impor- 
tance of utilization techniques. Special films were 
produced showing how to use films for training 
and for other war purposes. Thousands of men 
were trained in tested "film tactics" and sent across 
the face of the earth to see that "the cutting edge" 




Film Forum, Mountain Plains Regional Conference, 
UNESCO, Denver, Colorado. 



70 



Educational Screen 



ot this tool was kept sharp. To win a war we used 
mass media with skill and imagination. Can the 
same be said of the way the 16mm film is being 
used to win the Peace? 

"Today We Have a Movie" 

Visual educators know that the 16mm infor- 
mational and documentary film is essentially a 
tool. They also know from much past sad experi- 
ence that when attempts have been made to use 
such films as substitutes for the teacher, the film 
field has been seriously injured. Yet all over Ameri- 
ca, program chainnen of service clubs, women's 
clubs, farm, labor and management organizations, 
etc. are constantly trying to use 16mm films as 
"complete programs". If one could hitch a ride on 
the coat tails of Superman, swish across America 
in an afternoon or evening of almost any day and 
look in on the adult programs in which films are 
being used, he would find that rarely are they being 
used as "program tools". North, south, east and 
west he would hear countless chairmen saying 
this, "Ladies and Gentlemen, for the program today 
we have a movie. I just don't know what it's about, 
but the title is 'Europe Rebuilds'. Immediately 
after the movie is over, refreshments will be served. 
Now can we have the movie?" Or this, "Tonight 
we have a real treat. We have two movies to show. 
The first is called 'The Challenge to American Edu- 
cation'. And since so many fathers are here tonight, 
we are going to show a second movie just for 
them. This will be on 'Ski Thrills in Vermont'. 
The movies will be followed by a special program 
to be given by Miss Davis' 6th grade class in So- 
cial Studies." 

Film Magic 
Only in a fairy tale does a surgeon say to his 
scalpel, "Scalpel, perform this operation for me 
while I sit by and watch". Yet across the United 
States, adult program leaders by the thousands 
seem to expect some such magical performance 
from the 16mm informational and documentary 
film. They act as though all that had to be done 
was to thread the projector and then say, "Film, 
do this program for me while I sit by and relax. 
And I want you to achieve all my program pur- 
poses." 

The Vicious Circle 

Let's face the fact once and for all that a major 
reason why the immense potential adult organiza- 
tion film market has been, and still is, so slow in de- 
veloping is because there is so little known about 
the techniciues of good film utilization by adult 
leaders and consequently there is so little effective 
utilization. Present adult misconception and misuse 
of films create a vicious circle. Because they use 
films poorly, they get unsatisfactory results. And 
because they get unsatisfactory results, they stop 
using films. On the other hand, I have watched 
many, many times the outburst of new or rekindled 
enthusiasm that invariably emerges from demon- 
stration film utilization ])rograms in which tested 



and efifective techniques are used. Each time this 
happens the conviction deepens that somehow the 
16mm film industry must be persuaded that more 
money, elifort and personnel must be employed 
in training adult leaders in these techniques of 
successful film usage. 

A Weapon For Peace 

The 16mm film can and must assume a large role 
in presenting the impending world crisis. For 
those who aspire to be the peacemakers of an 
atomic age, the mass media of such an age must 
be skillfully and forcefull}'' used. Of the three popu- 
lar tools of mass communication, the film, the radio, 
and the press, the 16mm film is most accessible 
to the majority of adult leaders. It is highly mo- 
bile ; it can be talked back to; it can serve many 
program purposes when used skillfully as a tool 
by trained leaders ; it is powerful ; it has potential 
popular appeal ; and it is relatively inexpensive. 
It is, I believe, THE WEAPON for leaders of 
American adult education to use in the great 
struggle to pierce our own "iron curtain" of mass 
apathy, ignorance and misunderstanding about to- 
day's world. Through its skillful use we can set up 
thousands of "Forums of the People" so that people 
can talk to people under the stimulus of the film. 
In every deep crisis of our country, Americans 
have always talked to fellow Americans vvith the 
techniques of their times. From this "talk" has 
always emerged the "common sense" which is the 
abiding strength of a Democracy. While there is 
yet some time left us, will we take the necessary 
measures to train American leadership in the 
"know-how" of putting Democracy's Weapon for 
Today, the 16mm film, to work in the cause of 
universal understanding and peace? 



Film Evaluation in Practice 

(Continued from page 65) 

wides])read demand for this particular film. We there- 
fore decided to order appro.ximately the number of 
prints that we maintain on Bunny Rabbit and other 
popular primary films. 

A Sound Evaluation 

Notice, we didn't go about this thing with an involved 
procedure of check lists, tests, etc. The evaluation 
moved directly from the showing of the film to a group 
of professional adults to its tryout with several groups 
of young children. The evaluation was informal, it 
had elements of spontaneity, it involved the cooperation 
of several agencies within the school system, it was re- 
lated to curriculum development and teacher education, 
it involved clear concepts of educational objectives, it 
was geared into a relatively narrow range of grades, 
and it was based on ob.served behavior of the students 
which, at least in one situation, appeared to be the direct 
outgrowth of the film showing. And, it was conducted 
in such a way as to bring about the promotion of the 
use of the film by those people directly responsible for 
the curriculum area for which the film was intended. 



Februat7, 1948 



71 



A Survey of Visual Materials 
Used in Vocational Guidance 



A summary report based on the study of 
252 educational institutions and agencies. 



THIS STUDY was made with the purpose of 
determining the types of visual materials used 
and the extent of their use in vocational guid- 
ance. Of 252 agencies, 90 used visual materials in 
their guidance activities. The vocational guidance 
programs of these 71 educational institutions and 
19 community agencies were studied further. Ques- 
tionnaires, telephone calls, interviews and direc- 
tories were used to secure the information desired. 

Flat Picture Material 
The study revealed that pictorial materials are 
the most extensively used visual materials in voca- 
tional guidance programs. Eighty-six of the 90 
agencies use flat picture materials in their guidance 
programs at various times. They are especially 
effective in showing tasks or tools used in an occu- 
pation. Pictures of occupational value can be easily 
secured from newspapers, magazines, and pam- 
phlets. Pupils are encouraged to collect and mount 
these pictures for their albums or scrapbooks. The 
bulletin board, classroom wall, or opaque projector 
may be used to display or project pictures. Pictorial 
materials are effective in guidance when they are 
used to illustrate a specific point and are correlated 
with other methods of instruction. 

Charts, Graphs and Posters 

Charts, graphs and posters, the second most ex- 
tensively used group of visual materials, may be 



By GORDON H. FINN 



used to provide a considerable amount of occupa- 
tional information. Seventy-five of the 90 agencies 
use graphic materials at various times in their 
guidance programs. Charts showing the educational 
requirements and lines of advancement in numerous 
occupations may be made or purchased. Posters 
can also be made or secured inexpensively. Graphic 
materials, because of their varying degrees of ab- 
straction, require careful selection, proper prepara- 
tion and accurate interpretation. 

Tours and Excursions 
The third most frequently used visual material 
is the tour or excursion. Sixty or two-thirds of 
the agencies using visual materials make use of 
the tour in guidance. Tours to industrial plants, 
offices and stores enable students to observe the 
working conditions and requirements for success 
in many occupations. Like any other worthwhile 
activity, tours must be skillfully directed and co- 
ordinated with the curriculum. 

Motion Pictures 

Motion pictures are the fourth most extensively 

used visual materials in vocational guidance. Fifty 

or a little over half of the agencies use motion 

pictures in their guidance programs. In a relatively 



Motion pictures help students choose careers. Stills from Carl F. Mahnke Productions appear below: "Teaching" (left) and 

"The Librarian" (right). 

Vocational Guidance Films 




brief period of time, they show students what the 
workers do in an occupation and provide other 
essential information. Motion pictures may be 
secured without charge from numerous agencies, 
or they may be rented or purchased. Teachers 
should be cautious in using free film sources, since 
many of these films are out of date or overbrimming 
with propaganda. 

Slides and Filmstrips 

Slides and filmstrips are the least used visual 
materials in vocational guidance programs. Ten 
agencies have reported using the filmstrip and 17 
agencies use the slide. Limited sources and ma- 
terials prevent greater use of these potentially use- 
ful aids. Available slides and filmstrips may be 
rented or purchased. Guidance workers can stimu- 
late interest in an occupational unit by showing 
slides or filmstrips and may also use them with an 
accompanying text to present the connected story 
of a process. 



The five types of visual materials used in 
guidance programs and the extent of their 
use by the 90 agencies studied 

Number of Agencies 
Types of Visual Materials Which Use Them 

1. Flat Pictures 86 

2. Charts, Graphs, Posters 75 

3. Tours and Excursions 60 

4. Motion Pictures 50 

5. Slides and Filmstrips: 

Slides 17 

Filmstrips 10 



Evaluation of the Survey 

As yet, no positive or complete program has 
been developed for the use of visual materials in 
vocational guidance. This may be due to the fact 
that vocational guidance has only recently become 
a part of the school curriculum. 

Teachers, counselors, club leaders and social 
workers, when interviewed or in response to the 
"questionnaires, indicated the following in order of 



Types of agencies engaged in guidance 
activities, showing the number using visual 
materials 

Number Using 
Type of Agency Visual Materials 

• Schools: 

Colleges 4 

Jr. Colleges 3 

High Schools 40 

Parochial 10 

Suburban 14 

• Libraries (Public): 

Central Bldg 

Branches 

• Community Centers: 

Boys' Clubs 4 

Settlements 3 

Y.M.C.A.'s 4 

Y.W.CA.'s 1 

• Service Groups 3 

• Governmental Agencies 2 

• Placement and Guidance 2 

TOTAL NO. OF AGENCIES 90 



frequency as the most important reasons for not 
using visual materials more extensively in voca- 
tional guidance: (1) Lack of funds to secure visual 
materials and equipment. (2) Lack of information 
on sources of visual materials for vocational guid- 
ance. (3) Lack of adequate production of visual 
materials for guidance. (4) Lack of understanding 
and training in the use of visual materials. 

The problem of adequate financial support for 
the purchase of visual materials and equipment 
might be met through cooperative action. Schools 
should endeavor to enlist the support of local 
parent-teachers' groups and other community or- 
ganizations to help purchase equipment and visual 
materials. 

Lack of information on sources of visual materials 
on guidance might be met by encouraging some 
national agency to compile and release annually 
a directory of visual materials for vocational guid- 
ance. Visual materials become outdated rather 

(Concluded on page 80) 



"Woodworking" (left) and "Finding Your Life Work" (right), both Mahnke Productions. 50 of the agencies surveyed 

use motion pictures in their guidance programs. 

Vocational RuManre Fflm* 




The "New Look" in the sound projector fashion world-is definitely 

lightweight and low-cost. 




The new Revere 16mm lightweight 

sound projector, weighing about 31 

lbs. with speaker. 



Sound Projectors 
for the Classroom 



By PAUL V. MULLIGAN 

Director of Visual Education, 

Revere Public Schools, 

Revere, Massachusetts 



TWO years ago one of the most urgent audio- 
visual equipment needs was for a light, inexpen- 
sive classroom projector. I stated this need in a 
letter which was published in the Educational Screen 
in the April, 1946 issue. The need was further dis- 
closed through a national survey conducted by Robert 
Schreiber among the readers of his "The A.B.C.'s of 
Visual Equipment'' department of the Screen. The 
results of that survey indicated that the demand was 
widespread. We were assured in letters from several 
manufacturers that the problem was being studied and 
would be solved. 

Now we have not one, but several lightweight, low- 
cost sound projectors on the market. What a contrast 



Left: Movie- 
Mite 16mm 
silent - sound 
projector, 
weighing 27^^ 
lbs. 




Right: De- 
Vry Bantam, 
weighing less 
than 31 lbs. 
with speaker. 



in the manner in which American Industry and Busi- 
ness sees its problems, attacks them, and solves them, 
compared to the everlasting fumbling and dawdling by 
which our field, Education, solves its problems ! The 
projector manufacturers are to be commended for the 
manner in which they have responded. 

Out of the Auditorium 

The job of taking the visual program out of the 
auditorium and putting it into the classroom where it 
belongs is now up to the visual education directors and 
the individual teachers. If we examine honestly our 
purpose in using motion pictures, we must agree that 
the visual program should be aimed toward bringing 
about a better presentation of material which is taught 
in the classroom. It follows then that motion pictures 
should be used in the classroom and not in the audi- 
torium. 

It is important to us as school people that the visual 
program should have no mimicry of the theater or 
entertainment field. In fact, many educators believe 
that the assembly type of program where films are 



Right: The new 
Victor "L i t e- 
Weight" 16mm 
sound projector, 
weighing 33 lbs. 
with the demount- 
able speaker. 




Page 74 



Educational Screen 



shown and which masquerades under the title of visual 
education has hurt far more than it has helped. 

All authorities seem to agree on the following com- 
mon sense principles in regard to the use of films in 
schools : 1 . Films should be correlated with instruc- 
tional objectives at specific grade levels. 2. A teacher 
should have a definite plan for using films as an in- 
tegral part of his teaching. 

We agree also on the following points: 1. It does not 
matter too much to the teacher whether the children 
like the film or not. If we were to develop a program 
.solely on the basis of like and dislike, we could settle 
for a Mickey Mouse cartoon and make certain that 
everyone would like it. 2. The teacher's concern is 
whether the film will do the job better than any other 
means. The educational research in this field has given 
us a positive answer for certain types of material. 

Into the Classroom 

Worthwhile teaching can be accomplished in rooms 
which have been set up specifically for using visual 



materials. Classes are brought there one or two at a 
time, and the groups are usually small enough so that 
the purpose is not obscured by a "show" atmosphere. 
When such a room does not exist in a building, it is 
sometimes possible to darken a classroom enough with 
the ordinary room curtains during some part of the 
day to allow for acceptable projection. The ease with 
which the lightweight projectors can be moved should 
bring aJDOut a greater use of machines in classrooms 
than has so far been possible. 

The Right Place, the Right Purpose 

The future of visual education depends almost en- 
tirely upon the use which the classroom teacher makes 
of the materials and equipment available to them. It 
is the responsibility of school officials and teachers to 
see that equipment is used in the right place, for the 
right purpose. The new lightweight projectors will 
help us to do this. 



San Diego City Schools 
Achieve Equipment Goal 



'an 



By ROBERT H. BURGERT 

Director of Instructional Aids 

for the San Diego, California, 

City Schools 



Lighticeight projectors take their place in California classrooms. 



FOUR years ago the San Diego City Schools in- 
augurated a program of planned audio-visual equip- 
ment purchases. The purpose of the program was 
to make audio-visual instruction available to all of the 
52,000 students from kindergarten through junior col- 
lege levels. 

A Plan Is Born 

Careful study by the District led to the following 
conclusions : 

1. Good audio-visual utilization will be achieved 
only when equipment is available in adequate amounts. 

2. Decentralization of equipment is essential to best 
usage. 

3. A program of automatic and continuous servicing 
of equipment is essential if ideal audio-visual condi- 
tions are to exist, and 

4. An individualized training program in operation 
with simple maintenance for equipment for all school 
employees should be offered. 

The first major phase of this schedule has now been 
completed. 

Before 1944 only three sound projectors were avail- 
able through the Visual Instruction Center, and five 
of the junior and senior high schools owned machines 
which had been purchased from student body funds, 
or given to the schools by such organizations as the 
Parent-Teachers Association. 

Toward Realization 

Today the city's fifty-one elementary and fifteen 
secondary schools all are equipped with sound pro- 




Robert H. Burgert (right). Director of Instructional Aids 

for the San Diego City Schools, is receiving information 

from J. D. Knight, Regional Representative for Victor 

projectors. 



February, 1948 



75 



m¥^, 




Mrs. Elizabeth Boegeman, Film Distri- 
bution Secretary, tells Russell £. War- 
ren, Social Studies Instructor at San 
Diego High School, how to use the 
film catalog. 



jectors. Prior to 1943, every school was supplied vvitli 
a 16mm silent projector, but with practically all educa- 
tional films being released in sound, the need for 
assignment of a combination sound and silent projector 
to every school became evident. During the war years 
it was extremely difficult to obtain delivery of all the 
equipment the Department needed, and therefore each 
year saw only one-third of the schools receiving new 
nsachines. During this time, seven machines were 
trucked regularly in and out of the Department as 
needs arose in the schools which had no projectors. 

New Needs 

Putting a sound projector and a portable screen in 
every building answered many needs, but it seemed 
to create almost as many more. Demand for films 
jumped tremendously and necessitated doubling the 
annual expenditure for films. Booking and scheduling 
became more complex and required improvements in 
cataloguing and clerical systems. Motion picture films 
showed the possibility of slides and 35mm filmstrips, 
and although every school previously had been furn- 
ished with a lantern slide projector, it became obvious 
that a combination 2X2 slide and filmstrip projector 
would al.so be basic equipment for every school. A 
similar situation developed in the field of record and 
transcription players. 

Objectives and Achievements 

With the beginning of the 1947-48 school year, it 
is encouraging to look at our objectives and our achieve- 
ments. 

BASIC EQUIPMENT OBJECTIVES 

1. A sound-silent motion picture projector in every 
school: Yes (72 portable machines in 66 schools). 

2. A 16mm arc projector in every large auditorium: Yes. 

3. A 2x2 slide and filmstrip projector in every school: 
Yes. 

4. Adequate screen in every building: Yes. 

5. Standard lantern slide projector in every school: Yes. 

6. 33J/5-78 RPM playback machine: Partial (45 machines 
for 66 schools). 

Although this distribution still falls short of the 

projector-pupil ratio recommended by the D.V.I. , it 



is a definite step in that direction. The present ratio 
of one projector per seven hundred students will be 
further reduced zvhen the second stage of the equipment 
acquisition program is achieved. Additional lightweight 
projectors will be purchased and distributed to schools 
on the basis of one added projector for each three hun- 
dred pupils over the first five hundred in a school. 
Eventually each school zvill have a standard 20-zuatt 
sound projector and additional classroom-type projec- 
tors, depending upon the size of the school. Such a 
program will require approximately thirty additional 
machines. Three years should see this objective com- 
pleted and the normal replacement program continued. 

Teacher Training 

The training of teachers is without question the 
most important phase of getting an effective audio- 
visual program under way. No teacher will reap the 
full measure of the value of a film until she is as sure 
of her ability to operate the projector as she is con- 
fident of her skill with an electric egg beater or vacuum 
cleaner. Instruction in machine operation has many 
phases and techniques. Whenever possible, a demon- 
stration of new materials or techniques is given at a 
school with the suggestion that those who have not 
learned to operate the machine arrange for a group 
lesson. When three or more teachers make this re- 
quest, a department employee goes to the school and 
meets the teachers individually, or as a group, before 
school, during a free period, at lunch hour, or after 
school. Frequently the teacher is relieved of a teach- 
ing period by the principal so that she may meet with 
the group. 

The Procedure 

Teachers learn not only by doing but also by watch- 
ing another's mistakes. In this way it becomes fun and 
has some of the better motivating factors that arise 
from competition. When only one or two teachers 
need training, an appointment is made for a convenient 
lesson at the Center. As soon as the teacher has had 
her instruction and has been issued a license, the De- 
partment sees to it that one or more good films are 
sent to her immediately so that she can put into prac- 
tice with her class what she has learned. She is given 
no chance to forget! 

At present, more than two thousand separate cans 
of film are sent out of the Department each month. 
Although some films are shown many times a month, 
and others only occasionally, the total distribution 
will average a monthly turnover of one hundred per- 
cent. 

Dollars Well Spent 

Increased utilization resulting from a better supply 
of projectors means that an ever-expanding film bud- 
get must be planned. San Diego now spends approxi- 
mately $1.50 per year for audio-visual services for 
each student enrolled. It is the opinion of this depart- 
ment that no school dollar yields more service to the 
teacher, pupil and community than the audio-visual 
allotment. 



76 



Educafional Screen 




Latitude 

and 
Longitude 



A prize-icinning film about two basic geographic concepts 

WINNER of the Grand Prix for educational films at the 1947 World Film Fes- 
tival at Brussels and honored at the World Film Festival in Chicago, Latitude 
and Longitude is a clear, simple, and highly functional presentation of two 
basic geographic concepts. The film was produced by G. B. Instructional Films, Ltd., in col- 
laboration with the Royal Geographic Society, and is being distributed by United World 
Films, Inc., 445 Park Ave., New York 22, N. Y. It is available in color and black and 
white ; running time is 8yi minutes. 

The subject is introduced by showing how a ship needs some method of stating 
its position without referring to landmarks. Latitude is explained as "angular dis- 
tance from the equator" and a line of latitude as "a line which joins all places 
which are the same angular distance from the equator." It is shown that if a ship 
is 20° south, it could be anywhere along the parallel of 20 S., and thus another meas- 
urement in a different direction is needed ; therefore, longitude is used. This is "the 
angular distance from a standard meridian (the Greenwich meridian), while a line 
of longitude is "a line drawn between the poles joining all places which are the same 
angular distance from the Greenwich meridian." The position of the ship is given 
as 20° south and 30° west. Finally, the ship's position is fixed on the surface of the 
globe at the point where the meridian of 30 W. cuts the parallel of 20 S. 

The moving diagram technique has been used throughout the film. In addition, 
some of the sequences were made with working models operated by hand or on a 
machine. The ship is represented by realistic drawings. Sometimes the solid globe 
is shown with the continents and oceans, and by means of the film technique employed, 
the earth can be made to open to show a section view. The film is especially effective be- 
cause of the excellent quality of its animation, which achieves the illusion of a three- 
dimensional efTect. 



Stills from "Latitude and Longitude," showing an angle of latitude (left), an angle of longitude (right). 




TEACHER - COMMITTEE EVAIUATION 




L. C. LARSON, Editor 
Director, Audio- Visual Center 
Indiana University, Bloomington 



CAROLYN CUSS, Instructor, School of Education 

BETTY STOOPS, Film Librarian, Audio-Visual Center 

Indiana University, Bloomington 



Let's Play Safe 

(Portafilnis, 1520 North La Brea, Los Angeles 28, Cali- 
fornia) 10 minutes, 16mni, sound, color, 1947. $75.00. 

Description of Contents : 

Combining live photography and animation, this film 
presents six playground incidents which are potentially 
dangerous to the children involved. When the recess bell 
rings, the "Wrong Donkey," in the person of a boy who 
runs around a blind corner on the wrong side of a passage- 
way, collides with the other children. Just as the boy is 
about to be hurt, the scene changes to the animated "Wrong 
Donkey" who is knocked unconscious. After the con- 
sequences of his carelessness have been realized, the 
narrator -asks how "Wrong Donkeys" can be kept out of 
schools. A question mark on the screen then gives the 
teacher an opportunity to stop the projector for a brief 
group discussion. The boy involved is next shown going 
back from the accident situation and walking around the 
corner correctly and safely. 

The other five sequences, showing different children, 
follow the same pattern with variations in the discussion 




Portafilms, Inc. 

Portrait of a Pushy Pig from "Let's Play Safe". 



questions. They include the "Giddy Goose," a girl who 
gets hit by a swing when she does not watch where 
she is walking; the "Foolish Fish," a boy who squirts 
the drinking fountain on others and leaves a treacherous 
pool of water on the ground; the "Pushy Pig," a girl who 
falls off the ladder to the slide when she pushes ahead 
of others; the "Dumb Bunny," a boy who carelessly throws 
a baseball bat and hits another player; and the "Mock 
Monkey," a boy who falls from the ladders while showing 
off. 

As a summary, a member of the schoors safety patrol 
puts up posters showing the six animal characters and 
the safety rules which they represent. 

Committee Appraisal: 

The unique device of switching from live photography 
to amusing animation to show dangerous situations, the 
easily remembered names of the six offenders, and the 
positive approach throughout should make this film very 
effective for motivating an interest in safety on the play- 
ground, especially on the intermediate grade level. Photo- 
graphed at the La Canada School, near Los Angeles, 
with synchronous sound, the incidents are natural and 
interesting. A follow-up for the film is provided by means 
of a set of six decalcomania, showing the animals and 
a question about each, to be placed at danger points about 
the school and playground. 

The Four Seasons 

(National Film Board of Canada, 620 Fifth Avenue, New 
York 20, N. Y.) 32 minutes, 16mm, sound, color. $225.00. 
Produced by Crawley Films Limited. 

Description of Contents: 

This film presents in minute detail the subtle evidences 
of natural changes which finally, in their total effect, 
produce the full glory of each season in Gatineau Park, 
a wildlife sanctuary only a few miles from Ottawa, Canada. 
During the summer sequence, a child watches a frog and 
a school of minnows, while in the forest and streams 
mink, deer, skunks, woodcocks, beavers, thrushes, vireos, 
and woodpeckers are undisturbed by the camera as it 
catches them in close-ups. 

Gradually, evidences of autumn such as wintergreen 
and bittersweet replace the summer wildflowers. As the 
forest ranger is shown maintaining his constant vigilance 
and two sportsmen travel the streams by canoe, the foliage 
becomes a riat of color before the first cold withers the 
leaves and sends the squirrel and his neighbors scurry- 
ing to gather their last bit of food. The nearby farmer 
plows with his team before an eerie haze and a rim of 
ice enfold the streams. 

With a light snow as its forerunner, real winter soon 
has the land in its grip. The owl watches merry skiers 
arrive in the village, and the sturdy lumbermen beg^in 
their winter work cutting, hauling, and stacking logs for 
the spring thaw. March finds snow melting from the 
hills, as rotting ice dumps logs into the streams for the 
beginning of the spring drive to the mills. 



78 



Educafional Screen 




National Film Board of Canada 

Spring thaw and work for the logger — a scene from the 
"The Four Seasons". 

Soon, pussywillows, trilliums, niarsli marigolds, and re- 
turning song birds indicate spring, as does the broad- 
casting of seed by the farmer walking in the furrows of 
his freshly plowed field. The reappearance of the forest 
animals, large and small, then begins again the age-old 
cycle of the seasons. 
Committee Appraisal: 

Scenes of breathtaking beauty are made even more 
expressive by a completely sympathetic musical score and 
poetic, unobtrusive narration. The photography is ob- 
viously the work of an artist sensitive to the slightest 
changes in nature and painstaking in his efforts to capture 
the forest, streams, animals, plants, and birds in excellent 
close-ups. In addition to being very appropriate for 
general interest groups of adults, young people, and children, 
this film should be very useful in nature study, art. litera- 
ture, and music appreciation classes. The tying together 
of changes in nature and in man's activities effectively 
emphasizes man's utter dependence upon the seasons for 
his existence. 

The Incas 

(Hollywood Film Enterprises, Inc., 6060 Sunset Boulevard, 
Hollywood 28, California) 10 minutes, 16mm, sound, color, 
1947. $75.00. 
Description of Contents: 

Opening with maps showing the supposed migration 
from Central to South America which preceded the develop- 
ment of Incan culture, the extent of the Inca empire along 
2,500 miles of South America's west coastline in 1530, 
and a comparison of the size of the area and the population 
with the United States, this film shows through photo- 
graphs and drawings the highlights of Incan civilization. 

In spite of the absence of the wheel, mortar, and stone- 
cutting metals, they built cities and highways, evidences 
of which survived the wanton pillage wrought by the 
invading Spaniards under Francisco Pizarro. Pictures of 
the ruins of the ancient capital, Cuzco, are supplemented 



by drawings of the city square and the ornate temple to 
the Incan god. Thatched-roof houses, terraces, steps, 
tountains, walls, and highways are also shown, as are 
golden figurines and ornaments, weaving, pottery, and a 
curious system of knotted colored cords used to record 
messages in the absence of a system of writing. 

The efforts of a completely communistic way of life 
upon Incan civilization are described, and the downfall 
of their social system after the arrival of the Spaniards is 
emphasized by scenes in villages where the only evidence 
of Incan ruins survives in the foundations and materials 
found in the Spanish-type buildings in use there today. 
.Mthough the descendants of the Incas still speak the 
ancient dialect, they do not seem conscious of their an- 
cestors' glory, and are shown living and working with their 
Spanish-speaking white neighbors. 
Committee Appraisal : 

The material presented in this film should be of interest 
to Spanish, Latin American history, archeology, anthropol- 
ogy, geography, and crafts classes from junior high school 
through the adult levels. The photography and drawings 
enliven material which is essentially without movement, 
and the narration is helpful in pointing out significant 
phases of Incan culture. 

Your Children and You 

(Film Publishers, Inc. 25 Broad Street, New York 4, N. Y.) 
30 minutes, 16mm, sound, black and white, 1947. $60.00. 
Produced by British Information Services. 

Description of Contents: 

This film shows the relationship of children in the home 
to parents and gives advice to parents. It begins with a 
picture of a baby crying in the middle of the night. The 
parents, of course, are alerted and go into action. From 
then on, the film develops the idea that at first the baby 
will take, take, take, and the parents will give. 

It proceeds to show how the young child will need to 
adjust to the family and the family, to the child. At five 
months, the baby should be weaned and should be given 
things to intrigue his imagination. At one year of age, he 




Hollywood Film Enterprises, Inc. 

"The Incas" pictures the surviving remnants of a once 
glorious civilization. 



February, 1948 



79 




British Information Service* 
"Your Children and You" 

will be craving praise and should be complimented on those 
things which he does well. At eighteen months, the child 
will be able to help with chores and should be allowed to 
follow as many natural instincts as possible. A constant 
repetition of "don'ts" will give him an inferiority complex. 

The last sequence of the film deals with the topic of fear 
and shows that parents have within their power the develop- 
ment of fear within the child or the opportunity to free him 
from fear. By all means, parents should not show fear 
before children or instill in them fear through threats. The 
child might be sent to his room when he is naughty, but he 
should definitely know why. The ineffectiveness of physical 
punishment is shown and discussed. 
Committee Appraisal: 

Reflecting the feelings of children and their reactions to 
their parents, the film with exceptionally unobtrusive camera 
work records significant incidents in the young lives of both 
boys and girls. In documentary style the filmic log em- 
ploys non-theatrical, typical, everyday fathers and mothers. 
It should be of interest to both general adult and professional 
study groups concerned with child development and care. 



A Survey of Visual Materials 
Used in Vocational Guidance 

(Continued from page 73) 

quickly, and it is therefore essential that a guide 
be revised regularly. 

To solve the proljlem of the lack of visual mater- 
ials for vocational guidance, it would seem desirable 
to create a cooperative arrangement beteen the 
producers and those who use visual materials. Guid- 
ance workers should make known the types of 
materials needed and create a demand for them. 

Lack of understanding and training in the use 
of visual materials, the fourth major problem, can 
be met by courses in visual instruction and demon- 



stration programs. Teachers, counselors and club 
leaders can keep up with current developments by 
attending conferences and meetings and by reading 
the current articles in the professional journals. 

Before visual materials can become an integral 
part of every guidance program, not only must 
the importance of the guidance process and signi- 
ficance of visual materials be recognized, but there 
must also be adequate administration of the visual 
program within the school. Every school or com- 
munity center should delegate or employ one per- 
son to be directly responsible for the administration 
or care of all the visual materials and equipment. 
At present, most schools delegate this responsibility 
to an instructor who already has a full teaching load. 
Of the ten high schools visited, the majority of 
the instructors who administer visual materials and 
equipment felt that if adequate time were allowed 
in their schedules, much more effective use of 
visual materials could be made. 



Tentative Program for DA VI 
Atlantic City Conference 

(Continued from page 58) 

Wednesday, Febntary 25, 9:30-12:30 — Demonstration 
Walter A. Wittich, Director, Bureau of Visual In- 
struction, University of Wisconsin, appears on the 
iTiain program of the AASA conference, teaching 
a demonstration lesson involving the use of audio- 
visual instructional materials. No DAVI meetings 
are scheduled this morning in order that members 
may attend this demonstration. 
Wednesday, February 25, 2:30-4:30 — Departmental 
Meeting 
Brief summarization of main currents of thought 
expressed at each of the conference meetings by 
participants, with discussion preceding business 
meeting. 

Additional programs arranged for special meet- 
ings of groups meeting with the American Associa- 
tion of School Administrators and dealing with 
audio-visual instruction include the following: 
Monday, February 23, 2 :30 p. m. "Implications of 
the Armed Services Program," Chairman : 
Alonzo G. Grace, Commissioner of Education, 
Connecticut. 
Wednesday, February 25, 2:30 p. m. "Visual Aids 
to Teaching," Chairman: Alden H. Blanken- 
ship, Superintendent of Schools, Springfield, 
Massachusetts. 
Wednesday, February 25, 2:30 p. m. "Educa- 
tional Possibilities of Radio," Chairman : Char- 
les H. Lake, Superintendent of Schools, Cleve- 
land, Ohio. 
The sessions mentioned above are three of thirty 
group discussions planned for the AASA program. 
The general meeting session to be conducted by 
Walter A. Wittich is one of ten such general meet- 
ings. Thus, a considerable amount (approximately 
one-tenth) of all general program time for the 
AASA conference is to be devoted to problems of 
audio-visual instruction. 



80 



Educational Screen 



WILLIAM S. HOCKMAN. Editor, 1616 Marlowe Avenue. Lalcewood 7. Ohio 



Making the Use of Visual Aids 
Effective in the Local Church 

WHILE the factors in few local church situa- 
tions will be the same, the general principles 
which underlay the effective utilization of visual 
aids in the local church will vary but little. The 
following statement of principles, together with 
their minimal elaboration and illustration, may 
serve as a guide and yardstick for the leaders of 
local churches. 

1. Visual aids should be used to further the 
present on-going program of the church. The church 
has a constellation of purposes, and the objectives 
for the use of visual aids will be inside and not 
outside this cluster of purposes. The utilization of 
visual materials will be by the present leadership 
of the church. No separate "visual program" will 
be set up. The church will use visual materials and 
methods to help accomplish the purposes of its 
present program. 

2. Visual materials should be considered as sup- 
plementary materials and not displace present ma- 
terials. Visual materials should be considered as 
a part of the total materials used by the church, 
and visual methods should be thought of as a part 
of the total methodology of the church. The wise 
church will not suddenly install "the visual method" 
in either church or school. Visual materials should 
not displace good non-visual materials. 

3. All visual aids should be used for definite pur- 
poses. The user must know what specific objective 
he is trying to achieve. He must have a clear-cut 
conception of what he is trying to bring about, and 
ought to understand the peculiar contribution which 
the visual aid can make. Visual aids should not be 
used to cure a sick situation in the church school, 
the young people's work, or even rescue the mid- 
week prayer meeting. 

4. The local church should not solo in either 
methodology or materials. All the visual media 
should be used and all the techniques of utilization 
should be included. The media and the method 
will be selected on the basis of the age of the group, 
the facilities, the equipment available, and the ob- 
jective to be reached. Every now and then some 
church goes overboard for some one visual media — 
flannelgraphs, kodachrome slides, opaque materials, 
stereopticon slides, but more often they "fall" for 
the prima donna, the sound motion picture. All the 



visual aids have their distinct advantages and dis- 
advantages when considered from certain angles. 

5. Visual aids must not be expected to pay their 
way. The cost of materials and the maintenance of 
equipment should be an item in the general edu- 
cational budget. Visual materials do cost more — 
more than many churches expect when they start 
out. Using too many films will up the budget. In 
the long run, the cost of visual materials and equip- 
ment must be met as the cost of other educational 
materials and equipment is met in your church. 
Special plans tend to break down and run into hid- 
den snags. Advance planning and coordination be- 
tween morning and evening groups can cut down 
the cost of high-rental films. 

6. Extensive familiarity with visual resources is 
fundamental to the effective use of visual aids in the 
local church. This is one of the most frequently 
neglected principles. Some one person or commit- 
tee must be charged with the responsibility of be- 
coming familiar with resources and, to some extent, 
with specific materials. This means gathering the 
principal catalogues and filing the denominational 
lists. It means attending previews; going to other 
churches to see materials which they are using; 
reading magazines; and keeping in touch with your 
local rental library or visual educational dealer. 
There is no shortcut here. Some one person, or 
group of persons, is needed in every church to 




The projected visual aids: miniature (2 x 2) slide, opaque 
material, the silent film, the sound film, the stereopticon 
(354 X 4) slide, and the filmstrip. These, together with the 
various non-projected visual aids, will be employed in the 
effective supplementation and enrichment of the total pro- 
gram of the local church. 



February, 1948 



81 



advise with principals and teachers ; to call atten- 
tion to highly useful new material ; to study the 
on-going program of the church and make sugges- 
tions to those in charge. 

7. Every church should begin on its level and 
progress from there. There is no substitute for 
starting where you are. Take an inventory of your 
collective skill and understanding. Let it indicate 
where you should begin in the utilization of visual 
materials. If you are at the level of flat pictures, 
and many churches are just there, don't begin with 
the sound motion picture. It is easy to get equip- 
ment — easier than getting understanding. Many 
leaders have made the mistake of following the 
sink-or-swim principle in beginning the use of 
visual aids. They buy a film projector, and perhaps 
a slide projector, and tell the teachers to go ahead. 
After a few false starts and abortive eflforts, these 
same leaders come to pessimistic conclusions about 
the wisdom of "visual education." 

8. Every church should provide some facilities 
which are suitable and easy to use. Trying to get 
along with makeshift screens, with hard-to-operate 
blackouts, with low-voltage power sources, with 
impossible acoustics, with unattractive surround- 
ings, and with interferences of one kind or another 
puts a handicap upon leaders which discourages 
and defeats them. For the time being, most visual 
materials will be beamed at the larger (depart- 
mental) unit and not the individual class. There- 
fore, provide accordingly. 

9. Begin and carry forward a continuous pro- 
gram of training workers in understanding the 
nature and use of the various visual aids, projected 
and non-projected. Make this program a part of 
your total leadership education. Realize that under- 
standing is basic to sound utilization. Use visual 
methods in your leadership courses and conferences. 
Secure books and magazines for your teachers. 
Encourage them to attend local previews, institutes, 
conferences and courses. 

In conclusion, don't be misled by the term "visual 
education." There is no such kind of education. 
What the church is trying to do is give children, 
youth and adults the desire and ability to live a 
certain kind of life, and in the accomplishment of 
this great and noble work many kinds of materials 
and methods will be used. — WSH. 

Treating Films As Texts 

A CERTAIN religious director, after showing 
a group of junior children five of the Cathe- 
dral films, gave them a test which was composed 
of various types of informational questions. He 
was very much disappointed in the answers which 
he got and concluded that films have been greatly 
overrated as a teaching medium. 

Old Methods and New Materials 

With this list of questions before you, it is 
easy to see that he was making the mistake of 
treating films like textbooks because he did not 
understand the fundamental character of the film. 



Using such a test as a follow-up for this series of 
films was like dipping for minnows with a chicken- 
wire net ! His questions were factual, and dealt 
with the picayune, the inconsequential, and the 
incidental. He did not check these children to see 
what kind of experience these films, each of them, 
had aft'orded these children. He did not seek to 
find out how this experience had been integrated 
into the total fabric of learning. (How important 
is it for a child to know if a certain one of the 
films shown was missionary or biblical in type?) 
He was applying old methods to new materials — 
a common fault of teaching in both church and 
school. 

It is safe, in view of such an inadequate follow-up, 
to assume that his preparation of the pupils for 
the experience these films were to bring had also 
been weak and out of focus. He probably left the 
whole job up to the films, neglecting the skilful 
enabling which would have increased their teaching 
power many fold. 

Films Are Not Textbooks 

His basic trouble was in thinking of films as but 
a variety of textbooks. He needs to ponder this 
incisive parapraph from Edgar Dale's October 1947 
News Letter: 

"The motion picture, properly conceived, is not another 
textbook. It is not a compendium of facts, a tightly-knit 
summary. If it deals with 'Colonial Life in Williamsburg' 
it does not present a century and a half in a page and a 
half. On the contrary it presents a realistic, dramatic 
story. The explanatory materials are full-bodied, concrete, 
artful. The film has a beginning and an ending. It does not 
trail off into the ne,xt chapter. 

"You can't study a film bit by bit, page by page. You 
take all or you take nothing. It does not lend itself to drill, 
repetition, or memorization. Rich understanding comes 
with a single viewing. A film may be re-run with profit, 
but you get the big idea the first time and look again only 
for the points that have been missed." 

Too many ministers, directors, and classroom 
teachers are preoccupied with text materials. The 
lesson must be taught. They leave too little time 
for the film. Why? Because they put it secondary 
to the quarterly. The quarterly will teach about 
St. Paul. The film can make him real to the pupils. 
Too many teachers are failing to see this. Hence, 
we have poor filins and the best films hurriedly 
used before and after "lessons", with little or no 
preparation of the pupils for the experience which 
the film can afiford, and with faultily contrived 
follow-ups. 

Pictures are more than words, and basically un- 
like them. Films are unlike textbooks, and should 
be utilized by a inethodology consistent with their 
fundamental character. The essential power of 
the film is that it can give a psychologically efifective 
representation of reality. Neither textbooks nor 
any other visual media can do this. Because of 
this unique power, the film can put educative experience 
within the reach of the teacher. He is not obliged to 
teach about this and that. He can bring his pupils via 
the screen in experience with the world of persons and 
things ; ideas and values ; visions and purposes. To 
get the most from films they should be treated like 
films and not like textbooks. — WSH. 



82 



Educational Screen 



Films on Leprosy 

The American Mission to Lepers has regional offices 
across the country, and those interested in securing any 
of the following motion pictures should write to 156 
Fifth Ave., New York, and ask about the office nearest 
to them. Tlie Healing of M'Vondo, Happy Village and 
Lonely Journey are 20-minute color films available for 
a two-dollar service charge and transportation. The 
first of the trilogy is especially suitable for children. 
Chandkuri's Children and Colony Vacations are 10- 
minute color films available at half the above fee plus 
transportation. Million Dollar Pig and Song After 
Sorrow are 20-minute black and white films and are 
free except for transportation. Since the worldwide 
work of the AML is non-sectarian and non-denomina- 
tional, every local church has a stake in its work and 
can easily use these films in telling its people about 
the fight which modern science and Christianity are 
making against this worldwide disease. 

Adventure in Inter-Racial 
Education 

Any school or church — and there should be many 
— looking for an inspiring story of inter-racial educa- 
tion can find it in the kodachrome slide presentation, 
The Stranger Within Thy Gates. Within the scope of 
80 excellent slides and a well-written script is reported 
the venture of a Congregational minister of Vermont 
in bringing some of Harlem's children up to spend the 
summer with his parishioners. 

The whole story is presented — from the day Ritchie 
Low presents the idea to his wife to the evening he 
drove back down the country road after putting the 
children on the train for New York. 

J. L. Johnstone did the photography and Virginia 
Wells the script, available in either printed form 
or on two 78rpm records. The narration is by Will 
Greer. William Meeder gives the musical background. 
It was produced by the Department of Visual Aids 
of the Congregational-Christian Churches (287 Fourth 
Ave., N.Y. 10). 

(Continued on next page) 




Children of 
Harlem 

on a 

summer 

vacation 

— a scene 

from 

"The 

Stranger 

Within Thy 

Gates". 



How Many of Your 
Class Rooms Would 

One Set of Pakfolds 

Darken? 




The Draper Portable Pakfold can lake if — easy 
lo transport from room to room where needed. To 
apply this darkening shade or remove it, simply lift 
its supporting pulley from the pulley bracket, by 
use of the Draper Pulley Fork. No screws to re- 
move — no ladder to climb. 

When the Pakfold hangs over a double roller 
shade, as illustrated, both shades hanging on the 
face of casings or wall — a pair of Pakfold Spring 
Clips will hold the cloth close fitting arouna the 
double roller assembly, eliminating interference of 
the two shades and giving excellent darkening. 

When not in use, the Pakfold is rolled up in a neat 
roll, with cover fastened by turn-buttons to keep it 
clean and in good condition, as illustrated. 

Pakfolds are practical in all sizes. For large 
windows of unusual width or length Pakfolds are 
made with two sets of pulleys and cords. 

LUTHER O. DRAPER 
Shade Company 

Dept. ES-2, Spiceland, Indiana 

We will be pleased io have you inspect Draper Demounfebl* 

Shading at our exhibit boofli G-17 of American Association of 

School >>dmlnisfrators. Atlantic City, N. J. 



February, 1948 



83 







"PICTURE OF THE MONTH- 
HONORED by the Protestant Motion Picture 
Council's designation as "Picture of the Month" in 
the December issue of 

THE CHRISTIAN HERALD 

BEYOND OUR OWN is the fihn many churchmen 
are calling Picture of the Year — or of many years, 

BEYOND OUR OWN. 40 min., 16mm., sound. 3-year lease. 
$250.00 

Order your prtnft ferfayi 

THE RELIGIOUS FILM ASSOCIATION 

Departmtnt E. 45 Astor Place. New York 3. N. Y. 




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ATTRACTIVE, STURDY CUSTOM- 
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Write for Sonomaster literofure today. 
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Here is a story every department of the church 
should hear. Here is a story which public schools 
should tell, alert as many of them are to give their 
children and youth information about the best things 
happening in our democracy. Those who plan to direct 
summer camps and conferences should latch onto a 
set of these slides. Little children will respond to the 
story. (I know. I used it with Primary and Junior 
boys and girls.) It will quicken the spiritual pulse of 
those grown a little skeptical about the power of love 
and knowledge in building a better world. 

The photography is good. The ratio of words to 
pictures is excellent — 28.6 to one. About 19 minutes 
is required when the recorded script is used, which 
gives a velocity of a little over 100 words per minute, 
a pace making comprehension and reflection possible. 
— WSH. 

Another Good Missionary Film 

Produced for the United Christian Missionary So- 
ciety (Disciples of Christ) by World Brotherhood 
Films, Constrained by Love, a 40-minute color film 
on missionary work in rural India, will prove of great 
value to every church seeking to show and interpret 
missionary work to its people. 

The organization of the film is good. It shows only 
rural missions : evangelism, the rural church, schools 
for boys and girls, hospital and medical service, the 
training of native leaders, the home for lepers, teach- 
ing and worship, the construction of buildings and the 
keeping of accounts. 

The photography was done by Ferger and the Rev. 
Dr. Donald McGavran, who get excellent results under 
the handicaps imposed by rural conditions. The com- 
mentary is by Dr. McGavran, who, with his wife, plays 
the principal role in the pictorial sequences. This first- 
hand narration has the ring of sincerity and authen- 
ticity and is replete with instrftctive details. 

Dr. and Mrs. (Mary) McGavran are the "living 
links" of two Disciples churches with India: Fullerton, 
California, and Muncie, Indiana. They serve in Tak- 
hatpur. Central Provinces. The film is non-sectarian 
and therefore useful to all in showing in considerable 
detail the manifold activities of missionaries in rural 
India. 

This film is available from Kenneth Warren, 72i7 W. 
Wilshire, Fullerton, California, and the UCMS, 222 
Downey Ave., Indianapolis 7, Indiana, at an eight- 
dollar per day rental. — WSH. 

Don't Overlook 

• One of the best little books coming off the press 
last year in the visual education field ! "Films For 
International Understanding" is a 134-page book which 
was published by the Educational Film Library Associ- 
ation (EFLA), and can be secured from them at 
Suite 1000, 1600 Broadway, N.Y. 19, for one dollar. 
Some 16 chapters have been contributed by those com- 
petent to discuss various aspects of the subject. (Mr. 
Hockman contributed the chapter on "The Utilization 
of Films by the Church. — Ed.) An excellent list of 
250 films, useful to all kinds of organizations in pro- 
moting international understanding, helps to make the 



84 



Educational Screem 



book a very valuable reference. An earlier publication 
of EFLA, and very useful to all educators, is "Making 
Films Work for Your Community." 

• Those who desire standard recordings of dramatized 
true stories which deal with intercultural and racial 
problems in America, with missionary faith and ad- 
venture in many parts of the world, and with the Bible 
and its stories in everyday life, should secure from 
Pilgrim Press (14 Beacon St., Boston 8) its latest 
descriptive folder on such materials. Every unit of 
this material is highly useful in the church school, in 
extended and weekday sessions, in vacation schools, 
in summer camps for Juniors and Junior High youth. 

Correspondence 

Prom England 

Mary Field, who directed the production of the "2000 
Years Ago" series, in a letter to Lieutenant-Colonel R. J. V. 
Hake, Managing Director of J. Arthur Rank's Religious 
Films Limited (6 Eaton Gate, Westminster, London, S.W.I) 
says that I probably did not realize (see October and No- 
vember issues) that the films of the series were made for 
the "young adolescent" and not for the primary ages. Yes, 
I knew the series was beamed at the adolescent. Because 
the films of this series, especially The Home, were being used 
in this country with younger children, I wanted to find out for 
myself just what problems were involved. However, explaining 
that the series was produced for older pupils, does not invali- 
date the criticisms which I made of the film. She inquires 
further if I had a copy of the "teaching notes" for the film. 
I did not. Mr. Rogers of R.F.A., who, with Mr. Kruse, brought 
the films to this country knows of no teaching helps. The 
purpose of such films, as expressed by Miss Field, will be dis- 
cussed in a later issue of Educational Screen. 



The Religious Screen 

William S. Hoekman, Editor 

A Reprint of 19 Helpful Articles from 
"Tlie Church Department" of EDUCATIONAL SCREEN 

SEND FOR YOUR COPY NOW 

Price 60c 



From India 

"Without -exaggeration," writes Blaise Levai of Voorhees 
College, Vellore, India, "thousands of people congregate to see 
the filmstrips which we project every Friday and Saturday 
nights on the whitewashed wails of the open compound." He 
is using materials from the filmstrip library of the American 
Council in Madras free of charge. "We have shown filmstrips 
like American Colleges, Vitamins, The Christian Home, and 
some weeks ago we presented the film King of Kings, with the 
college orchestra and choir filling in the musical background, 
since we have no recording machine." He adds that they have 
found the Life of Christ slides by Elsa Anna Wood popular 
and powerful in preaching. With the help of his Indian stu- 
dents, he has written a modern script for the set ; and it has 
since been translated into English, Tamil, and Telegu. 

From China 

Dr. Arthur O. Rinden, Director of Audio- Visual Aids for 
the National Christian Council of China (University of Nan- 
king, Nanking 5) writes : "Our work continues to progress 
in a very encouraging manner in all departments. Our most 
pressing need is for more Christian films. I get letters and 
telegrams from all over China asking for more Christian films. 
Often I can do nothing for them. We could make a modest 
added investment in films if I only knew which ones to order." 
Our readers are invited to make suggestions to Dr. Rinden, 
and the recommendations of other missionaries would be espe- 
cially appreciated. — W.S.H. 



Is this prize-winning'^ film in your library? 



BREAD and WIIVE 




Bread and Wine deals with Italian 
agriculture and the "Mezzadria" sys- 
tern of Italian farming. Like other 
Bryan films, it stresses people and 
furnishes an excellent background 
for the study of the economic and 
social structure of modern Italy. It 
shows the harvest of grapes, the culti- 
vation of crops, the making of bread, 
the routine life of the farmers and 
their proprietor. (16 minutes). 

♦This subject was one of the prize-winners In the 
recent Chicago Films of the World Festival. For 
rental, consult your Film Rental Library ; for pur- 
chase, see your visual education dealer. 



For a complete list of Julien Bryan's Productions 
on peoples of other countries, write 

Ihe International Film Foundation 

1600 Broadway New York, N. Y. 



February, 1948 



85 



STUDENTS LIKE 

YOUR LIFE WORK FILMS 

Because 

1. They find the study of vocations really 
interesting. 

2. They can see the workers performing their 
jobs. 

3. They learn about the vocation in an easily 
understood manner. The romance in the 
vocation as well as the less attractive 
features are pointed out. 

4. They are able to give their undivided at- 
tention while the film is being shown. 

5. The Teacher-Student guide assists mate- 
rially in developing class discussion. 

Write For Complete Information 

VOCATIONAL GUIDANCE FILMS JNC. 

/nfernat/ona/ Distribufors 

Carl F. Mahnke Productions 

1814 Beaver Avenue Des Moines, Iowa 



A Study of 

FRACTIONS 

By O. W. McGVIRE 

Author of "Easy Steps in Fractions" 

A new filmstrip kit designed to aid in teaching 
the concept of fractions at the Elementary and 
Junior High School levels. 

ELEVEN FILMSTRIPS, encompassing the fun- 
damentals of fractions and the methods of using 
them. The kit includes twenty-five TEST SHEETS 
for each of the filmstrips, teacher's CHECK SHEETS 
for quick correction of the test material, and a 
TEACHER'S GUIDE. 

Inquire of your local visual aids dealer, or 
send coupon below — 

PHOTO & SOUND PRODUCTIONS. 

116 Natoma Street, 

San Francisco 5, California 

Please send a set of "A Study of Fractions" 

Enclosed please find check for $33.25 

Please bill me for $33.25 

Name .' 

Organization - 

Address 



City . 



State.. 



Preview on request 



State Audio -Visual 
Directors O r gan ize 

In New York 



AROUND-TABLE conference of directors and 
coordinators and similarly-functioning jjersons 
in audio-visual education was held at Syracuse 
University Campus, Syracuse, N.Y. on Saturday, De- 
cember 6, 1947. More than fifty persons, who repre- 
sented educational film libraries, state teachers' colleges, 
instructional aids departments of city school systems 
and single-school audio-visual coordinators, had been 
invited to this meeting from all parts of the state. 

Paul C. Reed, Director of Visual and Radio Educa- 
tion for the Rochester School System, Ward C. Bowen, 
chief of the Bureau of Visual and Radio Aids, State 
Education Department at Albany, N.Y. and James 
W. Brown, newly-appointed Coordinator for Audio- 
Visual Services at Syracuse University were the origi- 
nators of the plans for calling this first convention. 
Names of key persons throughout the state of New 
York who were known to be actively concerned with 
audio-visual education were selected quite tentatively 
for the mailing list for invitations to attend. Miss 
Sandra George, Director of the Educational Film 
Library at Syracuse University, generously provided 
quarters for the meeting. 

The full attendance and general tenor of the gather- 
ing proved to be quite expansive, .\round the table 
during the early part of the all-day session, six common 
topics of general concern were listed and classified 
for study. By this action it became evident that all 
organizations for the coordination of instruction in New 
York State schools were confronted by common prob- 
lems. It was also apparent that discussion and exchange 
of experience between members of such a meeting held 
promise of mutual benefit. The priority list of topics 
of concern was as follows : 1 . Financial support for 
audio-visual programs. 2. Promotion of audio-visual 
instruction. 3. Selection, procurement, utilization and 
evaluation of materials. 4. The improvement and vari- 
ation in production of audio-visual materials. 5. The 
administration and leadership personnel with profes- 
sional standards for coordination. 6. Building facilities 
and physical services. 

But few of these topics were fully discussed in the 
remaining hours of the afternoon session. Wide and 
enthusiastic participation by all present in reporting 
on findings, activities and applications of these prob- 
lems took place. In consequence, spontaneous enthusi- 
asm was expressed for a later meeting and continuation 
of this program. Each person in attendance was pro- 
vided with mimeographed reports of general organiza- 
tion of programs in other localities ; each member had 
been instructed to bring such a report of his own 
activity in 50 mimeographed copies prepared in advance 
of the convention. 

No highly-formalized association or organizational 



86 



Educational Screen 



roster of officers was desired by those in attendance. 
Further convocation of the group was provided for 
by naming Paul C. Reed as temporary chairman of 
the group with the other persons responsible for in- 
itiation of this first meeting delegated to serve as a 
steering committee. 



In Indiana 



DIRECTORS and building coordinators of audio- 
visual materials in schools of Indiana and in- 
structors and directors of audio-visual programs 
in the colleges and universities, finding their opportu- 
nities for meeting together and working on problems 
of mutual interest somewhat limited, met on the Indiana 
University campus on December 12 and 13 for the 
purpose of forming an association. Plans for such an 
organization had been discussed for several months. 
During the Indiana State Teachers' Association meet- 
ing in Indianapolis in October, some of the key leaders 
of the state worked on plans and a tentative constitu- 
tion. A temporary committee with Vernon McKown, 
New Albany Public Schools, as chairman, and Cathe- 
rine Broderick, Fort Wayne Public Schools, as secre- 
tary, was appointed to arrange for the first meeting. 

Purposes 

Purposes were defined as (1) to provide an oppor- 
tunity for directors to become acquainted and to work 
together on mutual problems, (2) to act as a clearing 
house for ideas and projects of statewide concern, (3) 
to provide direction and coordination for the audio- 



visual programs in the state, and (4) to develop proj- 
ects of assistance to directors of audio-visual education. 
Membership is limited to those in the schools and 
colleges who are devoting a minimum of 25% of 
their administrative or teaching time to the direction 
of an audio-visual program. Also eligible are persons 
in colleges teaching at least one audio-visual course 
carrying college credit. 

Officers 

Forty-eight men and women eligible to membership 
attended the meeting and became charter members of 
the organization to be known as AVID (Audio-Visual 
Instruction Directors) of Indiana. They adopted the 
constitution which was drafted into its final form by 
a committee under the chairmanship of Robert Schrei- 
ber, Mishawaka Public Schools. They elected the follow- 
ing officers : President, Vernon McKown, New Albany 
Public Schools; Vice-President, Robert Schreiber, 
Mishawaka Public Schools ; Secretary-Treasurer, Caro- 
lyn Guss, Audio- Visual Center, Indiana University; 
and Executive Board Members, Catherine Broderick, 
Fort Wayne Public Schools ; Doris L. Lynn, Indian- 
apolis Public Schools ; Wilford Jarboe, Vanderburgh 
County Schools, Evansville; Clyde K. Miller, Gary 
Public Schools; and Henry W. Schulze, LaPorte 
Public Schools. 

Committees 
All working sessions of the two-day conference were 
devoted to developing a handbook of accepted policies 

(Continued on page 90) 




AVID of Indiana 

TOP ROW: W. Barnes, R. McDougal, L. W. Moon, H. W. Norman, D. G. Williams, K. B. Thurston, E. Carmony, E. 
Kuykendall, T. White, A. Hyer, B. Sparks, D. E. O'Beirne. THIRD ROW: B. L. Rufe, P. W. Holaday, C. B. Tolbert. 
W. Smith, O. R. Spurgat, C. Guss, C. Miller, F. G. Neel, L. C. Larson, G. R. Weathers, L. Whaley, K. Barr. SECOND 
ROW: L. D. Miller, V. L. Tatlock, R. Stollberg, H. Knaus, Mrs. G. M. Allen, G. M. Allen, F. Andrews, D. Simpson, F. 
Thomas, P. L. Fisher, A. Gibson. FIRST ROW: V. C. Alexander, H. W. Schulze, L. Kenworthy, R. Schreiber, D. L. 
Lynn, G. Mclntire, V. McKown, C. Broderick, W. Jarboe, M. Day, D. Williams. 



February, 1948 



87 



IITERATUREI^ 



'HIP- 





fA.W. 



ISVAL INSTRUCTION 



BOOKS AND BROCHURES 

• Press, Radio, Film — Report of the Commission on Tech- 
nical Needs, United Nations Educational, Scientific and 
Cultural Organization. Paris, 1947. 189 pp. 

This is a summary of 48 reports on news agencies, press, 
radio and films in 12 European countries. (Reports for all 
countries are given in the Appendix.) 

Of great importance in the evaluation of this report, 
equal to the value of the contents, is the description of 
the methods of the Commission, for in this survey we 
find an example of internationl cooperation that tran- 
scends commercial, political or selfish ends. Field workers 
from the Secretariat of UNESCO were sent out to the 12 
countries designated, with an elaborate questionnaire. In 
each country they worked through the Ministry of Edu- 
cation and the experts within the country. The reports and 
recommendations were then prepared with the advice and 
criticism of other specialists and members of other agencies 
in the United Nations. The present report is therefore 
certain to represent the most considered judgment of 
world-wide specialists on the press, the radio and the 
motion picture. 



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ETTA SCHNEIDER RESS, Editor 

The Film Sub-Commission found that black and white 
film stock throughout Europe and China was adequate, 
but that the greatest need was for currency. (It points 
out that 16mm films for public showings as welt as for 
education will result in economies.) As for equipment, 
there, too, it is the foreign exchange and the lack of pri- 
ority on production tools that stand in the way. The use of 
16mm sound projectors is recommended for educational 
and public showings instead of the 16mm silent projectors 
now common. A system of exchange for the training of 
personnel is urged. Other recommendations include: a Clear- 
ing House of Information on films available from all 
countries; a system to facilitate the exchange of educa- 
tional films in spite of exchange problems; and the exemp- 
tion from import taxes of film equipment, film materials, 
and films for educational, scientific and cultural purposes. 

For other details in the recommendations of this Sub- 
Commission and the one on Radio, the reader should con- 
sult the full report. 

• Projected Visual Aids in the Church — William S. Hock- 
man. Pilgrim Press, Boston. 1947. 214 pp. $3.75. 

A basic reference book, giving general principles and 
techniques for using the various types of visual aids in 
the church program, with special emphasis on the general 
church program. There are many suggestions based on 
actual practice and experience, and church leaders will 
find many ideas to stimulate them into greater use of ex- 
isting materials, and beyond that to strive for the production 
and distribution of better materials, especially films. 

Mr. Hockman has great faith in the demonstration tech- 
nique for promotion and for teacher-training. He believes 
that the best method is "seeing how" things are done, 
and how specific materials are used. The last chapter lists 
unsolved problems: what is the best type of visual aid, 
how verbal should a visual aid be? what criteria should be 
used for evaluation? how improve distribution? what part 
of the curriculum should be visualized? how present the 
scriptures on the screen? 

• Films in Public Libraries — Hoyt R. Galvin, Charlotte, 
N. C. Library Journal, vol. 72, no. 18. Oct. IS, 1947. Part 
II. 88 pp. Free to libraries; $1.00 to others. 

A practical guide, with all details for establishing a 
film-lending service in public libraries. There are sugges- 
tions for budgeting, administering and programming a 
film service; one section describes the standard projection 
equipment for films, slides, filmstrips and opaque materials; 
and valuable listings include a basic list of films for first 
purchase, a directory of producers (which is more accurately 
a list of producers and distributors), and a bibliography. 

This book demonstrates further the active part now 
being played by the American Library Association in ex- 
tending the distribution of educational films through local 
libraries. 

• The Virginia Plan for Audio-Visual Education — James 
\V. Brown. Center for the Study of Audio-Visual In- 
structional Materials, Dept. of Education, University of 
Chicago. 1947. 31 pp. $1.00. 

Description of the unique administrative organization 
in Virginia which has developed since 1940, when the first 



88 



Educafional Screen 



legislative appropriation was made to distribute educational 
films, until 1945 when an appropriation of over a million 
dollars was voted for equipment and teaching aids. The 
pamphlet was intended as a pattern for students of audio- 
visual education at the University of Chicago, but it is 
also an excellent reference for communities and states that 
would like to benefit from the experience of the state of 
Virginia. The manner in which the State Department of 
Education has developed its program of audio-visual instruc- 
tional materials for schools assures its success in improving 
the quality of education in general. The five regional cen- 
ters originally established have gradually passed the distri- 
bution functions along to local and individual school 
facilities, and are now serving chiefly as guidance and 
teacher-training centers. 

UTILIZATION 

• The Why of Audio- Visual Materials — Edgar Dale. 
The News Letter, vol. 13, no. 3. Dec. 1947. 

An editorial appealing to teachers to get greater mean- 
ing behind the concepts taught at school, to make concrete 
the complex ideas with which modern living surrounds us. 
Too often what is taught is irrelevant to living. There 
is an increasing amount of visual material to aid in educa- 
tion about world trade and other problems of modern life. 

The author lists four reasons why there has not been 
greater use of all media of communication on a regular 
and complete basis: a) lack of funds; b) lack of ability in 
teachers to use these new methods; c) insufficient training 
on the college level; and d) no cooperation by adminis- 
trators for adequate physical facilities. 

• Children Make Recordings— Margaret B. Russell, Ben- 
jamin Stoddert School, Washington, D. C. N.E.A. Journal, 
Dec. 1947. p. 635. 

A class of second-graders went through all the steps 
in planning special Valentine recordings, with the aid of 
a machine loaned by one mother. Research, voice tests, 
scripts and the play-back proved a fruitful and interesting 
activity. 

• Teaching Aids: Picture Stories— Ethel Beatty Smith, 
Jamesburg High School, Jamesburg, N.J. Business Edu- 
cation World, December 1947. p. 212. 

Describes a unique idea which has become a creative 
activity for teacher and pupils alike. Picture stories are 
planned, posed, photographed, printed as enlargements 
and mounted on posters. These then serve as the basis for 
illustrating principles or concepts in the curriculum. Picture 
stories were used in the retail-selling course and the office- 
practice class, where pictures were planned and photo- 
graphed by students to illustrate their ideas. 

SOURCES 

• Informative Films— Educational Review Committee, 
National Board of Review. Agenda Magazine, 205 East 
42nd St., N. Y. 17. Monthy issues, starting May, 1947. 
Free to women's club leaders. 

A monthly section on 16mm films recommended for 
women's club leaders, annotated and classified by subject. 
For example, the November-December issue includes films 
suitable for meetings that deal with the Freedom Train, 
Bible Reading, Christmas, Displaced Persons, and other 
topics. Each issue also includes a theatrical film review 
page, with the aid of Mrs. Bcttina Gunczy. 

• Audio-Visual Aids for Atomic Education— Albert Got- 
lieb. Social Education, 11: 357-60. Dec. 1947. 

An annotated list of films, filmstrips, recordings and 
transcriptions, radio scripts, maps and charts, and agencies 
to implement the study of atomic energy in science educa- 
tion. This list (together with a published bibliography, 
"Annotated Bibliography on Atomic Energy," by Israel 
Light— Teachers College, Columbia University, N.Y. 35c) 
appeared in connection with a series of conferences on 
atomic education held at Teachers College under the aus- 
pices of the Departments of Natural Science and Social 
Sciences. 

February, 1948 



YOU MAY RENT OR PURCHASf THtSC THRU SHAKtSPtAREAN flLMS 
IN 16mm. SOUND: 

^_i|j_l I f^ (on one 1600' reel; running time, 43 minutet). 
%J I nELLU Rent; T day, $5.00; 2 or 3 days, $7.50; 4 or 5 
days, $10.00. Outright *^e nn 

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mi .^Q__aj (on one 800' reel; running time, 16 minutes), 
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ALL COLUMBIA MASTERWORKS RECORD ALBUMS: 
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A series of eight motion pictures on 

FRACTIONS 

For Elementary Reviews 
For Remedial Work 

For Teacher Training 

Delightful animated curriculum films which corre- 
late closely with classroom work. 

Introduction to Fractions 
How to Add Fractions 
How to Subtract Fractions 
How to Change Fractions 
How to Multiply Fractions 
How to Divide Fractions 

• Decimals 

• Percentage 

Each one reel in length 
Color $85.00 Black & White $45.00 



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State Audio-Visual Directors 
Organize — In Indiana 

{Continued from page 87) 

and procedures for audio-visual education programs 
in Indiana. Each person, according' to his stated pref- 
erence, was assigned to one of seven groups. The 
groups and their chairman were : Goals, M. McCabe 
Day, Huntington Public Schools ; Materials, Frederick 
G. Neel, Canterbury College ; Utilization, Catherine 
Broderick, Fort Wayne Public Schools ; Equipment 
and Housing, Wes Felmlee, Elkhart Public Schools; 
Administration and Finance, Ernest Tiemann, Audio- 
Visual Center, Indiana University ; Production, Henry 
W. Schulze, LaPorte Public Schools ; and Statewide 
Program, Garret Weathers, South Bend Public Schools. 

The reports of the group were read at the summary 
session of the conference. The organization approved 
the reports and appointed an editorial board, consisting 
of the chairmen of the respective committees and the 
Secretary-Treasurer, to prepare final copy for the hand- 
book, which will be distributed free of charge to all 
schools administrators in the state and offered for sale 
to others interested. 

These reports, developed by the conference and 
representing the group thinking of leaders in the field 
in Indiana, contain a number of basic statements con- 
cerning audio-visual education. 

Some Suggestions 

Some of the more important suggestions incorporated 
in committee reports that will serve as bases for future 
recommendations are as follows : 

1. In order to maintain a viiniiiiuin audio-visual 
program, schools should plan for annual expendi- 
ture of $50 per teacher for material and equip- 
ment. For a desirable program, this expenditure 
should be increased to $150. 

2. With state financial support to the school's audio- 
visual program, moneys should be allocated to 
the local school corporation on a pre-teacher 
basis, in order to enable local school officials to 
develop an audio-visual program which will meet 
best the needs of that school system. 

3. For the effective direction and administration 
of an audio-visual program, Indiana schools 
should plan for the equivalent of one audio-visual 
staff member of professional status, plus the 
needed clerical and technical assistance, for each 
fifty teachers ; a half-time professional staff mem- 
ber, plus assistance, for the twenty-five-teacher 
system or school ; and a fourth-time professional 
staff' member, plus assistance, for the ten-teacher 
system or school. 

4. To provide for competent direction of the audio- 
visual program, it is proposed that the State 
Department of Education should prescribe a 
certificate for the position of Director of Audio- 
Visual Materials, with the following require- 
ments : (a) three years of successful experience 
as an educational administrator, supervisor, or 
teacher; (b) qualifications for a first-grade ele- 
mentary or secondary teacher's certificate; and 



90 



Educational Screen 



(c) a Master's Degree based on the equivalent 
of at least thirty semester hours of graduate work 
in a standard college or university, including basic 
graduate courses in school administration, cur- 
riculum, supervision, evaluation, and educational 
psychology and the equivalent of graduate courses 
in the utilization, selection, and production of 
major types of audio-visual materials and in the 
organization and administration of the audio- 
visual program. 

5. A city or county audio-visual program should 
include the minimum staff resources, supplies 
and equipment required for the preparation and 
production of audio-visual materials for the fol- 
lowing purposes : (a) to facilitate diagnostic and 
remedial work with pupils; (b) to provide oppor- 
tunities for pupil guidance and exploratory ex- 
perience in school production; (c) to obtain 
records of important school events; (d) to keep 
school patrons informed about the work of the 
school; (e) to produce, for instructional use, in 
cooperation with teachers and interested citizens', 
materials dealing with local teaching situations 
and problems. Types of material which could 
be produced with a minimum expense include 
(1) photographs, (2) recordings, (3) lantern 
slides and slide films, (4) graphics, (5) radio 
programs, (6) motion pictures, and (7) museum 
materials. 



6. Teacher-training institutions, both public and 
private, should plan to organize audio-visual 
centers to meet their general and professional 
educational needs and to provide a rental or 
lending service on a non-profit basis to neighbor- 
ing schools and community groups. 

7. To provide the needed state leadership, the State 
Department of Public Instruction should set up 
a Division of Audio-Visual Materials, with the 
staff and other resources required for the guid- 
ance- and coordination of selection, circulation, 
utilization, and production of audio-visual mate- 
rials by schools and colleges. 

U. of California Audio-Visual Instruction 

Sections of a University of California Extension 
class in audio-visual education are scheduled to open 
in seven southern California towns during the week 
beginning February 16, according to Dr. F. Dean 
McClusky, head of Audio- Visual Instruction for Uni- 
versity Extension. 

Sections of the class, which is designed to acquaint 
teachers with the theories of visual instruction and to 
furnish experience in the use of audio-visual aids, will 
meet in Los Angeles, Baldwin Park, Glendora, Long 
Beach, Pacoima, San Gabriel and Santa Monica. Each 
local section of the class will include 18 consecutive 
weekly meetings and will give three units of credit. 



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■MANNERS "PLAYING TOGETHER" Ireel-SO.OO 

films- "SPIC AND SPAN" 1 reel- 50.00 

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. 1 reel $75.00 , AlHw l |y„ • 1 reel $75.00 

CHILDR[NMPR0DUa(0N5 

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February, 1948 



91 




News Oi 



TREES THAT REACH THE SKY I reel sound. Pacific Coast Umbering. 

OUTSTANDING TEACHING FILMS 

Add these films to your library. Preview prints available. Produced 
by the National Film Board of Canada. IGmm. 

FUR COUNTRY— 22 mins. Color & B&W. For elementary grades. 

GREAT LAKES — 22 mins. Color & B&W. Elementary geoEraphy. 

ESKIMO ARTS AND CRAFTS— 22 mins. Color. 

ESKIMO SUMMER— 22 mins. Color. Elementary social studies. 

VEGETABLE INSECTS— 22 mins. Color. Entomological treatment. 

MONTREAL — 22 mins. Color. History past and present. 

TRAPPERS OF THE SEA— 13 mins. Color. Lobster fishing. 

SALMON RUN— 21 m'ns. Color. Life cycle of sockeye. 

PEOPLES OF CANADA— 21 mins. New 1947 version. 

CANADA— WORLD TRADER— 11 mins. Resources and products. 

LAND OF PIONEERS — 14 mins. Last frontier in North America. 

For complete Informaf/on write 

INTERNATIONAL FILM BUREAU INC. 




tA E. Randolph St. 
CHICAGO 1. ILL. 



15 Park Jtow 
NEW YORK 7. N.Y. 



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Write for descriptive literature, sample, 
and how to order information. 

BECKLEY-CARDY CO., 1632 Indiana Ave., CHICAGO 




New FCA Appointment 

Dr. Mark Arthur May, director of the Institute of 
Huinan Relations and professor of educational psychol- 
ogy at Yale University, has been appointed chairman 
of the research committee of the Film Council of Amer- 
ica, Stephen M. Corey, chairman of the FCA Board 
of Trustees announced recently. 

Dr. May has had a distinguished career in education 
and has been a leader in the audio-visual educational 
field. As chairman of the Film Council's Research 
Committee, he will work with visual educators and 
educational film producers to help improve the tech- 
niques of film production, to find out what subject 
areas most need good films today, and how the utiliza- 
tion of visual teaching materials can be widened and 
improved. 

Knoxvllle Film Council 

In the spring of 1947, a group of Knoxville 
citizens organized a Committee for Public Under- 
standing to work toward increasing the opportunities 
through which people in the community could get 
information on local, national and world affairs. Four 
sub-committees are in process of organization: radio, 
library, films and press. 

The sub-committee on films, called the Film Council, 
met first on October 20 to discuss organization. Seventy- 
five persons were present, representing all groups in 
town interested in the use of 16mm films. A second 
meeting was held on October 31 when Mr. Thurman 
White, Executive Secretary of the Film Council of 
America, was in Knoxville for the meeting of the 
East Tennessee Education Association. Mr. White 
was introduced by Mr. F. C. Lowry, Director of Uni- 
versity Extension, University of Tennessee, and mem- 
ber of the Board of Trustees of the Film Council of 
America. He spoke on the organization of the Film 
Council of America and led a discusion on possible ac- 
tivities for the proposed Knoxville Film Council. 
Twenty-five persons were present even though Hallow- 
een and other meetings were strong competition. 

On November 18 the Knoxville Film Council met 
at the Lawson McGhee Library (Knoxville's Public 
Library) and elected officers. Mr. Malcolm Miller, 
a lumber broker and well-known music and art critic, 
was elected president ; Mrs. Wanda W. Johnston, 
Supervisor of Visual Education in the city schools, 
Vice-President ; and Miss Charlesanna Fox, Director 
of Group Services at Lawson McGhee Library, Secre- 
tary. Twelve board members were also chosen from the 
various groups which have expressed an interest in 
the use of 16mm films in the community. They include 
the Specialist in School and Community Service at 
the University of Tennessee; a business man who is 
a member of the Committee for Public Understanding ; 
three visual education dealers; a religious education 
director at one of the churches ; the president of the 
City Association of Women's Clubs ; the president of 
the Central Council of the Parent-Teachers Associa- 



92 



Educational Screen 



otes 



tion; the editor of the Knoxville Labor News; the 
president of Kivvanis Club, who is a member of the 
Committee for PubHc Understanding; a lawyer who 
represents the Council of Civic Clubs; and the state 
director of the CIO Organizing Committee. 

At the meeting on November 18, it was proposed 
that committees be formed, such as the ones listed, to 
carry on the work of the Council : Film Service Com- 
mitte (Films — previews, etc.). Equipment and Per- 
sonnel Committee (Equipment and operators). Film 
Techniques Committee (Proper use of films). Fi- 
nance Committee and Constitution and By-laws 
Committee. 

Members were given a questionnaire listing the 
types of work to be carried on and asking for state- 
ments from the individual members as to which type 
of activity he or she would be able to assist in accom- 
plishing. 

At an executive board meeting on December 1, the 
committees were appointed and the work of the Council 
has begun. Mr. James Arnold from the University of 
Tennessee, who is the regional representative of the 
Film Council of America for Tennessee, Miss Edith 
Harbaugh, a religious education director especially 
interested in the use of visual aids in churches, and 
Mr. Charles W. Winegar, representative of the D. T. 
Davis Company, are the newly-appointed chairmen 
of the major committees. 

Previews of informational films — an hour's program 
— have been scheduled at the Lawson McGhee Library 
on Monday evenings. Program chairmen are urged 
by postal invitations and newspaper publicity to attend 
these previews. The showings are sponsored by the 
Film Council. 

Audio-Visual Materials Promoted 
At Industrial Arts Convention 

At the recent New England Industrial Arts Teach- 
er's Convention held at the Hotel Bond in Hartford, 
Connecticut, audio-visual materials played an important 
role. Every attempt was made to provide the con- 
ferees with an opportunity to see and hear the latest 
audio-vi.sual material pertinent to the industrial arts 
teacher. 

Throughout the two-day convention, audio-visual 
materials were actively displayed. In the main lobby 
of the hotel, where registration was held, opaque and 
slide projectors flashed announcements on the walls 
and screens. As the men gathered for the luncheon, 
a motion picture was projected. In the evening at the 
banquet, commercial exhibits of audio-visual materials 
were arranged around the outside perimeter of the 
floor area. A disc recording of the main address was 
made and presented to the speaker immediately after 
he finished. 

Each commercial exhibitor was assigned sufficient 
floor and table space to give ample room to display 
his products. Each exhibitor was supplied with mate- 
rials, such as filmstrips and motion pictures, to project 
for the conferees. Opaque and filmstrip projectors 

February, 1948 



FftlTII FILHS 



Box 565, Hollywood, California 

Presents 

An Ouhfanding Safety and Health Film 
PATTY LEARNS TO STOP, LOOK AND LISTEN 

(595 ft., color, sound. pHce $95.00) 

This lesson presents Patty's accident and re- 
covery. In real life Patty was hit by a car 
and badly hurt. What a lesson in traffic 
SAFETY for children to see what an acci- 
dent means to a person they know and like! 
Also an important addition to our films on 
family cooperation and responsibility. 

Family Teamwork 

Useful for Social Studies, Agriculture and Home 
Economics. 

Pally Garman, Little Helper 

Useful for Social Living, Nature Study and Ele- 
mentary Science. 

Bill Garman, 12 Year Old Business Man 

Useful for Social Studies, Agriculture and Be- 
ginning Economics. 

Many educational film libraries include all of these films. 
We send for preview to those who intend to buy. WE DO 
NOT RENT. 



35M1M. SCIENCE SLIDE FILMS 

MADE BY TEACHEHS FOR TEACHERS 
BIOLOGY PHYSICS 

MICROBIOLOGY GENERAL SCIENCE CHEMISTRY 

Descriptive Literature Sent on Request 
VISUAL SCIENCES, 



599E 



Suffern, New York 



KODASLIDES 

Colorado Southwestern National Parks 

Nature subjects 

Sent on approval. — Write for Hit. 

PAUL IVESBIT Estcs Park, Colo. 











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or the NEW DUPLEX 2"»2" 

on sale by Theatre Supply Dealers 
Write for Free Sample 

RADIO-MAT SLIDE CO., Inc.. Dept.V 
222 Oakridce Blvd., Dayton* Beach, Fla. 


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93 



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Slide and Opaque Object Projectors, 
Screens, and all equipment and acces- 
sories for visual education. 

Let us tahe care of your requirentents! 
Write for our new 1948 catalogue. 

SOLTIIERIV VISUAL FILMS 



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Memphis, Tennessee 




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Price $375.00 
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f^ver a thcusand features and shorts. 
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INSTITUTIONAL CINEMA SERVICE, In 

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IGntm Originals 

on people, places and events in 

BRITAIN and EUROPE 

Library material available Producers Invited 

PEAK FILMS PRODlJCTIOI\S 

65 Barons Keep, W. 14 London, England 



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For the Producer of 16mm bosfness, educational and religious fi/ms 

• EDGE NUMBERED WORK PRINTS 

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• RELEASE PRINTS- 
COLOR and B&W 

• DUPLICATE 
NEGATIVES 



GEO. W. COLBURN LABORATORY, Inc. 

1 64 N. Wacker Dr., Dept. E , Chicago 6, III. 



were very active and received considerable attention. 
During the registration period, information cards were 
distributed, entitled "Previews for You", which indi- 
cated that any of the films or filmstrips included on 
that card could be previewed at request. Projectors 
and projectionists were available to provide this service. 

As a part of the formal program, two panel dis- 
cussions were conducted on audio-visual materials. The 
first was directed by Mr. Joseph Nerden, Connecticut 
State Supervisor of Audio-Visual Education. The 
discussion was directed around a group of questions 
and answers pertinent to the industrial arts teacher. 
The second panel discussion was conducted somewhat 
differently. It was called a "Festival of Films". During 
this period, films on industrial arts subjects were 
projected and then discussed as to their value and use. 

Stamford Public Library Film Division 

More and more public libraries are adding 16mni 
film divisions. Following is an account of how the 
Stamford Public Library, Stamford, Connecticut, insti- 
tuted and built up its film division. The film division 
of the Ferguson Library, of Stamford, was organized 
in January, 1946, as an experimental venture. It started 
with a small revolving collection of films from the 
government, the University of Connecticut, and from 
private agencies and corporations. A projector was 
bought which was lent free to civic groups planning 
admission-free programs. 

An Expanding Program 

As time went on, the collection of films grew. Some 
were purchased, others given on long-term deposit or 
as gifts. The large free film services, mostly, helped 
to swell the embryo collection. Today the Ferguson 
Library is able to offer 100 to 150 titles each month. 
During the first year, 1,296 films were loaned, or 
shown within the library, to a total audience of 144,654 
persons. In the 12-month period just ended, the num- 
ber of films loaned totaled 4,554 and the audience 
430,207, an increase of almost 400 percent. 

The response to the library's film program in this 
typical community of 65,000 was so enthusiastic that 
it resulted in the school authorities' asking the public 
library to serve as its visual education center until 
such time as they might organize their own. 

In January, 1946, there were 12 projectors owned 
in the Stamford area ; today the known total stands 
at 105, purchased, it is said, because of the library 
program. The Ferguson Library film service has been 
accomplished on the amazingly low budget of $1,500 
for each of the two years. 



16mm Sound Films For Rent 



EDUCATIONALS 
CARTOONS • 



MARCH OF TIME 
COMMUNITY SINGS 



Free Catalog on Request. 

LEWIS FILM SERVICE 



Dept. of Lawrence 
Comera Shop 



MUSICALS 
COMEDIES 



149 No. Broadway 
Wichita 2, Kans. 



FILM LIBRARY ASSISTANT— Legal resident of New 
York State, preferably veteran, to assist in theatrical and 
non-theatrical distribution of 35mm. and 16mm. motion 
pictures. 2 years minimum experience in similar work 
essential. Starting salary $2640. Reply Box ES-2, The 
Educational Screen, 64 East Lake Street, Chicago 1, Elinois. 



94 



Educational Screen 



AOID-VISMl^aiADE RE VI 



4I1 ll ll l-fT 



-ffftffgg- 



ANFA Members Discuss Film Industry Relations 



Full cooperation between 16 and 
J5mni film interests in meeting the 
rapidly-expanding needs of the movie- 
minded public was urged at a meeting 
in New York City of the Allied Non- 
Theatrical Film Association, at which 
leaders in the manufacturing, distribut- 
ing and library branches of the indus- 
try took part in discussing the subject 
"What's Ahead for 16mm In 1948?" 

"The most important problem in 
the relations of 16 and 3Smm films 
today," said William F. Kruse, Presi- 
dent of ANFA and Vice-President of 
United World Films, "is how more 
films of all sizes may be made avail- 
able to more people. We are all part 
of the same industry, — an industry 
which has realized only a fraction of 
its potential capacity. There are un- 
doubtedly some malpractices which 
must be corrected, and a general code 
of ethics for the 16mm industry is 
in preparation. The question of the size 
of the film, however, must not prevent 
the working out of amicable relations 
between all branches of the film in- 
dustry." 

Samuel Goldstein, President of Com- 
monwealth Pictures, and head of the 
ANFA Distributors' Division, de- 
scribed 16mm as an integral part of 
the film industry, "not a by-product 
or a sub-standard adjunct of 35mm." 
However, he said no one had yet 
successfully defined the distinction 
between the terms "theatrical" and 
"non-theatrical." He also claimed the 
demarcation was growing less clear as 
. the major producing companies en- 
larged their 16mm divisions. 

Tom Brandon of Brandon Films, 
speaking for the ANF.\ Library Di- 
vision, said that film libraries were 
the first to feel the cfifect of consumer 
complaints and needs. In entering the 
new year, he said, the film libraries 
should join with other branches of 
the industry to find new markets for 
this "the most mobile, portable and 
effective of mediums for education. 
.America is the most 'organized' coun- 
try in the world: these different orga- 
nized groups provide us with an almost 
unlimited potential market, which we 
must exploit. A film library must be 
prepared to serve every group in the 
community." 

He also called for continual vigil- 
ance on the part of the entire film 
industry against restrictive regulations 



and censorship which would strangle 
its growth, and called lor joint con- 
sideration by both theater owners and 
16mm interests in those instances 
where competitive conflict or other 
abuses by either appeared. 

William K. Hedwig, of Nu-Art 
Films, pleaded for a more formalized 
code of ethical practices in the industry. 
He- emphasized the goal of quality in 
both product and performance, at the 
same time affirming that there is room 
in the industry for all who want to 
enter it. 

This thought was seconded by 
Robert Maroney, head of the foreign 
16nim distribution division of R.K.O. 
Pictures, who said the major film com- 
panies were "selling entertainment, not 
the size of a particular film" and that 
"cooperation between us is both nec- 
essary and possible." 

Friendly Team of Competitors 
Aid Community Fund Drive 

Watching Bill DeVry, president of 
DeVry Corporation, and Harry Mon- 
son, vice president and sales director 
of Ampro Corporation, work together 




Bill DeVry and Harry Monson 

in friendly harmony to aid Chicago's 
Community Fund Drive, you wouldn't 
suspect that they are competitive 
manufacturers of cine equipment. They 
are shown congratulating each other 
as they received red-feathered "Oscars" 
for going over their quotas in this 
charitable drive. Bill DeVry was chair- 
man of the Professional Group and 
Harry Monson headed the Photo- 
graphic Industry Group of Chicago. 

Whether it's working together for 
a philanthropic cause, or playing to- 
gether in pursuit of a golf ball (which 
they've often don-e). Bill and Harry 
exemplify the friendly feeling that 
can exist among competing firms. 



ROBERT E. SCHREIBER, Editor 

Supervisor of Teaching Aids 

Mishawaka (Indiana) Public Schools 



Paul Wagner to 

Bell & Howell Company 

Appointment of Paul A. Wagner as 
Sales Manager of the Education Di- 
vision is announced by the Bell & 
Howell Company, precision motion 
picture equipment manufacturers. 




Paul A. Wagner 

Mr. Wagner began his career in the 
motion picture industry while he was 
still a student at the University of 
Chicago, where he used a Filmo camera 
to make campus newsreels of student 
activities. After receiving his Bachelor 
of Arts degree from the University of 
Chicago in 1937, Wagner was a Carne- 
gie Fellow at Yale University, receiv- 
ing his master's degree in 1940. He 
worked with the Universal News Reel 
Company and also made experimental 
education films at the University of 
Chicago, previous to a five-year period 
of service with the United States Navy. 
He was the Navy Department's first 
Audio-visual Aids Officer, and later 
served as educational advisor at the 
Naval War College. 

In his new position, Mr. Wagner 
will supervise sales of Bell & Howell 
products to educational institutions, 
under the direction of Mr. W. A. Moen, 
General Sales Manager, and Mr. J. H. 
Booth, merchandising vice-president. 



February, 1948 



95 



^Tv^r 




50th. ,j^n^i^im^€H^ 

64 PAGE PHOTOGRAPHIC 
EQUIPMENT 

_ CATALOG 



The most complete caialog ever published by the 
manufacturers of the famous SOLAR Enlargers, 
B&J Speed Press Cameras, GROVER and B&J 
View Cameras. Fully Illustrates and describes 
hundreds of Items every photographer needs. 
Nineteen full pages of lenses of every make and 
description from one-half inch to 80-Inch focal 
lengihs. Cine, commercial, portrait and process. 
The most complete lens slock available! Every- 
thing photographic from America's leading 
photographic manufacturer and supply house. 
Write today for this valuable Free Book. 

BURKE & JAMES, Inc. 

Manufacturers for Fifty Years 
Dept. ES.2. 321 S. Wabash Ave.. Chicaflo 4, U.S.A. 



II 



' Catalog of 

AIDS TO VISUAL EDUCATION 

Vpluable information on latest film 

strips, 2" X 2" slides, and projectors 

of all types for use in visual instruction. 

Send for your free copy TODAYI 



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New York 23 N Y 



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Healy Percolates to 
Coffey Grounds at EB 

Laurin H. Healy has been appointed 
director of Public Relations and Ad- 
vertising for Encyclopaedia Britannica 
Films, it was announced recently by 
C. Scott Fletcher, president of the 
educational motion picture producing 
company. 

Healy succeeds Jack C. Coflfey, who 
left his position as advertising and 
promotion director of, EB Films on 
January 1 and is opening his own 
national distribution company for 
visual training materials for business 
purposes. Miss Margot Marten- 
Hughes, editor of the EB Films News, 
will continue to edit this magazine and 
will serve as assistant to Healy. 

Joining the Encyclopaedia Britan- 
nica in December, 1945, after nearly 
four years in the U.S. Naval Reserve, 
Healy was named public relations 
director of Encyclopaedia Britannica 
Films in January, 1947. With the new 
appointment, Fletcher said, the films 
company's public relations and adver- 
tising departments are being combined 
into one department. 

Coffey's Cup 

Jack C. Coffey has announced the 
formation of the Jack C. Cofley Com- 
pany effective January 1, 1948, as 
national distributors of visual training 
aids for business purposes, with head- 
quarters in Chicago. 

Coflfey will serve as exclusive dis- 
tributor in the United States and Can- 
ada for the Jam Handy Organization's 
packaged sales training sound motion 
pictures and sound slidefilms. He will 
also distribute sound slidefilm projec- 
tors and screens and 16mm sound 
motion picture projectors to concerns 
using visual training aids in connection 
with this visual training material from 
offices at 20 North Wacker Drive, 
Chicago, Chicago Civic Opera Building. 

Coflfey has had a distinguished career 
in visual education work before orga- 
nizing his own business. He is resign- 
ing as director of advertising and 
promotion of Encyclopaedia Britan- 
nica Films, world's largest producer 
of classroom sound motion pictures, 
after serving in that capacity since 
January, 1944. Before then, for eight 
years, he was an account executive 
with the Jam Handy Organization, 
and prior to that was in sales promo- 
tion, advertising and sales training 
work with the Frigidaire Division of 
(General Motors in Dayton, Ohio. 

The Jack C. Coffey Company plans 
to establish a national distributing 
organization with representatives in the 
metropolitan areas of the country early 
in 1948 and others being added later. 
While it will specialize in Jam Handy 
films and slidefilms, it will add other 
lines of visual training 'materials for 
business purposes. 



Speler to Film Guild 

Film Guild of America, Inc., has 
announced the appointment of Mr. 
Roy M. Speier to serve as its district 
sales representative for greater St. 
Louis and surrounding areas. Mr. 
Speier has been a resident of St. Louis 
for the past 30 years and is the former 
owner and operator of Roy's Photo 
Laboratory of that city. 

Film Guild, with offices in Chicago, 
is the exclusive Midwest distributor 
of Ofificial Films and Soundies pictures. 
Prints of pictures included in these 
two lines are stocked in all sizes in 
Film Guild's Chicago headquarters, 
and are sold direct to camera shops, 
camera departments of large retail 
organizations, and dealers in photo- 
graphic equipment and supplies 



Equipment 



Sonomaster from Victor 

A completely new dual-speed record 
player, the Sonomaster, which is de- 
scribed as the ultimate in record- 
playing equipment for the institutional 
market, has just been announced by 
the Victor Animatograph Corporation, 
Davenport, Iowa. The Sonomaster is 
being manufactured by the Sandwick- 
Bowen Corporation and will be mar- 
keted exclusively by the world-wide 
distributor and dealer organization of 
the Victor Corporation, a Division of 
Curtiss-Wright Corporation. 

Technically, the Sonomaster features 
the new GE variable reluctance high- 
fidelity (magnetic) pickup which is 
wholly unaffected by changes in tem- 
perature and humidity. It is equipped 
with a natural sapphire stylus which 
is soft-spring mounted and operates 
with only one-once pressure. Unlike 
other pickups which respond to vibra- 
tions in all directions, this pickup is 
notable for its clean response. 




96 



The Sonomaster 

Educafional Screen 



The Sonomaster is a completely 
self-contained instrument with its own 
powerful amplifier and speaker. The 
amplifier is a four-stage, six-tube unit 
including rectifier. Power output is 
14 watts and the amplifier has separate 
channels for microphone and phono- 
graph, since in addition to its fine 
record-playing qualities, the Sonomas- 
ter is also an efficient public address 
system. 

A 10-inch heavy duty permanent 
magnet dynamic speaker (25 watt 
capacity) with remarkable fidelity of 
performance on both speech and music 
at all volume settings has been express- 
ly designed for the Sonomaster. The 
new instrument operates on 50 cycle, 
110-120-130 volt AC. The export model 
is identical except that its operation 
is from 50-60 cycle, 220-230-240 volt 
alternating current sources for which 
a voltage selector is provided at no 
additional cost. 

Considering the incorporation of so 
many quality features, the Sonomaster 
has a high degree of portability, weigh- 
ing but 40 pounds. The outside di- 
mensions of its beautifully finished 
case are 22}^" long, \6'/z" wide and 
11" high. 

Revere Markets New 
16mm Camera 

With this new 16mm Magazine 
Load Camera, Revere Camera Com- 
pany made their entry in the 16mm 
motion picture field before 200 guests 
at the Stevens Hotel in Chicago. 
Introduced to the Midwest photo- 
graphic trade, along with the new 
Revere "16" Sound Projector, the 




New Revere Camera 

camera embodies many advanced fea- 
tures, including a built-in micromatic 
telescopic view finder. 

Twin-Speaker Unit for 
Kodascope FS-IO-N 

A Twin-Speaker Unit, offering 
greater sound volume and definite 
gains in tonal quality, is available now. 
in strictly limited quantities, as stand- 
ard equipment with Sound Kodascope 
FS-IO-N Projectors. 

The unit consists of two twelve-inch 
speakers built into the halves of a con- 
venient carrying case that can be set 
up in several ways — joined or separated 
— to make possible optimum sound 
coverage in any auditorium. Set side 

February, 1948 




Twin-Speaker Unit 

by side, placed at an angle to cover 
the audience, or located at opposite 
sides of the auditorium stage or plat- 
form and connected by an accessory 
cord, the twin speakers offer a flex- 
ilile means of adju.sting sound to the 
arrangement of the seats and the size 
and shape of the auditorium. Since 



the speakers utilize the full output of 
the amplifier, there's greater sound 
volume when it's needed. 

The Sound Kodascope FS-IO-N pro- 
jector will be available with either the 
single speaker or with the twin speak- 
ers. 

Radiant Screens Join the 
"Service" at Home 
And Abroad 

The popular 52" X 70" Portable Tri- 
pod Projection Screen designed by 
Radiant Manufacturing Corp. will play 
an imi ortant role in showing educa- 
tional and recreational films to our 
Military Personnel in Germany, Korea, 
Japan and China. Radiant has just 
received a new order for over 3000 of 
these Projection Screens, the first to be 
built in accordance with new combined 




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t 
I 




97 



k CIMI nCTURE 




OF ITIt. ..HTIlit 



?« 



The 

UNITED NATIONS 

FILM BOARD APPROVES 
AND RECOMMENDS: 

PATTElliV 
FOR PEACE 



j> 



(THE CHARTER OF THE UNITED NATIONS) 




At last here is the film for which eveiy- 
one has been asking and waiting. It is an 
explanation of the functions of the United 
Nations. It shows, with animation and 
a very clear commentary, how the or- 
ganization is set up and what the purpose 
of each department is. It describes the 
necessity for each council, who its mem- 
bers are. It explains the veto. It is a 
complete guide to the U.N., an educa- 
tional illustrated lecture on a topic which 
is uppermost in everyone's mind today. 

r6mm b/w sound, 2 red, rental 
$2-50 single day. Sale $44.00 list. 

(luued br the British Office of Informitlon) 

Officio/ Distributors in 
the United States 



FILMS OF THE 

► NATIONS, Inc. 

(A non-profir membership organitotignj 



55 WEST 45th STREET 
NEW YORK 19, N. Y. 



Ask your dealer or write us for neareit addreil 
where rllm is •vallabte. 



Write for your complimentary copy of our Rental 
CataloiE or Sales releases of films on foreign 
nations and the United Nations OrKanization. 



Army-Navy rigid standards of specifi- 
cations. In addition. Radiant Manu- 
facturing Corp. is now filling an order 
for 3000 of their Fold-Pak, portable 
fold'ng screens, to he used by the 
National Guard here at home. 

The Harris Electrotone 

I'lie Harris Manufacturing Company. 
I OS Angeles, California, offers a full 
line of radio-phonograph combinations 
and transcription playback instruments. 




The Electrotone, Model D 

Among the models available are the 
Klectrotone Supreme, Model 4000, an 
automatic radio-phonograph for world- 
wide use on 110-220 volts of either 
AC or DC current; the Electrotone 
Model 3000, and automatic radio-phono- 
graph combination; the Electrotone 
Custom Built, Model 200A, a deluxe 
automatic phonograph; the Electrotone 
Model 60, also an automatic electric 
phonograph; the Portophone, Model 
20, available with electric or spring 
motor. Also available are the follow- 
ing transcription playback instruments: 
Model 100, Model D, Model SO; Models 
D and 50 are transcription playback 
instruments with removable 12" 
speakers. 

For further information, write to the 
Harris Manufacturing Co., 2422 W. 
7th St., Los Angeles, California. 

New Fllmo Auto-8 Camera 

Offering many features never before 
built into any 8mm camera, the Filmo 
Auto-S magazine loading 8mm movie 
camera is announced by the Bell & 
Howell Company, Chicago. 

Some of the outstanding innovations 
incorporated in B&H's newest Filmo 
•are the following: (1.) Tu'O-Lens Tur- 
ret — includes the Filmocoted J/<" f/1.9 
and IJ^" f/3.5 focusing mount lenses 
which are interchangeable with other 
special purpose lenses; (2.) Lens-Seat- 
ing Arrangement— -a. feature which per- 
mits the operator to screw the lens 
firmly into the turret and then adjust 
the graduation marks to the most con- 
venient position for his individual read- 
ing ; (3.) Maga.zine Loading and Ejec- 



tor System — loading and unloading the 
Auto-8 is said to be fast and exact, 
and B&H states further that in the 
interlock between ejector and film foot- 
age dial lies a new "mistake proof" 
feature — the ejector button will not dis- 
lodge the magazine unless and until 
the footage dial is reset. The operator 
can't forget to reset the dial; (4.) 
Audible and Visible Footage Indica- 
tors — The Filmo Auto-8 has a nine- 
foot film run per winding; (5) Oper- 
ating Speeds — There are five opera- 
ting speeds (16, 24, 32, 48, and 64 
frames per second), a single-picture 
release, and a continuous operation 
lock that allows the movie maker to 
get into the picture himself. 

Adjustable Sheet Film Tank 

Announcement of the FEDCO DeLuxe 
Adjustable Sheet Film Tank, has been 
made by Fedco Products, 37 Murray 
Street, New York City. The new tank 
with the familiar red top accepts all 
sheet film sizes from 23/2 "x354" to 4"x 
S", either cut film or pack. It is quite 
similar to conventional roll film tanks in 
its operation. It has a reel which is 
loaded from one end, using a specially 
designed fool-proof feeder to insure get- 
ting one film in each slot. Another 
feature of the tank is its compactness, 
thus permitting the use of only 45 
ounces of solution. 




New Film Tank 

The new tank measures only Sj^'x 
6'A" by SVz" high. It is made of acid- 
resistant bake lite, thoroughly light- 
trapped, and the central well is so de- 
signed that a stem-type thermometer may 
be inserted directly into the solution. 

De Mornay-Budd Flashing Unit 

.A new Flashing Unit has recently 
been announced by De Mornay-Budd., 
Inc., 475 Grand Concourse, New York 
51, N. Y. 

The unit is intended to be used on cam- 
eras using the new "synchro-shutters" I 
with which many of the recent models a 
are being fitted. It is available with 
a suitable rubber-covered cord and 
"jack-plug" which fits the outlets on 
Ilex, Kodak and Rapax (WoUensak) 
shutters. 

An interesting feature of the Flashing 
Unit lies in the fact that, at any future 
time, it may be converted into a Press 
Synchronizer by the addition of the 
solenoid unit. Multiple extension out- 
lets and a Kalart Focuspot outlet are 
provided. 



n 



98 



Educafional Screen 



Slidefilms 
and Slides 



m POPULAR SCIENCE PUBLISH- 
ING CO., 353 Fourth Ave., New York 
10, has released a new color Teach-O- 
Filmstrip series and a new slide set: 
Primary Arithmetic (6 color film- 
strips) — a filmstrip presentation of 
numbers and their use, based upon con- 



How many children are iti lhe»bus 

going {to the school picnic? How 

many twos are there 'in 16? 



"The Twos in Division" 

Crete experiences of scliool children in 
grades one, two and three. The six 
strips are titled: What Numbers Mean. 
Zero a Place Holder, A Number Family 
in Addition, Compound Subtraction, The 
Threes, The Tivos in Division, 

Primary Arithmetic (50 Kodachrome 
slides) — a slide set covering much the 
same subject area as the filmstrips. 
Like the filmstrip series, the slide set 
combines illustrative and animated 
drawings, photographs and charts. 
Both slides and strips were edited by 
Dr. Foster Grossnickle, authority in 
the field of primary arithmetic. 

■ JAM HANDY ORGANIZATION, 

2821 E. Grand Blvd., Detroit 11, Mich., 
offers the following new slidefilms: 

Heat (11 slidefilms) — the newest 
addition to Jam Randy's "Air Age 
Physics" teaching slidefilm series. Sub- 
jects included in the new group are: 
\. Temperature. 2. Heat Expansion. 
,3. Gas Expansion. 4. Measurement of 
Heat. 5. Fusion. 6. Vaporization 
7. Refrigeration. 8. Humidity. 9. Heat 
Transfer. 10. Putting Heat to Work. 
11. Internal Comljustion Engines. 

Technical Lettering — A Unit of 
Drafting (5 slidefilms) — the following 



.0 0® 

YYY 


O ® ® 

7 ZZ 




:x y X 


K KK 


O ( 


5 ® 


4^ 


14 


6. Which of these letters and numerals are 
correctly made? Point out errors in the 

others. 



"Technical Lettering" 
February. 1948 



teaching subjects are presented: 1. 
Single-Stroke Gothic — Introduction. 2. 
Vertical Capitals IHT LEF AVW 
3. Vertical Capitals MN YZXK4 
OQCG. 4. Vertical Capitals 069 DUJ 
PRB 5. Vertical Capitals 725& and 
Spacing, 

■ SOCIETY FOR VISUAL EDU- 
CATION, INC., 100 East Ohio St., 
Chicago, has recently added to its 
Industrial Geography series two. new 
filmstrips based on the cotton industry 
and produced with the cooperation of 
the National Cotton Council of Amer- 
ica, Memphis, Tennessee. 

Cotton— From Field to Mill (31 

frames, b & w, teacher's manual) — 
showing some of the important steps 



in the cultivation of cotton from the 
time the seed is planted until the bales 
arrive at the mill. 

Cotton — From Mill to Finished 
Product (27 frames, b & w, teacher's 
manual) — picturing the processes and 
procedures involved in transforming 
the raw cotton into finished products. 

Another new addition to the SVE 
Picturol (filmstrip) Library is a paleon- 
tology filmstrip: 

Dinosaurs (34 frames, b & w, teach- 
er's manual) — introducing the student 
to some of the strangest creatures 
ever to inhabit the earth. The manual 
and dinosaur reproductions pictured 
were prepared under the direction of 
Professor J. Willis Stovall, Director 
of the Museum of the University of 
Oklahoma, Norman, Oklahoma. 



Coronet 



INSTRUCTIONAL FILMS 



5 New Basic 
Teaching Films 



NATURAL SCIENCE 




Mammals of the Countryside 



BUSINESS EDUCATION 



Each of these new 16 mm. sound- 
motion films is one reel in length, 
and may be purchased in full color 
for $90, or in black and white for 
only $45. They are also available 
at nominal rates through leading 
film-lending libraries. 



Ready to Type 

SOCIAL STUDIES 




Building Typing Skill 





Powers of Congress 



We'll be glad to send you a 
complete catalog, or further 
information on Purchase, lease- 
Purchase, or Rental Sources. 



Jack's Visit to Cosia Rica 



Coronet 



INSTRUCTIONAL 
FILMS 



CORONET BUILDING . CHICAGO 1,ILllNOIS 



vt 



s 



ELECTED FILMS 

(or All Your Needs! 

Largest tibrcry of 

FREE (Sponsored) FILMS 

many in color 
Over 500 of the best 

EDUCATIONAL FILMS 

for classroom use 
High grade 

ENTERTAINMENT FILMS 

i for all ages and all types 

of groups 

• 

The best films for use in 

DISCUSSION and INFORMAL 

EDUCATION 

• 

Also: Travelogues, Sports and 
Recreation, Music, Social Sci- 
ence, and many others. 

• 

IF rite for New Classified 

Film n-f Tnday! 

ASSOCIATION FILMS 



lY M. C, A. MOTION PICTURE BUREAU) 



i 



WW YORK 17 

rHiar.o i 

Uj WM Si, 




SJN FBANCISCO 2 

35! Turk It. 

DALUS 4 

3DII Mapt« AvMM* 



AUtYOin'osTun 



on the Best 16mm 
SHORT SUBJECTS? 

Educational. . . Eatertaiaiugl 

II SPORTS 
SUBJECTS 

SWIMMIMO IN COLOR 

2 tubiectt In mognificent color, full of 
action, groce, and rhythm. One reel eoch. 
PARADE OF AQUATIC CHAMPIONS 
NATIONAL DIVING CHAMPIONS 

WHeSTUNG 

A series of 9 subjects, pocked with ex- 
citement for young and old alike. Skill 
ond prowess, with a liberal dash of 
muscular fun. First two listed ore 2 reels, 
others one reel. 

WRESTLING FOLLIES 

INTERNATIONAL HEAVYWEIGHT 
WRESTLING CHAMPIONSHIP 

WORLD'S CHAMPION WOMEN'S 
WRESTLING CONTEST 

CRIPS AND GROANS 

TWIN TORNADOES 

GIANTS OF THE MAT 

MADCAP MELEE 

MODERN GLADIATORS 

THROUGH THE ROPES 



>0S] 



Available at leatllng film Libraries. 
Write for FREE cotafog to Dept. 10. 



POST PICTURESCORP. 

1 15 W.45fh St., New York 19, N. Y. 



■ PHOTO AND SOUND PRODUC- 
TIONS, 116 Natoma St., San Fran- 
ci.sco 5, Calif., has produced a new 
filmstrip series: 

A Study of Fractions (11 filmstrips) 
— an integrated visual and test program 
consisting of tine following filmstrips; 
1. Units and Fractional Parts. 2. Mul- 
tiple Fractions — Numerator and De- 
nominator. 3. Comparing Fractions — 
Adding and Subtracting. 4. Multiple 
F"ractions — Improper Fractions. 5. Im- 



proper Fractions (cont.) — Mixed Num- 
bers. 6. Reducing and Changing 
Fractions. 7a. Changing Fractions to 
a Common Denominator. 7b. Chang- 
ing Fractions to a Common Denom- 
inator. 8. Multiplying Fractions. 9. 
Dividing Fractions. 10. Reciprocals — 
The Rule of Division. The filmstrips 
are by O. W. McGuire and are ac- 
companied by student's test sheets, a 
teacher's guide, and keys for quick 
correction of the test sheets. 



Current Film News 



TFC Renewal Fees Revised 

According to a decision reached by 
the Trustees of Teaching Film Cus- 
todians, schools and liliraries may now 
Hcense black and white films for the 
life of the print up to ten years. The 
new license defines ten years as the 
maximum period of usefulness and 
all prints must be returned at the 
end of the ten-year period if they 
have not become unusable before that 
time. 

This new arrangement is offered 
as optional to film libraries and schools 
which desire to take advantage of it. 
The plan which has been in effect 
for the past eight years provides that 
films may be licensed for one, two, 
or three years, and the license re- 
newed annually for the fourth and 
subsequent years for $5.00 per reel 
for black and white subjects. Schools 
desiring to continue on this basis 
may do so. 

This new optional price schedule 
means that films licensed for three 
years at $30.00 per reel may now be 
licensed for ten years at $40.00 per 
reel. Libraries eligible for the dis- 
count price of $25.00 per reel for 
three years will pay $35.00 per reel 
for ten years. 



"PUPPY TROUBLE" 

The First of the series, TRAINING 
YOU TO TRAIN YOUR DOG. Three 
14mm Sound Films in Color or Black- 
and-White. 




Demonstrating 
the Puppy's 
First Lesson In 
House Manners. 



Helen Hayes & Lowell Thomas. Nar- 
rators. Blanche Saunders: Director. 
Louise Branch: Producer S Photogra- 
pher. 

UNITED SPECIALISTS. INC. 

America's foremost producers of 

Dog Films 

PAWLING. NEW YORK 



■ CORONET INSTRUCTIONAL 

FILMS, Coronet Bldg., Chicago 1, 
has completed the following produc- 
tions: 

Powers of Congress (1 reel, color or 
black and white) — a fantasy story de- 
fining and explaining the powers of 
Congress. Mr. Williams drops off to 
sleep for a few minutes to find himself 
confronted with a world in which 
Congress has been suspended and fed- 
eral authority dissolved. When he 
awakes, he has a better understanding 
of his own responsibility in the selec- 
tion of that body. Collaborator: Dr. 
John Day Larkin, Dean of the Division 
of Liberal Studies, Illinois Institute 
of Technology. 

Mammals of the Countryside (1 reel, 
color or black and white) — a represen- 
tative group of mammals that share 
the land with the farmer are studied 
in terms of their habits, habitat, and 
influence upon the farmer's crops. Col- 
laborator: Robert Snedigar, Chicago 
Zoological Park. 

■ UNITED WORLD FILMS, INC„ 

445 Park Ave., New York 22, N. Y., 
presents the following educational film: 
The Story of the Bees (2 reels)— 
the complete life cycle of the bee 
shown in macro-photography, from the 
laying of the egg through the develop- 




"The Story of the Bees" 

ment of the larva and the emerging of 
the mature insect. The film has been 
edited from footage which won first 
prize at the Cannes World Film Fes- 
tival. 



100 



Educational Screen 



■ ENCYCLOPAEDIA BRITAN- 
NICA FILMS, 20 N. Wacker Dr., 
Chicago 6, has completed the fourth 
motion picture in its art series of edu- 
cational films: 

Drawing With Pencil (one reel) — 
This black and white sound film re- 
cords the technique of one of America's 
leading sketchers, Theodore Kautsky, 
in drawing a picture of a 17th-century 
cooper's shop between Gloucester and 
Rockport, Massachusetts. All the im- 
portant steps in pencil sketching are 
included in the film. 

■ FRITH FILMS, Box 565, Holly- 
wood, Calif., announces the following 
16mm sound releases: 

Patty Learns to Stop, Look and 
Listen — a safety film telling the true 
story of Patty Carman, -who ran out 
on a crowded highway and was hit by 
a car. The ambulance took Patty to 
the hospital, where the bones in her 
legs were set and placed in tractiofi. 
Six weeks later with her legs in a 
cast, she was allowed to go home, but 
here too there vrere long weeks in bed. 
Gradually the bones knit, and Patty 
learned to use crutches. Finally, Patty 
was able again to run and play with 
other children — though still limping. 

Our Teacher, Mary Dean — a film on 
teaching, showing the important role 
played by the teacher, the great force 
she wields wherever life places her. 

■ SIMMEL - MESERVEY, INC., 

Beverley Hills, Calif., presents a scien- 
tific field-trip motion picture on Glacier 
National Park under the title: 

Glacier Park Studies (22 minutes, 
color and sound) — produced by Guy 
D. Haselton. Extensive use has been 
made of animation to portray the de- 
velopment of land contours and the 
effect that glaciers have had in creating 
present-day geological formations. 

■ FILM ALLIANCE OF AMER- 
ICA, INC., 1600 Broadway, New York 
19, has released for the British Infor- 
mation Services a new film dealing 
with the world food situation today: 

The World is Rich (43 minutes)— 
succes.sor film to World of Plenty. This 
Paul Rotha production was made with 
the cooperation of Australia, Canada, 
India. Great Britain, the Netherlands, 
Union of South Africa, the U.S.S.R., 
and the U.S.A. The film makes clear 
that the backwardness of many coun- 
tries coupled with floods and droughts 
never allowed enough food to feed all 
the people of the world. The United 
Nations measures formulated in the 
P'ood and Agriculture Organization 
are dramatized, and the plans drawn up 
by the F.A.O. for the permanent im- 
provement of farming throughout the 
world are described. The film will be 
distributed through the facilities of 
Brandon Films, Inc., 1600 Broadway, 
New York, and a nationwide network 
of cooperating film libraries. 

(Continued on page 104) 



Two 



fitmsf^^"' 



-z:;^^'^^^' '"''^' 




CUMBERLAND STORY 

5 Reels — 47 Minutes 

Thii it th* story of new methods which brought 

on old mine up to date. Dealing with the unique problems of 

drilling out under the seo, a mining engineer and the miners 

cooperate in using new techniques and modern machinery for 

the higher production of coal. The Film shows by <lcver photography as well as by 

diagrams each step in the mining of the coal. Rental— $5.00 

COAL CRISIS 

2 Reels — 21 Minutes 
Today Britain can hope to win her economic survival only by a great increase in 
industrial production. Success or failure depends on coal— for most of Britain's power 
comes from the mines. The film explains the current situation and emphasizes the fact 
that on the mining industry rests the enormous responsibility of fighting for the notion's 
survival. Available through the courtesy of the i. Arthur Rank Organisation, Inc. 

Rental -$2.00 
Both these 16 mm sound filmt era available from 



BRITISH INFORMATION SERVICES 



;;;^r^\ offices 

^^-^\ 30 Rockefeller Plozo.New York 20. N. Y. 360 Morlh Miihigon »»(., thitojo. III. 

^ \i 310 Soniome St., Son fioniiuo 4, Colli. »0/ ISlh Stceel,N.W.,Woil)rn9ton 5,0.C. 

, "'\ JJ AND l=ROM BRITISH CONSULATES AT 

"iMt"^ ^y^ Atlanta • Boston • Detroit • Houston • Los Angeles • Seattle 



February, 1948 



101 



Trade Directory 
For the Audio-Visual Field 



p? 

bd 



FILMS 



W. J. Aliern, Film Bookings 

126 Lexington Ave., New York 16. 

716 Federal St., Troy, N. Y. 
Association Films 

347 Madison Ave., New York 17. N. Y. 

19 S. La Salle St., Chicago 3, 111. 

351 Turk St.. San Francisco 2, Cal. 

1700 Patterson Ave., Dallas 1, Tex. 

322S Ku-lid ^ve., Cleveland 15, Ohio 
Bray Studios, Inc. 

ViH Seventh Ave., New York 19, N. Y. 
Castle Films, DIv. of Inited World 
Films, Inc. 

445 Park Ave., New York 22. N. Y. 
t'atiiolic Movies 

220 W. 42nd St., New York 18, N. Y. 
Church Film Service 

2595 Manderson St., Omaha 11, Neb. 
Collins Motion Picture Service 

502 'A & 506 St. Paul St., Baltimore 2, Md. 

4 Race St., Cambridge, iMd. 
Coronet Instmctionni Films 

Coronet Bldg., Chicago 1, 111. 
Dudley Pictures Corp. 

9908 Santa Monica Blvd., Beverlv 
Hills, Cal. 

501 Madison Ave., New York, N. Y. 
Rastmnn Kodak Stores, Inc. 

356 Madison Ave., New York 17, N. Y. 
Film Proft-rum Services 

1173 Avenue of the Americas, N. Y. C. 
Films, Inc. 

330 W. 42nd St., New York 18, N, Y. 

64 E. Lake St., Chicago, 111. 

611 N. Tillamook St., Portland, Ore. 

109 N. Akard St., Dallas 1, Tex. 

101 Marietta St., Atlanta 3, Ga. 

1709 W. 8th St., Los Angeles 14, Cal. 

68 Post St., San Francisco, Cal. 
Films of the Nations, Inc. 

55 W. 45th St., New York 19, N. Y. 
Fryan Film Service 

Film Building, Cleveland, Ohio 
Gallagrher Film Service 

113 S. Washington, Green Bay, Wis. 

639 N. 7th St., Milwaukee 3, Wis. 
General Films, Ltd. 

1534 13th Ave., Reglna, Sask. 

156 King St., W. Toronto, Ont. 
General Pictures Productions 

621 Sixth Ave., Des Moines 9, la. 
Heldenknmp Nntnre Pictures 

538 Glen Arden Dr., Pittsburgh 8, Pa. 
HolTberK Productions, Inc. 

620 Ninth Ave., New York 18, N. Y 
Instltntlonni Cinema Service, Inc. 

1560 Broadway, New York 19, N. Y. 
international Film Iturenu 

84 E. Randolph St., Chicago I, 111. 
Knowled.'re Builders 

625 Madison Ave., New Y'ork 22, N. Y. 
Knns Motion Picture Service 

1319 Vine St., Philadelphia 7, Pa. 

432 N. Calvert St., Baltimore 2, Md 

1905 Sanderson Ave., Scranton, Pa. 
Library Films, Inc. 

25 W. 45th St., New Y'ork 19. N. Y. 
March of Time Forum ISditfon 

369 Lexington Ave., New York 17, N.Y. 
Moi^nirs, Inc. 

68 W. 48th St., New York 19, N. Y. 
Nn-Art Films, Inc. 

145 W. 45th St., New York 19, N. Y. 
Ofllcial Films, Inc. 

25 W. 45th St., New York 19, N. Y. 
Peak Films Productions 

65 Barons Keep, London, W-14, Eng. 
Portnfllins 

1520 N.LaBrea Ave., Los Angeles 28, Cal. 



The Princeton Film Center 

55 Mountain \ve.. Princeton, N. .1. 
Religious Film Service 

5121 W. Devon Ave., Chicago 30, 111. 
SImmel-Meservey, Inc. 

321 S. Beverly l>r,, lleverly Hills, Cal. 
Southern Visual Films 

686-9 Shrine Pldc "omiih'« 1, Tenn. 
Vocational Guidance Films, Inc. 

2718 Beaver Ave., Des .Moines, la. 
Wiliinnis. Broivn and Karle, Inc. 

91S Chestnut St., Philadelphia 7. Pa. 
Art Zeiller A^isunl Kducntion Service 

157 Washington St., Newark 2. N. ,T. 



MOTION PICTURE 
PROJECTORS AND SUPPLIES 



Hell & Howell Co. 

7117 McCornii'k Road, Chicago 45, 111. 
Calhoun Compnnv 

101 Marietta St., N.W., Atlanta 3, Ga. 

11101^ Tavlor St., Columbia 6, S. C. 
Carroll W. Rice Co. 

Audio Vi.sual Center, 

424 40th St., Oakland 9, Cal. 
Collins Motion Picture Service 

502>4&5n6St.PauISt., Baltimore 2, Md. 

4 Race St.. Cambridge, Md. 
Comprehensive Service Corporation 

245 W. 55th St., New York 19, N. Y. 
DeVry Corporation , 

1111 Armitafe Ave., Chicago 14, 111. 
Eastman Kodak Stores, Inc. 

356 JTadison Ave., New York 17, N. Y. 
Gnllnp-her Film Service 

113 S. Washington, Green Bav, Wis. 

639 N. 7th St., Milwaukee, Wis. 
General Films. Ltd. 

1534 13th Ave., Regina, Sask. 

156 King St.. W. Toronto, Ont. 
General Pictures Productions 

621 Sixth Ave., Des Moines 9, la. 
Hirsch & Knye 

239 Grant Ave., San Francisco 8, Cal 
Knns Motion Picture Service 

1319 Vine St.. Philadelphia 7, Pa. 

432 N. Calvert St., Baltimore 2, Md. 

1905 Sanderson Ave., Scranton, Pa. 
MofETliirs Inc. 

68 W. 4Sth St.. New York 19, N. Y. 
Xn-Art Films, Inc. 

145 W. 45th St., New York 19, N. Y. 
Raike Company 

829 S. Flower St., Los Angeles 14, Cftl. 
Ryan Visnnl Aids Service 

409 Harrison St., Davenport, la. 
S. O. S. Cinema Supply Corp. 

449 W. 42nd St., New York 18, N. Y. 
Southern Vtsiinl Films 

6S6-9 Shrine Bldg., Memphis 1, Tenn. 
Swank Motion Pictures, Inc. 

614 N. Skinker Blvd., St. Louis 5. Mo. 
Visual Fdiicatlon Incorporated 

12th at Lamar, Austin, Tex. 

2010 N. Field St., Dallas 1, Tex. 

1012 .Tennings Ave.. Ft. Worth 2, Tex. 

3905 S. Main, Houston 4, Tex. 
Williams, Brown and Fnrle, Inc. 

918 Chestnut St., Philadelphia 7, Pa. 
Art Zeiller Visual' Kducatlon Service 

157 AVashinsrton St., Newark 2, N. J. 



SCREENS 



Mognll's Inc. 

«S W. 4Sth St.. New York 19. N. T. 
>n-Art Films, Inc. 

145 W. 45th St., New Y'ork 19, N. Y. 
Radiant Manufacturinj; Corp. 

12'.'. S. Talman Ave., Chicago 8, 111. 
Southern Visual Films 

i;S(i-;i Shrine Bldg., Memphis 1, Tenn. 
Williams, RroTFn and Carle, Inc. 

91S Chestnut St., Philadelphia 7, Pa. 



PICTURES 



Informntlve Classroom Picture Series 

40 Ionia N.W., Grand Rapids 2, Mich. 



SUDEFILMS 



Fryan Film Service 

Film Building, Cleveland, Ohio 
General i'ictures Productions 

r.21 Sixth Ave., Ues Moines 9, la. 
Hirsch & Knye 

239 Sixth Ave., San Francisco 8, Cal. 



Simuiel-Meservej', Inc. 

321 S. Beverly Dr., Beverly Hills, Cal. 
Visual Research Company 

30 N. Dearborn St., Chicago 2, 111 
Williams, Brown and Enrle, Inc. 

918 Chestnut St., Pliiladelphia 7, Pa. 



SLIDES (KODACHROME 2 x 2) 



Hirsch & Kaye 

239 Grant Ave., San Francisco 8, Cal 
Klein & (Goodman, Inc. 

IS S. 10th St., Philadelphia 7, Pa. 
Nu-Art Films, Inc. 

145 W. 45th St., New Y'ork 19, N. Y. 
Visual Researcli Company 

30 N. Dearborn St., Chicago 2, 111. 



SLIDES (31/4x4 and larger) 



Keystone View Co. 

Meadville, Pa. 
Ryan Visual Aids Service 

409 Harrison St., Davenport, la. 
Slldecraft Co. 

257 Audley St.. South Orange, N. .1 



SLIDE, FILMSLIDE and 
OPAQUE PROJECTORS 



Comprehensive Service Corporation 

245 \V. 55th St., New Y'ork 19, N. Y. 
DeVry Corporation 

1111 Armitage Ave., Chicago 14, 111. 
General Films, Ltd. 

1534 13th Ave., Regina, Sask. 

156 King St., W. Toronto, Ont. 
GoidlS Manufacturing Co. 

1220 W. Madison St., Chicago 7, 111. 
Hirsch A Knye 

239 Grant Ave., San Francisco 8. Cal. 
Keystone Vle^v Co. 

Meadville, Pa. 
RaIke Company 

829 S. Flower St., Los Angeles 14, Cal. 
Ryan A'lsual Aids Service 

409 Harrison St., Davenport, la. 
Southern Visual Films 

686-9 Shrine Bldg., Memphis 1, Tenn. 
I'ieivlex, Inc. 

35-01 Queens Blvd., Long Island City 
Visual Research Company 

30 N. Dearborn St., Chicago 2, 111. 
^VIIllams, Brown and Earle, Inc. 

918 Chestnut St.. Philadelphia 7. Pa. 



102 



Educational Screen 



For Further Information 

i 

about the products featured in this issue 
use the convenient 

READER'S SERVICE POSTCARD 



pq 

bd 



// there is any additional information desired on audio-visual 
materials and equipment not given in the editorial content or ad- 
vertising in this issue, simply fill in and mail the Reader's Service 
Postcard. No stamp required. EDUCATIONAL SCREEN'S Service 
Department will assist in obtaining it without cost or obligation 
to you. 



THE BOOK YOU NEED 

The new 23rd edition 



Tells where to get over 
6,600 films 



'MOOD and ONr' 

(1948) 

The Blue Book of Non-Theatrical Films 

The largest, most complete edition of this annual film reference yet 
published — 160 pages of essential information on some 6610 available 
films and their sources, classified under 176 subject-headings, also listed 
alphabetically by title — indispensable to Supervisors, Teachers, Program 
Chairmen, Church Leaders, Directors of Industrial Training, and many 
others. 

Price Only $1.00 
IDEAS 

For 

FILM PROGRAMS 




Classroom Films . . . Adult 
Films . . . Documentary Films 
. . . Fiction Films . . . Safety 
Films . . . Industrial Films 
. . . Church Films . . . Plus a 
Host of Others. 

Simply 

Clip the Coupon 

and a copy of "1000 and ONE" 
will be yours. 



EDUCATIONAL SCRfcEN 
64 East Lake Street 
Chicago I, lllmois 



n Please send me one copy of "1000 and ONE" ($1.00). 

□ Also enter or renew my subscription to EDUCATIONAL SCREEN for 

D One Year $3.00 (Canada $3.50, Foreign $4.00) 

D Two Years $5.00 (Canada $6.00, Foreign $7.00) 

D Ched Enclosed D Send Bill 

Address 



Nan 



City 



State 



February, 1948 



103 



INDEX TO 
ADVERTISERS 

American Optical Co 60 

Ampro Corporation 54 

Association Films 100 

Eausch & Lomb 57 

Beckley-Cardy Co 92 

Bell & Howell 

Inside Back Cover 

Bowmar Co., Stanley 96 

Brandon Films 89 

British Information Services 
101 

Burke & James 96 

Children's Productions 91 

Colburn Laboratory, Geo. W. 
94 

Coronet Instructional Films 99 

DeVry Corporation 97 

Draper Shade Co., Luther O. 83 

Eastin Pictures Co 89 

Encyclopaedia Britannica 

Films 53 

Film Studios of Chicago ... 96 

Films of the Nations 98 

Frith Films 93 

Holmes Projector Co 88 

Institutional Cinema Service. 94 

International Film Bureau . 92 

International Film Founda- 
tion 85 

Johnson Hunt Productions . 90 

Karel Sound Film Library . . 89 

Lewis Film Service 94 

Mahnke Productions, Carl F..86 

Nesbit, Paul 93 

Peak Films Productions ... 94 

Photo and Sound Produc- 
tions 86 

Portafilms 89 

Post Pictures Corp 100 

Radio Corporation of America 61 

Radio-Mat Slide Co 93 

Religious Film Association . 84 

Simmel-Meservey 56 

Slidecraft Co 96 

Society for Visual Education 
Back Cover 

Southern Visual Films 94 

Swank Motion Pictures .... 94 

United Specialists 100 

United World Films 59 

Vacuumate Corp 96 

Victor Animatograph Corp. 
Inside Front Cover, 84 

Viewlex 90 

Visual Sciences 93 



Current Film News 

(Continued from f>age 101) 

■ INTERNATIONAL FILM BU- 
REAU, INC., 84 E. Randolph St., Chi- 
cago, lias opened a New York office at 
IS Park Row, New York 7, with G. M. 
Gate.s in charge, according to an an- 
nouncement by Wesley Greene. President 
of IFB. The office will handle sales of 
International Film Bureau releases in 
New England, Pennsylvania. New York 
and New Jersey, and will maintain a 
specialized rental and preview lihrary. 
Mr. Gates is a graduate of the School 
of Business Administration at Harvard 
University and the producer of a series 
of color slide films. International Film 
Bureau is releasing in the Unite^ States 
a series of kodachrome films for schools, 
including Vegetable Insects, which was 
selected for honorable mention at the 
recent "Films of the World" Festival in 
Chicago. Other releases of the Interna- 
tional Film Bureau are Fur Country, 
Great Lakes, Eskimo Summer, and a 
series of French and Spanish language 
teaching films. 

■ BRITISH INFORMATION 
SERVICES, 30 Rockefeller Plaza. 
New York 20, announces that the fol- 
lowing 16mm film is now available: 

Hausa Village (2 reels) — In ancient 
times, travelers from the Holy City of 
Mecca crossed the vast Sahara Desert 
into northern Nigeria, bringing with 
thein the teachings of Mohammed. 
Today the Hausa people number 10 
million, and all of them are devout 
Mohammedans. In this film, the life 
and customs of a typical Hausa village 
are shown. 

■ NATIONAL FEDERATION OF 
AMERICAN SHIPPING, INC., 1809 
G Street, N.W., Washington 6, D. C, has 
completed a motion picture titled: 

America Sails the Sea (32 min.) — 
telling the story of the American Mer- 
chant Marine and its importance to the 
nation. Its primary purpose is to show 
the importance of shipping to American 
agriculture and industry. The film is 
complete with dramatic characterizations, 
narration, and set to thematic music. It 
will be distributed free. 

■ OHIO STATE UNIVERSITY, 

Bureau of Public Relations, Adminis- 
tration Building, Columbus, Ohio an- 
nounces the release of a new film: 
Footsteps to the Future (27 minutes) 
— a recruiting film, designed to interest 
the high school girl in the study of 
home economics at the university level. 

■ AFFILIATED AETNA LIFE 
COMPANIES, Public Education De- 
partment, Hartford 15, Connecticut, 
offers, without charge, a safety film: 

Live and Let Live — 16nini sound, 
color, 10 minutes' running time — a 
new approach to traffic education, a 
motion picture which pioneers the use 
of three-dimensional, scale-model ani- 
mation to demonstrate ten of the lead- 
ing causes of highway accidents. 



Entertainment 

■ UNITED WORLD FILMS, INC.. 

445 Park Ave., New York 22. announces 
the release of the following recreational 
16mm sound films: 

Brief Encounter (86 minutes) — Noel 
Coward's masterpiece, winner of the 
International Federation of Film Crit- 
ics' award at Cannes as the "best film 
of the year irrespective of nationality.'' 
A chance meeting leads into a thor- 
oughly believable adult love story, 
told in a straightforward way. (Celia 
Johnson, Trevor Howard.) 




"Scarlet Street" 

Scarlet Street (II reels) — story of 
a man driven to the point of murder 
when he is betrayed by a worthless 
woman, with Edward G. Robinson 
and Joan Bennett. Mature audiences. 

Girl on "the Spot (7 reels) — a mur- 
der mystery, complete with Gilbert 
and Sullivan tunes, with Lois Collier, 
Jess Barker. Family. 

Because of Him (9 reels) — a musi- 
cal with Deanna Durbin, Charles 
Laughton, and Helen Broderick. The 
story of a stage-struck waitress. 

■ POST PICTURES CORP., 115 W. 

45th St., New York 19, in accordance 
with its recent announcement of the 
exclusive 16nim distribution rights for 
36 new Monogram Pictures, now offers 
the first six of these 16nim sound fea- 
tures : Daum on the Great Diiide, Isle 
of Missing Men, Ghosts on the Loose, 
The Stranger from Pecos, Rhythm Pa- 
rade, Silent ]]'itness. 

■ LIBRARY FILMS, INC., 25 W. 

45th St., New York 19, offers a delight- 
ful classic in a lOmm sound-on-film 
version: 

Cyrano de Bergerac (one reel) — 
Rostand's romantic story of the swash- 
buckling Cyrano and his notorious 
nose, featuring Walter Hampden. 

■ COMMONWEALTH PICTURES 
CORP., 729 Seventh .Ave., New York 
19, has acquired exclusive 16mm distri- 
bution of the following film: 

I Married a Witch (8 reels) — the 
Rene Clair fantasy in the "Topper" 
tradition presenting a story of witch- 
craft in modern dress and in a modern 
setting. (Frederic March. X'eronica 
Lake, Susan Hayward, Robert Bench- 
ley.) 



104 



Educational Screen 



THE STAFF 

PAUL C. REED— Editor 

JUNE N. SARK— Assistant Editor 

WILLIAM S. HOCKMAN— Editor for the 
Church Field 

ROBERT E. SCHREIBER— Editor for the Com- 
mercial Field 

JOSEPHINE HOFFN/IAN— Business Manager 

PATRICK A. PHILIPPI— Circulation Manager 

DAVID E. CAESAR— Advertising Manager 

JOHN A. BASS ETT— Western Adv. Rep. 
3757 Wilshire Blvd.. Los Angeles, Cal. 

DEPARTMENT EDITORS 

JOHN E. DUGAN _ Jenkintown, Pa. 

L. C. LARSON Bloomington, Ind. 

ETTA SCHNEIDER RESS .J^ew York, N. Y. 

DAVID SCHNEIDER New York, N. Y. 

EDITORIAL ADVISORY BOARD 

WALTER S. BELL, Director of Audio-Visual 
Education, Atlanta Public Schools, Atlanta, 
Georgia 

EDWARD G. BERNARD, Head, Instructional 
Materials Program, Board of Education, 
City of New York 

IRVING C. BOERLIN— Supervisor, Audio-Visual 
Aids, Pennsylvania State College 

JAMES BROWN, Assistant Professor of Edu- 
cation, Syracuse University, Syracuse, New 
York 

EDGAR DALE, Head, Curriculum Division, 
Bureau of Educational Research, Ohio 
State University 

AMO DE BERNARDIS, Supervisor, Audio-Visual 
Education, Public Schools, Portland, Ore. 

ELIZABETH GOLTERMAN, Director, Division 
of Audio-Visual Education, St. Louis Public 
Schools, St. Louis, Missouri 

GARDNER L HART, Director, Audio-Visual 
Education, Oakland Public Schools, Oak- 
land, California 

FRANCIS W. NOEL, Chief, Division of Audio- 
Visual Education, California State Depart- 
ment of Education, Sacramento, Calif. 

F. DEAN McCLUSKY, Lecturer in Education 
and Director of Audio-Visual Education, 
University of California at Los Angeles 

PAUL WENDT, Director of Visual Education 
Service, University of Minnesota 

THURMAN WHITE, Head of Department ot 
Visual Education, University of Oklahoma 

The EDUCATIONAL SCREEN Is published 
monthly except July and August by The Edu- 
cational Screen, Inc. Publication Office, Pontiac, 
Illinois; Executive Office, 64 East Lake St., 
Chicago, Illinois. Printed in the U.S.A. Entered 
October II, 1937, af the Post Office at 
Pontiac, Illinois, as Second Class Matter under 
the act of March 3, 1879. 

Mrs. Nelson L. Greene, Publisher 

Address communications to The Educational 
Screen, 64 East Lake St., Chicago, III. 

SUBSCRIPTION PRICE 

Domestic $3.00 

Canada 3.50 

Foreign 4.00 
Single Copies 35 



Educational 

SCR 




THE MAGAZINE DEVOTED TO AUDIO-VISUAL MATERIALS 
Founded la 1922 by Nelson L. Greene 



Contents for March, 1948 

Page 

As Viewed From Here 

Professional or "Sadge+eer"? ...James W. Brown 114 

Budgeting Visual Instructional Materials Edward G. Bernard 115 

Coordinating the Audio- Visual Program Walter W. Bennett I 16 

A Challenge for Research C. R. Carpenter 119 

A Film Council in Action Rex M. Johnson 122 

The Film and International Understanding John E. Dugan, Editor 

What Can We Do About Stereotypes? Ray O. Wolf 124 

The Church Department William S. Hockman, Editor 127 

Teacher-Committee Evaluation of New Films L. C. Larson, Editor 130 

The Literature in Visual Instruction Etta Schneider Ress, Editor 132 

School-Made Pictures David Schneider, Editor 136 

Audio-Visual Trade Review Robert E. Schrelber, Editor 147 

Current Film News 151 

Trade Directory for the Audio-Visual Field 154 

Index to Advertisers 156 



COVER: A research assistant at the Instructional Film Research Proiect, The Penn- 
sylvania State College. See the article "A Challenge for Research" In 
this issue for an account of the project. Cover photo by courtesy Photo- 
graphic Services, Central Extension, The Pennsylvania State College. 



Volume XXVII 



Number 3, Whole Number 260 




A Clear Mental Image 



with 
Brilliant 



Screen Image 




You are assured of large, sharp, brilliant 
screen images that convey visual impres- 
sions of utmost clarity when you use the 
model LRM Balopticon.* Serving a dual 
purpose, it projects both conventional slides 
and opaque objects, including printed illus- 
trations and text, photographs, and geo- 
logical or botanical specimens. 

Even when projected under illumination 
adequate for notetaking, screen images 
remain clear and brilliant. This is made 
possible by the LRM Balopticon's two fine- 



qunlitv optical systems which yield flatness 
of lield, critical definition, and high light 
transmission. 

Balanced illumination permits switching 
from opaque to slide projection without a 
distracting change in screen brilliance. 
Slides and opaque materials are protected 
from heat damage by a built-in blower 
cooling system. Details available in catalog 
E-11. Bausch & Lomb Optical Co., 688-P 
St. Paul St., Rochester 2, N. Y. 

*Trademark registered V. S. Pat. OJj. 



BAUSCH & LOMB 



OPTICAL COMPANY 




ROCHESTER 2, N. Y. 



108 



Educational Screen 




cGRAW-HILL 

^1. 




McGRAW-HILL TEXT-FILMS have been made with you 
in mind — to help you make your teaching more effective 
through clear, dramatic visualization in subject areas where 
students meet with difficulty. Films and filmstrips used together 
do a competent job of visual instruction — dramatizing, explain- 
ing, and reviewing basic concepts contained in the McGraw-Hill 
textbooks with which they are correlated. These are some of 
the reasons why Text-Films can be counted on to enrich both 
teaching and learning in your classes. 

Text- Films are curriculum-centered — built around four general areas 
— Engineering Drawing, Health Education, and Teacher Education 
for college classes, and Mechancial Drawing for high school classes. 

Text-Films are textbook-correlated. AH four series are directly cor- 
related with selected chapters of four leading textbooks — French's 
ENGINEERING DRAWING; French and Svensen's mechanical draw- 
ing; Diehl's textbook of healthful living; and Schorling's 

STUDENT TEACHING. 

Text-Films are teacher-motivated. A poll of the opinions of teachers 
across the country has indicated just where students experienced 
most difficulty — exactly which aspects of the term's work needed 
most emphasis to ensure maximum retention. Text-Films are in 
answer to their stated preferences. 

Text-Films are technically unsurpassed. Experienced educators have 
carefully checked teaching techniques and classroom activities as they 
appear in the films. In addition, leading film studios have achieved 
clarity in representation and ease of comprehension by employing 
a variety of techniques-in the Drawing Series by animation sequences 
and three-dimensional models which move in space — in the Health 
and Teacher Education Series by using dramatic, episodic treatments 
especially successful in films dealing with human relationships. 

Let us tell you the whole story of these four series of McGraw-Hill Text-Films. 
Fill out the coupon below and return it to us. 



McGRAW-HILL 




McGraw-Hill Book Company 
Text-Film Department 
330 West 42nd Street 
New York 1 8, N. Y. 



Please send me descrip- 
tive literature on the 
Text-Films indicated: 



n Engineering 
Drawing 

D Mechanical 
Drawing 

n Teacher 
Education 

D Health and 
Hygiene 



Name 



Title 



Address 



l| 



G-1 



March, 1948 



.J 

109 



Free 
Teaching 
Aids ■ 



NOW AVAILABLE 
TO SCHOOLS 




"Very Personally 
Yours" Booklet 

An informative booklet 
every teen ajje girl will 
want to read— and know. 
Clear, down - to - earth 
knowledge about men- 
struation . . . tells girls 
what to do and not to 
do. Wonderful aid to 
teachers who are in- 
structing pupils on this 
normal bodily function. 




A 10-minute color 
movie with sound 

A creation of Walt Disney 
Productions, this film gives 
young girls a complete, 
factual understanding of 
theirown physical make up. 
Here is an intelligent pres- 
entation already acclaimed 
by thousands of teachers 
and students. Prints loaned 
on a short-term basis. 




Menstrual 
Physiology Chart 

Instructors find this large 
full-color chart a handy 
guide to use duringlectures. 
Illustrates the menstrual 
process in simple, easy-to- 
follow diagrams. Excellent 
as a supplement for both 
the booklet and the film. 



'nis coupon 

brings you 

all 3 



Educational Department 

International Cellucotton Products Co. 

919 N. Michigan Ave.. Chicago 11, Illinois (ES-38) 

Please send me free, with the compliments of Kotex*, the 
following material : 

D Full details on the movie, "The Story of Menstruation." 
.. Copies of the new booklet, "Very Personally Yours." 
n One full-color, jumbo-size Menstrual Physiology Chart. 

Name 

Titlt or Position 

Address 

City State 

•T. M.Rcj. U. S. Pit. Off. 



Audio-Visual Materials 
Consultation Bureau 

DETROIT'S Wayne University recently an- 
nounced the establishment of an .'\uclio-Vis- 
nal Materials Consultation Hureau. This new unit 
of the Colleg'e of Education ofifers various types 
of consultative assistance to producers and tisers 
of instructional materials. 

Film and record i)roducers can secure such serv- 
ices as curriculum studies indicating- school needs, 
try-out materials in "roujjh-cut" or finished form, 
script criticism, and market analyses. To schools 
and orrjanizational groups, the Bureau offers assist- 
ance in the selection and use of materials and 
equipnient. and in the orji^anization of an audio- 
visual prog-ram. 

The full facilities and staff of the University as 
well as the faculties and students of its cooperating 
laboratory schools provide opportunity for broad 
services of this type. In a large measure, the Bur- 
eau staff acts as a collaljorating and channelling 
agent. Market analyses are worked out in con- 
junction with the School of Business Administra- 
tion. College of Education faculty assist in the 
examination of scripts and prepare curriculum sur- 
veys. 

An example of the cooperative nature of the 
service is presented in a project now being carried 
through for a producer of children's records. Scripts 
which have l)een submitted are being recorded 
imder direction of the staff of the Department of 
Speech. These recordings will then be tried out in 
classrooms in the Detroit area, which offers rural 
school situations as well as those of a large city 
system. Rec(immendations on the basis of these 
try-outs will then be prepared by the Bureau staff. 

Dr. Arthur Stenius, previously in charge of the 
audio-visual program in the Detroit I'ublic Schools, 
has been placed in charge of the Bureau. He re- 
cently rettirned to Detroit after a year's leave of 
absence spent as Educational Director of Teaching 
Films, Inc. 



A JSote from a Reader 

"\ statement in the first paragraph of Mr. Mulligan's 
February article in Eihcational Screen {Sound Pro- 
jectors for the Classroom) gives the impression that the 
June, 1946 ".ABCs" Department found the field largely 
in favor of lightweight equipnient. 80% of those replying 
demanded sufficient volume for auditorium projection in 
such a projector; 50% preferred a weight of 25-50 
pounds ; 30% a weight of 50-75 pounds ; and only 20% 
wanted a projector weighing 25 pounds or less. Those 
answering were in favor two-to-one of two-case outfits 
over one-case outfits. I was disappointed with these re- 
sults at the time, but they were reported in the Screen 
as indicated, and, in the interests of veracity, I do not 
like to see them misconstrued." — R. E. SCHREIBER. 



no 



Educa-Konal Screen 



YOUNG MINDS COME ALIVE.. .AND LEARN 



when you show EB Films! 



4 NEW EBFILMS 




plains the nature, i 
\tre, and cleansing 
tion of soap. Shows how .^^J^ 
soap is made in a laborotory- 
and a commerciat plont. ; 




vorite food gives young- '^ 
\t% on insight into Ameri- *^ 
can industry. Shows ice ^ 
cream made at' home, then ^ 
by factory methods. "^ 




MAKING OlASS 

FOR HOUSES \ 

Shows how sand, limestone, 
and soda ash are obtained 
ond converted into glass, 
both in a loboratory and in 
« modern industrial plant. 



Every EBFilm is part of your school's regular cur- 
riculum . . . yet every EBFilm does a special teaching job: 
making subject matter a vital, absorbing classroom experi- 
ence youngsters can grasp quicker, retain longer. 

Consider AUTUMN ON THE FARM, for example . . . 
bringing ail the brilliant color and busy activity of farm life 
right into your classroom. Or SOAP, GLASS, and ICE CREAM 
. . . portrayed so memorably that even the youngest pupil 
can understand the sociological and economical significance 
of these important products. These are but four additions 
to the world's largest collection of authentic classroom films 
. . . offering over 500 titles, covering more than 50 different 
subject areas. 

Good teachers know they can be sure with 
EBFilms, whatever the subject area . . . because EBFilms are 
produced by educators for the specific use of educators— 
authentic, forceful teaching tools that help you do a better 
teaching job in every department of your school. 



In rich, vibrant co/orf 
AUTUMN ON THE FARM 

A full color film showing all the fun and work 
of farm life in autumn. Third in EBFilms' re- 
markable series of full-color films on country 
life. Be sure to see SPRING ON THE FARM ond 
SUMMER ON THE FARM. And watch for WIN- 
TER ON THE FARM, soon to be released. 





ENCYCLOPAEDIA BRITANNICA FILMS INC. 



WILMETTE, ILLINOIS 



March, 1948 



113 



As Viewed From Here 



James W. Brown 



Professional or ''Gadgeteer"? 



w 



114 



ebster defines a professional as one who engages in an activity professionally, 
rather than amateurishly. He further describes an amateur as one who is not a 
professional and is often a "dabbler" or a dilettante. 

Educators have their own label for the non-professional audio-visual special- 
ist. To them he is simply a "gadgeteer", implying that his responsibilities 
begin and end with film rewinding, with showing someone how to thread a 
projector, or with booking film orders. \^1iether the audio-visual specialist is 
a "professional" can be decided by the extent to which he is creative, exercises 
l)road influence in the educational program, and is guided in his actions by 
careful study and preparation for his work. If his activities cluster at the 
mechanical or routine level, then "professional" is not applicable. 

The time seems ripe to examine carefully the audio-visual specialist's work. 
What does the professional audio-visual specialist do? 

He administers the selection, purchase, processing, distribution, and main- 
tenance of a multitude of audio-visual instructional materials. His books must 
balance, and he must know how and when he is to receive his next fund allot- 
ment. 

He supervises the work of his immediate stafl^ and the use of audio- 
visual instructional materials and equipment in his educational unit. To do so, 
he draws upon a knowledge of instructional materials, methods of instruction, 
and psychology of learning. In working with other people he must learn to 
be sympathetic to points of view other than his own. 

He practices librarianship in locating, organizing, accessioning, classify- 
ing, listing, and maintaining an audio-visual center's collection of instruction- 
al materials and equipment. 

He participates in curriculum building and revision, making contribu- 
tions concerning appropriate uses of audio-visual instructional materials and 
methods in teaching. He has familiarized himself particularly with instruc- 
tional resources of the community and strives to bring about their integra- 
tion with other curricular activities. 

He exercises creative talents in planning and producing photographic, 
graphic, or recorded instructional materials and realia. 

He draws upon technical ability in selecting, testing and maintaining pro- 
jection and reproduction equipment. 

He teaches and organizes in-service or pre-service courses in the methods 
and techniques of audio-visual instruction. 

He writes promotional materials, handbooks, catalogs, and informational 
releases to apprise the school staff and the public generally of the activities of 
his department. 

The exigencies of "getting started", lack of training, or simply failure to ap- 
preciate the true nature of his job cause some audio-visual specialists to spend 
too great a portion of their time on a limited few of these activities. Such re- 
striction, whatever its cause, leads to the label, "gadgeteer". Complete under- 
standing and due consideration to all aspects of his work will earn for the audio- 
visual specialist the right to be titled "professional". 

Educational Screen 







PICTURES, 

CHARTS 





^^C3<^ 



:<^- 



^ 



Budgeting Visual 
Instructional Materials 



ADMINISTRATORS confronted with problems 
of educational budgeting today are in the 
situation of swimmers breasting a tide of in- 
rtation who must swim increasingly faster to stay 
in the same place. Nevertheless it is clear that 
merely to stay in the same place in a world of 
competitive progress is to invite obsolescence and 
ruinous decay. 

Some Vital Questions 

How can needed funds best be justified? How 
can better education through improved learning 
materials be properly advanced in the stern selec- 
tion process of budget approval? These are vital 
questions to all of us concerned with education, 
with its tools and its success. 

All around us is the evidence that on the whole, 
audio-visual learning materials need not fear close 
scrutiny as investments under present fiscal cir- 
cumstances. The most thorough and recent national 
survey of fiscal trends in the field, undertaken by 
the Research Division of NEA in 1946, reports 
that "even though the 1945-46 expenditures were 

March. 1948 



By EDWARD G. BERNARD 

Head, Instructional Materials Program, 
Board of Education, City of New York 

somewhat higher than in other recent years in a 
substantial percent of school systems, the corre- 
sponding outlay in 1946-47 is going to be higher 
still". Why is this so in the face of the financial 
pressure of the most severe teacher's salary crisis 
in recent history? 

Five Factors 

What are the factors which underlie the policy 
decisions in growth situations? Despite the partial 
prunings, postponements and compromises, why 
are the newer learning tools receiving preferred 
rating? The following five factors are among those 
of greatest general importance. 

1. Audio-visual aids and other instructional ma- 
terials are direct investments in learning. Among 
the multitudinous items in modern school budgets, 

(Continued on page 140) 



115 




"The coordinator provides his faculty with an expediter, a 

training-coach and a personalized stimulus at the critical 

instances of their learning-by-doing attempts to use modem 

instructional materials." 



fra 



"High-school pupils who have lived and worried and strug- 
gled with bookings, confirmations, schedules, and corre- 
spondence have themselves experienced real-life leasning." 




Coordinatii 



by WALTER W. BENNETT, 

Charlotte High School, 

Rochester, N. Y. 



EFFECTIVE utilization of audio-visual aids in 
the classroom persists as one of the primary 
obstacles to successful achievement in sen- 
sory-learning today. Since the war, many former 
limitations to the full attainment of ideals in audio- 
visual instruction have materially faded. Our ration- 
alizations by which we used to explain limited prog- 

*ress with this means of instruction have become 
less tenable. Improvements in manufactured equip- 
ment, increased production of instructional materials 
with expansion into more and more subject-matter 
fields and with their design to serve more diversified 

• functions in general education have provided in- 
creased resources for audio-visual instruction. These 
resources have now begun to equal, if not occasion- 
ally to exceed, the needs of the average civilian 
school. No longer can relatively external conditions 
be blamed by educators for mediocre results in 
audio-visual education. Obstacles to the attain- 
ment in public education today of the conspicuous 
successes in the Armed Forces' use of audio-visual 
aids must exist within the schools themselves. 

Hoban^ recounts a parallel experience with utili- 
zation of audio-visual aids in the rapidly developing 
G. I. training ])rogram. In consequence, as soon as 
the need for the integration of audio-visual instruc- 
tion was revealed, coordinators were provided at 
most training centers by the end of 1943. Six 
months after this provision was made, efficiency of 
film use at such centers increased as much as 909^ 
while the number of film prints in use during this 
period decreased 13%. 

Progressive philosophy, modernized methods of 
instruction and special classroom techniques, all of 
which integrate with superior utilization of audio- 
visual materials, are yet too passively accepted and 
applied by teachers. Teachers generally welcome 



^Hoban, C. F. Jr., Moi'ics That Teach, New York, Dryden 
Press, 1946, Chapter 7. 



e Audio- Visual Program 



Spearheading curriculum development; informing teachers casually and continuously of 
new aids; assisting in selection; work with pupils; maintaining liaison with outside agen- 
cies; centralizing traffic in materials, evaluation procedures and teaching techniques; 
pushing physical expansion of the program — by these means can coordination of the 
audio-visual program realistically improve classroom utilization. 



direct assistance with these applications to their 
classes. 

Noel and Leonard- reiterate an inadequately 
appreciated principle of audio-visual instruction 
when they say " — the utilization of audio-visual 
materials calls for more rather than less preparation 
and participation hy the teacher." In these days of 
lowered teacher morale, diminished salaries and ex- 
tended class schedules, teachers avowedly need 
assistance in undertaking "more rather than less." 
Coordination, where it has been realistically at- 



2NoeI, Elizabeth G. and Leonard, J. Paul, Foundations for 
Teacher Education in Audio-Visual Instruction, Washington, 
D. C. American Council on Education, 1947, p. 2. 



tempted in public secondary schools, spectacularly 
repeats the G. I. training experience with this re- 
' organization. Coordination evidently provides the 
needed assistance in utilization of sensory-learning 
materials at the classroom level. 

Coordination of the audio-visual program within 
a single school simply picks up where the traditional 
teacher-training programs end. Short-term, en 
masse training for either in-service or cadet teachers 
by way of institutes, demonstrations and lectures — 
necessary as they are — fall short of providing what 
a school coordinator does for direct teacher-assist- 
ance. The coordinator provides his faculty with 
an expediter, a training-coach and a personalized 
stimulus at the critical instances of their learning- 



"As an avid practitioner in 
his own classes, the coordina- 
tor furnishes a living example 
of the art and skill required in 
using sensory-learning tech- 
niques." 



$ 




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*iW(,« d.i e^r |s.x|k»m HOT constrvt. ^e ««' 
t^y^OM 5<3Hic ^videneti. iwa^n« Sii|-''<\1lii 




by-doing attempts to use modern instructional 
materials. 

The Evolving Pattern for Organizing Coordination 

A school's administrator carefully selects one 
staff member to serve as coordinator of the audio- 
visual program. The designation of other staff 
members as committeemen with the coordinator 
provides a sort of steering committee and ensures 
a breadth of judgment for the program. The ap- 
pointee to coordinatorship must qualify first as a 
good teacher himself and, secondly, as a respected 
colleague of his associates. He must thereafter be 
a sincere enthusiast for the values of sensory learn- 
ing, an organizer, an expediter, a persistent worker 
and, lastly, somewhat of a "gadgeteer" so that he 
may assist with "education by electronics" in the 
use of modern equipment. 

With time release from other duties, the coordi- 
nator begins to serve his colleagues. He organizes 
the services and equipment available within the 
building: he routinizes storage, procurement and 
distribution of instructional matter at the school's 
audio-visual center. Here, at the center, available 
catalogues of pictures, films, slides, and recordings 
are filed : instruction in operatorship for both 
teachers and selected pupils is provided; and inci- 
dental mechanical maintenance and minor repairs 
to equipment are instituted. After these phases of 
coordination are established, the ultimate attack on 
classroom utilization can be made. It is at this final 
stage of developmental operations that the school's 
center begins to render greatest service to the 
audio-visual program and to education. For this, 
the coordinator earns professional status. 

How Coordination Improves Utilization 
A functioning audio-visual center at this level of 
attack enters person-to-person contact with teachers 
and pupils rather than dealing merely with ma- 
terials. By serving simultaneously as a committee- 
man in curriculum developments, the coordinator 
becomes familiar with the study topics in various 
subject fields. He is thus able to spearhead curricu- 
lar revisions with appropriate instructional aids for 
teachers. In casual, pertinent relationships he ac- 
quaints fellow teachers with new materials avail- 
able. He assists them in the selection of well- 
established teaching aids. A more progressive 
phase of this assistance is found in the audio-visual 
center's work with pupils. As pupils are sent to 
the center from various classes to search out and 
obtain a selected list of aids for planning the study 
of a particular topic by their class, the coordinator 
becomes a point of reference and a study guide. 
This assistance by the coordinator offers direct 
contact with the pupil-activity approach in method- 
ology within the classroom and parallels the work 
of the school librarian, who assists pupils upon 
assignment to book references for data to report 
back to the teacher and the class. 

By maintaining active liaison between the school 
and the central-system audio-visual department, 
with commercial and institutional distributors of 
materials, the coordinator is constantly alert to the 



flow of available aids to instruction in various 
subjects. 

By centralizing and routinizing the mere logistics 
of traffic in materials within the building, the co- 
ordinated audio-visual center ensures the use of the 
right aid, at the right time, in the right class, with 
the right equipment. This is a very materialistic 
assistance to the classroom teacher and often con- 
trasts strongly with experience by teachers where 
there is no audio-visual center. 

Through coordinated evaluation, by teachers, of 
aids and techniques as used within a school, two 
more benefits to utilization accrue. Teachers mak- 
ing subsequent inquiries for, and selecting, materials 
find a resource in the evaluation records on file at 
the center. Again, at the time a teacher fills out 
an evaluation form himself, after using an aid, he 
is stimulated to make an analysis of both the ma- 
terial and the educational results of his utilization. 
This self-appraisal is good for any teacher's school. 

As a Colleague Rather Than a Supervisor 

As a consultant to his colleagues while himself 
an avid practitioner in audio-visual techniques in his 
own classes, the coordinator furnishes both profes- 
sional guidance and a living example of the art and 
skill required in using sensory-learning techniques. 
As one of their own, who practices the preachings 
they may have heard, the coordinator becomes a 
much closer counselor to other teachers than is a 
regional or state director, who is farther removed. 

The coordinator who works with a pupil operator 
club and with pupil office clerks taught to handle a 
wealth of detail is also teaching students. High- 
school pupils who have lived and worried and 
struggled with bookings, confirmations, schedules, 
and correspondence have themselves experienced 
real-life learning. Thus freed from much office 
work, the coordinator is able to arrange field-trips 
for other classes, collect and classify flat pictures, 
build up a catalogue library and plan out ways and 
means to obtain equipment for the program. He 
thus can keep his school abreast of mechanical de- 
velopments in the field and plead the over-all pri- 
ority of needs in his building's facilities. This 
latter activity, by centralization, also gains in drive 
and precedence. Thus utilization in a school is 
again extended and facilitated by gradually increased 
facilities. 

Thus, by spearheading curriculum development, 
by informing teachers casually and continuously of 
new aids, by assisting in selection, by work with 
pupils, by maintaining liaison with outside agencies, 
by centralizing traffic in materials, evaluation pro- 
cedures and teaching techniques and by pushing 
physical expansion of the program, does coordina- 
tion of the audio-visual program realistically im- 
prove classroom utilization. By these means chiefly, 
it has been proven, where tried, that coordination 
can do for the public schools what it did for the 
Armed Forces training centers. An audio-visual 
program center in a single school unit can assist 
each teacher to do "more rather than less" in using 
sensory-learning aids. 



118 



Educational Screen 



ff'hat has been done what is being done to 

prove the effectiveness of teaching films? 



A CHALLENGE FOR RESEARCH 



THE PLACE was a mess hall of the Army Air 
Forces' First Motion Picture Unit (Hal Roach 
Studios), Culver City, California. It was noon 
on March 18, 1944. The technical adviser on a major 
AAF training film, Land and Live in the Jungle, had 
finished his four months' assignment and, before re- 
turning to his parent unit, was lunching with a Lieu- 
tenant Colonel in charge of production. 

The Lieutenant Colonel in typical Hollywoodese was 
saying, "It's a grand picture ! The realism of the scenes 
and Van Heflin's acting in the Panamanian jungle are 
'out of this world'. I am sure the Surgeon General's 
office will like the film. This is the kind of picture we 
need to ". 

The psychologist technical adviser and "expert" on 
jungle survival interrupted the Colonel, "I wish I were 
as certain about the excellence and effectiveness of this 
picture as you seem to be. I wonder if this film on 
which the crew of twenty-five of us has spent four 
months and more than $60,000 will save a single life 
of one of our aviators who bails out over the Hump 
from India to China or into the jungle of the Amazon 
basin". 

"We professional motion picture people", the Colonel 
continued, "believe that the picture will dramatize the 
problems of living in the jungle and teach air crewmen 
survival techniques". 

What Is the Evidence? 

"These are opinions", replied the technical adviser. 
"What is the evidence that a dramatic instructional film 
will motivate soldiers to learn how to live in a jungle 
or effectively teach them to use correct survival pro- 
cedures when they are in a jungle?" 

The Colonel was puzzled. His courteous compli- 
ments were not being graciously accepted. His opinions 
and those of his esteemed professional officer colleagues 
were being questioned. He did not have the evidence 
that instructional films were effective nor did he know 
what procedures to use to get the evidence. 

The conversation continued for an hour and until the 
Mess Sergeant asked the officers to vacate the table. 

Utilization Based on Faith 

This and many subsequent events illustrate that the 
extensive use of training or informational motion pic- 
tures during the last war was based mainly on unveri- 
fied opinions and jaith. Thousands of films were 
produced — and produced well from the technical view- 
point — and then shown to millions of soldiers in train- 



by C. R. CARPENTER, Ph. D. 

Director, Instructional Film 

Research Project, State College, Pa. 



ing. How effective were these films for teaching "nuts 
and bolts" skills, perceptual skills, like aircraft and 
ship identification, for motivating spldiers to learn new 
patterns of behavior which may save their lives in 
combat, for building or changing attitudes, and finally 
for communicating meaning? The questions remain 
unanswered. 

During World War II it would have been considered 
gross or even criminal negligence to design, produce 
and put into operation planes, tanks or ships without 
first proving and testing them under the severest pos- 
sible conditions of performance. To this end, great 
proving grounds were constructed. By contrast, millions 
of feet of instructional films were produced without 
coincident tests of their suitability and effectiveness, 
approved in plush viewing rooms of the Pentagon 
Building in Washington and subsequently distributed 
for use with the vague hope that they would do a 
critical part of the training job. 

The Navy did conduct extensive surveys of men 
and officers and asked them questions relating to the 
use of training films. A high percentage of all personnel 



Dr. C. R. Carpenter at desk with pen, Director of the 

Instructional Film Research Project, The Pennsylvania 

State College, with Dr. A. K. Kurtz, statistician. 



Photographic Services, Central Extension, 
Tne Pennsylvania State College 




surveyed strongly approved wide and extensive use of 
films. However, the results of these surveys fall in 
the realm of opinions. The hard factual evidence on 
the degree of effectiveness and suitability of sound 
motion pictures as an instructional medium for training 
special groups in particular tasks is woefully inadequate 
or completely lacking. 

A Challenge for Educators 
The above propositions apply with equal validity to 
the use of films by civilian educators. The "new look" 
in current education frequently involves conspicuous 
display of audio-visual aids. Here too opinions, not 
evidence, are used to support and justify the employ- 
ment of films. During the war, military training author- 
ities took the opinions of civilian educators, many of 
whom were put into uniforms, added "Hollywood know- 
how" and supported the film use program with millions 
of dollars. Present-day civilian educators would like to 
do the same things — especially have millions of dollars 
to spend. The tragedy of the situation is that most 
educators would be willing to stop there without making 
the research effort which is necessary to learn precisely 
and in quantitive terms how effective sound motion pic- 
tures are when used as instructional media. Nor are 
there strong indications that many educators are inclined 
to go further and answer basic questions bearing on the 
problem of what are the factors, characteristics or dif- 
ferences of a film which make it educationally effective. 

What Has Been Done 

Some, though inadequate research has been done to 
test the relative effectiveness of one teaching method 

Testing equipment at the Instructional Film Research 

Project. Left to right : Hal Kopel, writer-director, and Philip 

Ash, Ph.D. candidate. 

Photographic Services. Central Extension, 
The Pennsylvania State College 




with another. For example, a sound film consisting of 
dozens of variables has been compared with a lecture 
consisting of dozens of other variables. It is virtually im- 
possible to make such comparisons and get significant 
results because it is impossible to design experiments 
which will account for the yield measures of the numer- 
ous variations which are involved. To test the relative 
contributions to learning of even a single characteristic 
of an instructional sound film is very difficult. And yet, if 
this promising mass educational tool — the sound motion 
picture film — is to be effectively employed, it must be 
known what it can and cannot do, what its strengths 
and weaknesses are, and what principles should be em- 
ployed in the tool's construction to make it of luaxiinum 
effectiveness for conuiiunicating meanings and changing 
behavior. 

What Must Be Done 

We may be justly accused of criminal negligence by 
our successors in the future if we relax and fail to 
anticipate another national or world emergency and 
accordingly fail to perfect our instruments and pro- 
cedures which may be needed desperately to meet the 
demands of a critical emergency. Our logicians tell 
us that in such an eventuality, "time will be the essence 
of survival". We will need to train millions of people, 
both civilians and soldiers, in the shortest possible time 
to fight with and defend themselves against new imple- 
ments of war, and we may presume that these im- 
plements will not be available at first in sufficient 
quantities for training purposes. Furthermore, the 
usual lag of time between the development of new 
equipment and that of having trained personnel to oper- 
ate it must be greatly shortened. Even though these 
deplorable eventualities were to dissipate, as we all 
sincerely wish they may, the heavy responsibilities for 
mass education the world over are certain to increase 
and even now require the use of our best methods. 
The plans of UNESCO focus on this need and possi- 
bility. It is imperative that those of us who are respon- 
sible assay, evaluate and perfect potentially useful 
technologies and methods for mass educational pur- 
poses. Certain it is that the sound motion picture, along 
with its companion television, will rank high in any 
list of potentially important mass educational media. 

Instructional Film Research Project 

The leadership of the Human Engineering Section, 
Special Devices Center of the Office of Naval Research, 
U.S. Navy, has with foresight and intelligence recog- 
nized the above and other contingent facts. Conse- 
quently this organization, in lieu of a National Science 
Foundation, is sponsoring research in the wide field 
of human engineering, including "rapid mass educa- 
tion". The sound motion picture has been selected as 
one potentially important medium to be investigated 
and perfected. 

Arrangements have been made by the Navy with 
the Pennsylvania State College to undertake an ex- 
tended and intensive research program designed and 
operated : 

"To investigate hypotheses, to discover and derive 
principles which shall govern the scientific development 
and effective use of sound motion pictures, and other 



120 



Educational Screen 




l'notog:rapnic Services, Central Extension, 
The Pennsylvania State College 

Design Conference at the Instructional Film Research 
Project. Left to right: Sol M. Roshal, Ph.D. candidate; Dr. 
Viktor Lowenfeld, Professor of Art Education; Hal Kopel, 
writer-director; Dr. Kingsley Smith, Professor of Psy- 
chology; and Dr. A. K. Kurtz, statistical psychologist. 

such related media, for achieving the most rapid and 
coni])lete learning of individuals in groups." 

To this end a research organization consisting of 
psychologists, educators and motion picture personnel 
is being formed at State College, Pennsylvania. 

Thus far the Instructional Film Research Project 
has been mainly concerned with the work of collecting 
and evaluating existing information bearing on the 
instructional effectiveness of sound motion pictures, of 
formulating feasible and pertinent research problems, 
and of designing experimental procedures for solving 
and testing assumptions. Work has begun on the task 
of developing suitable and appropriate instrument sys- 
tems for the functional analyses of sound films and for 
instigating and measuring group learning which results 
from sound film presentations. Investigations are being 
started on the relative effectiveness for learning of 
color vs. black and white, factors of film length and 
repetition, the potential contributions which films may 
make to perceptual skills involving assembly and dis- 
assembly of objects varying in degrees of complexity. 
Research is being started also on the contributions to 
the ])rocesses of communicatiny meaning and changing 
behavior by various types of sound commentary and 
music. Finally, it is visualized that experiments will 
be initiated in the near future on the relative effective- 
ness on learning from dramatic vs. documentary meth- 
ods of presenting sound film materials. The Project 
was initiated in August and actual experimental research 
has just started. 

The Instructional Film Research Project would 
benefit by suggestions, criticisms and the active coopera- 
tion of interested individuals and agencies. After all, 
this is only one effort to investigate a vast unexplored 
and important area of educational methodology. Yale 
University, the University of Chicago and Ohio State 
University are already cooperating with the Project. 
You are invited to send communications to Dr. C. R. 
Carpenter, Director, Instructional l-'ilm Research Proj- 
ect, State College, Pennsylvania. 



Graduate Research Fellowships in 
Sound Motion Picture Research 

The Pennsylvania State College has available 
six Graduate Research Fellowships in the field of 
the sound motion picture research. The stipends 
range from $1,000 to $2,400. Individuals who are 
ready to undertake research for the Ph.D. thesis 
in psychology and education or related fields on 
problems of instructional motion picture produc- 
tion aiTd "^utilization, or problems of perception, 
learning and attitudes involving the use of films, 
are invited to apply for a fellowship. 

It is expected that fellows will undertake and 
complete research requirements for the Ph.D. or 
Ed.D. theses during the period of one year covered 
by the fellowship award. Interested individuals 
v^'ho already hold the doctor's degree are also in- 
vited to apply for fellowships. The research field 
under investigation is broad. 

The Instructional Film Research Project with 
which the fellowships will be held has the task of 
performing research to derive the scientific prin- 
ciples and facts which should be employed in the 
production and use of sound motion pictures to 
achieve maximum effectiveness for rapid "mass" 
instruction. Write for further information to : The 
Instructional Film Research Project, Dr. C. R. 
Carpenter. Director, State College, Pennsylvania. 



Teaching Assistantships at 
U. of Southern California 

The University of Southern California has an- 
nounced the creation of four part-time teaching as- 
sistantships in connection with the audio-visual 
laboratory of the School of Education. Duties of 
teaching assistants will include assistance in super- 
vision of the laboratory sections of the introductory 
course in audio-visual materials and technical as- 
sistance and research in the audio-visual laboratory 
to a combined total of eighteen hours a week. 

Qualifications desired for the assistants include 
(1) public school teaching experience, (2) experi- 
ence in the field of audio-visual materials or equiva- 
lent background, and (3) a Master's degree in edu- 
cation or a Master's program nearing completion. 
Concurrent graduate work toward a degree in the 
School of Education, specializing in some aspect of 
audio-visual materials is, of course, rec|uired. 

Compensation varies among the various asistant- 
ships available,* but will average about $1000 for 
the academic year plus about $400 additional for 
those appointed for sinnmer session as well. Some 
additional compensation is available for similar 
work in connection with night classes. 

Inc(uiries regarding assistantships should be ad- 
dressed to Donald C. Doane, Director of Audio- 
\ isual Laboratory, University of Southern Cali- 
fornia, Los Angeles 7, California. 



March, 1948 



121 



A Film Council In Action 



Why is a Film Council needed in a com- 
munity? How does if organize? What does 
it do? What can it do? 

This story of the Rochester Film Council, 
written by Dr. Johnson, secretary of the 
group, provides the answers found in one 
community. There is no one pattern for Film 
Council activities, but there are needs to be 
filled by a Film Council in every community. 



THE recent announcement in Rochester (New 
York) by Dr. John Adams Lowe, Director 
of the Public Library, that the community 
was to have a new film service to be known as 
the Reynolds Audio-Visual Division of the Library 
was hailed by the Rochester Film Council as a 
major step toward the achievement of its goal of 
developing a community-wide use of audio-visual 
materials. This new film division, financed as it 
is through an endowment income of $10,000 per 
year, and set up as an integral part of the public 
library, will amply supply community groups, clubs, 
and organizations with the motion pictures they 
need and which had for all practical purposes been 
inaccessible to them in the past. 

How a Film Council Is Born 

In fact, it was the lack of an adequate local source 
for non-theatrical motion pictures that brought the 
Rochester Film Council into being. It all started 
in February, 1947, when the Neighborhood Services 
Secretary of the Council of Social Agencies told 
of the difficulties encountered by groups in the 
community settlements and neighborhoods in ob- 
taining suitable films. 

Recreation and group workers had become com- 
pletely convinced through their experience in war- 
time with OWI films of the power of the motion 
picture for enriching and vitalizing their peacetime 
informal educational and recreational programs. 
When the University of Rochester discontinued its 
film service at the end of the war, it was a very 
great loss to local organizations. Workers and 
supervisors in social agencies did all they could, 
as individuals, to fill the gap. They sought help 
from local commercial distributors, public relations 
departments of industries, and the catalogues and 



by REX M. JOHNSON 

Research Director, 

Council of Social Agencies, 

Rochester, New York 



less formal listings of various services from the 
Atlantic Ocean to the Mississippi River. The con- 
sequence, however, was only one of confusion and 
frustration for busy recreation leaders and group 
workers. Logically, therefore, they turned to the 
Council of Social Agencies, as they had done before 
on other common problems, and asked for help. 

A Film Committee Organizes . . . 

The first step toward solving the problem was 
bringing together individuals in Rochester who 
might be able to give information, guidance and 
other help. Those who attended the first meeting 
included Paul C. Reed, Director of the Department 
of Audio-Visual Education of the Rochester Public 
Schools; Dr. John Adams Lowe, Director of the 
Rochester Public Library ; John A. Russell, Director 
of the University of Rochester Library; Mrs. Patri- 
cia Blair, who had just come to Rochester after 
three years as head of the Film Division of the 
Cleveland Public Library ; Reverend Harold L. 
Clark, a vigorous proponent of the use of films in 
religious education; Kenneth R. Edwards, Advisor 
on Non-Theatrical Films, Eastman Kodak Com- 
pany ; and recreation leaders and group workers 
from social agencies and other organizations. 

The discussion in the first meeting emphasized 
the need for a center not only where suitable films 
could be obtained, but one where community or- 
ganization workers could secure general advice on 
films, and yet fairly accurate information on the 
content of films, and how they might "fit" into the 
programs of their various groups. Also at this 
meeting, as well as at succeeding meetings, the 
"experts" in the Film Committee taught the agency 
and organization workers that "films were used" 
instead of "movies being shown". The idea was a 
revolutionary one to them, but they were quick to 
grasp its significance, and its influence in various 
community programs is already apparent. 

And Meets an Old Problem 

The early discussions dealt almost entirely with 
the matter of establishing a distributing center 
through which films could be channeled to organ- 
ization workers. The first reports to the committee 



122 



Educational Screen 



on the possibility of local institutions' — such as, 
libraries, museums, public schools, and social agen- 
cies — assuming the job of film distribution were 
discouraging. The obstacle in every instance was 
the familiar one — Money ! 

Further discussions dealt with some method or 
methods of pooling the films now in the community 
so that workers would know what films were avail- 
able and where they could be obtained. A brief 
telephone survey revealed that probably 150 films 
of various kinds were in the community and avail- 
able for use by organization workers. Also, organ- 
izations represented on the committee oflfered about 
$700 with which to buy films if some method or 
methods could be devised for their proper care and 
distribution. 

A Sub-committee Goes Into Action 

After several meetings of the Film Committee 
(as it was now called), a sub-committee of five 
was appointed and charged with the task of clari- 




Se^i^!%-_ 



^ ; .^^^.rk::^^. 






^1 



fying the previous discussions and of recommend- 
ing a direct course of action. 

On May 8, 1947, a high point in the develop- 
ment of the Rochester Film Council, the whole 
group met to consider the recommendations of its 
sub-committee. The small number which had met 
for the first time three months before had expanded 
to twenty-five interested people. They listened and 
approved the recommendation that additional com- 
mittees be appointed to carry out certain tasks de- 
fined by the sub-committee. The Chairman, Paul 
C. Reed, was authorized to make appointments to 
the recommended committees. The committees 
were as follows: 

1. A Circulation Committee to explore and report how: 

(a) films might be secured and brought to the city 
for extended use by community organizations; 

(b) to maintain an up-to-date list of films in Roches- 
ter which are available for use; and 

(c) films in a "Film Pool" might be distributed and 
serviced. 

2. A Committee on Evaluation and Selection to explore 
and report how: 

(a) to maintain regular contact with various film 
producers so that local users of films know what 
is available; 

(b) to set up a plan for previewing and evaluating 
films; and 

(c) to select films which might be presented to the 
entire Film Committee. 



( Concluded on page 139) 





INTERNATIONAL 



JOHN E. DUGAN, Editor 

Head, Department of Education 

Beaver College, Jenkintown, Pa. 



What Can We Do About Stereotypes? 



by RAY 0. WOLF 

Supervisor of Social Studies, 

Portland, Oregon, Public Schools. 

IT IS almost trite to say that the biggest prob- 
lem facing the world today is the establishing 
of a just and lasting peace. We have almost 
reached the point that Mark Twain had in mind 
when he made his famous remark about the weather. 

Educating the World Citizen 

I say almost because small organized groups and 
individuals here and there are earnestly trying to 
do something about it. These people know that 
world peace can be secured only through under- 
standing and trust, not through misunderstanding 
and distrust. Most of them also realize that there 
is little hope of securing a wide understanding now 
because ideas are too fixed, too highly emotionalized, 
to give way to reason and understanding until com- 
munication can be improved. It is the generation 
now in school that will determine the degree of 
good will prevailing tomorrow. 

The problem of educating a generation that can 
look at people and see only individuals without re- 
gard to race, class, religion, or politics is a school 
problem. Teachers are the key to the problem but 
they can move no faster than the community is 
willing. In other words, adult education must go 
hand in hand with changes in the classroom. With 
a little effort, groups of parents can be banded to- 
gether for study purposes to select those things 
from our cultural heritage which best contribute to 
the perpetuation and improvement of our demo- 
cratic way of life. With this selection will come 
approval of new methods and better teaching ma- 
terials. 

Teachers are people. They cannot be stereotyped 
any more than doctors, bricklayers, or musicians. 



Unfortunately, many of them have unconsciously 
acquired ideas about people in their own develop- 
ment that prevent them from thinking clearly. 
This is not unsurmountable since most teachers, 
because of the nature of their job and training, are 
constantly seeking more information, and this new 
information plus a wider e.xperience with people 
can lead them to the truth. 

Stereotypes in Textbooks 

A teacher's job of preparing children to live in 
harmony with their fellow beings is made most 
difficult if the materials placed in the classroom 
work at cross purposes to such a laudable aim. In 
such a simple concept as understanding the family 
and home we find an excellent example. Textbooks 
usually picture the "typical" family (whatever that 
is) living in middle class surroundings. One won- 
ders what the majority of children, who have less 
than middle class homes can offer, think about when 
reading such books, and what the emotional impact 
is upon them. In another instance, what about the 
boy who has no father but lives with his mother, 
who works, in a two-room apartment. How will 
he react to his home after discovering that he is not 
"typical"? When one considers all the possible 
variations, the word "typical" must indeed be writ- 
ten in very small type. A most skillful teacher is 
needed to make each of her group feel secure and 
proud of belonging to his or her particular family 
with such materials. The more current materials, 
such as magazines, pamphlets, newspapers, etc., are 
improving somewhat, but textbooks will probably 
continue with stereotypes, half-truths and errors of 
omission until publishing houses are snowed under 
with protest. 

Making Better Motion Pictures 
A newer teaching aid that holds great promise,! 
because of its emotional impact on the learner, is thej 



124 



Educational Screen] 



motion picture film. Films can bring people right 
into the classroom and you can hear them talk at 
the same time. Lacking only in two-way communi- 
cation, they represent the next best thing to actual 
experience with a variety of people. 

If films are to do a good job in the field of human 
relations, stereotypes must be eliminated. This is a 
job for producers of films to consider. If stereo- 
types cannot be eliminated, and it is admittedly a 
difficult job, the need for competent teachers is even 
more evident. Let us briefly consider how each of 
these, the producer and the teacher, can cause films 
to be a more potent force for good. 

What Producers Can Do 

Producers are not in business for their health. 
They must sell their products. The question is, do 
they have to contain all the age-old cliches and 
stereotypes tliat the prospective buyer learned as 
a child in order to make the sale? Does the pur- 
chaser say "my, how true to life!" or does he just 
make the purchase because no other materials are 
available, or both? I believe that most purchasers 
of classroom materials would like to get better 
goods for their money. Without further incentive, 
this should cause producers to attempt the produc- 
tion of better materials. 

Let us keep in mind for a moment the children 
for whom the film has been developed. Children 
haven't learned all the stereotypes, and those they 
have learned are not so deeply imbedded that they 
can't be uprooted. They don't necessarily think of 
an Italian as havingr a handle-bar mustache, a Rus- 



sian with a full beard, a Jew counting money, a 
Mexican as lazy, or a Negro as the chauflfeur when 
riding in a car. But just give us time and we will 
show them enough films in which highly emotional 
situations help fix the "queer" ideas about various 
people in their minds. Strangely enough, many 
stereotypes get by the producers even when they 
are consciously trying to avoid them. Remember 
the film, Henry Brotvne, Farmer ? Why did the Negro 
family iiave to go to town in a wagon? How many 
other wagons did you see? Were any of them 
loaded with white people? I couldn't help thinking 
that Henry wasn't a very good farmer or he would 
have owned a car. Did the producer want me to 
think that? No, but it slipped by just the same 
because Negroes, mules and wagons are all a part 
of a stereotyped picture. Producers can avoid 
stereotypes : ( 1 ) if they want to badly enough and 
(2) if they would hire reviewers schooled in good 
human relations. 

What Teachers Can Do 

As mentioned above, I don't believe producers 
will entirely stop shooting stereotypes into films. 
This is where the teacher comes in. Even when 
using stereotyped films, teachers don't have to let 
them get by and poison the minds of children. Of 
course, I'm assuming that the teacher is not himself 
a "sucker" for the stereotype. In other words, 
teachers must have an adequate fund of accurate 
knowledge, respect for individuals and people, plus 
a knowledge of how to use films. 

Suppose the mustached Italian-American with a 
knife in his belt, selling fruit (usually bananas) 




"Suppose the mustached Italian-American with a knife in his belt, selling fruit (usually bananas) from a two-wheeled cart, 
appears in a film sequence. What can the teacher do about it? Ask George Petrasso, who sits in the third seat of the second 
row, what his father does. The children know who Sinatra is, and they probably have heard of a fellow named DiMaggio 
and a man named LaGuardia. All of this can be added up to an understanding that Italian-Americans do about the same 
things other Americans do with just about the same degree of success and failure." 



March, 1948 



125 




USDA 



In the film "Henry Browne, Farmer," why did the Negro 
family have to go to town in a wagon? — because Negroes, 
mules and wagons are all a part of a stereotyped picture. 



from a two-wheeled cart, appears in a film sequence. 
What can the teacher do about it? Ask George 
Petrasso, who sits in the third seat of the second 
row, what his father does. The children know who 
Sinatra is, and they probably have heard of a fellow 
named DiMaggio and a man named LaGuardia. 
All of this can be added up to an understanding 
that Italian-Americans do about the same things 
other Americans do with just about the same de- 
gree of success and failure. 

Discussion based upon what the children have 
seen all about them is usually sufficient to dispel 
fixed ideas about whole populations. When this 
doesn't appear to be enough, a series of mounted 
pictures can be set up in the room that show the 
people under study in a variety of real life situations, 
[f these aren't available, a few well directed ques- 
tions usually will make it perfectly clear that ALL 
is a word that has no meaning when applied to a 
whole population. 

The Film Needs the Teacher 

Teachers can, if they wish, make stereotypes in 
films backfire and become the means of producing 
some straight thinking on the part of young people. 
It won't happen that way though if educational 
films are never more than motion picture shows. 
Indeed, no film is sufficient in itself as a classroom 
tool. As a matter of fact, the best prepared film, 
when used as a show, guarantees nothing. Assume 
that the film was to display the evils of anti-"some- 
thing or other" and that an excellent portrayal was 
made. Will that guarantee the erasure of the anti 
attitudes from the minds of the viewers? It will not. 
For those who were free of such prejudice, it may 
strengthen convictions; but for those who are pre- 
judiced, no guarantees can be made. The prejudiced 
person, quite likely, will fail to identify himself with 
the important characters in the portrayal or he may 
salve his conscience with "red herrings". Even in 
the most perfect situation, the teacher is needed as 



a guide to discussion if desired results are to be 
forthcoming. 

The Goal: Natural Situations 

There is a big job ahead if we are to promote 
better human relations. It is a job for both teachers 
and producers. The solution is to work together 
to get better teaching aids — aids that can picture 
people as dififerent without making them appear 
peculiar, queer or funny in the process, aids that 
respect varying cultures and enhance the dignity of 
man. It would be novel indeed to meet a research 
chemist in an educational film who was a Negro or 
Chinese working side by side with a Caucasian and 
no mention made of the situation as being unusual. 
It seems that I have heard of at least one Negro 
who was a research chemist. The situations in the 
films should be as natural as children are before we 
begin filling their minds with stereotypes. It can 
be done ! 

Summary Report on UN 
Film Activities 

Whatever else the United Nations may or may 
not have accomplished in 1947, it has an impressive 
record in film production and distribution. Follow- 
ing is a summary of activities of the UN Film and 
Television Section, Division of Films and Visual 
Information. 

Documentary Film Production 

Six United Nations films were completed in 1947: 
The Peoples' Charter, Searchlight on the Nations, 
Maps We Live By, Clearing the Way (produced for 
the Headquarters Planning Commission), First Steps 
(for the Department of Social Affairs) and a theatrical 
trailer for the United Nations Appeal for Children. 

Contracts were signed for 14 film productions in 
ten different countries (none of the following titles 
are final ; they are descriptive working titles only) : 
The Fight Against Illiteracy — Mexico ; The United 
Nations in Action (ICEF) — Poland; Young Ideas — 
Czechoslovakia; Common Ground (international tech- 
nical training) — U.K. ; Juvenile Delinquency — Bel- 
gium ; In Every Port (medical care for seamen) — The 
Netherlands; hi the Long Run (FAO) — U.S.; The 
Eternal Fight (WHO) (on epidemics) — U.S.-France; 
Lighthouses — France; M^hat Is the United Nations? 
— France; Timber — Sweden. All of these films deal 
with world problems which are being met by interna- 
tional cooperation. 

Three films on family health and welfare are being 
produced in India for the Department of Social Affairs. 
Arrangements have been made with independent pro- 
ducers or sponsors for the production of the following 
films : Epilepsy — U.S. ; International Aviation, France ; 
Greece — As Seen By FAO, by France. 

The first picture produced by the United Nations, 
The Peoples' Charter, is now being widely distrib- 
uted. It is available in English, French, Spanish 
and Portuguese language version editions, made 

{Continiied on page 144) 



126 



Educational Screen 



WILLIAM S. HOCKMAN. Editor. 1616 Marlowe Avenue, Lakewood 7. Ohio 



The Educational Film: Visual Aid 
Or Visual Teacher? 

MARY Field, in referring to my criticisms of 
the "2000 Years Ago" series, whose produc- 
tion she directed, says that "The real purpose of 
the series was to provoke those who saw the films 
to find out more." This remark raises the whole 
question of the philosophy of film use. 

Is the fundamental purpose of the educational 
film, wholly or in part, the motivation of learning 
by the "read, tell, talk and test" process which 
now dominates all levels of education in church and 
.school? If this is the case, films may be excused 
when they fail to accomplish what they obviously 
set out to do. 

The Film as a "Supplement" 

In church and school circles there is much talk 
about the visual supplementation of the curriculum. 
The film is thought of as an optional supplementa- 
tion of the book-curriculum which is the backbone 
of the "read, tell, talk and test" methodology. Vast 
sums are to be spent in making films which will 
supplement the textbooks of the American schools. 
The film is to be geared into the verbal processes. 
It will illustrate, and motivate, and "provoke" 
pupils to find out more about the subject by the slower 
and less effective word-heavy processes. Here and 
there time can be saved — saved to be wasted in 
poking along with the same old "read, tell, talk 
and test" procedure. 

The power of the film to bring about the mental 
aad -emotional changes and growth which consti- 
tute the essence of education must not be dis- 
counted. The film will never reach its full flower 
of development as long as it is considered as just 
another form and variety of lecture and textbook 
material. It must be developed, and then used, in 
accordatice with its own inherent and unique 
powers. 

The Auto as a "Supplement" 

The early automobile looked like a buggy. It 
j'tood by the hitching post by day and was put in 
the barn at night. In good weather it was a mild 
supplementation of horse-transportation — for those 
with the temerity and know-how to operate it. It 
was good for short trips — when the roads were 
good. Most of the roads it traveled were wagon 



and buggy roads. It was compared with the older 
forms of transportation, generally to its disadvan- 
tage. It had little prestige; it did not promise 
much. 

Today the educational film is new. It is used in 
a classroom designed for talk; not seeing. It is 
considered optional in teaching procedure. It is 
often poorly put together by folks more accustomed 
to working with words than with picture sequences. 
The laws of learning are not built-in. They are 
to be applied from the outside — in its utilization. 
It is in the "touring car" stage of development. 
It has no self-starter. It must be hand-cranked — 
l:iy all kinds of "introductions" and readiness-pro- 
moting schemes, most of them basically unsound. 
It is a poor thing, not able in its own right to bring 
about learning, and considered one of the nice sup- 
plements in education. 

Autos and Films "Grow Up" 

Gradually the automobile grew up. Now it stands 
in the driveway by day and in a garage, not a stable, 
by night. It starts in all kinds of weather. As it 
grew, it revolutionized and extended road build- 
ing. The hitching racks of the crossroads, the vil- 
lage, the county-seat, and the city are no more. 
It no longer looks like a buggy, becoming func- 
tional in its basic design and general appearance. 
It supplements nothing — it is basic transportation, 
itself supplemented by other means of travel. 

The film, too, will grow up. It will cease to look 
like the chapter of a book. It will become self-start- 
ing. It is destined — in the hands of those who 
understand its essential character — to develop a 
functional appearance. It will have built-in fea- 
tures. It will present its material the way the mind 
wants to receive its pictorial stimuli. It will be 
structured to fit the interests, capacities, and abili- 
ties of those who are to learn from it. It will no 
longer be considered another kind of lecture. It 
will not be an optional adjunct to the "read, tell, 
talk and test" teaching process. The techniques 
evolved for its utilization will stem from its basic 
character. It will no longer be used just to give 
pupils a gentle shove as they shuffle along in old 
processes but will provide primary and direct learning 
experience for them. 

The atomic age is here. More must be taught 
in less time. Colleges must cease to graduate stu- 



March, 1948 



IA7 



dents who know next to nothing of the world be- 
yond the Rhine where three-fourths of humanity 
lives. Great areas of information must be taken 
into the content of education. Even secondary- 
school students must be given world-orientation. 
Most schools are not dealing competently with the 
Western Hemisphere and its peoples. Why? For 
the same reason that a horse-and-buggy generation 
saw little of the landscape of America. The old 
"read, tell, talk and test" education never gets 
around to the vast job before it! Generation after 
generation of young people reach adulthood with 
skimpy knowledge of the people who share the 
world with them. Good educational films can vastly 
extend the radius of all education. The minds of 
America's children must not be tethered by the 
short rope of textbook-education supplemented here 
and there by a few poorly designed films and other 
visual aids. 

Education in church and school has its vested 
interests. Resistance to change is one of the oc- 
cupational diseases of churchmen and schoolmen. 
Old ideas give way slowly, but the future will 
validate the educational film and within a decade 
or two its permanence, importance, and utility will 
be taken for granted. — WSH. 

Visual Aids for Missionaries 

The use of audio-visual material by the mission- 
aries is growing rapidly, and the Audio-Visual Aids 
Overseas (AVAO) committee of the Foreign Mis- 
sions Council was organized in 1945 to help mis- 
sionaries and mission boards plan and develop 
audio-visual materials for the use of overseas mis- 
sionary personnel. 

The work of the AVAO has emerged from the 
"formation" stage in the past few months by the 
sending of a deputation on a 90-day world-wide 
survey of the audio-visual and radio needs of the 
principal missionary fields. 

Heading the delegation, which left New York 
by air on January 28th, is Dr. S. Franklin Mack, 
chairman of the AVAO committee on radio of the 
P'oreign Missions Conference. Associated with 
him are Nicklaus Hageman, radio engineer of long 
experience, and the Rev. Everett C. Parker, execu- 
tive of the Joint Radio Committee of five of the 
larger denominations. 

This competent deputation will survey what is 
being done, and explore the utilization possibilities 
of both radio and visual aids. It will confer with 
such leaders as Dr. Arthur O. Rinden, head of 
audio-visual development for the National Chris- 
tian Council of China, the Rev. H. C. Ferger, of 
North India, whose photography is well known, 
and the Rev. Ralph C. Horteling of Pugnanur, 
India. 

AVith the findings and recommendations of this 
committee before it, the Foreign Missions Confer- 
ence will, no doubt, urge the joint action of mis- 
sionary boards in planning and developing the spe- 
cialized audio-visual materials needed by the mis- 
sionaries and the leaders of the younger churches 
in manv lands. 



Criteria for Children's Material 

Formulations of criteria for the evaluation of 
audio-visual materials are not plentiful. Most of 
them are tentative, their authors feeling that some- 
where some other group or individual would have 
the time and insight to develop comprehensive 
and final criteria. 

In the seminar on "The Utilization of Audio- 
Visual Materials With Children," a sub-group 
under the leadership of Miss Florence Stansbury, 
of the Board of Education of the Northern Bap- 
tist Convention, developed the following criteria: 

l.What is the quality of the art work? 

2. If it is biblical material, is it true to the biblical story? 

3. Can the material be integrated with the curriculum? 

4. Is it appropriate for the age level for which it is to be 
used? This includes both content and length. 

5. Will it lead to further learning experiences? 

6. If people figure in the film, is the interpretation of 
their personalities true to the idea which we want to 
present about them? 

7. Is the content accurate? 

8. Is the purpose developed in the film or material clear 
and consistent? 

9. If it deals with racial or cultural relationships, does it 
carry an attitude of appreciation for the contributions 
of the groups presented? 

These are all good questions for the teacher or 
leader to raise as materials are selected for immedi- 
ate use or for purchase for the audio-visual library. 
If three or four are answered in the negative, non- 
use and non-purchase are probably indicated. What 
criteria have you been ap|)lying? Do you consider 
the above helpful and adequate? 

Music Films 

The 12-minute sound film in black and white, 
Handel (from R.F.A. through your bookstore), makes 
friends with pupils and teachers whenever it is 
used in church or school. As the film opens, Handel 
is old and blind. He recalls his childhood : his love 
for music, the opposition of his father, and the bene- 
faction of a kind man. The story is simple and in- 
terwoven are some of the great Handel themes. 
This useful film needs many companions, and pro- 
ducers wishing to create films of worth would do 
well to consider the presentation of other great 
musicians in the general pattern of this film. 

The 9-minute film. Music in the Wind, produced^ 
by the National Film Board of Canada and dis- 
tributed by Sterling Films Inc. (1186 Broadway, 
N.Y. 1) concerns itself with the pipe organ. After 
a few sequences to orient the audience on the his- 
tory of the pipe organ, the film shows the crafts- 
men of a modern factory making the various parts 
of the organ, tuning the pipes, and assembling the 
whole instrument for testing. Interesting shots of 
a master of this wonderful instrument playing 
Bach's well-known "Toccata and Fugue" concludes 
the film. 

Children will enjoy these two films. These filins 
will give information and deepen appreciation. ]?oth 



128 



EducaHonal Screen 



stioukl be useful with Juniors and Intermediates, 
and the first can be presented to Primary children 
if care is exercised in introducing the film. Films 
are needed which present and explain some of the 
outstanding music of the church, and it is a ripe 
field waiting to be harvested by those with the 
courage, know-how, and imagination. 

Broad and Rich Is the World 

How rich is the world? When one-half of Mother 
Earth's children go to bed hungry every night, 
something must be wrong! Can her children ever 
be well-fed? 

The peoples of areas formerly rich now go hun- 
gry. Even here, amidst the lush growth of tech- 
nology in every area of life, our basic topsoil is di- 




British Information Services 

One of Europe's undernourished children — a scene from 
"The World Is Rich," produced by Films of Fact and dis- 
tributed by Brandon Films. 

minishing at an alarming rate. Can any civilization 
survive for long the slow destruction of its topsoil 
through fundamental mismangement and the twin 
calamities of drought and flood which follow? 

The film. The World Is Rich, makes it clear that 
the world faces a food shortage. It states the case, 
and asks if suffering, poverty, and himger may not 
be the tajj-roots of another war. 

The church must face this problem — at home and 
abroad. Church people, while proud of such notable 
agricultural missions as the Allahabad Agricul- 
tural Institute in India and El Vergel in South 
Chile, to mention only two of many, must multiply 
nianyfold the assistance which it is giving to sub- 
sistence peo])le in finding the keys to greater food 
production. 

This 4.Vmiinite film should prove useful to church 
and school groups seeking to understand the present 
world food crisis, and through discussion to clarify 
thinking and energize the wills of people to wise and 
sacrificial action. Produced by Films of Fact Ltd.. 
it is distributed through Brandon Films Inc. (1600 
Broadway, X.Y. 19) and a national network of 
cooperating libraries. 



Reconstruction Film 

Through Church World Service (214 E. 21st 
Street, N.Y. 10) the two-reel documentary film, This 
Road We Walk, produced by Julien Bryan, is available 
to churches, schools and community groups. It is a 
dramatic picturization of the united church program of 
relief and reconstruction in Europe and Asia. The 
pictorial sequences come from China, Japan, the Phil- 
ippines and many parts of Europe. Prints in both 
16mm and 35mm may be ordered through your nearest 
Church World Service Center. 



News 

The various boards of the United Presbyterian 
Church of North America have linited in the establish- 
ment of a Department of Audio-Visual Education, 
located in the Publication Building, 209 Ninth Street, 
Pittsburgh 22. and directed by Orville L. Kuhn. This 
department is building a rental library of visual mate- 
rials and sells visual equipment to local churches. Mr. 
Kuhn reports a rapidly-growing interest in visual 
materials and methods in his denomination. 



Correspondence: 

Dear Mr. Hocknian: 

For a number of years the superb quality of our glass- 
bound stereopticon (3J^ x 4) slides have attracted users 
in all parts of the country. In reply to your inquiry — and 
there have been many others — as to how we make them, 
I submit the following: 

We owe much to Dr. Albert E. Bailey, the author of 
the well-known book, "The Gospel in Art." Through the 
years he secured permission to reproduce most of the re- 
ligious masterpieces in stereopticon slides. We purchased 
liis library of slides, and the Bureau of Audio-Visual Aids 
(ISO.S Race Street, Philadelphia 2) is determined to main- 
tain his standards. 

Wc obtain, or develop regular negatives if we have them, 
from the original subjects. These are used by our photog- 
rapher to reproduce the picture on 3!4 .x 4 lantern slide plate, 
a glass plate coated with photographic emulsion. Naturally, 
we use the negatives repeatedly as there is demand for 
slides. Up to this point it is the common procedure. 

Now we send the developed plain black and white slide 
to one of several technical colorists of outstanding ability 
who. have trained specifically for this exacting process of 
hand coloring under strong light and magnifying glasses. 
They do three slides of the same picture at a time. 

When the hand-colorist has finished, the slides are care- 
fully masked and bound, protecting the emulsion from 
damage. Permanent labels are then attached and the slide 
is ready for sending as a sale or a rental. In closing, I 
might add that where copyrights permit, it is possible to 
develop fair kodachromes from the stereopticon slides. 

OSCAR J. RUMPF 



The Religious Screen 

William S. Hoekman, Editor 

A Reprint of 19 Helpful Articles from 
"The Church Department" of EDUCATIONAL SCREEN 

SEND FOR YOUR COPY NOW 

Price 60e 



March, 1948 



129 



TEACHER - COMMITTEE EVALUATION 




I.. C. LARSON, Editor 
Director, Audio- Visual Center 
Indiana University, Bloomington 



CAROLYN GUSS, Instructor, School of Education 

BETTY STOOPS, Film Librarian, Audio-Visual Center 

Indiana University, Bloomington 



Prospecting for Petroleum 

(Shell Oil Company, 50 West SOth Street, New York 20, 
N. Y.) 23 minutes, 16mm, sound, color, 1947. Free loan. 
Produced by George Pal. 

Description of Contents: 

Using George Pal's puppets, miniature sets, cross-section 
models, relief maps, blackboard drawings, and diagrams, 
this Technicolor film presents briefly the history of man's 
use of petroleum and then goes into more detail on the 
formation of oil in the earth, early attempts to find oil 
under the earth's surface, and the present-day science of 
locating petroleum deposits. 

After the many modern uses for petroleum are quickly 
summarized, a puppet Professor explains the geologic 
theory of how oil was formed by tlie action of the earth's 
crust. Next, the history of petroleum's early uses is pre- 
sented by means of moving stone figures representing 
Babylonians, who used it in lamps, and puppets repre- 
senting the old-time Medicine Man, who sold it as a cure- 
all, and the men who finally realized the necessity for lo- 
cating oil deposits under-ground and drilled wells success- 
fully near Titusville, Pennsylvania. 

The crude methods of locating oil by hunches or by the 
magic of the "doodlebug" are contrasted with modern 
scientific procedures involving aerial observation and instru- 
ments such as the seismograph, the magnetometer, and the 
gravimeter. In closing, a brief review summarizes the ma- 
terial presented. 

Committee Appraisal: 

A lavish production with many novel sequences, this 
film completely holds the attention, whether it is present- 
ing the Medicine Man's song and sales talk or a rather 

In "Prospecting for Petroleum," a puppet professor gives a 
lesson in elementary geology. 

Shell Oil Co., Inc. 




complicated explanation of how sound waves are used to 
determine the location of oil-bearing rock deep in the earth. 
The puppet sequences are both instructive and entertaining, 
and the three-dimensional maps and diagrams are amazingly 
effective for showing geological formations and the func- 
tion of modern instruments for locating petroleum. The 
excellence of the photography far exceeds the quality of 
the voice recording, although the musical background is 
quite satisfactory. The sponsor's name appears only at 
the beginning and the end of the film, which is the first of 
a series of six entitled "This Is Oil." It should be use- 
ful for social studies and general science classes on the 
junior and senior high school levels, American history on 
the college level, and general interest for club use on the 
adult level. 



The Story 
of the Bees 




United World Fil«s 

(United World Films, Inc., 445 Park Avenue, New York 
22, New York) 17 minutes, 16mm, sound, black and white, 
1947. $45. 

Description of Contents: 

This film presents the life cycle of the honey bee, em- 
phasizing the intense activity within the hive, as shown 
in close-up photography. 

Bees flying from flower to flower, carrying on their vital 
role in the pollenization of plants, are shown gathering 
nectar into the baskets on their legs. Returning to their 
hive in a hollow tree, they perform the "nectar dance," 
which tells the others where a good supply of nectar has 
been found. The nectar is transferred to the crops of young 
worker bees, where chemical action changes it into honey, 
which will be sealed in cells for future use. 

Deeper within the hive are seen the drones, whose sole 
duty is to fertilize the queen bee on her mating flight, and, 
the queen bee herself. Carefully attended by workers, she j 
deposits one egg in each cell until she has laid more than 
her own weight in eggs each day. Each rapidly developing 
larva is fed by nurse bees until it spins a cocoon for the 
pupa stage. 

Emerging from its cell, the young bee cats and rests 
only a day or two before entering into the regular work 
of the hive for its lifetime of six weeks to six months. 
The first task is the cleaning out of the cells from which 



new-born bees have just emerged, while the second may 
be helping to feed the larvae or turning nectar into honey 
and storing it. Tasks are then further divided to include 
the gathering of pollen and nectar, the guarding of the 
entrance to the hive, the nursing of the larvae and new- 
born bees, the secretion of beeswax and gathering of tree 
gum for hive construction and repair, and attendance on 
the queen. 

In the late spring, after the construction of special cells 
for the hatching of ten or twelve queen bees, which come 
from regular eggs but receive special food and care, the 
hive waits excitedly for the emergence of a new queen. 
The old queen and as many as three-fourths of the other 
bees leave the hive and swarm elsewhere, establishing a 
new hive and thus maintaining the bee population. In the 
original hive, two queen bees are born almost simultane- 
ously, resulting in a fight to the death. The victor immedi- 
ately locates the other queen bee cells and stings the larvae 
to death, since only one queen bee is allowed in a hive. 
The young queen bee soon leaves on her mating flight, 
returning to repeat the life cycle by laying up to a million 
eggs during her lifetime of from three to ten years. 

When the hive itself is endangered by the intense heat 
of the sun, combined with the heat generated by the bees 
working within, workers immediately use their wings to 
form a ventilating system for cooling the air. If part of 
the hive disintegrates, the workers gather gum and secrete 
beeswax and begin reconstruction, forming sturdy six-sided 
cells. The summary emphasizes the perfection of hive 
construction and community life which the bees carry on 
entirely by instinct. 

Committee Appraisal: 

Fascinating close-up photography and a wealth of inter- 
esting information presented in the commentary make this 
an unusually important film in the science area. It contains 
ideas suitable for various age levels from intermediate to 
adult without sacrificing interest or clarity. 




Films 



Encyclopaedi.'i 

Joan and Jerry get ready to fly a kite in 
"Spring on the Farm." 



Spring on the Farm 

( Encyclopaedia Britannica Films. 20 North Wacker Drive, 
Chicago 6, Illinois) 11 minutes, 16mm, sound, color, 1947^ 
$100 less 10% educational discount. 

Description of Contents: 

This film follows the activities and observations of Joan 
and Jerry Johnson as they work and play around their 
farm home in the spring. 



Apple trees bud and blossom, a pair of robins warm four 
blue eggs and care for their ravenous offspring, and baby 
chicks hatch and thrive in a brooder. Pussywillows, frogs, 
spring birds, and small plants reappear, and Joan and Jerry 
fly a kite, go to the pasture to get the cows, admire the wild- 
flowers, observe a moth just emerged from its cocoon and 
a baby rabbit hiding in the grass and watch the new lambs 
with their mothers. Meanwhile Mrs. Johnson cares for 
her flock of chickens and plants a garden, with Joan's help, 
and Mr. Johnson plows and plants corn. 

Committee Appraisal: 

The first in a series covering the four seasons, this film 
should be invaluable for stimulating observation and dis- 
cussion of the changes in nature and in man's activities 
during the spring months. Its contents correlate with sci- 
ence, social studies, and language arts on both upper and 
lower elementary levels and could well be used as a basis 
for art activities. Excellent color photography, a variety 
of scenes of especial interest to children, and much inci- 
dental information add to its effectiveness. 



Sewing Fundamentals 

(Young America Films, 18 East 41st Street, New York 
17, N. Y.) 10 minutes, 16mm, sound, black and white. 
1947. $38.50. 

Description of Contents: 

The first of a series on the techniques of sewing, this 
film stresses the importance of good sewing tools and cor- 
rect posture to the seamstress. 

In a simple room setting, a woman demonstrates the 
selection and use of the following tools: thimble, straight 
pins, needles, thread, tape measure, measuring gauges, 
marking chalk, scissors, shears, pinking shears, electric 
iron, electric steam iron, pressing cloths, pressing pads, 
sleeve board, and ironing board. She also shows correct 
pressing techniques. The importance of the sewing machine 
is mentioned, but its use is not demonstrated in detail. 

Committee Appraisal: 

This excellent demonstration of sewing tools should be 
suitable for any group interested in elementary sewing tech- 
niques, regardless of age level or educational background. 
The skillful use of the camera and well-presented narration 
are very helpful in overcoming the usual weaknesses of 
such a demonstration before a group. Other films in the 
series deal with the use of patterns, the handling of ma- 
terials, and the seams used in garment construction. 




Yuung America Films 



"Sewing Fundamentals" stresses the importance of good 
sewing tools and correct posture to the seamstress. 



March, 1948 



131 



LITERATURE 



SKVr.^ 



^W. 



ISUAI IXSTRUCTION 

ETTA SCHNEIDER RESS, Editor 



BOOKS AND BULLETINS 



• Children and Music— 1948 Membership Service Bulletin 
of the Association for Childhood Education, 1201 16th 
St., N.W., Washington 6, D.C. 32 pp. $.50. 
Here is a bulletin on music that will bring courage and 
satisfaction to every teacher and parent. It states a hearten- 
ing philosophy of music education, emphasizes the impor- 
tance of children as producers of music, and describes 
many varieties of musical experiences that contribute to 
the development of children two to twelve years of age. 
The bulletin is based on four major assumptions: 

That children are naturally musical beings and respond 

to expressive sounds, even in infancy; 
That many varieties of musical experiences can be 

provided children at school; 
That in providing these experiences we are not training 
children to be musicians or performers, but are con- 
tributing to their total development; 
That teachers who know little about music can set an 
environment and supply the materials and equipment 
that stimulate children to experiment with rhythm, 
sound, and movement. 
"A well-conceived program of music for children," says 
James Mursell, Professor of Education, Teachers College. 
Columbia University, New York, who has contributed the 
statement of philosophy, "may look like play. It may look 
inconsequential, unsystematic, trivial . . . But in fact it is 
not trivial at all because it brings music to children as it 
should be brought— in terms of their own life concerns 
and interests and doings." 

Among the authors represented in the bulletin are Helen 
Christiansen, Director of the Nursery School, University 
of California, Los Angeles; Beatrice Landeck, Director 
of Music Education, Mills School. New York; and Helen 
L. Schwin, Supervisor of Elementary Music, Public Schools, 
Cleveland. Bibliographies of books for teachers and children 
and lists of recorded materials are included. 

• Films in Instruction: the Teacher's Manual, Part II.— 
N. H. Rosenthal. Robertson & Mullen, Ltd., Melbourne, 
Australia. 1947. 69 pp. 

Background information for the teacher presented in a 
clear, concise style. This book follows the volume, "Films: 
Their Use and Misuse", by the same author. American 
films and American research studies are cited to prove 
that educational films and filmstrips have merit. The 
volume then indicates the sources and types of films and 
equipment for teachers of Australia. 

• The American Way of Life — David Carson, Glasgow. 
Scottish Educational Film Assn., 2 Newton Place, Glas- 
gow, Scotland. 1947. 34 pp. Research Publication No. 2. 

A series of SO filmstrips, issued by the Coordinator of 
Inter-American Aflfairs and l)y the Office of War Informa- 
tion, served as the basis for an interesting experiment on 
the effectiveness of filmstrips. Schools used in the study 
were located in the cities of Edinburgh, Glasgow, and 
Aberdeen, and in 7 rural areas. The teacher committee 
in charge of the experiment prepared an appraisal form 
for each title, and these were filled out by some 405 ele- 
mentary and 919 secondary classes, representing about 
40,000 Scottish children. 

132 



Among other attributes, the filmstrips served to sup- 
plement concepts about the United States and its people 
which formerly only Hollywood movies had furnished. 
The teachers found that there is still a place in the cur- 
riculum for still pictures, and they established construc- 
tive ideas for the production of new filmstrips. For example. 
they found many of the strips to be too long, that there 
was propaganda where only facts were needed, that human 
interest and especially the life of children could have been 
added. 

In one instance. "Cowboy on the Range", the teachers 
had access to a motion picture and a filnistrip on the same 
subject. Under experimental conditions, the teachers found 
that both media had possibilities for education. 

Filmstrips were used as direct teaching aids, and for 
background. With respect to commentary, both use of 
captions and a written commentary were recommended.. 
The best length was found to be about 60 frames or less. 
Most of the others were too long. 

Throughout this very interesting report, there are men- 
tioned areas for further research. The methods used and 
the findings should be of great value to .American teachers. 

UTILIZATION 

• An Audio- Visual Demonstration Center in the Making- 
Sister .Ailecn, O.S.B., \'illa Madonna Academy. Cov- 
ington, Kentucky. Audio-Visual Guide. 14:7. December, 
1947. 

Report of the program used during .\udio- Visual Educa- 
tion Week, upon request of the Department of Secondary 
Teachers. N.E.A. One day vvas set aside for each depart- 
ment, and on that day priority for equipment was given to 
the teachers in that department. As an outcome of the in- 
tensive use of audio-visual materials, the teachers became 
more audio-visual conscious, and realized, also, that they 
had been using many types of audio-visual material before. 
They realized that these materials are not ends in them- 
selves but means of providing vicarious experience. The 
article concludes with a list of the materials used in the 
Demonstration Center, and the methods of use. Subjects 
included English, mathematics, languages, religion, and 
social sciences. 

• Movies vs. Reading — Adeline Claff Richardson and Ger- 
trude Hjorth Smith, Los Angeles, Calif. The Clearing House, 
22:15, Sept. 1947. 

A study designed to compare education through motion 
pictures and education through reading at the Lafayette Jr. 
High School and the Thomas Jefferson High School in Los 
Angeles. The teachers selected three Disney color films on 
health education, and the study was conducted in science 
classes. Malaria, Tuberculosis ajid Hookworm were the film 
titles. These paralleled the contents of three health pamphlets 
of the Metropolitan Life Insurance Co. Both pamphlets and 
films were meant for the general laymen and were of general 
instructional value. 

Two matched groups were used; there was no attempt at 
teaching and no discussion. The students were exposed either 
to the film or the pamphlet and tests given. There was a 

(Continued on page 134) 
Educational Screen 





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Backed by extensive research into coaching methods, the films carefully show 
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133 



preliminary test on general health information, then a short 
test on each of the three diseases given one week before 
the use of the film or pamphlet. Afterwards a follow-up 
test was given, and a month later the general health test 
was repeated. 

The results were compiled by comparing pupils grouped 
on the basis of intelligence, reading ability and participation 
in all phases. 

The rate of increase in the junior high school control group 
(pamphlet) was 22% ; in the experimental group 45%. In 
the senior high school, the rate of increase in the arithmetic 
mean of the control group was 8% ; in the experimental group 
25%. The teachers found that the experimental group retained 
better what they had learned through films. Films created 
an unusual amount of enthusiasm for more information, in 
spite of the fact that teachers did not encourage discussion. 
The same teachers took part in the control and experimental 
groups, and they noted less enthusiasm from reading the 
pamphlets. 

Conclusions : Films are worthwhile because they save time, 
increase learning and increase enthusiasm. But they must 
be technically well made. 

• Audio- Visual Aids in Art Appreciation — William H. C. 
Luebkert. Grade Teacher, 65: no. 4, p. 64, Dec. 1947. 

The teacher in a four-room school describes how art appre- 
ciation was developed by using flat pictures integrated with 
musical selections and poetry. A list of 100 selected pictures, 
graded by accepted standards (from the known to unknown, 
simple to involved, etc.), study materials written from research 
in encyclopedias, supplementary materials assembled. The 
pictures were mounted and posted on a bulletin board. 

PERIODICALS 

• EDUCATION MAGAZINE: Audio- Visual Education 
Number. Vol. 68, no. 2, October, 1947. F. Dean McClusky, 
editor. 

This special issue is devoted almost exclusively to: a) Cali- 




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VEGETABLE INSECTS— 22 mins. Color. Entomological treatmemt. 

MONTREAL— 22 mins. Color. History past and present. 

TRAPPERS OF THE SEA— IS mins. Color. Lobster flshinr- 

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fornians, and b) teacher training. Not that this is undesirablt, 
because the California educators, with practical assistance and 
inspiration from the State Department of Exlucation, have 
been studying the ability of teachers to use audio-visual mate- 
rials (see Developing Standards of Teacher-Competency in 
Audio-Visual Education, Calif. State Dept. of Education, Sacra- 
mento, Dec. 1946). A few of the contributions to this issue 
of Education were members of the California Committee. Others 
are graduate students at the University of California. 

"Educational Psychology in Audio-Visual Instruction" by 
Boyd Lindop is a modernized statement of the principles by 
which the devices are justified in the curriculum. It points 
out that producers of materials should understand the psycholo- 
gy of learning and pattern their products accordingly. 

"Industrial Teacher-Training and Audio-Visual Education" 
by M. L. Barlow points out the workshop or laboratory experi- 
ences that can stimulate shop teachers to more effective use of 
audio-visual aids. "Suggestions for a Course in Audio- Visual 
Education" by James McPherson (pp. 98-115) is a complete 
outline, worth consulting in the original. In the article "Audio- 
Visual Materials for Teacher-Training", Elizabeth Goudy Noel 
and James McPherson provide a list of films, slidefilms and 
transcriptions that can be used in a teacher-training course. 
Among useful films omitted from this list are : The Child 
Explores His World (Brooklyn Children's Museum), How 
to Operate a 16mm Projector, How to Make Good Movies 
Series (Harmon Foundation), Time to Spare, and others. 

An interesting study is described in "Is Note- Taking When 
Viewing Motion Pictures Effective in High Schools Science?" 
by W. E. Ford, Jr. Three films were used with 30 students 
in a general science class. Film 1 was used with no introduc- 
tion and no preconditioning ; Film 2, with no introduction but 
the students were directed to take notes for further discussion; 
Film 3 was preceded by an introduction two days in advance, 
with directed reading, models, blackboard outline and questions. 
The film was then shown without note-taking. The author 
concludes that note-taking during the showing was found to 
be distracting, that good preparation for seeing a film is much 
better and such preparation sliould include teacher-preview, 
preliminary discussion and reading, the use of supplementary 
materials, follow-up and a test. 

TEACHER TRAINING 

• Toward More Effective Utilization of Audio-Visual Ma- 
terials and Devices — Paul W. F. Witt, Teachers College, 
Columbia University. Teachers College Record, 49: 108-18, 
November, 1947. 

In spite of increased interest, the use of audio-visual mate- 
rials and methods in schools is neither so effective nor so 
extensive as might be expected. Guiding considerations for 
school systems that contemplate greater programs are ; 

1. Teachers should be taught to use audio- visual materials 
as a regular part of the educational program, as re- 
sources which provide pupils with enriched learning 
experiences ; and teachers must be helped to select and 
utilize all instructional materials as part of the cur- 
riculum. 

2. Teachers should be helped to solve instructional problems 
through the use of appropriate audio-visual materials. 

3. Teachers must see reasonable progress in their efforts 
to use audio-visual materials. 

4. Methods of helping teachers should safeguard their secur- 
ity, encourage creative thinking and teaching. 

5. Teachers should participate in planning, control and 
evaluation of the program. 

6. Teachers should cooperate in planning ways of improv- 
ing the program. 

7. There should be arrangements for exchanging ideas and 
information. 

8. Emphasis should be on activities for improving utiliza- 
tion in the individual school. 

9. Education of teachers should be a continuing process. 
10. Teacher education projects should keq) step with potential 

resources and current interests. 
A program, which takes into account these considerations, 
must also include certain resources ; adequate and qualified 
personnel, equipment, and budget 



134 



Educational Screen 



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DAVID SCHNEIDER, Editor. Evander Childs High School, New York City 



"Visual" Aids Come to the Blind 

ONE of our prominent colleges has an annual 
"Understand the Blind Day". On that day half 
the student body is blindfolded and cared for 
by the other half. When that day is over and the dark 
bandages are removed from their eyes, these students 
begin to realize the precious gift within their possession 
that they have been taking for granted. 

A teacher of a science subject, in which visual mate- 
rial is a daily part of the lesson, often feels ill at ease 
when into her normal class of students a blind student 
is admitted. Whenever the word "see" has to be used in 
order to drive home a point, the teacher often goes 
through mental, if not physical, squirming and anguish. 
It is often true that the afflicted are better bearers of 
their burdens than we are. I know in my own case, 
the last time I had a blind student in my class, I tried, 
unsuccessfully, to avoid using the word "see", whose 
sound had already become hollow. 

Specimens for the Sightless 

Maude L. Repath of the Biology Department of 
Evander Childs High School has the artistic gift of 
creating models of specimens that the blind can "see", 
and, for my part, that those with good eyes can admire 
and use. Being a very busy person. Miss Repath 




Maude L. Repath of the Biology Department of Evander 

Childs High School with models of specimens that the 

blind can "see." 



presented us with the following, too brief, explanation 
of her work. "While I was working with chair-ridden 
children of high school age in the Alontefiore Hospital 
Annex of the Evander Childs High School, a plan 
for making our blind, in the main building, "see" was 
developed. These blind students were baffled when 
the class looked at specimens vmder the microscope or 
pictures on the wall charts with a feeling of helpless- 
ness. Our plan was to show these blind people the 
things we were looking at and studying during that 
class period. 

"A whole series of has relief charts to illustrate 
microscopic plant and animal life together with the 
details of their essential structures were made. These 
have enough contour so that the blind children could 
actually "see" and feel each of the structures, part by 
part. First, we drew the pattern on a card and then 
covered it with a raised pattern in clay. This was 
then beautifully colored and coated with shellac. Thus 
we were able to make our blind "see" with their fingers 
what we, in the hospital, saw with our eyes through 
the microscope or on the chart or on the projected 
picture. Later we were pleased to hear that the near- 
blind students in sight conservation classes were greatly 
aided by the bright colors of these models. Thus wheel- 
chair students, by serving the blind, were given a finer 
conception of their place in the scheme of things to- 
gether with a feeling of belongingness and a realization 
that they, too, 'may lift up their eves to the mountains'." 
— D. S. 

"Oscar" Awards for 
School-Made Films 

AT the 1948 annual Audio-Visual Aids Institute 
held at the American Museum of Natural His- 
tory on Saturday, January 10th, an "Oscar" was 
awarded to the winner of the second contest for 
the best school-made film. The award was given to 
" Reaction 4n Frogs", produced by the Motion Pic- 
ture Club of Evander Childs High School, The 
Bronx, New York. Entries were received from 
numerous schools and the five best films were se- 
lected by a panel of judges. The quality of the 

(Continued on page 138) 



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films as a whole this year was superior to those 
submitted in the first competition, designed to 
arouse interest in motion picture making among 
the boys and girls of the nation's high schools. The 
contest is an annual one and here are the conditions 
for entering the contest for the 1949 "Oscar": 

How to Win an "Oscar" 

The competition is open to all students of junior 
and senior high schools in the United States. The 
films must be planned and produced entirely by 
pupils and must be 100 feet long or less. To enter 
the competition the faculty adviser of the group 
of student movie-makers must secure an entry 
blank from the Museum, fill it in and return it on 
or before May 15, 1948. The film must be sent to 
Dr. Grace F. Ramsey at the Museum by December 
1, 1948. A selection of the winning film and the 
four next best films will be made by a panel of 
judges. All five films will be shown at the meeting 
of the Fifth Audio-Visual Aids Institute to be held 
at the Museum on January 7 and 8, 1949, accom- 
panied by an explanation given by the chairman of 
the judges as to the good and poor points of the 
film selected as the winner of the "Oscar", and the 
next four that will receive the special "Award of 
.Merit". 

If you know a group of enthusiastic movie- 
makers in a school, why not urge them to compete 
for this honor? Perhaps they have already started 
to make a film entirely by themselves which they 
would like to enter after a little more careful edit- 
ing. Fill out an entry blank which can be secured 
by writing to Dr. Grace F. Ramsey. The American 
Museum of Natural History. Central Park West 
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Wayne M. Faunce, Vice-Director of the Museum, presents 
the "Oscar" to George Dlugatz of Evander Childs High 
School for the best school-made film and an "Award of 
Merit" to Ann Williams of the High School of Commerce, 
New York, Judy Weitzman of Forest Hills High School. 
Queens, New York, and Joyce Osterman of George Wash- 
ington High School, New York City, for their films rated 
next best. 



138 



Educafional Screen 



\ Film Council in Action 

f (Continued from page 123) 

,V A Survey Committee to determine where: 

(a) films are used in the community; 

(b) groups and organizations are located which use 
films; 

(c) groups and organizations are located which are 
potential users of films; and 

(d) groups and organizations secure films. 

4. A Finance Committee to consider all money needs, 
such as: 

(a) the fees to be charged for use of films and; 

(b) whether or not to raise funds by membership 
fees, a single large gift, or a combination of 
both. 

The Circulation Problem Is Solved 

The Circulation Committee of the Council went 
to work earnestly to find the way to make needed 
films readily available to community groups. Be- 
cause it seemed unlikely that any existing commun- 
I ity institution could expand its services to include a 
film library, this committee drew up a proposal 
for a Communit}' Film Library to be supported 
cooperatively by the users, and began looking for 
a sponsor. There was no question of the need or 
of the determination of this group to find an an- 
swer. The answer came sooner and was a far 
better one than had been expected. The endowed 
film division of the public library as conceived and 



developed by Dr. Lowe assures the city of a supe- 
rior film service. 

A Film Council's Work Is Never Done 

This does not end the work of the Film Council, 
however, but it does bring the Council closer to 
achieving its ultimate goal — the community-wide 
use of audio-visual materials. 

For the past several months the survey com- 
mittee has been at work compiling the complete 
statistical story on the community's film use and 
potential film use. The final report, which is nearly 
completed, will list all of the community organiza- 
tions and institutions having projection equipment 
available, and which have used films and are inter- 
ested in using them. This report will provide the 
factual base for developing and extending group 
use of films. 

The Rochester Film Council has also offered its 
continuous services and counsel to the Public Li- 
brary. Being representative of all the consumer 
groups using films, it is in a position to cooperate 
in the evaluation and selection of materials, in 
suggesting extensions of service, and in promoting 
the most effective use of available and new 
materials. 

The Rochester Film Coimcil has been active and 
its activity is bringing results. In just a few short 
months it has firmly established itself in the cultural 
and educational life of the community. 



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Budgeting Visual Instructional Materials 

{Continued from page 115) 

only two directly provide learning — the time of the 
professional staff spent with students, and learning- 
materials used by students during or outside classes. 
\'irtually all other items, while necessary to efficient 
operation, service rather than constitute the learn- 
ing experiences of students. The investment in 
learning materials is uniquely concentrated invest- 
ment in the actual learning moment in the schooling 
process. 

2. The newer learning materials, properly used, 
sharply improve speed and retention of learning. 

The experience of the armed services in \\'orld 
War 11 indicates that highly significant gains in 
learning speed and retention may be achieved by 
proper provision and use of audio-visual aids and 
related materials and equipment. In the present 
teacher shortage and tendency toward curriculum 
overload, a saving of even lO'/c in teacher time 
would be an enormous operational and financial 
asset. The Navy's official training manual in this 
field has estimated actual time savings up to 35%. 

3. Visual and auditory aids are particularly needed 
to cope with needs and problems of today's school 
population. Academic and college entrance prepara- 
tion have been replaced by universal secondary 
education and preparation for life. Book learning 
has been absorbed into a larger pattern of learning 
by doing, learning through more direct experience. 
Pictures, models, recordings, charts and other ex- 
perimental media more effectively meet the needs 
of slow learners and those not academically inclined. 
Adjustment and behavior problems frequently re- 
flect outmoded teaching methods and materials. 
Such problems are the most costly in teacher's 
time, in vandalism, in failure and general retarda- 
tion — probably far more costly than their solution 
by better schooling. 

4. The newer learning materials are singularly 
effective means of teaching values, attitudes and 
good human relations. As was pointed out recently 
by the Commission on the Freedom of the Press,* 
we are living amid the play of unprecedented forces 
competing with the school and the church in mold- 
ing the minds of youths and adults. The Commis- 
sion singles out the great agencies of mass 
communication. "These agencies can facilitate 
thought and discussion. They can stifle it. They 
can advance the progress of civilization or they can 
thwart it. They can debase and vulgarize mankind. 
They can endanger the peace of the world : they 
can do so accidentally, in a fit of absence of mind. 
They can play up or down the news and its signifi- 



* Robert M. Hutchins. Zechariah Chafee, Jr., John M. Clark, John 
Dickinson, Wm. E. Hocking, Harold D. Lasswell. Archibald MacLeish, 
Charles E. Merriam, Reinhold Niebuhr, Robert Redfieid, Beardsley Rum], 
Arthur M. Schlesinger, George N. Shuster, in "A Free and Responsible 
Press", University of Chicago Press, 1946. 



140 



EducaHonal Screen 



cance, foster and feed emotions, create complacent 
fictions, and blind spots, misuse the great words, 
and uphold empty slogans. Their scope and power 
are increasing every day as new instruments be- 
come available to them." 

In his foreword, Robert Hutchins comments fur- 
ther, "The Commission is aware that the agencies 
of mass communication are only one of the influ- 
ences forming American culture and American 
public opinion. I'hey are, taken together, however, 
probably the most powerful single influence today. 
The new instruments at their disposal, which have 
not been exploited by other agencies, such as the 
school and the church, are making them more 
powerful all the time. The inadequacy of other 
agencies has doubtless contributed to the rapid 
growth of the power of the press. I should say, 
for example, that if the schools did a better job of 
educating our people, the responsibility of the press 
to raise the level of American culture, or even to 
supply our citizens with correct and full political, 
economic, and social information would be materi- 
ally altered. By pointing out the obligations of the 
press, the Commission does not intend to exonerate 
other agencies from theirs." 

It is clear that to defend the transcendent values 
of our American society, to implant these with un- 
shakable understanding and faith, the schools must 
employ tools and media at least equal in power and 



effectiveness to the propaganda we daily encounter. 
Americans can not expect school teachers with 
popguns to overmatch other daily influences with 
modern rocket weapons in the war to strengthen 
our wa}' of life. Films, broadcasts, pictures — the 
modern media which inspire our admiration or move 
us to laughter or tears, are educational tools of 
frequently decisive power in molding our values 
and attitudes. 

5. Growing registers and responsibilities of 
schools compel the use of better prefabrication de- 
vices as the newer teaching materials. School sys- 
tems more seriously understaffed than at any other 
time in their recent history face the sharply in- 
creased enrollments resulting from a 50% increase 
in the national birth rate since 1941. The birth rate 
continues to mount and is currently at its highest 
level. At the same time communities are demand- 
ing more individualized instruction, more occupa- 
tional guidance, more pre-school and adult educa- 
tion and numerous other needed but costly services 
for each child, involving additional teachers' time 
and central services. This inevitably growing job 
of the schools can be efficiently assumed even in 
part only by utilizing learning materials which 
reduce professional time expenditure and achieve 
maximum results. Indeed, increased budget re- 
quests for any purpose may otherwise be subjected 
to challenge by citizens accustomed to more modern 



A Check List Of Outstanding Films 
On Peoples Of Other Countries 

To date the International Film Foundation has produced and made available to the non-theatrical 
field nine subjects on the people of RUSSIA, POLAND, and ITALY and one animated color film 
on the subject of racial prejudice. 

Are you familiar with all these subjects? Have they been shown in your community? Are they 
in your library? Have you a sufficient number of prints on hand? 

MARY VISITS POLAND . . . HOW RUSSIANS PLAY , . , ARTISANS OF FLORENCE 

PEOPLES OF THE SOVIET UNION ... A RUSSIAN CHILDREN'S RAILWAY 

CHILDREN OF RUSSIA . . . BREAD AND WINE . . . ITALY REBUILDS 

POLAND . . . and . . . BOUNDARY LINES (animated) 

For rental of these ten subjects place your order TODAY with your Film Rental Library; For 
purchase, order through your Visual Education Dealer or direct. 

For descriptive information of each of these JULIEN BRYAN 
PRODUCTIONS on peoples of other countries, write 

The International Film Foundation, Inc. 

1600 Broadway New York 19, N. Y. 



March. 1948 



141 



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industrial and military training methods and equip- 
ment. 

Realistic Appraisal Necessary 
Cogent considerations such as these do not in 
themselves dispose of budget problems, however. 
Generalized needs can be met only by sound and 
practical plans and actions in particular situations. 
Budgeting actually begins by realistic appraisal of 
present states of performance, equipment and re- 
quirements. How adequate are present tools? How 
can we best determine what is needed? How can 
the need be made clear? We must first insure that 
these questions are asked, that they are asked by 
the right people. There are no simple catch-phrase 
answers. Answering them is a constructively edu- 
cative process. To get good answers, we shall all 
need a great deal of further study and discussion 
by professional and civic circles. We have admitted- 
ly not yet learned how to put sound school financing 
across nationally. Dr. Paul Mort, and the Metro- 
politan School Study Council at Teachers College, 
which is doing outstanding work in the field of 
modernization of school administration, estimates 
that on an average a lag of 50 years occurs be- 
tween the initiation and the general adoption of a 
desirable school practice. 

Two Extremes To Avoid 

Iti determining what is needed it is clear that 
iwu fallacious extremes must be avoided. A doc- 
trinaire approach based solely on outside standards 
such as practices in other school systems or in the 
armed services or industrial training worlds will 
not provide accurately for the needs of specific 
school situations, subjects and student bodies. 
.Similarly a program planned solely on recommenda- 
tions from teachers, who may be complacent about 
rutted procedures or ignorant of newer resources 
in use elsewhere, will fail to incorporate sufficiently 
advanced standards. Such guides as the American 
Council's "Measure for Audio-Visual Programs in 
Schools"* furnish invaluable general guidance and 
support for progressive levels of provision, but it 
is essential that they be adapted to local teaching 
programs, curricula and needs. 

The Importance of Attitudes 

In the final analysis, more important than detailed 
procedures in budget making, however, are the 
dominating attitudes toward it — recognition of the 
significance of the basic long term planning task 
and determination to pursue it conscientiously, 
regardless of year to year fluctuations. These are 
times of enormous res])onsibility for education, 
particularly for those who help to guide its growth 
points. The public does not cherish grateful mem- 
ories or erect monuments to those who in times of 
need and challenge do nothing, dare nothing. 
I^esjiite the trials and vicissitudes of budget-making, 
it is. in l)rief, appropriate and good to remember 
.Mark Twain's advice, ".Always do right. You will 
please some people and astotiiid the rest." 

♦Study No. 8, 1944. 



142 



Educafional Screen 



M. S. Alexander Joins Atlanta 
Audio-Visual Department 

Walter S. Bell, Director of Audio-Visual Educa- 
tion for the Atlanta Public Schools, announces the 
addition to his staflf of Millard S. Alexander. Mr. 
Alexander is to be the Chief Engineer for the new 
F. M. Radio Station (WABE) which is presently 
being installed in the Atlanta Department of Audio- 
Visual Education. Mr. Alvin Gaines, Assistant 
Director of the Audio-Visual Education Depart- 
ment and Supervisor of Radio Education, will serve 
as station manager. 

Mr. Alexander brings to the Department many 
years of experience as a radio engineer and as a 
specialist in the audio-visual field. He was con- 
nected with the Electrical Research Products, Inc. 
(ERPI to oldtimers in audio-visual education) for 
several years during the late twenties when they 
were first experimenting with educational sound 
motion pictures. He later became radio engineer 
for Station WPDY in Atlanta and remained with 
them until his recent transfer to the Atlanta School 
Department. 

Pupils as Classroom Film Advisers 

G. B. Instructional Films, Ltd. conducted an inter- 
esting experiment recently with its new color film 
Day and Night. In a "rough-cut" state, the film was 
used in a classroom situation in the presence of the 
production staff and Miss Margaret Simpson, the 
writer and director of the film. From actual observa- 
tion of the reactions of the pupils and from papers 
written by the pupils testing their grasp of the basic 
cause of day and night as presented in the film, the 
production staff was able to measure the effectiveness 
of the film and to make changes which would in- 
crease its effectiveness from the pupil's point of view. 
So successful was the experiment that it was decided 
that such a practical pre-testing of a film should, when 
possible, become the standard procedure for all G.B.I, 
classroom films. Day and Night is the third in the 
series launched by Latitude and Longitude, distributed 
by United World Films, Inc., 445 Park Ave., New 
York 22. 



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information on courses offered at their schools to 
the Magazine at once. The name of the University 
or College offering the course, the title and 
number of the course, the number of semester or 
quarter credits, the dates, and the name of the in- 
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Summary Report on UN 
Film Activities 

(Continued from page 126) 

by the United Nations. It will also be available in 
Dutch, Polish, Czechoslovakian, Korean, and Ger- 
man language versions made by local distributors at 
their own expenses. 

Distribution of this picture is providing the ex- 
perience on which distribution of future pictures 
will be based. The film is now being distributed, 
either theatrically or non-theatrically or both, in 
the following countries: Australia. Brazil, Canada. 
Czechoslovakia, Denmark. India, the Netherlands. 
Norway, Poland, Sweden. U.K., U.S., also in the 
British Zone of Germany and the U.S. Zone of 
Korea. Negotiations are underway for its distribu- 
tion in France, Belgium and Mexico. 

A 12-page guide is now available for discussion 
group leaders to use with The Peoples' Charter. Copies 
of the guide are available on request from the Films and 
Visual Information Division of the United Nations 
Department of Public Information, Lake Success, New- 
York. 

Filmstrips 

Five filmstrips were completed during the year — 
United Nations at Work, The Economic and Social 
Council, To Serve All Mankind, Genocide — The Great- 
er Crime, and The United Nations Charter. 

All of these filmstrips have been produced in Eng- 
lish, Spanish, French, Russian and Chinese editions 
and are available to schools and organizations with- 
out cost from the United Nations. Each filmstrip 
is accompanied by a printed guide and background 
material. 

A total of 7000 copies of these filmstrips have 
been made and distribution of one or more of these 
filmstrips took place in the following countries 
during 1947: Argentina, Australia, Belgium, Bolivia, 
Brazil, British East Africa, Canada, Chile, China, 
Colombia, Costa Rica. Cuba, Czechoslovakia, Den- 
mark, Dominican Republic, Ecuador, Egypt, El 
Salvador, Ethiopia, France. Guatemala, Haiti, Ha- 
waii, Honduras, Iceland, India, Italy, Lebanon, Li- 
beria, Mexico, Netherlands, New Zealand, Nica- 
ragua, Norway, Panama, Paraguay, Peru, Philip- 
pines, Poland, Puerto Rico, .Siani, Sweden, Switz- 
erland, Tunisia, Turkey, U.S.S.R., U.K., U.S., Uru- 
guay, Venezuela, Virgin Islands. 

Newsreels and Television 

Equipment for the United Nations Film Unit ar- 
rived late in the spring and all significant official 
functions have been filmed since that time, includ- 
ing the filming of the work of the Balkan Commis- 
sion in Greece. In addition to the international 
distribution made by the American commercial 
newsreels, this Section has supplied newsreel ma- 
terial to distributors in the U.S., Canada, U.K., 
China. Czechoslovakia, France, India, Pakistan, 
and the U.S.S.R. 

Due to technical problems, direct television of 
U.N. events have been so far confined to Tueetings 



144 



Educational Screen 



of the General Assembly at Flushing^; however, 
television broadcasts in both the U.S. and the U.K. 
have made extensive use of U.N. official newsreel 
material — televising the film instead of the actual 
event. 

U.N. Film Library 

During' the year, in addition to all of the official 
U.N. material, the Library has acquired all of the 
film footage which formerly belonged to UNRRA 
and UNIO. A complete index of all footage in the 
Library is maintained in New York and a duplicate 
index is kept up to date in Paris for the benefit 
of European film ]5roducers. The number of re- 
quests for material to the Film Library from motion 
picture producers is steadily increasing as producers 
of current films are finding it necessary to include 
U.N. scenes in their pictures. 

Film Committees 

During the year U.N. Film Committees for na- 
tional production and distribution problenis were 
established in France, the U.K., and the U.S. Others 
are in the process of formation. 

United Nations Film Board 

In January, 1947, the United Nations Film Board 
was established. The film sections of the United 
Nations and UNESCO became the working staffs 
of the Board. Since that time the Film Section 
has worked closely with Board members and re- 
ported on its work at the meetings of the Board. 



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Film Festival of United Nations Filnns 

Three thousand invitations were sent out by the 
Cincinnati Film Council to members of civic, re- 
ligious and educational organizations in Cincinnati 
to participate in a Film Festival of United Nations 
Films. The project was presented by the Cincinnati 
Film Council in cooperation with the Cincinnati 
Plan, Committee for United Nations. 

The Film Festival was held January 26, 1948, at 
the Art Museum, Eden Park; films shown included: 
Peofyles Charter, Boundary Lines, One World or None, 
Seeds of Destiny, Brotherhood of Man, and Round 
Trip. 

The Cincinnati Plan for the United Nations is a 
community-wide educational project devoted to the 
presentation of basic informational background 
necessary to an understanding of today's world. 

U.N. to Film Fight on Epidemics 

A new United Nations documentary film on the 
international battle against epidemics will be produced 
by the French film executive, Henri Lavaurel. It will 
feature the part played by the World Health Organiza- 
tion in curbing the recent cholera epidemic in Egypt. 
M. Lavaurel is expected to fashion the film from a 
combination of "reenactment scenes" which will be 
shot in New York, plus newsreel sequences taken in 
Egypt during the c]Mdemic. The film is one of a series 
of international productions the U.N. is undertaking. 



A Study of 

FRACTIONS 

By O. W. McGUIRE 

Author of "Easy Slept in Fractions" 

A new filmstrip kit designed to aid in teaching 
the concept of fractions at the Elementary and 
Junior High School levels. 

ELEVEN FILMSTRIPS, encompassing the fun- 
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March, 1948 



145 




To 

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- on the playground 

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- ond in the home 

"Lei's Be Safe at Home," a new release, 
shows how we develop safe attitudes. 
Both films are I reel long, 16mm. sound-color. To see how these 
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VISUAL SCIENCES, 5»?E Suffern, Mew York 



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For the Producer of 16mm butlnesi, edacofieno/ and re/Zgloet tlmt 

• EDGE NUIMBERED WORK PRINTS 

• SYNCHRONIZED STUDIO PHOTOGRAPHY 

• SOUND RECORDING I 

• RELEASE PRINTS— I 
COLOR and B&W 

• DUPLICATE 
NEGATIVES 



GEO. W. COIBURN lABORATORY, Inc. 

164 N. Woclcer Or.,Dept. E . Chicago 6, III. 




MAKE YOUR OWN 

TYPEWRITER SLIDES 

Use Rodlo-Mots — Regular Size 3</«"x4" 

or the NEW DUPLEX 2"i2" 

on sale by Theatre Supply Dealers 

Write for Free Sample 

RADIO-MAT SLIDE CO., Inc., Dept.V 
222 OakridEe Blvd., Daytona Beach. Fla. 



o 
a 
o 
a 



International Cinema Classics 

SEND FOR CATALOG 

BRANDON FILMS, INC. 

1600 BROADWAY, NEW YORK 19, N.Y. 



a 
a 
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EB Scholarships for Audio-Visual Study 

Seven universities throughout the United States 
have been selected to award Encyclopaedia Bri- 
tannica Films summer tuition scholarships for 
audio-visual study during the summer of 1948, 
according to an announcement by Stephen M. 
Corey of the University of Chicago, chairman of 
the educators' committee which made the selections. 

The universities themselves will select persons 
who will receive the scholarships, which are con- 
tributed by Encyclopaedia Britannica Films. Ap- 
plicants must be teachers or adininistrators who 
have especial responsibilty for audio-visual instruc- 
tion and who wish to make more effective use of 
classroom motion pictures. Applications should 
be sent to the universities where teachers wish to 
study before April 15, 1948. 

All teachers and educators desiring to apply for 
the tuition scholarship awards should write directly 
to the following people at the universities where 
they would like to study this summer: 

F. Dean McCluskey, University of California. 
Los Angeles, California; 

Stephen M. Corey, University of Chicago, Chi- 
cago .37, Illinois; 

L. C. Larson, Indiana University, Bloomington, 
Indiana; 

Garold D. Holstine, Oklahoma University, Nor- 
man, Oklahoma; 

A. W. VanderMeer, Pennsylvania State College, 

State College, Pennsylvania; 
James W. Brown, Syracuse University, Syracuse, 

New York; 
Walter A. Wittich, University of Wisconsin, 

Madison, Wisconsin. 

Chicago French Film Society 

The program of the Chicago French Film Society for 
April 7th will consist of a number of documentary 
films, including Montreal, in color, Dans le Massij 
Central (recently imported from France by Inter- 
national Film Bureau Inc), and Peche en Mediterranee, 
being distributed in the United States by the Franco- 
American Distribution Center. Also in the program 
will be Chants Populaires No. 1. containing the songs 
"En roulant ma boule" and "A la claire fontaine". 
This production of the National Film Board of Canada 
has been specially edited with words on the screen 
for use by French students in group singing activities. 



highlighted 



Parochial Educators Discuss Visual Education 

"Curricularizing visual education 
the recent conference of principals and supervisors 
in the Pittsburgh Catholic Diocese. Reverend 
Thomas J. Quigley is the Diocesan Superintend- 
ent. 

All visual education activities of the parochial 
schools have been centralized under a newly-estab- 
lished Visual Education Department headed by 
Michael V. Ference, professor in Education at Du- 
quesne University. 



146 



Educational Screen 



ArDID-VISMl 




Production 
Activity 



Hale Fellows: Wilmette 

According to recent advice from C. 
Scott Fletcher, president, EB Films 
has ambulated from its Civic Opera- 
tion at 20 North Wacker Drive in 
Chicago to 1150 Wilmette Avenue in 
Wilmette, Illinois. 

The Northwest passage began last 
summer when the Spring reign of the 
research and production staffs in Man- 
hattan ended with the first move to 
the former First National Bank Build- 
ing in the Chicagoland suburb. With 
administrative and sales offices mi- 
grating North also, greater efficiency 
of operation is anticipated in the new 
coordination of activities. 

Whether or not the University of 
Chicago, with which the film company 



ANFA Convention and 
Trade Show — April 22-24 

The Eight Annual Convention of the 
.\llied Non-Theatrical Film Associa- 
tion will be held from April 22 through 
24 at the Hotel New Yorker in New 
York City, according to an announce- 
ment by William F. Kruse (Vice- 
President, United World Films), Presi- 
dent of the Association. 

Jointly with the Convention, the 
Third Annual 16nim Industry Trade 
Show will take place in the same hotel, 
under the direction of Wilfred L. 
Knighton, Executive Secretary of the 
Association. The latest products and 
developments in 16mm equipment, and 
exhibits by film distributors, libraries, 
producers and projection services will 
feature the Trade Show, which will 
be open daily from 10 a.m. to 6 p.m. 

Main sessions of the Convention, 
open to members and guests, will 
feature two symposium discussions, — 
one devoted to the users of 16nim 
films, on the subject: What the Film 
User Expects of the 16mm Industry, 
Its Trade Associations and Its Press. 
The second session will consider What 
the Film Dealer Expects of the 16mm 



is affiliated, would also move uptown 
was a matter of some conjecture, but 
Mr. Hutchins was not reached for 
comment. 

Vapora+e Condenses 
In New Base 

\aporate Company, Inc., has moved 
from its 130 West 46th Street address 
in Manhattan to 446 West 43rd Street, 
according to a recent announcement 
by Lucile H. Fleck, President. 

Vaporate also announces that it has 
become the exclusive sales agent for 
Vacuumate Corporation. The vacuum 
machines have been installed in the 
new premises. 

Eastman Opens New 
Plastics Laboratory 

Opening of a new plastics labora- 
tory, first of its kind in the camera in- 
dustry, was announced recently by 
Eastman Kodak Coinpany. Kodak is 
using the laboratory to intensify its 



Industry, Its Trade Associations and 
Its Press. 

Business sessions on the opening 
and closing mornings, and open only 
to members of the Association, will be 
held to present officer's reports, nomi- 
nate and elect officers for 1948-9, and 
to consider resolutions for Association 
action during the following twelve 
months. 

Prominent speakers representing film 
consumer interests such as schools, 
industry, labor, religious groups and 
television broadcasters will speak at 
the film-users symposium on Thursday 
afternoon. The subject of Friday's ses- 
sion will be presented by film dealers 
in small cities and large urban areas, 
and by distributors, libraries, showmen 
and manufacturers. 

Evening meetings are scheduled to 
allow the seven divisional groups of 
the Association to consider their spe- 
cial problems separately. 

The Convention will conclude with 
a Banquet on Saturday evening, April 
24th, in the Grand Ballroom of the 
Hotel New Yorker, at which the As- 
sociation will present the traditional 
Annual 16mm Award to some leader 
in the 16mm field in recognition of 
outstanding service to the industry. 



ROBERT E. SCHREIBER, Editor 

Supervisor of Teaching Aids 

Mishawaka (Indiana) Public Schools 

development of plastic parts for cam- 
eras, projectors and other photographic 
apparatus. 

The laboratory is under the general 
supervision of Garson Meyer, chief 
chemist at the Camera Works. Meyer 




TO USE PROJECTORS 

• Can't Tear Film 

• Positive Framing 

• Easy, Quick Cleaning 

• Tests Prove Exclusive Viewlex Asph- 
eric Condenser System with 150 watt 
lamp gives greater screen brightness 
than many 300 watt projectors. You 
get more economy, less heat. 



MODEL AP.2C — Deluxe 
combination all-purpose 
slide and strip film projec- 
tor. Built-in slide carrier, 
elevating mechanism, Luxtar 
5" color corrected Anastig- 
mat lens. Coated optics. 
$67.00 



MODEL VAF— All-purpose 
projector. Built-in slide car- 
rier, Aspheric condenser sys- 
tem. 5" Anastigmal Luxtar 
color-corrected lens. De- 
signed and built only for 
this special offer, model 
YAF is not otherwise for 
sale. 



NOW! VIEWLEX AND YOUNG 
AMERICA BRING YOU A SPECIAL 
•PACKAGE ■ OFFER. 
Finest visual education projector — ideal 
for classroom and auditorium — plus quan- 
tity of excellent Young America slides or 
slidefilms — both together for dollars less 
than any comparative quality projector it- 
self! A marvelous opportunity for schools 
to establish visual education at modest 
cost! 

PLAN No. 1— MODEL YAF ALL-PUR- 
■ POSE PROJECTOR plus $30.00 of slide- 
films and slides (your choice) 

FOR $79.50 
PLAN No. 2— MODEL YAF ALL-PUR- 
POSE PROJECTOR plus $55.00 of slide- 
films and slides (your choice) 

FOR $99.90 

YOUNG AMERICA FILMS, INC. 

Dept. ES3, 18 East 41st Street, 
New York 17, N. Y. 




March, 1948 



147 




SOCIAL STUDIES 
WORLD HISTORY 
AMERICAN HISTORY 
GEOGRAPHY 

Brazil 50 f 

Alaska 42 f 

Australia . . 49 f 

Russia 55 i 

India 60 f 

China 64 f 

Canada 45 f 



Mexico 43 f 

So. America 62 f 
Hawaiian Is. 46 f 
Pioneer Days 31 f 
Indian Life 36 f 

The Farm 28 f 

Christmas 31 i 



Early Civilization 39 f 

Ancient Greece 32 f 

Ancient Rome 32 f 

Knighthood 35 f 

Voyage & Discovery 43 f 

Americans All 37 f 

Colonial America . 30 f 

Community Life 38 f 

Man on Record 29 f 

Clothing & Textiles ... 50 f 

Transportation 43 f 

*— -Frames 

5 ADVANTAGES FOR YOU 

1. TALKING FILMS: Each caption is de- 
signed for oral reading at the time pic- 
lure appears on screen. Oral "image" 
is thus made simultaneously with 
visual image when captions are read. 

2. STUDENT PARTICIPATION: Designed 
to stimulate student participation. Chil- 
dren talk with more ease from and 
about these pictures. 

3. GREATER ATTENTION: Bright, clear 
pictures selected for interest and in- 
structional value result in greater atten- 
tion. 

4. TEXT FOR STUDENT: Well-known 
authors have provided text for use by 
students. Each film has manual con- 
taining text in large, readable type. 
Controlled vocabulary. 

5. VISUALIZE YOUR TEXTBOOKS: Kc- 
tures have been selected for visualiz- 
ing content of well-known textbooks. 

OKDIR ON APPHOVAL —See these new 
hlmstrips. Check the titles ot lilmstrips 
you want. Mail us this ad, and we 
wUl send you the lilmstTips on 
APPROVAL. MAIL TODAY. 



INFORMATIVE CLASSROOM 
PICTURE PUBLISHERS 

40 Ionia Avenue, N.W. 
Grand Rapids 2,Micliigan 



holds the designation of "plastics pio- 
neer," awarded by the Society of the 
Plastics Industry in 1944. Gerard De- 
laire is enginecr-in-charge of the labo- 
ratory. 

A "plastic parts museum" also is 
being set up in the laboratory. This 
collection of hundreds of plastic prod- 
ucts — photographic and non-photo- 
graphic — will aid Camera Works en- 
gineers in "studying bow the other 
fellow uses plastics," Meyer said. 

Plastics are widely utilized in mak- 
ing cameras, carrying cases, and many 
other pieces of photographic equip- 
ment, from tiny precision gears to 
relatively large professional apparatus. 
The actual, large scale production of 
Kodak's plastic parts is done by sev- 
eral custom molding concerns. 

Among the equipment in the new 
laboratory are testing devices to meas- 
ure impact, bending, hardness, stiff- 
ness and heat distortion. The labora- 
tory has both injection and compres- 
sion presses as well as apparatus for 
casting plastic materials. 



Jam Handy Handles 
Curriculum 

The Jam Handy Organization is now 
exclusive distributor for Curriculum 
Films in the United States and Canada. 
Under the new distributor plan the 
two organizations will be able to ex- 
pand their visual aids program for 
schools, and to make more color films 
available. Curriculum Films has con- 
ducted extensive research to determine 
the fields in which educational films 
are needed and has followed through 
with the development of new film 
subjects planned under the guidance 
of teaching authorities. 

Curriculum slidefilms now being 
distributed by The Jam Handy Organ- 
ization include series on secondary 
mathematics, FInglish, primary reading, 
history, and sports. Additional films 
are being prepared for future distri- 
bution to schools. For complete in- 
formation on all Curriculum Films 
write to The Jam Handy Organization, 
2821 East Grand Boulevard, Detroit 
11, Michigan, or contact the distributor 
in your area. 



Aptekar and Cooper 
Form Contemporary Films 

.•\1 Aptekar and Charles Cooper, 
veteran film industry devotees, have 
joined talents in Contemporary Films, 
a 16mm rental library at 80 Fifth 
Avenue in Gotham. 

The new library will stock a variety 
of titles and will specialize in Euro- 
pean productions, as well as domestic 
releases. The library will offer a rental 
service on projection apparatus and 
plans to provide complete training 
in projection techniques for its clients. 



Equipment 



Beseler Cooking with Gas 

The gas or kerosene slide projector 
is the latest production of the Charles 
Beseler Company. This projector 
makes it possible to project slides and 
35 millimeter strip film in any location. 
The illuminant is a standard Coleman 
mantle lamp operating with either 
gasoline or kerosene. One filling of 
the lamp with fuel will operate the 
Welsbach burner for I'/i hours. 

The basic* equipment is designed 
for the clear, well-defined projection 
of standard lantern slides (3}4 " x 4") 
either colored or uncolored. A 2" x 2" 
film adapter can be applied to this 
projector which provides for all types 
of slides and strip film projection. The 
lamp may be withdrawn from the 
equipment and used for general light- 
ing as a table lamp. The apparatus 
operates most efficiently at 20 feet, 
projecting a 6-foot square screen image 
but will operate effectively at 10 or 
15 feet. 



Three Dimension 
Projector Revamped 

The Three Dimension Sales Com- 
pany of Chicago announces a new 
series of miniature slide projectors to 
be called the "TDC VIVID." 





K 


^^mj^ 


gjS^fp- 




m^^mm^/^^lt'^ 


^^-^r' 


llp^ 




1 ^ 




1 V 




W '^ 




y 



TDC VIVID Slide Projector 

The new models, featuring 150-watt 
illumination with 300-watt converti- 
bility and fan cooling possible, in- 
corporate a shutter-type slide changer 
that cuts off light during slide change; 
slides feed from the right and eject 
from the left, and the unit is inter- 
changeable with the Eastman Koda- 
slide changer. 



148 



Educational Screen 



M. R. Klein Markets 
Jackson Record Player 

M. R. Klein of Chicago, manufac- 
turers' representative, announces the 
availability of a new line of record and 




ES-4 Record Player 



transcription players, some with public 
address features. 

Pictured is the Model ES-4 which in- 
cludes dual speed operation, a ten watt 
amplifier, IJ/^ ounce Astatic pickup, 
and microphone imput. 

Other available models include the 
ES-3, essentially the same as the ES-4, 
with the exception of amplifier output 
and microphone input; and the ES-5, 
which has the same motor and pickup 
components but is designed to be 
plugged into a sound projector for am- 
plification. 

Further information may be secured 
from Mr. Klein at 27 East Monroe 
Street, Chicago 3. 



Classroom E. T. 
Player from RCA 

A new portable transcription player 
specially designed for classroom use 
for reproduction of standard records 
and transcriptions is announced by the 
Educational Sales Department of RCA 
Victor. Weighing under 30 lbs., the 
new transcription player has a specially 
designed speaker and amplifying sys- 
tem which gives ample S-watt power 
for small auditoriums. 

Accurate speed control is secured by 
a new design embracing two motors, 
one for standard phonograph speed 
and one for transcription speed. Selec- 
tion of the speed desired is accom- 



plished 
lever. 
The 
housed 
The 8" 



within the case. 



ijy a clear-view, two-position 

entire transcription unit is 
in a plywood carrying case, 
speaker is completely housed 




Filmstrips for Family Week 
MAY 2 - 9 

THE CHRISTIAN FAMILY (40 frames, manual, 
$2.50). How home and family life can be made more 
Christian, more enjoyable. Family planning, worldng, 
playing, worshiping together. Photographs and car- 
toons. 

HAPPY TIMES AT HOME (30 frames, manual, 
$2.00). Three sisters sharing in household tasks; be- 
ing thoughtful of others; joys of Christian home. For 
children 4 to 7. 

Order from your vhaal aldt dealer. 



5«22 Enright Ave. 



St. Louis 12, Mo. 



IHI NIW " 




Mmmimmtim 



M. 



16mm. SOUND PHOJECTOR 
Ai^PLIFIER, SPEAKER AND 
SCREEN — Alt- IN-ONE — 
SMAll, COMPACT CASE 
WEIGHING LESS THAN 31 tSS. 



HERE'S WHY THE DEVRY "BANTAM'^'^nl 
IS WANTED MOST BY MOST PEOPLE 

So light, it's as easy to carry as a port- 

uu(e i-uJio. 

So simple to set up, thread and focus, 

it's like operating a record-player. 

So designed as to give you both silent and 

sound projection without additional equip* 

menv. 

So carefully engineered, it's /nfin/tefy kind 
to film. 

So equipped (750-1000 watt illumination) 
you get briiliant, distinct pictures. 
So constructed as to give you amazingly, 
life-lite sound. 

5o ruggedly built, you can count on your 
DeVry "Bantam" to give you years of 
day-in, day-out, trouble-free performance. 
Your OeVry "Bantam" gives you BIG pro- 
jector features, PLUS many new EXCLU- 
SIVE DeVry refinements: 2,000 ft. film 
capacity. Fast motor-driven rewind. Coated 
[ens elements. Automatic loop-setter. Pre- 
focused exciter lamp. Motor-driven forced ' 
air cooling. Either AC or DC operation. 



Single Case "Ban- 
tam" with buill-in 
6-inch ALNICO 5 
permanent magnet 
speaker, is readily 
detachable for 
placement at 
screen as desired. 




i 



Dual Case "Uao* 
lam" projector and 
amplifier in oa^ 
case. 8 "ALNICO 5 
permaoeni magnet 
speaker in separate 
matched case. 






M 



Your nc<t DfVav "B«n(am * ha, ailniuMC illumiiuiion (?«>- 
1000 Van) (or projcning brilliani picTum in audiioriunu. 



WBBB|'ri'"BEy 

wrTrm , 



I OE VRY CORPORATION ES-E: 

I 1111 Armitage Ave., Chieaqe 14, III. 



■^<?mm^.. 




ONLY FROM DeVrt 

fc irou fd Itinm p(«|tilDn dtu^ird and buill by th* 
■MM iiattuixn 
^t Hit pnfi 




March. 1948 



r49 



First in the Field 




STIILFILM STRIPS 

In Natural Colors- 

^ud HelecUed 

TEN NEW 

NATURE 

SUBJECTS 

Send for Catalog N. 

STILLFILM, live. 

8443 Melrose Ave. Hollywood 46, Colif. 



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ELECTED FILMS 

for All Your Needs! 

Largest library of 

FREE FILMS 

many in color 
Over 500 of the best 

EDUCATIONAL FILMS 

for elassrooiti use 
High grade 

ENTERTAINMENT FILMS 

for all ages and all types 

of groups 

• 

The best films for use in 

DISCUSSION and INFORMAL 

EDUCATION 

• 

Also: Travelogues, Sports and 
Recreation, Music, Social Sci- 
ence, and many others. 

• 

Write for New Classified 
Film List Today! 



Wi 



ASSOCIATION FriMS 

(Y.M. C, A.' MOTION PICTUK ftUREAU) 



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Grubb's Stake in Victor 

Appointment of Harry C. Grubbs, 
former vice-president of Hollywood 
Film Enterprise, Inc., as a manager 
of Western sales division of \"ictor 
.Aniniatograph Corporation, Daven- 
port, Iowa, has been announced by 
President Samuel G. Rose. 

Grubbs will handle promotion of 
Victor 16mm equipment to distribu- 
tors and dealers in the states of Cali- 
fornia, Oregon, Washington, Utah, 
Idaho, Nevada, Arizona and Montana, 
maintaining offices at 6060 Sunset 
Blvd., Los Angeles, and 420 Market 
St.. San Francisco. 

Gilbert Chase to RCA Victor 

Gilbert Cliase, one of the country's 
most distinguished musicologists, and 
outstanding writer, critic, and lecturer, 
has joined the Educational .Sales De- 
partment of the RCA Victor Division 
of Radio Corporation of America, it 




Gilbert Chase 

is announced by William H. Ktiowles, 
General Manager of the Department. 

The appointment, according to Mr. 
Knowles, provides opportunity for the 
further expansion of audio-visual serv- 
ices to schools and colleges by RCA 
Victor in line with the company's 
continuous activities since 1911 to en- 
courage nuisic appreciation in the 
schools. 

Before joining RCA Victor, Mr. 
Chase was Supervisor of Music for 
NBC's famous University of the Air 
series. He is considered the leading 
musical scholar in this country in the 
field of Latin American music. 

As Educational Recordings Special- 
ist, Mr. Chase will survey the entire 
field for educational recordings, not 
only in connection with music con- 
sidered most useful to schools but 
other types of instructional records 
and transcriptions. 



Film Expert Assists Medical 
Conference for 17th Year 

Though he doesn't hold a medical 
degree, H. O. Davis, Ampro visual 
education dealer of Oklahoma City, 
holds a rank of high respect among 
doctors at this city's clinical society 
meetings. Davis recently attended 
this medical conference for the 17th 
consecutive year to assist lecturers, 




H, O. Davis 

and through these years he has prob- 
ably shown more medical films than 
any other man in the state. 

Davis moved forward with the doc- 
tors as they first utilized 4-inch stand- 
ard size slides back in 1931. "Later 
on, the doctors got to using 16mni 
silent film," Davis said. "Then in 1935. 
when the film companies started mak- 
ing medical sound films, the doctors 
adopted them." Since that time, slides 
and sound films as well as silent films 
liave been used extensively. Only 
since 1942 have doctors used 2x2- 
inch colored slides, in addition to the 
others. 

This year Davis equipped three ■ 
Biltmore rooms with $1,500 worth I 
of equipment, including Am pro's 
"Premier-20" 16mm sound projector, 
8mm silent projector, four standard 
slide projectors, three 2x2 projectors 
and screens. 

New BIS Job for Hodge 

British Information Services an- 
nounces the appointment of Thomas 
Hodge as Director of Films & Publi- 
cations Division, as of the first of this 
year. 

Mr. Hodge first came to the L'nited 
States late in 1942 as B.I.S. Regional 
Film Officer with Headquarters in 
Chicago. In 1944 he moved to New- 
York as Head of B.I.S. Theatrical 
Film Section and became Assistant 
Director of Film Division in 1945. 
When Films & Publications Division 
were merged in 1947, Hodge was made 
Deputy Director of the new division 
which he now directs. 



150 



Educational Screen 



I 



Current Film News 



m UNITED WORLD FILMS, INC., 
445 Park Ave., New York 22. N.Y., 
announces the following 16mni film : 

Sprints (2 reels) — first of a new 
training: series, prodncecl by United World 



■ ENCYCLOPAEDIA BRITANNI- 
CA FILMS, INC., 20 N. Wacker 
Drive, Chicago 6. 111., is embarking on 
a new program of providing specially 
edited 8 and 16mm silent films for dis- 
tribution in the home and adult field. 
The first group of EB films for the 
home consists of 17 titles and is now 
available for distribution. Including films 
on "Inside Russia," sports, animals and 
foreign lands, the home and adult series 
of films will be constantly expanded. 

■ FILMS OF THE NATIONS, 

INC., 55 W. 45th St., Xew York 19, 
N.Y., is distributing the 16mm sound 
film Pattern for Pence, officially approved 
and recommended by the United Nations 
Film Board. The film explains the func- 
tions of the United Nations ; shows with 
charts, animation and a clear commentary 
how the organization is set up and what 
the purpose of each department is ; de- 
scribes the necessity for each council, 
who its members are ; explains the veto. 

■ CORONET INSTRUCTIONAL 

FILMS, Coronet Building, Chicago 1, 
III., offers four new one-reel produc- 
tions, available in color or black and 
white: 

Ready to Type — showing students 
that readiness is the pre-requisite to 
typing efficiency : getting ready mentally 
and physically to control the typewriter. 

Building Tsrping Skill — telling the 
story (jf tlie student's eiforts to increase 
his typing skill ; how, through practice, 
lie masters relaxation, precise operative 
control, attention to copy, control of his 
arms and hands, and confidence in his 
own performance at top speeds. 

England: Background of Literature 

— picturing scenes wliicli inspired ling- 
land's greatest writers. 

Scotland: Background of Literature 
— helping students vi.sualize the rugged 
Scottish country so that they can better 
apjireciate the literary works inspired 
by it. 

■ THE NATIONAL FILM BOARD 
OF CANADA, 1746 Massachusetts 
Ave., N.W., announces the publication of 
4-page leaflets, titled "The Film for 
Your Need," to be mailed every few' 
weeks to I6mm film dealers and libraries 
and to educational, civic, fraternal and 
women's groups throughout the United 
States. The leaflets will describe avail- 
able films in detail, giving utilization 
suggestions. The first issue deals with 
health and welfare films and features 
the following 16nim black and white 
sound film: 

The Feeling of Rejection (2i niin.) 
— initial |)roduction in a new mental 
liealth series; the story of an emotionally 
<listurl)ed young woman, who, with the 



help of a psychiatrist, gains an under- 
standing of the childhood origin and 
causes of her difficulties. The film was 
a prize winner in the recent "Films of 
the World" Festival in Chicago. 

■ TEACHING FILM CUSTODI- 
ANS, INC., 25 W. 43rd St., New York 
18, has prepared excerpted classroom 
versions of feature photoplays based 
upon outstanding novels. .^niong 
these are Les Miserablcs, The Good 
Earth, and Anna Karenina. Also avail- 
able are classroom versions of motion 
I)ictures based on the novels of Charles 
Dickens and film versions of children's 
classics, such as Alice in Wonderland 
and Treasure Island. Informative folders 
describing these film offerings are avail- 
able to teachers and school supervisors 
without charge. 

Also available from Teaching Film 
Custodians are prints of four classroom- 
length films on world history, excerpted 
from feature motion pictures. The films, 
edited from The Crusades, The House 
of Rothschild, Conquest, and Antony and 
Cleopatra, were prepared by a committee 
of the National Council for the Social 
Studies. 




'Sprints" 



Films in cooperation with the Amateur 
Athletic Union and the United States 
Olympic Committee. The film covers 
the fundamentals of the 100-yard dash 
and the 220-yard dash. 

■ SIMMEL-MESERVEY, INC., 321 
So. Beverly Drive, Beverly Hills, Cali- 
fornia, has acquired for distribution the 
first series of educational films, in color, 
made in France since the war. Produced 
in cooperation with the French Govern- 
ment by Eugene and Frederick Croizat 



^i^d,t ^i*m Coe/i ^Umed! 

Famous NORTHWESTERN UNIVERSITY 
MARIMBA COEDS ORCHESTRA! 









riicy vf traveled over 25,000 miles in 'Bach- 
to-Boogie' concerts! They're the pride of 
Prof. Musser, famed marimbist, composer, 
conductor . . . head of Marimba Dept. at 
Northwestern School of Music, first to of- 
fer majors and master degrees in marimba! 
Dealers, Librarians, films Bayers: Write 

FILM STUDIOS OF CHICAGO — H. A. SPANUTH 

135 S. La Solle Dept. E Chicogo 3 



^ Sensational Performers, di- 
' reefed by CL4IR OM4R 
musser; Produced In N. U.'t 
Lutk'n Hall . . . exe'usivelv tor 

v</oMAN speaks: 

FULL-REEL CONCERT 

1. 'Overture to the 

Merriege of Figaro' Mozarf 

2. 'Flight of the 

Bumble Bee' Rimslcl-Korsakov 

3. 'Hora Staccata' Dinicu 

4. 'The Artists Life Walti' 

Johann Strauss 



March, 1948 



151 



POSl 



ftRB'OllPOSTF-n 



on the Best 16mm 
SHORT SUBJECTS? 

educational. . . Entertaining! 

25 CARTOONS 

13 WILlfC TH£ WHOPPER 
SU8/ECTS 

The Tall Story Teller of the cortoon world. 
Willie's amazing ond incredible exploits ore 
gaily depicted in this outstanding cartoon 
series. Each subject one reel. List price: 
$17.50 each. 

12 FLIP THE FROG 
SUBJECTS 

Cleverly drown, perfectly animated, delight- 
fully humorous cartoons that wilt provide 
many hours of pleasant relaxation. Each sub- 
ject one reel, list Price; $17.50 each 

6 TWO-REEL COMEDIES 
WITH MICKEY ROONEY 

The hilarious adventures of Mickey McGuIre 
ond his Gong. Classics in the field of juvenile 
comedy, played by highly talented casts. Irre- 
sistibly appealing to children and grown-ups 
oiike. Two reels eoch. List Price: $37.50 each. 

Available at leading film Libraries. 

Write for fRFf cafafog to Dept. TO. 



POST PICTURES CORP. 

1 15 W. 45th St., New York 19, N. Y. 



"PUPPY TROUBLE" 

The First of the series, TRAINING 
YOU TO TRAIN YOUR DOG. Three 
14mm Sound Films In Color or Black- 
and-Whlte. 



Demonstrating 
the Puppy's 
First Lesson In 
House Manners. 



Helen Hayes & Lowell Thomas, Nar- 
rators. Blanche Saunders: Director. 
Louise Branch: Producer & Photogra- 
pher. 

UNITED SPECIALISTS, INC. 

America's foremost producers of 

Dog Films 

PAWLING. NEW YORK 




' The Outstand'ng Value in Color Fllmstrips: 

MOTHER GOOSE NURSERY RHYMES 

12 beautifully illustrated rhymes on 3 
fllmstrips; the three strips, $9.00. Also 
available separately, S3. CO ench. Order 
direct or write for descriptive fotder! 

2067 Broodwoy New York 23 N Y 



of Paris, the series will include i)ictures 
on many phases of present-day and his- 
torical France. Narration is in English, 
with French narration contemplated. The 
following two films are available : 

Paris — City of Art — presenting the 
art and architecture of the famed capital, 
including interior scenes of the Louvre 
and representative paintings and sculpture. 

Journey to Provence — showing some 
of the historical and modern highlights 
of this locality in southern France. 

■ SAVE THE CHILDREN FED- 
ERATION, 1 Madison Ave., New 
York 10, has released a revised docu- 
mentary film depicting the plight of 
children in Europe. 

Restoration Begins (18 minutes)— 
a revision of the earlier film. Children 
of Tragedy, which portrayed the west- 
ern European scene immediately after 
the cessation of hostilities. Some of 
the best scenes from the earlier pic- 
ture have been retained. Dr. Howard 
E. Kershner is the narrator, and film 
actor Charles Boyer appears in the 
opening and closing scenes. Approxi- 
mately half the footage consists of en- 
tirely new scenes. Countries visited 
by the camera are Greece, Holland, 
Belgium, France and Finland. The 
continuing challenge of postwar need 
is concretely shown. The film will be 
distributed free to interested groups 
through regional offices of the Federa- 
tion in Boston, Chicago, Philadelphia, 
San Francisco, and from the national 
office in New York. 

■ MEDICAL RESEARCH FILM 
LIBRARY, Sherwood Pictures, 789 
St. Marks Ave., Brooklyn 13, N. Y., 
announces four films for doctors, 
nurses, hospitals, and medical schools: 

Extra Peritoneal-Caesarean Section 
— ^Norton Technique (1 reel) 

Paravertebral Thoracoplasty — Local 
and Block Anesthesia (1 reel) 

Repair of a Hiatus Hernia (2 reels) 

Removal of a Pleural Tumor (1 
reel) 

■ FILM STUDIOS OF CHICAGO, 

135 S. La Salle St., Chicago, has re- 
leased a full-reel concert featuring the 
Northwestern University Marimba Coeds 
Orchestra. The film was produced on the 
Northwestern University campus express- 
ly for "Woman Speaks," woman's page 
of the screen produced by the Film Stu- 
dios of Chicago. 

■ MOODY BIBLE INSTITUTE, 

153 Institute Place, Chicago 10. 111., an- 
nounces a new 16mm color film: 

Against the Tide (IS min.) — show- 
ing how the Moody Bible Institute stu- 
dents combat the forces of evil in a big 
city. Brief dramatic episodes portray the 
students visiting jails, hospitals, found- 
ling homes, etc. Chicago Film Laborator- 
ies will do the release prints, to be dis- 
tributed through the Institute's regular 
channels in the extension and steward- 
ship departments. 



■ BRITISH INFORMATION 
SERVICES, 360 N. Michigan Ave., 
Chicago 1, 111., have made available two 
new 16mm sound films: 

The Cumberland Story (46 min.) 
— the true story of a Cumberland coal- 
field. 

Coal Crisis (22 min.) — emphasizing 
the importance of coal to the future of 
Britian and showing production obstacles 
as well as achievements. 

■ INTERNATIONAL FILM BUR- 
EAU INC. has acquired the American 
rights to the following films and an- 
nounces that prints are now available 
for distribution from both offices of the 
Bureau, at 84 E. Randolph Street, Chi- 
cago 1, or 15 Park Row, New York 7. 

Heart of Paris (90 min., 16mm and 
35mm) — A story of family life in Paris. 
French comedian Raimu has his day in 
court. As a juror he helps to acquit 
the accused (Michele Morgan) and 
gives her a job in his bicycle shop 
where complications develop. Press 
sheets and posters available to schools 
booking this series. 

Les Miserables (3 hrs. 20 min.) — 
Original French version of this famous 
story by Victor Hugo is being offered in 
16mm size in two parts: (1) Jean Val- 
jean and (2) Cosette. The film stars 
Harry Baur and prints are available 
in all parts of the United States. 

Chants Populaires No. 1-5 — A series 
of five one-reel films, each containing 
two French songs. The songs are ani- 
mated and words in French appear 
on the screen. 

■ THE CALVIN COMPANY, Kan- 
sas City, Mo., has produced two new 
ct)lor motion pictures: 

Revolution in the South (25 minutes) 
— the story of the new and industrially 
vital south, presented by the Lion Oil 
Company, El Dorado, .Arkansas, and 
showing the part that the Lion Oil 
Company has played in the growth 
and development of the south. 

The Other Side of the Fence — pre- 
sented by Phillips Petroleum Company, 
Bartlesville, Okla., and telling the 
story of the efifect of mineral-deficient 
soils on the crops and animals raised 
on our farms. Featured in the film is 
Dr. William A. Albrecht of the Uni- 
versity of Missouri, an internationally- 
known authority on soils, who also 
acted as technical advisor on the pic- 
ture. 

■ DRAVO CORPORATION, Key- 
stone Division. 300 Penn .Ave., Pitts- 
burgh, Pa., has completed a motion 
picture depicting the production and 
distribution of river sand and gravel : 

The Story of River Sand and Gravel 
— picturing the operations of the Dravo 
Corporation, which are more or less 
representative of the sand and gravel 
industry in the Pittsburgh area. The 
film is available for group showings at 
no cost. 



152 



Educational Screen 



■ NATIONAL SOCIAL WEL- 
FARE ASSEMBLY, 1790 Broadway, 
New York 19, Youth Division, has pro- 
duced a film which has been hailed 
by leading educators as a new medium 
for the betterment of human relations: 

Make Way for Youth — narrated by 
Melvyn Douglas, the film dramatizes 
the way in which inter-organization 
youth councils can bring teen-age 
youngsters together on community 
projects and so give them practical 
experience in democratic citizenship. 
The movie was filmed in Madison, 
Wisconsin, which has had a Youth 
Council for several years, and all the 
actors are residents of Madison, Pro- 
fessional production is by Transfilm, 
Inc. 

■ OFFICIAL FILMS, INC., 25 W. 
45th St., New York 19, has released a 
new sports film: 

Championship Basketball (8mm and 
16nim sound) — covering all the fine 
points of basketball as played in the 
big-time college competitions. 

■ STERLING FILMS, INC., 1186 
Broadway, New York 1, N. Y., an- 
nounces several 16mm sound films 
suited to the educational field: 

Sibelius — a film concert and ballet 
from the pen of the world's greatest 
hving composer. 

Birth of a Volcano — Paraeutin, the 
terrifying Mexican spectacle, from 
its scientific discovery to scenes of the 
eruption itself. 

Finlandia — Sibelius at home with a 
musical background of Finlandia and 
the Second Symphony. 

Sports Around the World — a trip 
to the world's capitols for a ringside 
seat at international sporting events. 

Indian Hunters — showing two In- 
dians on a hunting trip in their native 
Canadian woods; made for Sterling 
Films by the National Film Board 
of Canada. 

Music in the Wind — depicting the 
history of the pipe organ and featuring 
Bach's Toccata and Fugue in D minor. 

■ ASSOCIATED FILM ARTISTS, 

30 N. Raymond Ave., Pasadena 1, Cal- 
ifornia, announce the release of a new 
film: 

Snakes Are Interesting — 16mm 
sound, color, 400 feet — photographed 
and narrated by Murl Deusing, na- 
tionally-known lecturer and wild life 
photographer. The reel contains the 
pick of ten years of reptile photography 
by this famous naturalist photog- 
rapher. There are scenes of a fo.x 
snake laying eggs and a garter snake 
giving birth to her young alive. How 
a snake travels witliout legs, how it 
sees and hears are illustrated. Com- 
mon superstitions about snakes are 
covered with understandable explana- 
tions. Information on rattlesnakes and 
their poison is presented. Children of 
upper elementary and junior high 
school levels help to tell the story. 



Catalogs 

■ CORONET INSTRUCTIONAL 

FILMS, Coronet Building, Chicago 1, 
III., offers a new catalog for the Coronet 
Film Library including all of the 60 new 
Coronet films released during 1947 as 
well as films previously produced by 
Coronet. The catalog includes a short 
description of each production, recom- 
mended grade levels, educational col- 
laborator, length, and price. One section 
of the catalog is devoted to full informa- 
tion on Coronet's arrangements for pur- 
chase, lease-purchase, and rental sources 
of these 16mm sound films. 



■ The PRINCETON FILM CEN- 
TER, Princeton. N. J., has published 
a new catalog of 16mni sound motion 
pictures, including titles and descrip- 
tions of the numerous sponsored or free 
pictures made available by The Film 
Center, as well as the listings of hun- 
dreds of educational and entertainment 
subjects offered from its rental library. 
The catalog may be obtained free of 
charge by mentioning Educational 
Screen and addressing your request to 
The Princeton Film Center, Princeton, 
N. J., attention R. C. Jones, Sales Di- 
rector. 




Coronet 

INSTRUCTIONAL FILMS 



FILMS FOR LITERATURE 

At last — films to bring your students a new appreciation of the classics. 
Beautiful cinematic tapestries, skillfully interweaving unforgettable 
scenes of storied lands with melodious lines from the many immortals 
they inspired. Two memorable literary journeys . . . 

ENGLAND: ^rfcA'yi'Ofenf/ o/ ^eYm'€i/ui'& 




"Oh, London town's a fine town. 
And London sights ore rare." 

— Masefield 



"...a sense sublime of something far 
more deeply interfused..." 

—Wordsworth 



SCOTLAND: ^^rfc/^yme^f/ e/Q^e'/era/fej'e 




"The rank is but the guinea's stamp-. 
The man's the gowd for a' that." 

— Burns 

These new 16 mm. sound-motion 
pictures are each one reel in length, 
and were produced in collaboration 
with Dr.JohnJ. DeBoer, University 
of Illinois. 



"The battled towers, the donjun keep 
...the flanking walls...'* 

—Scott 

For a complete catalog, or Information 
on Purchase, Preview, Rental, write to: 

Coronet "*"V,V^'s°'*^'- 

CORONET BLDG. • CHICAGO 1, ILLINOIS 



March, 1948 



153 



Trade Directory 
For the Audio-Visual Field 



FILMS 



W. J. Ahern, Filin Bookings 

126 Lexington Ave., New York 16. 

716 Federal St., Troy, N. Y- 
AMHoefntlon FllniN 

347 Madison Ave., New York 17, N. Y. 

19 S. I.a Salle St., Chicago 3, 111. 

351 Turk St., San Francisco 2, Cal. 

3012 Maple Ave., Dallas 4, Tex. 

3228 Euclid Ave., Cleveland 15, Ohio 
Bnlley FilmH, Inc. 

2044 N. Berendo St., Hollywood 27, Cal. 
Brny .StudioH, Inc. 

729 Seventh Ave., New York 19, N. Y. 
Cnittlc FilniK. IJIv. of irnited AVorld 
F^ilniN, Inc. 

445 Park Ave., New York 22, N. Y. 
Catholic .MovicM 

220 W. 42nd St., New Y'ork 18, N. Y. 
Church Film .Service 

2595 Manderson St., Omaha 11, Neb. 
CollInN Motion I'icture Service 

502 >/4 & 506 St. Paul St., Baltimore 2, Md. 

4 Race St., Cambridge, Md. 
Coronet InHtrnctionnl FilniH 

Coronet Bldg., Chicago 1, 111. 
Dudley Picture** Corp. 

9908 Santa Monica Blvd., Beverly 
Hills, Cal. 

501 Madison Ave., New York, N. Y. 
Bniitmnn Kodak Storex, Inc. 

356 Madison Ave., New York 17, N. Y. 
Encycloimedin Britannlcn FiiniK, Inc. 

Wilmette, Illinois 
Film Pritfirrnni Services 

1173 Avenue of the Americas, N. Y. C. 
FIlniN, Inc. 

330 W. 42nd St., New York 18, N. Y. 

64 K. I>ake St., Chicago, 111. 

611 N. Tillamook St., Portland, Ore. 

109 N. Akard St., Dallas 1, Tex. 

101 Marietta St., Atlanta 3, Ga. 

1709 W. 8th St., Los Angeles 14, Cal. 

68 Post St., San Francisco, Cal. 
FlIniM of the NntionM, inc. 

55 \V. 45th St.. New York 19, N. Y. 
Frynn Film Service 

Film Building, Cleveland, Ohio 
General Filmn, Ltd. 

1534 13th Ave., Regina, Sask. 

156 King St., W. Toronto, Ont. 
General PicturcM Productions 

621 Sixth Ave., Des Moines 9, la. 
Hefdenlvanip Nature PicturcH 

538 C.len Arden Dr., Pittsburgh 8, Pa. 
Hojflier^ Productionx, Inc. 

620 Xinth Ave., New York 18, N. Y. 
InHtitiitif»nal Cinema Service, Inc. 

1560 Broadway. New York 19, N. Y. 
International Film Bureau 

84 K. Randolph St., Chicago 1, III. 
Knowledffe lluiider** 

625 Madison Ave., New York 22, N. Y. 
Kunx Motion Picture Service 

1319 Vine St., Philadelphia 7, Pa. 

432 N. Calvert St., Baltimore 2, Md. 

1905 Sanderson Ave.. Scranton, Pa. 
Library FilmM, Inc. 

25 W. 45th St., New York 19, N. Y. 
March of Time Forum Kdition 

369 Lexington Ave., New York 17, N.Y. 
Moi?ull*N. Inc. 

68 W. 48th St., New York 19, N. Y. 
Nn-Art FilmM, Inc. 

145 W. 45th St., New York 19, N. Y. 
Ofllcial FilmM, Inc. 

25 \V. 45th St., New York 19, N. Y. 
Pealc FilniM ProductionH 

65 Barons Keep, London, W-14, Eng. 
PortaflImM 

1520 N. LaBrea Ave., Los Angeles 28, Cal. 
The Princeton Film Center 

55 Mountain Ave., Princeton, N. J. 



Rcli^ioUN Film Service 

5121 W. Devon Ave., Chicago 30, 111. 
Simniel-MeMervey, Inc. 

321 S. Beverly Dr., E-everly Hills, Cal. 
Southern A'lMual FilmM 

686-9 Shrine Bldg., Memphis 1, Tenn. 
Sunray FiiniN. Inc. 

2108 Payne Ave., Cleveland 14, Ohio 
A'ocatlonul Guidance FiiniM, Inc. 

1814 Beaver Ave., Des Moines, la. 
IVholeMome Film Service, Inc. 

20 Melrose St., Boston, Mass. 
WillianiM, Brown and Karle, Inc. 

918 Chestnut St., Philadelphia 7, Pa. 
Art /Ciller ViNiial Fdiicatioii Service 

157 Washington St., Newark 2, N. J. 

MOTION PICTURE 
PROJECTORS AND SUPPLIES 

Bell & Howell Co. 

7117 McCormick Road, Chicago 45, 111. 
Calhoun Company 

101 Marietta St., N.W.. Atlanta 3, Ga. 

1110 V4 Taylor St., Columbia 6, S. C. 
Carroll W. Rice Co. 

Audio Visual Center, 

424 40th St., Oakland 9, Cal. 
ColliuM Motion IMcture Service 

502M! &506St.Paul St.. Baltimore 2,Md. 

4 Race St., Cambridge, Md. 



ConiprehenMlve Service Corporation 

245 W. 55th St., New York 19, N. Y. 
neVry Corporation 

1111 Armitage Ave., Chicago 14, 111. 

E^aNtninn Kodak StorcN. Inc. 

356 Madison Ave., New Y'ork 17, N. Y. 
General FilmM. Ltd. 

1534 i:Uh Ave., Hegina, Sask. 
156 King St., W. Toronto, Ont. 

General PicturcM l*roductl€»nM 

621 Sixth Ave., Des Moines 9, la. 

HirNch A Knye 

239 Grant .\ve., San Francisco 8, Cal. 

Knnz Mfition Picture Service 

1319 \ine St., Philadelphia 7, Pa. 
432 N. Calvert St., Baltimore 2. Md. 
1905 Sanderson Ave., Scranton, Pa. 

MopruirM. Inc. 

68 W. 4,Sth St., New York 19, N. Y. 

Natco, Inc. 

505 N.Sacramento Blvd., Chicago 12,111. 

Xu-Art F^ilniM. Inc. 

145 W, 45th St., New York 19, N. Y. 

Haike Company- 

829 S. Flower St.. Los Angeles 14, Cal. 

Ryan \'lMiial AidM Service 

409 Harrison St., Davenport, la. 
S. O. S. cinema Supply Corp. 

602 W. 52nd St., New York 19, N. Y. 
.Southern \~lMual FllniN 

686-9 Shrine Bldg., Memphis 1, Tenn. 



For Further Information 

about the products featured in this issue 
use the convenient 

READER'S 
SERVICE POSTCARD 



pq 

bd 



// there is any additional information desired on audio-visual 
materials and equipment not given in the editorial content or 
advertising in this issue, simply fill in and mail the Reader^s 
Service Postcard. ISo stamp required. EDUCATIOISAL 
SCREEN^S Service Department will assist in obtaining it with- 
out cost or obligation to you. 



154 



Educational Screen 



Trade Directory 
For the Audio-Visual Field 



P9 
6d 



Siinrny FllitiN, Inc. 

2108 Payne Ave., Cleveland 14, Ohio 
SvTiink Motion Pictures, Inc. 

614 N. Skinker Blvd.. St. Louis 5, Mo. 
Victor Anlnintoj^npli Corporation 

A Division of Curtiss-Wright Corp. 

Davenport, Iowa 
ViKiial Kduoation Incorporated 

12th at Lamar, Austin, Tex. 

2010 N, Field St., Dallas, 1, Tex. 

1012 Jennings Ave., Ft. Worth 2, Tex. 

3905 S. Main, Houston 4, Tex. 
'W'lilianis, Broivn and Karle, Inc. 

918 Chestnut St., Philadelphia 7, Pa. 
Art Zeiiler Visual Education Service 

157 Washington St., Newark 2, N. J. 



SCREENS 



Oa-I>ite Screen Co., Inc. 

2711 N. Pulaski Rd., Chicago 39, III. . 
Frynn Film Service 

Film Building, Cleveland, Ohio 
General Pictures Productions 

621 Sixth Ave., Des Moines 9, la. 
Hirsch & Kaye 

239 Sixth Ave., San Francisco 8, Cal. 
Moi:^uirs, Inc. 

68 W. 48th St., New York 19, N. Y. 



Nn-Art Films, Inc. 

145 W. 45th St., New York 19, N. Y. 
Radiant Manafacturin)? Corp. 

1215 S. Talman Ave., Chicago 8, 111. 
Southern Visual Films 

686-9 Shrine Bldg., Memphis 1, Tenn. 
Sunray Films, Inc. 

2108 Payne Ave., Cleveland 14, Ohio 
Williams, IJron-n and Karle, Inc. 

918 Chestnut St., Philadelphia 7, Pa. 



PICTURES 



Informative C^lassroom Picture Series 

40 Ionia N.W., Grand Rapids 2, Mich. 



RECORDERS — RECORDINGS 



Popular Science Pub. Co., A-V Div. 

353 Fourth Ave., New York 10, N. Y. 



RECORDERS— WIRE 



AVebster-Chlcaiiro Corporation 

5610 W. Bloomingdale, Chicago 39, 111. 



SLIDEFILMS 



THE BOOK YOU NEED 



// 



The Blue Book of Non-Theatrical Films 

1000 and ONE'' 

Tells where to get over 6,600 films 



The largest, most complete edition of this 
annual film reference yet published— liO 
pages of essential information on some 
WIO available films and their sources, 
classified under I7i subiect-headings, also 
listed alphabetically by title. 

Price Only $1.00 



EDUCATIONAL SCREEN 

64 East Lake Street 

Chicago I, Illinois 

n Please send me one copy of "1000 and ONE" ($1.00). 

D Also enter or renew my subscription to El^UCATIONAL SCREEN for 

D One Year $3.00 (Canada $3.50, Foreign $4.00) 

n Two Years $5.00 (Canada $6.00, Foreign $7.00) 

D Check Enclosed D Send Bill 




Name 
City 



Addrjsss 

..Zone State 



Church Screen Productions , 

5622 Knripht Ave., St. Louis 12, Mo. 
Kncyclopnedia Ilritannica Films, Inc. 

Wilmette, Illinois 
Popular Science Pub. Co., A-V DIv. 

353 Fourth Ave., New York 10, N. Y. 
Simmel-Meservey, Inc. 

321 S. Beverly Dr., Beverly Hills, Cal. 
Sunray Films, Inc. 

2108 Payne Ave., Cleveland 14, Ohio 
Visual Research Company 

30 N. Dearborn St., Chicago 2, 111. 
Visual Sciences 

599E— Suftern, N. Y. 

SLIDES {KODACHROME2x2) 

Church-Craft Pictures 

3312 Lindell Blvd., St. Louis 3, Mo. 
Hirsch & Kaye 

239 Grant Ave., San Francisco 8, Cal. 
Klein & Goodman, Inc. 

18 S. 10th St., Philadelphia 7, Pa. 
Nn-Art Films, Inc. 

145 W. 45th St., New York 19, N. Y. 
fopular Science Pub. Co., A-V DIv. 

353 Fourth Ave., New York 10, N. Y. 
Sunray Films, Inc. 

2108 Payne Ave., Cleveland 14, Ohio 
Visual Research Company 

30 N. Dearborn St., Chicago 2, 111. 

SLIDES (3'/4x4andlarger) 

Keystone Vle«- Co. 

Meadville, Pa. 
Ryan Visual Aids Service 

409 Harrison St., Davenport, la. 
Slldecraft Co. 

257 Audley St., South Orange, N. J. 

SLIDE. FILMSLIDE and 
OPAQUE PROJECTORS 

American Optical Co., Scientific 

Instrument Div., Buffalo 15, N. Y. 
Comprehensive Service Corporation 

245 W. 55th St., New York 19, N. Y. 
DeVry Corporation 

1111 Armitage Ave., Chicago 14, 111. 
General Films, Ltd. 

1534 13th Ave., Regina, Sask. 

1S6 King St., W. Toronto, Ont. 
Hirsch & Kaye 

239 Grant Ave., San Francisco 8, Cal. 
Keystone View Co. 

Meadville, Pa. 
Raike Company 

829 S. Flower St., Los Angeles 14, Cal. 
Ryan Visual Aids Service 

409 Harrison St., Davenport, la. 
Southern Visual Films 

686-9 Shrine Bldg., Memphis 1, Tenn. 
Sunray Films, Inc. 

2108 Payne Ave., Cleveland 14, Ohio 
Vlewlex, Inc. 

35-01 Queens Blvd., Long Island City 
Visual Research Company 

30 N. Dearborn St., Chicago 2, 111. 
Williams, Broivn and Karle, Inc. 

918 Chestnut St., I'hiladelphia 7, Pa. 

AUDIO-VISUAL SUPPLIES 



AVIIIIains, llrotvn and ICarle, Inc. 

918 Chestnut St., Philadelphia 7, Pa. 



March, 1948 



155 



Slidefilms 
and Slides 



■ STILLFILM, INC., 8443 Melrose 
Ave., Hollywood 46, California, has re- 
leased the first unit of a series of color 
filmstrips presenting kindergarten fairy 
tales. The titles are: 1. Peter Rabbit. 
2. Scarecrow Man 3. Old Mother Hub- 
bard 4. Gingham Dog 5. Simple Simon, 
Three Little Kittens. 6. A.B.C. Illus- 
trated. 7. Red Riding Hood. 8. Little Red 
Hen, 9. Nursery Rhymes, 1. 10. Nursery 
Rhymes, 2. 

Also available from Stillfilm, Inc, are 
color filmstrips on ten popular subjects, 
from "Insects" and "Fish" to "Flowers" 
and "Animals." 

■ COMMERCIAL FILMS, INC., P. 
O. Box 7, Cleveland, Ohio, offers a 
new driver training sound slidefilni: 

The Tragic Road to Safety (144 
frames) — intended primarily for truck 



I'i %i. Sl//f£ \r% CLEAR 
BEFORE YOU 

PASS! 








"The Tragic Road to Safety" 



drivers, the film points up the basic 
causes of highway accidents and ways 
to avoid these catastrophes. 

■ THE VISUAL WORKSHOP, 
INC., 13 E. 37th St., New York 16, 
announces plans for an active program 
of slidefilm production in educational 
and industrial fields. Formerly known 
as Telefilm Corporation, the Visual 
Workshop has already released a series 
of five filmstrips on China, with story 
and narration by Pearl S. Buck. 

■ THE NATIONAL CHAMBER 
OF COMMERCE of the United States 
offers a slidefilm entitled Education — An 
Investment in People which illustrates 
the results of numerous surveys made 
by the National Chamber in the field 
of American public school education im- 
provement. Another new slidefilm, 
Money Is Not Enough, depicts the co- 
relationship between indices of business 
welfare and educational levels and shows 
in detail how civic interest and responsi- 
bility can effect the fullest utilization 
of every dollar spent for education. 



■ FILMS FOR PUBLIC RELA- 
TIONS, 71 Washington Square, South, 
New York 12, N.Y., announces that Film 
Projects, after a year's survey of the 
educational film field, is producing a 
scries of filmstrips on Shakespeare and 
his plays to meet the demand of high 
school and college instructors who are 
teaching English classics. Under the 
supervision of Paul Benard, the first 
scries includes Shcikespearc's England, 
Shakespeare the Man, Hamlet, Macbeth, 
The Merchant of Venice, and Julius 
Caesar. 

m THE SOCIETY FOR VISUAL 
EDUCATION, INC., 100 E. Ohio 
St., Chicago, has expanded its "Visu- 
alized Units in Color" slide series to 
include the following six sets, each 
containing ten or more 2" x 2" color 
slides and an instructional guide: 

The Virginia Colonial Legislature — 
recording the historic colonial build- 
ings and interiors which have been 
restored at Colonial Willimsburg. 

A Visit to Morocco, Northwest Af- 
rica — showing scenes which reflect 
evidences of western civilization and 
scenes wherein age-old native culture 
still retains its place in Morocco. 

Air Travel — Airport Activities — 
picturing some of the behind-the- 
scenes activities which precede each 
flight of a commercial plane. 

Air Travel — Passenger Service — ■ 
highlighting some phases in a pas- 
senger's flight. 

Air Travel — Mail, Express, Freight 
and Baggage — showing techniques and 
mechanical devices for the handling 
of air-freight cargo at airport ter- 
minals. 

The newest slide set in the cooper- 
ative program between S.V.E. and 
Coronet Magazine, whereby selected 
Coronet picture stories are made avail- 
able in 2" X 2" slides through S.V.E. , 
is titled The Life of the Virgin, consist- 
ing of reproductions of famous art 
works in the Metropolitan Museum of 
Art, New York. 



+ 



*'Many times a 
year the people 
turn to the Red 
Cross . . . 

ONCE a year 
the Red Cross 
turns to the 
people." 

Pr«std«nl Truman. 



INDEX TO 




ADVERTISERS 




Page 
Ampro Corporation 137 


Association Films 


.ISO 


Bausch & Lomb Optical Co. 


.108 


Beckley-Cardy Co 


.140 


Bell & Howell Co 

Inside Back C 


over 
.135 


Beseler Co., Charles 


Bowmar Co., Stanley 


.152 


Brandon Films 


.146 


Children's Productions 


.144 


Church Screen Productions. 


.149 


Colburn Laboratory, 

Geo. W 


.146 


Coronet Instructional Films 


.153 


Da-Lite Screen Co 


.139 


DeVry Corporation 


.149 


Eastin Pictures 


.138 


Encyclopaedia Britannica 
Films 


.113 
.151 


Film Studios of Chicago 


GoldE Manufacturing Co... 


.143 


Harry Grubbs 


.105 


Holmes Projector Co 


.145 


Informative Classroom 
Picture Publishers 


.148 


International Cellucotton 
Products Co 


.110 


International Film Bureau . . 


.134 


International Film 

Foundation 


.141 


Johnson Hunt Productions . 


.143 


Karel Sound Film Library . . 


.146 


Keystone View Co 


.112 


Lewis Film Service 


.146 


Mahnke Productions, Carl F. 


.140 


McGraw-Hill Text Fihns . . 


.109 


National Carbon Co 


.106 


Peak Films Productions . . . 


.146 


Photo & Sound Productions 


.145 


Portafilms 


.146 


Post Pictures Corp 


.152 


Radio Corp. of America .... 


.111 


Radio-Mat Slide Co 


.146 


Religious Film Association. 


.142 


Society for Visual 

Education Back Cover 


Southern Visual Films 


.144 


Stillfilm, Inc 


ISO 


Swank Motion Pictures 


.144 


United Specialists 


.152 


United World Films 


.133 


Victor Animatograph 

Corp. . . Inside Front Cover 


,142 


Viewlex, Inc 


.138 


Visual Sciences 


.146 


Young America Films 


.147 



156 



Educational Screen 



I 



EDUCATIONAL 



BKtl I HALL 

APK 74948 









THE MAGAZINE DEVOTED TO AUDIO-VISUAL MATERIALS 





APRIL 1948 




16mm SOUND motion picture projector 

Showing the way to better education— the Victor Lite-Weight 

is specifically designed for every modern classroom. 

Easily operated, portable and compact, the Lite-Weight 

ranks at the head of its cl^ss in teaching convenience. 

A DIVIZION OF CURJISS-WRIOHT CORPORATION 

Dept. G-8, home Office and Factory: Davenport, lovyu 

New York • Chic^.jo • Distributors T/troughout the World 

MAKERS OF MOVI^ EQUIPMENT SINCE 1910 



VICTOR TRIUMPH 60 

For educating and entertaining stu- 
dent assemblies and other large 
gatherings, indoors and outdoors, 
rely on Victor's Triumph 60. 



THE STAFF 

PAUL C. REED— Editor 

JUNE N. SARK— Assistant Editor 

WILLIAM S. HOCKMAN— Editor for the 
Church Field 

ROBERT E. SCHREIBER— Editor for the Com- 
mercial Field 

JOSEPHINE HOFFMAN— Business Manager 

PATRICK A. PHILIPPI— Circulation Manager 

DAVID E. CAESAR— Advertising Manager 

JOHN A. BASSETT— Western Adv. Rep. 
3757 Wilshire Blvd., Los Angeles, Cal. 

DEPARTMENT EDITORS 

JOHN E. DUGAN Jenkintown, Pa. 

L. C. LARSON Bloomington, Ind. 

ETTA SCHNEIDER RESS New York, N. Y. 

DAVID SCHNEIDER New York, N. Y. 

EDITORIAL ADVISORY BOARD 

WALTER S. BELL, Director of Audio-Visual 
Education, Atlanta Public Schools, Atlanta, 
Georgia 

EDWARD G. BERNARD. Head, Instructional 
Materials Program, Board of Education, 
City of New York 

IRVING C. BOERLIN— Supervisor, Audio-Visual 
Aids, Pennsylvania State College 

JAMES_ BROWN, Assistant Professor of Edu- 
cation, Syracuse University, Syracuse, New 
York 

EDGAR DALE, Head, Curriculum Division, 
Bureau of Educational Research, Ohio 
State University 

AMO DE BERNARDIS, Supervisor, Audio-Visual 
Education, Public Schools, Portland, Ore. 

ELIZABETH GOLTERMAN, Director, Division 
of Audio-Visual Education, St. Louis Public 
Schools, St. Louis, Missouri 

GARDNER L HART, Director, Audio-Visual 
Education, Oakland Public Schools, Oak- 
land, California 

FRANCIS W. NOEL, Chief, Division of Audio- 
Visual Education, California State Depart- 
ment of Education, Sacramento, Calif. 

F. DEAN McCLUSKY, Lecturer in Education 
and Director of Audio-Visual Education, 
University of California at Los Angeles 

PAUL WENDT, Director of Visual Education 
Service, University of Minnesota 

THURMAN WHITE, Head of Department of 
Visual Education, University of Oklahoma 

The EDUCATIONAL SCREEN Is published 
monthly except July and August by The Edu- 
cational Screen, Inc. Publication Office, Pontlac, 
Illinois; Executive Office, 64 East Lake St., 
Chicago, Illinois. Printed In the U.S.A. Entered 
October II, 1937, at the Post _ Office at 
Pontiac, Illinois, as Second Class Matter under 
the act of March 3, 1879. 

Mrs. Nelson L. Greene, Publisher 

Address communications to The Educational 
Screen, 64 East Lake St., Chicago, III. 

SUBSCRIPTION PRICE 

Domestic $3.00 

Canada ._ 3.50 

Foreign 4.00 

Single Copies 35 



Educational 

see 




THE MAGAZINE DEVOTED TO AUDIO-VISUAL MATERIALS 
Founded In 1922 by Nelson L. Greene 



Contents for April, 1948 



Page 



As Viewed From Here 

Fair Trade for Whom? Paul C. Reed 166 

Show Them! R. J. Doxtator 167 

The Role of Films in Developing Children's 

Understanding Nolle Lee Jenkinson 170 

Films for Teaching the English Language Dora V. Smith 173 

Audio-Visual Materials Keynote 

an Adult-Education Conference Helen Taylor Sheats 175 

The Film and International Understanding John E. Dugan, Editor 
Film Council of America Strives for World Understanding, 

Peace, Security, ..Patricia Blair, Bertha Landers, C. R. Reagan 177 

Teacher-Committee Evaluation of New Films. .L. C. Larson, Editor 180 

The Church Department William S. Hockman, Editor 182 

Summer Courses in Audio-Visual Education, 1948 — Parti I8S 

The Literature in Visual Instruction Etta Schneider Ress, Editor 188 

DAVI Atlantic City Conference Vernon G. Dameron 192 

Audio-Visual Trade Review ...Robert E. Schreiber, Editor 199 

Current Film News .' 204 

Trade Directory for the Audio-Visual Field 206 

Index to Advertisers 208 



COVER: This month's cover picture is a scene from the film "The Romance of 
Robert Burns" (Warner Bros.), available through Teaching Film Cus- 
todians, Inc. For an account of how this film was used in a school dra- 
matic club to teach students the "what" and "how" of acting, see the 
article "Show Them!" In this Issue. 



Volume XXVII 



Number 4, Whole Number 261 




en m need Audio-Ksnal Aids 



j • • • it pays to buy RCA 



...new RCA Classroom Slide Film Projector— A dual- 
purpose projector designed for 35mm film-strips and 2"x 2" 
slides. It's priced so low you can now equip every classroom with 
its own projector. The quickest and easiest projector threading 
you have ever seen. No sprockets to thread or damage film. 



...new RCA Transcription Player for the Classroom — A 

high quality portable player for reproduction of either standard 
phonograph records or 16-inch transcriptions. Two separate motors 
supply positive, constant speed to turntable — one for 33 V^ rpm and 
one for 78 rpm. Detachable loudspeaker provides brilliant repro- 
duction of all voices and musical instruments. 



...the new RCA Victrola Classroom Phonograph— This 

RCA classroom phonograph (Senior Model 66-ED) plays 
12-inch or 10-inch records. Has "Golden Throat" tone system. 
"Silent Sapphire" pickup. Separate tone controls for bass and 
treble. Blond finish walnut cabinet with closed back. Hand 
holes for convenience in carrying. 

^-^ -K Victrola TM. Reg. U.S. Pal. Off. 



. . . RCA's new "400" 16mm Projector — A lighter weight, 
ALL-PURPOSE projector for more effective teaching. Amazingly 
easy to thread and operate. Ideal for use in classroom or auditorium. 
Shows films at their best in brilliance and contrast— black-and-white 
or full-color. Sound or silent operation. 





160 



...RCA Victor Record Library for Elementary Schools 

A basic record library for the classroom. Consists of 370 com- 
positions, 83 records, in 21 albums. Complete teaching sug- 
gestions for each record. Covers such activities as Rhythms, 
Singing, Listening, Rhythm Bands, Singing Games, and 
other topics. Priced within the budget of every school. 



For descriptive literature write: Educational Sales Dept. 28D, RCA, Camden, N. J. 

RADIO CORPORATtON of AMERICA 

EDUCATiOMAL SALES DERARTMEMT, CAMDEN, N.J. 

Educational Screen 




FROM ALC 



HEMIST I 



r 






TO 



ATOM SMASHER 



1 



. . . the engrossing story of the most 
important scientific achievement of 
onr times brought to the screen in 
United World Films' fascinating new 
10 reel, 16nim sound motion picture— 



PHYSICS 



...an authoritative study of the history and development of atomic energy. Indicative of its high 
acceptance is the purchase by the Atomic Energy Commission of a number of prints for their own 
use. It presents the discoveries and contributions in the development of atomic physics of scientists 
of all nations, among them Dal ton, Faraday, Mendeleeff, Thomson, Rutherford, Moseley, the 
Curies, Chadwick, Fermi, Cockcroft, Walton, Lawrence and Frisch. 

Einstein, Rutherford, Thomson and other great scientists personally tell parts of the story of this 
greatest of scientific achievements, directly from the screen. The film, made in the United King- 
dom, falls naturally into five parts. Each can be run separately, or, together, as one film. 

An inspired combination of actual photography, animation, diagram and historical re-enactment, 
utilizing the actual instruments originally used in key discoveries, makes this college-level film of 
absorbing interest to all science minded adults and high school students, as well. 
10 Reels, 16mm Sound, Sale price $400, rental $40. 



SEND THIS HANDY 
ORDER FORM IN TODAY! 




Distributors for 

Univertol-lnlernalional and J. Arthur Rank 

Incorporating 

Ml A Howell Filmosound Library & Castle Films 

445 Park Avenue • New York 22, N. Y. 



April, 1948 



UNITED WORLD FIIMS, INC., 445 Fork Ave., New York 22, N. Y. 

I wish to purchase ..prints ot "Atomic Physics" 

I wish to rent this film for showing _ _ (dote) O 

Remittance Encto'sed Q Sl>ip C.O.D. G 

Name - Position 

Organization „ „ - „ „ „ 

Address _ _ _ 

City. _ Zone # State - 



I am interested in the following cotologues: 
Educational O Recreational Q Religious Q 



161 



HARRIS ELECTROTONE '^'^ ^ WoHde^ul lum 



MODEL 50 

The Mosf Popular 2-Speed Playback 

Equipment with Microphone Input Among West 

Coast Educators 

Now Available Nationally 




The Harris Electrotone speaks for itself. Have your sound 
equipmenl- specialist check these specifications, and you 
will want to order: 

CABINET: Sturdily constructed of three-ply wood, secured by 
glue blocks and braces. Motorboard attached by machine screws 
entering Into tapped metal nuts within body. Features nickeled 
metal corners and metal knees. Rubber feet provided for both 
carrying and operating positions. Sturdy leather handle. Tubes are 
accessible without removing motorboard. Vents and speaker open- 
ings covered with rigid metal grill. Portion containing speaker is 
removable and is equipped with 50 feet of extension cord. 
AMPLIFIER: ^ ^"^^s, Class AB push pull. 2 • 6F6, 2 - 6SN7, 
I -6%Q7, I - 5Y3. Output 6 watts at voice coil. Harmonic distortion 
less than 5%. Frequency response uniform within plus or minus 
2DB from 50 to 12000 CPS. Hum level not less than 50DB below 
maximum output. Phonograph channel will produce rated output 
from Victor Record No. 84522B. 1000 cycles. 78 rpm. Microphone 
channel designed for high impedance microphone. Amplifier is 
designed to permit mixing of microphone and phonograph Imputs, 
each with separate volume control permits using microphone while 
record Is playing. Master on and off switch. Pilot Light. Adequately 
ventilated and protected by a fuse. 

E^^SY TO SERVICE: ^y removing motorboard and amplifier 
holding clamps. Disconnect motor and pickup, service man can 
lift entire amplifier and AC line out of cabinet. 
SPEAKER: '^ ^^^^ t^" Jensen PI2R AInico 5. I inch voice coil. 
PICKUP: Astatic No. N400. Type Nylon I-J crystal with replace- 
able Sapphire-tipped Nylon needle. Frequency range 50 to 8000 
CPS. Needle pressure I Vj ounces. 

I^OTOR: General Industries Model D 2-speed, 33'/3 or 78 rpm. 
50-60 cycles variable speed control, rubber mounted. 

SIZE: 12V2 X 17V2 x 20V2' , .^y p,.:^^ e^AA (MX 

WEIGHT: 43 lbs. i-"5T ITlCe >Z00.00 

If Microphone Input is not needed — Order Model D — 

Sanne as above, $165.00 

Please place our nanne on your nnailing list for bids on 

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Send for complete catalog and specifications on other 

models. 

DEALERS: Some area franchises are available. 

HARRIS 

MANUFACTURING COMPANY 



2422 W. Seventh St. 



Los Angeles 5, Calif. 



AT THE CLOSE of a morning session of the DAVI 
at Atlantic City, attended by approximately four 
hundred people, Dean McClusky told me of the con- 
trast with a DVI meeting held in Boston several years 
ago. "There were seventeen people in the room". Dean 
said, "and nine of them were on the panel. What a 
contrast !" 

But the Atlantic City meeting this year was notable 
not only for numbers in attendance, even though it was 
a unique and heartening experience to see meeting 
rooms j)acked to overflowing with part of the audience 
spilled into the corridors listening to the "audio" part 
brought to them by hastily installed loud speakers. 
Every session gave evidence of thoughtful planning and 
careful preparation. It was a highly satisfying profes- 
sional conference. 

The spectacular, dramatic climax to the whole At- 
lantic City meeting came on \\'ednesday morning. 
Listed on the DAVI program as "AAS.\ General Ses- 
sion of Special Interest to DAVI Members", Walter 
Wittich's demonstration of Teaching IVitJi Audio-Visual 
Materials thrilled an audience of more than four thou- 
sand school administrators and brought to them con- 
crete, tangible evidence of the values of audio-visual 
media in teaching. 

^^'alt Wittich is a highly skillful teacher and master 
showman. In the toughest assignment ever given a 
visual educator, he turned in a perfect performance. 
As neatly as ever done by any demonstration teacher, 
he maintained just the right perspective between his 
group of sixth graders and his four thousand audience 
without losing a soul. In fact, more "converts" were 
probably won that morning than by the combined meet- 
ings of many years. 

In all res]5ects it was a memorable conference. The 
television session gave a challenge to thinking visual 
educators who could see how far this medium yet had 
to go, and who could see the important part they 
might play. The three speakers in the Production ses- 
sion found an audience more sympathetic to "The 
Producer's Point of View" than they had expected. 
The Teacher Education and Research sessions were 
stimulating, constructive, and conducted on a high pro- 
fessional level. Talks by Dr. Charles Siepman of New 
York University and Superintendent Claude Courter 
of Cincinnati succeeded admiraljly in placing "audio- 
visual education" in its larger context by focusing atten- 
tion upon the ends to be served by mass media of 
communication. 

There was just one hitch, and we cannot blame this 
on those responsible for the Conference. Stephen M. 
Corey, President of D.WI ; James W. Brown, Con- 
ference Chairman ; and Vernon Dameron, Executive 
Secretary, all deserve highest commendation for the 
success of the conference ; they cannot be blamed if 
trains from Florida run several hours late. But we 
would like to have heard the talk that Charles Hoban 
was to have presented on "What Axe the Problems of 
the Audio-Visual Director?". We'll be satisfied now 
even with the chance to read it. — Paul C. Reed. 



162 



Educational Screen 



We put more into it..s« you can get more out of it 




Ampro 16nini. sound projector 



If you are considering equipment for 
your audio-visual program — here are a 
few thoughts to consider: A I6mm. sound 
projector is subjected to the heat of the 
projection lamp, continuous high-speed 
movement of the intermittent mechanism, 
and every action requires split-second 
accuracy. It must deliver steady, flicker- 
less projection continuously and quietly. 
It must be dependable, easy to thread and 
operate. It must be gentle to precious 
film and easy to service. 

For these reasons — a good sound projec- 
tor design must be a tested design. It is 
only by studying and learning from mil- 
lions of performances under all conditions 
that a truly efficient sound projector is 
developed. Ampro l6mm. projectors have 
been "put through the mill" by this 
country's leading school systems, univer- 
sities and government departments. Into 
each Ampro projector is built 20 years 
of experience that- assures better per- 
formance and longer service. Before 
choosing your 16mm. sound projector, ask 
your Ampro dealer for a demonstration 
of the latest Ampro "Premier-20". Look 
— listen — remember Ampro's record — 
and then decide! 



Send for FREE Circular 

On Ampro "Pretnier-20" giving full 
specifications and prices. If you are 
interested in sound motion pictures 
send lOc for li-page booklet, "The 
Amazing Story of Sound Motion Pic- 
tures." It dramaticalty illustrates tlia 
various steps in the recording and 
reproducing of sound on film. 



AMPROSLIDE 

PROJECTOR 

MODEL "30-D" 

for filmstrips and 2" « 
2" slides. Offers extra 
brilliant illumination, 
split-second inter- 
changeability from 
slides to filmstrips and 
back and many other 
faafures. 



of the illustrated 
of Sound Motion 



AMPRO CORPORATION 

2835 N. Western Ave., Chicago 18, III. 

Please send me free circular giving full details 
about the Ampro "Premier-20" 
I enclose lOc Q for a copy 
booklet, "The Amaiing Story 
Pictures." 

I am also interested in; 
Q Ampro "Imperial" C Amproslide Proiector 

14mm. Silent Model "30-D" 

Projector 

Name 

Address . , - 

City 



State.. 



Toward World Government 

THE ATOMIC BOAIB and its implications is a 
problem we all live with — and some of us sleep 
with. We may not all agree that world government 
is the only sure defense against atomic destruction 
and the only true solution to world peace, but it is 
clearly our responsibility to learn more about a move- 
ment which promises so much. 

The people of Chicago will have this opportunity dur- 
ing the week beginning April 19, officially proclaimed 
by the Chicago City Council as AVorld Government 
Week. The purpose of the week is to familiarize 
Chicagoans with the solutions to the problem of peace 
presented in the movement for world government. 
Similar proclamations are expected to be made through- 
out the United States, and Minneapolis has already 
joined Chicago in setting aside the week of April 26 
as World Government Week. 

Among the organizations actively working toward 
the realization of a federal world government are 
World Republic, the United World Federalists, Action 
for World Federation, the Campaign for World Gov- 
ernment, and the Committee to Frame a World 
Constitution. 

16mm films — and all the audio-visual materials — • 
have a tremendously important role to play in such 
a movement ; in the assembly hall, church, and adult 
forum they can help people understand the world of 
today and plan the world of tomorrow, a peaceful 



world, if we will work to make it so. For those who 
need the "reminder," there are Atomic Energy (Ideal 
Pictures Corp.), Atomic Power (March of Time Forum 
Edition), and One World or None (Film Publishers, 
Inc.). For those who still have not learned the lesson 
of brotherhood, there are Boundary Lines (Interna- 
tional Film Foundation) and Brotherhood of Man 
(Brandon Films, Inc.). And for those who are not fully 
aware of the pitiful plight of the peoples of the earth, 
there are Children of Tragedy (Association Films), 
The Pale Horseman (Brandon Films), Seeds of Des- 
tiny (Films of the Nations), and The World Is Rich 
(Brandon Films). 

Films such as these — and there are many more — 
can be among the most powerful weapons for ])eace 
— during officially proclaimed World Government 
Weeks, during every week. And time is short ! 

June N. Sark 

Passport to Nowhere 

Those who are concerned over the DP problem 
and the pending Stratton Bill — and who isn't? — will 
be interested in two informational kits now available. 
Kit "I" contains educational material on the problem of 
displaced persons. Kit "O" contains a discussion out- 
line for speakers and directions for obtaining both the 
film Passport to Noivhcre and the recorded radio shows 
on displaced persons. Send the names of those you 
wish to receive kits to Director of Field Activities, 
Citizens Committee on Displaced Persons, 39 E. 36th 
St.. New York 16. N. Y. 



The Eyes of the World 
are Noti^ Vocused on- 

ITALY 

What films are you using in your community to aid in an understanding of contemporary Italians and Italian 
life and problems? 

Sensing the need of good, authentic current films on Italy and Italians, the International Film Foundation sent 
a crew of American Photographers, headed by Julien Bryan, to Italy to make a series of films for American 
audiences. 

Three films are now ready for showing in your community — 

ITALY REBUILDS — BREAD AND WINE 

ARTISANS OF FLORENCE 

Place your purchase order today with your visual education dealer; or your rental 
order with your Film Rental Library. 

• Write us for description of these and our other films 

The International Film Foundation, Inc. 

1600 Broadway New York 19, N. Y. 



164 



Educational Screen 



We'd like to show you how the 
BESELER YU-ORAPH 

OVERHEAD PROJECTOR 



enables you to face your c 
while you project material 



audience 




0J 

SEND COUPON BELOW FOR A 

demonstration 

Look af these VU-GRAPH advantages: 

• You need never turn your back on your audience. 

• Will project any transparency. Will project opaque 
material in silhouette. 

• Takes copy up to 7" x 7". 

• Delivers a sharp image over entire area. 

• Projection can be clearly seen in normally lighted 



send coupon 

An opaque P^ education- Bcon ^^ 

P^^'^fr/etails today, 
■(jj^rite tor 



THE BEST. PROJECTOR IS THE BESELER PROJECTOR 



room. 

Plastic and special pencil makes it possible to make 
sketches, diagrams, present problems and project them 
simultaneously. Work can be removed and plastic used 
over again. 

Vu-Graph film, used in similar way to plastic, projects 
white lines instead of black. 

Easy to operate. 

500 watts. AC -DC motor -driven fan, equipped with 
rheostat for increasing and decreasing speed. 



Send Coupon Today for Free 
Examination of Bescier 



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243 EAST 23rd STREH 



. NEWYORKIO, N.Y. 



I 



I 

I 
I 



CHARLES BESELER CO., Dept. E 

243 East 23rd Street. New York 10. N. Y. 

1~1 I would like to have o free demonstration of the 
Beseler VU-GRAPH. Most convenient lime 

Q I am also interested in Opaque Projectors. Please 
send me literature. 



Nome 

Position 

School or Finn.. 

Address 

City 



..Stale.. 



The World's largest Manufacturer of Opaque Projection Equipment 



April, 1948 



165 



As Viewed From Here Paul C, Reed 



'High-quality equipment demands high-quality dealers" 



FAIR TRADE FOR WHOM? 



• Shopping for a "bargain" is traditional with Americans. But in 
buying audio-visual equipment, many of us have found that a 
"bargain" may turn out to be very costly indeed. 

Here is why. High-quality audio-visual equipment demands 
high-quality dealers to distribute and service it, for even the best 
equipment requires servicing. Too, even the best of visual specialists 
can learn how to make better use of his audio-visual tools from the 
dealer who retains constant interest in the products he has sold. 
The buyer of audio-visual equipment is buying more than a machine; 
he is buying know-how, and humanized and thoughtful service. 
These do not come at "cut rates". 

To make it possible for high-class dealers to do business, manu- 
facturers in our field have executed so-called "Fair Trade" contracts 
which prohibit sales of their equipment below established prices. By 
making it illegal for fly-by-night dealers to sell equipment at reduced 
prices, these laws protect legitimate dealers who try to render per- 
manent, dependable service. 

Some consumers may have the notion that Fair Trade laws 
provide a kind of legalized method for manufacturers and dealers 
to maintain arbitrarily fixed high prices. It may seem that Fair 
Trade prices are in the interests of the seller only, and not the buyer. 
But manufacturers who have taken advantage of Fair Trade laws 
have done so to help maintain high-quality dealers and to assure 
consumers of the essential services which should accompany each 
Sale of their equipment — services which cost money. 

Here are some facts about Fair Trade: Laws have been passed 
in forty-five states aimed to stop predatory price-cutting. These laws 
permit a manufacturer of a product "which is in open competition 

with commodities of the same general class produced by others" to r 

enter into contracts with distributors to sell the product at a price 
named by the manufacturer. Fair Trade laws do not eliminate com- 
petition; rather, they provide for fair competition on the basis of 
service rendered to the consumer, l)oth by the product and by the 
organization that sells it. 

It seems to us that consumers of audio-visual equipment do 
have a stake in Fair Trade. And an important stake, too! If they 
are to get the most from their audio-visual equipment, they need 
and must have the assistance of alert, intelligent, well-equipped, 
and well-established local dealers who are ready to give thoughtful 
help with their prol)lems. Fair Trade laws do not guarantee us this 
kind of dealer, but they encourage it. Enlightened consumers have 
a selfish interest in the enforcement of Fair Trade. 

166 Educational Screen 




Audio- Visual Center, Indiana University 



Films can teach students the ^^whaf^ and ^^how^^ of acting^ 



SHOW THEM! 



Ox the high school level the director of dra- 
matics is seldom presented with a choice of 
artists. The problem is usually one of being 
able to take any high school student and to enable 
him to do a creditable job of acting. Public per- 
formance is not the important thing, however. 
Development of student personality — from self- 
consciousness to poise, from awkwardness to 
smoothness, from groping to understanding — is our 
work. The University School continually seeks 
ways to serve every student. In dealing with stu- 
dents who are not artists with technicjue but ama- 
teurs needing basic training in dramatics, we use 
films to help to provide worthwhile experiences. 

Here Is Our Problem 

Our dramatic club meets twice monthly. We 
seek opportunity to train students in bodily move- 
ment, facial expression, voice, technical stage 
problems, etc. Students are not told to "develop 
imagination." Such verbal expression alone is 
meaningless. Instead of consuming time with ab- 
stractions, we try to meet the learning need of the 



*Pictured above is a dramatics class in action. The film 
has been shown, the student at the board has sketched a 
particular facial expression, another student is "demonstrat- 
ing" forehead wrinkles. Mr. Doxtator is seated at the desk. 



by R. J. DOXTATOR, 

Instructor and Critic Teacher, 

The University School, Indiana University, 

Bloomington, Indiana 

student by directing his attention to the acting of 
people in films : how to walk, how to move, how to 
knit eyebrows together in anger, how to raise a 
forehead and eyebrows in question, these and other 
actual movements and expressions. The student is 
shown "what" and "how." The "why" is equally 
important. Opportunity is taken to indicate that 
surprise within causes eyebrows to move upward 
without — a vivid means through the use of film to 
teach motivated action instead of using the abstract 
expression, "All inward action is accompanied by 
outer reaction," a statement meaningless to a stu- 
dent. Our learning need is for concreteness of 
experience ; teachers strive to make vivid impres- 
sions upon the minds of students that they will not 
only see but understand, remember, and do. 

The Film Is the Thing 

The old Chinese adage continues to be true : "One 
picture is worth . . ." Since vivid impressions need 
to be made upon the minds of students, films are of 
value. Teaching a student visualization for purpose 



April, 1948 



167 




Bodily movement and facial expressions are vividly visual- 
ized for the student of dramatics in such a film as "The 
Tell Tale Heart" (M.G.M.), available through Teaching 
Film Custodians, Inc. 



of dramatic activity is a difficult job; and the job of 
helpin<T him to develop imagination is dependent 
upon the ability to visualize. Films visualize for 
the student ; films "plant" pictures upon the mind ; 
films allow the student to close his eyes and re- 
produce or recreate what was seen. A teacher can 
tell her students to study human beings: on street 
corners, in buses, in public places. Such procedure 
has vakie in placing a student upon his own re- 
sources. But what does the student see? Is he 
making correct connections between inner thoughts 
judged by seen outer reactions? Is the teacher at 
hand to assist the student? Can the student say to 
a man or woman. "Pardon me, sir — or madam — but 
will you do that frown over again ? I want to study 
it." 

What Better Source Material? 

Obviously the film offers the teacher an oppor- 
tunity to overcome such obstacles. Children like 
films : children see films constantly ; films have 
great adaptability and flexibility for purpose and 
time elements. In addition, films allow teacher 
control — within reason — of a valuable experience. 
Students can be shown the same film ; teachers can 
indicate features of bodily movement and facial 
e.xjjression : the same film can be used several times 
for emphasis and progressive develo])ment of points ; 
and, motion can be arrested for closer study. Where 
else could the teacher of dramatic activity find 



better source material than in films which utilize 
actors, actresses, and acting? 

Foundation Laying 

In controlling the experience with film in study 
of bodily movement and facial expression, careful 
attention must be paid to the previewing of a film 
and to the making of an outline guide for student 
use. Any film containing human beings in motion 
may be of value to the teacher of dramatics. Pre- 
suma1)!y even a film describing sheetmetal work 
could be used, if there are men in the picture who 
are moving and using facial expression. A\'ith such 
an idea in mind, I tried to find a film for use with 
my dramatics club. The technicolor film, Romance of 
Robert Burns, came to mind. Although used principally 
in classes studying literature, it seemed to offer 
possiblities for use in teaching dramatics. Aided 
by the Bureau of Audio-Visual Aids, Indiana Uni- 
versity, the film, in addition to a number of others, 
was secured for preview. It was determined in ad- 
vance to divide each film into units for ])review. 

A Good Film for the Purpose 

The film used, Romance oj Robert Bi(r)is. was ideal 
for such purpose : it had ten clear-cut scenes with 
a fade-out and fade-in to indicate to students the 
transition from scene to scene. Such a division 
seemed necessary in order to show students a small 
portion of film at a time for clear mental pictures 
rather than to crowd the mind with a solid film 
continuity. The first preview revealed the scenes; 
the second preview revealed the movement within 
each scene. The film was stopped where necessary 
in order to re-run a scene to find all of possible 
value. In the second preview attention was paid to 
body movement : hands, trunk, head, legs, arms, 
stance ; also, facial expression : eyes, eyebrows, 
foreheads, knitted brows, nose wrinkles (sneering), 
naso-pharyngeal lines, mouths, and mouth lines. 
An outline was then prepared which paralleled the 
film. Following is a cutting from the outline : 

BODILY MOVEMENT AND FACIAL EXPRESSION 
Film: The Romance of Robert Burns 

Iiitroduclioii : 

As the tilni opens, note the movements of music, of print, 
of water, of changes in scenery, of human beings, of singing, 
of speech. Here you have the keynote of dramatics — movement 
to provide variety for the eye and the ear and thus to entertain 
the spectator and Hstener. 

The film is in definite scenes. Some tilings for wliich to 
watcli : 



SCENE I. THE TAPROOM SCENE. 

a. As the scene opens, note attention 
singing. 



is centered upon 



b. Note sliglit movement of people, movement behind 
singers to add a reahstic touch ; movement does not 
detract from singing for attention is still centered pri- 
marily upon the song and grmip of men seated at table 
who are singing. 

c. -Attention is directed toward a group of men talking 
about the song (still the center of interest); you learn 
incidentally that song words were written by Robert 
Burns. 



168 



EducaHonal Screen 



d. You learn Burns is loved by Jeannie and that he does 
not realize he may be in love with her (all incidentally 
while the song continues). 

e. Note while men arc talking, the fat man behind the 
bar keeps his attention (and yours) centered upon the 
song and the singers, while "giving his ear" to the 
speakers but not his full attention. 

f. Note other two men look into each other's eyes and 
look at each other directly when they speak — not look- 
ing at the floor or sideways, something never done in 
conversation unless one wishes to create another picture 
for the audience to see. 

The above enables a teacher of dramatics to find 
the es.sential features of a film ; to make the film a 
valuable experience ; to make easier recapitulation 
from the conciseness of scenes ; to help students to 
visualize; to determine inner thoughts producing 
outer reactions ; to use method and order later in 
presentation of the film before the group. 

Club Day 

Prepared outlines were handed to the students — 
in advance of club meeting time — for study. The 
film was prepared for showing in advance. The film 
was shown once without interruption or comment. 
The rooiTi was not totally darkened, allowing stu- 
dents opportunity to look at their outlines. While 
the film was being rewound, the president of the 
club conducted a brief discussion concerning the 
acting which had been displayed. The second show- 
ing of the film began without delay ; this time with- 
out sound. All attention was given to bodily action 
and facial expression. Running comments were 
made by the teacher about facial expressions and 
bodily movements as the film progressed. Comment 
was made about what the person was thinking, 
judging from the outer reactions. Eight of the ten 
scenes were covered in the second showing. Forty- 
minute activity periods allow for two complete film 
runs. 

Successful or Not? 

The students were quite attentive and enthusi- 
astic. While they were quiet during the first show- 
ing of the film with sound, they were more quiet 
during the second run without sound. Many made 
notes in the margins of their outlines. There was 
eager discussion and questioning. Eyebrows were 
knitted by the students, foreheads and eyebrows 
were raised in mock questioning, noses were 
wrinkled in simulated sneers, mouth corners were 
pulled down in imitation of disgust. In addition, 
hand and head movements on the part of students 
indicated that their minds had absorbed specific 
points of bodily movement and facial expression. 
As a foundation training in technical points of act- 
ing I was convinced that we had one of many good 
approaches. I had reason to believe that the students 
would observe more closely other people. I had 
reason to believe also that they would better under- 
stand what I was talking about when I directed 
them in a play later. 

In discussion with others interested in audio- 
visual education I was shown many other possi- 



bilities the experiment indicated : the same film might 
be used again and again, since centering student at- 
tention upon hand movements alone throughout 
an entire film leaves the film refreshingly new for 
a second showing of eye movements alone ; the use 
of several films on one subject, with progressive 
development of learning on one phase of dramatics, 
has good possibilities also. 

Attainable Objectives 

The objectives? Yes, they can be reached. 
Through understanding that inner thoughts produce 
outer reactions human beings can be better under- 
stood. Through understanding of smoother action 
— bodily and facial — a student can be brought to 
feel less awkward and he can gain bodily and facial 
control and freedom from self-consciousness. With 
practice of technical points in acting, in addition to 
observation, any high school student — not just the 
artist — can be enabled to give a stnooth performance 
before the public. And the words of praise from the 
public can make a better boy or girl — if either 
doesn't become as vain as the proverbial peacock 
in the meantime. 



Pictured below are two scenes from "The Romance of 
Robert Burns" (Warner Bros.), available through Teach- 
ing Film Custodians, Inc. The film proved ideal for teach- 
ing dramatics; it has ten clear-cut scenes with a fade-out 
and fade-in to indicate to students the transition from scene 
to scene. 




April, 1948 



169 




Courtesy nf St. T^ouis Public Schools 

Basic to children's understanding of a one world is 
their understanding of the concepts of change and 
inter-relationships, brought about by the airplane in 
transportation and the radio and motion picture in 
mass communication. Here Larry, Mike and Tim 
study the route of a trans-world plane. 

THE MODERN CLASSROOM faccs the challenge of 
developing in the minds of children a clearer 
understanding of this changing, one world in 
which we live today — this one world of health, eco- 
nomics, and closely interwoven social responsibilities. 
For teachers, this presents an enormous problem 
because it means that we are confronted with the re- 
sponsibility of developing children's understanding of 
two absolutely basic but difficult concepts. For an 
understanding of a changing world is based upon under- 
standing the concept of change. 

An understanding of a one world is based upon an 
understanding of the concept of inter-relationships. 
We recognize that these concepts are basic because upon 
understanding the implication of them depends the 
survival of the human race. 

,. V Examining Problem 
Psychologists tell us that when we're faced with a 
problem, the first thipg to do is to try to see the prob- 

Editor's Note : This article is adapted -from an illustrated talk 
given at the Missouri State Teachers Association Conference, 
November, 1947. 



rfie Role of Fill 
Childrei 



lem clearly. Then we survey our resources to dis- 
cover where we may get help in working out a solution. 

Let's examine this problem of trying to develop 
children's understanding of this world that is constantly 
changing, and that, within a short time, as a result 
of such technological developments as the airplane in 
transportation, and the radio and motion picture in 
mass communication, has indeed become a one world. 

It is difficult to develop an understanding of any 
kind of concept in children's minds because concepts 
are built upon concrete, meaningful experiences, and 
children's experiences are quite limited. 

Another aspect of the problem is that because we 
are adults, it is difficult for us to remember that the 
world children live in today is not the world in which 
we lived as children; nor is it the world that these 
children in our classrooms today will live in when 
they grow up. Still another side of the problem is the 
great amount of insight that children need to acquire 
before they can become understanding citizens of 
the world. 

Let's turn to authorities in the field to see what 
help we can get in working out a solution. 

People as a Resource 

Dr. Lovisa Wagoner, Professor of Child Develop- 
ment at Mills College, California, warns us that if 
we wish to develop functional understandings in the 
minds of children, we must place less emphasis upon 
the viemorisation oj facts, and more upon the import- 
ance of concrete experiences that will lead to the build- 
ing of desirable attitudes and habits — attitudes of open- 



In this scene from the film "What Makes Rain", 

Billy wonders, "What does make rain, anyway? 

Where does it come from? Where does it go?" 

Young America Films 



Such a film as "Mexican Children" helps to make 
boys and girls more open-minded and better able to 
think straight because it develops their understand- 
ing of other peoples. 

Encyclopaediji Hritannica Films, Inc. 




I Developing 
iiderstanding 



by NELLE LEE JENKINSON 

Asst. Director, Div. of Audio-Visual Education, 

Board of Educafion, St. Louis, Mo. 



mindedness, cooperation, resourcefulness and responsi- 
bility ; habits of straight thinking and orderly planning. 
.She also advises that the place to begin this build- 
ing of open-mindedness is with ourselves, in order 
that we may be able to recognize the flaws in our pres- 
ent procedures of teaching and learning. ("There Is 
No Error in Learning, ]3ut Errors May Be Learned." 
About Children — How They Leant, Feel and Grotv — 
ACE Publication.) 

Dr. Stephen S. Corey, Educational Psychologist of 
the University of Chicago, who participated in the sur- 
vey that was made to evaluate classroom practices in 
the schools of the United States, tells us that one of 
the chief deterrents to learning was found to be the 
practice of using words which are not understood. 

Do you remember the story that Dr. John Dewey 
tells to illustrate the point? One morning he went 
into a classroom where a fourth-grade lesson in ge- 
ography was going on. He listened awhile, and then 
asked the teacher if she would mind if he put a ques- 
tion to the class. 

Then he said, "Children, what would I find if I 
started boring and kept on boring until I came to the 
center of the earth ?" 

Twenty-four blank little faces stared up at him. 

The teacher, a little embarrassed, suggested, "Dr. 
Dewey, I think the children don't understand you." 
Then, to the class, she .said, "Children, what is the 
exact status of matter at the center of the earth?" 



At once, twenty-four little hands wildly beat the air, 
and with one voice came the answer, "The e.xact status 
of matter at the center of the earth is that of igneous 
fusion." 

As the greatest safeguard against using words with- 
out an adequate understanding of their meaning. Dr. 
Corey urges the use of a wide variety of teaching ma- 
terials and methods that involve a great deal of per- 
ceptual experience, that is, experiences involving a 
great amount of seeing, hearing, feeling, and active 
participation on the part of students. 

Now, obviously, first-hand experiences involve the 
highest degree of seeing, hearing, feeling, and doing, 
but equally obviously, most of what children need to 
know today, they cannot experience directly. The meth- 
od is too costly in time, etTort and money. Life is too 
short. Restrictions of time and place are too great. 

Solution to Problem 

In such situations, then, what is the solution? Dr. 
Corey again gives us the answer. We compromise ! 
From among those instructional materials available, 
we select those relatively high in perceptual learning 
that we consider most effective in helping us to reach 
our objectives. ("The Importance of Perceptual Learn- 
ing" — Educational Screen, November, 1945.) 

Included among such concrete teaching materials 
are dramatization, objects, charts, motion pictures, 
and recordings. Now if motion is necessary to develop 
understanding, or if change or inter-relationships are 
particularly involved, then, in most cases, the motion 
picture is our most effective teaching tool. 

How Films Can Help 

How can films help the teacher to develop in the 
minds and hearts of children insight into this chang- 
ing one world? 

In the first place, we must visualize clearly our long- 
range goals and our immediate goals. What changes 
in the behavior pattern of children do we hope will 
take place as a result of their being taught? Is this 
motion picture an efficient means of achieving these 
objectives? ("What to Look For" — by Dr. Stephen 
S. Corey, Coronews, September, 1947.) 

Having established clear goals, and having selected 
the film as the most effective tool at this time in help- 



To the teacher, the circus offers a wonderful example 
of cooperative planning and working together. To 
children, the circus spells magic. This exciting ad- 
venture is now made possible to every child who 
views the color film "Circus Animals." 

Academy Films, Inc. 



Children can learn more by studying the film "Mon- 
arch Butterfly" than by first-hand experiences alone 
because our eyes do not furnish microscopic lens or 
time lapse photography. 

Simmel-Meservey 




mg us achieve this purpose, and having become thor- 
oughly famihar with this fihn, we begin to plan how in- 
telligently we may use it, and how skillfully we may 
integrate its use with books and other materials, and 
with creative activities. 

For Ijooks and audio-visual aids are peculiarly inter- 
dependent. In a unique way, each of these two tools 
—a book and an audio-visual aid — holds the secret 
key within itself to unlock the door to hidden possi- 
bilities of use and power that are inherent in the very 
nature of the other. But the key to this lock can only , 
h't turned by the hand of the teacher. 

"Circus Animals" 

Take, for example, the sound color film Circus Ani- 
mals (Academy Films), produced for primary grades. 
How can such a picture help to develop children's 
understanding? A first grade teacher is quick to an- 
swer that the place to start building desirable attitudes 
is with very young children, and that the circus fur- 
nishes a wonderful example of cooperative planning 
and working together. Then, too, the big show is 
made possible only as a result of orderly planning, and 
because circus people have learned to carry both indi- 
vidual and group responsibilities. 

St. Louis primary teachers have found that this 
film offered a fresh, exciting adventure into learning, 
and that it also made certain songs and stories more 
furi for children, such stories as "Tippy Elephant's 
Hat," and such books as Streets and Roads, Friends 
and Neighbors, American Singer, and Bronco Bill's 
Circus. 

"Mexican Children" 

Many primary and intermediate teachers are fa- 
miliar with the film Mexican Children (Encyclopaedia 
Britannica Films). They would agree that the best 
way of learning about Mexico would be to live there, 
but since that is impossible, an effective compromise 
is the study of Mexican Children. This film succeeds 
in bringing Mexico closer to the child. This is im- 
portant, since children are little interested in experi- 
ences remote from their immediate environment. 

Now we would all probably hope that, as a result of 
the study of any country, children's insights would 
be deepened regarding man's relation to his physical 
and social environment and that this, in turn, would 
help children to become more open-minded, and to 
develop into adults, capable of straight thinking about 
world problems. 

"What Makes Rain" 

Within the last year, there has been produced a 
splendid series of films, under the guidance of Dr. 
Gerald S. Craig ( Professor of Natural Science. Teach- 
ers College, Columbia University), that are specifically 
geared to the middle-grades science ])rogram. The 
pacing is slow, and each new or difficult idea is ex- 
plained in terms of everyday experience of the child. 

The film M^hat Makes Rain (Young America Films) 
opens with a small boy, disappointed because rain has 
prevented his going on a picnic with his mother and 
dad. writing to the weatherman to ask just where does 
rain come from anyhow, where does it go. and hozv 



does it get back up in the sky. The weatherman an- 
swers Billy's letter and the film visualizes what he says. 
Films presenting concepts as fundamental and yet 
as difficult for children to grasp as those in this film, 
require several showings with a great deal of discus- 
sion, observing, reading, and experimenting between 
each showing. There are several colorfully illustrated, 
inexpensive booklets that correlate effectively with 
What Makes Rain ("Water Appears and Disappears" 
and "Clouds. Rain and Snow," published by Row, 
Peterson & Company ) . 

"Monarch Butterfly" 

In the fall, children love to bring to school butterfly 
chrysalises and moth cocoons that they have found. 
This, of course, offers a natural approach to the study 
of such a film as The Monarch Butterfly (Simmel-Me- 
servey) — elementary edition. A challenging technique 
to use with this film is to turn off the sound after the 
preliminary study, and allow the students to supply 
the narration. 

Sometimes children can learn more through a film 
than by first-hand experiences alone, because, unfor- 
tunately, our eyes do not have microscopic lens, nor are 
they equipped to give us the benefit of time lapse 
photography. Such a film is The Monarch Butterfly. 

Summary 

We have sought to find the role of the film in de- 
veloping children's understanding of this changing, 
inter-related world. 

We have consulted an authority on child develop- 
ment and have been warned that if children's under- 
standings are to be functional, then w^e must place more 
emphasis upon the building of desirable attitudes and 
habits and less upon the memorization of facts. 

We have sought help from an educational psycholo- 
gist and been strongly advised to use more teaching 
materials which involve a great deal of seeing, hearing, 
feeling, and students' active participation. As an im- 
portant example of this kind of instructional material, 
we have examined four different films. Today, it is 
agreed that the film does offer us a medium through 
which, figuratively speaking, the world can be brought 
into the very classroom — a medium that makes pos- 
sible concrete, realistic experiences which mirror and 
interpret the social and physical world that is close 
about us. or as far distant as the boundaries of the 
universe — experiences that can be brought back into our 
classroom for study again and again. 

But whether these experiences are made meaningful 
for children and directed toward rich, intelligent liv- 
ing in their world of tomorrow is determined by the 
skill and the inirpose of the teacher who uses the film. 

It is probably rather important for us to remember 
that so comparatively new is this teaching film that 
today we no more envisage its potentiality than could 
be done with the automobile in 1903. (Dr. Floyd E. 
Brooker. United States Office of Education. Washing- 
ton. D. C.) 

So. perhaps, we can best clean the lens of our own 
personal vision by remembering the old adage : 

Anyone can count the apples upon a tree 

But onlv a wise one can count the trees witliin an apple. 



172 



Educational Screen 



FILMS for Teaching 

the ENGLISH LANGUAGE 




A\'P:RY interesting question arises 
as to whether the use of fihiis will promote or 
retard the teaching of the English language in 
the schools of the United States. There is no doubt but 
that it can exert a tremendous influence for good. The 
real question is whether or not the makers of films will 
set themselves to do so or will be content to perpetuate 
ways of learning already proved ineffective, merely 
reproducing on the screen what is now in the textbooks. 

Little Red Lines and Fish 

For example, it seems a waste of money to prepare 
tihns which reprint on the screen sentences from gram- 
mar books, running little 
red lines the length of the 
subject, and after a break, 
more little red lines the 
length of the predicate. 
Textbooks have been do- 
ing that for more than a 
hundred years. No screen 
technic|ue is needed for 
such a purjjose. Similarly, it seems rather insult- 
ing to the intelligence of students and not a little 
lacking in psychological insight to present a phrase 
within a clause as a small fish in the mouth of a large 
one, or vice versa, to present a clause within a phrase 
as a small whale in the innards of a large one. Text- 
books without the power of motion can do that. 

The Grammar of Mere Classification 

What kinds of service can the film render to the 
teaching of the English language worthy of the peculiar 
j)0wer of the screen and of the dramatic insight of its 
artists? In the first place, makers of films on the Eng- 
lish language, by acquainting themselves with modern 
linguistic teaching, can influence profoundly instruction 
in the English language in American schools. For ex- 
am])le, the grammar of mere cj^issification has long< 
since been discredited by research as a means to im- 
provement in English expression. As long ago as 1917, 
Julius I?oraas found knowledge of the classifications of 
English forms more highly correlated with success in 
arithmetic or geogra])hy than with ability to express 
ideas, lillen Frogner, in 1937, using paired groups in 
Grades 7. 9. and 11. found an a]5])roach to the sentence 
through meaning more useful in all grades than meaning 
combined with knowledge of grammatical forms. She 
pioved beyond a doubt what P. M. Symonds had dis- 
covered eight years earlier that whatever value accrues 
from the knowledge of grammatical forms accrues to 
superior students only ( in the case of her study, to fifty 
per cent of the superior students only) while those with 
I. Q.'s of 105 or below suffered a handicap from the 



By DORA V. SMITH 
_^ University of Minnesota 

introduction of grammatical terms. More recently, 
James Reese Stewart, using paired groups in schools 
in Iowa and the Middle West, compared the value of 
learning to diagram sentences from grammar books 
with working to improve the clarity of meaning in one's 
own sentences or combining brief, choppy sentences 
into more complex statements showing the exact rela- 
tionship of the ideas. The result indicated no superiority 
whatever on the part of those school systems which had 
spent hours laboriously diagramming sentences. The 
New York Regents Inquiry found a correlation of .21 
between ability to fill in blanks in other people's sen- 
tences and ability to express one's own ideas. Prudence 
Cutright added the evidence that sound is the most im- 
portant factor in learning usage. That is, for every 
time a student hears an unacceptable form outside of 
class, he should hear the acceptable form in class ; hence, 
the unique challenge to the talking film. 

Films to Show How Language Works 

If the screen, therefore, decides not to be a party to 
language instruction based primarily upon grammatical 
classifications, what is left for it to do? In the first 
place, it can substitute insight into how language works 
for ability to classify instructions. For example, when 
the army undertook to teach foreign languages to adults, 
it decided first of all to show each individual how the 
language he was about to learn differed in pattern from 
his own native tongue. What did it say about English? 
"English differs from all other languages in that its sub- 
jects commonly do not agree with their verbs in any- 
thing." People brought up on a grammar which super- 
imposes Latin terminology upon English sentence 
structure ,«rre startled by the pronouncement. One has 
only to look at an English verb to see that the statement 
is true : / loved, you loved, he loved; zve loved, you 
loved, they loved. Or in the present, / love, you love, 
he loves; ive love, you love, they love. S at the end of 
a verb in English indicates that it is singular. On the 
other hand, the first language fact which little children 
learn is that s at the end of a name makes it mean more 
than one: dog, dogs; house, houses. Films, by pictorial 
presentation, could give insight into this difficulty in 
the mastery of English and could lead teaching away 
from the unprofttable grammar of classification into the 
realm of constructive mastery of forms in use. The 
eminent linguists who made such generalizations know 
that distinctions between shall and ■anil are gone from 
ordinary English s])eech and for years have not been 
notable in the work of recognized English writers. 

Was You or Were You? 

Again, why does usage today employ you were in the 
singular when the normal feeling for concord suggests 



April, 1948 



173 



you zvas? Originally ye was the only acceptable nomi- 
native plural. You (eow) was the objective form. 
Gradually, in spite of grammatical rule, you came to be 
used as both subject and object while ye was lost to 
modern English. You were was the polite form and 
plural : tlwu ivast, the familiar form, and singular. In 
the end, the plural you replaced the singular thou. By 
that time, was had become the normal form for the sin- 
gular; but because you was plural, the grammarians 
exerted sufficient influence to force the use of were with 
it even in the singular. Hence the persistence in the 
speech of some people of the currently unacceptable 
you zvas. The story of linguistic change and how it 
helps explain the difficult spots in current usage is a 
fascinating one for the screen to present. 

Problem Pronouns 

Next to verbs, pronouns cause more trouble than any 
other parts of speech. The fact that they are substitute 
words helps explain why modern usage frowns on 
"Johnny, he did so and so," and "All my life I have 
wanted to be a doctor. They do such good things for 
people." With an actor and a substitute in a lively film, 
both attempting to play the same part, or an actor at- 
tempting to be one and more than one at the same time, 
how strikingly could the screen present this important 
problem ! 

Again, few persons make mistakes in the forms of 
pronouns used to refer to one person only. The child 
says, "/ went down town," but "Johnny and me went 
down town." He says, "My mother read me a story," 
but "My mother read my brother and I a story." The 
screen could dramatize this difficulty, teaching the 
learner to test by each one alone : / went. He went. 
Therefore, He and / went. And it could help students 
to repeat the sentences orally with the interpreter until 
the right form begins to sound right. 

Seeing the Meaning of Modification 

But more important for the film than matters of usage 
are problems of clarification of sentence structure. C. 

C. Fries and others have 
pointed out the fact that ma- 
turity in sentence structure 
depends upon the capacity 
of the individual to use mod- 
ification and to sense the 
1^ . ;:j^f -^^^ relationship between ideas 
( ^H C c) '^ ^ JHI^V expressed in proper subor- 
dination and coordination. 
For example, suppose a film were to reproduce 
what goes on in the minds of four different persons 
when the sentence, "The horse ran", appears on 
the screen. Then suppose successive modifiers 
were added so that the meaning becomes more 
specific — "The black horse ran down a country road." 
"The big black horse with two bare-headed, bare-legged 
boys on its back ran down the dusty country road in the 
direction of the fire." How would the picture in the 
minds of each of the four persons change as the writer 
makes the meaning increasingly concrete? This func- 
tion of modification is supremely important — much more 
important than which are single words and which are 




phrases, and which are adjectives and which are ad- 
verbs. The possibilities of the screen technique for the 
teaching of semantics and verbal stereotypes are un- 
limited. This is the peculiar province of the film, for 
such graphic presentation is impossible on the printed 
page. 

Again, the inappropriate use of fragments for sen- 
tences is a persistent error which English teachers have 
constantly to combat. An approach through the com- 
plete subject and the complete predicate of the sentence 
is futile because every clause has a subject and predicate 
of its own. Suppose the screen were to present a situa- 
tion in which children ask permission to go to a movie. 
The mother says, "Yes, you may go to the movie." How 
do they act? What do they do? But suppose she added, 
// you earn the money; when you have finished your 
homezvork ; or but if you do, you'll have no money left 
for the circus. How would the children act in each 
case? What misunderstanding would arise if they 
thought the sentence ended with the word movie? What 
does it mean to "modify" an idea? To "modify" one's 
plans? To "modify" one's consent? Why is it neces- 
sary to the adequate understanding of the idea that 
these modifiers be attached to the main idea? The 
screen can make a tremendous contribution to the teach- 
ing of modification in relationship to the expression of 
meaning. 

Modifiers Are Crabs 

Again, suppose one were to present the problem of 
misplaced modifiers by representing the modifier as a 

crab which clings to what- 
ever is next to it. A ninth 
grade child recently wrote 
from the Rockies: Please 
send me the shoes I left 
behind by parcel post. By 
parcel post is the crab which 
clings to behind. It can be' 
moved about so as to cling 
to each word in the sentence until it reaches send, where 
it obviously belongs. Such cartooning is based on 
meaning and furnishes insight into the real test for 
placement of modifiers. Dangles like clinging to the 
oigan grinder's arm, I sazv a monkey, or racing around 
the corner, a beautiful viezv met my gacc. could be dealt 
witli in particularly graphic fashion by this technique. 

Connectives Are Traffic Signals 

Connectives have been called traffic signals to the 
direction of the thought. They should be taught in re- 
lationship to what they do 
to the meaning expressed. 
And connects ideas which 
bear an additive relation- 
ship to one another. "Yes, 
you may go to the movie, 
and you may have ice cream 
afterward." The use of a 
comma in a series could be 
taught with special effect in this connection on the 
screen. "My uncle has been to China and he tells 
interesting stories." Do these two ideas bear an addi- 
tive relationship or is one the cause of the other? 

(Concluded on fogi' 191) 





174 



Educational Screen 



Audio- Visual Materials Keynote 
An Adult-Education Conference 



THE ANNUAL CONFERENCE of the California Asso- 
ciation of Adult Education — held at AsUomar, 
a Y.W.C.A. camp situated on Monterey Penin- 
sula — afforded a good opportunity not only to get 
expert opinions on films and recordings, but also to 
compare the different audio-visual media and try to 
discover which was the most effective as a discussion 
stimulus, and to get suggestions for changes and im- 
provements. 

It had been decided, because of the interest shown by 
the delegates in answer to a pre-conference question- 
naire, that the planning committee present a number of 
audio-visual aids at the first meeting of the conference. 
This meeting was designed to be the discussion spring- 
board of the conference. 

Preparing an Evaluation Form 

The evaluation of audio-visual materials presents 
several difficulties. Not the least of these is the prepara- 
tion of an evaluation form which will produce a re- 
liable inde.x of opinion. The questions should not be 
too difficult to score nor require too much time to 
answer. It is essential also to secure the cooperation 
of those who are to fill out the form. Thoughtful, seri- 
ous consideration is necessary. 

Fortunately, the writer, as a member of an advanced 
seminar in audio-visual instruction at the University 
of California at Los Angeles, was in a position to 
secure help from the members of the seminar in pre- 
paring the evaluation form to be used at Asilomar. 
Several evaluation forms were discussed, criticized and 
compared. As a result a form was designed which 
represented the mature judgment of the members of 
the seminar. 

In determining the items for the evaluation form, it 
was necessary to give consideration to the fact that 
four different types of audio-visual aids were to be 
u.sed: (1) the motion picture, (2) the cartoon motion 
picture, (3) the recording, and (4) the sound slidefilm. 

The evaluation form which was developed and used 
included three "yes-no" questions, five items that could 
be answered by checking a scale, and two which re- 
quired written answers. A copy of the form follows : 



By HELEN TAYLOR SHEATS 



EVALUATION FORM 



The purpose of this evaluation is to determine how audio- 
visual materials can best be used in a discussion program. 
Title 

In the arithmetical scales which follow "0" designates a 
very low rating and "10" a very high rating. 

1. Did you feel a personal involvement in the problem pre- 
sented ? 

0..1..2..3..4..S..6..7..8..9..10.. 
Explain 

2. Degree to which basis for discussion was pointed up and 
clarified. 

0..1..2..3..4..S..6..7..8..9..10.. 

3. What incident added most to the stimulating quality of 
presentation ? 

4. In your opinion would this be suitable for adult groups? 

Yes . . No . . If the answer is no, to what age level 
does it apply ? 

5. Degree to which full advantage was taken of the medium. 

0..1..2..3..4..S..6..7..8..9..10.. 

6. Would your thinking have been clarified if there had been 
a brief discussion before presentation? 

Yes.. No.. 

7. How would you rate this audio-visual aid for: 

a. The technique of its sound effects and music? 

1.. 2. .3. .4. .5. .6. .7. .8. .9. .10.. 

b. The technique of its commentary and dialogue? 

1.. 2. .3. .4. .5. .6. .7. .8. .9. .10.. 

c. Its photography? 

1.. 2. .3. .4. .5. .6. .7. .8. .9. .10.. 

8. In your opinion is this audio-visual aid timely? 

Yes.. No.. 

9. How would you rate this audio-visual aid for : 

a. Fairness of presentation? 

1.. 2. .3. .4. .5. .6. .7. .8. .9. .10.. 

b. Clarity and unity of presentation? 

1.. 2. .3. .4. .5. .6. .7. .8. .9. .10.. 
10. Comments 

{Continued on next page) 



An adult-education conference uses an audio-visual 
opening session as a springboard for discussion 



April, 1948 



175 



Immediately following each presentation, the audi- 
ence filled in the evaluation form, which required about 
ten minutes. Instructions for using the form were given 
orally at the outset. 

The Audio- Visual Program 

The two motion pictures shown were Atomic Pozver, 
a March of Time production, and Yoti and Your Fam- 
ily, one of the Art of Living series produced by Asso- 
ciation Films (Y.M.C.A.) in cooperation with Look 
magazine. Brotherhood of Man, produced by the 
U.A.W. of the C.I.O., had been selected as the cartoon 
film. "Deadline for Living" was used as the recording; 
this is a broadcast transcribed for network broadcast- 
ing and distributed by the National Education Asso- 
ciation. As an example of the sound slidefilm. Team- 
work was chosen ; this sound slidefilm was produced 
several years ago by the Committee on Scientific Aids 
to Learning in cooperation with the Metropolitan New 
York Branch of the Department of Visual Instruction 
of the National Education Association and the students 
of a sociology class at Scarborough School, New York. 

Sixty-nine delegates were present at the first meet- 
ing, which was listed on the program as "A Non-verbal 
Approach." The above audio-visual materials were 
presented to the group with very little introduction, 
the purpose being to see to what extent they would 
serve as a springboard for discussion later without 
pre-conditioning. 

Charts and graphs, too lengthy to be reproduced 
here, were constructed with the statistical data secured 
on the evaluation form. However, the tabulated reports 
will be described briefly. 

"Atomic Power" Gets Big Reaction 

The first film shown, Atomic Power, was given a 
very high rating. About fifty per cent of the entire 
audience gave this film the highest possible rating in 
personal involvement, sound effects and music, com- 
mentary and dialogue, photography, fairness of pres- 
entation, clarity and unity of presentation. One hundred 
per cent felt it was timely and suitable for adult groups. 

The incident mentioned most as adding to the stimu- 
lating quality of the picture was the explosion at Los 
Alamos and the tension built up waiting for the sec- 
onds to tick oflf. The next most frequently-mentioned 



stimulating incident was the scene of the scientists 
waiting for the bomb to explode. The fact that the 
film showed "personal appearances" of Einstein, Co- 
nant. General Groves and others, pointed out the seri- 
ousness of the problem and made it real. The cartoon 
scene showing an imaginary ship and plane bringing 
an atomic bomb into New York harbor was mentioned 
several times as being high in dramatic quality. 

The most frequent criticism of the film was that it 
did not offer solutions to the problem of the atomic 
bomb and its implications for the future. This in effect 
showed that the film had value for stimulating dis- 
cussion. 

"Deadline for Living" Rates High 
The recording "Deadline for Living" followed the 
showing of Atomic Pozver. The rating on this was 
high also. It was especially successful because of two 
things : First, the chairman of the meeting requested 
that the lights be turned oflf so that the audience 
could listen in darkness ; this heightened the dramatic 
effect enormously. Second, using this recording di- 
rectly after showing Atomic Pozver added to the in- 
terest of the audience. This conclusion was suooorted 
by audience comments. Clearly, Atomic Pozver and 
"Deadline for Living" could be used together to stim- 
ulate discussion programs. 

More than fifty per cent gave the recording the high- 
est possible rating for personal involvement and fair- 
ness of presentation. Thirty to forty per cent gave 
it the highest possible rating on all other questions. 
The incidents most frequently mentioned as adding to 
the stimulating quality of the recording were : ( 1 ) the 
silent radios at Hiroshima. (2) the drama of the Chi- 
nese and the Texas father both losing, their sons and 
showing the universality of loss and sorrow, (3) the 
number of botnbs needed for the destruction of the 
United States and their allocation. Some found it dif- 
ficult to concentrate on sound without pictures. 

The cartoon film Brotherhood of Man was the next 
film shown, and it also was rated high, although there 
was a wider range of opinion. Fifty per cent of the dele- 
gates gave it ten for personal involvement, but forty per 
cent rated it five or under. Seventy-five per cent gave 
it the highest rating for fairness of presentation and 

(Continued on page 197) 




Frames from "Brotherhood of Man," one of the films shown at the opening session. 75 per cent of the viewers gave it the 
highest rating for fairness of presentation. Some did not like the cartoon method^-or felt that humor was out of place in 

the treatment of such a serious topic. 



176 



Educational Screen 




Film Council of America Strives for 



JOHN E. DUGAN, Editor 

Head, Department of Education 

Beaver College, Jenkintown, Pa. 



World Understanding — Peace — Security 



TODAY there is talk of understand- 
ing, tolerance and planning. Today, 
more than ever before, there is a grow- 
ing awareness of the need for com- 
munity, national and international fel- 
lowship and good will, leading to a common under- 
standing and world peace. 

Along with this awareness comes the realization 
that mass communication is not keeping pace with 
mass production and distribution. Everywhere this 
evidence of inadequate understanding is being felt — 
among nations, among groups, among individuals. 
This inadequacy is being felt on our home front as 
well as on the international front. 



The Role of the Motion Picture 

The motion picture is a very potent instrument for 
com1)atting this situation. It can be a medium through 
which groups can tell other groups of their hopes and 
aspirations, their rights and needs, their common human 
qualities. Through such telling can come understanding 
and cooperation, instead of distrust and chaos in the 
world. 

But such a program re(|uires planning that can be 
com])rehcnsive at the same time that it can be made 
to reach into individual communities throughout the 
length and breadth of our land. 



by PATRICIA BLAIR, Film Consultant, American Library Association 
BERTHA LANDERS, Film Librarian, Dallas Public Library 
C. R. REAGAN, President, Film Council of America 



Through the film councils, machinery is provided 
for the mobilization of projectors, operators, and films, 
and in-service training to serve the entire community. 

Interest in community screenings of new films is 
being developed ... an important aid to all of our 
citizens in selecting and using the best films for the 
promotion of civic planning, public service, improved 
social and economic conditions, and world understand- 
ing. 

Every thinking citizen knows that the forces for 
good nuist be made effective not only in the schools 
but in the libraries, churches and other organized groups 
everywhere, if we achieve world understanding. 

To help focus this use of film ... to carry the story 
of the basic brotherhood of all men . . . The Film Coun- 
cil of America is conducting activities on many fronts. 



The 



The Role of the FCA 

•'ilm Council of America is making rapid strides 



in the development of just such planning for under- 
standing through the use of films. 

Through the Film Council of America, organized 
comnnmity groups are realizing the value of our most 
effective medium of communication — the motion pic- 
ture. They are learning the jiotentialities of the informa- 
tive films — one of our most ])owerful weapons against 
misunderstanding, distrust, and prejudice. 

Through the chartered local I'ilm Councils orga- 
nized throughout our Nation . . . people from every 
walk of life are learning how to share ideas, are realiz- 
ing the value of grouj:) thinking, ojien discussion, and 
cooperative action. 



The FCA at Work 

FCA is officially urging UNESCO to facilitate the 
international exchange of informational films without 
duty. Present developments indicate that this recom- 
mendation may be favorably acted upon. This will 
mean that the free flow of ideas among nations will be 
greatly accelerated. 

On the domestic front, the FCA national office dis- 
tributed, through its seven national constituent mem- 
bers, a bibliography of films for use during United Na- 
tions Week. The bibliography, prepared for the com- 
munity program planner, included a check list of sug- 
gested activities- as well as a list of films about mem- 
ber nations of UN. Also included were films on the 
j)roblems involved in world trade, control of atomic 
power, and human relations. 

FCA has also prepared a similar film bibliography 
for the United Nations .-\ppeal for Children and is co- 
operating with UN by distributing cam])aign trailers 
on the Appeal for Children to all member film libraries. 
The latest FCA bibliography is for National Brother- 
hood Week. (Continued on next page) 



April, 1948 



177 



The Chicago Fihn Council in its World Film Festival 
sponsored two programs dealing with International Re- 
lations . . . one on International Interdependence and 
one on Peoples and Lands of the World. The winning 
films in these important categories were then shown 
in the Surf Theater to thousands of people. 

The New York Film Council recently conducted a 
film forum based on International Relations, led by 
Gordon Halstead, who had just completed a series of 
film forums for the Carnegie Foundation for Inter- 
national Peace. 

Mr. Halstead based his discussion on Round Trip 
... a new film on international trade. This same film 
is being used throughout the country by other groups 
as a spearhead to promote widespread understanding 
of this most vital problem of all peoples and nations. 

The Knoxville, Tennessee, Film Council is organized 
as one section of a larger committee on Public Infor- 
mation. Its purpose is to provide a community-wide 
service to disseminate all types of information on im- 
portant current affairs. 

Realizing that the motion picture is our basic lan- 
guage for international understanding, it has been the 
goal of the Dallas Film Council to reach all adult or- 
ganizations in the City. This local council, working 
with the League of Women Voters during the recent 
Texas State Fair, presented a series of films on Inter- 
national Understanding. Thousands of people from 
all over the State saw these films. During Atomic En- 
ergy Week, the same group sponsored a film program 
on Atomic Energy for each day throughout the ob- 
servance. 

Helping Adult Groups 

There is a growing interest among other groups 
who are working with the FCA. More and more, such 
groups as the Parent-Teacher organizations, churches, 
industry, service clubs, and welfare associations are 
looking to the local film councils in their communities 



for leadership in planning and presenting worthwhile 
programs on our world problems. 

These groups also look to the local councils for pres- 
entation of timely informative films on such local prob- 
lems as adult education, public health and welfare, 
delinquency, civic and municipal activities, and other 
topics to be acted upon for improved community living. 

Helping Young People 

Not only are adult groups being stimulated by the 
FCA. Film councils for college students and for chil- 
dren, both in schools and churches, are organized. 
These young people are learning the problems of their 
communities and the importance of developing world 
understanding. 

They are learning why there must be tolerance and 
the value of enlightenment. In the film councils for 
youths, they are given the opportunity to discuss these 
problems that make up our complex world of today. 

Because they have the privilege through informative 
films to see . . . and then freely discuss conditions that 
can either bring peace or chaos to our world, they are 
being developed today for leadership tomorrow. 

The 16mm sound projectors owned by schools, 
churches, clubs, homes and others take selected mes- 
sages to specific audiences wherever people meet for 
a serious purpose. 

The Film as a Weapon for Peace 

Our war experience set a pace and a pattern for 
maximum effective distribution and use of the informa- 
tional film for both community and school groups. The 
specialized and general libraries, commercial and public 
libraries, agricultural extension service libraries, the 
school and home libraries have learned to work together. 

They have become aware of their public service 
responsibilities to serve the entire community in peace 
as in war. This war-created harmony has been strength- 



They See . . . Hear . . . 
Discuss . . . and Work , . . 
for World JJndersUinilingl 



One of the local film councils 
affiliated with The Film Council 
of America. Since the motion 
picture is one of our most power- 
ful media for international under- 
standing, it has been the goal of 
the Dallas Film Council, shown 
here, to reach all adult organiza- 
tions in the city. 




178 



Educafional Screen 



ened and made permanent through a federation of our 
major fihn organizations resulting in the FCA. 

We can see ahead the full utilization of our most 
powerful tool of communication . . . the informative 
film. It can and will work for the betterment of com- 
nninity welfare and world understanding. It can be 
one of the chief weapons to bring about international 
understanding, peace and security. 

How Can YOU Become 

An Active Part of This Movement? 



To be an active part of this movement to use the motion 
picture constructively for understanding the great issues of 
today, write to the Film Council of America, 6 West Ontario 
Street, Chicago, Illinois for information about affiliating with 
FCA. 

Here's a suggestion to get your community interested. Choose 
several films like Pattern for Peace (Films of the Nations, 
Inc., 16 min.) ; The World Is Rich (Brandon Films, Inc., 43 
min.) ; or One World or None (Film Publishers, Inc., 9 min.) 
and arrange some neighborhood meetings to discuss Interna- 
tional Relations. Two good film lists which include many ad- 
ditional titles in this field are Films for International Under- 
standing ($1.00, Educational Film Library Association), and 
the spring 1947 issue of the Film Forum Reznezv, published by 
the Institute of .^dult Education. 

Good books to have on hand at such meetings are : United 
Nations, Louis Dolivet. Farrar Straus, 1946 ; In Henry's Back- 
yard, Ruth Benedict. Schuman, 1948 (taken from the film 
The Brotherhood of Man). 

For general background information on how to get the most 
out of community film programs, Look, Listen and Learn (As- 
sociation Press, $3.50), a new book by Harry Strauss and 
Roby Kidd, and Making Films Work for Your Communitv 
(EFLA, $1.00) are helpful. 



Film Councils Organized in Mississippi 

The little city of Oxford, Mississippi recently organ- 
ized a Community Film Council with fifty community 
leaders present. Oxford is the home of the University 
of Mississippi and has a population of about 4000. The 
membership is composed of business and professional 
people of Oxford and the University faculty. Most of 
the community groups in the city were represented. 
The organization of the Council was directed by Dr. 
H. D. Worthy, who is Chairman of the Department of 
Audio-Visual Education at the University, and a mem- 
ber of the National Community Council Committee of 
FCA. 

Organization of the Council was not completed be- 
cause it was thought advisable to have two or three 
programs before electing permanent officers and writing 
a constitution. Dr. Worthy and the Reverend J. P. 
McCluskey of the Wesley Foundation of the Methodist 
Church are acting as co-chairmen. The council has 
planned to meet monthly. 

A Student Film Council of America was organized 
on the same day at the University of Mississippi imder 
the sponsorship of the World Fellowship Committee of 
the Ole Miss "Y" and the Dei)artnient of Audio-Visual 
Education of the University. Thirty-two students, rep- 
resenting various organizations, and several faculty 
members were present. Membership will be composed 
of University students only. The council will meet 
monthly, the meetings to be conducted by the students. 



Two New FCA Constituents 

The Senate and Board of Trustees of the Fihn Coun- 
cil of America met in Atlantic City, February 22 and 23. 
The Senate voted to accept the National Film Society 
of Canada and the American Association of Adult 
Education as constituent members. 

A Committee was also appointed for the Annua^ - 
Conference, tentatively scheduled to be held in Chicago 
in early August between the EFLA and NAVED 
meetings. The committee members are Irving Boerlin 
(chairman), Don White, and the FCA Executive Di- 
rector, Thurman White. 

Mr. Thurman White reported that 76 film councils 
have been organized and that interest in film councils 
is increasing rapidly. Four additional councils were 
reported during the meeting, bringing the total for 
that date to 80 community film councils! 

Florida Film Forums 

Films plus group discussion under trained leader- 
ship is proving an unbeatable combination for bringing 
about a better understanding of current affairs among 
community groups of all kinds — church, school and 
civic. This combination is being put to good use in the 
film forum service offered by the General Extension 
Division of the University of Florida. 

The film forum service offered by the General Ex- 
tension Division helps groups to select suitable films 
and to develop discussion leadership. Upon request, 
the General Extension Division will send a representa- 
tive to aid in the organization and presentation of a 
demonstration film forum. 

Among its publications is a bulletin on Current Af- 
fairs Motion Pictures, presenting descriptions of se- 
lected 16mm sound motion pictures in the area of 
current afifairs education. A filni forum discussion 
manual is in preparation and will be available on request 
to the General Extension Division, University of Flor- 
ida, Gainesville. 

Visual Education for DP's 

American motion pictures will be used by the 
American Friends Service Committee in its pre- 
entry orientation and educational program for dis- 
placed persons scheduled for admission to this coun- 
try from the United States zone in Germany, it 
has been announced by Eric Johnston, president of 
the Motion Picture Association of America. 

First of the films made available to the Com- 
mittee by the motion picture industry is "Land of 
Liberty," a pictorial history of the United States, 
woven from exerpts of numerous theatrical filins. 
Produced by Cecil B. DeMille, "Land of Liberty" 
was first released at the New York World's Fair 
and currently is widely used in history classes 
throughout the United States. 

This activity of the American Friends Service 
Committee is part of the general program for which 
the Committee and the British Friends Relief Serv- 
ice recently were jointly awarded the Nobel Peace 
Prize. 



April, 1948 



179 



TEACHER - COMMITTEE EVAIUATION 




L. C. LARSON, Editor 
Director, Audio- Visual Center 
Indiana University, Bloomington 



CAROLYN GUSS, Instructor, School of Education 

BETTY STOOPS, Film Librarian, Audio-Visual Center 

Indiana University, Bloomington 



Wastage of Human Resources 

(Encyclopaedia Britannica Films, 20 North Wacker Drive, 
Chicago 6. Illinois) 11 minutes. 16mm, sound, black and 
white. 1947. $50, less 10% educational discount. Study 
guide available. 

Description of Contents: 

The film shows the various causes of wastage of human 
resources from infant deaths due to disease to the insecurity 
and maladjustment of old people. Beginning with a hotel 
fire in which many citizens lost their lives, the film through 
flashbacks shows that not only the lives of these citizens 
were lost, but also their contributions to society. The 
film then proceeds to show the chief causes of the loss of 
human contributions on the various age levels. Some of 
the wastes during childhood years are shown to be acci- 
dents, diseases, neglect, and maltreatment. Juvenile delin- 
quency, neglect, and inadequate health supervision are 
shown as having detrimental effects upon mental and 
physical health during adolescence. During the middle 
years of life, unemployment, inadequate maternal care, 
and unnecessary illness minimize the contribution of men 




^-■f ycI'^Dae'lia Hritannica F'lms 

Accidents cause serious wastage of human resources whether 
the victims be young or old. 



and women to industrj-, home life, and society. Shots of 
old people show that many suffer from accidents and 
chronic diseases which could be prevented. The film ends 
by depicting special cases of wastage such as crime, mental 
ailments, alcoholism, and the use of drugs. 
Committee Appraisal: 

The film should be useful on junior high, senior high, 
college, and adult levels for the purpose of providing a 
basis for discussion or study of the causes of wastage of 
human resources. It poses many problems which are 
found in many communities and some of which should be 
relevant to any community. Social studies, general science, 
sociology, and biology classes should find the film useful 
in connection with units of work on this topic. Adult groups 
treating the problems of democracy and community im- 
provement should find the film valuable in their discussions. 

Expanding World Relationships 

(Burton Holmes Films. Inc., 7510 Xorth Ashland .Avenue, 
Chicago 26, Illinois.) 11 minutes, 16mm, sound, color. 1947. 
$45. Produced by I'nitcd Productions of .\merica for U. S. 
Government. 
Description of Contents: 

Through various types of animation the film shows how 
human relationships have been transformed by science and 
modern technology, and world-encircling problems have 
resulted from improved methods of transportation and 
communication. Beginning with a quotation from Lincoln 
to the effect that if we knew where we were and where we 
were going, we could better judge our course, the film next 
shows that in 1789 it took Thomas Jefferson two months 
to return to the United States from Paris, and only then he 
learned that two months earlier he had been ai^pointed 
Secretary of State. Animated cartoon-like drawings then 
show that during those and earlier days most men lived 
and died in the same place, transportation was slow and 
costly, and barter was the chief method of exchange. 

In Brussels, Nanking, and everywhere things were about 
the same. Scenes show that battles were fought by a few 
Iirofessional soldiers; the range of a cannon was three miles; 
the lives of citizens were relatively safe. The film shows, 
througli animated pictograms, that one hundred and fifty 
years later the power of coal and oil was being utilized and 
mechanical efficiency had greatly increased the production 
of food and merchandise. Communication, by this time, 
had developed to the point that more telephone calls were 
crossing the Atlantic than letters had in 1790. Animated 
maps show rubber, tin, tungsten, chromium, and cobalt 
from various parts of the world being used in many other 
parts and the effects of production in one part of the world 
being felt in other parts. The film ends on the note that 
exjianding world relationships have brought all nations 
closer together, and that such walls as tariffs which nations 
may build around themselves are futile. 
Committee Appraisal: 

Imasinative animated figures, bar graplis. maps, and 
photography, combined with lively music, should intrigue 
and stimulate a thoughtful audience. The sophistication 
and broad scope of Expanding World Kclationsliips will make 



180 



EducaHonal Screen 



it appeal to the more adult groups. Facts, figures, dates, and 
the like are effectively blended to produce a total picture of 
the economic, human, and technological changes within the 
last century and a half which have shrunk time and distance 
in world relationships and make it necessary for all peoples 
to work together. The film should be useful in adult dis- 
cussion groups, as well as high school and college economics 
classes, for the purpose of stimulating discussion and de- 
veloping an awareness of world problems. 

Maintaining Classroom Discipline 

(McGraw-Hill Book Company, 330 West 42nd Street, 
New York 18, New York) 20 minutes, 16mm, sound, black 
and white, 1947. $60. Discussion guide and coordinated 
filmstrip available. 

Description of Contents : 

This is one of a series of five films designed primarily to 
supplement the textbook "Student Teaching", by Raleigh 
Schorling. The other films in the series are Learning to 
Understand Children: Part I — A Diagnostic Approach ; Learn- 
ing to Understand Children : Part II — A Remedial Program; 
Broader Concept of Method: Part I — Teachers and Pupils 
Planning Together; and Broader Concept of Method: Part 
II — Teachers and Pupils Working Together. The film analyzes 
the fundamentals of proper control of class conduct and attitude 
and contrasts methods of handling the class. 

It begins by showing a classroom where the teacher and 
the students are not working in harmony. Because of 
the lack of rapport between teacher and pupils, the students 
are plotting and planning escapes from carrying out the 
teacher's instructions. The teacher is shown attempting 
to reduce this lack of cooperation by the use of punishment. 

The second part of the film goes back to the starting 
point and shows how the same teacher with the same 
class plans and opens a large area of work which appeals 
to the interests of the class. As soon as the class become 
interested in the work, they forget their wanting to escape 
it. An atmosphere of mutual understanding and cooperation 
prevails. 

Committee Appraisal: 

This film, even though designed to supplement a textbook, 
goes beyond the text and through dramatization of processes 
and techni(|ues presents an actual teaching situation which 
is useful for study with or without the text. Dealing with 
the subject of teacher training, the film is recommended for 
both pre-service and in-service training of teachers. The 
film selects and shows those methods of handling a class 
which minimize the problems of classroom discipline. 
The feeling of a rehearsed or acted demonstration is suc- 
cessfully eliminated. The teacher and pupils seem fairly 




natural. The film, in addition to presenting certain in- 
formation, does open up the problem for future discussion 

Mission Life 

(Arthur Barr Productions, 1265 Bresee Avenue, Pasadena 
7, California) 21 minutes, 16mm, sound, 1946. Color, $150; 
black and white, $80. 
Description of Contents: 

The padre at a Spanish mission in Southern California 
reads aloud from his diary for 1776, describing some of 
the daily work activities of the Indians living there. 

As the padre describes the thriving herds of sheep and 
crops of grapes, squash, and figs, they are shown. He 
tells of his work in training Indian neophytes in the ways 
of the Spaniards, with the help of Mexicans who have 
come north to live at the missions. The complete process 
of making adobe bricks and using them in building con- 
struction is shown next. After the mixture is prepared in 
the adobe pit, it is molded and dried in the required shapes. 
The bricks and mud mortar are then fashioned into a 
wall. 

An Indian man pours tallow over candle wicks suspended on 
a wheel, using implements brought from Mexico. Others 
are seen soaking and scraping hides to make rawhide 
thongs widely used in constructing many useful objects. 

They thresh an abundant wheat crop by driving their 
horses around and around on the grain on the threshing 
floor. The women, using flat Indian baskets, toss the 
grain to remove the chaff and then grind it with their 
native mortar and pestle to make meal for gruel. Corn, 
grown in clumps according to the Mexican custom, is 
dried. Later it is cooked in lime water, ground with a 
Mexican mano and metato, flattened into tortillas, and 
baked over an open charcoal fire. 

As evening approaches, the padre hears the angelus 
ringing and slowly closes his diary. 

Committee Appraisal: 

An authentic atmosphere created by the padre's leisurely 
reading aloud of his diary makes the life pictured in this 
film seem very real. Activities shown are explained effec- 
tively and yet naturally, especially when the Mexican 
woman is seen teaching the others. The narrator is care- 
ful at all times to distinguish between native and imported 
tools, crops, and customs. Although designed for use in 
the elementary grades, the film should also be useful in 
junior and senior high school history courses to show 
life on the West Coast at the time of the Revolutionary 
War, the work of the Spanish padres, and the inevitable 
blending of Spanish and native Indian cultures in the 
Southwest. The color version is preferable to the black- 
and-white. 




McfJraw-Hill Book Co. 

The film "Maintaining Classroom Discipline" helps teachers 
understand and solve classroom discipline problems. 



\rthur iJarr Protliictiona 

In "Mission Life," Indian women are shown making tor- 
tillas, baked over an open charcoal fire. 



April, 1948 



181 



WILLIAM S. HOCKMAN, Editor, 1616 Marlowe Avenue, Lalcewood 7, Ohio 



THE WAY OF PEACE 

A Critical Review 

FEW RELIGIOUS FILMS have ever enjoyed the 
fanfare of a formal Washington "world premiere" 
such as was accorded the American Lutheran Church's 
film, The Way of Peace, just about one year ago, when 
three thousand of the Capital's most important people 
gathered in Constitution Hall at the invitation of the 
Wartburg Press^ to see its newest motion picture. 

It was produced by the East-West Studios, Holly- 
wood, with Wah Mong Chang and Blanding Sloan in 
charge. The writing was done by Frank Tashlin ; the 
narration by Lew Ayres ; and the music was composed 
and directed by Eddison von Ottenfeld. A Whittier, 
California, pastor, the Reverend H. K. Rasbach, is 
given credit for the original idea and the technical 
supervision. The film is in color and has a running 
time of eighteen minutes. 

Synopsis 

The film begins with the story of the Creation. Then 
man becomes sinful, shutting himself off from God's 
light and love. He builds walls, impelled by fear, hatred 
and greed. As the walls grow higher, man sinks lower. 
Christ comes into the world to bring light and love, but 
only a few listen and heed, and Calvary follows Bethle- 
hem with tragic closeness. Man stumbles on — through 
wars and cruelties. The Nazi emblem recalls the recent 
rule of wicked men in recent times. Race is against 
race, creed against creed, color against color — so sinful 
is man. A cyclotron introduces the atomic age. From 
its mountain hiding place an atomic missile is wheeled — 
and fired, and the atomic war is on. Others are hurled 
across the shaking skies, and cities, fields, homes, 
churches are uttterly destroyed. At last there is silence, 
the silence of death ! The closing sequence shows the 
earth itself consumed by a chain reaction of nuclear 
fission. The fihn closes with these words : "This can 
happen. It may happen soon. You are the one who 
can keep it from happening." 

The Film's Message 

The dominant note is negative, and the basic appeal is 
to fear. These are not the dominant notes of the 
Christian religion. As mankind enters the atomic age, 
something needs to be said about his predicament, but 
the church certainly has a higher theme than fear. If 
men could be scared into goodness, sainthood would be 



widespread. It may be possible to coax mankind out 
into the sunshine of God's love : there is some reason- 
able doubt as to whether any great numljers of men can 
be scared out of their moral and spiritual thickets. 

This film is a version of the old preaching. Can it 
help save the world? Opinion will be divided. This 
film may have the power to move the easily-moved of 
the congregation, and it may leave a few "sinners" 
pretty badly scared. It certainly does not tell the 
righteous zvhich way to move and it does not give the 
"sinners" much help toward salvation. Of course, it is 
too much to expect one film to have everything. It is, 
however, not unreasonable to expect a positive overtone 
or two in a religious film produced by one of the major 
denominations and announced with fanfare and abun- 
dant superlatives. 

Its Structure 

This film, like a number of other recent religious films, 
is fundamentally onlj- an illustrated sermon. Considered 
as a whole, the pictorial sequences carry very little of 
the total meaning to be conveyed. The visual and the 
auditory elements are poorly integrated, a weakness in 
any film. Since the eye follows the pictures (of neces- 
sity), and the mind tends to follow the eye, as much of 
the meaning as possible should be gotten into the visual 
sequences when the film is made if it is to be psycho- 
logically sound and have maximum effectiveness. "The 
thought-conveying powers of the screen become ex- 
tremely limited when pictures are used merely to illus- 




'55 E. Main St., Columbus, Ohio. 



Courtesy Glen Chang and The Wartburg Press 

"The Way of Peace" 
Man stumbles on — through wars and cruehies. 



182 



Educational Screen 



trate words. "^ All the sermon-films have this basic and 
serious weakness, an important consideration that 
churchmen cannot aflford to overlook when planning 
films and selecting producing companies. 

Puppets 

Throughout the film the basic pictorial background 
is composed of miniature sets and puppets. No humans 
appear ; there is no inherent action. Fundamentally, 
puppets against miniature backgrounds compose a still 
picture, and the shooting of still pictures never results 
in a powerful and convincing motion picture. Except 
for some very good animation, and the jerky movement 
of a puppet here and there, most of the footage lacks 
the essential movement and changing relationships 
which constitute the proper photographic material for 
the movie camera. 

If puppets are to be used, why animate them? To 
see two clumsy-footed puppets lugged out of a synthetic 
Garden of Eden is as likely to be comic as solemn. In 
the nativity scene the animals would be more real if the 
lamb in the foreground did not wiggle its tail or the 
oxen clumsily turn his head toward the audience. This 
kind of action reduces the illusion of reality and weakens 
the total efifect of the scene. Where Jesus is teaching 
on the hillside, we keep wondering which puppets are 
going to move. One or two do ; our guess has been 
wrong; and we have emerged from whatever subjectiv- 
ity the film had induced. The only way puppets can get 
themselves accepted on the screen as reality is for them 
to keep still — very still ! Animated puppets in a serious 
motion picture attract undue attention to themselves 
with a consequent impairment of the film's eflfectiveness. 
This is not necessarily true in entertainment films, 
where the very movement of the puppets may add one 
more interesting and diverting element. 

The place of miniature sets in a serious religious film 
is open to question. Some of the sets in this film are 
much better than others. One of the least satisfactory 
is the Golgotha set, which does not get even halfway to 
getting itself accepted by the mind as real. 

Sound 

The soundtrack is generally good. The commentary 
is well spoken. Its pace is very good, and there are 
periods of silence. The background music is good, and 
the use of the organ is effective. The musical back- 
ground for the nativity sequence is outstanding and will 
certainly outlive the film. Incidentally, if they will 
"un-animate" the camels, and the animals at the manger 
scene, here is a short sequence of considerable artistic 
merit which would have great usefulness in the church 
if it were put up in a little package. The sound efTects 
are good. The bombing sequence is too prolonged for 
maximum effect, and the repetition of several shots — 
even amateurs know better than this — tends to overdo 
this sequence and weaken the closing of the film. 

Utilization 

This film is a call to repentance. It will have its 
greatest usefulness as the prelude to a sermon which 



'Gipson. Henry Clay. Films in Business and Industry, 1947. 
McGraw-Hill Book Company. 291 pp. $4.00. 



emphasizes the positive. It would be useful in giving 
background for a quiet meditation on what must be 
done to save our civilization. This film should not be 
taken out of the context of worship and prayer. This 
is not the kind of film to promote discussion. (One 
World or None is better for this purpose.) It is an 
adult film, and the rounding-up of children and youth 
to see this film in Sunday school assemblies is not 
recommended. 

Conclusions 

The church should go slowly in making more films 
of this type. Still pictures, miniature sets, and animated 
puppets do not constitute the basic raw materials for 
good motion pictures. The film is too negative to have 
maximum use in churches which accent the elements 
of love and faith in the Gospel. Because films are still 
relatively scarce, this film will be used many times be- 
cause there is no better one available. This is not a 
reasonable excuse for making more negative films. 
Churchmen must quickly come to realize that they must 
decide upon the structure of the film they want as well 
as upon the message that it is to convey. — WSH. 

Missionary Operates Projector 
On Car Battery 

Missionaries are handicapped in the use of pro- 
jected pictures by the lack of electricity in many parts 
of the world. They have experimented with all kinds 
of substitutes, most of which gave more trouble than 
satisfaction. Nothing can match electricity for conven- 
ience and efficiency. 

These facts led Dr. Erich F. Voehringer, an associate 
secretary of the World Council on Christian Educa- 
tion (156 Fifth Ave., N. Y. 10), to the idea of using 
an automobile battery as the source of power for a 
slide and filmstrip projector. He asked the Viewlex 
Company (see the Trade Directory) officials if they 
would equij) one of their slide projectors to operate on 
an automobile battery. They obliged him. All that 
was required was a special lamp of 50 watts and six 
volts strength, a heavier cable and two clamps for at- 
taching it to the battery. 

The story continues, as told by Dr. Voehringer in the 
January 1948 number of World Christian Education: 

"I took the machine vvitli me on a recent trip to West Africa 
to test it in actual use. It weighs about eight pounds with the 
case. At first, I had some difficulty in persuading a missionary 
to let me try it out with his car. Being far off in the interior 
without the possibility of recharging his battery, he was afraid 
of getting into trouble if his battery were used up. Finally he 
gave his consent. We gave four performances within ten days. 
The tests were so successful that the missionary was the first 
one to want this kind of projector. The lamp takes about as 
much current as the headlights of a car, and if the car is run- 
ning during the day, one can easily have a slide lecture in the 
evening without straining the battery. If it should be a little 
low, the motor may be run during the showing. The operation is 
simple: Just clamp the two ends of the cable — not over five 
feet long — on the two poles of the battery. 

The projector can be fitted so that by exchanging the lamp 
it can be used with either house current or battery. When 
on the low wattage of the battery, it never gets hot, an ad- 
vantage in tropical countries." 

Mr. Voehringer used several kinds of screens and 
whitewashed walls. A transparent screen of ordinary 
draftsman's cloth gave very good results. He sug- 



April, 1948 



183 



gests that this kind of screen could 1)e placed in door- 
ways or windows when using the car battery for power, 
thus having all the mechanics outside the building and 
out of sight. 

His audiences were large and enthusiastic. He was 
impressed by the tremendous possibilities of projected 
pictures as an aid in evangelization and religious in- 
struction. 

The makers of all kinds of audio-visual equipment 
and materials should pay close attention to the develop- 
ments in the mission fields, and those with enterprise, 
originality, and imagination mixed with a dash of con- 
cern for the future of mankind, will be quick to co- 
operate with the Foreign Missions Conference in 
adapting and developing equipment for the use of 
church workers overseas. — W'SH. 

Films for Parents 

Pa.stors, directors of religious education, school and 
club leaders are inquiring about films for parents. 
Many churches are setting up informal programs of 
instruction and education for parents, especially those 
with pre-school children. Many worthwhile school and 
.club programs utilize films which deal with the physi- 
cal, mental and moral development of children. 

The 18-minute sound film. Life With Baby, pro- 
duced by March of Time in 1946, is an excellent and 
interesting interpretation of normal infant behavior 
by Dr. Arnold Gesell at the Yale Clinic to help par- 
ents understand the signs of normal mental and physi- 
cal growth during the first three years. 

Your Ckildren and You is a 31-minute film produced 
in Britain (British Information Services, 30 Rocke- 
feller Plaza, N. Y. 20) and presents the care of young 
children from the first months up to the age of four 
and five. It realistically portrays the struggle of aver- 
age imperfect parents with their average and slightly 
less than perfect children. While mainly a counsel 
of perfection, the suggestions are practical and par- 
ents can adopt them to the advantage of themselves 
and their children. This film will easily set the stage 
for discussion. 

In the 10-minute color film. Know Your Baby, by 
the National Film Board of Canada (620 Fifth Ave.. 
N. Y. 20), Mama Phillips is seen caring for and under- 
standing the month-old hero of the film, her youngest 
child. The assurance of this experienced parent in 
going about the business of feeding, changing, bedding, 
bathing, burping, and soothing an infant will comfort 
and instruct all parents of small children — and amuse 
pleasantly those whose children are older ! 

The 27-minute black and white film. The Feeling of 
Rejection, presents 23-year-old Margaret, a good girl 
who does more than her share of the work in both 
office and home ; who can't make up her mind ; who 
seldom says No ; and who is not getting much out of 
life because of her headaches and other ills. Psychiatric 
assistance helps her understand her basic trouble and 
sets her on the road to recovery. This film, in recall- 
ing through flashbacks Margaret's childhood, will in- 
struct and warn many parents. When carefully studied, 
and rightly presented, it can be useful in helping the 
later adolescent and the early adult make a personality 
inventory. — WSH. 




Filmfax Productions 

"Picture Stories from the Bible," Old Testament Edition. 

Old Testament Filmstrips 

The production and release by Filmfax Produc- 
tions (995 A First Avenue, New York 22) of a series 
of 32 cartoon filmstrips in color on the great charac- 
ters of the Old Testament raises many cjuestions of 
importance to religious educators. The series aver- 
ages about 45 frames per filmstrip. Because O.T. mate- 
rial is scarce, these filmstrips will be welcomed by 
many teachers. The scenarios are generally good, 
and one is pleased to find that the treatment squares 
with biblical scholarship. This is a gain over the biblical 
literalism and historical confusion to be found in some 
materials intended for use in the church school. 

It is when we turn to the technical qualities of these 
filmstrips that some very im]5ortant questions come 
to the fore. Many religious education people, especially 
the children's workers, are going to be very unhappy 
about the general lack of artistic quality. The drawings 
are too much in the manner of the comic cartoon. The 
colors are exaggerated. Many frames carry too much 
material. The vocabulary employed will impede their 
use with children as reading filmstri])s. 

While the list of names on the "advisory board" is 
imposing, sincere religious educators will continue to 
be amazed that so long a series should be issued with- 
out conforming to generally accepted criteria. ( See, 
for instance, the article in last month's Church De- 
partment of Educational Screen on criteria for vis- 
ual materials for children.) \Mien the technical quality 
of these strips is compared with that in such a film- 
strip as Fishers of Men, the contrast is very great, and 
most religious educators will be inclined to hope for 
this style of treatment, at least, in subsequent filmstrips 
by Filmfax and other producers. — WSIl. 

Audio Materials 

The Storv of Mrs. Henderson, two double-side, 12- 
inch, Jf^ rpm records, tells a true story of the amaz- 
ing influence of one church school teacher. There are 
mimeographed helps for discussion leaders, and practi- 
cal suggestions for next steps in improving teaching. 
You Do It, Doctor! is another set (two) of 12-inch, 
7S rjjui records which present a dramatization enipha- 



184 



Educational Screen 



sizing the place of mothers and fathers in tlie rehgious 
education of their children. There are mimeographed 
helps. Inquire of your dealer, or write to any Metho- 
dist Rook Store. 

Announced 

The first two films in a series entitled "In The 
Eyes of The Church," The Church in the Atomic Age 
and The Niircinhcrg Trials, The Churches and Inter- 
national Justice, have been released by their producers, 
Film Forum Foundation of Spokane (123 East 
12th St.), Washington. Each film is designed to 
stimulate interest in and promote discussion of the 
great social, economic, and religious problems of 
our times. They are documentary in character. 
RKO Pathe and the Motion Picture Association 
cooperated in their production. They will be dis- 
tributed on a local and regional basis. 

An Adult Class Could Do This 

Live-wire adult classes and groups in the church, 
looking about for a worthwhile and rewarding serv- 
ice project, would do well to copy the idea of 
Misses Marjorie Long and Susan Barnes, who 
established the Volunteer Film Association, a group 
of men and women who serve the sick through the 
romance and reality of the movies. A folder giving 
the details of the operation of this non-profit service 
organization can be secured from the headquarters 
of the association, 5965 Cabanne Place, St. Louis, 
Mo. 

China Film Under Way 

Kenneth ^\'arren of World Brotherhood Films 
(7i7 Wilshire, Fullerton, Calif.) has announced that 
a film on rural missions in China is now in the plan- 
ning stage. Collaborating with his firm is the 
L'nited Christian Missionary Society (Disciples 
of Christ). They expect to have the film ready for 
release early this fall to be used in connection with 
the church-wide study of China by the churches 
in 1948-49. While commending this group upon its 
enterprise, it should be observed that two 20-minute 
films will have greater usefulness in the church than 
one film of twice this length. (Readers having 
ideas and convictions on this matter should write 
directh' to Mr. Warren.) 



News 

• The Fair Religious Film Service, Inc. of Tyler, 
Texas and Southwestern University at Georgetown 
will cooperate in setting up a non-denominational 
audio-visual workshop for the week of August 16 to 
21, inviting a faculty of outstanding leaders. 

• The production of Church-Craft's film. The Passion 
Story, has been postponed because the $100,000 origi- 
nally budgeted was foimd to be totally inade([uate, 
two and one-half times this amount being needed at 
today's costs to give a film of the quality desired. 

• /;/ the Temple and In Every Home, a film, was pro- 
duced by the Board of Christian Education of the 
Presbyterian Church, U.S.A., to dramatize the stra- 
tegic place of the church right now, and to encourage 
leaders to find more efTective ways of teaching. The 
film inspires confidence in the possibilities of the New 
Curriculum of this denomination, and when its job 
of promoting this curriculum is over it may be made 
available for general circulation after minor editing. 

• Bobby and Jane's Discovery, a 48-frame filmstrip in 
color which explains church giving, has received wide 
acclaim and is equally enjoyed by children and grown- 
ups. Ask your dealer about it. 

• The Nelson Bible Pictures, well-known in England, 
have been brought to the U.S. by the Society for 
Visual Education, Inc.. 100 E. Ohio St., Chicago. 
There are 266 titles in the set. 120 of them in the Old 
Testament. In issuing them in 2x2 slides. SVE in- 
tends to maiptain the highest possible technical ex- 
cellence. In composition and coloring these new pic- 
tures will remind many people of the Elsa Anna Wood 
set, although they have been painted by a number of 
different English artists who were supervised by archae- 
ologists to insure historical correctness. 

• One of the work-groups in the Third National 
Workshop for Directors of Religious Education to be 
held at Lake Geneva, Wisconsin, the first week of 
August, will be concerned with audio-visual methods 
and resources for courses of study. 

• The Society for Visual Education has provided a 
th.reading clasp for their AAA and DD filmstrip pro- 
jectors which is very easy to install and effective in 
holding the filmstrip in place on the sprockets while 
the projection lens assembly is swung into place. Ask 
your dealer for one or write to SVE, 100 E. Ohio St., 
Chicago. 



SEND FOR YOUR COPY NOW 



First Printing Now Available — Price 60c 



The lleligi«»us Screeu 

William S. Hocktnan, Editor 

A Reprint of 19 Helpful Articles from 
"The Church Department" of EDUCATIONAL SCREEN 

30 Photographs and Diagrams, 64 Valuable Pages 

Lists Denominational Audio- Visual Directors 

Many Helps and Suggestions for Use in Your 

Audio-Visual Program 



EDUCATIONAL SCREEN 
64 East Lake Street 
Chicago' I, Illinois 

n Enclosed find 60c for which please send me 
one copy of "The Religious Screen." 

D Enclosed find $1.00 for which please send me 
one copy of '"1000 and ONE" as described 
elsewhere In this Issue. 



Name .-. 
Address 
City 



. Zon 



..State 



April, 1948 



185 



Summer Courses in Audio- Visual Education 1948-Part I 



The folloiving courses have been reported to date* Title, number of course, dates of summer 
session and name of instructor are given insofar as data were provided, figures in parentheses 
show credits (semester if quarter is not indicated). An additional list tvill appear in May. 



Alabama 

University of Alabama, University June 14-JuIy 23 

July 26-Aug. 27 
Audio-Visual Instruction, 149s (3 qr.) E. E. Sechriest 

California 

University of California, Berkeley June 21-July 31 

Instructional Materials and Equipment, Ed. S125 

(2) T. C. Poison, M. H. Anderson 

University of California, Los Angeles June 21-July 31 

Audio-Visual Education, Ed. S147 (2-3) 

McClusky and Barlow 
Audio- Visual Education, Advanced Course, Ed. S247A (2) 

F. Dean McClusky 

University of Southern California, Los Angeles June 21-July 31 

The Film in Education, 170 (2) Robert Hall 

Educational Film Production I, 175 (2) Harris Moore 

Workshop in Education Film Production, 176 (2) 

Harris Moore 
Motion Picture Appreciation, 178 (2) Theodore Huff 

Classroom Use of Audio-Visual Materials, 177 (2) 

Donald C. Doane 
Audio- Visual Materials in the Modern Curriculum, 277 (2) 

Donald C. Doane 

Advanced Workshop in Educational Use of Audio-Visual 

Materials, 278 (2) Donald C. Doane 

Colorado 

Colorado State College of Education, Greeley June 21-Aug. 13 
Audio- Visual Aids in Education, Ed. 208a (4 qr.) James Finn 
Workshop in Production of Audio- Visual Materials, Ed. 208a 
(4 qr.) Robert Wagner 

University of Colorado, Boulder 2 Terms 

First Term: June 21-July 23 

Visual Aids, Ed. 137 (3 qr.) Lelia Trolinger 

Laboratory Course in Visual Aids, Ed. 138 (2 qr.) 

Howard Woolum 
Second Term : July 26-Aug. 27 

Visual Aids, Ed. 137 (2 qr.) Howard Woolum 

Laboratory Course in Visual Aids, Ed. 138 (2 qr.) 

Howard Woolum 

Illinois 

Bradley University, Peoria June 17-July 22 

Audio- Visual Aids, Ed. 437 (2) Erwin Van Allen 

Northern III. State Teachers College, DeKalb June 14-Aug. 8 

Audio- Visual Education, 430 (4 qr.) Otto Gabel 

State Normal University, Normal June 12-July 2 

July 5-Aug. 27 

.Audio-Visual Education, 240 (3) C. Cross, H. Ivens 

University of Chicago, Chicago June 28-JuIy 30 

Audio- Visual Instruction : Techniques and Materials, Ed. 
390 (1 qr.) Stephen M. Corey 

Audio- Visual Instructional Problems, Ed. 399J (1 qr.) 

Stephen M. Corey 
Western Illinois State College, Macomb June 7-July 16 

Photography, 219 (4 qr.) W. K. Shake 

Techniques, Slides and Sources, 320 (4 qr.) A. B. Roberts 

Field Tour, 322 (4 qr.) 

Field Tour, 323 (4 qr.) 

Techniques, Slides and Sources, 320 (4 qr.)— July 16-Aug. 20 

W. K. Shake 
Wheaton College, Wheaton June 15-25 

Visual Education, Ed. 317S (2) Grovener Rust 

Indiana 

Indiana University, Bloomington 

Regular Summer Session June 16-Aug. 13 



George C. Johnson 

Rolland Meiser 

Henry H. Smith 



A. B. Roberts 
A. B. Roberts 



Undergraduate : 

Radio in Education (2 J/2) 

Visual Education (2"^) 

Creative Photography (21/2) 

Graduate : 

Utilization of Audio- Visual Materials (25^) 

Donald G. Williams 
Selection of Audio- Visual Materials {lYz) Carolyn Guss 

Radio in Education (2J/^) George C. Johnson 

Production of Audio- Visual Materials (2H) 

Walter Barnes and Production Staff 
Administration of Audio- Visual Materials (2K) 

L. C. Larson, Ernest Tiemann 
Administration of a College Center of Audio-Visual Materials 
(2H) L. C. Larson 

Research in Audio- Visual Materials (Cr. Arr.) 

Instructional Staff 
Thesis in Audio- Visual Materials (Cr. Arr.) 

Instructional Staff 
Post Summer Session Aug. 12-28 

Workshop in Administration of the Audio-Visual Program 
(lYz) (limited to persons responsible for administration of 
program of audio-visual materials or who have completed at 
least 2 graduate courses in audio-visual education) 

L. C. Larson and Staff 

New York 

Rochester Institute of Technology, Rochester 

6-week course in Photography for Teachers in Secondary 

Schools (30 hours weekly) ; begins July 12. 
St. John's University-Teachers College, Brooklyn 



Audio- Visual Aids in Education, Ed. S-T 



13 



July 6-.'\ug 
125 (2) 

Lulu Spilde 
June 28-Aug. 6 
C. T. Smith 
July 5-Aug. 14 



State Teachers College, Plattsburg 
Audio- Visual Education, Ed. 317s (3) 

Syracuse University, Syracuse 

Methods and Materials of Audio- Visual Instruction, A-V Ed. 
112 (3) Sandra George 

Production of Audio- Visual Instructional Materials, A-V Ed. 
114 (3) J. W. Brown 

Administration and Supervision of .Audio- Visual Instruction. 
A-V Ed. 214 (3) J. W. Brown 

Writing the Radio Program. A-V Ed. 178 
Producing Educational Radio Programs, A-V Ed. 179 

South Dakota 

University of South Dakota. Vermillion 
Audio- Visual Education, Ed. 172s (2) 



Tennessee 

George Peahody College, Nashville 



June 7-July 16 
Ray Cash 

June 14- .Aug. 20 
Problems in Visual Education (4 qr. ) George P. Mecham 

Texas 

University of Houston, Houston 
Work Shop (3) May 31-JuIy 2 

Audio-Visual Methods. Ed. 365.\ (3) July 19-.A'ug. 17 

Production of Audio-Visual Materials. Ed. 365B (3) 

July I9-Aug. 27 

(.Courses given by E. B. Miller) 

Vermont 

University of I'crnumt, Burlington July 7- .Aug. 14 

Audio-Visual Education (2) (3qr.) 

{Additional listings zi'ill appear nc.vt month) 



186 



Educational Screen 





for o single subiect 
d^a whole program . . . 

the right films for the job are 

ENaCLOPAEDIA BRITANNICA FILMS 



Every EBFilm is a self-contained teaching 
unit . . . yet every EBFilm is also part of an inte- 
grated series of films teachers can use at progressing 
levels within a subject area. 

Thus EBFilms bring depth as well as 
breadth to audio- visual teaching. For example, 18 
EBFilms cover Physics from the primary cell 
through ATOMIC energy. There are 30 related films 
on general science, 28 on primary social studies . . . 
on the average, ten authentic, forceful, absorbing 
teaching films on each of more than fifty different 
subject areas. 

This is one reason why almost every 
school's basic film library is composed of EBFilms. 
Because EBFilms are core curriculum material — 
produced by educators for the specific use of educa- 
tors. And because EBFilms help teachers do the job 
they have to do the way they want to do it . . . 
effectively, thoroughly, lastingly. 



En 



B 



EB SOUND riLMS 

S«b;>cf Uo. of Tiflw 

Physics 13 

Electricity 12 

Electronics 4 

Heat, Energy and Work 9 

Aeronautics 5 

Chemistry _ ^ 

General Science 30 

Physical Geography (Geology) 6 

Astronomy 4 

Earth Sciences 12 

Harvard Films 5 

Human Biology 18 

Health and Hygiene g 

Nature Study— Elementary Science 30 

Biology— Animal Life 2J 

Primary Science (Nature Study) 16 

Animal Pets 5 

Insects 9 

Birds 4 

Animals of the Farm 6 

Animal Community ^ 

Animal Forms 9 

Biology— Plant Life 9 

Plant Physiology 5 

Home Gardening ^ 

American History ]2 

Movements of American History 5 

The Americas (Regions) 15 

World's People ^3 

People of Latin America 5 

Regions of Latin America 4 

Regions of the United Slates 6 

Regions of Canada 4 

People at Work 3 

Farm Life in the United States £ 

Orientation Geography 5 

General Social Studies 13 

Technology 13 

Transportation and Communication 4 

Community Civics 12 

Problems of Democracy }^ 

Primary Language Arts , |9 

Primary Social Studies 28 

Children of Other Lands 3 

Primary Grades, Community Helpers 15 

Agriculture 12 

Home Economics 10 

Arithmetic 3 

Arts and Crofts 10 

Industrial Arts 7 

Music 5 

Track and Field Athletics 4 

Physical Education 15 

Teacher Training 8 

Child Development 10 

Life Begins (six-reel film) 1 



CYCLOPAEDIA DRITANNICA FILMS 



WILMETTE, ILLINOIS 




INC. 



April, 1948 



187 



IITERATUREOJ 



mBj 



■•■fcf 



ISUAl INSTRUCTION 

Mrs. ETTA SCHNEIDER RESS, Ed.D., Editor 



RESEARCH STUDIES 

• Radio, Motion Picture and Reading Interests, A Study 
of High School Pupils — Alice P. Sterner. Teachers 
. College. Columbia University, New York, 1947. 

This is a valuable research study of seven media of com- 
munication — radio, books, comic strips, funny books, maga- 
zines, newspapers ,and motion pictures — as they relate to 
the leisure-time choices of adolescents. Sterner examined 
the habits of 372 high school pupils in order to determine 
whether a given medium or its theme has a greater attrac- 
tion for the adolescent; what the habits of high school 
students were in reference to all of these media and to dis- 
cover any relationships that might exist among them; what 
the three major adolescent interests in adventure, humor 
and love had to do with the selection and relationship of the 
media, and, finally, how certain factors like age, se.x, and 
socio-economic status related to the choice of media and 
the interests appealed to among high school pupils. 

There is much meat in the study. The main conclusion 
is that the theme or major interest is the determining factor 
in the choice of a radio program, a motion picture, a book 
or any other of the seven channels studied. Adventure, 
humor, and romance are the attractions, not the motion 
picture, the radio, or the comic book in themselves. Adolescents 
are extremely consistent in their leisure-time listening, 
reading, and viewing choices, and the study reinforces once 
again the fact that high school students spend much time 
with these outside communications agencies. .Although 
there are some sex differences in choices, other factors of 
background such as IQ, socio-economic status, etc., seem 
to have little effect. 

For comparisons of the seven media and the detailed 
relationships presented for each, the reader is urged to 
examine the study itself. It is well written and, contrary 
to many such studies, the statistical treatment is not allowed 
to interfere with or to cloud up the text. The over-all 
treatment is from the point of view of the English teacher, 
and suggestions are made as to what might be done in 
English classes with the facts of the study. In one way 
this is a weakness because the social and economic implica- 
tions of the control of these media have not been drawn. 
It seems to this reviewer that the study has more social 
significance than it indicates. 

Sterner is to be commended, however, for cautioning 
against blue-nose reform, for making a case for a positive 
approach to the communications media in the classroom, 
and for a parenthetical plea for a little more drania and 
humor in all of high school teaching to square with the 
obvious interests of adolescents. Another valuable part of 
the study is the selected bibliography of research in con- 
munications tabulated as to purposes and results. Anyone 
in the audio-visual field should find this bibliography a 
treasury of information. 

For workers in the audio-visual field this study may serve 
as another alarm clock to wake them up to the fact that 
"audio-visual" is not a concept that can be limited to the 
classroom. Audio-visual people are presumed experts in 
conmiunications. With the aid of this study perhaps they 
can see more clearly that there is an opportunity to work 
this knowledge of communications into the attempts of the 
school to wrestle with leisure-time problems. 

—JAMES D. FINN 

188 



• The Ability of Children to Read a Process Diagram — 

Morton Malter, Research Director, Britannica, Jr. 
Journal of Edneational Psych. May, 1947. pp. 290-8. 

Two studies were conducted at the University of Chi- 
cago Center for the Study of Audio-Visual Instructional 
Materials to determine what elementary-age children learned 
from a diagram, and to find out how textbook diagrams 
could be improved to help children to use them for the 
starting place in the development of an idea. 

A schematic representation of the steps in the milling of 
flour was chosen for the study. This appeared to be a 
good example of an industrial process diagram that child- 
ren were likely to encounter; and the idea depicted was 
new to the children selected for the study. Copies of the 
diagram were distributed to 227 children, grades IV-VIII, 
part from Wisconsin and part from Chicago. The diagram 
gave no directions, and the children were asked to mark 
off where they thought the milling began, and what path 
the flour took in the mill. Most of the children did not 
know how to read the diagram. .\ second study, with di- 
rections and arrows inserted, was undertaken with 34 child- 
ren in the sixth grade. These children were given both 
illustrations in succession. The majority of these pupils 
made better progress when instructions were given with 
the diagram. 

Principles for the preparation of process diagrams should 
be formulated to ensure that pupils will be able to read 
and understand theni.-^ESR. 

BOOKS 

• The Motion Picture Industry— Gordon S. Watkins, U. 
of Calif., Los -\ngeles. .Annals of the .American .\cademy 
of Political and Social Science. 254; November. 1947. 
172 pp. $2.00 to non-members. The .Academy, 3457 
Walnut St., Philadelphia 4, Pa. 

An excellent and significant symposium on the broad 
economic, social, moral and cultural significance of the mo- 
tion picture industry. A previous yearbook of the Acade- 
my which appeared in 1926 dealt similarly witli this in- 
dustry, but its emphasis was largely on the potentialities 
of the film as entertainment and for education. 

The volume has been organized to include articles on 
the following topics: history, business, sources of film 
ideas, sociological implications, censorship problems and 
areas of research. Contributors are representatives of the 
motion picture industry (Martin Quigley, Eric Johnston, 
Terry Ramsaye, Floyd B. Odium, Donald M. Nelson and 
others), sociologists and educators (Franklin Fearing, Hor- 
tense Powdermaker, Norman Woelfel, Floyde E. Brooker, 
Ruth A. Inglis, Paul F. Lazarsfeld). 

The impression of this reviewer from reading the sym- 
posium is that it resembles the legend of old: two knights 
standing on either side of a two-colored shield are equally 
insistent that the shield is all black — or all white. After 
a bitter struggle, the two men realize that they were both 
partly right and that the shield is white on one side and 
black on the other. In any discussion of the film industry, 
there are those who argue in favor of the status quo of 
Hollywood methods and those who are so concerned with 
the social responsibilities of the industry on a world-wide 

(Continued on page 190) 
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IMa^iu^a^i/^'m 0^ t/ie SPEHZER jJcx^^i^ic if/idM/zrie^ 



April, 1948 



189 



A Sena of Motion Pictures on Fractions 

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basis, that they subordinate the practical problems to the 
moral and spiritual ones. This book enables us to examine 
various points of view. 

For example, on the old, old question of the responsibility 
of the industry to entertain or educate — or propagandize 
— , there is the defense by Martin Quigley of the escapist 
themes of films as they are; and the claims of Eric Johns- 
ton that films enable us to broaden our culture and our 
knowledge about other people, and he concedes that films 
can be of greater value in bringing about international 
understanding and peace. In the face of these arguments 
are a few articles by scholars such as Franklin Fearing, 
who reviews the findings of research on the influence of the 
movies on attitudes and behavior and evaluates some of the 
claims of industry spokesmen. He concludes that it has 
been shown that any film, regardless of its character (docu- 
mentary, musical, western, or realistic), has some measur- 
able effects on specific attitudes of those exposed to it. He 
also states that motion pictures afford an opportunity for the 
expression of the basic meanings inherent in the relation- 
ships of human beings to each other, to their environment, 
and to the society of which they are a part. This contro- 
versy between industry and sociologist continues, though 
it has been mollified somewhat. Louis B. Mayer is quoted 
in the article by Leo C. Rosten as admitting the great re- 
sponsibility of the screen to "portray fairly and honestly 
the American way of life . . ." Such public statements 
at least point the way to potential improvement. 

A very stiinulating and provocative article comes from 
Allan A. Hunter, a Protestant pastor who expresses the 
views normally expected from a sociologist, viz. that films 
are made only for the box-office, with no regard for ethical 
and moral values. "My complaint," he writes, "is not so 
much its wickedness as its sentimentality ... It means 
putting too high a value on everything the movie stars 
fall for, and closing the eyes tight to the price that way 
of life ultimately exacts." 

This volume sponsored by the Pacific Southwest Academy 
of the Academy of Political and Social Science might be 
an excellent basis for a public forum. — ESR. 

• Look, Listen and Learn — L. Harry Strauss and J. R. 
Kidd. Association Press, N. Y. 235 pp. $3.50. 1948. 

This "manual on the use of audio-visual materials in in- 
formal education" is based on the experience of both au- 
thors in the use of films, filmstrips and recordings with adult 
groups in the U. S. and Canada. There are interesting sug- 
gestions for film programs for out-of-school groups: 
churches, summer camps, forums, children's parties and the 
like. The style is concise, permitting the reader to pick 
up quickly some very practical ideas. Those sections of the 
book which contain original material — as the programs 
for summer camps, children's parties, sports — are all too 
brief. A large part of the book has been used for a repe- 
tition of principles of administration, utilization, equipment 
and the like. 

This criticism, incidentally, has revealed an unfortunate 
trend in recent publications. The many volumes that have 
been rolling off the presses should lead to greater interest 
and better use. Each author has a unique contribution to 
offer. However, there has been so much repetition of con- 
tent that the original material is sacrificed for lack of 
space. Does it mean that each author does not recognize 
what has already been published, or does he assume that 
his readers will have access to no other book in the field? 
Although the approach and content vary in quality, a quick 
glance at recent books will show the constant repetition: 
types, equipment, sources, techniques of utilization, ad- 
ministration. We hope that prospective authors will design 
their books as an addition to the literature, rather than a 
recapitulation. — ESR. 

SOURCES OF INFORMATION 

• A.N.F.A. Year Book and Audio- Visual Directory, 1947-8 
— William Lewin, editor. Allied Non Theatrical Film 
Association, Inc., 303 Lexington Ave., N. Y. 16. 98 pp. 
$2.00. 
A valuable source book, for it gives an extensive direct- 
ory of some 2,200 persons engaged in audio-visual instruc- 



190 



Educaflonal Screen 



tion and the names of outstanding firms and leaders in the 
commercial field. There are articles by nontheatrical execu- 
tives, such as Bertram VVilloughby, Horace Jones, William 
F. Kruse and educational administrators W. Gayle Starnes, 
Lee VV. Cochran, Walter Wittich, William Lewin. 

Among listings to be found here are: a directory of 
individuals by state, and by alphabet; 16mm film sponsors, 
producers, manufacturers of supplies, wholesale distribu- 
tors of equipment, wholesale distributors of films, exporters, 
organizations in the field, and much more. 

• Sources of Teaching Material — Catharine Williams, 
conip. 77a' Nm'S Letter, 13: no. 4. Jan., 1948. Bureau of 
Educational Research, Ohio State University, Columbus, 
Ohio. Available in quantities: 1-20, 5c each; 21-100, 4c; 
more, 3c each. 

A selected, up-to-the minute compilation of sources of 
information in the field. Should be distributed to all stu- 
dents of audio-visual instruction and librarians. 

• Look and Listen — Lillian Novotny, ed., Teacher, Chi- 
cago Public Schools — monthly issues of Elementary English, 
published by the National Council of Teachers of English, 
211 West 68th St., Chicago, 111. 

An excellent addition to the source material. Well annotated, 
and timely. 



Films for Teaching the English Language 

(Continued from page 174) 

"My uncle, having been to China — who has been to 
China — since he has been to China, tells interesting 
stories." Childish use of and to connect ideas which 
are not equal can be overcome by use of patterns like 
the above. \Mmt matters is not that one happens 
to be a participial phrase, and one an adverbial clause, 
but that each, thrown in to modify the original idea, 
shows more accurately the relationship of its parts one 
to the other. The screen, because it can move about 
the parts of the sentence, is in a particularly good posi- 
tion to make graphic the probleins of subordination and 
coordination of ideas. Again, the commas needed to set 
ofT interrupters within the sentence can be effectively 
presented in this connection. 

Dr. Marion Le Roy Burton, former president of the 
University of Michigan, was adept in swaying his audi- 
ence by the use of connectives: It is imperative that 
we give thought to these things; nevertheless (pause) 
.... Proper use of these pozvers is imperative ; further- 
more, (pause) .... What happened in the minds of his 
audience as he paused impressively on the word, never- 
theless.^ On the word, furthermore^ These aspects 
of effective use of language the screen has a peculiar 
responsibility for teaching. 

A Challenge for Film Makers 

Will films im])rove the teaching of the English lan- 
guage? The answer to this question depends upon 
two others: Will the makers of films increase their 
scholarship in the field of language sufficiently to at- 
tack the problems of increasing insight into the clear 
expression of meaning in contrast to outmoded presen- 
tation of grammatical classifications? Will they 
approach the problem with sufficient imagination 
to utilize the peculiar possibilities of their medium or 
will they merely reproduce the static procedures of 
the printed page? 







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April, 1948 



191 



DA VI Atlantic City Conference 



By VERNON G. DAMERON 



THE NEA Department of Audio-Visual Instruc- 
tion held a three-day meeting in Atlantic City, 
February 23 through 25, concurrently with the 
AASA Convention. This conference differed from 
preceding ones in that the attendance was greater 
than ever before, and those in attendance included 
— in addition to an array of noted audio-visual spe- 
cialists — a relatively large number of school ad- 
ministrators and newcomers in the audio-visual 
field. 

The Conference, planned to be of value to both 
audio-visual specialists and school administra- 
tors, included separate sessions devoted to : (a) 
audio-visual instruction and the school administra- 
tor, (b) teacher education in audio-visual instruc- 
tion, (c) problems of the audio-visual director, (d) 
research in the audio-visual field, (e) problems of 
educational film producers, (f) DAVI business 
meeting. 

The opening social period was followed by a 
luncheon meeting and television demonstration at- 
tended by more than 200 persons. President Ste- 



A MESSAGE 

Recently we have had a big demand for our films, 
especially for the following ones: 
CHINESE SHADOW PLAY 
PAINTING A CHINESE FIGURE 
PAINTING THE CHINESE LANDSCAPE 
TWO CHINESE DANCES 

We are very glad that these films are popular 
and we wish to thank those of you who have been 
kind enough to write and tell us how much you 
enjoyed the films. However, we have one regret. 
Sometimes we do not have enough prints in circu- 
lation to fulfill the demand. We are very sorry if 
we have to disappoint you. 

To be sure that you get the films you want 
when you want them, may we suggest the 
following: 

1. Obtain prints to keep in your own library. 

2. Request prints for rental rather than 
preview. 

3. Book films early to make sure we reserve 
them for the dates you wish to screen. 

Write or phone us if you have any questions. 
We assure you of careful attention to all inquiries. 

China Film Enterprises of America, Inc. 

35 Park Avenue New York 16, New York 

MUrray Hill 3-2507 



phen JM. Corey presided and Louis S. Goodman was 
chairman of the television demonstration. William 
H. Knowles, Radio Corporation of America, spoke 
on the subject of recent developments in television 
and the educational possibilities of the medium. 
He outlined the present status of television, its ap- 
plications in community education, special uses, 
effect on the non-theatrical film, and services which 
schools can expect as television develops. Follow- 
ing the address, a 16mm motion picture was tele- 
vised from television station, \VFIL-T\', Philadel- 
phia, to Atlantic City. 

SUMMARY OF THE CONFERENCE 

Audio- Visual Instruction and the School Administrator — 
Main Meeting. "It is time, I think, that \vc stop talking 
aliont the tools we have and begin talking very loudly 
about primary purposes to which we think our tools should 
be put." These words from the adddress by Charles A. 
Siepniann of New York University were the essence of the 
main meeting. 

Professor Siepmann suggested two areas of "unquestion- 
able significance" upon which the powers of mass media 
of communication might well be concentrated: (a) "the 
unfinished business of democracy" and (b) the relationship 
between democracy and the international scene. He pointed 
up the aptness of mass media for the achievement of these 
goals. He challenged teachers to take leadership not only 
in using radio and motion pictures for attaining these goals 
in in-service activities, but in extending their use throughout 
the community to bring about "concerted effort and com- 
mon purposes between school and community." 

The discussion of "Curriculum Trends and School .\<i- 
ministration" by Claude V. Courtcr, Superintendent of Cin- 
cinnati Schools, further served to focus attention upon the 
ends to be served by audio-visual media. He identified as 
an important trend greater emphasis upon realism — an un- 
derstanding of our world today, the need for developing 
"dynamic citizens for a dynamic world", and greater under- 
standing of the child as a unified being who must become 
a "self-directing, self-respecting, self-responsible unit in 
our society." 

The function of the audio-visual director as a curriculum 
specialist was clearly defined by Superintendent Courier; 
he emphasized that the director "must be a resource per- 
.son to committees planning curriculum ... a student of ed- 
ucation with understanding of broad goals and specific ob- 
jectives" of instruction. 

Relating their remarks directly to the addresses of the 
two key speakers, the four panel members focused atten- 
tion upon significant implications of what had been said. 

Marguerite Kirk, Newark Board of Education, showed 
".\n .Audio- Visual Program in .-\ction" by means of a visual 
yresentation. 

The attendance at the Main Meeting was approximatciv 

400. 

Teacher Education in Audio-Visual Instruction. The 

main address, "Recent Trends in Teacher lulucation," was 
made by Professor Mollis L. Caswell, Columbia I'niversity. 
lie identified five trends in teacher education: (a) organiza- 
tion of the professional preparation of teachers in larger, 
n\ore inclusive units, with fewer separate courses; (b) 



192 



Educational Screen 



broadening field experience and coordinating it with course 
work; (c) providing for the parallel development of general 
and professional education; (d) providing a common pro- 
fessional basis for all teachers; (e) providing a program 
of continuous teacher education which bridges the gap be- 
tween pre-service preparation and in-service training. 

The six panel members discussed the implications of 
these trends and generally agreed that the use of audio- 
visual materials can and should parallel them. It was also 
stated that: the need for separate audio-visual courses, in- 
cluding more training in actual utilization, will continue for 
some time; teacher-education institutions must greatly ex- 
pand the use of audio-visual materials throughout the cur- 
riculum; teacher-education institutions should assume con- 
siderable responsibility for in-service training. 

Problems of the Audio-Visual Director. The panel fo- 
cused its attention on four general questions: 

First, how can the audio-visual director increase the use 
of audio-visual materials? One suggestion was that the 
director work closely with the person in charge of curricu- 
lum and with other individuals and groups responsible for 
planning and implementing the instructional program and 
that this might be accomplished most effectively and effi- 
ciently if the director were a member of the curriculum 
staff. It was also suggested that the director encourage 
teachers and pupils to utilize audio-visual materials in extra- 
classroom activities such as auditorium and club programs, 
as reference materials, and in adult education programs. 

Second, how can the audio-visual director help teachers 
make effective use of audio-visual materials? It was stated 
that organized courses, group conferences, workshops, 
demonstrations, and personal consultation were effective 
in helping teachers to gain understanding and skill in the 
use of audio-visual materials. Another proposal was that 
of developing "pilot" schools as demonstration centers for 
the training of teachers from other schools in the system. 

Third, how can the audio-visual director help to obtain 
classroom facilities for using audio-visual materials with 
maximum effectiveness, in a convenient manner? One pro- 
posal was that the director participate in the planning of 
new school buildings and in the modification of old ones. 
It was emphasized that architects must be made aware of 
the need for incorporating in school building design those 
features and facilities essential to the convenient and effec- 
tive use of audio-visual equipment and materials. 

Fourth, how can the audio-visual director obtain adequate 
financial support for the audio-visual program? It was 
stated that the adequacy of financial support depends largely 
upon the effectiveness with which the director informs 
parents of the contribution which audio-visual instruction 
can make to learning. 

Research in Audio-Visual Instruction. "Some Hopes of 
Research" was presented by Seerly Reid. He indicated that 
the United States Office of E^ducation hopes to contribute 
to the field of research in audio-visual education in three 
ways: (a) by gathering, periodically and systematically, bas- 
ic quantitative data on the use of audio-visual materials in 
schools; (b) by serving as a library center for all research 
studies pertinent to the field, with copies of abstracts of 
such studies available; (c) by publishing summaries and 
analyses of the research periodically. In future audio-visual 
research, it is hoped that: there will be a high level of im- 
agination in the research; that there will be fewer status 
studies and surveys; that attention will be given to how 
audio-visual materials can contribute to the curriculum 
rather than to "proving" the superiority of such materials; 
that the value of audio-visual materials will be tested not 
only in terms of facts learned, but also with reference to 
attitudes, appreciations, discrimination, and social behavior; 
that the validity and reliability of testing instruments will 
be established; that there will be fewer sweeping generali- 
zations — and that the "conclusions" will be written after, 
not before, the data are collected! 

"Requirements of Research to Increase the Effectiveness 
of Instructional Sound Motion Pictures" was jiresented by 



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April, 1948 



193 




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C. R. Carpenter, Pennsylvania State College. Under the 
auspices of the Office of Naval Research, a research project 
has been established at the Pennsylvania State College 
and has established the following requirements for its re- 
search: (a) apply psychological facts and principles to prob- 
lems of film learning; (b) define and experiment with the 
internal variables of films; (c) develop sharp, clear, definite, 
experimetal designs; (d) establish reliable and valid meas- 
urements of film effects; (e) provide resources for research 
commensurate with the difficulty of the problems of the 
field; (f) determine the procedures for implementing re- 
search findings; (g) determine the procedures for ol)taining 
validation data by field testing of films. 

"Research in Illustrative Technicjues for Publishers" 
was presented by Morton S. Malter, Encyclopaedia Britan- 
nica, Jr. He pointed out that the research on flat pictures 
and their use in books is scanty and rather inconclusive. 
There is a need for developing a body of specific principles 
for selecting pictures. At the present time. Encyclopaedia 
Britannica, Jr. is examining reported research on children's 
preferences for drawings and pictures and is conducting 
studies to determine: the accuracy with which children can 
estimate the size of pictured items, the relationship between 
size of caption and understanding, whether all pictures 
should be drawn to scale, the relationship between the size 
of a picture and children's attention, whether children can 
read cross-sections, whether they can understand the mean- 
ings of conventional diagrammatic symbols, and how dia- 
grams can be improved to indicate the concept of motion. 

"The Nebraska Program of Educational Enrichment 
Through the Use of Motion Pictures" was presented by 
W. C. Meierhenry, University of Nebraska. The Nebraska 
project to provide educational enrichment in rural schools 
through the use of motion pictures is being conducted un- 
der the joint auspices of the University of Nebraska, the 
State Department of Public Instruction, the State Voca- 
tional Board, and four-teacher education institutions in the 
state. Thirty-five schools, 342 teachers, and 5400 pupils are 
cooperating in the program. Evidence to date indicates that 
motion pictures can make a valuable contribution to the 
instructional program in Nebraska's rural schools. 

"Research in Audio-Visual Instruction in Washington 
State" was presented by J. Murray Lee, State College of 
Washington. .A project is now being carried on in Wash- 
ington to determine how teachers using audio-visual mate- 
rials received their training in the use of such materials. A 
review is being made of teacher-education methods, and 
data are being collected from teachers through question- 
naires and personal interviews. 

Problems of Film Producers. Willaim F. Kruse. Presi- 
dent of .Mlied Non-Theatrical Film Association, presented 
an account of background developments and a quantitative 
analysis of the present status of the educational film field; 
production costs; potential market; school budgets, and the 
necessity for increasing them. 

Godfrey Elliott, Young America Films, presented a cri- 
tique of the present status of the educational film field: 
evaluation practices, areas in which new films are wanted, 
standards of production, buying practices, and audio-visual 
budgets. 

George White, Films Incorporated, presented an account 
of the conditions essential to the future growth of the edu- 
cational film field: functions of producers, educators, critics, 
audio-visual experts, and film librarians: research on sub- 
ject matter and method, child psychology, and distribution; 
and critical evaluation. 

Following these three addresses, the panel members sug- 
gested various means for improving the conditions relating 
to the producers problems. 

Business Meeting. First Vice-president F. Dean McCIus- 
ky. University of California (Los Angeles), presided at the 
meeting. 

Summary of report by Lee Cochran, University of Iowa, 
chairman of the Publications Committee: (a) DAN^I should 
have an official publication; (b) there should be only one 
official publication: (c) Educational Screen should continue 



194 



Educational Screen 



to be tlie official publication; (d) DAVI should have rep- 
resentation in matters of policy of the official publication; 
(e) DAVI should investigate the advisability of publisliing 
its own journal or bulletin when it becomes financially 
possible; (f) the Committee was undecided as to whether 
official releases should be channeled to all audio-visual peri- 
odicals and to other educational journals. 

^fotions were carried that the report of the Publications 
Committee to be accepted and that the Committee be com- 
mended for its work. Mr. Cochran recommended that the 
general Publications Committee, to be appointed by Presi- 
dent Corey, devote additional study to official publication 
matters. He also recommended that the new Committee 
study the advisability of DAX'I publishing a yearbook or 
periodical bulletins. 

G. \V. Remington, representing the newly-affiliated Min- 
nesota Division, gave an account of the organization of the 
Division. 

Amo DcBcrnardis, Portland (Oregon) Public Schools, 
discussed some of the problems involved in the affiliation 
of the Pacific Northwest area. He recomninedcd that in 
the appointment of various DAVI committees, the members 
of each committee should be selected from respective lim- 
ited gcograpliical areas in order to facilitate meetings, and 
that each committee should be responsible for issuing a 
specific report. He proposed further that DAVI appoint a 
committee to maintain liaison with producers of audio-visual 
materials, and urged that DAVI conduct the necessary 
studies to determine what constitutes adequate audio-visual 
programs. 

Paul Witt, Columbia University, suggested that the liaison 
committee proposal by Mr. DeBernardis might function 
best in cooperation with the instructional materials liaison 
committee already established by the NEA Association for 
Supervision and Curriculum Development. 

Irene Cypher, New York University, made several sug- 
gestions for improving the program of DAVI activities. 

Irving Boerlin, Pennsylvania State College, expressed con- 
cern in regard to the Constitutional provisions for the selec- 
tion of nominees for the National Executive Committee. A 
motion was carried directing that the entire matter be re- 
viewed before the official business meeting is held next July. 

A motion by Louis S. Goodman, College of the City of 
New York, to the eflfect that a committee be established 
to cooperate with the television industry, was carried. 

A resolution proposed by Esther Speyer, New York City, 
on the subject of teacher-education in audio-visual instruc- 
tion, was approved. 

The Committee which planned the Conference consisted 
of James W. Brown, Syracuse University, Chairman; Floyde 
E. Brooker, U. S. Office of Education; \V. Henry Durr, 
Virginia State Department of Education; Grace Fisher 
Ramsey, American Museum of Natural History; Louis S. 
Goodman, College of the City of New York; A. W. Vander- 
Meer, Pennsylvania State College; Vernon Dameron, Na- 
tional Education Association ex officio. 

A detailed report of the Conference may be obtained from 
the Department of Audio- Visual Instruction, National Edu- 
cation Association, 1201 Sixteenth Street, N.W., Washing- 
ton 6, D. C. 



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Motion Pictures for Mental Hygiene 

A new course, "Motion Pictures for Mental Hy- 
giene", has been added to the offerings of the Insti- 
tute of Film Techniques, the City College of New- 
York, starting Spring 1948. The purpose of the 
course is to reveal the variety, wealth and sources 
of motion picture material available for professional 
persons in the mental hygiene field. 

Attention: Foreign Film Fans 

The Foreign Films Movie Club, Inc., has been 
organized as a service to those who like to see French, 
British, Italian and Mexican films, among others. 
Located at 438 W. 37th St., New York, N. Y., the 
club is headed by Arthur Davis. The yearly member- 
ship fee includes a monthly magazine devoted exclu- 
sively to the international cinema. The club is currently 
conducting a survey of the tastes, preferences, and 
opinions of foreign-language film fans. 

VFW Film Distribution Service 

The Veterans of Foreign Wars of the United States 
has announced the formation of a Film Distribution 
Service to serve 10,000 posts and 3,500 chapters of 
the Ladies Auxiliary. The VFW Film Distribution 
Service embodies the "Sherman Plan" for controlled dis- 
tribution of 16mm sponsored films as conceived by Al 
Sherman, Washington, D.C. film consultant. The films 
will be available for showing to a total membership of 
over 1,750,000. 

A basic feature of the service provides official ap- 
proval by a preview committee for all films submitted. 

Regular screenings of submitted films will be held 
at VFW Headquarters. Defense Building, 1026 17th 
Street N.W., Washington 6, D.C. 

International Festival of Children's Films 

At Britain's Festival of Arts for Young People, 
to be held in Bath from April 21 to May 1, the J. 
Arthur Rank Organization will present an Inter- 
national Festival of Children's Films. The program 
will include films from Sweden. Portugal, Czecho- 
slovakia and the U.S.S.R., as well as the world 
premiere of Penny Doctor, a new British children's 
movie produced by John Ba.xter. 

Occupational Orientation Charts 

.-\ series of nine illustrated Occupational Orienta- 
tion Charts, which define and classify over 600 
occupations and occupational groups, has been 
published by the B'nai B'rith Vocational Service 
Bureau, national occupational research agency. 
1746 M St., NW, Washington 6. D. C. 

The charts have been designed to give career- 
aspiring young people a broad perspective on the 
world of work through a simple and orderly pre- 
sentation of occupations. They may be used for 
orientation preliminary to counseling, for classes in 
occupations, and for counselor training. 



196 



Educational Screen 



Audio-Visual Materials Keynote 
An Adult-Education Conference 

(Continued from page 176) 

thirty per cent gave it the highest possible rating for 
clarity and unity. Three of the 69 felt that it wasn't 
timely. Twelve felt that it was not suitable for an 
adult audience. The people who criticized this picture 
were for the most part those who freely admitted that 
they did not like the cartoon method or who felt that 
humor was out of place in the treatment of such a 
serious topic. 

The use of the little green devils to show man's con- 
ditioned reasoning was mentioned most by the audience 
in answer to question three. The blood transfusion 
sequence was mentioned next as adding the most stimu- 
lus to the production. Other scenes mentioned were 
the baby-switching scenes and the scenes showing lack 
of differences. 

Voii and Your Faiiiily was not rated so high as the 
first three presentations. This may have been due to 
two reasons ; first, there were quite a few unmarried 
persons in the audience. They apparently failed to see 
the relationship of the problems presented by this film 
to discussions of community living. Second, after the 
stimulating pictures on atomic power and race rela- 
tions and the recording, it was difficult for many to 
shift quickly to a consideration of family problems. 

There was a wide range of opinions on all the ques- 
tions. About twenty-five per cent gave it the highest 
rating on personal involvement and as many rated it 
under five to zero, with the rest falling between. 
On the other questions there was a similar distribu- 
tion of scores. 

The situations most frequently mentioned as add- 
ing to the stimulation quality were: (1) the telephone 
scenes, (2) Bill's coming in late, (3) George's idea of 
family cooperation. 

The rating for Tcanm'ork was the lowest of the five 
presentations. The fact that it was last on the program 
may have been a factor, for the program was long. 
Also, the audience, not being too familiar with the 
sound slidefilm technique and its advantages, was in- 
clined to judge it by motion picture standards. How- 
ever, the distribution of scores was the most uniform 
of all the presentations. 

More people felt less personal involvement in Team- 
Zi'ork than in any of the others. There was a strong 
feeling, however, that the subject had been clearly and 
fairly presented. Thirty per cent of the delegates gave 
it the highest possible rating on those two items. 

The incidents listed as adding most to the stimulating 
quality of the presentation were : ( 1 ) the hands on the 
table showing willingness to cooperate, (2) the fight, 
(3) the trickery of the girl in getting the football team 

(Continued on next page) 



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198 



to the dance, and (4) the five methods of securing co- 
operation. 

In going through the evaluation returns the degree 
of personal involvement as indicated by question 1 
seemed to serve as a sort of barometer for the rating 
of the other questions. A special study of this point 
was made by rechecking the results. The highest fif- 
teen papers and the lowest fifteen papers on question 
1 for each presentation were selected and statistically 
studied in relation to the other items on the evaluation 
form. 

In all presentations there was a high correlation 
between the degree of personal involvement reported 
and the ratings in the other items. Those -who felt 
highly involved in the problems presented by the audio- 
visual materials rated the other items high. Those 
who felt little or no personal involvement were almost 
certain to rate the other questions low. This suggests 
a point for further study in relation to the formula- 
tion of evaluation techniques and in determining the 
reliability of evaluations. 

An interesting outcome of the evaluation was that 
only 32 per cent of those present expressed the opinion 
that their thinking would have been clarified by a brief 
discussion before each presentation. (See question 6 
of the evaluation form.) This is contrary to the com- 
monly expressed idea that good usage of audio-visual 
materials requires that a group be prepared by discus- 
sion in advance of the visual presentation. It may be 
that the desirability of previous discussion varies with 
purpose and age level. With the exception of Team- 
work, all of the presentations were considered suitable 
for adult groups. All five of the audio-visual presen- 
tations were considered timely by votes ranging from 
80 per cent to 100 per cent per item. 

An Evaluation of the Conference 

The final session of the two-day conference was de- 
voted to a general evaluation of the conference as a 
whole. In that meeting it was voted that the audio- 
visual opening session at Asilomar was more satisfac- 
tory as a springboard for discussion than the' usual 
keynote address would have been. 

Further observations resulting from the Asilomar 
experience : 

1. The setting is important in preparing an audience 
for the audio-visual materials to be used. It is desirable 
to take advantage of every possible method of adding 
to the effectiveness of the presentation. For example, 
listening to a recording in the dark, placing the screen 
high enough that all may see it readily, seating the 
group so that none see a distorted screen picture, and 
placing projection equipment in advance so that the 
image fills the screen and none have to "look around" 
the projector and projectionist. 

2. The program director should be certain that the 
audio-visual material chosen for a program suits the 
purposes of the group for which it is selected. 

3. Different types of audio-visual materials may be 
used in combination on a program. 

4. In evaluating audio-visual materials, the tech- 
nique should suit the situation. Evaluation forms de- 
signed for teaching would not apply to an adult dis- 
cussion situation. Evaluation is valid only in terms 
of function and use. 

Educational Screen 



ArDIO-VISMl JE 




Magazine Load Wire 
Recording on the Increase 

(EDITOR'S NOTE: The Trade Re- 
view brings you a condensation of an 
interesting article by Cy Wagner in a 
■ recent issue of The Billboard by special 
l)crmission. Tlie news of this article, al- 
though primarily slanted toward commer- 
cial possibilities, seems to have consid- 
erable import for the school use of re- 
corded material, and, as such, is included 
for your information. ) 

This may well become the year of 
great progress in the wire-recorded 
field through recent developments in 
wire recording technique, production of 
low cost magazine load wire players, 
and the proposed release of musical 
selections on wire as well as disks. 

One of the major steps in the inter- 
lacing developments of wire recording 
has been the development of the poly- 
phonic sound amplification system by 
the Electronic Sound Engineering 
Company in Chicago. Experts in the 
field attribute public dissatisfaction 
with some wire recorder models sold 
to date to poor fidelity in many sets. 
The Electronic Company's model, 
however, has a frequency response 
ranging from 40 to 15,000 cycles and 
can be sold at relatively low cost. In 
addition to licensing other companies, 
I'-lectronic Sound plans to produce al- 
most a million home sets next year. 
Their model will be table styled and 
will include .-\M-FM radio, wire re- 
corder and rf])roducer, spindle, pick- 
up arm and table for the playing of 
disks. 



Some Electronic Sound models will 
also have the magazine load feature 
which has been developed by the Chi- 
cago Santay Corporation. This maga- 
zine can be included as a part of any 
model radio. Its dimensions are 7 by 
4 by XYi inches and it holds enough 
wire for 30 minutes playing time. The 
cartridge is detachable and plays auto- 
matically when placed in position. 

Santay plans to manufacture almost 
one million wire-magazine players this 
year. It will be able to make 3,500,000 
cartridges of 30 minutes playing time. 
Each cartridge will be designed in an 
attractive plastic case. Smaller cart- 
ridges are in work which would play 
for only five to ten minutes and would 
be the wire equivalent of two disk 
record sides. 

The stumbling block to mass pro- 
duction of wire recordings has also 
been greatly lessened. Mercury Rec- 
ords has recently signed with Elec- 
tronic Sound for the manufacture of a 
multiple dubbing machine which will 
put music on ten wire spools simul- 
taneously and has a maximum potential 
of 2,000 15-minute spools per day. 
This machine will embrace the new 
polyphonic amplification system. Mer- 
cury hopes to cut 1,000 spools a day 
in their Chicago plant, starting in the 
next few months, which will be dis- 
tributed and sold through regular 
Mercury sales channels. Universal 
Record Company has also indicated 
its interest in releasing classical and 
popular music on wire during the 
coming year. 



NAVED 1948 Convention and Trade Show 
Open to All Audio- Visual Consumers 



THE 1948 Convention and Trade 
Sliow of the National Association 
of Visual Education Dealers will be 
held August 8-11 at the Hotel Sher- 
man in Chicago. An important new 
feature of the 1948 show is the invita- 
tion extended to audio-visual consum- 
ers of all types — educational, church 
and business— to attend; NAVED is 
Iilanning many features for their par- 
ticular benefit. These facts were an- 
nounced recently by Ernie Ryan of 
Davenport, Iowa, President of Ryan 
Visual Aids Service and Chairman of 



NAVED's 1948 Convention Committee. 
"NAVED's decision to open the 
Convention to audio-visual consumers 
results from suggestions made by edu- 
cators who have attended our past 
conventions", Ryan stated. "The idea 
is that the audio-visual field will benefit 
from one big annual meeting, with a 
national trade show, where all the 
various groups in the field will get 
together for separate and joint meet- 
ings. With the help of all concerned, 
we hope to make the N.AVED Con- 
vention the national gathering for 



ROBERT E. SCHREIBER, Editor 

Supervisor of Teaching Aids 

Mishawaka (Indiana) Public Schools 

everyone who is professionally inter- 
ested in audio-visual matters." 

For the benefit of consumers at the 
1948 meeting, NAVED is planning 
several features. These include a large 
air-conditioned Preview Theatre, seat- 
ing 200 persons, where a continuous 
program of new educational and in- 
formational films will be shown on 
arc projection equipment. For the 
consumer, this means that within a 
short time he can see previews of all 
the latest new films made by principal 
producers, at a minimum of trouble 
and expense. At the NAVED 1947 
convention, better than 150 newly- 
released films were shown in three 
smaller theatres; use of a single large 
theatre in 1948 will insure better pro- 
jection, larger audiences and more 
comfort for the audience. 

The NAVED Trade Show will, as 
always, be a center of interest. New 
air-conditioning equipment being in- 
stalled by the Sherman Hotel insures 
refrigerated comfort throughout the 
Trade Show area. There will be 95 
booths with exhibits of audio-visual 
equipment and materials of all kinds. 
As in previous NAVED shows, these 
will include all types of projection 
equipment; educational and entertain- 
ment films; recorders, reproducers and 
other items of sound equipment; film- 
strip, slide and opaque projection 
equipment and materials; and many 
other new and useful items. Consumers 
present at the show will have ample 
opportunities to examine all these; any 
orders will of course be placed through 
their own local dealers who will also 
be present. 

Persons who wish to be placed on 
the mailing list for further information 
about the 1948 N.AVED Convention 
and Trade Show are invited to write 
NAVED, 431 S. Dearborn St., Chicago 
5, Illinois. 

(The Educational Film Library Associ- 
ation, the Midwest ■•"orum on Audio- 
Visual .'Kids, and the Film Council of 
.America will hold their annual meetings 
in conjunction with N.-WED. 

Just such a general summer meeting 
as the N.AVED convention was urged in 
an editorial by Paul C. Reed in the Sep- 
tember, 1946 issue of Educational 

.ScRKKN. ) 



April, 1948 



199 





TO USE PROJECTORS 

• Can't Tear Film 

• Positive Framing 

• Easy, Quick Cleaning 

• Tests Prove Exclusive Viewlex Asph- 
eric Condenser System with 150 watt 
lamp gives greater screen brightness 
than many 300 watt projectors. You 
get more economy, less heat. 



MODEL AP.2C — Defuxe 

combination all-purpose 
slide and strip film projec- 
tor. Built-in slide carrier, 
[elevating mechanism, Luxtar 
5" color corrected Anastig- 
mat lens. Coated optics. 
$67.00 



IMODEL YAF— All-purpose 
Iprojector. Built-in slide car- 
Irier, Aspheric condenser sys- 
Item, 5" Anastigmat Luxtar 
Jcolor-corrected lens. De- 
■ signed and built only for 
I this special offer, model 
I YAF is not otherwise for 
|s.ile. 



NOW I VIEWLEX AND YOUNG 
AMERICA BRING YOU A SPECIAL 
"PACKAGE- OFFER. 
Finest visual education projector — ideal 
for classroom and auditorium — plus quan- 
tity of excellent Young America slides or 
slidefilms — both together for dollars less 
than any comparative quality projector it- 
self! A marvelous opportunity for schools 
to establish visual education at modest 
cost! 

PLAN No. 1— MODEL YAF ALL-PUR- 
POSE PROJECTOR plus $30.00 of slide- 
films and slides (your choice) 

FOR $79.50 
PLAN No. 2— MODEL YAF ALL-PUR- 
POSE PROJECTOR plus $55.00 of slide- 
films and slides (your choice) 

FOR $99.90 

YOUNG AMERICA FILMS, INC. 

Dept. ES-4, 18 East 4 1st Street, 
New York 17. N.Y. 



^^^ 



" l^ V 



"PUPPY TROUBLE" 

The Rrjt of the series, TRAINING 
YOU TO TRAIN YOUR DOS. Three 
14mm Sound Films in Color or Black- 
«nd-White. 




Demonsfrafing 
fhe Puppy's 
First Lesson in 
House Manners. 



Helen Hayes & Lowell Thomas, Nar- 
rators. Blanche Saunders: Director. 
Louise Branch: Producer & Photogra- 
pher. 

UNITED SPECIALISTS, INC. 

America's foremost producers of 

Dog Films 

PAWLING. NEW YORK 



Equipment 



Champion Model "K" 
Announced by Radiant 

The new Champion (Model "K") 
is the latest achievement of Radiant 
Manufacturing Corp. (Chicago, Illi- 
nois), creators of projection screens. 
Among the outstanding features are 
a new swivel handle which folds in- 
ward, a space-saving feature when 
storing the screen; a new spring ad- 
justing lock, which permits fingertip 
adjustment of the screen to any de- 
sired height; and fully adjustable rub- 
ber-tipped tripod legs. 

Produced as a supplement to the 
Radiant DeLuxe line, the Champion 
will be of interest to many projector 
owners who desire an inexpensive 
screen. 



Craig Projecto-Editor 
" led 



RestyU 



The Craig 16mm Projecto-Editor 
has been completely redesigned and 
modernized, Craig Manufacturing- 
Company announces. This redesigning 
and modernizing has brought about 
a simplification in manufacturing pro- 
cesses which has enabled the company 
to reduce the price of the new models 
substantially below that of comparable 
old style models. 

In addition, the manufacturers state 
that it has several new features not 
found in the older models. A larger 
viewing screen size, 3l4"X 4%", gives 
a picture with greater detail than ever 
before. Improved illumination and 
optical system has increased picture 
brilliance of either color or black and 
white scenes so that the screen image 
is highly visible even under ordinary 
indoor light conditions. New ease in 
framing the editor is claimed by use 
of three adjustment screws situated 
on the back of the editor case. A 
slight fingertip twist on the proper 
screw will frame the picture squarely 
and easily. A handy "on-oflf" switch 
is now built into the editor case and 
the power cord has been lead out 
the back completely clear of all view- 
ing, rewinding or splicing operations. 





Craig Projecto-Editor 



New RCA Victor 
Slidefilm Projector 

A dual purpose slidefilm and 2x2 
slide projector is announced by the 
Educational Sales Department of RCA 
Victor (Camden, N. J.). 

Priced low to make possible multiple 
purchases for individual classroom 
use, the projector offers several ad- 
vantages for educators. Use of neo- 
prene rollers instead of sprockets for 
engaging the film greatly simplifies 
loading and virtually makes impos- 
sible any damage to film. A specially 
designed cooling system keeps the 
instrument cool during operation, and 
simplicity of construction makes it 
easy for teachers to use the projector. 

The slidefilm holder is completely 
detachable, which simplifies loading. 
Film loading is accomplished by rest- 
ing the film roll on a curved holder 
on the detachable slide carrier and en- 
gaging the film end in the neoprene 
rollers by means of a knob. The rollers 
automatically thread the film between 
pressure plates on the carrier, and the 
carrier is then slipped into the pro- 
jector completely ready for opera- 
tion. Easy replacement of the 150- 
watt lamp is made by raising a wire 
guard, removing the top cover and 
slipping in a new bulb. 

Da-Lite Floor Stand 

A new product recently announced 
by the Da-Lite Screen Co., Inc. is the 
Da-Lite Model C Floor Stand for the 
Da-Lite Model C Screen. 

Completely collapsible, the Model 
C Floor Stand can be assembled in 
less than five minutes. After setting 
the Model C Screen in the Stand case 
brackets, the hanger loop is hooked 
on the extension rod, and in a twink- 
ling of an eye, the screen is raised to 
first and then second position ready 
for projection. This is accomplished 
without straining or any lifting above 
the waist. Made of lightweight alumi- 
num (weighing 18 lbs.) with the 
longest piece only five feet, the stand 
is completely portable. 

Da-Lite also announces its new Pro- 
jection Data Card. Besides being a 
handy pocket card, it offers much 
useful information, for ready reference. 
Made of plastic in a size to fit any 
coat or suit pocket, on one side is a 
1948 calendar, standard and metric 
scales, as well as a permanent memo 



200 



Educational Screen 



space; on the other side, accurate 
screen tables for 8 and 16nini motion 
pictures, 2x2 slides, and 35mm film- 
slides. 

To obtain one of these Projection 
Data Cards, write directly to the Da- 
Lite Screen Co., Inc., 2711 Pulaski 
Road, Chicago 39, Illinois. 

VIZ Wire Recorder Unit 

A table model wire recorder called 
Wiretone, that also includes both a radio 
and a phonograph, is announced by 
the VIZ Sales Corporation of Phila- 
delphia. The VIZ organization is the 
selling auxiliary of the manufacturer, 
the Molded Insulation Company. Both 
factory and sales offices are located 
at 335 East Price Street, Philadelphia, 
Pennsylvania. 

The wire erases itself automatically 
if used again for a new recording, and 
re-winds for playback ten times as 
fast as it records. A full spool of 
wire will play up to one hour. The 
phonograph in the Wiretone will play 
both 10-inch and 12-inch records. The 
radio is a 5-tube model, with variable 
tone control. 

Economical Color Slide 
Projection 

A new slide projector is now avail- 
able for economical color projection. 
The HoUyslide Projector, with the Holly- 
slide, has brought color slide projection 
down to a fraction of ordinary costs. 
The great economy of color is ar- 
rived at in the following method: Ten 
Kodachrome slides, 11 x 14mm, are 
fitted in a single cardboard holder. 
This holder is advanced through the 
projector and each frame is centered 
in the light beam by a novel mecha- 
nism within the projector. It is so 
constructed that a logical sequence 
of pictures is assured, and always right 
side up. 

Available at present in HollysHdes 
are many subjects, including cities, 
parks, monuments, foreign countries 
and cartoons. New subjects are always 
being added. The HoUyslide Company, 
Inc. is equipped to convert your origi- 
nal color slides to 16mm and mount 
them in a novel HoUyslide, ten to a 
holder. 

Further information and price may 
be obtained by writing to the manu- 
facturer, HoUyslide Company, Inc., 
6264 Sunset Boulevard, Hollywood 28, 
California. 




New Model Movie-Mite 

Movie-Mite Corp., 1105 E. 15th St., 
Kansas City, Mo., has announced a 
new, low-cost 16mm sound projector. 
Model 63LM. The 63LM features the 
newer miniature tubes in the amplifier, 
thereby permitting enclosure of the 
hitherto exposed tubes in the base of 
the projector, and the amplifier cir- 
cuit has also been redesigned to give 
an extended tonal range for realistic 
sound. 

The manufacturer states that al- 
though the Models 63L and 63LD are 
considered obsolete for Fair Trade 
purposes, parts, for mafntenance of 
those units now in the field, will be 
available at all times. 




De Mornay-Budd Announces 
New Budd 8 Camera 

DeMornay-Budd, Inc., 475 Grand 
Concourse, New York 51, N.Y., an- 
nounces that its radically new, auto- 
matic Budd 8 Camera will soon be 
on the market. Hailed as the first 




HERE'S WHY THE DEVRY "BANTAM" 
IS WANTED MOST BY MOST PEOPLE 

So light, it's as easy to carry as a port- 
able radio. 

So simple to set up. thread and focus, 
it's like operating a record-player. 
So designed as to give you both silent and 
sound projection without additional equip- 
ment. 

So carefully engineered, it's inHnlfely kind 
to film. 

So equipped (750-1000 watt illumination) 
you get brilliant, distinct pictures. 
So constructed as to give you amazingly, 
life-like sound. 

So ruggedly built, you can count on your 
DeVry "Bantam" to give you years of 
day-in, day-out, trouble-free performance. 
Your DeVry "Bantam" gives you BIG pro- 
jector features, PLUS many new EXCLU- 
SIVE DeVry refinements: 2,000 ft. film 
capacity. Fast motor-driven rewind. Coated 
lens elements. Automatic loop-setter. Pre- 
focused exciter lamp. Motor-driven forced 
air cooling. Either AC or DC operation. 



Single Case "Ban- 
um" with built-in 
6-inch ALNICO 5 
permanent magnet 
speaker, is readily 
detachable for 
placement at 
screen as desired. 




Dual Case "Ban- 
tam" projeaor tad 
amplifier la ooe 
CISC. 8' ALNICO 5 
permaaeni magnet 
speaker in sepsm« 
matched case. 



'mim. 



ONLY FROM DeVrt 



I <ianuntn whow ]Sinin N|u>pintiil 
At ' iMffKl iham in th« WnU 




• T™ .ir" ","'"' "8""'"" ' l"> "l-"!!.." illuGUUUO. (7)0. 

• ItWO Wan) lot proKCTiDB hrilli«nt prnurt* in aiuJitorhuM. 



I DE VRY CORPORATION ES-E4 

I 1111 Armitage Ave., Chicago 14, III. 

PiMt. giv« u( fuN particular on th. naw DiVav "Bantam" 




201 



major development in movie cameras 
since the introduction of magazine 
rilm, the new Budd 8 Camera features 
an entirely new and different principle 
of motive-power — an automatic, self- 
contained electric drive which brings 
a host of new possibilities to 8mni 
movie making — famous Eastman Kodak 
Ektanon coated lens, built-in "zoom" 
optical viewfinder, magazine loading 
and light-weight construction. 

The most interesting part of this 
unique new camera is its source of 
power, which consists of a tiny electri- 
cal battery fitting inside the camera, 
which is the same size or smaller than 
the conventional 8mm camera. The 
power-source is estimated to last the 
average amateur for approximately a 
year's filming. 

15-MInute Program Timer 
Developed by Zenith 

Schools, factories, transportation sys- 
tems, watchmen, anyone in need of a 
"reminder" at predetermined time in- 
tervals can now have a low-priced 
program timer which can be set to 
sound a bell or other signal at 15- 
minute intervals for twenty-four hours 
a day. 

The Zenith P-15-24 can be auto- 
matically set in a moment by turning 
the minute hand just as with an ordi- 
nary clock. Circuit closure will give 




signal of from 2 to 60 seconds duration 
as desired. 

It is expected that at its low selling 
price, the new tinier will find wide 
use in places where start-and-stop- 
work signals are needed, but have 
never been used because of the cost 
of existing timers. The PR-15-24, at 
the same price, is used wherever it 
is desired to control radio programs, 
record players, Stc. 

Both program timers are develop- 
ments of the Zenitii Electric Company, 
152 W. Walton St., Chicago 10, 
Illinois. 



Television 



Victor in Video 

This Victor motion picture projector, 
converted for television by Dumont 
Laboratories, Inc., of New York, is 




being used by Station WWJTV, De- 
troit, Michigan. A special motor is 
connected to a line shaft on which are 
mounted two special shutters which 
project into the television camera at the 
rate of 30 images per second. This 
rapid projection is made possible by the 
fast pawl action of the Victor. 




Filmstrips for Family Week 
MAY 2 - 9 

THE CHRISTIAN FAMILY (40 frames, manual, 
$2.50). How home and family life can be made more 
Christian, more enjoyable. Family planning, working, 
playing, worshiping together. Photographs and car- 
toons. 

HAPPY TIMES AT HOME (30 frames, manual, 
$2.00). Three sisters sharing in household tasks; be- 
ing thoughtful of others; joys of Christian home. For 
children 4 to 7. 

Order from your visual aids dealer. 

St. Louis 12, Mo. 



5622 Enright Ave. 



mmhL 



The Outstanding Value in Color FHmstrips: 

MOTHER GOOSE NURSERY RHYMES 

12 beautifully illustrafed rhymes on 3 
(ilmstrips; the three strips, $9.00. Also 
nvailable separately, $3.00 each. Order 
direct or write for descriptive folderl 

206? Broadway New York 33 N Y 




MAKE YOUR OWN LANTERN SLIDES 

-SI" 




Chicago Piano Symp hony Orchestras 
Concert 




First time ever filmedl 
13-yr. old piano virtu- 
oso a gilrst artist! Di- 
rected by Antoinette 
Ricli. .Spectacular pho- 
tography! Exclusive 
Woman Speaks' release. 



Northwestern Univ ersity Marim ba Coeds 
T-Pc. Orchestra 



First time ever filmed! 
Directed hy (lair Omar 
Musscr. Exclusive 'Wo- 
man Speaks' release. 

Write Film Studios of 
Chicaco. H. A. Spanuth, 
135 S. La Salle. Dept. 
E, Chicago 3. 




Subscribers: When changing ad- 
dress, please send magazine wrapper. 



Television for International 
Understanding 

Films of the Nations, Inc., SS W. 
45th St., New York 19. has concluded 
arrangements with the National Broad- 
casting Company by which a first 
series of over forty F.O.N, films will 
be televized by the National Broadcast- 
ing Company's network. The series 
represents IS countries and have been 
produced with the purpose of adding 
to better understanding between peo- 
ples of the world by showing how 
others live, their background, culture 
and specific problems. 

New Equipment for Fairbanks 

Preparing for full-scale production 
of video films, Jerry Fairbanks Produc- 
tions has acquired three new Mitchell 
Professional cameras to augment the 
producer's 16mm television equipment. 
Fairbanks now has the most extensive 
16mm camera equipment outside of the 
Army and Navy. Production of video 
pictures, slowed because of the holi- 
days and theatrical film commitments 
of cast members, was scheduled to be 
stepped up early in January with two 
series of 17 programs each planned. 

Television Production 
For NBC 

Television's largest programming 
pact to date was announced recently 
when the National Broadcasting Com- 
pany and Jerry Fairbanks productions 
of Hollywood completed negotiations 



202 



Educd'Monal Screen 



iiiuler which Fairbanks organization 
will produce and supervise NBC's en- 
tire video film program. 

The agreement calls for the produc- 
tion of several hundred feature tele- 
vision film programs annually, a joint 
announcement by NBC and Fairbanks 
Productions revealed. 

All pictures will be filmed exclusively 
for video and will feature new lighting 
techniques and program formats devel- 
oped by the Fairbanks company. The 
agreement was signed by Frank E. 
Mullen, executive vice-president of 
NBC, and Producer Fairbanks follow- 
ing several months of negotiations. 

"We regard this as a highly signi- 
ficant step toward the implementation 
of at least one type of television pro- 
gramming," Mullen said. "It is es- 
sential that television films be of first- 
class quality. It is equally essential 
that television determine the type 
quality and standards of the pictures 
that they are to put on the air." 



Production 
Activity 



Portafilms Moves 

Portafilms, educational film pro- 
ducers, have just moved their offices 
to the Hollywood Colorfilm Corp. 
building at 230 West Olive Ave., Bur- 
bank, California. Primary reason for 
this move is to facilitate rapid serv- 
ice to customers, as the new location 
will make it possible to combine all 
production and distribution activities 
in one place. Laboratories of the Hol- 
lywood Colorfilm Corp. are being uti- 
lized by Portafilms for the production 
of release prints in color. 

Craig Products to Be 
Fair Traded 

Craig Manufacturing Company has 
announced that its entire line of prod- 
ucts is being placed on fair trade in 
those states having Fair Trade Laws. 
Fair Trade prices are being made 
eflfective as of January 1st, and on 
execution by dealers of the Fair Trade 
Agreements which are now being dis- 
tributed by photographic suppliers 
handling Craig Merchandise. 

Help from New Quarters 

S. O. S. Cinema Supply Corp. starts 
its 22nd year March 1st by moving 
into its own building at 602 W. 52nd 
Street. Modern in every respect, the 
new structure extends an entire block 
from 51 St St. receiving and shipping 
entrances to the main office and show- 
room entrance on 52nd St. The shop 
and factory area on the third floor 
houses a soundproofed Electronic Lab- 
oratory which will be devoted, in part, 
to theatre television and advanced re- 



cording techniques. A fully equipped 
darkroom adjoins. 

The showroom area of about 2000 
square feet is unique in several respects. 
A large skylight and generous fenestra 
windows assure adequate daytime light- 
ing, while four continuous strips of 
double 40-watt fluorescents flood the 
entire area at night. 

S. O. S. will maintain its warehouse 
at 529 W. 28 Street and the Chair 
factory at Irvington, N. J. 




EB Communique 



J. M. Stackhouse, eastern regional 
manager of Encyclopaedia Britannica 
Films, has resigned his position to re- 
enter business as a distributor of audio- 
visual equipment, H. R. Lissack, vice- 
president of the classroom motion pic- 
ture producing company, has an- 
nounced 

Stackhouse, long-time audio-visual 
dealer, gave up active direction of his 
distributing company in Richmond, 
Virginia, last year to help organize EB 
F^ilms' eastern distribution organiza- 
tion. According to Lissack a success- 
or as eastern division manager will 
not be made at this time. 

Bell & Howell Company 
Appoints District Managers 

The appointment of two new Dis- 
trict Managers to represent the Bell 
& Howell Company, Chicago manu- 
facturers of precision motion picture 
equipment, is announced as follows: 
Mr. Perry M. Thomas will be the 
Mid-Western District Manager, while 
Mr. Richard H. Pratt, Jr. will repre- 
sent Bell & Howell in the southern 
states. 

Regleln Makes Wiley Move 

Ned L. Reglein has joined John 
Wiley & Sons, Inc. to develop that 
firm's recently-inaugurated visual aids 
program. As visual aids director, he 
will coordinate activities in this im- 
portant field with other phases of 
Wiley's educational publishing. 

New Job for Kroggel 

Raymond P. Kroggel has been ap- 
pointed Sales Manager of the RC.\ 
Victor Educational Sales Department, 
it was announced recently by Frank_ 
M. Folsom, F^xecutive Vice President 
in charge of the RCA Victor Division. 
The announcement stated that "the 
appointment of Mr. Kroggel, who is 
equally familiar with the audio-visual 
needs of educational institutions and 
the operations of educational distribu- 
tors and dealers, constitutes an in- 
tegral part of RCA's plan for continu- 
ously greater service to the educational 
field'" 




WORLD HISTORY 
AMERICAN HISTORY 



GEOGRAPHY 



Brazil 50 f* Mexico 43 f 

Alaska 42 f So. America . . .62 f 

Australia ... 49 f Hawaiian Is. . .46 f 

Russia 55 f Pioneer Days . .31 i 

India 60 f Indian Life . . 36 f 

China 64 f The Farm 28 f 

Canada 45 f Christmas 31 f 

Early Civilization 39 f 

Ancient Greece 32 f 

Ancient Rome 32 i 

Knighthood 35 f 

p Voyage & Discovery 43 f 

each Americans All 37 f 

Colonial America .. 30 i 

Community Life 38 f 

Man on Record 29 f 

Clothing & Textiles . 50 f 

Transportation 43 f 

* — Frames 

5 ADVANTAGES FOR YOU 

1. TALKING FILMS: Each capUon is de- 
signed for oral reading at the time pic- 
ture appears on screen. Oral "image" 
is thus made simultaneously with 
visual image when captions are read. 

2. STUDENT PARTICIPATION: Designed 
to stimulate student participation. Chil- 
dren talk with more ease from and 
about these pictures. 

3. GREATER ATTENTION: Bright, clear 
pictures selected for interest and in- 
structional value result in greater atten- 
tion. 

4. TEXT FOR STUDENT: Well-known 
authors have provided text for use by 
students. Each film has manual con- 
taining text in large, readable type. 
Controlled vocabulary. 

5. VISUALIZE YOUR TEXTBOOKS: Pic- 
tures have been selected lor visuaUz- 
ing content of well-known textbooks. 

OROM ON APPROVAL —See these nevr 
Iilmslrips. Check the titles of lilmstrips 
you wont. Mail us this ad, and we 
will send you the lilmstrips on 
APPROVAL. MAIL TODAY. 



INFORMATIVE CLASSROOM 
PICTURE PUBLISHERS 

40 lonli Avenue, N.W. 
Gtiim Rapids 2,Mlchl{an 



April, 1948 



203 



Current Film News 



■ PORTAFILMS, 230 West Olive 
Ave., Burbank, (la\., has released a 
new film on home safety: 

Let's Be Safe at Home — the second 
of a series designed to stress the moti- 
vation of safe attitudes. Situations 
contributing most to accident hazards 
for the 5 to 14 year age level are used 
as illustrations. 

■ UNITED WORLD FILMS, INC., 

445 Park Ave., New York 22, N. Y., 
has announced a new plan which makes 
international film classics available to 
schools and colleges. Such films as 
the Italian production. Shoe Shine; the 
French production, End of a Day; Andre 
Malraux' war drama, Man's Hope; and 
others like Mayerling and Cage of Night- 
ingales are offered for rental by United 
World's International Film Classics Di- 
vision. The Division will soon make 
available Jean Cocteau's Beauty and the 
Beast; Noel Coward's Brief Encounter; 
the J. Arthur Rank psychological drama, 
Dead of Night, and later Charles Dickens' 
Great Expectations. All are on 16mm 
sound film and are released for non-the- 
atrical use only. Foreign language films 
come with full subtitles. 

United World has also announced a 
new ten-reel film on Atomic Physics, 
just completed by G. B, Instructional, 
Ltd., a J. Arthur Rank affiliate. The 
film follows the story of atomic physics 
from the discovery by John Dalton 
at the beginning of the 19th century 
of the law of multiple proportions in 
the formation of chemical compounds 
to the discovery of uranium fission and 
finally the making of the atom bomb, 
with its world-shaking results. 

■ BRITISH INFORMATION 
SERVICES, 360 N. Michigan Ave., 
Chicago 1, III., announces that the 
following films are available for rental 
or sale: 

Shown by Request (20 min.) — the 
story of non-theatrical (16mm) film dis- 
tribution in Britain. A film library 
technique is shown in some detail. 

Let's See (17 min.) — an account of 
the painstaking skill needed to melt, 
mold, and polish lenses. 

■ BURTON HOLMES FILMS, 
INC., 7510 N. Ashland Ave., Chicago 
26, 111., announces that it has been ad- 
vised by the Library of Congress that 
the following subjects have now been 
cleared for distribution: Atacama Desert, 
Bolivia, Fundo in Chile, High Plain, 
La Pas, Lima, Lima Family, Paraguay, 
Peru, South Chile, Uruguay, Americans 
All, Colombia, Crossroads of the Ameri- 
cas, Good Neighbor Family, Housing in 
Chile, Montcindco Family, Roads South, 
Schools to the South, and Young Uru- 
guay. 



■ OFFICIAL FILMS, INC., 25 W. 

4Sth St., New York 19, N. Y., has re- 
leased twenty of its most popular 16mm 
movies with Spanish narration for the 
benefit of Latin-American projector 
users, teachers and students of Spanish. 
Averaging 10 minutes in running time, 
the films are available in 16mm sound 
versions only. Titles include : Zoo's Who, 
The Golden West, The Stray Lamb, 
Giants of the Sea, Undersea Life, Follow 
Thru, Underzvater Champions, A Man, 
Dog and Gun, Winter Sports, Big 
League Baseball. 

■ CORONET INSTRUCTIONAL 

FILMS, Coronet Bldg., Chicago 1, 
111., has completed the following new 
productions: 

Punctuation — Mark Your Meaning 
(1 reel, sound, color or b & w) — a 
film story emphasizing the importance 
of proper punctuation. Tom and Beth, 
showing scenes of their puppet show, 
find that without punctuation, mean- 
ings become altered and their puppet 
story cannot be understood. 

We Discover Fractions (1 reel, 
sound, color or b & w) — a piece of 
pie, half an apple, a board sawed in 
fourths, a cup and a half of milk — 
such illustrations are used to present 
fractions in familiar terms, helping 
students to relate the arithmetic sym- 
bols to their own experience. 

Let's Visit a Poultry Farm (1 reel, 
sound, color or b & w) — a young city 
dweller tours a poultry farm — and 
comes to realize how complex the 
poultry farmer's occupation really is, 
how it contributes to the well-being of 
all. 

Softball for Girls (1 reel, sound, 
color and b & w) — a film designed for 
all players of each position on a girls' 
Softball team. The fundamental soft- 
ball skills are shown as they apply dur- 
ing the last inning of a girls' intramural 
game. 

Speedball for Girls (1 reel, sound, 
color or b & w) — from practice sug- 
gestions to strategic plays, this film 
helps students master the game of 
speedball. 

■ CHINA FILM ENTERPRISES 
OF AMERICA, INC., 35 Park Ave., 

New York 16, N.Y., announce that the 
following 16mm Kodachrome sound film 
is available : 

Two Chinese Dances (10J4 min.) — 
picturing the "Yao Ceremonial Pre- 
lude," a drum dance for marriages and 
funerals among the Yao tribe in south- 
western China, and the "Mute and the 
Cripple," a new adaptation of a dance 
from the local drama of China's South- 
west. No dialogue or commentary is 
used with the film; only the music 
which accompanies the two dances. 



■ DETROIT AUTOMOTIVE 
PRODUCTS CORPORATION, 8701 
Grinnell Avenue, Detroit 13, Michigan 
distributes a film of considerable value 
for the school automotive shop. 

Pulling for Profits (2 reels) gives 
a careful and lucid explanation of the 
differential on a motor car. Simplified 
models are used for clarity. Special 
emphasis is placed on the company's 
non-slip diiTerential, which corrects the 
situation in which one wheel spins in 
mud, sand, or ice, thus stalling the 
vehicle. This differential is said to be 
the first major advance in differential 
design in many years. 

■ SOUTHERN EDUCATIONAL 
FILM PRODUCTION SERVICE, 

Athens, Georgia, is producing a series 
of three films to promote a better under- 
standing of forest management by adult 
and educational groups. Sponsored joint- 
ly by the Georgia State Division of 
Conservation, Department of Forestry, 
and the Southern Pulpwood Conserva- 
tion Association, the films will portray 
methods of planting pine trees, prevention 
and control of forest fires, and the birth 
of a Srnithern Pine. The series will be 
photographed on 16mm color film and 
the total length will not exceed 1600 
feet. The finished productions will be 
released with synchronized music and 
narration sound tracks. 

■ TOMLIN FILM PRODUC- 
TIONS, INC., 480 Lexington Ave., 
New York 17, has released the follow- 
ing film with French commentary: 

The Inside Story of Modern Milking 
(30 minutes, color) — a graphic expla- 
nation of the process of milk produc- 
tion in the cow, including the latest 
information on the necessity of faster 
and more scientific methods. The film 
was photographed at Waukesha, Wis- 
consin, heart of the American dairy 
belt. The English version was so 
successful that this new French version 
was prepared for general use in the 
Dominion of Canada. 

■ MR. K. S. SRINIVASAN of "Pro- 
jection of India Pictures," producers 
and distributors of 16mm educational 
films in South India has announced that 
his company has produced a number of 
films on India: its festivals, peoples, 
history, and geography; for which 
films, he plans to obtain distribution 
in the United States. On the other 
hand, he hopes to obtain distribution 
riglits to classroom, industrial, and 
entertainment films produced in the 
U.S.A. Projection of India Pictures 
has complete laboratory and studio 
facilities. Mr. Srinivasan may be con- 
tacted at 2/45, Royapettah High Road, 
Royapettah, Madras 14, South India. 



204 



Educational Screen 



■ A. F. FILMS, INC., 1600 Broadway, 
New York 19, has released American 
adaptations of four French films: 

Rhythm of Africa (1^ reels) — de- 
picting the cultural pursuits and cere- 
monial dances of the people of the 
Chad. 

People of the Chad (1 reel) — show- 
ing the current aspects of social and 
economic life of the region. 

African Big Game (2 reels) — show- 
ing liunters dangerously pursuing wild- 
life specimens for zoological purposes. 

Spanish Gypsies (1 reel) — picturing 
Spanisli gypsies performing folklore 
dances, with their songs and music. 

■ FILMS OF THE NATIONS, 
INC., 55 W. 45th St., New York, N. Y., 
have acquired the exclusive sales rights 
for the following new British Infor- 
mation Services film : 

The Three A's — explaining how the 
age, ability and aptitude of each child 
must be taken into account to ensure 
that he gets the best possible edu- 
cation. 

■ BRAY STUDIOS, INC., 729 7th 

Ave., New York 19. N. X., offers the 
following new 16nim sound films on 
health and hygiene: 

The Human Throat (11 min.)— de- 
scribing the throat, consisting of 
pharynx and larynx, from the anatomi- 
cal and the functional aspects. 

The Human Skin (11 min.) — show- 
ing the important functions and the 
anatomical structure of the human 
skin. 

Our Feet (11 min.) — dealing with 
the functioning and the construction 
of the foot. 

Kidneys, Ureters and Bladder (11 
min.) — furnishing a description of 
these important anatomical features 
and their functioning. 

The Nine Basic Functional Sys- 
tems of the Human Body (11 min.) 
— setting fortli the basic constituents 
of the human system in nine groups; 
The Skeletal, the Muscular, the Ex- 
cretory, the Circulatory, the Nervous, 
the Sensory, the Digestive, the Lym- 
phatic, and the Endocrine. 

The Human Hair (11 min.) — describ- 
ing the hair as a part of the skin and 
its analogous development and growth. 

■ MOTION PICTURE ASSOCIA- 
TION, 1600 "I" St., N.W., Washing- 
ton C, D. C, has announced that Land 
of Liberty, motion picture history of 
the U. S., will be brought up to date 
under direction of noted educators 
to include events since 1948. A special 
committee selected by the National 
Council of Social Studies has prepared 
a general outline for a new addition 
to the historic film. The original pro- 
duction was made for exhibition at the 
New York and San Francisco World 
Fairs in 1939 and has been widely used 
in schools throughout the nation. For 



the past several years, a 16mm version 
of the film has been made available 
to schools by the Motion Picture As- 
sociation, headed by Eric Johnston. 
The new version will also be distrib- 
uted by Teaching Film Custodians, 
an affiliate of the Motion Picture 
Association. 

■ THE NEW YORK CENTRAL 

SYSTEM, 466 Lexington Ave., New 
York 17, has released the second in a 
series of motion pictures on interesting 
locales along the railroad: 

Thundering Waters (22 minutes, 
color) recording the splendor of Ni- 
agara Falls and pointing out the glacial 
relationship of the Falls in the topog- 
raphy of the Great Lakes Region. 

■ AMERICAN FILM SERVICES, 
INC., 1010 Vermont Ave., N.W., 
Washington 5, D. C, announces a 
current American Sport Film release: 

The 1947 Army-Navy Football Game 
(20 min.) — a 50-yard view of this famous 
American event, produced in cooperation 
with the Naval Academy Athletic Asso- 
ciation. 

Entertainment 

■ MODERN SOUND PICTURES, 
INC., 1304 Faniam St., Omaha 2, 
Nebraska, announces the acquisition of 
exclusive 16mm distribution rights on 
a number of feature pictures and two- 
reel comedies formerly released by 
Twentieth Century Fox and leading 
independent studios. A complete list 
can be obtained from the organization. 

■ UNITED WORLD FILMS, INC., 

445 Park Ave., New York 22, N. Y., 
have the following films for distribu- 
tion : 

Little Miss Big (63 min.) — the story 
of a rich and crotchety old maid who 
discovers among "poor people" the affec- 
tion she has secretly craved. (Beverly 
Simmons, Fay Holden, Frank McHugh.) 

Wild Beauty (61 minutes) — the story 
of an Eastern school teacher who goes 
to an Indian reservation and finds a 
country doctor more to her liking than 
her surroundings. Her intolerance is 
centered on an Indian orphan, who 
nearly sacrifices his life to save the 
king of a herd of wild horses, with 
whom he has developed an uncanny 
friendship. (Don Porter, Lois Collier.) 



§ \^%yA/WWVWl/IAA/Wi^MMMAflA^^^'lWMAAMfAMMV^%MIVl^^i^MMm » 




PATTERN FOR PEACE 

Charter of the 
United Nations 

A British Informafion Services film. 

Approved and recom- 
mended by the United Na- 
tions Film Board. 

16mm Sound, IS Minutes, Sale price $44 

Explains how the Charter of 

the U. N. is constructed and 

the problems with which it 

is confronted. 

Apply for 
sale or rental prints to: 

BRITISH INFORMATION SERVICES 

New York • Chicago • San Francisco 
Washington 

BRITISH CONSULATES 

Boston • Detroit • Houston • Los Angeles 
Seattle 

FILMS OF THE NATIONS 

55 West 45 St.. N. Y. 19, N. Y. 

IDEAL PICTURES INC. 

Chicago. Atlanta, Boston. Dallas, Denver, 
Honolulu, Indianapolis. Kansas City, Mo., 
Los Angeles. Louisville, Memphis, Minne- 
apolis, New Orleans. Miami, Richmond, V«., 
Salt Lake City, Portland, Ore. 



Films for Informal 
Education 

From the Largest Library of Free Films! 
>4mong our laiesi FREE siib/ects: 

HOME ECONOMICS— 

"PANTRY MEAL MAGIC." 24 minutes, in color. 
Preparing and serving quick, attractive meals 
from pantry-shelf foods. 

"PATTERN FOR SMARTNESS," 22 minutes, In 
color. Home sewing for the teen-ager. 
"BATHING TIME FOR BABY," 13 minutes, in 
color. Step-by-step directions for bathing baby 
(by Walt Disney Productions). 

POPULAR INTEREST— 

"SHORTEST WAY HOME," 3 reels, in color. 
A veteran's visit to more than 20 great scenic 
areas to discover the beauty of America. 
"WASHINGTON, THE SHRINE OF AMERICAN 
PATRIOTISM," 2 reels. A patriotism-arousing 
tour of our nation's Capital. 

"THE ETERNAL GEM." 10 minutes. Authentic 
film story of the history, legend, nature, and 
significance of diamonds. 

Among our film cafegor/es offered of 
small rental: 
EDUCATIONAL SUBJECTS— Over SOO of the best 
films for classroom use. 

TRAVELOGUES. SOCIAL SCIENCE. MUSIC, 
SPORTS. RECREATION— Including finest films 
available. 

Send for descr/pffve folden and for new 
Classified Film Usf TODAY'. 



ASSOCIATION FILMS 

(Y. M. C. A. MOTION PICTURE BUREAU) 



"Wild Beauty" 



NEW rO«K 17 

HJ Madhan «v*- 

CHICAGO 3 
19 So. lo tolt* SI 




April, 1948 



205 



Trade Directory 
For the Audio-Visual Field 



■>a 



FILMS 



W, J. Ahern, Film Bookings 

126 Lexington Ave., New York 16. 

716 Federal St., Troy, N. T. 
AMSocIation Films 

347 Madison Ave., New York 17, N. Y. 

19 S. I^ Salle St., Chicago 3, 111. 

351 Turk St., San Francisco 2, Cal. 

3012 Maple Ave., Dallas 4, Tex. 

3228 Euclid Ave., Cleveland 15, Ohio 
Bailey Films, Inc. 

2044 N. Berendo St., Hollywood 27, Cal. 
Bray Studios, Inc. 

729 Seventh Ave., New York 19, N. Y. 
Castle Films, Dlv. of United World 
Films, Inc. 

445 Park Ave., New York 22, N. Y. 
Catholic Movies 

220 W. 42nd St., New York 18, N. T. 
Church Film Service 

2595 Manderson St., Omaha 11, Neb. 
Collins Motion Picture Service 

502% & 506 St. Paul St., Baltimore 2, Md. 

4 Race St., Cambridge, Md. 
Coronet Instructional Films 

Coronet Bldg., Chicago 1, 111. 
Dudley Pictures Corp, 

9908 Santa Monica Blvd., Beverly 
Hills, Cal. 

501 Madison Ave., New York, N. Y. 
Eastman Kodak Stores, Inc. 

356 Madison Ave., New York 17, N. Y. 
Encyclopaedia Britannica Films, Inc. 

Wilmette, Illinois 
Film ProRrnm Services 

1173 Avenue of the Americas, N. Y. C. 
Films, Inc. 

330 W. 42nd St., New York 18, N. Y. 

64 E. Lake St., Chicago, 111. 

611 N. Tillamook St., Portland, Ore. 

109 N. Akard St., Dallas 1, Tex. 

101 Marietta St., Atlanta 3, Ga. 

1709 W. 8th St., Los Angeles 14, Cal. 

68 Post St., San Francisco, Cal. 
Films of the Nations, Inc. 

55 W. 45th St., New York 19, N. Y. 
Fryan Film Service 

Film Building, ClevelanE, Head of Department of 
Visual Education, University of Oklahoma 

The EDUCATIONAL SCREEN is published 
monthly except July end August by The Edu- 
cational Screen. Inc. Publication Office. Pontiac. 
Illinois; Executive Office, 64 East Lake St., 
Chicago, Illinois. Printed in the U.S.A. Entered 
October II. 1937, at the Post Office at 
Pontiac. Illinois, as Second Class Matter under 
the act of March 3. 1879. 

Mrs. Nelson L. Greene. Publisher 

Address communications to The Educational 
Screen. 64 East Lake St.. Chicago. III. 

SUBSCRIPTION PRICE 

Domestic $3.00 

Canada 3.50 

Foreign 4.00 

Single Copies 35 



Educational 

seeEE 



THE MAGAZINE DEVOTED TO AUDIO-VISUAL MATERIALS 
Founded in 1922 by Ne/son L. Greene 




Contents for May, 1948 



As Viewed From Here 

A New Look at a Community Paul C. Reed 

3 Sfeps to Museum Experience George F. Jenny 

The Role of the Independent Producer in Educational 

Films -- Louis de Rochemonf 

How a Motion Picture Was Made on How to Make 

Handmade Lantern Slides Mary Esther Brooks 

Phonograph Records to Stimulate Reading Dilla W. MacBean 

Put It on the Record! Marian K. White 

The Literature in Visual Instruction Etta Schneider Ress, Editor 

School-Made Pictures David Schneider, Editor 

Teacher-Committee Evaluation of New Films. L. C. Larson, Editor 

The Church Department _ ...William S. Hockman, Editor 

Summer Courses in Audio-Visual Education, 1948 — Part II 

DAVI National Executive Committee Meeting Vernon Danneron 

Audio-Visual Trade Review Robert E. Schreiber, Editor 

Current Film News 

A Trade Directory for the Audio-Visual Field 

Index to Advertisers 



Page 

218 
219 

221 

222 
224 
226 
227 
228 
230 
232 
238 
242 
246 
249 
250 
252 



COVER: A slide production scene (pencil shading on etched glass) from the film 
"How io Make Handmade Lantern Slides," produced by the Audio-Visual 
Center, Indiana University. The story of How a Motion Picture Was 
Made on How to Make Handmade Lantern Slides Is told on pages 222-223 
of this issue. 



Volume XXVII 



Number 5, Whole Number 262 



These UNITED WORLD FILMS have 
become a standard of excellence! 



1 



Few films in any field have ever attained the immedi- 
ate popularity and wide acceptance accorded to these 
United World Educatiorfal Productions. 

They are already in use in leading schools and 
classrooms from coast-to-coast ... and are acclaimed by 
educators everywhere. 



£C/fA,Cf 





HOW TO PAINT A PORTRAIT 

(Color, 2 reels) 

MEDIEVAL ARCHITECTURE 

RENAISSANCE ARCHITECTURE 

MUSIC AND ARCHITECTURE 
THROUGH THE AGES (2 reels) 

RODIN (3 reeU) (French narration) 

NOS TAILLEURS DES IMAGES 

(2 reels) (French narration) 







'ee/,; 









o\scvJS 




Distributors for 

Universal-International and J. Arthur Rank 

fncorporaf/ng 

Bell A Howell Filmosound Library & Castle Films 

445 Park Avenue • New York 22, N. Y. 

THE NEW UNITED WORLD EDUCATIONAL FILM CATALOG 

lists over 1000 films, ranging from the kindergartner's 
delight, the S-minute TEDDY BEARS AT PLAY, to 
the lOreel ATOMIC PHYSICS. Separate catalogs are 
available also for Entertainment, Church and Home Films. 
Send for your free copies of each type that interests you. 



"»*'c nrsics , 

^«f CRAYFISH 
^"f mEBA 

'"' '''^HmciUM 
^"f SPIDERS 

World Prize Winner 

LATITUDE & LONGITUDE 

Color and Block & White 



SIND THIS COUPON 
IN TODAY! 



UNITED WORLD FILMS, INC., 445 Park Ave, New York 22,N.Y. 
I would like to purchase prints of 

O Remittance Enclosed Q Ship C.O.D. 
Name — 



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Position, 



Orgonizotion- 
City 



-Sfate- 



We use: □ 16 mm Sound D Silent □ 8 mm 
I am interested in the cotologue checked below; 

□ Educotionat Q Recreotionol Q Religious 



I 
I 
I 
I 
I 
I 
I 
I 
I 
I 
I 
I 
I 
I 
I 
I 
I 
I 



May. 1948 



213 




New Classroom Films 

MOTHER GOOSE STORIES 

Animated figurines act out the familiar 
t^les of Little Miss Muffet. Humpty 
Dumpty. Old Mother Hubbard, and t^e 
Queen of Hearts in this new film. Stimu- 
lates reading, increases appreciation of 
music and handicraft, and teaches lessons 
in good manners. In 16mm sound color, 
sa'e $80.00; rental $3.50. 

ABC OF POTTERY MAKING 

A simple, graphic demonstra.ion of mak- 
ing a small clay bowl by the coil method 
— jfls'est of all. Tools and operations are 
c'-sarty shown. Tl'e bowl is finished on a 
potter's wheel. Successfully u«"d in ele- 
mentary grades as well as in high school 
r*nd adult art classes. In l&mm sound 
B&W, sale $36.03; rental $1.50. 

FREE CATALOGUE 
AVAILABLE 

Write Dept. 8 today for your free copy 
of rental or sale (please state which) cata- 
logue. Preview and rental prints available 
on above films today! 

Bailey Films, Inc. 

20:4 North Berendo, Los Anqales 27, Calif. 



FILM SUGGESTIONS 

for formal and informal 
education 

McSRAW-HILL HEALTH EDUCATION SERIES 

Five subjects dealing with good grooming, and 
physical and mental health. 

Rental: $5.00 each— Series of 5: $22.50 
McSRAW-HILL TEACHER TRAINING SERIES 
Five subjects dealing with understandlnn chil- 
dren, their discipline, and methods of maintain- 
ing their interest. 

Rental: $5.00 each— Series of 5: $22.50 

YOU AND YOUR FAMMY, I reel. Rental: $2.00.- 
YOU AND YOUR FRIEND3, I reel. Rental: $2.00. 
SITTING RIGHT (Good Posture for Girls) I reel. 
Rental: $2.00. 



FREE FILMS- 
SHORTEST WAY HOME (Sightseeing in U.S.A.), 

WASHINGTON— THE SHRINE OF AMERICAN 
PATRIOTISM (Historic Capital), 2 reels. 

SCIENCE SPINS A YARN (The Story of Rayon), 
2'/; reels, in color. 
Ove." 100 other frea fi'ms on ma.iy subi«cts. 

High Grade 

ENTERTAINMENT FILMS 

for all ag3s and ail types of groups 

ALSO: Sports and Recreation, Travelogues, Music, 
Social Science, and many others. 

Write Today for New 1948-1949 

CATALOG OF 
SELECTED MOTION PICTURES 

to Dept. "E" 



tSSOtlATiON FILMS 

(Y. M. C. A." MOTION PICTURE BUREAU) 



OltUCO 3 
I* 4«. I« Ullk 11. 




S*N FUNCIKO t 
lALUS 4 



J 



Wanted: An A-V Coordinator 

Editor ; 

I am sending you a choice bit tliat I 
have an idea your readers might enjoy. 
My older daughter is spending her first 
year of teacliing in a high school of 
about 120 pupils ; in the following excerpt 
from a letter to her mother, she gives 
her opinion of the visual education pro- 
gram : 

"Tell father I've lost interest in visual 
education. My movie came a week early 
so I thought I'd show it Friday. I 
couldn't set the projector up Thursday 
night because I had a Campfire meeting, 
so I booiTied off to school Friday morning 
at the regular time planning to set it up 
before 9 o'clock. Well, the service club 
finally got it into my room about 9 
o'clock. Of course, I didn't know any- 
thing about it, so I had to get Mr. G. to 
set it up. He was busy, so I tried. Little 
springs were hanging out all over, and 
I thought I'd surely jimmied it, but that 
was Mr. S.'s fault for putting it away 
v\rong. 

"Then this didn't work, and that 
didn't work, and it took the whole period 
to show a 10-minute movie. Second 
period, it was all set up just right. I 
got some girls out of classes to see the 
movie, turnerl off the lights, and started 
it, just right. The sound came on and 
everything worked, but the lamp didn't 
come on, I tried everything, and finally 
asked Mr. G. to fix it. The lamp was 
burned out! Mr. G. fixed the lamp and 
went back to his class. So I had to 
rewind it in order to start it at the begin- 
ning. It still wouldn't run. It smoked. 
I had threaded it wrong ! Then the reel 
wouldn't wind. After fooling with it the 
rest of that period, we finally discovered 
it had slipped and was rubbing against 
the back of the desk in front. I was 
ready to bawl by that time. The bell 
rang just as we got it started, and Mr. G. 
came in to get the machine because he'd 
forgotten he'd promised it to another 
school. I still never got to show the 
movie, and I'm afraid to touch the old 
machine again. N'o wonder no one ever 
orders movies around here. Nothing's 
worth that agonv !" 

V. H. 
Head. Science Dept. 
Public School System 

An Unusual Racket — We Hope 

Kditor : 

We liad an experience in Rockford 
which probably should be publicized. A 
man representing himself as frotn the 
repair dcpartnient of a large projector 
company attempted to see me at the 
Board of Education office. When he 
fr.iled to find me in. he inquired at one 



of our high schools and told the janitor 
that the Board of Education was buying 
several new projectors and having the 
rest of them thoroughly gone over, men- 
tioning my name as having authorized 
the work. He took the school projector, 
promising to return it later in the day. 

He used the same line of talk at a 
second school, so that he had two of our 
projectors in his car. The janitor of a 
third school refused to let him take any 
equipment. Of course he never returned. 

Eventually the police did recover our 
projectors. It might be well for school 
people to know of this type of confidence 
game. It could well be worked with any J 
piece of school equipment if people are I 
not on guard. 

Peers R.w 
Director of Visual Aids J 

Rockford Public Schools J 

Rockford, Illinois 

Plaudits — and a Problem 

Editor : 

Please accept my congratulations on 
the article "What Can We Do About 
Stereotypes?" by Ray O. Wolf in the 
March issue of Educational Screen. 
It is an important article on an important 
subject. In my personal judgment, Mr. 
Wolf handled it very well. 

I liked the article for it hits on one of 
the many responsibilities of film produc- 
tion and utilization that is not as yet 
generally recognized. Pictorial forms of 
communication raise many problems which 
are new but which are nonetheless im- 
portant. One of the important points of 
this letter, therefore, is to express the 
hope that this problem will be taken up 
and followed through further. 

For example, words are almost always ■ 
general, and pictures are almost always I 
specific. Practically every noun used in 
conversation is a generalization, while 
every picture is highly specific. Yet. it 
would be my observation that children 
generalize further from pictorial presen- 
tations than they do from verbal pre- 
sentations. In other words, one of the 
problems of film production is that any 
picture you show tends to be over-gener- 
alized by the students. But do we have 
any proof of this ? Not that I know of, 
but there should be a nice research study 
here. 

This is just an idea, but this field needs 
very badly, interested and skilled teachers 
all over the country formally or informally 
checking this and that aspect of pictorial 
t\)rnis of commuication. Mr. Wolf has 
hit on one of the more immediately im- 
portant ones. 

Flovd E. Brooker 
Chief. \'isual .\ids of Education 
U. S. Office of Education 
Washington. D. C. 



214 



Educaflonal Screen 



^ For Classroom Use 



...new RCA Classroom Slide Film Projector— A dual- 
purpose projector designed for 35mm film-strips and 2"x 2" 
slides. It's priced so low you can now equip every classroom with 
its own projector. The quickest and easiest projector threading 
you have ever seen. No sprockets to thread or damage film. 





...new RCA Transcription Player for the Classroom— A 

high quality portable player for reproduction of either standard 
phonograph records or 16-inch transcriptions. Two separate motors 
supply positive, constant speed to turntable— one for 3.^V{i rpm and 
one for 78 rpm. Detachable loudspeaker provides brilliant repro- 
duction of all voices and musical instruments. 



...the new RCA Victrola Classroom Phonograph— This 

RCA classroom phonograph (Senior Model 66-ED) plays 
12-inch or 10-inch records. Has "Golden Throat" tone system. 
"Silent Sapphire" pickup. Separate tone controls for bass and 
treble. Blond finish walnut cabinet with closed back. Hand 
holes for convenience in carrying. 

^i^ V Victrola T.M. Reg. U.S. Pat. Off. 



. . . RCA's new "400" i6mm Projector — A lighter weight, 
ALL-PURPOSE projector for more effective teaching. Amazingly 
easy to thread and operate. Ideal for use in classroom or auditorium. 
Shows films at their best in brilliance and contrast— black-and-white 
or full-color. Sound or silent operation. 





...RCA Victor Record Library for Elementary Schools 

A basic record library for the classroom. Consists of 370 com- 
positions, 83 records, in 21 albums. Complete teaching sug- 
gestions for each record. Covers such activities as Rhythms, 
Singing, Listening, Rhythm Bands, Singing Games, and 
other topics. Priced within the budget of every school. 



For descriptive iiterature write: Educational Soles Dept. 28E. RCA, Camden, N. J. 

RADiO CORPORATiOliW of AMERICA 

EDUCATIONAL SALES DERARTMEMT, CAMDEM, N. J. 





May. 1948 



215 



A General A-V Conference 

In August . . . in Chicago 

THE Educational Film Library Association, the Mid- 
western Forum on Visual Teaching Aids, and the 
Film Council of America will stage their annual meet- 
ings in conjunction with the 1948 National Association 
of Visual Education Dealers Convention at the Hotel 
Sherman in Chicago next August, according to a joint 
announcement by Emily Jones, Executive Secretary of 
EFLA ; Joseph E. Dickman, Secretary of the Midwest 
Forum; Thurman White, FCA Executive Director; 
and Don White, NAVED Executive Secretary. 

Tentative plans call for both separate and joint meet- 
ings among the various groups. The Midwest Forum 
will open its meeting on Friday, August 6, and will 
meet jointly with the first EFLA meeting on Saturday, 
August 7. The Midwest Forum program will use the 
same plan as last year : open discussion of problems 
proposed by members. The EFLA meeting will con- 
tinue through Sunday, August 8. Harry Strauss of 
the Commission on Motion Pictures in Adult Educa- 
tion will act as chairman of the EFLA Conference Pro- 
gram Committee. The NAVED Trade Show will open 
at noon on August 8, and the first NAVED meeting 
will take place on Monday morning, August 9. NAVED 
meetings and Trade Show will continue through Wed- 
nesday, August 11. Plans for the FCA meeting will be 
fitted into the joint schedule. 



FCA Receives Carnegie Grant 

A GRANT of $10,000 a year for two years has been 
awarded to the Film Council of America by the 
Carnegie Corporation of New York, according to an 
announcement by Stephen M. Corey, Chairman of the 
Board of Trustees of FCA. 

The Carnegie Grant, largest single contribution so 
far made to the growing FCA, is for the salary and 
administrative expenses of an executive director of the 
Council. The grant will enable the FCA to name a new 
executive director in the near future who will speed the 
organization of community film councils throughout 
North America and extend the services of the national 
office. Thurman White, on leave as Director of Audio- 
Visual Education at Oklahoma University, served as 
executive director of FCA during the last quarter of 
1947 and has continued to serve on a part-time basis 
during 1948 while studying for his doctorate at the 
University of Chicago. 

"The Film Council could receive no higher endorse- 
ment," Corey said in announcing the Carnegie grant. 
"No other organization is in a better position to judge 
the educational values and purposes of a non-profit 
organization such as the Film Council. We are ex- 
tremely proud that the Carnegie Corporation of New 
York has placed so much confidence in the Film Coun- 
cil of America and its major objective : to contribute to 
the public welfare through the widespread use of infor- 
mational film materials." 



NOW Every Thinking AMERICAN Is Interested 

in ITALY 




During the next several w^eeks the eyes of the entire world w^ill be 
focused on ITALY . . . and every thinking American -will be interested 
in background information on this country. 

Organizations in your community will be anxious to formulate pro- 
grams On Italy, What an opportunity for visual education? Are you 
prepared to supply effective visual aids for these programs? 

The International Film Foundation has recently produced three JULIAN 
BRYAN DOCUMENTARIES ON ITALY: ITALY REBUILDS, BREAD 
AND WINE, and ARTISANS OF FLORENCE. Used singly or collec- 
tively these three firms can serve as the core of an excellent discussion 
program on modern ITALY and its problems. 

Write for descriptive literature on these and our other 
Julian Bryan Productions now available. 



International Film Foundation 



1600 BROADWAY 



NEW YORK 19, N. Y. 



216 



Educational Screen 




Place Your Rental Requests NOW 

FOR Coronet imstroc 



The nation's leading film-lending libraries report 
that they are already receiving a flood of 
1948-49 rental requests for the nation's most 
popular educational sound films . . . Coronet 
Instructional Films. So to make sure that you'll 
have the films you want vt^hen you want them 



TIONAL FILMS 



next fall, send your rental requests NOW 
directly to your nearest library for Coronet 
bookings. In the list below, youMI find a Coronet 
Rental Library conveniently located to service 
your rental requests. And you'll find your local 
film library helpful in visual planning. 



ARIZONA 

University Extension Division 
University of Arizona, Tucson 

ARKANSAS 

Department of Public Relations 
State Teachers College, Conway 
Division of Vocational Education 
State Dept. of Education, Little Rock 
Kirkpatrick, Inc., Little Rock 

CALIFORNIA 

Ideal Pictures Corporation, Los Angeles 
Photo and Sound, Inc., San Francisco 
University Extension Division 
U. of California, Berkeley 
University Extension Division 
U. of California, Los Angeles 

COLORADO 

Ellison-Reed Visual Service. Denver 
Ideal Pictures Corporation, Denver 
University Extension Division 
U. of Colorado, Boulder 

CONNECTICUT 

Pix Film Service, Greenwich 

FLORIDA 

Ideal Pictures Corporation, Miami 

GEORGIA 

Audio- Visual Education Service 
State Dept. of Education, Atlanta 
Ideal Pictures Corporation. Atlanta 
General Extension Division 
University of Georgia, Athens 

ILLINOIS 

American Film Registry, Chicago 
Audio- Visual Aids Service 
Southern Illinois U., Carbondale 
Ideal Pictures Corporation, Chicago 
Visual Aids Service 
U. of Illinois, Champaign 

INDIANA 

Film Center, Indiana U., Bloomington 
Ideal Pictures Corporation, Indianapolis 
Indiana Visual Aids Co., Inc., Indianapolis 

IOWA 

University Extension Division 
U. of Iowa, Iowa City 
Visual Instruction Service 
Iowa State College, Ames 

KANSAS 

University Extension Division 
U. of Kansas, Lawrence 

KENTUCKY 

Hadden Film Service, Louisville 
Dept. of University Extension 
U. of Kentucky, Lexington 

LOUISIANA 

Ideal Pictures Corporation, New Orleans 
Jasper Ewing & Sons, New Orleans 

MARYLAND 

Kunz Motion Picture Service, Baltimore 



MASSACHUSETTS 

Ideal Pictures Corporation, Boston 

Vesco Film Library, Boston 

Visual Aids Service, Boston, U., Boston 

MICHIGAN 

Locke Film Library, Kalamazoo 
University Extension Division 
U. of Michigan, Ann Arbor 

MINNESOTA 

Elliot Film Company, Minneapolis 
Ideal Pictures Corporation, Minneapolis 
Midwest Audio-Visual Service, Dututh 
Midwest Audio-Visual Service, Minneapolis 
University Extension Division 
U. of Minnesota, Minneapolis 

MISSISSIPPI 

Jasper Ewing & Sons, Jackson 

School of Education 

U. of Mississippi, University 

MISSOURI 

Ideal Pictures Corjwration, Kansas City 
Swank Motion Pictures, Inc., St. Louis 
University Extension Division 
U. of Missouri, Columbia 

MONTANA 

Dept. of Visual Education 

State Dept. of Education, Helena 

NEBRASKA 

University Extension Division 
U. of Nebraska, Lincoln 

NEW JERSEY 

New Jersey State Museum, Trenton 

Art Zeiller Visual Education Service, Newark 

NEW MEXICO 

Extension Division 

U. of New Mexico, Albuquerque 

NEW YORK 

Buffalo Museum of Science, Buffalo 
Educational Film Library 
Syracuse U., Syracuse 
Bertram Willoughby Pictures, Inc. 
New York City 

NORTH CAROLINA 

University Extension Diviaion 
U. of North Carolina, Chapel Hill 

NORTH DAKOTA 

Extension Division 

North Dakota Ag. College^ Fargo 

OHIO 

Ohio Film 8b Slide Exchange 
State Dept. of Education, Columbus 
Sunray Films, Inc., Cleveland 
Twyman Films, Inc., Dayton 

OKLAHOMA 

Kirkpatrick, Inc., Oklahoma City 
Kirkpatrick, Inc., Tulsa 
University Extension Division 
U. of Oklahoma, Norman 



OREGON 

Ideal Pictures Corporation, Portland 
Visual Instruction Service 
Oregon State College, Corvallis 

PENNSYLVANIA 

Audio- Visual Aids Library 

Penn. State College, State College 

Indiana Film Library 

State Teachers College, Indiana 

Kunz Motion Picture Service, Philadelphia 

Kunz Motion Picture Service, Scranton 

P. C. W. Film Library 

Penn. College for Women, Pittsburgh 

SOUTH CAROLINA 

University Extension Division 
U. of South Carolina, Columbia 

TENNESSEE 

Ideal Pictures Corporation, Memphis 
Kirkpatrick, Inc., Memphis 
University Extension Division 
U. of Tennessee, Knoxville 

TEXAS 

Dept. of Radio and Visual Education 

State Dept. of Education, Austin 

Ideal Pictures Corporation, Dallas 

University Extension Division 

U. of Texas. Austin 

Visual Education, Inc., Austin 

UTAH 

Bureau of Audio-Visual Instruction 
Brigham Young University, Provo 
Deseret Book Company, Salt Lake City 
Ideal Pictures Corporation, Salt Lake City 

VIRGINIA 

Ideal Pictures Corporation, Richmond 

WASHINGTON 

Dept. of Visual Education 
Central Washington College of Ed., 

Ellensburg 
Extension Division 
Washington State College, Pullman 

WISCONSIN 

Photoart Visual Service, Milwaukee 
University Extension Division 
U. of Wisconsin, Madison 

PUERTO RICO 

Office of Commissioner of Educatioa 
San Juan 



FOR A COMPLETE CATALOG, OR 
PUHCHASE INFORMATION, WRITE TO 

Coronet 

INSTRUCTIONAL 
FILMS 

CORONET BUILDING 
CHICAGO I, ILLINOIS 



Ma 



1948 



217 



As Viewed From Here Paul C. Reed 



"/< group set out to find some answers'' 



A NEW LOOK at a Community 



9 We have read countless articles in which the users and poten- 
tial users of audio-visual materials in a community have been defined ^ 
as "clubs, schools, churches, farm groups, labor groups etc., etc." 
The "etc." part of the definition usually comes altogether too soon 
and tells nothing very specific. 

How many organized clubs and groups are there in a communi- 
ty? How can you classify them? How many of these groups use mo- 
tion pictures in their programs? What kind of pictures do they use? 
Where do they get them? What obstacles prevent wider use of audio- 
visual materials? How do you get answers to questions like these? 

In one community a group set out to find some answers to such 
questions. It was a middle-sized city which included a population 
of about 450,000 within its metropolitan area. The survey has l)een 
a thorough one and although the summaries are not yet complete, 
the resulting data have already proved most revealing even to those 
who have known that community best. A new perspective has been 
gained of the organizational structure of that community. A sound 
factual base has been established upon which the local film coun- 
cil can proceed with its activities. The potential users of audio- 
visual materials in that community have been defined specifically. 

Here is just one fact from the study: There are in this com- 
munity 1906 diiferent adult clubs and associations and 35',, ol' 
them used films during the one-year period studied. "Clubs and 
associations" do not include churches, educational institutions, so- 
cial agencies, or business and industrial groups. When you add to 
the total these institutions with all of their sub-groups, the result is 
somewhat staggering. The meaning of the term "audio-visual educa- 
tion" as it applies to a community is just being discovered! 

Within the accumulated data of such a complete survey there 
must be significant implications for all — for producers, for dis- 
tributors, and for those who use audio-visual materials. There are 
conclusions tliat can be drawn by all who are seriously interested in 
the field. This study has brought even greater conviction to our 
belief that although up until now the most important use of educa- 
tional pictures has been in schools and with groups formally orga- 
nized for learning, the great use of pictures in the future — the great 
potential field of audio-visual education — is in informal learning 
situations, with groups wherever they meet and for whatever pur- 
pose they are meeting. ^Vudio-visual education in the schools will be 
only a fractional part of the total field of aiulio-visual education 
tomorrow. 

218 Educafional Screen 



Teacher and class are studying an 1813 
map of the Great Lakes Region in the 
pioneer schoolhouse which is a part of 
the Franklinton-Columbus display at 
the Ohio State Museum. If this mu- 
seum trip is successful, the teacher has 
followed a 3-step program: 

• pre-trip planning 

• on-the-trip carry-through 

• post-trip follow-up 




W. H. Shupe Phi.tii 



3 STEPS to Museum Experience 



THE TKLKPHONE RINGS ill the education office of 
a museum. It is a call from a teacher who wishes 
to bring her class to the museum. Invariably the 
teacher asks these two questions : "What arrangements 
do I need to make for a class visit?" "What can I do 
before the visit to assure a successful trip?" 

The teacher who asks these questions has made a 
good start toward a successful trip. She has not only 
shown consideration for museum officials by calling in 
advance to make the necessary arrangements at the 
museum, but she has also expressed a willingness to 
help prepare her group for their coming visit. 

The author has been both a teacher, who has taken 
his classes beyond the four walls of their classrooms. 
and a member of a mu.seum education staff, where more 
than 25,000 school pupils come in class groups annually. 
There is no mysterious formula which will guarantee 
a successful class trip. The .same common-sense prepa- 
rations one makes when going on a personal trip will 
insure a successful class trip if the planning, in the 
latter case, is done on a classwide basis. 

In making a personal tri]), one usually goes through 
three steps : ])re-trip planning, at which time the trav- 
eler collects information about the place to be visited, 
arranges for transportation, meals, lodging, sight-seeing 
tours, etc. ; the next step is the taking of the trip itself, 
on which some last minute changes may have to he 
made, but which usually unfolds beautifully and is a 
.source of enjoyment and satisfaction because careful 
planning was made beforehand ; and the last step is the 
discussion of the trip and sharing with others what 
was learned or seen. 



by GEORGE F. JENNY 

Supervisor of Education, Ohio State 

Archaeological and Historical Society 



Carrying out these three steps on a classwide basis 
will go far toward assuring that the class will have 
a profitable educational experience from its visit to 
the museum. How would a teacher proceed with each 
step ? 

Pre-trip Planning 

Both the teacher and the class have obligations in the 
pre-trip planning. The teacher, of course, will allow 
the children to benefit by doing as much of this planning 
as their age and development will permit. In the lower 
grades the teacher must assume much of this respon- 
sibility. She knows best the maturation level of her 
class and can decide from what particular trip her 
class will derive the greatest benefit. Therefore, if she 
is contemplating a class visit to the museum, her first 
obligation is to go to the museum herself to see if it 
contains the e-xhihits she feels her class needs. 

There is educational value to be derived from any 
tri]) : but. just as there is a best way to make a trip, 
there is also a best time, in reference to a child's 
development, to visit certain places. Not many first 
or second grades visit museums. Their teachers realize 
that a child of this age derives more benefit by studying 
the "here and now" rather than the "long ago and far 
away." .A child of this age has not yet developed a 
time concept; the chronology of history means little to 



May, 1948 



219 




On the tour: Museum teacher helps the class learn about 
prehistoric Ohio people. 

W. H. Shupe Photo 



W. H. Shupe Photo 

Before the tour: Class assembles in museum auditorium 
for last-minute instructions. 

him. His interest span is short, and he is soon over- 
come by museum fatigue. Therefore, first or second- 
grade teachers, very wisely, take their classes to see 
things that have some importance to children of that 
age in everyday life. Such trips as those to the fire- 
engine house, the greenhouse, the library, or the dairy 
are usually more closely related to their interests. 

In spite of this, however, the author has seen some 
very successful first and second-grade class visits to the 
museum. One first-grade class was discussing boats. 
Their teacher knew there were some boats at the 
museum, so she made arrangements to bring her class. 
The pupils were shown the boats and boat models, 
without any reference to their historical significance, 
and in twenty minutes the class was on its way back 
to school. The pupils were not over-tired, their minds 
were not confused by having seen too many things, 
and they had found out something about boat con- 
struction, which was the purpose of their visit. Another 
first-grade class had brought many fall insects into their 
classroom and became quite interested in them, so their 
teacher brought them to the museum to see — not study 
— the insect collections there. 

If a teacher decides on her pre-class visit that the 
museum does have exhibits that will be of value to 
her pupils, she should contact museum officials to make 
the necessary arrangements for the class visit. Most 
teachers feel that museum staff members, because of 
their intimate knowledge of the exhibit, can best con- 
duct the lesson there. It can be decided whether this 
lesson is to be in the nature of an introduction to a 
unit of work, a part of the unit research, or to serve as 
a summary to the unit. The teacher can determine the 
points to be emphasized. The museum official may 
be able to suggest other exhibits having a direct rela- 
tionship to the unit of work, or he may have literature 
or loan collection items that he can suggest to aid in 
the class preparation. 

Armed with this information, the teacher can wisely 
and confidently guide her class in preparation for the 
visit. Pupil interest must be aroused for the things 
they are to see. They must be told, at least something. 




about the exhibit they will see. They iiuist know 
thoroughly the purpose of their visit and be brought 
to realize that this is a lesson, to be conducted at the 
museum, and not a "lark." Opportunity must be given 
for pupils to build up a suitable background for the 
things they are to see. This may be done by the use 
of reference books, slides, movies, class discussions, 
or by museum loan collections. Time must be allotted 
for a discussion of trip conduct and of safety standards 
to be observed by the group. The route to and from 
the museum should be carefully planned. In many in- 
stances the things that can be seen en route are of 
related educational importance. For example, one 
southern Ohio school on their way to study prehistoric 
man at the museum, stopped off at Mound City, Chil- 
licothe. Ohio, to see the prehistoric earthworks there. 
To come to the museum to study birds and not notice 
the birds en route would seem ridiculous. 



{Continued on page 229) 



W. H. Shupe Photo 



Free time: 

A boy sketches 

the famous 

Adena 

Pipe. 




220 



Educational Screen 



The Role of the Independent Producer 
In Educational Films 



LOUIS DEROCHEMONT; 



THE ROLE of the independent producer in the 
making of educational fihii may be compared, in 
some respects, to the brave and anonymous indi- 
vidual who ate the first oyster. It took a lot of courage 
to risk the experiment. 

The educational film has proved palatable and nour- 
ishing — but its market remains largely undeveloped, 
and the machinery required for adequate and econom- 
ical production, distribution, and consumption does not 
exist. There must be a great many more films intelli- 
gently designed and executed specifically for classroom 
purposes, and soine plan must be devised to place 
these films, together with the equipment necessary to 
show them, within reach of every school. 

Independent Producer + ? 

If we are to provide the films so urgently needed and 
which must be supplied if this potent medium is to ful- 
fill its function in education and discharge its obliga- 
tion to society, somebody else — somebody beside the 
independent producer — must help. 

This "somebody else" is threefold. It includes the 
educators, wlio will continue to carry on, and perhaps 
intensify, their invaluable work in the development of 
methodology for the widespread and productive use of 
film in teaching. It includes the public and their elected 
representatives on the school boards and in the legis- 
latures, who must supply the funds and form the poli- 
cies to bring the widespread utilization of film into 
being. But for the purposes of this discussion, I want 
to concentrate, for the moment, on the function and 
obligation of that corporate individual of the motion 
picture industry, whom we call the major producer. 

A Study in Contrasts 

The physical contrast between the major producer 
and the independent producer of educational films is 
apparent. The several large studios, whose plants are 
located in and about Los Angeles, possess a capital in- 
vestment of something over a hundred and thirty million 
dollars. They employ more than thirty thousand people, 
with an annual Hollywood payroll of over three hundred 
million dollars — and the intake of the American box 
office alone, in 1947, was more than one and one-half 
billions of dollars. These figures, so large as to be 
meaningless in themselves, take on significance when 
we realize what they represent. 

Now devoted to the production of entertainment films 
alone are vast production facilities, superb technical 
equipment, experience, competent, professional, and 
often highly talented, creative personnel — and, particu- 
larly important to this discussion, sufficient capital re- 
serves to permit them to make long-range investments : 



specifically in educational films which today cannot be 
expected to amortize their costs quickly. 

The difference between the major producer and the 
independent producer of educational films now becomes 
quite simple. The independent producer lacks both 
facilities and funds. I can speak without prejudice here, 
because I have a foot in both camps. The series of edu- 
cational films on which my independent organization 
is now engaged is being financed and will be distribu- 
ted by one of the major producers — the lone major 
producer in this country who has been willing to dem- 
onstrate, by substantial investment, a faith in motion 
pictures designed and produced exclusively for the 
classroom. 

Whether the independent producer operates like Cy 
and Herb Johnson, two brothers who are making arith- 
metic films in a small back room over a Hollywood car- 
pentry shop, or whether he maintains a comparatively 
large operation — such as Coronet, Young America, or 
Encyclopaedia Britannica Films — the independent op- 
erates with his own limited facilities and personnel, and 
must, in essence, collect the money from one film in 
order to make another. He operates on shoestring capi- 
tal, and what little money he has is hungry money, 
which must earn its living from day to day. Hence, 
he cannot film certain subjects at all. He cannot make 
other subjects in expensive series. He cannot always 
employ the most suitable creative talent. 

But, the independent's poverty in physical resources 
has been balanced by a rich intangible. He, together 

{Continued on page 236) 



EDITOR'S NOTE 

Louis de Rochemont presented these words first 
as a talk at the Boston University Founders' Day 
Institute, March 13, 1948. Of all the talks given 
at this notable two-day institute, dedicated to the 
"Social Responsibilities of American Leadership", 
de Rochemont's seemed most significant for EDU- 
CATIONAL SCREEN'S readers.* 

Even though we cannot agree with his conclusion 
that "Hollywood" must accept the challenge to sub- 
sidize educational films, we recognize that this is a 
conviction sincerely held and fearlessly voiced by one 
who because of his experience and accomplishment 
should be heard. 

Originator of "The March of Time" and producer 
of such film successes as "The House on 92nd Street" 
and "Boomerang," Mr. de Rochemont is now presi- 
dent of Louis de Rochemont Associates, Inc., and is 
currently producing for United World Films, Inc., 
an integrated series of geography films for the ele- 
mentary grades, "Your World and Mine." 

*Mimeoeraphed copies of the addresses presented at the 
Founders' Day Institute by Mr. de Rochemont, Dr. Spyros P. 
Skouras, Arthur H. DeBra, and Paul C. Reed are available free 
from Boston University School of Public Relations. Requests 
should be directed to Abraham Krasker, 84 Exeter St., Boston. 



May. 1948 



221 





Audio-Visual Center, Indiana UniverHity 



Slide production scenes from the film "How to Make Handmade Lantern Slides." Left: Brush work (India ink) on 

translucent paper. Right: Slide crayon on etched glass. 



How a Motion Picture Was Made 

On How to Make Handmade Lantern Slides 



by MARY ESTHER BROOKS 

Assistant Production Supervisor, 

Audio-Visual Center, 

Indiana University 



ONE OF THE NEEDS ill tlie field of audici-visuiil educa- 
tion has been the effective u.se of the nied.a in 
courses, institutes, and conferences devoted to 
Audio-Visual Materials. Since workers in the field 
are frequently asked such questions as "Why don"t 
you use the film to teach audio-visual methods if it 
is so effective?", universities and schools are now 
pioneering in the production of teaching materials. 

First Steps 

About a year and a half ago the Audio-Visual Center 
at Indiana University was able to assemble staff and 
equipment for the beginnings of a production program. 
One of the subjects which was high on the list of pos- 
sible productions was a film for professional training 
in the area of audio-visual materials. After the staff 
considered several possibilities, they finally selected the 
subject "How to Make Handmade Lantern Slides". 
Since the production of these slides can he mastered 
by teachers, pupils, student teachers, group leaders and 
others concerned with the presentation of materials in 
pictorial form, slide-making has been included in the 
audio-visual classes at the University and in the four 
Extension Centers. 

Considerable research in production techniques, mate- 
rials, and utilization of handmade slides had been done 



at the Center during the previous three years. Through 
this continuous process of use, experimentation, and 
research, simple, effective production techniques had 
been developed and improved. Moreover, the Center 
was being called upon several times each year to demon- 
strate the production of handmade lantern slides to 
tc-aclier conferences, sectional meetings, and work.'^ho]) 
groups. 

The first step in the production of the film was a 
detailed break-down of the subject into types of slides, 
mat'-'rials and e(|uipment, skills involved (mechanical 
skills, and mental skills and understandings), utilization 
ideas and suggestions of many subject-matter areas on 
various grade levels. This was laid out in the form 
of a grid or check list. The break-down was checked 
by all members of the Center .staff' for ]X)ssible omis- 
sions ami errors, anrl then it was used as the basis for 
writ ng rough script. 

"Bare Bones" or More? 

llefore the scri])t was started, a major decision had 
to i)e made. Should the film show only the "hare bones" 
of ])roduction techniques in slide making with no im- 
])lications for the utilization of these slides, or should 
it show slide production in context with the subject- 
matter hackirround and actual classroom situations? 



222 



Educational Screen 



It was finally decided that the ])i]rpose of the Hhn 
would be the demonstration of ijioduction techni(iiie.s 
used in the making of handmade slides, along with 
utilization of the slides for educational purposes. 

Needed Repetition 

The film treatment developed these purposes by 
including a variety of content on the slides made in the 
tilm. and several teachers demonstrating technicjues in 
different subject-matter areas and grade levels. Since 
in the making of slides there are many small but im- 
portant details which, once mastered, aid the teacher 
in producing well-made slides, the film was designed to 
|)rovide the needed repetition in conte.xt of production 
techni(|ues that should be mastered. Kor example, de- 
tails such as the techniques used in applying pencil, 
crayon, or ink were to be repeated several times in 
context, both in narration and in visualization. This 
was also true of the position of the drawing on the 
plate, the use of the margin guide and blotter, the 
thumb spot, the care of materials and equipment, the 
light boxes, types of bindings, and the techniques of 
sharpening crayons and pencils. 

Trial Run 

Before production was undertaken, the ])roduction 
.staflf was divided into three crews of three persons each. 
E)ach crew shot two sequences of the film. This "trial 
run" was shot in order to study the effects of different 
types of lighting, camera angles, set decorations, and 
film treatment. After carefully studying and evaluating 
the test .shots, the entire staff chose the ty])e of lighting 
and treatment used in the finished film. 

The film production became a valuable training ex- 
perience for the staff, since each step was discussed 
thoroughly and weaknesses were evaluated throughout 



the entire production. Only the sounding of the narra- 
tion was handled by a commercial company. 

Preview 

Following the shooting of the him, a rough cut was 
made and shown to a large variety of groups: the 
Center staff, teacher-training groups, audio-visual 
classes on the University campus and at Extension 
Centers, and conferences, including the University Film 
Producer's Council. Again there was a pooling of opin- 
ion regarding changes, rearrangement of scenes, and 
narration. These changes were made. 

Two teacher-training groups were shown the film 
with no advance preparation or instruction and were 
then told to produce five handmade lantern slides. Al- 
though this was a poor teaching technique, it provided 
an unbiased check on the effects of the film. The slides 
produced by these two classes were judged to be on 
a par with other groups which had had two work 
periods, two hours in length, for discussion and demon- 
stration of slide making. The finished slides not only 
displayed a wide choice of subject matter, but also 
were made from a variety of slide materials. In sub- 
sequent classes with which the rough cut of the film 
was used, it was the judgment of the instructors that 
it improved the student's understanding of the tech- 
nic|ues involved and it gave a great appreciation of the 
possibilities of the use of handmade lantern slides in the 
student's own fields. 

Evaluation 

Since the film was completed, it has been evaluated by 
three instructors in classroom situations. It has been 
found that the use of this film, plus about forty minutes 
of discussion and demon.stration, seems to be as effec- 
tive as two periods of two hours each had been pre- 
vioush- with similar types of classes. 



Audio-VMual Center, Indiana University 



Production shot in the filming 
of "How to Make Handmade 
Lantern Slides." The produc- 
tion staff was divided into 
three crews, each crew shoot- 
ing two sequences of the film. 
This "trial run" was made 
in order to study the effects 
of different types of light- 
ing, camera angles, set deco- 
rations, and film treatment. 




The storytelling phonograph record is growing in popularity, and 
education is finding it a supplementary tool to learning. 



PHONOGRAPH RECORDS 
To Stimulate Reading 



HAS it ever occurred to you that phonograph 
records can be used effectively in a school li- 
brary as a means to stimulate interest in read- 
ing? A certain number of children come to the library, 
glance at one book and then another, thumb through 
the pages of a book — looking only at the pictures — 
and no matter how^ patiently and diligently you strive 
to get them to take a book and read it through for 
the sheer joy of reading a good story, you find your- 
self stymied. Many devices have been suggested by 
educators and librarians to help solve these problems. 
Here is another one which is proving quite a boon 
to teacher-librarians in the Chicago Public Schools. 

Telling Stories with Phonograph Records 

Telling stories aloud to a group has been done down 
through the ages. But the art of storytelling requires 
a great deal of time in preparation, and few attain a 
high degree of artistry or proficiency. Perhaps this is 
the reason the storytelling phonograph record is grow- 
ing in popularity and education is finding it a supple- 
mentary tool to learning. However, more and more 
records are being placed on the market, many of them 
questionable as to content, as to the qualifications of the 
narrator, and as to the value and amount of sound 
effects used. Consequently, the educator has to set 
up criteria for the record that has educational value 
and be as selective in those recommendations for schools 
as in selecting books and other tools of learning. 

Wanted: Records Suitable 
For Younger Listeners 

It was at a meeting of the Chicago Teacher-Librari- 
ans Club that information was sought by a small group 
fot- a list of storytelling phonograph records which 
might be useful in an elementary school. Various lists 
already compiled covering this subject area were ex- 



EDITOR'S NOTE: This article is a condensed re- 
print of the article "Phonograph Records and Their 
Use in a School Library" by Dilla W. MacBean which 
appeared in A Monograph on Language Arts, No. 51, 
published under the direction of the Research De- 
partment of Row, Peterson and Co., Evanston, Illinois. 



By DILLA W. MacBEAN 

Library Adviser to the 

Superintendent of Schools, 

Chicago, Illinois 



amined but were found to be inadequate. Most lists 
were prepared for high school listening and included 
few records that were suitable for the younger listener. 
Following the luncheon — when Mrs. Gudrun Thorne- 
Thomsen was the guest speaker and enchanted the 
125 members of the Chicago Teacher-Librarians Club 
with telling several of her inimitable stories — the re- 
quest for her records and others of comparable quality 
grew in intensity. These teacher-librarians were aware 
of the possibilities in using records of this caliber as 
an additional medium in reading guidance. 

A "Listening" Committee 

A committee of three was appointed to listen to 
available storytelling phonograph records which might 
be recommended for elementary school library use and, 
after due consideration, to compile a list which could be 
used in all the elementary schools. Mrs. Marie B. Gib- 
bons of the Shakespeare School was named chairman, 
and Miss Mary V. O'Hara of the Sawyer Avenue 
School and Miss Jeannie M. Stewart of the Bright 
School were appointed to serve with her. A great deal of 
time was spent on the project by these three teachers 
during their summer vacation. They found the local 
record shops in the city, as well as those in the Loop, 
most co-operative in their study. Each teacher listened 
to many records by herself and compiled her indivdual 
list. Then the three teachers conferred, checked one 
another's lists, and began all over again. This time they 
went as a committee — and occasionally two made the 
rounds to listen to the recommended records of all 
three or to relisten to those recommended by one mem- 
ber. They were always searching for new releases or 
old ones coming back on the market. 

Setting Up Standards 

Following one of the earlier conferences, the com- 
mittee realized that it was necessary to set up specific 



224 



Educational Screen 



standards before compiling the list. The selection for 
school use was quite different from the incentive of the 
parents or children in selecting records for private 
collections. Schools were not looking for records for 
entertainment or recreation. The committee was keenly 
aware that any record placed on the list must measure 
up to specific objectives ; that this was another device 
that might be used advantageously in the library or 
in the classroom as another medium in interesting a 
class group as a whole or, specifically, individual child- 
ren to more extensive reading; that listening to a 
story by an artist could motivate the good reader to 
different or new subject types of literature or could 
entice the nonreader (with the guidance of the alert 
librarian) to reading the complete story or book from 
which he had heard an episode or parts of a story well 
told on the record. 

During the summer and early fall the committee 
met several times with the Head Librarian — by whom 
they had been appointed to serve — relating their ex- 
periences and problems and making sure that their 
efforts were spent in the right direction. After school 
had resumed in the fall, the four decided it was best 
to formulate the objectives and criteria by which the 
selection of records was made. Requests were being 
made by other members of the club, and it was de- 
cided to prepare the list, although the number of rec- 
ords listed would be few in comparison with the many 
listened to. 

The Foreword of the list states these objectives and 
the criteria for the listing. They are for use by anyone 
when measuring the value of phonograph records for 
school listening. Following is the Foreword and the 
list. 

FOREWORD 



The purpose of the committee was to formulate a list of 
records that could be used for constructive, guided listening that 
would lead the child to books and give him an enrichment of 
experience and background. 

In compiling the list, the following objectives were formulated : 

1. To lead the average child to a book. 

2. To enrich the superior child's background. 

3. To assist the slower child to develop a literary background 
tlirough listening that he might not be able to attain through 
his grade-level reading. 

4. To add one more medium, an auditory image aid, to help 
in making the best in literature and the classics a part of 
every child's background. 

5. To help the child interpret the story: i.e., the dialect or 
colIo(|uialisms or the language of the period of the story 
is rationalized for the child. 

The committee listened to 154 double-faced records and is 
aware that, in selecting, the following are desirable criteria : 

1. The voice of the narrator must be pleasant, the diction 
good, and the enunciation clear. 

2. Sufficient variation must be provided in the production so 
that at no time will the listening span of the child be taxed. 

.S. The story must be told or dramatized at a pace that will 
permit tlie child to comprehend as he listens. 

4. The background of the story must be accurate. 

5. The whole interpretation must give pleasure to the child. 
In conclusion, tlie committee reports that it has tried to 

listen to all the available children's storytelling records over 
a period of six months and regrets that several records — which 
were suggested to it — could not be heard because they were 
out of stock either temporarily or permanently. In instances 
where there was more than one recording of the same story, the 
one that was considered the best is listed. 



PHONOGRAPH RECORDS 

For 

GOOD LIBRARY LISTENING 



Little Black Sambo (Grades 1-3) 

Victor Record Y 312 

Narrator : Paul Wing 

2 — 10 in. Record Envelope 
Little Engine That Could (Grades 2-4) 

Victor Record Y 307 

Narrator : Paul Wing 

3 — 10 in. Record Envelope 
Rum/yelstillskin (Grades 2-4) 

Victor Record Y 306 

Narrator : Helen E. Meyers 

1 — 10 in. Record Envelope 
Three Billy Goats Gruff and 
Aiis-a'cr Three Questions If You Can (Grades 2-4) 

Victor Record Y 8 

Narrator : Gudrun Thorne-Thomsen 

1 — 10 in. Record Envelope 
Two Hans Christian Andersen Stories — 
The Tinder Box and It's Perfectly True (Grades 2-4) 

Bluebird Record B C 24 

Narrator : Paul Leyssac 

3 — 10 in. Record Album 
Winnie the Pooh and Christopher Robin (Grades 2-5) 

Decca Record K 12 

Narrator : Frank Luther 

3 — 10 in. Record Envelope 
Sleeping Beauty (Grades 3-5) 

R. C. A. Victor Record 

Narrator : Gudrun Thorne-Thomsen 

1 — 12 in. Record, one of Album distributed by the American 
Library Association 
500 Hats of Bartholomezv Cubbins (Grades 3-6) 

Bluebird Record Y 304 

Narrator: Paul Wing 

3 — 10 in. Record Envelope 
Sheep and the Pig Who Set Up Housekeeping (Grades 3-6) 

Bluebird Record Y 7 

Narrator: Gudrun Thorne-Thomsen 

1 — 10 in. Record Envelope 
M'hen the Husband Kept House (Grades 3-5) 

Bluebird Record Y 314 

Narrator : Gudrun Thorne-Thomsen 

1 — 10 in. Record Envelope 
Gudbrand-on-the-Hillside (Grades 4-6) 

R. C. A. Victor Record 

Narrator : Gudrun Thorne-Thomsen 

1 — 12 in. Record, one of Album distributed by the American 
Library Association 
Nnmskull Jack and The Happy Family (Grades 4-6) 

Bluebird Record B C 32 

Narrator : Paul Leyssac 

3 — 10 in. Record Envelope 
One String Fiddle (Grades 4-6) 

Victor Record Y 319 

Narrator : Paul Wing 

2 — 10 in. Record Envelope 
Alice in Wonderland (Grades 4-8) 

Decca Record D A 376 

Narrator : Ginger Rogers 

3 — 12 in. Record Album 
Baldur (Grades 5-7) 

R. C. A. Victor Record 

Narrator : Gudrun Thorne-Thomsen 

1 — 12 in. Record, one of .Mbum distributed by the American 
Library .^Association 
Captain Kidd's Cow (Grades 5-8) 

Gloria Chandler Recordings, Inc.* 

2 — 12 in. Record Envelope 

{Continued on next page) 

♦All records distributed by Gloria Chandler Rerordinfirs, Inc. (located 
at P.O. Box 1112, r.rand Central Station, New York Cityl. on this 
list, have been produced by the Association of the Junior Leagues of 
America, Inc. 



May, 1948 



225 



hi Clean Hay (Grades 5-8) 

Gloria Chandler Recordiiig-s. Inc.* 

2 — 12 in. Record Envelope 
Mischief iti Fee (Grades 5-8) 

Gloria Chandler Recordings, Inc.* 

2 — 12 in. Record Envelope 
Singing Tree (Grades 5-8) 

Gloria Chandler Recordings, Inc.* 

2 — 12 in. Record Envelope 
Smoky Bay (Grades 5-8) 

Gloria Chandler Recordings, Inc.* 

2 — 12 in. Record Envelojje 
Ciit of the Forest (Grades 6-8) 

Gloria Chandler Recordings, Inc.* 

2 — 12 in. Record Envelope 
Lei'el Land (Grades 6-8) 

Gloria Chandler Recordings, Inc.* 

2 — 12 in. Record Envelope 
Mocha the Djuka (Grades 6-8) 

Gloria Chandler Recordings, Inc.* 

2 — 12 in. Record Envelope 
On the Dark of the Moon (Grades 6-8) 

Gloria Chandler Recordings, Inc.* 

2 — 12 in. Record Envelope 
Tales from the I'olsunga Saga (Grades 6-8) 

R. C. A. Victor Record 

Narrator ; Gudrun Thorne-Thomsen 

2 — 12 in. Record Envelope, part of Album distributed by the 
American Library Association 
Tral! Lines North (Grades 6-8) 

Gloria Chandler Recordings, Inc.* 

2 — 12 in. Record Envelope 
Struggle Is Our Brother (Grades 7-8) 

Gloria Chandler Recordings, Inc.* 

2^12 in. Record Envelope 
Three and a Pigeon (Grades 7-8) 

Gloria Chandler Recordings, Inc.* 

2 — 12 in. Record Envelope 
Treasure Island (Grades 7-8) 

Columbia Record M 553 

Narrator : Basil Rathbone 

3 — 12 in. Record Album 
When the Typhoon Blows (Grades 7-8) 

Gloria Chandler Recordings, Inc.* 

2 — 12 in. Record Envelope 
Dickens' Christmas Carol 

Columbia Record M 521 

Narrator : Basil Rathbone 

3 — 12 in Record Album 
Mine Eyes Have Seen the Glory (Grade 8) 

Victor Record M 909 

Narrator : Helen Hayes 

2—12 in. Record Album 
(NOTE: This record is listed because from an artistic view- 
point it is useful for interpretation and for use in choral 
poetry. These selections are also included on the record: 
Star Spangled Banner, Beat Beat Beat Drum, America, 
Pledge to the Flag.) 

The committee recommends the following records but desires 
to state that it could not find the stories in print. 
Granny Patch and Her Magic Basket (Grades 2-4) 

Bluebird Record B C 35 

Narrator: Alice Remsen (Musical Story Lady) 

3 — 10 in. Record Envelope 
Christmas in Nonvav (Grades 4-6) 

Bluebird Record B C 37 

Narrator : Herman Ivarson 

3 — 10 in Record Envelope 

(Note: "A Traditional Norwegian Christmas with Carols" 

is the subtitle of this record. It could be used to lead 

children to books such as The Sky Bed, Norivegian Farm, 

Snozv Treasure.) 

Christmas Gift — Story of the Juggler of Our Lady (Grades 7-8) 

Decca Record 

Narrator : John Nesbit 

2 — 10 in. Record Album 

• All records distributed by Gloria Chandler Recordings, Inc., on 
this list, have been produced by the Association of the Junior Leaorues 
of America, Inc. 



Put It on the Record! 



by MARIAN K. WHITK 

Director of Audio-Visual Education, 

Smith School, Deming, New Mexico 

It's oil the record now ! A fourth grade class ( in 
picttire below) has just finished cutting a record about 
Switzerland. During their study the group wrote many 
stories and paragraphs about this country, and selected 
the best ones to make into a contiiuious, descriptive 
story of Switzerland. All during the year this fourth 
grade used the recorder to cut records about the coun- 
tries they had studied. 

This was but one of the many functional uses of 
cutting records in our school. The primary children 
made a number of musical records. , One first grade 
class cut a record of a group of songs they had learned 
that year. The teacher used the records to improve 
the children's tone quality and their enunciation of 
words. 

Another use. of the. recorder was , in the culmination 
of units of work. A third grade class made an exten- 
sive study of transportation, closing their unit with 
the cutting of a record about transportation. Each 
group which has studied transportation since has 
used that record as a source of information. 

All of the records cut in our schools have been made 
in response to some definite need. They are indexed 
and filed in a special cabinet. The recorder and play- 
back is a portable machine which is a part of the 
public address system of the high school. We have 
used both glass and plastic records with success. For 
some of the glass records, however, the cutting arm is 
too light to make the grooves deep enough. Our equip- 
ment includes both stationary and portable microphones. 

We have found the use of the recorder in our school 
to l)e of great value in: 1, Motivation, stimulation, 
and clarification. 2. Remedial work, especially reading 
and speech. 3. Presentation of informational material. 
4. Music and creative literature. 5. Culmination of 
units of work. 




Mr. Hosmer, Smith School principal, is cutting a record for 

the fourth grade. It was one of the culminating activities in 

their study of Switzerland. 



226 



Educational Screen 



E IITERATURE I^ 



•*'"'■' 



^%";. 




ISVALINSTRVCTION 

Mrs. EHA SCHNEIDER RESS, Ed.D., Editor 



RESEARCH STUDY 

• Better Teaching through the Use of Current Materials — 
Lucien Kinney. Reginald Bell. Stanford University 
School of Education. 1947. 

A report of an 18-month study in English, science and 
social studies classes by the California Council on Im- 
provement of Instruction, January, 1946 to June, 1947. 
The study was begun by the Division of Secondary Edu- 
cation of the California State Department of Education. 
Materials used were: current magazines, as Time, Life, For- 
tune and popular magazines in the science and social science 
fields; newspapers, pamphlets, March of Time Forum Edi- 
tion films, recordings, etc. 

There are now three reports available from the School 
of E^ducation, Stanford University on the state-wide study 
and on a more detailed experiment at Kearney Junior- 
Senior High School, San Diego. The brochure describes 
some of the techniques used in English, social science and 
science, and then approaches the research from another 
angle, viz. the classroom tactics used: bulletin boards, class- 
room recordings of pupil discussions, sociodramas, pupil 
panels, and others. 

The intelligent use of current materials, with adequate aid 
to teachers and students, was found to have many im- 
portant values to the student, the teacher and the com- 
munity. The experiences of these teachers should be an in- 
spiration to others everywhere so that pupils can under- 
stand what great forces are at play in the world molding 
orur own history and affecting the outcomes of the history 
we read about in textbooks. This report should be very 
widely read. 

UTILIZATION 

• Audio-Visual Materials and Methods in the Social 

Studies— William H. Hartley, ed. 1947: 18th Yearbook, 
National Council for the Social Studies, N.E.A. 214 pp. 
$2.00 paper-bound, $2.50 cloth-bound. 

Utilisation, that is the main function of this book which 
social studies teachers in elementary and secondary schools, 
and students of audio-visual instruction will heartily endorse. 
Dr. Hartley performed a useful service in bringing together 
the ideas of outstanding administrators and audio-visual 
experts, as well as of classroom teachers who describe viv- 
idly some of their own successful experiences. 

An introductory section includes articles on the psychology 
of audio-visual materials, impact of war experience, and the 
relationship between teacher and administrator in the use of 
these materials. The remainder of the book is devoted to spe- 
cific types of teaching aids, their potential values and anec- 
dotal accounts of their use in classroom situations. 

Read how a social studies laboratory (virtually a school 
museum) serves one New York high school; how a filmstrip 
on the U.S.S.R. was used in a sixth grade class, how con- 
ventional lantern slides were used creatively to solve signifi- 
cant problems, and so on throughout the book. 

Theory and practice supplement each other admirably, and 
the National Council for the Social Studies should achieve its 
purpose of helping to stimulate the greater and better use of 
audio-visual materials by means of specific examples in actual 
practice. 



• Whose Fault Is It? — Clara V. Braymcr. Social Education, 
12:61-4. February, 1948, 

In this paper presented at the St. Louis convention, the 
author suggests ways of avoiding the method of teaching 
that results in pupils with personality-behavior problems. 
Among the methods that would reach individual needs and 
interests is the use of audio-visual materials. The social 
studies teacher should select illustrative material that would 
first appeal to the interests of the pupils, and then plan to 
present the material with utmost skill. 

• Common Sense in the Use of Films — J. M. Klock, Mich- 
igan State College. Social Education, 12:77. February, 1948 

A provocative critique of the types of films usually shown 
in social studies classes. The author suggests a critical 
review of all materials already available and a continuing 
review of new material as well as the proper utilization of 
films and other aids after the material has been selected. 

RADIO AND RECORDINGS 

• Recordings on the March — Emma Dickson Sheehy, 
Teachers College, also music editor. Parents' Magazine. 
Teachers College Record, 49:119-25, Nov. 1947. 

.■\n authoritative discussion of records for children, a trend 
which has now reached a boom, with over 30 million sold in 
1946. The author reviews new developments in the recording 
field, such as a) continued production of straight music, b) 
new movement toward dramatic readings, highly desirable 
for meeting indiviual interests and needs, c) recording of 
informational and instructional materials for schools, as history 
or science. 

As for future outlook, children's records still need improve- 
ment. Prices are too high, there are not enough single records 
available without costly albums. Better distribution is needed, 
possibly, through record clubs or lending collections in public 
libraries. There should be an improvement, too, in quality, 
especially in stories for very young children. 

• New Hope for FM in Education — Franklin Dunham, 
U.S. Office of Education. Nation's Schools, 41 :53, Jan. 1948. 

The FM band can accommodate 800 high powered radio 
stations. In a short time, 40 educational institutions have 
obtained licenses, half public school systems, half colleges 
and universities. 

To operate such stations successfully requires years of com- 
mercial radio background, and some educational broadcasting 
experience. The article is very useful in that it summarizes 
the status of FM to date, giving a list of educational stations 
on AM and FM. The potentialities of FM are very hopeful, 
since the cost of transmitters is not high, and interest among 
educators is great. Last summer more than 5,000 teachers 
attended courses in some aspect of radio education. Moreover, 
the cost of FM receivers is reasonable, ranging from $35 to 
$75 or about $20 to $.30 for the attachment to standard AM 
sets. 

HANDMADE SLIDES 

• How to Make Handmade Lantern Slides — G. E. Hamil- 
ton, Keystone View Co., Meadville, Pa. 1948 rev. ed. 

An illustrated pamphlet on the techniques of making 
standard glass slides for various subjects of the curriculum. 

(^Literature continued on page 243) 



May, 1948 



227 




DAVID SCHNEIDER. Editor, Evander Childs High School, New York City 



Surgery Starts at Science 

npHE BRONX HIGH SCHOOL OF SCIENCE is a specialized 
■■■ secondary school catering to the needs and abilities 
of a select group of boys and (since recently) girls of 
greater New York. That science is doing a grand job 
is evidenced by the fact that this school leads all the 
rest in the roll call of state scholarship winners. If the 
claim that the United States has been lagging far be- 
hind in the training of its scientists is true, it would 
augur well for the future of our country to see "science" 
high schools established in every state of the Union to 
emulate the work of the Bronx institution. 

One of the most active departments at the Bronx 
High School of Science is the Biology Department 
headed by Mr. Zachariah Subarsky. In Mr. Subarsky's 
classes, students become adept in the manipulation of 
all types of laboratory equipment. They are trained in 
the most up-to-date techniques to prepare them for 
careers in latoratory techniques or surgery. Having 
realized the economy in materials and time inherent in a 
good teaching film, Mr. Subarsky and his students pre- 
pared the following two motion pictures which are 
used in the laboratory teaching of biology at Science 
High. These films were exhibited at the last session of 
the American Association for the Advancement of 
Science in Chicago. Following is Mr. Subarsky's ac- 
count of the two films. 




A still from "How Tissue Slides Are Prepared," one of the 

films used in the laboratory teaching of biology at the 

Bronx High School of Science. 



"Dissection of the Frog" 

"We inform our students of the differences between 
dissection and surgery. Unless they are given prelimi- 
nary instructions, students, at best, resort to butchery. 
Such directions are given in one or more of the follow- 
ing ways: 

1. Oral description of what is to be done. 

2. Printed or mimeographed directions. 

3. Demonstration by the teacher. 

"We have found oral instruction to be inadequate. 
Also, we have found that the more mimeographed in- 
structions are elaborated, the more difficult and time 
consuming they become for students. On the other 
hand, demonstrations are ideal — but only for small 
groups of students. For larger groups — thirty-five to 
forty — we find demonstrations difficult for the follow- 
ing reasons : 

1. It is difficult to get every student close enough to 
the dissection being demonstrated. 

2. Even if the above were feasible, students do not 
retain all the steps observed in the dissection. 

3. When an attempt is made to demonstrate one step 
at a time, it is extremely inconvenient and time 
consuming to gather tlie class around the demon- 
stration table as many as fifteen times during a 
single laboratory period. 

"The film, "Dissection of the Frog", obviates these 
difficulties in that every student practically has his nose 
in the demonstration while he remains at his own table. 
This film has been judged successful by several of our 
teachers who have used it with many classes over a 
period of several semesters." 

"How Tissue Slides Are Prepared" 

"'Prepared' microscope slides are used even in the 
most elementary courses in biology. But there are few 
students even in college courses in general biology who 
have an adequate tmderstanding of the relationship be- 
tween the 'prepared' slide they see under the micro- 
scope and the organism from which the material on 
it came. Moreover, such students have but little appre- 
ciation of what goes into the making of a 'prepared' 
slide. Hence, they have a limited basis for interpreting 
what they see. Because it is so time consuming, an ade- 
quate demonstration of how slides are made is out of 
the question in any but histology classes. 

"'How Tissue Slides Are Made' has been produced 
to meet those needs. Incidentally, we have found the 



228 



Educafional Screen 



film useful in providing .information for the student 
interested in making his own slides. Indeed, it is con- 
ceivable that the film may engender such an interest." 

List of School-Made Motion Pictures 

As a special service to those readers who are inter- 
ested, Educatioxal Screen offers, upon request, a 
list of school-made motion pictures incorporating many 
of the school-made films described in the pages of the 
Screen plus the additional information gathered from 
the returns of a national questionnaire, leads from 
newspapers, educational and photography magazines, 
etc. The editor of this department wishes to thank 
those people who were kind enough to volunteer all 
information making this list possible. 
Following is a summary of the survey : 

34 states reporting in addition to the District of 
Columbia. Ohio leading with 57 schools, Texas 31, 
California 28, New York 27, Michigan 22, New Jersey 
16, Illinois 14, Wisconsin 14, Pennsylvania 13, Massa- 
chusetts 12. Connecticut 11; other states varying from 1 
to 6 producing schools. 

Total schools reporting 317 

Film titles recorded 455 

(No titles recorded for approximately 150 
other films) 
Subjects covered in titled films: 

School Activities (chiefly for records or 

public relations) 182 

Formal School Subjects (English, Science, 

Mathematics, Health Education, Art, etc.).... 159 

Safety 21 

All others, extra-curricular, etc 93 

To obtain a mimeographed copy of the list of School- 
Made Motion Pictures, write to the Service Depart- 
ment, Educational Screen, 64 E. Lake St., Chicago 
1, Illinois, and enclose 10c in stamps or coins to cover 
the cost of handling. 

3 Steps to Museum Experience 

(Continued from page 220) 

Disciplinary difficulties have a tendency to crop up on 
the way to the museum. The classroom teacher must 
realize that a desirable attitude on the part of the pupils 
must be present when they arrive at the museum if 
the lesson there is to be successful. 

A concerted effort should be made to arrive at the 
museum at the time the lesson is scheduled. The group 
should report immediately to the place where they are 
to meet their guide or where the class lesson is to 
start. With so many museum exhibits surrounding 
them, the class will soon scatter unless the lesson is 
started immediately. 

\Miile at the museum, it is important that all pupils 
be able to hear the guide. For this reason the size 
of the group should not be too large ; an average school 
class size can usually be handled satisfactorily. The 
novelty of the visit generally alleviates the ordinary 
classroom discipline situation. Time should be allotted 
for worthwhile questions. The author has found that 
pupils like to go through the exhibit with the guide 
and then enjoy some free time during which they may 
pursue special interests of their own. While at the 
museum, an alert teacher often finds a latent interest 
on the part of some class member which may help her 
with future work with that pupil. 



Care must be exercised against staying too long at 
the museum. This varies considerably with different 
groups. As a rule, the younger the child, the shorter the 
period should be. It is safe to state that after 1 ^ hours, 
not much is accomplished. One of the most painful 
ordeals to which the author was ever subjected was 
guiding a group of 57 first graders through the entire 
museum. Their teacher insisted that they look care- 
fully at each inuseum case and that the new guide tell 
them the significance of each exhibit. Before the end 
of the tour, some became so tired and uninterested they 
were ready to sleep leaning against the cases. It is well 
to remember that two average-length museum lessons 
are much more effective than one lengthy one. 

The follow-up is the part of the trip most neglected 
by teachers. By the time a teacher has made a pre- 
class visit to the museum, helped to prepare her class 
for their visit, and then accompanied them for their 
lesson, she may feel she has had enough. This is the 
time, however, to clinch the real value of the trip. Just 
because the pupils have seen an exhibit is no assurance 
that they understand what they have seen. The old 
Chinese proverb that says you see only what is in the 
back of your eyes applies to a museum lesson. Class 
discussions can be very profitably used in this follow- 
up work. Many teachers find the use of museum loan 
collections very helpful. Practically every group that 
comes to the museum to study pioneer life borrows a 
set of pioneer pictures for their follow-up lesson. 

Some pupils may wish to make a written report of 
their trip. Others will wish to use their creative ability. 
The author has seen some excellent replicas of pre- 
historic Indian pipes carved from bars of soap by 
classes who had visited those displays in the museum. 

The teacher may wish to test the class as a part of 
her evaluation of the trip. Time should be taken to 
discuss the trip and its benefits. Undesirable features 
of the trip should also be discussed to avoid these same 
pitfalls in a similar undertaking later. 

The trip may have aroused the desire for further 
study and, if so, this should be encouraged. One boy 
from a school nained McGuffey came with his class 
to study Ohio history. As the class went through 
Ohio History Hall, they were to find, among other 
things, the author of a famous set of school reading 
books. It was very stimulating to see this one boy look 
at the photograph of William McGuffey, read the label, 
glance at the set of McGuffey reading books, and then 
dash up to the guide and say, "William McGuffey wrote 
a reading book. I'll bet that is where our school got its 
name." His teacher said he had often been told of the 
origin of the school's name, but it had remained mean- 
ingless until he saw that museum display. That same 
boy later wrote and submitted to the museum guide an 
excellent biographical sketch of William McGuffey. 

A successful museum trip can be had by any class. 
Hundreds of classes visit the Ohio State Museum each 
year. While mhseum trips are not the panacea for all 
our educational ills, nevertheless an occasional, well- 
planned trip to the museum will do much to help 
boys and girls attain a well-rounded education — that 
goal toward which we are all striving. 



May, 1948 



229 



TEACHER - COMMITTEE EVALUATION 




L. C. LARSON, Editor 
Director, Audio-Visual Center 
Indiana University, Bloomington 



CAROLYN GUSS. Instructor, School of Education 

BETTY STOOPS. Film Librarian. Audio- Visual Center 

Indiana University, Bloomington 



Are You Popular? 



(Coronet Instructional Films, 65 East South Water Street, 
Chicago 1, Illinois) 10 minutes, 16mm, sound, color, $90; 
black and white, $45.00. 1947. Teachers' Guide available. 

Description of Contents: 

Through a group of typical high school students shown 
in several everyday situations, this film presents many of 
the reasons why young people are or are not well liked. 

Caroline Ames, an attractive-looking new girl, enters the 
high school cafeteria alone. She is invited to eat with a 
group of boys and girls who have just excluded from their 
table Ginny, a crude looking and acting girl who tries to 
win popularity by parking in cars with boys at night. Caro- 
line immediately shows an interest in the activities of her 
new friends and oflfers to help Wally gather props for the 
school play. 

At home, Caroline receives a telephone call from Wally, 
who in a suitably brief conversation asks her for a date the 
next Saturday, giving her a choice of two types of enter- 
tainment. She writes the engagement on her calendar. 

On Saturday Jerry calls, asking for a date that night, and 
is disappointed to find that he is too late. He ruefully de- 
cides that it is not wise to ask for a date at the last 
minute. Caroline's friend EUie says that she wishes her 
"steady" boyfriend would be more considerate about arrang- 
ing dates ahead of time and suggesting possible activities. 

When Wally arrives for his date, Caroline introduces 
him to her parents, who are friendly and invite them to 
come in for a snack after their date. Having previously 
agreed with her parents about the time she should be home, 
Caroline takes her key and leaves with Wally, who by his 




t'drnnet Instniri' 



In the film "Are You Popular?", Caroline easily makes 
friends in the school cafeteria. 



good manners and friendliness has made a favorable im- 
pression on Caroline's parents. 

Throughout the film, the narrator comments on the in- 
cidents shown and raises questions for discussion. 

Committee Appraisal: 

A subtle and skillfully-arranged presentation of many 
details which, taken together, go a long way in determining 
a person's popularity, this film should be invaluable for 
stimulating discussion, as well as for presenting informa- 
tion. It could well be used with student groups on the 
junior and senior high school levels and with parent groups 
as a basis for discussion programs of several types. Both 
Caroline and Wally present excellent examples of good 
grooming, good posture, interest in and consideration for 
others, good manners both in public and in tlie privacy of 
their homes, regard for their parents, well-modulated voices,, 
promptness, and foresight in making arrangements. The 
cast is well chosen, and the photography and sound are 
good. 

The World Is Rich 

(British Information Services. 30 Rockefeller Plaza, N'ew 
York; Brandon Films Inc., 1600 Broadway, New York) 
4,^ minutes. 16mni, sound, black and white. 1947. $100' 
less 10% educational discount. Produced by Films of Fact, 
Ltd.. for Central Office of Information. London. England. 
Description of Contents: 

The film deals with three pliases of the world pi;oblem 
of food — production, distribution, and consumption. It be- 
gins with scenes of food being produced and rich people 
eating and wasting it. Scenes of the dead and dying show 
that one out of three people in the world is threatened 
with death by hunger. In analyzing the reasons for this- 
condition, the film shows that the war was only partially 
responsible for it. Scenes of war victims, war-torn cities, 
and disrupted communication systems indicate the ravage.^ 
of food supplies. The film shows that in May, 1943, food 
experts met in Hot Springs, Virginia, to discuss the prob- 
lem and that later, in October, 1945, at Quebec, the Food 
and .'\griculture Organization was established. 

Isotypes show the trade relationships between countries- 
with a surplus food supply and countries importing food 
and indicate that in years of plenty and low prices coun- 
tries with short supplies of food should be buying for 
storage, in order to have food during years of scarcity and 
high prices. Sir John Orr, the first director of F.AO, sounds 
an optimistic note concerning the world's ability to produce 
a sufficient supply of food to feed everyone. He points out 
that we have the facts concernin,g proper fanning tech- 
niques, improved varieties of seed, pest eradication, soil 
analysis, and farm mechanization. He further points out 
that this knowledge and skill must he used to feed the 
children of this war, lest they be the fathers of the next. 
I'iorello H. LaGuardia is shown makin.g a strong appeal for 
united action in producing and assuring a world food supply. 
"The End" of the film is followed by an epilogue in which. 
Sir John Orr states that the plan will work only as govern- 
ments give it their cooperation and that governments will 



230 



Educational Screem 




British Information Services 

Fiorello LaGuardia at the FAO Copenhagen Conference, 

1946, made a strong appeal for united action in producing 

and assuring a world food supply. 

support the plan only as people insist upon it; therefore, 
the problem is one which confronts all peoples. 

Committee Appraisal: 

Paul Rotha has combined convincing and dynamic pic- 
tures, commentary, and music to create a favorable attitude 
on the part of the audience toward the importance and 
necessity of each person's supporting a world-wide plan of 
food for the entire world. The film was produced with 
the cooperation of India, China, The U. S. S. R., The 
Middle East, Europe, North .America, Africa, and .Australia, 
with footage from ISO different films. The film is narrated 
by seven voices, all of which are used effectively to create 
the mood and atmosphere of the various scenes. Contrasts 
are made vivid by placing in juxtaposition scenes of waste 
and need, as well as scenes of wealth and poverty. The 
film is highly recommended for senior high school, college, 
and adult groups interested in the problem of food. 

Arturo Toscanini 

(Burton Holmes Films. Inc., 7510 North Ashland Avenue, 
Chicago 26, Illinois) 25 minutes, 16mni, sound, black and 
white. 1944. $28.19. Produced by the Office of War In- 
formation, Overseas Branch. 

Description of Contents: 

Featuring the talents of .Arturo Toscanini, the N.B.C. 
Symphony Orchestra, Jan Peerce, and the Westminster 
Choir in the music of Giuseppe Verdi, this film was designed 
to show the desire of many talented Italians for a demo- 
cratic way of life. 

Toscanini first leads the orchestra in Verdi's Overture 
to "La Forza del Destino," with the camera showing many 
of the individual musicians. As the music continues, the 
scene shifts to the radio station control booths and equip- 
ment, and then back to the performers. 

The conductor is next shown in his American home, while 
the narrator describes his rejection of Fascism, twenty 
years before, in Europe and his constant desire to help free 
Italy from her oppressors. Other talented Italians who 
came to the United States to escape the Fascists are also 
shown at work. 

When news of Mussolini's deposition arrives, ToscanWii 
has ready his arrangement of Verdi's "Hymn of the 
Nations," originally composed to celelirate Italy's freedom 
fiom foreign domination in 1862, and later played on several 
significant occasions in Italy's history. 

The latter half of the film is devoted to the performance 
of "Hymn of the Nations," with the N.B.C. Symphony, Jan 
Peerce, and the Westnnnster Choir, on a special radio 
program. 

Committee Appraisal: 

Kxcellint nnisic skillfully and feelingly pcrfornied makes 
this film valuable for all age groups interested in the per- 



formance of classical music and for general appreciation, 
such as in school or church assembly programs on the 
intermediate grade level and above. The photography and 
sound recording are above average, with the close-ups of 
Toscanini's conducting best catching his intense belief in 
Verdi's music as it expresses Italy's love of freedom. 

Human Reproduction 

(McGraw-Hill Book Company, .i30 West 42nd Street, New 
York 18, N. Y.) 22 minutes, 16nini, sound, black and white, 
1947. $80, Produced by .Audio Productions. Instructors' 
manual available. 

Description of Contents: 

This film is one of a series of seven films correlated with 
the college textbook Healthful Living, by Dr. Harold S. Diehl. 
It presents the information concerning human reproduction 
which young parents need to know in order to answer their 
children's questions accurately. 

When a small boy asks his father where babies come 
from, why babies must have fathers, and why mothers go to the 
hospital to have their babies, the father pictures in his 
mind the information presented in the animated sequences. 

First is shown through models and animation the female 
pelvis with various views and cross-sections of the repro- 
ductive organs. The function of each organ is explained in 
relation to the others, and the complete menstrual cycle 
is shown day by day. Next are shown the male pelvis, 
with both external and internal reproductive organs in 
cross-section, the formation of spermatozoa, the path of 
spermatozoa within the female organs, and . their effect 
upon the female egg cell. The development of a foetus 
is followed in detail, and the absence of a common blood 
stream is emphasized. The final animated sequence shows 
the position of the foetus within the mother and the move- 
ment caused by muscular contractions which results in the 
birth of the baby. 

Committee Appraisal: 

This film presents vital information accurately and in 
good taste for young people on the high school and college 
levels. Many incorrect ideas about sex are dispelled and 
replaced with facts. The film's framework of the small 
boy's questions is misleading, since his questions, which 
are not actually answered, seem to raise the problem of 
giving children appropriate sex information, obviously not 
the intended function of the film. The animation and ex- 
planations are excellent. There is an accompanying 3Smm 
silent filmstrip which emphasizes points made in the motion 
picture, presents questions for discussion, and provides 
some additional material. 




McCraw-Hill Text-Film 
The film "Human Reproduction" gives clear factual in- 
formation by means of models and animated drawings. 



May, 1948 



231 



WILLIAM S. HOCKMAN. Editor, 1616 Marlowe Avenue. Lakewood 7. Ohio 



Editorials 

Is There Some Short Cut? 

CAN the church afford fihns in the $100,000 bracket? 
If certain distribution problems can be solved, 
can the volume of film usage be built up gradually to 
the place where the church can afford the "expensive" 
film? Does quality in the finished film depend only 
upon the factor of money? These are important ques- 
tions and need to be considered and discussed by those 
who decide upon policy and spend money in the fields 
of production and distribution. 

Across the country and over the years, congregations 
tend to worship in churches and listen to preachers 
which they can afford. In the long run the only films 
which the church can have are those which it can afford, 
and those who propose to produce films for the churches 
should heed this principle. 

One prospective producer of a religious film turned 
back from Hollywood because his $100,000 production 
budget was less than half enough. Now he must look 
elsewhere for a studio, raise more funds, or lay his 
plans aside. Suppose he should get together the re- 
quired $250,000, can the church afford such a film? 
At what price would the prints lease or sell? Can 
enough prints be sold or leased, present distribution 
and utilization being what they are, to recover such 
elevated production costs? Can an "angel" be found 
for this film, and then more "angels" be found for 
other films? Is this the way to finance church films? 

The $590 prints of oii| Hollywood producer have 
not found a very wide market — because the rental 
which this price requires is above the maximum that 
churches will readily pay for the use of a film. Despite 
some glaring exceptions, the church utilization of films 
is not on a semi-theatrical basis. The average church 
does not round up its entire congregation, including 
some of the community at large, to fill the church 
auditorium when a film is shown. In the average 
church — there are some exceptions — films tend to be 
used by constituent groups of the church. They are 
not "shown" to big audiences, secured through high- 
powered promotion, which will give big offering from 
which a big rental can be paid and still leave a big 
take for the exhibiting church. Up to now some busi- 
ness has been done on that basis, Hollywood spell- 
binders and some churchmen to the contrary notwith- 
standing. Future developments will not be along these 
lines. 



Rightly or wrongly, when current rentals exceed $10 
per use, the utilization of a film is slowed down seriously. 
The $16 rental of Queen Esther, Cathedral's latest and 
certainly its best film, keeps this film from securing 
the circulation its quality merits. Within any distribu- 
tion pattern compatible with educational utilization, 
production costs will determine the sale and lease price 
of prints, and the price of prints, in turn, tends to set 
the rental figure. If the rental is too high for the 
churches, where is the dealer to get money for prints, 
and if prints can't be sold or leased, how can pictures 
be made? Common sense would suggest that at the 
present time there is a definite upper limit for pro- 
duction budgets. 

To get films at a price which it can afford, the church 
may need to steer clear of the economics of Hollywood. 
It may need to seek production know-how this side of 
the False Facade. There are qualities in a religious 
film which money cannot buy. For the church to try 
to afford quarter-million dollar pictures is to walk 
around on high stilts and invite a tumble to disaster. Be- 
fore such money is invested, let those who propose to 
spend it in an enterprise of the church show how the 
church can afford, distribution and utilization being 
what they are, to use the films which they propose to 
produce. Until this can be done, the average church- 
men will expect films at a price the church can afford. 
Or is there some short cut? — WSH. 

Commendable Move 

"^TTiTiiiN a decade there may be 100,000 churches in 
"^ the United States which will be using religious 
films. These churches cannot be served by a few large 
film libraries. They will be too distant for most of their 
customers. Eventually, the country must be covered by 
thousands of local film libraries, organized and run on 
a variety of plans. Those who produce films, and those 
who distribute them, must find ways of doing business 
with these local rental libraries. The Religious Film 
Division of United World Films (445 Park Ave., N. Y. 
22) has made a move in the right direction. 

This distributor now offers prints on an outright 
sale basis, replacing the traditional system of leasing 
prints only. Sale will be subject to restrictions against 
theatrical and television use. This plan of United World 
Films will enable many small libraries to expand their 
list of titles, and will bring more films closer to the 
ultimate consumer, the local church. The closer the 
print to the user, the more the print will be used and 



232 



Educational Screen 



the more it will earn. This is a basic law in non-theatri- 
cal distribution. — WSH. 

Not Ready for This 

T TxiTED WORLD is Suggesting that local churches con- 
^-^ sider buying films, and offers a bracket of titles 
which the church might start out with. Some consider- 
ations other than quality and utility certainly must have 
governed the selection of the eleven titles listed in 
this so-called "basic church film library." With sever- 
al exceptions, they are films which would not be used 
over and over again in the average church. When print 
prices have been halved and the list of high-utility films 
vastly extended, some local churches may purchase 
prints. Not one in a thousand is ready for it now. — 
WSH. 



The Film Goes to Camp 

by CHARLES W. TYRRELL 
Audio- Visual Center, U. of Indiana 

FILMS as an antidote for homesickness the first 
night of camp; films for the study classes; films 
on campcraft ; films on sports ; films on nature ; films 
on health ; films that show how to swim, to use a bow 
and arrow, to paddle a canoe, to ride a horse — all kinds 
of films can and do go to camp when the director is on 
his toes. 

Some camps have a religious purpose. Why not use 
some of the good religious films like A^o Greater Power, 
the story of Zacchaeus; In the Steps of the Great 
Physician, the story of Dr. Willis S. Pierce and his 
great medical work at Wai, India ; the "2000 Years 
Ago" series, which presents daily life in Palestine ; It's 
the Brain That Counts, a dramatic film on alcohol and 
the best yet produced on this subject? 

Social development ought to be a camp objective. 
Such films as Johnny Learns His Manners will get a 
respectful reception by junior boys and girls and by 
intermediates if they are carefully prepared by a good 
introduction to the film. Party Lines will get over a 
lesson in considerate and thoughtful behavior. Older 
boys and girls will find .S"/!V Guy interesting and useful 
in helping them improve their social quotients. That 
well-known film. You and Your Friends, will provoke 



some self-searching thought and induce profitable group 
discussion. Another sure-fire discussion film is You 
and Your Family. Here a panel for post-film discussion 
might be composed of camp staff (adults) and campers 
so that all points of view would be maintained. 

Campers like to sing, and singing from films is fun, 
indeed. Six American favorites will be found on the 
one-reel film, Sing America. Older young people might 
enjoy the one-reel film. Songs of Stephen Foster. Jose 
Iturbi is a one-reel film presenting this well-known mas- 
ter of the keyboard. 

A "thrill" film or two can do much to tone up the 
camp morale and make the "Saturday night blues" of 
a little lighter hue. Bronco Busters, Wild Elephant 
Round-Up, White Safari, Clyde Beatty's Animal 
Thrills, Ski Flight, Catching Crocodiles, Way of the 
Wild, and many others will be enjoyed by any group 
of campers. 

In the sports category, such films as Play Voile v 
Ball, Swimming for Beginners, Diving Fundamentals, 
and others will help round out the program. 

Craft films ought to be presented in settings favor- 
able to immediate application. Suppose your camp is 
to have a group interested in leather work. After a 
brief introduction by the leader to make the group 
familiar with the new terms, tools, and general pro- 
cedure, the film, Leatherwork, could be shown. It gives 
an over-all view of how a pocketbook and a billfold are 
made. With interest aroused, and instruction given, 
materials and working facilities should be ready. 
Among the many films available are Decorative Metal 
Work, How Young America Paints, Marionettes, and 
Toys From Odds and Ends. 

Nature films will have their place in the well-run 
camp. Nature's Songsters presents the habits and songs 
of many American birds ; Realm of the Wild shows 
many of the larger animals of our great national parks 
in their natural surroundings ; Speckled Trout Across 
Canada is filled with sequences of great beauty and un- 
usual interest ; High Over Borders tells the story of the 
migratory birds — all these and many more form a long 
list from which to select. 

Eating is one of the principal and most enjoyable 
activities of any camp and such a film as What Makes 
Us Grow, designed for youthful audiences, ought to 
jnake campers relish the wholesome fare of well-bal- 



RELIGION 



SOCIAL LIFE 



SPORTS 



HEALTH 




Scenes from films which might "go to camp." Left to right: "The Synagogue" from the "2000 Years Ago" series on life in 

ancient Palestine (United World Films) ; "You and Your Friends" (Association Films) ; "Softball for Girls" (Coronet 

Instructional Films); "Bacteria — Good and Bad," a filmstrip in the Good Health Series (Young America Films). 



May, 1948 



233 



anced meals, luiiidaiiientah oj nicl could piiidi-hit 
for the above. \'ouiiger children enjoy Husky and 
Skinny, a cartoon film emphasizing the ])lace of milk 
in the diet. 

While no one would he foolish enough to over-load 
the camp program with all the above films, they do 
suggest the scope and the quantity of films available. 
Like all other elements of the camp e.xperience, the use 
of films calls for careful selection in terms of your ob- 
jective, the thorough preparation of every individual 
program, and a constructive follow-up of some kind. 
Sound educational jirocedure should not be discarded 
in the camp situation. Some staff member should be 
responsible for all film programs. His work will begin 
at least six weeks before camp opens. All orders 
should be placed early. The exact delivery address in 
complete detail should be given when films are booked. 
If possible, tell the local postal authorities that you 
will be expecting films and solicit their cooperation. 
At the camp you will need to make arrangements for 
darkouts, equipment, and assistance with projection. 

Nearly all the films referred to above will be found 
in the catalogues of Association Films, National Film 
Board of Canada, or the Religious Film Association. 
They can also be located through "1000 and One", 
The Blue Book of Non-Theatrical Films, available from 
Educatioxal Scrken for one dollar. 

Religious Films in School 

by Rev. E. H. ENGEL 
Port Clinton, Ohio 

For fourteen years and under the auspices of the 
Port Clinton- Peninsular Ministerial Association, a 
period of religious instruction has been conducted in the 
local high school for the children of Protestant affilia- 
tion. This is the first year that we have used visual 
materials for the entire period and this is our most 
successful year by far. 

Some of the advantages are : we have the same les- 
son for all junior and senior high groups ; they are all 
in one assembly ; there is practically no discipline prob- 
lem as the presence of the classroom teachers plus a 
good religious movie solves this problem; pupils like 
the movies because it breaks the classroom routine ; it 
secures the complete cooperation of the school ; and it 
brings into life and action the philosophy of religious 
teaching and action. 

Two recent films, This Road We Walk and Seeds oj 
Destiny, were seen by an audience of 550 junior and 
senior high school young people, and their response 
was excellent. A carefully-developed discussion out- 
line on each film was given to each pupil after the show- 
ing. We believe that these vivid programs have great 
social and religious value and that they make a lasting 
contribution to the mental, moral, and spiritual develop- 
ment of these young people. 

Copy for Handmade Lantern Slides 

According to G.E. Hamilton, President of Keystone 
View Company (Meadville, Pa.), one of their current 
projects is the development of copy for the making of 
handmade lantern (31/4x4) slides for use in religious 




Keystone View Co. 

LANTERN SLIDE NO. 3— THE TRAVELER 
Color Suggestions: White head covering, orange robe, red 
sash, brown staff; gray donkey; green and brown trees. 

Text: "A certain man," said Jesus, "went down from Je- 
rusalem to Jericho . . ." Here we see the certain man start- 
ing on his journey. Do you think Jesus had in mind any 
particular man when he said, "A certain man"? 

education. The first series will be on the parables, with 
a later one on the life of Christ. The copy consists of a 
series of black and white drawings which are to be 
copied onto slides and then colored according to sug- 
gestions accompanying each picture. In addition to the 
color suggestions, a biblical text and several thought- 
provoking questions are given with each picture. 

For many years the making of lantern slides by pupils 
in church, vacation, and weekday schools of religion has 
been considered by many teachers to be worthwhile 
"creative" handwork, and the copy which Keystone is 
developing should assist in making this type of activity 
more interesting and educative. The copy for the 
Good Samaritan story consists of 15 pictures of the 
quality indicated in the accompanying illustration. 
Keystone View would appreciate your advice and sug- 
gestions relative to the development of this type of 
material. 

New China Film Released 

Because the Protestant tliurches of America will 
be studying China during the year 1948-'49, churches 
and film rental libraries all over the nation will be in- 
terested in the release of the second film to be produced 
by the Protestant Film Commission (45 Astor Place, 
N.Y. 3), which bears the title of My Name Is 
Han. The film was photographed in China last summer. 

My Name Is Han is the dramatic story of the return 
of a Chinese family to their war-torn home and how the 
Christian Church helped them in their rebuilding and 
readjustments. The documentary technique is em- 
ployed, giving an effect of authenticity and at the same 
time building up a strong emotional appeal. The film is 
in black and white and .sound, and has a running time 
of 25 minutes. 

The film will be distributed through the Religious 
Film Association (address same as P.F.C.) and it will 



234 



Educafionai Screen 



lie jjiveii its world premiere in 100 cities near the middle 
of Jtme. Chnrclies and distributors interested in having 
their community he of the premiering cities should com- 
municate with W'm. L. Rogers, Director of R.F.A. 
This department expects to list and evaluate the China 
films in the September issue, and will be glad to have 
the makers and distributors of films of China send in 
their lists. 

Visual Workshop 

The First National Canadian Workshop in .\udio- 
V'isual Education will be held at McMaster University. 
Hamilton, Ontario, the five days of June 28th to July 
2nd under the auspices of the Department of Christian 
PZducation of the Canadian Council of Churches. In 
planning, faculty, and auspices this workshop is inter- 
denominational and intended for the leaders in audio- 
visual education from all parts of Canada. Miss Pearl 
Rosser, Director of Visual Education and Radio for 
the International Council of Religious Education, will 
give the theme addresses of the workshop. The Rev. 
Dr. L. C. Kitchen, in charge of field work for the theo- 
logical students of McMaster University, will be the 
director. Detailed information on courses can be se- 
cured from Room 516, 299 Queen St. W., Toronto. 

Mr. Lantz to ICRE 

The International Council of Religious Education has 
announced the coming to its staff of Rev. Donald 
R. Lantz as the Assistant Director of the Department 
of Radio and Audio-Visual Education. A graduate of 
the Evangelical Seminary at Naperville, he was a radio 
technrcian before entering the ministry. During his 
twelve years he has served a number of pastorates. His 
hobby is color photography. In the Department, headed 
b}' Miss Pearl Rosser, he will give especial attention to 
the Visual Education Fellowship. 

N.T. FUmstrip 

A 31 -frame black and white filmstrip. The Saviour Is 
Born, has been jointly announced by Foundation Films 
(Pasadena 1, Calif.) and the Society for Visual Educa- 
tion (100 E. Ohio St.. Chicago, 111.) The pictures were 
taken from the 30-minute motion picture of the same 
title. 

Useful Accessory 

While this department leaves the discussion of equip- 
ment to another section of the Screen, the Viewlex 
Company (35 Queens Blvd., L.I. City, X.Y.) has 
brought out an extremely useful device for turning room 
lights ofif and on when projectors are in use. Their 
Lite-0-.Stat automatically turns room lights off and 
on from the projector switch. The device plugs into the 
power outlet. Work lights, floor lamps, other lights, 
are plugged into one side of the device and the power 
cord to the projector is plugged into the other side. As 
soon as the projector switch is turned on, the other 
lights go off. There are two models : Model A for pro- 
jector wattage up to 750 ; Model B for projectors whose 
wattage is 750 and up. 



Correspondence 

Mr. Gilbert C. Docking, one of our .Australian readers 
(10 Wanawong Crescent, Hartwell. E.6. Melbourne, Vic- 
toria), says that he is affiliated with a small group of 
"amateur (visual aid) enthusiasts who are attempting to 
promote the use of slide films in religious education." 
They have completed a number of strips, and frequently 
demonstrate the technique of visual lessons, and would 
like to compare experiences with others having a similar 
interest in visual aids. Without doubt, this group of alert 
churchmen would appreciate literature from many Screen 
advertisers. 

James Carlin, Palestine, Texas wants to know what 
has become of the China film having the tentative title of 
I- air Wind. He wonders if the two shorts I suggested be 
made from this footage (Man and Mighty River and 
China River Girl) were ever developed. The Missions 
Council of the Congregational Christian Churches, 287 
Fourth Ave., N. Y. 10, should have the answers to these 
questions. Mr. Carlin and other interested individuals are 
directed to write to them, 

A reader, Vance D. Brown (Route No. 1, Grandview Rd., 
Oil City, Pa.) wants me to recommend the equipment 
which a church would buy under four conditions : can 
spend only $150; can spend $250; can spend $500; can 
spend "considerably more." He has my recommendations. 
How about some of our readers telling him what they 
would do in the purchase of visual equipment under the 
above four conditions? Would you, too, start him off with 
a good 300-watt slide-filmstrip projector plus a beaded 
screen for his largest room, or average largest audience? 
What would you suggest he buy with the extra $100 under 
condition No. 2? Where would a good record and tran- 
scription player enter the picture? When would you sug- 
gest he get a sound film projector? Let us spend his 
money! Send me carbons of your letters and I will pub- 
lish one or two. — WSH, 




mm 

OllR 



"PICTURE OF THE MONTH" 

HONORED by the Protestant Motion Picture 
Council's designation as "Picture of the Month" in 
the December issue of 

THE CHRISTIAN HERALD 

BEYOND OUR OWN is the film many churchmen 
are calling Picture of the Year — or of many years. 

BEYOND OUR OWN. 40 min., 16mm., sound, 3-year lease, 
$250.00 

Order yoor prlnH today! 

THE RELIGIOUS FILM ASSOCIATION 

Deparfment E, 45 Astor Place, New York 3, N. Y. 



May, 1948 



235 



The Role of the Independent Producer 

(Continued from page 221) 

with the many educators who have shared in the pio- 
neering of educational fihns, has been motivated by a 
driving personal enthusiasm — a crusading desire to 
bring something important into being, with profit a 
secondary motive. (Dnce the virus of educational films 
has infected a man, it remains permanently in his blood. 
That inner drive, that fervency, shared by visual-mind- 
ed educators and independent producers alike, has 
brought educational film from the wilderness of hope 
to the threshold of realization, where it stands today. 

Perhaps during the pioneering stages this has been 
just as well. Finding out how to make a film that helps 
to teach involves a lot more than merely a subject, a 
script, and a camera. Those tangibles are merely the 
superstructure — they must rest on the solid foundation 
of a developed philosophy, a working-out of the basic 
principles on which the new medium will be adapted 
to its new job. 

The automobile had to be developed in small back- 
room shops, pioneered by "independent producers" 
working in an atmosphere of trial and error, by which 
each car improved through the mistakes of its prede- 
cessors. It eventually required the facilities of large 
organizations with money enough to handle volume pro- 
duction and sales, before the automobile could fulfill 
its social function as a mass tool. In like manner, a 
large segment of the educational film field — not all, but 
a large part — has now been brought up to the point 
where it is ready for volume production. The volume 
production, distribution, and sales of film subjects is a 
complex problem. It requires experienced personnel, 
facilities, equipment, and capital. 

The medium of the motion picture is one of the most 
powerful means of communication — and educative 
guidance — ever put in the hands of man. The very en- 
vironmental circumstances of its exhibition — the dark- 
ened room, the single focus of attention — compel con- 
centration. By its fashioning, it can direct full atten- 
tion to the essence of any point at issue. It can dem- 
onstrate relationships between things, or between a 
thing and an idea. And, since the ear forgets but the 
eye remembers, film can imprint indelible visual images 
on that susceptible and retentive section of the youthful 
mind. 

More specifically, in the educative process, films can 
clarify and implant permanently in the mind many es- 
sential things which are difficult with traditional teach- 
ing methods. This applies particularly in the field of 
the abstract — the basic principle, the idea, the concept — 
the "why" as well as the "how". Film has the subtlety 
to encourage the building of desirable social attitudes, 
it has the intrinsic drama to motivate its audience with 
genuine interest in learning, it has the exactitude to 
demonstrate specific skills, and the scope to broaden and 
enliven the background of any subject in the curricu- 
lum. And this promise holds good, not only in subjects 
such as physics and chemistry and geology and geog- 
raphy — but in arithmetic and reading and hygiene and 
the social studies — in languages and history and civics 
and economics. 



As we noted earlier, the independent producer must 
usually consider each film he makes as a separate ad- 
venture, and he can seldom afford to concentrate his 
production on a single subject area of the curriculum. 
Instead, he must spread his risk by producing single 
films in many fields of interest. 

Random Signposts vs. Planned Route 

A result is that our present film inventory tends to 
be sporadic. Like random signposts in open fields, 
instead of in progression at highway junctions, they 
fail to pilot us along a planned route to a desired desti- 
nation. It is seldom possible to list a group of these 
films in a column, add them up, and strike a total. 

The conclusion is obvious. We need, and need 
urgently, many groups of films — groups which are 
planned and produced to add up into an integrated 
whole. In short, we need many films in series — each 
series correlated with existing teaching materials, meth- 
ods, and schedule. 

Some of these series will consist of only three to six 
films, to assist in the teaching of a single unit. Other 
series might supply one film per week for the entire 
school term on a given subject. But in every series, 
the films will be integrated with an over-all plan, with 
the effect of adding one stone to another until a com- 
plete and functioning structure is established. 

Adequately to equip the subjects now commonly 
taught in the elementary and secondary schools alone, 
we need scores, perhaps hundreds, of series. The three 
series of film on which my staff is now engaged have 
been planned to implement the teaching of geography 
just- for the elementary grades. 

Nevertheless, their production is possible only be- 
cause of the financial backing of one far-sighted major 
producer. The budget for the series runs into seven 
figures. Despite the size of the investment, these three 
series barely scratch the surface of the total need. 
Hence, when one multiplies this single budget by the 
large number of series which should be made, the func- 
tion of the major producer in the field of educational 
film becomes very apparent. 

Hollywood's Obligation 

The obligation of the major producers is clear and 
inescapable. And it is an obligation. There is a grow- 
ing realization among the businessmen and industrialists 
of this country, and a very healthy one, that a success- 
ful enterprise should seriously consider returning part 
of its profits to the public which contributed them. We 
are seeing more and more evidence of this philosophy — 
in the many excellent sustaining programs on radio, 
in the research projects of industries, in scholarship 
funds, in the many foundations created by individuals 
who have prospered. 

If this same obligation were acknowledged and rec- 
ognized by the major motion picture producers, one 
logical fulfillment would be the creation and production, 
in volume, of the urgently needed series-type of edu- 
cational film. 

The producer of Hollywood entertainment films is 
not accustomed to waiting a long time to have his in- 
vestment returned. A successful screen play frequently 



236 



Educational Screen 



pays all its costs and returns a fine profit within a few 
months after release to theatres. The educational film 
holds out no opportunity for quick or easy profit. 

But if during the past decade Hollywood had been 
willing to risk as much money helping develop class- 
room films as it spent last year on just two dubious 
attractions, Forever Amber and Duel in the Sun, the 
educational motion picture would be, I believe, an es- 
tablished and thriving adjunct of the motion picture in- 
dustry today. 

Hollywood must be willing to accept the challenge 
of present-day educators and great teachers. It must 
have faith in its own medium and recognize that the 
talking motion picture can serve man in fields other 
than pure entertainment. Hollywood must join with 
educators and meet the challenge of young people eager 
to learn and more clearly understand the world and 
all its people, their manner of living, their problems, 
and their aspirations. Only by such understanding will 
the youth of today be equipped to take their proper 
places in the world of tomorrow. 

It is to the major film producers, and their stockhold- 
ers and bankers, that the independent producer must 
turn for the finances necessary to execute successfully 
his important program. 

The lack of adequate film, however, is not the only 
obstacle to the full utilization of educational film. About 
other obstacles, the motion picture industry can do 
nothing. To reach the desired goal as quickly as pos- 
sible, tii<o campaigns must go forward side by side. 
The major motion picture studios must begin to spon- 



sor and provide the money to make the series-type of 
films in the needed volume. But the rest of us — as 
educators, school-board members, legislators, and in- 
dividual members of the body politic — must fulfill our 
obligation. We must help provide sufficient projection 
equipment — establish separate and adequate visual-ed- 
ucation budgets in our schools — work toward the early 
establishment of local film libraries in school systems — 
improve the methodology on which the successful utili- 
zation of film depends — and ensure that this science is 
communicated to all teachers. 

To conclude, I hope I have not given the impression 
that the function of the independent film producer has 
now been fulfilled and that the major producer should 
take over the entire educational field. No greater mis- 
take could be made. 

At this early stage of the medium, no one of us 
knows very much about how to teach with film. We 
are going to gradually improve our understanding 
through trial and error — by doing the best we can with 
each film, and profiting by our experience. The in- 
pendent producer of educational films must continue 
to lead the way to constantly improve the techniques — 
and, by so doing, supply the competitive spur which 
will keep the standards of the whole field in constant 
forward motion. 

In a job which deals, in essence, with human hearts 
and minds, there is not now, and never will be, any 
substitute for that self-dedication to a goal called fer- 
vency. And that, I think, is the essential contribution 
of the independent producer today and tomorrow. 



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237 



Summer Courses in Audio-Visual Education, 1948-Part II 



The following courses have been reported to date^ Title, number of course, dates of summer 
session and name of instructor are given insofar as data -were provided. Figures in parentheses 
show credits (semester if quarter is not indicated). An additional list will appear in June. 



Arizona 

State Collct/r. Tempe July 12-Aug. 14 

Audio-Visual Aids. Ed. 233g (2) 
Production of Audio-Visual Aids, Ed. 237g (2) 
Administration of Audio-Visual Aids, Ed. 239g (2) 
Workshop in Curriculum, Ed. 350 (6) June 7-July 12 

J. A. Benedict and Staff 
University of Arisona, Tucson June 7- July 10 

Visual and .Auditory Aids in Teaching, Ed. 117s (2) 

Emil L. Larson 



June 7-July 10 
Nixon 



Arkansas 

State Teachers College, Conway 
N'isual Education, Ed. 333 (3) 

California 

College of the Pacific. Stockton June 22-July 23 

Introduction to Audio-Visual Methods, 5190 (2) Noel 

Audio-Visual Methods in Teaching, S191 (2) Lindhorst 

Organization and Administration of the Audio-Visual Pro- 
gram, S290 (2) Noel 
Radio Workshop, S180 (2) Crabbe 
Workshop in Educational Radio, S215 (4) Crabbe 

July 26-Aug. 27 
Introduction to Audio-Visual Methods, S190 (2) Stevens 

Radio Workshop, SI 80 (2) Ramsey 

Radio as a Social Influence, S192 (2) Ramsey 

Dominican College of San Rafael, San Rafael June 29-Aug. 7 
Audio- Visual Aids to Instruction (2) Sister M. Richard 

Fresno State College, Fresno June 14-July 23 

Audio-Visual Education for Elementary Grades, 1093 (2) 

Skelly 
Audio- Visual Education for Secondary Grades, 109b (2) 

Skelly 

Immaculate Heart College, Los Angeles July 6-Aug. 7 

Audio-Visual Education, 107 (2) Sister M. Dorothea 

Occidental College. Los Angeles June 21 -July 30 

Materials and Methods in Audio- Visual Instruction, S162 (2) 

Charles N. Butt 

Visual Materials Other Than the Motion Picture, S163 (2) 

Margaret Divizia, Charles N. Butt 

Radio and Recordings in Education, S165 (2) Nancy Holme 

.S./M Diego State College,, 'Sm Diego June 21-July 30 

Audio- Visual Business Education, Ed. 174BE-S (3) 

' E. Dana Gibson 

Audio-\'isual Education. Ed. 174S (3), also Aug. 2-20 

Fred Hareleroad 

San I-rancisco State College, San Francisco June 28-Aug. 6 

Visual Education, Ed. 152 (3) Robert Meade 

Elementary Workshop, Ed. 370M (3-6) Robert Meade 

University of Redlands. Redlands June 14-July 23 

Audio-Visual Education, 189 (2) Fred J. Sales 

Audio-Visual Workshop (2) July 26-Aug. 7 

University of Southern California, Los Angeles June, 21 -July 31 

The Audio Visual Coordinator and Supervisor Gorow 

Research Staff 

Radio Workshop for Teachers (6 units), in cooperation with 

Radio Dept. ," 

(See April issue for additional listings) 
Whitlier College. Whittier Aug. 2-Aug. 27 

Audio- Visual-Radio Education. Ed. 147 (2) Philip Perdew 

Colorado 

Colorado A & M College, Fort Collins June 21-July 16 

Visual Education, V.Ed. 121 (3 (|r.) Minteer 



University of Denver, Denver June 21-July 23 

Survey of .\udio-Visual Aids, 11-336 (5 qr.) Kauffman 

Western Slate College of Colorado, Gunnison June 21-Aug. 6 
•Audio-Visual Education, Ed. \23-223 (3 qr.) Greta Stack 

Florida 

John B. Stetson University, Deland June 14-Aug. 20 

Materials and Methods of Audio-Visual Education, En 333 

(5 qr.) , Andrew C. Preston 

Illinois 

University of Illinois, Urbana June 23-Aug. 14 

Audio-Visual Materials and Problems, Ed. S72 (2) 

L. V. Peterson 

Indiana 

Butler Uni'tcrsitv, Indianapolis June 14-Aug. 5 

Visual Education, S488 (3) P. W. Holaday 

Purdue University, LaFayette June 18-Aug. 14 

Audio-Visual Aids for Teachers, Ed. 101 (3) 

Robert Stollberg 

Slate Teachers College, Terre Haute 2 Terms 

Materials and Methods in Audio-Visual Education, 3-514 

(4 qr.) June 21-July 23 

V. L. Tatlock 
Motion Pictures in Education. 4-542 (4 qr.) July 26-Aug. 27 

R. McDougal 
University of Notre Dame, Notre Dame 
Survey Course in Audio- Visual Aids, Ed. 123s (3) 

Orville R. Foster 
Administration of Audio-Visual -Aids, Eld. 244s (3) 

Orville R. Foster 

Iowa 

Drake University, Des Moines June 7-July 19 

July 19-Aug. 20 

Audio-Visual Materials in Education, Ed. 108 (3), both 

terms J. J. McPherson 

Advanced Audio- Visual Education, Ed. 170 (3), second term 

J. J. McPherson 

State College, Ames June 14-July 21 

Audio- Visual Methods in ' Education, Voc. Ed. 550 (3 qr.) 

Kooser, Litherland 
State University, Iowa City June 9-Aug. 4 

Introduction to Audio- Visual Teaching Aids, 7:125 (2-3) 

James B. Stroud and Staff 
.Advanced Audio-Visual Problems. 7:225 (cr. arr.) Staff 
Audio-Visual Workshop, July 26-30 (1) Staff 

Kansas 

State College of Agriculture and Applied Science, Manhattan 

July 19-Aug. 7 
Audio- Visual .Aids in Instruction. 3-Week Workshop (2) 

Eric Tebow and visiting specialists 

Siate Teachers College, Emporia June 1-July 30 

Visual Education, 60 (2) W. Cram and W. Overholt 

Stale Teachers College. Pittsburg June 1-July 30 

Visual Education (3-5) Caldwell 

University of Kansas, Lawrence " June 14-Aug. 7 

Visual Education in Elementary and Secondary Schools, 

A-158 (2) Fred S. Montgomery 

Special Problems in Visual Instruction (Workshop) 277 (4) 

••' ' F'red S. Montgomery 



238 



Educafional Screen 



Kentucky 

Eastern Kentucky State Teachers Collecie, Richnioiicl 

June 7-July 14 
Audio-Visual Kducatiou. 1 (4 qr.) Anna A. Schnieb 

.1/ A. University, Charlotte June 7- July 13 

Audio-Visual Methods of Teaching. F"d. SS457 (3) 

Harold Dotson 

Louisiana 

Southwestern Louisiana Institute, Lafayette June 16-Aug. 11 
Audio- Visual Kducation, 390 (3) G. A. Zernott 

Maryland 

Morgan State Collcf/e, Baltimore Jul> 15-Aug. 8 

Visual Education in Intermediate Grades, 360 (2) 

Pearl Wilson 

Massachusetts 

Boston University. Boston July 12-Aug. 21 

Use and Teaching of Visual Aids in Education, E.Vis-lOlA 
(2) E. Carleton Moore 

Use and Teaching of Motion Pictures in Education, E.Vis- 
lOlB (2) E. Carleton Moore 

Visual Education Management, E.Vis-102 (2) Syer 

Michigan 

Central Michigan College of Education, Mt. Pleasant 

June 21 -July 30 
Visual Education, 319 (2) 
Seminar in Audio- Visual Education, 408 (3) 

(Both given by Verne Stockman) 

Kalamazoo College, Kalamazoo June 28-Aug. 6 

Audio- Visual Aids, B133 (2) Mills 

Michigan State College, East Lansing June 22-July30 

Aids to Learning, Ed. 430 (3 qr.) Carl Dalyryniple 

University of Michigan, Ann Arbor June 21-JuIy 30 

Audio-Visual Methods in Education. Ed. B-133 (2) 

Lemler, Hansen 
Seminar in Audio- Visual Methods, Ed. B-233 (2) Lemler 
Visual Education in Museums, Museum Science 170s (2) 

Reimann 
Special Problems in Museum Methods, Museum Science 205 

Reimann 

Minnesota 

St. Cloud State Teachers College, St. Cloud June 7-July 16 

Visual Education, 368 (4 qr.) W. E. Burdette, Jr. 

State Teachers College. Duluth June 14-July 23 

Audio- Visual Aids in Teaching, Ed. CI66 (3 qr.) W. Porter 

Uniz'ersity of .Minnesota. Minneapolis June 14-July 23 

Visual .Aids in Teaching, Ed. C. L 105 (3) Luce 

Julv 26-Aug. 27 

• Visual Aids in Teaching, Ed. C. L 105 (3) Wendt 

Coordinating a Visual Education Program, Ed. C. L 106 

(3) Wendt 

Problems in Visual Education, Ed. C. L 205 (cr. arr.) 

Wendt 

IVinona State Teachers College, Winona June 14-July 23 

Visual Aids, 370 (4 qr.) M. R. Raymond 



Mississippi 

lilue .Mountain College. Blue Mountain 

X'isual Education, 240 (3) 
Mississif't'i .'southern College, Hattiesburg 



June 2- July 8 
W^ H. Cochran 
June 3-Aug. 18 



Audio-Visual Education, Ed. 116 (4 qr.) C. L. McQuagge 

Missouri 

Central .Missouri State Teachers College, Warrensburg 

June 2-.'\ug. 5 
General .Audio-Visual Education, 59 (2) H. F. Baltz 

Visual Education, 174 (2) H. F". Baltz 



Northeast Missouri State Teachers College. Kirksville 

Problems of Audio- Visual Education (1) Feli.x Rothschild 

Northu'est Missouri State Teachers College. Maryvillc 

June l-.Aug. 6 
Audio- Visual Aids, Ed. 172 (10) E. W. Brown 

Washington University, St. Louis June 14-July 24 

.Audio- Visual Instruction, 358 (3) Alma B. Rogers 



Montana 

Eastern State Normal School, Billings 
.Audio- Visual Education (3 qr. ) 
Workshop in Visual F^ducation 

Montana State College. Bozeman 

Visual Education Workshop, 423 ( 1 qr. 

Montana State University, Missoula 
Use of Audio-Visual Instruction .Aids, 

State Normal College, Dillon 

.Audio-Visual Education. lOo (4 qr. ) 



June 14-Aug. 12 

Richard Mitchell 

June 21-25 

June 16-23 

) Walter Wittich 

June 14-July 23 

Ed. S145 (3 qr.) 

Harold D. Fleming 

June 9-.Aug. 13 

Elena Sleipcevich 



Nebraska 

Concordia 1 eachers College. Seward July 12-16 

Workshop in Audio-\"isual .Aids, (1) (especially for religious 

education ) Schlake, Braudhoist 

Hastings College. Hastings June 2-July 30 

Audio-Visual instruction included as part of a full summer 

session course. 
Peru State Teachers College. Peru May 31-July 30 

Classroom Management for Eleni. Teachers, 204 (3) 

S. L. Clements 

Classroom Management for Sec. Teachers, 304 (3) 

L. B. Mathews 

(Audio- Visual instruction given as 1 hour of above courses) 
University of Nebraska. Lincoln June 8-July 36 

Organization and Administration of Audio-Visual Aids, Ed. 

259 (3) James Taylor 

University of Omaha, Omaha June 14-July 10 

Audio-Visual Education, Ed. 400.\ (3) Connors 

Nevada 

University of Nevada, Reno June 12-July 16 

Audio-Visual Aids in Education (2) Louise Brown 

New Hampshire 

University of New Hampshire, Durham June 28-.Aug. 6 

Audio- Visual Education in the Elementary and Secondary 
Schools, Ed. 63 (3) Austin L. OIney 



New Jersey 

College of St. Elizabeth. Convent Station 

Audio-Visual Education, 1 (3) 
Glassboro State Teachers College, Glassboro 

Visual and Auditory .Aids in Teaching (2) 
Rutgers University, New Brunswick 

Visual Education, H161 (3) 
State Teachers College, Montclair 

Workshop in .Audio-Visual .Aids, Ed. 408 
State Teachers College. Newark 

Visual Aids in Education, Ed. 302 (2) 



July 19-Aug. 23 

John O'Meara 

June 21 -Aug. 20 

Ainia Ganetson 

July 8-Aug. 13 

Paul Novello 

lune 30-.Aug, 13 

(2) Paul J. Ritter 

July 1-Aug. 14 

E. Schofield 



June 7-July 30 



New Mexico 

Eastern Neiv Me.vico College. Portales 
Visual Education, 461 (2) 

New Mexico Highlands University, Las Vegas June 1-Aug. 13 
Audio-Visual .Aids in Education (3 qr. ) 
Visual-Sensory .Aids in Rural Schools (3 qr.) 

University of Neic Me.vico. .Albuquerque June 11-Aug. 7 

Use of .Audio-Visual .Aids in Teaching, 1 10s (2 qr.) 

B. M. Crawford 

New York 

Cornell Uni-versity. Ithaca July 12-July 31 

Photographic and Other Visual .Aid.s. 5 (I'A) 

Donald P. Bennett 

(Continued on next page) 



May. 1948 



239 



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New York — Continued 

A'Vic I'ork State College jor Teachers, Buffalo July 6-Aug. 13 
Workshop in Visual Education (3) D. Paul Smay 

State Teachers Collecic, Cortland July 6-Aug. 13 

Care and Use of Audio- Visual Materials, Ed. 602 (3) 

O. C. Fish 



State Teachers College. Fredonia 
Audio- Visual Education 



June 28-Aug. 6 
H. M. Mackie 



Syracuse University, Syracuse July 5-Aug. 14 

( The listings below are repeated from the April issue to 

incorporate changes and additions.) 

Methods and Materials of Audio-Visual Instruction, A-V 

Ed. 112 (3) Paul C. Reed 

Production of Audio- Visual Instruction Materials, A-V Ed. 

114 (3) Brown, Crooni 

Administration and Supervision of Audio-Visual Instruction, 

A-V Ed. 214 (3) J. W. Brown 

Writing the Educational Radio Program, A-V Ed. 188 (3) 

Foster 
Producing the Educational Radio Program. A-V Ed. 189 (3) 

Foster 
Modern Tools for Modern Teaching (July 19-24), special 
conference sponsored by Radio Workshop and the Audio- 
Visual Service. 

Uiiirersity of Buffalo, Buffalo July 6-Aug. 14 

Audio-Visual Methods in Teaching (2) Alan Nicol 

Selected Problems in Audio- Visual Education (2) Alan Nicol 
Audio- Visual Education Institute July 20-22 

North Carolina 

Cala'i^'ba College, Salisbury July 5-JuIy 16 

Workshop in Audio-Visual Aids (2) B. A. Wentz 

Lenoir-Rhyne College. Hickory June 7-July 14 

Audio-Visual Education, 19 (3) G. R. Patterson 

North Carolina State College, Raleigh June 21-July 30 

Visual Aids, Ed. 308 (2, 3 qr.) L. O. Armstrong 

Uniz'crsity of N. C-, Chapel Hill June 10-July 20, 

July 21-Aug. 28 
Audio- Visual Instruction — Techniques and Materials, 135 (3 
qr.) Charles Milner 

Western Carolina Teachers College, Cullowhee June 7-July 16 
Audio-Visual Education (3 qr.) W. B. Harrill, Neill Scott 

Woman's College of the University of N. C, Greensboro 

June 2-18, June 21-July 2 
Audio-Visual Education, 662a (2) Glisson 

Visual Education in Home Economics, S607 (2), 
June 7-July 16 Kchoe 



June 7-July 31 
F. E. Tipton 

June 7-July 30 
E. R. Manning 

June 7-July 30 
H. O. Pcarce 



North Dakota 

State Teachers College, Dickinson 
Visual Education. Ed. 310 

State Teachers College. Minot 
Audio- Visual Education, 258 (4 qr.) 

State Teachers College, Valley City 
Visual Aids in Teaching (3 qr.) 
Visual Aids Clinic (July 12-16) 

Ohio 

Kent State University, Kent June 21-July 30 

Use of Visual -Aids in Instruction, 337 (3 qr.) 

George H. Cooke 

Miami University. Oxford July 26-Aug. 27 

Audio-Visual Instruction (3) Jack Neill 

June 14-July 23 
Karl Evers 

University of Cincinnati. Cincinnati June 7-18 

Audio-Visual Aids to Instruction, Ed. sl92.2L (2) 

Norman Woelfel 

Youngstoim College, Youngstovvn June 14-July 17 

Audio-Visual Education, 330 (2) John F. Walter 



Sisters' College of Cleveland, Cleveland 
Audio-Visual Education, 1 (2) 



240 



Educational Screen 



Oklahoma 

Central Stale College, Edmoiid 
Audio-Visual Education, 3163 (3) 

East Central State College, Ada 
Audio-Visual Education, 3163 (3) 

Oklahoma A & M College, Stillwater 
Elementary Pliotography, AEP 203 
Visual Education, AEP 303 
School Value of Radio, AEP 401 
Audio-Visual Work Shop, AEP 510 



May 31-July 29 
Nadine Campsey 

May 31-July 29 
J. W. Zimmerman 

June 5-July 31 

Ferguson 

Muerman 

Jones 

Fitzgerald 



Oregon 

Eastern Oregon College of Education, La Grande 

June 14-July 22 
Audio- Visual Aids, Ed. 435 (3 qr.) R. E. Badgley 

Audio- Visual Aids Workshop (Aug. 16-Aug. 27) 

Oregon State College, Corvallis June 15-JuIy 23 

July 24-Aug. 27 

Construction and Use of Visual Education, Ed. 431 (3 qr.), 

1st SS. Eby 

Organization and Supervision of Visual Instruction, Ed. 531s 

(3 qr.) 1st SS Eby 

Correlation of Radio Recordings with Visual Aids, Ed. 533s 

(3 qr.) Eby 

Field Trip (ma.x. 9 qr.) 

Southern Oregon College of Education, Ashland 

June 14-July 22 
.Audio-Visual Aids in Education, 435 (3 qr.) Joseph LaCIair 
Photography, Ph. 261 (3 qr.) Joseph LaClair 

Wayne W. Wells 

University of Oregon, Eugene June 14-July 24 

July 26- Aug. 28 
Audio- Visual Aids in Education, Ed. 435 (3 qr.) 

Anio deBernardis 

Pennsylvania 

Albright College, Reading June 14-July 23 

Visual and Other Sensory Aids in Teaching, Ed. 15 (3) 

V. C. Zener 

Beaver College, Jenkintown 
Visual Education. 228S (2) 

Bucknell University, Lewisburg 
Visual Education, Ed. 258 (2 or 3) 

Carnegie Inst, of Technology, Pittsburgh 
Visual and Sensory Techniques in Teaching, C-533 (3) 

D. C. Shaw 

College Miscricordia, Dallas June 21-Aug. 2 

Visual Aids and Sensory Techniques (3) 

Sister M. Immaculata 

Dnquesne University, Pittsburgh 
Sensory Aids, 410 (2 qr.) 

Genez'a College, Beaver Falls 
Visual Education, Ed. 360 (3) 

Grove City College, Grove City 
Visual-Sensory Education, 44 (3) 

Lehigh University, Bethlehem 

Audio-Visual Instruction, Ed. 190 (3) 

Maryzt'ood College, Scranton 

Audio- Visual Aids to Learning, i27 (3 qr.) 

Pennsylvania Slate College, State College 
Audio-Visual and Sensory Aids in Teaching Ag., Ag. Ed. 
420v (3) D. R. McClay 

Visual and Sensory Aids in Education, Ed. 424 (3) 

A. W. VanderMeer 
Motion Pictures in Education, Ed. 487B (2) Aug. 9-20 

A. W. VanderMeer 

State Teachers College, Bloomsburg June 28-Aug. 6 

N'isual Education (1) H. H. Russell 

(Additional listings zcitl appear next month) 



June 21-July 30 
John E. Dugan 

June 21-July 30 
Roy Tasker 

July 2- Aug. 14 



June 28-Aug. 6 
M. V. Ference 

June 7-JuIy 7 
John S. Mclsaac 

June 14-Aug. 13 
R. G. Walters 

July 1-Aug. 14 
R. A. Houseman 

Begins June 26 
Sister M. Sylvia 

June 28-Aug. 7 




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DA VI National Executive 
Committee Meeting 

As Reported by VERNON DAMERON 

A MEETING of the National E.xecutive Committee 
of the NEA Department of Audio-Visual Instruc- 
tion was held in Atlantic City, February 22. The fol- 
lowing officers and national delegates were present : 
Stephen M. Corey, University of Chicago, President ; 
F. Dean McClusky, University of California (Los 
Angeles). First Vice President; Vernon Dameron, 
National Education ,\ssociation, Executive Secretary ; 
Thurman White, Film Council of America; Grace 
Fisher Ramsey. American Museum of Natural History ; 
E. Winifred Crawford. Montclair (N. J.) Public 
Schools ; Irene F. Cypher. New York University ; 
Walter A. Wittich, University of Wisconsin. President 
Corey presided. 

SUMMARY 

Preliminary Planning for DAVI Summer Meeting. The 
summer meeting will be held in Cleveland during tlie meet- 
ing of the NE.\ Representative Assembly, Only one day, 
July 5, will be set aside for meetings of NEA Departments. 
Since about 80% of those in attendance will be teacliers. 
it was recommended that the DAVI meeting be of the 
informational type, designed to be of guidance to teachers. 

A question was raised as to whether it might not be 
desirable to amend the Constitution to designate the winter 
meeting of DAVI as the official annual meeting. Willard 
E. Givens, E.xecutive Secretary of the NE.A. stated that 
the change could be made. It was learned that the AASA 
will hold regional meetings next j-ear, since no city can pro- 
vide adequate accommodations for a national meeting. Be- 
cause of limited facilities, accommodations cannot be 
provided for meetings of XE.A departments at the .AAS.'K 
regional conferences. 

Regarding the Cleveland meeting, it was agreed that the 
Conference Committee should consider planning the meeting 
to provide guidance to teachers of various subject-matter 
fields at various levels of education. It was proposed that 
six sessions be scheduled: arithmetic, social studies, English, 
science, reading, and community relations, the first three 
sessions to be held concurrently during the morning and 
the last three sessions during the afternoon. It was sug- 
gested that 2y2 hours might be devoted to each of the six 
sessions, with approximately one-half of each session de- 
voted to a demonstration of the use of audio-visual materials 
and one-half devoted to discussion of the demonstrations and 
problems of the teachers, including some individual con- 
sultation. The business meeting could be scheduled to follow 
the afternoon sessions. 

Affiliation of Divisional Organizations. .\ resume of the 
development of plans tor the afiiliation of divisional organ- 
izations was presented. Of all the alternative proposals for 
the constituency of divisional organizations, the proposal 
for the affiliation of the audio-visual organizations of the 
state education associations had gained most favor 

Disposition of Funds in the Treasuries of the Former Ten 
Zonal Organizations. It was decided that the funds remain- 
ing in the treasuries of the former zones should be allocated 
equally to the divisional organizations which will have been 
established before July 1948. 

Publications Projects. Requests for publication of a |)rin- 
cipal's audio-visual handbook and an annotated bil)liograpliy 
of audio-visual literature were discussed. It was directed 
that these proposals be referred to the general Publications 
Committee (to t)e appointed by President Corey) with the 
request that the proposed publication of the annotated bibli- 
ography in cooperation with the Consumer Edueat on Study 
of the Xational .\ssoi''at-on of .Secondary School Princi|ials 



242 



Educafional Screen 



receive first-priority consideration. It was proposed that the 
DA VI Publications Committee and Educational Screen, the 
DAVI official publication, work in close cooperation on 
matters of policy and procedure. 

Film Appraisals. A proposal was made to hold a confer- 
ence in cooperation with EFLA, FC.^, and leading pub- 
lishers of appraisals for the purpose of agreeing upon stand- 
ards and criteria of film appraisals. It was felt, however, that 
more could be accomplished on the activities now under way 
before assuming additional responsibilities. 



The Literature in Visual Instruction 

(Continued from page 227) 

ILLUSTRATIVE MATERIALS 

• Children's Preferences for Illustrative Materials — Morton 
S. Maltcr, Britannica Jr. Journal of Educational Research, 
41:378. Jan. 1948. 

-\n analysis of 8 earlier studies of children's preferences 
tor illustrative materials. In some of the studies, the chil- 
<lren were asked to state their preferences for illustrations 
containing a variety of subject matter; in others, children 
were asked to state their preferences for illustrations con- 
taining similar subject matter, but differing in style or color. 

The article should be consulted for further details about 
each of the studies, but the conclusions of the author may 
be summarized as follows: a) children preferred colored pic- 
tures over those in black and white; b) they are interested 
in a variety of things; c) they did not like silhouettes; and 
<1) their preferences are subject to change. 

"Children's preferences", the author points out in con- 
clusion, are but one of several factors that must be con- 
sidered in selecting illustrations; also to be considered are 
cither needs of the children; societal demands; and expert 
opinion. 

STATUS OF THE FIELD 

• The Screen as Teacher — William l.cwiii. Indiana Teacher, 
92:154. January. 1948. (Repriiued from the Saturday 
Kdne'ii' of Literature.) 

.\\\ excellent resume of the audio-visual field, written for 
the layman, but containing facts that should impress also 
those who have been close to its progress. All important 
organizations and commercial producers are described in 
their relation to the whole. It is significant to read that trhe 
liroducers of motion picture projection equipment have 
earned many millions of dollars and are now working at full 
production speed; yet the producers of educational films — 
which are essential in using the projectors — cannot hope to 
make ends meet and must be subsidized. Worth reading 
and passing along. 

SOURCES OF INFORMATION 

• Audio- Visual Committees, Department of Secondary 
Teachers, N.E.A. — Audio-l'isual (iiiide. 14: no. 5, p. 16-22, 
January, 1948. 

Partial list of the members of 10 committees which consist 
-of teachers in intermediate schools, junior high, senior high, 
junior colleges and colleges. The subject areas represented in 
these committees include : general methodologies, connnercial 
subjects, language art, mathematics, music, science, scx'ial 
science, etc. 

• Directory of Companies Engaged in the Production of 
Motion Pictures and Slide Films — prepared by J. K. 
Brulatour, Inc. for Eastman Kodak Co., Sales Division, 
Rochester, X.Y. January, 1948. 

A handy compilation, which appears to be uni(|ue and up-to- 
date. Producers include industrial, commercial and e.lucational. 
Information for each is limited to address and whether or 
not they produce 35mm films, 16nim films or slidefilms. 

• Audio- Visual Awards — Aiidio-t'isual Guide. 14:16. I-'eb., 
1948. 

A partial list of awards to be made in October, 1948 to 
schools that will serve as demonstration centers for the 
advancement of audio-visual methods in teaching, under 
the direction of the Dept. of Secondary Teachers of tlie 
N.E.-A., William Lewin, chairman of the Committee. 



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243 



A SOUl\D POLICY for SCHOOLS 

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Visual Education Plus a Vacation 

Western Illinois State College, Macomb, Illinois, has 
planned a visual-education field study program for the 
summer of 1948 featuring two tours : a 4-day trip to the 
Lincoln country ( Illinois, Indiana, Kentucky) and a 
2-week trip to Washington, D. C. In addition to the 
classroom work, students will be expected to take part 
in managing the tours while en route. The trips will be 
recorded on 2 x 2 slides and on color motion-picture film, 
both to be available to students for use with their classes 
or in their communities. For details about the course 
work, write D. L. Bailey, Head of the Rural Education 
Dept., Western Illinois State College, Macomb, 111. Ad- 
dress all correspondence relative to trip reservations to 
Alvin B. Roberts, Gilson, Illinois. 

Another variety of vacation plus visual education is 
being offered by the General Extension Division of the 
Oregon State System of Higher Education. A work- 
shop in the preparation, administration, and use of 
audio-visual materials will combine two weeks of recre- 
ation and work at Oregon State College's Marine 
Biology Institute near Coos Bay on the Oregon Coast 
— an ideal vacation spot. Address all inquiries to Dr. 
Curtis Reid, Head, Dept. of Visual Instruction, Oregon 
State System of Higher Education, Corvallis, Oregon. 

Report on the Nebraska Project 

The Nebraska Project, now in its second year, was 
undertaken to discover the value of carefully selected 
educational motion pictures in rural high schools. Of 
Nebraska's 500 high schools, the vast majority are in 
rural communities, many of them with fewer than 100 
students, and from three to five instructors. 

The Project is financed by administrative grants from 
the Carnegie Corporation of New York and from funds 
of Teaching Film Custodians, a non-profit affiliate of 
the Motion Picture Association of America. The film 
program is under the joint auspices of the University 
of Nebraska, the State Department of Public Instruc- 
tion, the State Vocational Board, and the four state- 
supported teacher-training institutions at Chadron, 
Kearney, Peru and Wayne, Nebraska. 

Speaking recently before the Women's Division of 
the Chamber of Commerce at Omaha, Roger Albright, 
Director of the Educational Services of the Motion 
Picture Association, said the project has shown a 
"great measure of success and has justified the faith 
placed in it." He said reports indicate that (1) stu- 
dents are acquiring a greater wealth of learning than 
those in comparable groups not able to use the film 
materials; (2) additional "enrichment" courses can be 
made available to film-using student groups because of 
their wider understanding of classroom subjects ; and 
(3) general conditions of interest, discipline and initia- 
tive have developed to a greater degree in film-using 
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244 



Educational Screen 



A-V Conference in Connecticut 

The Fairfield School System, Fairfield, Connecticut, 
was host recently to a very successful conference and 
exhibit of the Connecticut Audio-Visual Education As- 
sociation, according to Charles E. Luminati, Director. 
The morning session was devoted to explanations and 
demonstrations by classroom teachers of how they use 
different audio-visual materials. Subjects included: 
Use of Audio-Visual Aids in Geometry, Use of the Mi- 
cro- projector. Use of the Opaque Projector in Art Ap- 
preciation, Use of Teacher-made Slides in Elementary 
Arithmetic, Use of the Radio Transcription, Use of the 
Field Trip, Use of the Camera, Work of the School 
Audio-Visual Coordinator, Use of Teacher-made Slides 
in Social Studies, Use of the Opaque Projector in Read- 
ing Readiness, Use of Teacher-made Slides and Related 
Aids, Use of the Diorama, and Use of the School 
Broadcast. 

During the afternoon session, Joseph T. Nerden, 
Audio-Visual Consultant of the State Department of 
Education, Hartford, Connecticut, summarized the re- 
sults of the morning session, with observations on the 
outlook for the future. 

All those who use, or who might profit from the use 
of, audio-visual materials were invited to the confer- 
ence : school people, church leaders, librarians, service 
agencies, community agencies such as the Y.M.C.A., 
Y.W.C.A., Boy Scouts, Girls Scouts, etc. 

A-V Meetings 

• April 8. in Spokane, Washington, the Division of Audio- 
Visual Instruction held a combined meeting with the North- 
west Association for Supervision and Curriculum Develop- 
ment of the Pacific Northwest Guidance Association. A 
separate DAVI meeting featured a discussion of the State- 
Wide Instructional Materials Program. 

• April 10. in Hartford, Conn., a new audio-visual confer- 
ence was inaugurated. A two-session program featured 
nationally-known keynote speakers, teacher demonstrations, 
and exhibits of audio-visual equipment and materials. The 
conference was planned by representatives of the Con- 
necticut State Department of Education, Connecticut's four 
teachers' colleges, the Connecticut Audio-Visual Education 
Association, and the University of Connecticut. 

• April 16, in Brooklyn, N. Y., the New York Society for 
the Experimental Study of Education, 110 Livingston St., 
Brooklyn, held a section on the "Correlation of Audio-Visual 
Aids with Textbooks." Chairman of the section was Esther 
L. Berg; presiding chairman. Dr. W. H. Bristow, Director, 

'Division of Curriculum Research; speaker and discussion 
leader, Dr. Gordon N. Mackenzie, Professor of Education, 
Teacher's College, Head of Department Curriculum Teach- 
ing; and summarizer, Edward G. Bernard, Instructional 
Materials Program, Division of Curriculum Development. 

• May 8, at the University of Connecticut, the Connecticut 
Audio-Visual Education Association will hold its annual 
meeting concluding a series of area meetings held at Tor- 
rington, Norwalk, Greenwich, and Fairfield. 




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Dances 



Chinese folk-dancing is an art which has 
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and the Mute and Cripple are taken from her 
valuable repertoire. 

The Yao Ceremonial Prelude is a drum 
dance for marriages and funerals among the 
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May, 1948 



245 



AFDII)-VISMl.^ADE REVIEW 



-P^^^B-^fflffi- 



NAVED in Atlanta 

The NAVED Southern Regional 
Meeting, held in Atlanta recently, was 
"thoroughly successful in every way", 
according to an announcement released 
at the close of the meeting by E. E. 
"Jack" Carter of Raleigh, N, C, 
NAVED Regional Director. A total 
of 110 persons attended, including 
film library oi'crators. visual educa- 
tion dealers and salesmen from 8 
southern states. .Mso present were 
representatives of 24 film producers, 
distributors and manufacturers. The 
Southern meeting was the first of a 
series of six regional gatherings held 
by N.'WED during h^bruary and 
March. 

Topics discussed in .^tlanta included 
fair trade practices, business manage- 
ment, and methods of expanding the 
use of audio-visual materials. Don 
White, N.'WED Executive Secretary, 
made an audio-visual presentation on 
"What You Can Do About Fair 
Trade," using slides and magnetic 
tape recordings. Olson Anderson, 
NAVED President, had been scheduled 
to speak but was unable to be pres- 
ent; however, his talk was also pre- 
sented via magnetic tape. He delivered 
an inspiring talk on "Blue Sky" selling. 

The members voted to return to 
Atlanta for the 1949 NAVED South- 
ern Regional Meeting, which they de- 
cided to hold around the middle of 
January. 

SMPE Sponsors Panels 

The Midwest Section of the Society 
of Motion Picture Engineers, the Chi- 
cago Section of the Institute of Radio 
Engineers and the Chicago Section of 
the .American Institute of Electrical 
Engineers jointly sponsored four two- 
hour panel discussions during the Chi- 
cago Technical Conference and Pro- 
duction Show held at Hotel Stevens, 
March 22, 23 and 24. 

The March 22nd evening's theme 
centered on two speakers. The first 
was Dr. V. C. Arnspiger, Executive 
Vice-President of Encyclopaedia Bri- 
tannica Films, Inc., and his subject 
was "The Role of the Instructional 
Film in Human Enlightenment." The 
second speaker was O. H. Coelln, Jr., 
Editor and Publisher of Visual Screen 
Publications. W. C. (Bill) DeVry, 
President of the DeVry Corporation 
and one of the SMPE Midwest Section 
Managers, acted as chairman, introduc- 



ing tlie speakers and conducting the 
panel discussions. 

Nine technical sessions have been 
scheduled for the 63rd semi-annual 
convention of the Society of Motion 
Picture Engineers May 17 to 21 at the 
Santa Monica .Ambassador Hotel, 
SMPE President Loren L. Ryder an- 
nounced recently. G. A. Chambers 
and X. L. Simmons, Jr., have been 
named co-chairmen of the committee 
handling papers submitted for read- 
ing at the convention's technical ses- 
sions. Papers will cover a wide variety 
of subjects, including television, color, 
tape and wire recording and many 
improvements in the fields of radio 
and motion pictures. 



Production 
Activity 



Johnson Hunt Abroad 

Johnson Hunt Productions have con- 
cluded arrangements with Hollywood 
Photographic Mfgrs., 1801 South Olive 
Street, Los .Angeles IS, California, to 
handle all sales outside of the United 
States. The man in their organization 
who is handling the account is Fred 
T. Hanna. Hollywood Photographic 
i.> a division of Manufacturers Export 
Organization. They export entertain- 
ment films, short subjects and equip- 
ment. 

Brandon Cleared 

The copyright infringement case 
brought against Brandon Films, Inc. 
by London Film Productions, Inc.. and 
Hecuba Corporation, was dismissed re- 
cently by Judge Bondy in Federal 
Court, according to Elliott L. Biskind, 
110 East 42nd Street, New York, 
N. Y. attorney for Brandon Films, 
Inc. 

The court ordered a judgment dis- 
missing the complaint to be entered 
against London and Hecuba, and di- 
rected that they pay Brandon's costs 
and counsel fees. Mr. Biskind stated 
that "This constitutes complete and 
unequivocal vindication of Thomas J. 
Brandon, a man whose reputation has 
always been of the highest, and a 
man who is a leader in the trade 
associations of the non-theatrical field." 



ROBERT E. SCHREIBER, Editor 

Supervisor of Teaching Aids 

Mishawaka (Indiana) Public Schools 

Optical Surfaces Cleaned 
By Electronic Bombardment 

Electronic bombardment, a new method 
of cleaning optical glass surfaces prior 
to coating, has been carried to a high 
state of development by the Bausch 
& Lomb Optical Company. The process 
was designed primarily for aiding appli- 
cation of aluminum, the reflecting agent, 
to television and other first surface 
precision mirrors. 

The ground and polished optical glass 
is placed in a metal holder in a high 
vacuum bell, where a tungsten filament, 
similar to the filament in an ordinary 
electric light bulb, is electrically heated 
to a temperature at which electrons are 
"boiled out." Since electrons are negative 
particle."!, they are attracted by the hold- 
er which is at high-plus voltage with 
respect to the filament. Thus attracted, 
the electrons bombard the glass at a 
speed of several thousand miles a second, 
leaving the surface entirely free of water 
and extraneous material. After cleaning, 
the glass, still contained in the high vac- 
uum chamber, is coated with aluminum 
by an evaporation process. 

S E Announces 
Low Cost FM 

A plan to provide colleges throughout 
the country with small low-powered FM 
broadcast transmitters at less than a quar- 
ter the cost of previous equipment, and 
thus eiifiiinate the cost barrier to non- 
commercial educational broadcasting, has 
been proposed to the FCC and the U. S. 
Office of Education by the General Elec- 
tric Company's Electronics Department. 

The establishment of such stations on 
a wide scale would encourage adult as 
well as student educational programs and 
at the same time help train thousands of 
students to help meet the demand develop- 
ing for commercial FM station person- 
nel, according to G-E officials. 

This two and a half watt FM trans- 
mitter is already on the air with programs 
from the Radio Workshop at Syracuse 
University. 

Installed under the supervision of 
Kenneth Bartlett, director of campus 
Radio Workshop, the diminutive trans- 
mitter will be studied by G-E and Uni- 
versity officials for operational and appli- 
cation experience. 



246 



Educational Screen 




Grierson to New Post 

British Information Services an- 
nounces that John Grierson, at present 
Director of Mass Communications and 
Public Information in UNESCO, has 
been appointed to the Central Office 
of Information as Controller of its 
film operations to co-ordinate the work 
of the Films Division and the Crown 
Film Unit and take overall charge of 
the planning, production and distribu- 
tion of Government films. He will 
take up his new duty shortly, but will 
continue to associate himself in a 
voluntarv capacitv with the work of 
IXESC'O. 

J. R. Little Named RCA 
Eastern Region Manager 

The appointment of J. R. Little as 
Eastern Region Manager of the RCA 
Victor Division of the Radio Corpora- 
tion of America is announced by 
Frank M. Folsom, Executive Vice 
President in charge of the Division. 

Mr. Little, whose offices will be at 
36 West 49th Street, New York City, 
has been manager of Distributed Prod- 
ucts of the Engineering Products 
Department since he joined the com- 
pany two years ago, and recently has 
been acting Region Manager. 

Victor Sales Appointments 

In keeping with the general expan- 
sion program of the Victor Animato- 
.graph Corporation, President Samuel 
G. Rose announced recently the ap- 
pointment of five new special factory 
representatives for the Sales Depart- 
ment. 

The new representatives include: 
John Conlon, VV. A. Gillum, Dan 
Stoelting, John Greenwood and Kal- 
man Spelletich, Jr. Their duties will 
be to assist Victor distributors and 
dealers in the promotion and sale of 
Victor equipment. 

Walker Replaces Gipson 
At Filmfax 

Henry Clay Gipson has resigned 
as President of Filmfax Productions, 
and the active management of the com- 
pany will be taken over by Eloise 
Walker. While Gipson will maintain 
his interest in the organization, he 
will not be active in its management 
since he has assumed the presidency 
of A'isual Specialists, Inc., at 444 
Madison .Avenue, New York 22 N. Y. 

\'isual Specialists, Inc., will provide 
a broad service aimed to assist all 
types of organizations, not only in 
planning and producing films but in 
making the most effective use of them 
in selling, merchandising and public 
relations. 



Exton to V. E. Consultants 

William Exton, Jr.. is the new Ex- 
ecutive Director of V^isual Education 
Consultants, Inc. (47 W. 56th St., New 
York, N.Y.), Mr. Exton brings a 
long and unique record of experience 
to the field of business and educational 
audio-visual consulting. He inaugu- 
rated the wartime audio-visual pro- 
gram of the Navy and was Officer in 
Charge of the planning and producing 
of training aids for the vast and effi- 
cient Navy Training Program. His 
book, "Audiovisual Aids to Instruc- 
tion," recently published by McGraw- 
Hill, follows many magazine articles 
written by him on the subject. 

Others associated with VEC are 
E. De.Alton Partridge, Ph. D., Dean 
of Instruction, State Teachers College, 



Montclair, New Jersey; and Irvine 
Millgate, Director of Visual Education 
Service, Boy Scouts of America. Cli- 
ents of VEC include: textbook and 
magazine publishers, department stores, 
film producers, universities, govern- 
ment agencies, and a variety of in- 
dustrial and commercial organizations 
and national associations. 

Ushijima to Cavalcade 

Henry Ushijima has resigned from 
the staff of Coronet Instructional 
Films, where he was a director as 
well as supervisor of editing, to be- 
come president of Cavalcade Produc- 
tions, Park Ridge, Illinois, according 
to Dale McCulley, associate producer 
of Cavalcade. 



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DEVRY CORPORATION 

1111 Armilage Avenue, Chicago 14, INinois 

Pleoje lend deloils on DeVRY "bantam" projector. 



^ 



May, 1948 



247 



Equipment 



Electric Blackboard 

An electric blackboard which com- 
bines a brilliant enlarged image with 
the actual process of writing or draw- 
ing upon it is one of the new machines 
in the visual field. The operator sits 
comfortably at a desk facing his audi- 
ence, projecting master images, called 
Preprints, upon a daylight screen. As 
he writes, draws or points upon the 
writing surface, the actual process 
of his writing, drawing or pointing 
appears much enlarged on the screen 
mounted on a tripod above and slightly 
in front of him. 

The machine is called the Scribe 
Visualizer by its manufacturer, the 
N'isualizer Company, 170 South Bev- 
erly Drive, Beverly Hills, California. 
It is a stereopticon device which pro- 




Scribe Visualizer 

jects whatever data appears on the 
Preprint, a film transparency. The 
Preprint slides into a frame beneath 
a continuous sheet of transparent cel- 
lulose acetate, known as a Scroll, on 
which the operator writes or draws 
with a grease pencil. Thus both im- 
ages are projected together. New 
Preprints are easily inserted and the 
continuous transparent writing sur- 
face can be changed with a half turn 
of its roller knob. The Scroll is long 
enough for approximately 180 writ- 
ing surfaces. 

The Scribe Visualizer has three 
main parts, a black plastic lower pro- 
jection case, an upper lens-mirror as- 
sembly, and a daylight screen. Light 
is projected upward from the reflector 
through the transparency and glass 
base to the overhead lens assembly. 
The lens focuses the image on a front- 
surfaced mirror which projects it 
either to an overhead daylight screen 
in front of the operator or to a glass- 
beaded screen behind him. 

Royal Wedding Films 
Shown First with Annpro 

The first public showing of Eng- 
land's Royal Wedding films was made 
possible by a specially prepared 16mm 
color print and the installation of a 

248 



16mni .•Kmpro-Arc projector in the 
Cameo Theatre in Charing Cross Road, 
London. England. Since the 35nim 
sound version was not available to 
England's theatres for several days 
after the wedding, the Cameo Theatre 
obtained a 16mm silent print for im- 
mediate release and synchronized the 
film with recorded discs which were 
later replaced by a 16mm sound film. 
It is reported that the audience was 
unaware they were seeing a 16mm 
film, instead of the customary 35mm 
films shown at this newsreel theatre, 
detecting no appreciable difference in 
quality of picture or in the reproduc- 
tion of the sound. 

Micro Products 

Ten years of professional research 
and testing in Hollywood studios and 
major film laboratories have produced 
an important line of 16mm equipment 
precisely engineered and manufactured 
by the Micro Engineering Corp. of 
Beverly Hills. 

The equipment includes: a splicer, 
featuring single pin registration, self- 
contained heater unit, and other ad- 
vanced features; a viewer with con- 
tinuous film flow over rollers, elimi- 
nating danger of damaging film or film 
sprocket holes ; a combination 16mm- 
35mm synchronizer; reader and ampli- 
fier, featuring advanced sound engi- 
neering plus precision film flow, insur- 
ing hum-free amplification and com- 
plete film protection; and a double or 
single channel inspector, having free 
moving optical magnifier and forty- 
frame scanning channel. 

Full information can be obtained by 
writing Micro Engineering Corp., 118 
South Beverly Drive, Beverly Hills, 
California. 

Compco Slide Binder 

The photographer who wants to 
protect transparencies the practical 
way may wish to use dust-proof cover 
glasses. The device works quickly, 
easily, and accurately, takes less than a 
minute to bind a slide. A special spring 
device allows cover glasses to rest 
squarely on the base of the binder 
and thus maintain exact alignment 
of edges while tape is being applied, 
assuring neat and straight edges. Tape 
is guided by pulley to line up with 
glass. Binder accommodates all stand- 
ard sized slides, from 2" x 2" to 3^" 
x4;4". The slide binder, tapes and 
glass are available from Compco Cor- 
poration, 2251 West St. Paul .Avenue, 
Chicago 47. Illinois. 

Six New Amfiles 

.Amberg File & Index Company of 
Kankakee. Illinois, announce the com- 
pletion of their six new ijhotograjihical 
.•\mfiles. for both amateur and profes- 
sional use. The series is bound with 
saddle tan fronts and brown box calf 
grain covers, book style. Each file 
contains a listing card or a book of 
contents enabling the user to locate 




New Amfiles 

any filed negative, roll or print without 
difficulty. The title of each file is dis- 
played on the back. The set includes: 
Slide File that has fifteen compart- 
ments each with a maximum capacity 
of twenty 35mm mounted slides; 
Filmstrip Files, one with room for 12 
metal containers for roll film with a 
diameter of lyi". the other file with 
room for 16 metal containers; and 
Negative Files for miniature rolls, 
holding twenty 18 or 36- exposure 
35nim rolls. 

Sears Movie Projector 

Sears, Roebuck and Co.'s newly-de- 
veloped sound projector for 16mm 
silent and sound film will be intro- 
duced in the company's retail stores 
throughout the country around May 
1st. Carrying the distributor's name 
of Tower, the new sound projector 
is the first ever offered by Sears under 
its own brand name. 

The Tower 'projector is a portable 
unit in single case with detachable 
side containing the speaker. Assembled 
for carrying, it weighs about 34 pounds. 
Described as a professional model, 
the new sound projector was produced 
for Sears by Natco to show enter- 
tainment and educational films in the 
home, school and club. 




Tower Projector 

Educafional Screen 



Current Film News 



■ McGRAW-HILL BOOK CO., Text- 
Film Dcpt., 330 W. 42nd St., N. Y. 18, 
announces a new film series on health 
education, correlated with the "Textbook 
of Healthful Living" by Harold S. Diehl. 
The series consists of five 16mm sound 
motion pictures and five silent follow- 
up filmstrips. Titles follow: Body Care 
<uid Groominci. Hidiian Reproduction, 
The Body Fights Bacteria, Emotional 
Health, The Nose, Throat and Ears. 

■ INTERNATIONAL FILM BUR- 
EAU, INC., 84 E. Randolph St., 
Chicago, has released three more 
films in its French teaching series: 

Un Port de Commerce — showing the 
importance of a port as a center of 
industrial and commercial activity. 

En Basse — Provence — depicting' the 
coastline of Provence from the mouth 
of the Rhine to the Italian border 
and emphasizing interesting and in- 
structive points not to be found in the 
usual trip to that part of France. 

En Haute — Provence — picturing this 
part of F'rance from regional, geo- 
graphic, economic and social view- 
points. 

■ CORONET INSTRUCTIONAL 
FILMS, Coronet Bldg., Chicago, has 
completed the following new educa- 
tional 16mm films : 

Introduction to Electricity (1 reel, 
sound, color or b & w) — opening 
pupils' eyes to the magic properties 
of electricity, yet making its principles 
concrete and simple. 

The Nature of Sound (1 reel, sound, 
color or b & vv) — teaching sound with 
sound, illustrated, animated, and in 
motion. 

The Sounds of Music ( 1 reel, sound, 
color or b & w) — presenting the char- 
acteristics of musical sound through 
a franiew'ork story of the visit of two 
young people to their local music store. 

The Language of Graphs (1^ reels, 
sound, color or b & w) — illustrating 
how clearly graphs can sum up a 
situation by showing boys and girls 
considering the financial and circula- 
tion problems of their school news- 
paper with bar, line, circle aiid equa- 
tion graphs. 




"The Language of Graphs" 
May, 1948 



■ CONTEMPORARY FILMS, 40 

Fremont St., San Francisco 5, Calif., an- 
nounces a new color, 16mm motion picture 
produced by Alvin and Darley Gordon : 

Chata (53 min.) — a gay story about 
Chata ( "little girl with a turned-up 
nose"), her life in the tropical paradise of 
Tehuantepec, Mexico, and her love for 
her chicken. .\n original musical score 
was written by Walter Tullis. incorpor- 
ating traditional themes of Tehuantepec. 

■ BAILEY FILMS, INC., 2044 N. 
Berendo. Hollywood 27, Calif., offers 
the following new films : 

Frontier Farmers of Alaska (sound, 
color, 18 min.) — a documentary film 
picturing the land of Alaska and the 
work of its frontier farmers. 

Mother Goose Stories (sound or 
silent, color, 11 min.) — animated fig- 
urines portray the famous Mother 
Goose stories, with a special musical 
background. 

■ YOUNG AMERICA FILMS, 
INC., 18 E. 41st St., N. y. 17, has 
released the 6th film in its sewing series : 

Sewing: Characteristics and Han- 
dling of Materials ( 1 reel, sound) — dis- 
cussing the how and why of selecting 
the appropriate fabric for use with a 
dress pattern. 

Young America also announces that 
it has concluded arrangements with 
British Information Services for the ex- 
clusive distribution in this country and 
Canada of four new films from Britain : 
The Steam Enpine, The Steam Tur- 
bine, Transmission of Rotary Motion. 
and Electro-Magnetic Induction. 

■ KNOWLEDGE BUILDERS 
CLASSROOM FILMS, 625 Madison 
Ave., N. Y, 22. has completed another 
sound film in its simplified arithmetic 
series. 

Simple Fractions (11 min.) — using 
animation to show the roles played 
by numerator and denominator; illus- 
trating simple additions by showing 
parts being combined; using concrete 
objects in the gradual development 
■ of abstract ideas. 

■ THE MARCH OF TIME FORUM 
EDITION, 369 Lexington .Ave., N.Y. 
17, is revising its new subject, Cicc/i- 
oslovakia, in order to add special foot- 
age to cover the recent Communist coup 
and to give the film entirely new treat- 
ment, pictorially and editorially. New 
16mm educational releases now ready 
are : Radio Broadcasting Today, Trans- 
portation in the U. S., Nezi< Frontiers 
of }fedieine. Turkey. 

m UNITED WORLD FILMS, INC., 
445 I'ark .^ve., N. Y. 2Z, has just 
completed, in cooperation with the L'.S. 
Olympic Committee. 12 reels of 16mm 
sound films providing training funda- 
mentals of all principal track and field 
events. 



Catalogs 

■ STATE OF NEW YORK, DE- 
PARTMENT OF COMMERCE, Di- 
vision of State Publicity, Film Library, 
40 Howard St., .Albany 7, N. Y., an- 
nounces the puI)lication of a "Film 
Library Catalogue" listing more than 
500 titles of 16nini films available for 
free use by schools, civic, educational, 
service and other groups in New York 
state. 

■ GATEWAY PRODUCTIONS, 
INC., 40 F'remont St., San I-'rancisco 
5, Calif., presents a listing of 16nim 
motion pictures of interest to schools, 
churches, adult organizations and clubs. 
Titles include The Junior Citizen, Fun 
in Food, Punch and Judy, Siena and 
Simone Martini — A Fine Arts Thesis in 
Motion Pictures. Moving icnth Movies, 
Spanish Influence in Mcvican Crafts. 

■ COMMISSION ON MOTION 
PICTURES IN ADULT EDUCA- 
TION, 19 S. La Salle St., Chicago 3, 
III., has released a catalog of "Films 
for Adult Education." It includes in- 
formation on films distributed by 
Teaching Film Cutodians, Inc., now 
made available to community groups. 
The films have been selected, an- 
notated and classified under the aus- 
pices of the Commission on Motion 
Pictures in Adult Education. The films 
are grouped according to subject mat- 
ter, and each film review includes a 
Film Summary and Evaluative Com- 
ment; often Suggestions for Discus- 
sion are included. 

■ ARTHUR BARR PRODUC- 
TIONS, 1265 Bresee Ave., Pasadena 
7, Calif., offers a new descriptive cata- 
log "Classroom Teaching Tools." 



CORRECTION 



The Post Pictures Corp. advertise- 
ment on p. 152 of the March issue 
incorrectly listed the price of the 6 
' Mickey Rooney comedies at $37.50 
I each. The actual price Is $40 per 



< subject. 



"PUPPY TROUBLE" 

The First of the series, TRAINING 
YOU TO TRAIN YOUR DOG. Three 
14mm Sound Films in Color er Black- 
and-White. 




Demonstrating 
the Puppy's 
First Lesson in 
House Manners. 



Helen Hayes & Lowell Thomas, Nar- 
rators. Blanche Saunders: Director. 
Louise Branch: Producer S Photogra- 
pher. 

UNITED SPECIALISTS, INC. 

America's foremost producers of 

Dog Films 

PAWLING. NEW YORK 



249 



Trade Directory 
For the Audio-Visual Field 



iba 



FILMS 



Aondemy Films 

844 Seward St., Hollywood 38, Cal. 
W. J. Ahem, Film Bookings 

126 Lexington Ave., New York 16. 

716 Federal St., Troy, N. Y. 
AMSoclntlon Films 

347 Madison Ave., New York 17, N. Y. 

19 S. La Salle St., Chicago 3, 111. 

351 Turk St., San Francisco 2, Cal. 

3012 Maple Ave., Dallas 4, Tex. 
Bailey Fllma, Inc. 

2044 N. Berendo St., Hollywood 27, Cal. 
Bray Stndlos, Inc. 

729 Seventh Ave., New York 19, N. Y. 
Castle Films, DIv. of United World 
Films, Inc. 

445 Park Ave., New York 22, N. Y. 
Catholic Movies 

220 W. 42nd St., New York 18, N. Y. 
Church Film Service 

2595 Manderson St., Omaha 11, Neb. 
Collins Motion Picture Service 

502% & 506 St. PaulSt., Baltimore 2, Md. 

4 Race St., Cambridge, Md. 
Coronet Instructional Films 

Coronet Bldg., Chicago 1. 111. 
Dudley Pictures Corp. 

9908 Santa Monica Blvd., Beverly 
Hills, Cal. 

501 Madison Ave., New York, N. Y. 
Eastman Kodak Stores, Inc. 

356 Madison Ave., New York 17, N. Y. 
Encyclopaedia Britaanica Films, Inc. 

Wilraette, Illinois 
Film Program Services 

1173 Avenue of the Americas, N. Y. C. 
Films, Inc. 

330 W. 42nd St., New York 18, N. Y. 

64 E. Lake St., Chicago, 111. 

611 N. Tillamook St., Portland, Ore. 

109 N. Akard St., Dallas 1, Tex. 

101 Marietta St., Atlanta 3, Ga. 

1709 W. 8th St., Los Angeles 14, Cal. 

68 Post St., San Francisco, Cal. 
Films of the Nations, Inc. 

55 W. 45th St., New York 19, N. Y. 
Fryan Film Service 

3228 Euclid .\ve., Cleveland 15, Ohio 
General Films, Ltd. 

1534 13th Ave., Regina, Sask. 

156 King St., W. Toronto, Ont. 
General Pictures Productions 

621 Sixth Ave., Des Moines 9, la. 
Heldenkamp Nature Pictures 

538 Glen Arden Dr., Pittsburgh 8, Pa. 
HolTberK Productions, Inc. 

620 Ninth Ave., New York 18, N. Y. 
Institutional Cinema Service, Inc. 

1560 Broadway, New York 19, N. Y. 
International Film Bureau 

84 E. Randolph St., Chicago 1, 111. 
The Jam Handy Oriranizatlon 

2821 E. Grand Blvd., Detroit 11, Mich. 
Knowledge Builders 

625 Madison Ave., New York 22, N. Y. 
Kunz Motion Picture Service 

1319 Vine St., Philadelphia 7, Pa. 

432 N. Calvert St., Baltimore 2, Md. 

1905 Sanderson Ave., Scranton, Pa. 
Library Films, Inc. 

25 W. 45th St., New York 19, N. Y. 
March of Time Forum Fdition 

369 Lexington Ave.. New York 17, N.Y. 
Moi:ruirs, Inc. 

68 W. 48th St., New York 19, N. Y. 
Nu-Art Films, Inc. 

145 W. 45th St., New York 19, N. Y. 
Official Films, Inc. 

25 W. 45th St., New York 19, N. Y. 
Pealc Films Productions 

65 Barons Keep, London, W-14, Eng. 



Portafilms 

230 W. Olive Ave., B^rbank, Cal. 
The Princeton Film Center 

55 Mountain Ave., Princeton, N. J. 
Rellsrlous Film Service 

5121 W. Devon Ave., Chicago 30, 111. 
K. and L. S<-heufler 

1948 Dresden Road, Zanesville, Ohio 
SImmel-Meservey, Inc. 

321 S. Beverly Dr., Beverly Hills, Cal. 
Southern Visual Films 

686-9 Shrine Bldg., Memphis 1, Tenn. 
Sunray Films, Inc. 

2108 Payne Ave., Cleveland 14, Ohio 
Vocational Guidance Films, Inc. 

1814 Beaver Ave., Des Moines, la. 
'Wholesome Film Service, Inc. 

20 Melrose St., Boston, Mass. 
Williams, Brown and Karle, Inc. 

918 Chestnut St., Philadelphia 7, Pa. 
Art Zelller Visual Education Service 

157 Washington St., Newark 2, N. J. 

MOTION PICTURE 
PROJECTORS AND SUPPLIES 

Bell & Honell Co. 

7117 McCormick Road, Chicago 45, 111. 
Calhoun Company 

101 Marietta St., N.W., Atlanta 3, Ga. 

1110% Taylor St., Columbia 6, S. C. 
Carroll W. Rice Co. 

Audio Visual Center, 

424 40th St., Oakland 9, Cal. 



Collins Motion Picture Service 

502% &506St.Paul St., Baltimore 2,Md. 

4 Race St., Cambridge, Md. 
Comprehensive Service Corporation 

245 W. 55th St., New York 19, N. Y. 
DeVry Corporation 

1111 Armitage Ave., Chicago 14, 111. 
Kastman Kodak Stores, Inc. 

356 Madison Ave., New York 17, N. Y. 
General Films, Ltd. 

1534 13th Ave., Regina, Sask. 

156 King St., W. Toronto, Ont. 
General Pictures Productions 

621 Sixth Ave., Des Moines 9, la. 
HIrsch & Knye 

239 Grant Ave., San Francisco 8, Cal. 
KuivE Motion Picture Service 

1319 Vine St., Philadelphia 7, Pa. 

432 N. Calvert St., Baltimore 2, Md. 

1905 Sanderson Ave., Scranton, Pa. 
Moduli's, Inc. 

68 W. 48th St., New York 19, N. Y. 
Natco, Inc. 

505 N.Sacramento Blvd., Chicago 12,111. 
Nu-Art Films, Inc. 

145 W. 45th St., New York 19, N. Y. 
Ralke Company 

829 S. Flower St., Los Angeles 14, Cal. 
Ryan Visual Aids Service 

409 Harrison St., Davenport, la. 
S. O. S. cinema Supply Corp. 

602 W. 52nd St., New York 19, N. Y. 
Southern Visual Films 

686-9 Shrine Bldg., Memphis 1, Tenn. 



Announcement 

TO INSTRUCTORS 

of 

SUMMER COURSES 






The May and June issues are of special interest to students 
in summer audio-visual courses. Extremely low prices are 
charged tor bulk orders of these two issues. 

• WRITE TODAY FOR INFORMATION • 

Students are also eligible for low-rate, one-year subscriptions 
ordered by instructors. 

For information write: 

Circulation Manager 
EDUCATIONAL SCREEN 



250 



Educational Screen 



Trade Directory 
For the Audio-Visual Field 



9n 

fid 



Siinrny Films, Inc. 

210S Payne Ave., Cleveland 14, Ohio 
S^Tnnk Motion Pictures, Inc. 

614 N. Skinker Blvd., St. Louis 5, Mo. 
V'ictor Anlnintosrraph Corporation 

A Division of Curtiss-Wright Corp. 

Davenport, Iowa 
A'isual Edacation Incorporated 

12th at Lamar, Austin, Tex. 

2010 N. Field St., Dallas, 1, Tex. 

1012 Jennings Ave., Ft. Worth 2, Tex. 

3905 S. Main, Houston 4, Tex. 
AVllllanis. Brown and Karle. Inc. 

918 Chestnut St., Philadelphia 7, Pa. 
Art Zelller Visual Education Service 

157 Washington St., Newark 2, N. J. 



SCREENS 



Da-l.lte Screen Co., Inc. 

2711 N. Pulaski Rd., Chicago 39, 111. . 
Fryan Film Service 

322S Euclid Ave., Cleveland 15, Ohio 
General Pictures Productions 

621 Sixth Ave., Des Moines 9, la. 
Hirsch & Koye 

239 Sixth Ave., San Francisco S, Cal. 
MouulTs, Inc. 

6S W. 48th St., New York 19, N. Y. 
\ii-Art Films. Inc. 

145 W. 45th St., New York 19, N. Y. 
Radiant Manufacturing: Corp. 

1215 S. Talman Ave., Chicago 8, III. 



Southern Visual Films 

686-9 Shrine Bldg., Memphis 1, Tenn. 
Sunrny Films, Inc. 

2108 Payne Ave., Cleveland 14, Ohio 
Wlllinms, Brown and Karle, Inc. 

918 Chestnut St., Philadelphia 7, Pa. 



PICTURES 



Infornintive ClnKHrooin IMeture Series 

40 Ionia N.W., Grand Rapids 2, Mich. 



RECORDERS — RECORDINGS 



Popular Science Pub. Co., A-V Dlv. 

353 Fourth Ave., New York 10, N. Y. 



RECORDERS— WIRE 



\V'el>ster-Cliicaf::o Corporation 

5610 W. Bloomingdale, Chicago 39, 111. 



SUDEFILMS 



.\cadeMi>- Films 

844 Seward St., Hollywood 38, Cal. 
Chnrcli Screen Productions 

5622 Enright Ave., St. Louis 12, Mo. 
Encyclopaedia Britanniea Films, Inc. 

Wilmette, Illinois 



I.ons: Filmsllde Service 

944 Regal Road, Berkeley, Cal. 
Popular Science Pub. Co., A-V Dlv. 

353 Fourth Ave., New York 10, N. Y. 
Slmmel-I»Ieservey, Inc. 

321 S. Reverly Dr., Beverly Hills, Cal. 
Snnray Films, Inc. 

2108 Payne Ave., Cleveland 14. Ohio 
Visual Sciences 

599E — Suffern, N. Y. 



SLIDES (KODACHROME 2 X 2) 



Academy Films 

S44 Seward St., Hollywood 38, Cal. 
Church-Craft Pictures 

3312 Linden Blvd., St. Louis 3, Mo. 
Hirsch & Kaye 

239 Grant Ave., San Francisco 8, Cal. 
Klein & Goodman, Inc. 

18 S. 10th St., Philadelphia 7, Pa. 
Monday & Collins 

39 Edgewood Road, Redwood City, Cal. 
Nu-Art Films, Inc. 

145 W. 45th St., New York 19, N. Y. 
Popular Science Pub. Co., A-V Dlv. 

353 Fourth Ave., New York 10, N. Y. 
Sunray Films, Inc. 

2108 Payne Ave., Cleveland 14, Ohio 



SLIDES (3'/4x4ancllarger) 



^Yil B\GGtST DOLLAR'S WORTH IN YOUR STORl 



A 16mm Film Directory 
containing 6,610 titles 

# Synopsis of each film 
#160 pages 

# Indicates color or b. & w. 

# Most complete published 

# Films on almost every subject 

# Complete index 

plus . . . 
WHERE TO GET EACH FILM 




23rd Annual 

Edition for 

1948 



EVERY PROJECTOR OWNER WANTS THIS BOOK 
EVERY DEALER SHOULD STOCK IT 

Write TODAY for liberal discounts and more information 
The latest edition is ready for you 



Keystone View Co. 

Meadville, Pa. 
Ryan Visual Aids Service 

409 Harrison St., Davenport, la. 
Slidecrnft Co. 

257 Audley St., South Orange, N. J. 



SLIDE. FILMSLIDE and 
OPAQUE PROJECTORS 



American Optical Co., Scientific 

Instrument Div., Buffalo 15, N. Y. 
Comprehensive Service Corporation 

245 W. 55th St., New York 19, N. Y. 
DeVry Corporation 

1111 Armitage Ave., Chicago 14, 111. 
General Films, Ltd. 

1534 13th Ave., Regina, Sask. 

156 King St., W. Toronto, Ont. 
Hirsch & Kaye 

239 Grant Ave., San Francisco 8, Cal. 
Keystone View Co. 

Meadville, Pa. 
Mnndny & Collins 

39 Edgewood Rd.. Redwood City, Cal. 
Rnike Company 

829 S. Flower St., Los Angeles 14, Cal. 
Ryan Visual Aids Service 

409 Harrison St., Davenport, la. 
Southern Visual Films 

686-9 Shrine Bldg., Memphis 1, Tenn. 
Sunray Films, Inc. 

2108 Payne Ave., Cleveland 14, Ohio 
Vlewlex, Inc. 

35-01 Queens Blvd., Long Island City 
Williams, Brown and Barle, Inc. 

918 Chestnut St., Philadelphia 7, Pa. 



EDUCATIONAL SCREEN- BLUE BOOK DEPT. 

64 East Lake Street Chicago 1, Illinois 



AUDIO-VISUAL SUPPLIES 



AVillinms, liroirn and Karle, Inc. 

918 Chestnut St., Philadelphia 7, Pa. 



May, 1948 



251 



Slidefilms 
and Slides 



m CONTEMPO ENTERPRISES, 
INC., 6345 Primrose Ave., Hollywood 
28, Calif., lias available a brochure which 
tells of the inception of Contempo Par- 
ticipation Films, its aims, and its work. 
Announced in the brochure is the pro- 
duction of an interesting filmstrip series 
called "Ne\vs-0-Strip", designed for issue 
semi-monthly to give the student of his- 
tory a graphic presentation of current 
events. Among other Contempo par- 
ticipation filmstrips are U'atcrzt'ay Birds, 
Animal Adaptations, and I'crtebrate 
Animals. Contempo Enterprises has sched- 
uled a comprehensive program of class- 
room subjects, using the various visual 
media — filmstrips, 2x2 slides, and 16mm 
motion pictures. 

■ SOCIETY FOR VISUAL EDU- 
CATION, INC., 100 E. Ohio St., Chi- 
cago, has released the second filmstrip 
in a home-economics series presented 
in cooperation with the professional 
magazine. "What's New in Home 
Economics": 

Canned Vegetables, Fruits and Juices 

(50 frames, b & w, with manual)— 
presenting information on buying, uses 
of canned vegetables and juices, and 
uses of canned fruits and juices. 

■ FILM PUBLISHERS, INC., 25 
Broad St., N. Y. 4, offers several dis- 
cussion filmstrips on international re- 
lations, national afTairs, intergroup rela- 
tions, and family relations. Included 
among the titles are: One World or 
None! (adapted from the motion picture) ; 
Hozv to Live with the Atom; World 
Control of Atomic Energy ; Up and Atom; 
The Challenge of World Trade; The 
People of England; Universal Military 
Training — Pro and Con; Economics for 
Everybody; Your Children and You; 
Is Your Home pun?; To Secure These 
Rights; Man — One Pamily. 

yimmi. api 

"SECRETARIAL ETIQUETTE" 

Latest Film.strip! 

Shows in cartoon style the pet peeves 
of bosse.s and secretaries. Amusine as 
well as authoritative. For Vocational 
Guidance and Commercial Departments 
Postpaid: $:i.50 Order while they last! 

1^1 llABlT! mms\M C©. 

AU4 U 1/UMt SdmtMtOo 



' Broodway 



N«w York J3 N Y 



Northwestern University Marimba Coeds 
T-Pc. Orcliestra 

First time ever filmed! 
Directed by Clair Omar 
Musscr. Kxclusive 'Wo- 
man Speaks' release. 

Write Film Studlol of 
Chicago. H. A. Spanuth, 
135 S. La Salle, Dept. 
E. Chicago 3, 




■ ENCYCLOPAEDIA BRITANNI- 
CA FILMS, INC., Wilmette, 111., has 
released a new series of slidefilms on 
"Tlic Human Body": 

The Heart and Circulation — explain- 
ing the muscular and valvular action 
of the heart and the nature of the cir- 
culatory system. 

Digestion of Foods — explaining both 
the mechanical and chemical actions 
which change foods in the digestive 
organs. 

Foods and Nutrition — revealing 
man's normal dietary requirements and 
showing the results of dietary de- 
ficiencies. 

The Eyes and Their Care — explain- 
ing the anatomy and physiology of the 
eye. 

The Teeth — portraying the growth 
cycle and structure of the teeth. 

Care of the Feet — revealing struc- 
tural elements of the foot, pointing out 
major foot ailments and remedies. 

Body Defenses Against Disease — 

explaining the body's lines of defense 
against infection. 

Reproduction Among Mammals — 
explaining the major stages of mam- 
malian reproduction, using the domes- 
tic iiig to illustrate. 

■ FILMFAX PRODUCTIONS, 995.A. 
First Ave., N. Y. 11. now has a 
series of six color filmstrips based on 
Aesop's Fables in production. The 
series is expected to be ready by June 1. 

■ JOHN CALVIN, 12 Geary St., No. 
406, San Francisco 8, California, was 
made available Series Two of "Film 
Aid to First Aid", entitled Highu'ay 
Pirst Aid — four slidefilms showing meth- 
ods of first aid in accident cases. This 
series was produced by John Calvin and 
made by Photo and Sound Productions 
of San Francisco. Series One, seven 
slidefilms on basic training in first aid, 
is distributed by the Society for Visual 
Education, Chicago, Illinois. 



Transcriptions 
and Recordings 



■ CAPITOL RECORDS DISTRIB- 
UTING CO., 1449 S. Michigan, Chi- 
cago. III. oflfers a variety of albums of 
recordings suitable for children. Among 
the titles are the following: Bo:o at the 
Circus (Record Reader), Rusty in Or- 
chestraville. Tales of Uncle Remus, Bozo 
and PJis Rocket Ship (Record Reader), 
Mickey and the Beanstalk (Record 
Reader), Te.r Ritter (children's songs 
and stories). Sparky and the Talking 
Train, and Sparky and the Magic Piano. 



INDEX TO 
ADVERTISERS 

Page 

Ampro Corporation 210 

Association Films 214 

Bailey Films 214 

Bell & Howell Co 

Inside Back Cover 

Bowmar Co., Stanley 252 

Brandon Films 244 

China Film Enterprises of 
America 245 

Colbum Laboratory, Geo. W. 
244 

Coronet Instructional Films 217 

DeVry Corporation 247 

Eastin Pictures Co 245 

Encyclopaedia Britannica 

Films 209 

Film Studios of Chicago . . . 252 

GoldE Mfg. Co 241 

Holmes Projector Co 243 

International Film Founda- 
tion 216 

Johnson Hunt Productions . 243 

Karel Sound Film Library . . 244 

Keystone Vieiw Co 212 

Le'wis Film Service 244 

Mahnke Productions, Carl F. 240 

Peak Films Productions . . . 244 

Photo & Soimd Productions 240 

Portafilms 242 

Radiant Mfg. Corp 237 

Radio Corporation of 
America 215 

Radio-Mat Slide Co 245 

Religious Film Association . 235 

Society for Visual Education 
Back Cover 

Southern Visual Films 244 

Swank Motion Pictures . . . 242 

United Specialists 249 

United World Films 213 

Victor Animatograph Corp. 
Inside Front Cover, 241 

Viewlex, Inc 242 

Visual Aids Photolab 244 

Visual Sciences 244 

Wilner Films and Slides ... 244 



252 



Educational Screen 



BRETT 



EDUCATIONAL 



JUN 



7^: 



8 









THE MAGAZINE DEVOTED TO AUDIO-VISUAL MATERIALS 




(Ic^noit^e-ll (Jccaco— ^ 




CONVENTION SPONSORS 

• Midwest Forum on Audio-Visual Teaching Aids 

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JUNE 1948 



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June, 1948 



I 

253 



Educational 

see 




THE MAGAZINE DEVOTED TO AUDIO-VISUAL MATERIALS 
Founded in 1922 by Nelson L. Greene 



Summer Issue, 1948 
CONTENTS 



As Viewed From Here 

Teaching Teachers Competency Paul C. Reed 

A Film Serves School and Community Earl A. Arnold 

A Yardstick for Evaluation Paul Witt 

Libraries Meet a New Responsibility Patricia B'air 

Experience Precedes Expression 

Donald L Kruzner and Virginia Goldcniih 

The Church Department William S. Mockman, Edilor 

Teacher-Committee Evaluation of New F'Ims L. C. Larson, Editor 

National Aud;o-Visual Convention 

Schedule cf Events 

General Description 

Reports from Midwest Forum, EFLA. FCA, and NAVED 

Summer Courses In Audio-Visual Education, 1948 — Part III 

The Lilerature in Visual Instruction. Etta Schneider Ress, Editor 

Audio-Visual Trade Review Robert E. Schreiber, Editor 

Current Film News 

Trade Directory for the Audio-Visual Field 
Index to Advertisers 



Page 

264 
265 

267 
268 

273 
272 
276 

278 
279 
280 

284 

288 

296 

299 

302 

304 



COVER: Photo of Chicago sityiine by courtesy the Chicago Convctlon Bureau. 
See the special section in this issue (pages 278-282) on the National 
Audio-Visual Convention to be held In Chicago, August 6-11. 



Volumo XXVII 



Number 6, Who!e Number 263 



THE STAFF 

PAUL C. REED— Editor 

JUNE N. SARK— Assistant Editor 

WILLIAM S. HOCKMAN— Editor for the 
Church Field 

ROBERT E. SCHREIBER— Editor for the Com- 
mercial Field 

JOSEPHINE HOFFMAN— Business Manager 

PATRICK A. PHILIPPI— Circulation Manager 

DAVID E. CAESAR— Advertising Manager 

JOHN A. BASSETT— Western Adv. Rep. 
3757 Wilshire Blvd., Los Angeles, Cal. 

DEPARTMENT EDITORS 

JOHN E. DUGAN Jenlclntown, Pa. 

L. C. LARSON Bloomington, Ind. 

ETTA SCHNEIDER RESS New York, N. Y. 

DAVID SCHNEIDER New York, N. Y. 

EDITORIAL ADVISORY BOARD 

WALTER S. BELL, Director of Audio-Visual 
Education, Atlanta Public Schools, Atlanta, 
Georgia 

EDWARD G. BERNARD, Head, Instructional 
Materials Program, Board of Education, 
City of New York 

IRVING C. BOERLIN— Supervisor, Audio-Visual 
Aids, Pennsylvania State College 

JAMES BROV^N, Assistant Professor of Edu- 
cation, Syracuse University, Syracuse, New 
York 

EDGAR DALE, Head, Curriculum Division. 
Bureau of Educational Research, Ohio 
State University 

AMO DE BERNARDIS, Supervisor, Audio-Visual 
Education, Public Schools, Portland, Ore. 

ELIZABETH GOLTERMAN, Director, Division 
of Audio-Visual Education, St. Louis Public 
Schools, St. Louis, Missouri 

GARDNER L HART, Director, Audio-Visual 
Education, Oakland Public Schools, Oak- 
land, California 

FRANCIS W. NOEL, Chief, Division of Audio- 
Visual Education, California State Depart- 
ment of Education, Sacramento, Calif. 

F. DEAN McCLUSKY, Lecturer in Education 
and Director of Audio-Visual Education, 
University of California at Los Angeles 

PAUL WENDT, Director of Visual Education 
Service, University of Minnesota 

THURMAN WHITE, Head of Department of 
Visual Education, University of Oklahoma 

The EDUCATIONAL SCREEN is published 
monthly except July and August by The Edu- 
cational Screen, Inc. Publication Office, Pontlac, 
Illinois; Executive Office, 64 East Lake St., 
Chicago, Illinois. Printed In thn U.S.A. Entered 
October II, 1937, at the Post Office at 
Pontlac, Illinois, as Second Class Matter under 
the act of March 3, 1879. 

Mrs. Nelson L. Greene, Publisher 

Address communications to The Educational 
Screen, 64 East Lake St., Chicago, III. 

SUBSCRIPTION PRICE 

Domestic $3.00 

Canada 3.50 

Foreign 4.00 

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ES-6 



June, 1948 



257 




For Those Who Don't Know 
"How to Conquer War" 

Editor : 

On behalf of the world federation move- 
ment I must thank you for the story in 
the April issue entitled "Toward World 
Government !" The publicity of Chicago's 
World Government Week may suggest 
similar weeks in other cities.* 

On behalf of my filmstrip How to Con- 
quer War, I must complain quite bitterly 
about this list of films mentioned as be- 
ing useful in promotion of world gov- 
ernment weeks. Not one of those films, 



to my knowledge, really deals with the 
subject of world government. All of 
them lead up to the subject, or dance 
around it in very pleasant, suggestive 
ways, but none of them deals with it. 
My filmstrip does deal with it specifi- 
cally, it is the only film in any form 
that does, and you ignore it completely. 
Now if How to Conquer War were a 
dodo, that would be understandable. But 
since Educational Screen has given it 
praise and considerable space from time 
to time,** even you would question this. 
There are not many filmstrips on the 
market that have had the circulation this 



. . . Announcing 
A New Policy 

In previous years Vaporate Company acted as a sales 
agency for Peerless Film Processing Corporation in 
the amateur field, and in some catagories of the non- 
theatrical field. We wish to announce to the general 
photographic industry that henceforth we will handle 
all markets under our own, the Peerless, name. We 
continue to offer the same vacuum vaporating treat- 
ment of films which we have offered for 14 years — but 
no longer through Vaporate Company. Now — lower 
prices and Peerless personalized service are in effect. 

No other film treatment has ever been used so exten- 
sively and has such wide acceptance in the industry. 
No other film treatment offers such positive protection 
against film damage. Peerless Film Treatment is avail- 
able at numerous commercial laboratories throughout 
the country. The effectiveness of Peerless Film Treat- 
ment and the proven safety of Peerless chemicals have 
earned the appreciation of thousands of users. 



Write for list of 
neic low prices and 
Peerless processing 
installations. 



Peerless Film Processing Corporation 

165 West 46th Street • New York 19 N. Y. 




one has — 1200 prints, in 16 foreign coun- 
tries, scripts in seven languages, and 
about 15,000 showings! 

Your readers will be interested to know 
that a sixth edition of the filmstrip has 
been prepared this spring. It has some 
new sequences in it that deal with the 
UN, showing the basic similarities be- 
tween it and the old League of Nations. 
All world federalists know these simi- 
larities were the downfall of the League, 
and will cause the downfall of the UN 
if they are not eliminated. The filmstrip 
is more challenging in today's version 
than when it first came out. 

Perhaps you have never seen Hotv to 
Conquer War. If so, that is my fault! 
Sydna White 
Federalist Films 
391 Bleecker St. 
New York 14, N. Y. 

EDITOR'S NOTE: 

♦Chicago's precedent in declaring an official 
World Government Week has already been 
followed by Minneapolis, Miami, and 
Berkeley, California. 
"•Sec the December 1944 EDUCATIONAL 
SCREEN, page 428; October 1946 issue, 
page 458. 

Another Hit 

Editor ; 

You have hit the nail on the head 
again in the April issue of Educational 
Screen in your editorial "Fair Trade 
for Whom?". Congratulations on another 
splendid contribution to the whole field 
of visual education. 

Herbert M. Elkins 
Herbert M. Elkins Co. 
Sunland, California 

Of the Same Ilk 

Editor : 

We wish to thank you for your very 
forceful editorial "Fair Trade for 
Whom?". The entire industry is threat- 
ened by the price-cutting tactics of un- 
ethical and unstable so-called educational 
dealers, who sacrifice so much of their 
profits in order to obtain the business 
that they cannot, and will not, render 
the services to which the purchaser is 
entitled. Such operators eventually pass 
from the picture, but it seems that some 
manufacturers will replace them with 
others of the same ilk, and about all the 
ethical dealer can do is try to convince 
the consumer that his first-cost saving is 
soon eaten by his having to purchase 
these services elsewhere at a great cost 
of time and money. 

W. D. Engleman 
Engleman Visual Education Service 
Detroit, Michigan 

Both Sides of the Fence 

Editor : 

Thanks for your explanation of Fair 
Trade carried in the April issue of Edu- 
cational Screen. 

That is certainly a battle, but it takes 
all of us, on both sides of the fence, 
working together to win out. 

Hazel Calhoun 
Calhoun Company 
Atlanta, Georgia 



258 



Educati«nal Screen 



Metlkese Outslandiflj^Values 

^ For Classroom Use 



...new RCA Classroom Slide Film Projector— A dual- 
purpose projector designed for 35mm film-strips and 2"x 2" 
slides. It's priced so low you can now equip every classroom with 
its own projector. The quickest and easiest projector threading 
you have ever seen. No sprockets to thread or damage film. 





...new RCA Transcription Player for the Classroom-A 

high quality portable player for reproduction of either standard 
phonograph records or 16-inch transcriptions. Two separate motors 
supply positive, constant speed to turntable— one for 33'/3 rpm and 
one for 78 rpm. Detachable loudspeaker provides brilliant repro- 
duction of all voices and musical instruments. 



...the new RCA Victrola Classroom Phonograph-This 

RCA classroom phonograph (Senior Model 66-ED) plays 
12-inch or 10-inch records. Has "Golden Throat" tone system. 
"Silent Sapphire" pickup. Separate tone controls for bass and 
treble. Blond finish walnut cabinet with closed back. Hand 
holes for convenience in carrying. 

icirola T.M. Reg. U.S. Pel. Off. 






. . . RCA's new "400" 16mm Projector— A lighter weight, 
ALL-PURPOSE projector for more effective teaching. Amazingly 
easy to thread and operate. Ideal for use in classroom or auditorium. 
Shows films at their best in brilliance and contrast— black-and-white 
or full-color. Sound or silent operation. 



... RCA Victor Record Library for Elementary Schools 

A basic record library for the classroom. Consists of 370 com- 
positions, 83 records, in 21 albums. Complete teaching sug- 
gestions for each record. Covers such activities as Rhythms, 
Singing, Listening, Rhythm Bands, Singing Games, and 
other topics. Priced within the budget of every school. 





For descriptive literature write: Ed'jcationai Sales Dept. 28-F, RCA, Camden, N. J. 

RADIO CORPORATiOM of AMERICA 

EDUCATIONAL SALES DERARTMEMT, CAMDEN, N.J, 



June, 1948 /c^ 



259 



( 



i^ Look to ACADEMY for Only the 



Finest in Educational Motion Pic 



y the \ 
tares / 



ANNOUNCING 5 NEW 16MM 
SOUND MOTION PICTURES 

Keyed to Basic Requirements of the School Curriculum 
Natural Color or Black and White 



• FREIGHTER IN PORT — Actual scenes and animated dia- 
grams explain various parts of an ocean freighter — unloading 
and loading foreign and domestic cargo and other ship and 
dock activities in preparation for sailing. 

• FREIGHTER AT SEA — Keyed to develop a consciousness 
of world trade importance, this sequel to "Freighter in Port" 
shows operation of cargo ship at sea, duties of personnel, navi- 
gation instruments including radar, safety devices, etc. Ani- 
mated maps explain important ocean routes. Both films designed 
for 3rd thru 7th grades. 

• STATE LEGISLATURE— Filmed during session of Legisla- 
ture, this picture shows detailed procedure of legislative branch 
of our State government in "ihe passage of a State law. It fol- 
lows a bill from its origin, step by step, as it is passed by the 
Assembly, concurred in by the Senate and signed by the Gov- 
ernor — then challenged and reviewed by the State Su.oreme 
Court. For upper grades. Junior and Senior High, University 
and adult. 

• MISSISSIPPI RIVER (Upper River)— The story of Amer- 
ica's greatest river, from its source to its central section near 
St. Louis, showing, by actual scenes and animated maps. Its use 
by industry and agriculture for power generation and transpor- 
tation, its control by dams and locks. Its drainage area and 
principal tributaries and the cities of Minneapolis and St. Louis. 

• MISSISSIPPI RIVER (Lower River)— From mouth of Ohio 
River to Gulf of Mexico, this film features industries, vital river 
transportation of goods and farm products, dramatic scenes of 
disastrous floods, flood control, levee construction, sandbagging, 
dredging — and the river ports of Memphis and New Orleans. 
Both films designed for Intermediate grades and Junior High. 

• Previous releases of high merit — CIRCUS PEOPLE and Its 
companion film CIRCUS ANIMALS, for primary grades; WATER 
SUPPLY for upper grades and Junior High Science classes. 

Write for more complete descriptive material. Preview 
prints will he supplied to responsible educators interested 
in film purchase. 



ACADEMY 

JiCmA 



844 Seward Street • Hollywood 38, Californi; 

MK.MIItK (IF ALLIiD I N DIPKNDENT PROnUCEIlS 

Produced under direction of James A. Larsen 



READ and then WRITE! 
"The Audio-Visual Way" is the title of a remark- 
ably fine bulletin just published by the State Depart- 
ment of Education in Florida. It was prepared at the 
School of Library Training and Service, Florida State 
University, by a committee of Florida educators dur- 
ing the summer of 1947 to aid teachers, librarians, 
principals, and supervisors in their selection, acquisi- 
tion, care, and use of audio-visual materials. It does 
it simply and directly in 118 readable and to-the- 
point pages. 

Immediately upon reading it, we wrote Charles 
Hoban, who had served as consultant to the com- 
mittee, as follows: 

"Do you people down there really know what a 
masterpiece you have achieved in 'The Audio- Visual 
Way'? It is by far the finest thing of its kind ever 
done. It cannot be kept exclusive to Florida. Some 
way must be found to make it available and 'must' 
reading for every school principal and visual co- 
ordinator. 

"Is Florida prepared to sell copies when it is pub- 
licized, and at how much per copy?" 
The reply proved to be as remarkable as the book 
itself. Florida has produced the biggest book bar- 
gain of 1948. Copies are available at thirty-five cents 
— actual print cost. Write to the State Department of 
Education, Tallahassee, Florida. Enclose the money 
and ask for Bulletin No. 22B, "The Audio-Visual 
Way." 

PAUL C. REED 



Corey to Columbia 

Stephen M. Core}-, professor of educational psychol- 
ogy at the University of Chicago and chairman of the 
board of trustees of the Film Council of America, will 
begin duties in September as professor of education and 
executive officer of Horace Mann-Lincoln Institute of 
School Experimentation at Teachers College, Columbia 
University. 

Carl H. Milam — World Librarian 

Carl H. Milam, executive secretary of the American 
Library Association for 28 years and a member of the 
board of tru.stees of the Film Council of America, has 
been appointed Director of Library Services for the 
United Nations. During his long period of service 
with the ALA, Mr. Milam has worked successfully to 
expand the old concept of the library as a repository of 
books for those who want them into the now widely- 
recognized concept of the library as an active and 
powerful force — through books. Iilms, services, etc. — 
in bringing education into the community. 

Educational Film Award Contest 

The Audio- Visual Education Association of Califor- 
nia announces its First Annual Educational Film 
Award Contest, June 1 to September ,^0. Three 1 6mm 
educational films will be chosen from those entered in 
the contest to be awarded certificates of merit and to be 
shown at the State Conference film meeting to be held 
at U.S.C, Los Angeles. October 28-.30, 1948. One of 
the three will be judged the most outstanding educa- 
tional film. An estimated minimum audience of 3000 
peoi)le will view and judge the entries between Jnne 1 
and September 30. For further infonnation, write to 
Mrs. Helen Rachford, President, Audio-Visual Educa- 
tion Association of California, 808 N. Spring St., Los 
Angeles 12, California. 



260 



Educational Screen 



FOR 
MORE 

THAN A YEAR. 





some of the world's foremost cameramen-directors 
have been at work in the far corners of the earth to pro- 
duce an unprecedented series of thirty- six, two -reel teaching 
films on world geography. 
Noted geographers, audio-visual specialists, classroom 
teachers and professional film producers have 
joined together to bring you — 






YOUK VOKLD AND MINE 




The United World Geography Series 
Produced by Louis de Rochemont 



The first films will be ready in September 1948 for the opening of the school year. 

You will want to make plans now to provide your school with the entire series. 

Watch for further details on these history-making films. 



pSPMWD 

Distributors for Universal-International and J. Arthur Rank incorporating 
Bell & Howell Filmosound Library & Castle Films • 445 Park Avenue, New York 22, N. Y. 





June, 1948 



261 



The OILY Projector 
for AIL these uses... 




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that projects both 2" x 2" and 33^" x 4" color slides. By means 
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light conditions. 

This 750 watt instrument provides greater brilliance than most 
1000 watt projectors. 

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TUcmii^adm'ef^ o^ the SPEHZER jJelentf/le Jm^f'um^/t^ 



262 



Educational Screen 



//3 



this is the most important question ever put on film 



where 

Wfl/ 

you 

hide 



Where will you hide? 

If war comes. If atomic bombs should sear the earth. 
IS there a place to hide.' 

That is the enormous question of our generation . . . 
the question every adult and every child must be able 
to answer. 

Now Encyclopaedia Britannica Films brings you this 
powerful new film that turns a burning light on the 
most vital problem a people ever faced. 

Clubs, schools, universities . . . organizations and 
groups of every kind will want to show this stimu- 
lating, thought-provoking film. Produced in full color 
by the Audiographic Institute, and distributed by 
Encyclopaedia Britannica Films. Write now for full 
information. 




Encyclopaedia Britannica Films Inc. 



WILMETTE, ILLINOIS 



June, 1948 



263 



As Viewed From Here Paul C. Reed 



"Experience with reality should be 
their basic method of learning." 



Teaching Teachers Competency 

# We have hopes for the 1948 summer courses in audio-visual 
education. We hope the courses will be aimed directly toward making 
teachers more competent in their use of audio-visual materials. We 
hope that teachers will acquire the specific understandings, knowl- 
edge, skills, and abilities needed to assure competence in the use of 
audio-visual materials. And we hope that audio-visual courses will 
be "audio-visual" in method as well as in name. 

If teachers teach as they are taught, audio-visual methods should 
be exploited to the utmost in the summer courses of 1948. Nothing 
could be more inexcusable than an audio-visual course taught solely 
by the lecture and textbook method — even when so excellent a text 
as Dale's is used. 

The audio-visual learning experiences of teachers should be 
vivid and meaningful experiences. Teachers should learn the values 
of pictures and recordings through firsthand experiences, not through 
memorizing words. They should learn the principles of good utili- 
zation from seeing materials used well, not through verbalizations. 
Experience with reality should be their basic method of learning — - 
operation of equipment learned by operating it; production of simple 
materials by producing them; evaluation and selection of materials 
by selecting and evaluating them. 

Important as audio-visual method is, however, that alone will 
not produce teacher competence in the use of audio-visual materials. 
These audio-visual learning experiences must be aimed toward clear- 
cut objectives. The specific understandings, knowledges, skills, and 
abilities needed for competence must be known before they can be 
taught. 

Some important spadework in defining these specifics was com- 
~ pleted more than a year ago by a group of twenty-five California 
educators. Serving on a state committee, they evolved a statement 
of requirements basic enough to be of value to teachers of teachers 
in Maine as well as California. Upon such well-defined needs, suc- 
cessful courses are based. 

This contribution from California may be obtained from Wash- 
ington, D. C. It is the basis of a pamphlet called "Foundations for 
Teacher Education in Audio-Visual Instruction" by Elizabeth Goudy 
Noel and J. Paul Leonard, published by the American Council on 
Education (744 Jackson Place, Washington 6, D. C). This guide 
to the teaching of competency, if heeded by instructors of audio- 
visual courses, would do much to assure teachers more than just 
credits for their summer's work. 

264 Educational Screen 



Here is the story of how 
a aim plus good teacher 
guidance helped children 
understand the meaning 
of cooperative planning 
and helped educate them 
for democratic living.* 




A Film Serves School and Community 

By EARL A. ARNOLD, Director of Instruction, 
Kingsport City Schools, Kingsport, Tennessee 



COOPERATIVE PLANNING had been the key- 
note of Kingsport's curriculum development pro- 
gram since its inception last September when 
eight teacher-study groups were organized. Dr. Alice 
Miel, Research Associate of the Horace Mann-Lincoln 
Institute of School Experimentation, Columbia Uni- 
versity, serving as a consultant, made several visits to 
Kingsport during the year. 

In connection with her February visit, arrange- 
ments were made for a public meeting, the major part 
of which was to be devoted to a panel discussion of the 
topic "Experiences Which Educate Children for Living 
in a Democracy." To prepare the way for the discus- 
sion it was planned to use the 20-minute sound picture 
Learning Through Cooperative Planning. It had been 
filmed at Kansas City, Mis.sonri, and told the story of 
the ijart played by the pupils of one of the elementary 
schools in the city's clean-up and beautification cam- 
paign. It showed children of various ages planning to- 
gether with their teachers ; trips to the spots around 
the school grounds and the community where improve- 
ments were sought ; visits to the school gardener for 



* The film used, "Learning Through Cooperative Plan- 
ning," is a two-reel, 20-minute, 16mm sound film produced 
by the Horace Mann-Lincoln Institute of School Experi- 
mentation and distributed by the Bureau of Publications, 
Teachers College, Columbia L'niversity. It tells how an 
elementary school cooperated in the community's annual 
spring clean-up and beautification campaign. In the picture 
above, a first-grade group is shown carrying its plans 
into action. 



help and advice; and the organization of the various 
steps in planning and in carrying them out. In short, 
the film presented a good example of cooperative 
planning in action. 

Advance Preparations 

The panel, chosen democratically, included Dr. Miel, 
the Superintendent of Schools, two parents, two 
teachers, one board of education member, and one 
principal. Two days before the public meeting, the 
panel and our curriculum council met to preview the 
film and discuss general procedures for the panel dis- 
cussion. After a brief explanation by Miss Miel, the 
film was previewed, and the plans for the meeting were 
perfected. 

The Public Meeting 

Approximately two hundred people attended the 
public meeting. Following introductory remarks by 
the chairman, Miss Miel gave a brief history of the 
preparation of the film. The picture was then shown to 
the audience. 

In the ensuing discussion by the panel, several 
references were made to the film. For example, one 
sequence in the picture had shown a group of small 
children sitting in a circle discussing with their teacher 
what places in the community they might try to 
l)eautify. One suggested, "\\'liy not go right now and 
see some spots?" All the boys and girls eagerly jumped 
up to go, but the teacher remained seated and calmly 



June, 1948 



265 




Scenes from 
"Learning Through Cooperative Planning" 

Top: The school council begins its planning. 
Middle: A group studies erosion in the community. 
Bottom: A first-grader experiments with plants. 



,266 



asked, "Now? Hadn't we better do some planning 
first?" The children saw the point and agreed that 
would be best, and resumed their discussion. The 
panel used this example to show how a skillful teacher 
exercises restraint and guidance in a cooperative plan- 
ning project. Other references to the film brought out 
that the teacher continues to have a very important 
part even in cooperative planning — that it is necessary 
for her to do considerable advance planning herself ; that 
assignments could be adjusted to individual differences ; 
and that such experiences could result in a feeling of 
" belonging — a feeling that all, working together, had 
accomplished worthwhile goals they themselves had 
helped plan. The thought was expressed that experi- 
ences, similar to those seen in the film, where children 
have opportvmity to help plan and carry out group 
projects which have meaning and purpose for them 
iiozv, will help to make them more cooperative. More- 
over, it was felt that this type of education had greater 
carry-over value. The point was stressed that experi- 
ences in cooperative planning, such as those portrayed 
in the film, constituted one of the best kinds of 
experiences in democratic living. 

Reactions 

In the several weeks following the public meeting, 
a number of events and incidents occurred which, in 
the opinion of the writer, could be traced to the use of 
the film. The following will serve as examples. 

1. Immediately after the public meeting, two members 
of a local service organization inquired as to the pos- 
sibilities of bringing the same film to Kingsport at a 
later date, thus indicating their feeling that the film 
was a real aid in getting an idea across. 

2. Early in March two radio broadcasts over W'KPT, 
sponsored by the Kingsport Junior Chamber of Com- 
merce, dealt with the local curriculum development 
program. In these broadcasts stress was placed upon 
community-school cooperative planning and teacher- 
[tupi! cooperative planning. 

3. A group of public-spirited men took the initiative 
in planning a series of public meetings for the purpose 
of discussing further the curriculum development pro- 
gram. Most of the men responsible for arranging 
these meetings attended the panel discussion meeting 
and saw the film. 

4. One of the junior-high school teachers instituted in 
several of her classes cooperative planning projects, 
one of which dealt with a classroom beautification 
problem, clearly indicating the influence of the film. 

5. Another junior-high school teacher arranged, 
through cooperative planning, for some of her pupils to 
make a field trip to the Southern Oxygen Company, one 
of Kingsport's industries, to collect data on liquid air 
and to make reports to the class. 

6. One of the Ancient History Classes in the high 
school decided to make an eight-millimeter movie 
which would portray several developments connected 
with ancient history. This teacher had been using the 
cooperative planning technique prior to the panel dis- 
cussion meeting, but it is reasonable to assume that 

(Concluded on page 275) 
Educational Screen 



A Yardstick for Evaluation 



liiiiitiiiiiitiiiniiiit iiiiiitiiin HiniiiiiMiiiiniiniiniiiiiittiiiiiiiiiiiiiitiriiiiiiiliiiiiiiiiiiMiiiiiiiiiniiliiitiiiiiiiiiiiDiiitiii 

How are we doing? Where do we go 
from here? 

No flippant queries these — but innportant 
questions which nnust be answered by all 
educators who plan and participate in audio- 
visual programs. And these questions can 
be most wisely answered in the light of the 
ten criteria for evaluation presented here. 

riiiiiiitii iiiiiiiiiittiiiii.t ii.iiiiiiiiiiiMiiiiiiiiiiiiniiiMitiiK tiiiiiiiMiiiiii iiiiiiiiiiiiiiiiiiiiiiiiii iinirilll 



EVALUATION is an important aspect of any on- 
going enterprise. Educators in general have 
long been aware of this fact and have spent 
considerable time and effort examining their educa- 
tional programs in an effort to test the validity of their 
theories of teaching and the effectiveness of various or- 
ganizational and administrative plans and procedures. 
Persons in charge of audio-visual programs should also 
be aware of the importance of stock-taking and should 
make provisions for doing so. 

During the past few years educators and laymen 
alike have been urging greater use of audio-visual 
materials and methods in the schools. They have said 
these materials and methods improve instruction and 
greatly increase its effectiveness. Boards of education 
are asked to allocate rather large sums of money for 
the establishment and support of audio-visual programs. 
Although the development of these programs has 
not been as rapid as many have hoped, quite a few 
school systems already have audio-visual directors. A 
steadily growing amount of materials and equipment 
is being acquired by schools. Teacher interest is def- 
initely on the increase. Boards of education are sup- 
porting these new programs. 

These facts are cause for satisfaction, but there is also 
cause for concern. Acquisition of equipment and 
materials, development of teacher interest, and securing 
financial support are not enough. Materials and equip- 
ment must be used in order to have any effect on the 
learning of pupils. They must be used zvith understand- 
ing and skill to realize the full benefits claimed for 
audio-visual instruction. 

Obviously, a major responsibility of persons in charge 
of audio-visual programs is to make certain that the 
potential contributions of audio-visual materials and 
methods to learning are fully realized. This means 
they must organize and administer their programs so 
teachers have the materials and equipment they re- 
quire in their teaching, and they must help teachers 
utilize these materials effectively. They must be sure 
they are moving toward their goal - more effective 



by PAUL WITT 

Division of Instruction, 

Dept. ot Curriculum and Teaching, 

Teachers College, Columbia University 



learning through the skillful and intelligent use of 
audio-visual materials and methods. 

To be most effective, evaluation should be a group 
enterprise. Everyone concerned with the development 
of the audio-visual program should participate in the 
evaluation of it — teachers, pupils, parents, and ad- 
ministrators. The nature and extent of participation 
will vary for each group, but each should have some 
part in the development and application of the 
measuring instrument. The person in charge of the 
program bears the heaviest responsibility for evaluating 
the program and it is his duty to provide the needed 
leadership. In addition to a more thorough and ac- 
curate appraisal of the program, other values are gained 
from group evaluation, not the least of which are the 
increased interest of teachers and the strengthened 
community support for the program. 

How does one tell how he is doing? How does he 
determine what he does next? Obviously a yardstick 
of some kind is needed, something for measuring 
progress, for appraising successes and failures. 
Although an audio-visual director and the people work- 
ing with him will want to develop their own evaluative 
instrument, the following criteria for evaluating audio- 
visual programs are presented as a base from which 
they might start. These criteria are valuable in that 
they focus attention on the important aspects of the 
organization and administration of audio-visual pro- 
grams. 

Criteria for Evaluation 

THE USE OF AUDIO-VISUAL MATERIALS SHOULD BE 



a 



SO ORGANIZED AND ADMINISTERED THAT THESE 
MATERIALS FUNCTION AS AN INTEGRAL PART OF THE 

EDUCATIONAL PROGRAM. A good audio-visual program 
is an organized attempt to utilize certain instructional 
materials such as films, slides, pictures, charts, maps, 
graphs, and realia, and certain instructional techniques 
such as the school trip and the radio broadcast in pro- 
viding educational experiences for pupils. A good 
audio-visual program is not something distinct and 
separate from the major educational enterprise carried 
on in the school. It is, rather, an important aspect of 
the principal business of the school. 

Unfortunately, in some school systems the audio- 
visual program is established as a separate activity. 
Films are shown to large groups of pupils with no 
attempt to integrate the film experience with other 
learning activities of the pupils. School trips are noth- 

(Cotilinued on page 290) 



June, 1948 



267 



N-V*^' J 



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v\^ 



...... 






SOME PEOPLE are still surprised at the thought 
of public libraries' circulating educational films. 
In the raised eye-brow department, the questions 
run something like this : Why? How and with what? 
What future do you see in itf 

The "Why" is simple. It is enunciated clearly in the 
Four- Year Goals to which the American Library As- 
sociation has pledged itself in preparation for the 
Seventy-Fifth Anniversary in 1951 : 

. . . The American Library Association believes that every 
library should redirect its program of services with major em- 
phasis on spreading information and stimulating citizen action 
on the critical problems which must be solved if we are to avoid 
disaster. 

The library has a new responsibility which grows out of 
the problems of our times . . . These problems are inter- 
national, national, and local; political, economic, and social; 
racial, industrial, ideological and spiritual. They are not new 
in themselves. But they are newly dangerous because they 
exist in an atomic age. 

The task is urgent, the time is now. Such resources as 
libraries have must be used to the limit. 

This is the librarians' newly-adopted credo. Today 
the library field is taking steps to come out from within 
the institutions and carry the old and new tools for 
learning into the homes and meeting halls of t''e people. 
One of the major developments is the rapidly increasing 
use of informational films, which make it possible to 
reach thousands in the community hitherto untouched 
by any form of adult library service. 

With our sights set high for some type of film 
service in every library, let's go on to tb.e second 

Discussion begins after a film showing in the auditorium of 
the main library in Cleveland. 




Filma on your library card! Yes, the library 
is carrying both the old and the new tools for 
learning into the homes and meeting halls of 
the people. 



Libraries Mee 



question : Hozv and IVith what? The fact is that 
already 19 public libraries across the country could 
each tell a success story. During 1948, these 19 
libraries have budgeted a total of $71,640 for the 
purchase of films. This figure, though infinitesimal in 
the light of what should be spent, represents a bridge- 
head in a new field of library service. It should be 
noted that this figure does not include appropriations 
for personnel, equipment, or audio materials. Nor does 
it take into consideration the considerable amounts of 
money contributed by churches, philanthropic societies 
and groups such as the National Conference of 
Christians and Jews, Rotary, and the like which have 
rallied to help the development of community film 
collections and have contributed heavily both by giving 
funds and by purchase of gift prints in certain subject 
areas. 

The 19 communities range all the way from New 
York to Seattle, Wisconsin to Texas. They include 
industrial centers like Cleveland and Detroit, where 
the libraries enjoy a relatively high per capita income, 
and smaller cities like Charlotte, North Carolina. Film 
collections vary in size from 850 titles in the Cleveland 
Film Bureau, which was' established in 1942 with a 
gift of $1,000 from the Rotary CIuIj, to 91 in the 
Cincinnati library's self-styled "young sprout" of a film 
department. One thing common to all is a rushing 
business with community groups. In a recent survey of 
film services rendered by libraries, made by L. Harry 
Strauss of the Commission on IVIotion Pictures in Adult 
Education, every one of the film libraries listed as major 
problems, "more funds." "more staff," "more space," 
"more films." Predominating in every case is a com- 
munity demand which is almost overwhelming. 

Individual DifTerences 

Each of the existing public-library film collections 
has distinguishing ditTerences, individual characteris- 
tics. Material on the fishing and lumbering industries, 
for instance, is prominent in the Seattle Public Library 
collection; films on hunting, sports and art are em- 
phasized in the Dallas collection ; many classroom 
films are found in the collection at Charlotte, where 
the public library serves the schools under a contract 
arrangement; many religious films and films for 
children are listed in the catalog in Cleveland, where 
settlement houses and Sunday-school primary groups 
are heavy borrowers. 

Since new collections tend to serve the heaviest 
demand first, the first films bought are usually in the 
fields of current events, international relations and 
human relations. .As collections grow, so subject areas 



by PATRICIA BLAIR 

Library Film Adviser, 

American Library Association 



eiv Responsibility 



grow to include films on child care, arts and crafts, 
music appreciation, religion, etiquette, grooming, nature 
and so on. 

Policies vary with local conditions. Two libraries 
in communities where an equipment bottleneck existed 
lend their projectors to qualified groups, while all the 
other libraries maintain source lists showing equip- 
ment resources but reserve their own equipment for 
library programs. In the beginning some libraries, 
because of small collections, found it necessary to 
restrict film circulation to groups only. As their col- 
lection grew, this restriction was lifted in recognit'on 
of the educational value of films in the home made 
available to qualified home borrowers. 

General Patterns 

Although there are some distinguishing character- 
istics arising from individual community needs, certain 
clear and general patterns are emerging. In the larger 
cities the trend is definitely toward ownership of per- 
manent, well-rounded, balanced collections supple- 
mented by the occasional deposited film. All the 
libraries offer professional advisory service in selection 
of specific films and program planning. All the libraries 
sponsor screenings of new acquisitions at regular inter- 



vals for community leaders and program chairmen. All 
the libraries conduct evening film forums and noon- 
hour programs in the downtown main libraries, with 
children's and family programs in neighborhood 
branches. 

Cne interesting aspect of the selection of film 
material is that in most cases group selection and 
the use of subject specialists are quite consistently 
adhered to. Most of the libraries not only call in subject 
specialists from their history, sociology, technology 
divisions "and so on, but also invite specialists from 
the community, such as public health workers, business 
men and social workers, to help evaluate films under 
consideration for purchase. 

The sound demonstrations by the publ'c libraries 
which pioneered in the film service field plus the 
modern librarians' desire to accept the responsibility of 
an active role in community education are bringing 
about a natural and rapid developmsnt of community 
film collections. As this article is being written, the 
Enoch Pratt Library in Baltimore, Maryland is con- 
ducting a search for a Director and an Assistant 
Director for a new film department ; the Rochester, 
New York, Public Library has announced appropria- 
tions of $10,000 annually for a 3-year period to es- 
tablish film service ; libraries at Louisville, Kentucky 
and Knoxville, Tennessee are placing their first pur- 
cha.se orders ; in Portland, the public library is in its 
fir.st few weeks of service. 

From the field to ALA Headquarters comes a steady 
flow of inquiries on planning for f Im service, on 
sources, on equipment, on what to stress in new cur- 
riculum in library schools. 

To the field from Headquarters go°s an advisory 
service made possible by a two-year grant to the Amer- 

(Continued on page 294) 



Representatives of the National 
Conference of Christians and 
Jews and the Mayor's Race Rela- 
tions Committee make arrange- 
ments to pick up films at the 
booking desk of the Cleveland 
Library's Film Bureau. 



I 




Films in the English course can help students to interpret experiences, 
to concentrate, and to write and speak with greater fluency. 

Experience Precedes Expression 

by DONALD L KRUZNER and VIRGINIA GOLDSMITH 

Deputy Superintendent, Director, Instructional Materials, 

King County Schools Highline Schools 

Seattle, Washington 



A COURSE IX ENGLISH should lead the student 
to a better understanding and command of the 
essentials of our language. These essentials are 
written and oral self-expression, the art of listening, and 
the ability of interpreting written and oral language. 

In any activity a large degree of skill is developed 
by the proper kind of practice. Just as a basketball, 
tennis, golf, or hockey player spends much time in 
practicing the proper techniques of his game, so should 
a student of oral and written expression. As a golfer 
needs clubs, balls and a green, so an English student 
needs something to talk or write about. A student can't 
write unless he has something to say. He can't have 
something to say unless he has meaningful experiences. 
His meaningful experiences are limited unless he de- 
velops the ability to concentrate in his reading and 
listening. Because motion pictures command concen- 
trated attention, films can be used advantageously in 
English classes. 

Group discussion following the presentation of nearly 
any good educational picture can be of such thought- 
provdking nature that a great number of challenges are 
extended to the students. Even the slower individuals 
in the class can be encouraged to participate in dis- 
cussions on certain phases of the picture that were 



especially meaningful. This type of practice tends to 
help a pupil acquire the habit of speaking more freelj' 
and easily. 

W^ritten compositions on various phases of the 
subject under consideration offer little difficulty either. 
With the ideas created by the educational picture 
clearly fixed in the minds of the students, they will, 
with the right kind of practice, begin to compose more 
easily. The problem of what to say has been solved. 

On the other hand, many students have labored over 
a composition assignment without making a mark on 
their papers for ten minutes or more — then only a line 
or two — followed by another long pause. The trouble, 
of course, was that they were short of ideas. They 
didn't know what to say. 

Any professional writer acquires skill by writing. 
The biographies of nearly every great writer indicate 
that there was a pencil-chewing stage somewhere in 
his career. An easy, even flow of expression came only 
after much practice. A lesser degree of command of the 
language necessary for all students is achieved by the 
same process. 

Clear, logical thinking is dependent upon the well- 
developed habit of concentration. Many teachers have 
found that this type of concentration can be developed 



Topics for written and oral discussion may be developed from scenes like these in the film "Peoples of Canada" 

(available from the International Film Bureau). Left— Gaspe fishermen at work over long rows of cod drying 

in the sun. Right— British Columbia ranchers at Kamloops. 

National Film Board of Canada 




270 



Educational Screen 




International Film Bureau 
National Film Board of Canada 

PEOPLES OF CANADA: Left— a British Columbia In- 
dian medicine woman sewing a leather mocassin. Right — 
youthful Canadians in an art class at Montreal. 

through the medium of educational fihns. Even those 
who have not used educational motion pictures in the 
classroom can understand from making observations 
at the theater something of the habit of concentration 
created by parts of motion pictures. Until the student 
has developed the ability to concentrate, very little 
progress can be made in the other important respon- 
sibility of an English course, that of interpreting 
materials and experiences. 

In order to explain further how the instructional 
film can be used to aid in the development of these 
skills, the following chart based on the film Peoples of 
Canada * has been prepared. This chart is an analysis 
of the content of the picture, listing thirty separate 
topics that could be selected for oral and written ex- 
pression : 

With this kind of chart as a guide, the English 
teacher can develop an interesting and valuable proj- 
ect. Such a chart can be developed through class dis- 
cussion following a first showing of the picture. Then 
after individuals have selected their topics, concentrated 
attention during a second showing of the picture wilt 
provide a rich and meaningful experience. This 
experience should lead logically to worthwhile written 
and oral expression. They will know not only what 
to write and talk about, but will also know what they 
are writing and talking about. 

There is one thoroughly justified objection to a too 
intensified use of educational films in an English 
course. A great number of films not skillfully used in 
the classroom but merely presented as "shows" are a 
waste of time as far as progress toward the essen- 
tials of an English course. On the other hand, if 
utilization of a few selected educational films is care- 
fully planned, considerable progress can be made by the 
students in learning to interpret experiences, to con- 
centrate, and to write and speak with greater fluency. 

* The 16mm sound film "Peoples of Canada" is a National 
Film Board of Canada production, distributed exclusively by 
the International Film Bureau. 84 E. Randolph St., Chicago. 



Suggested Topics for Oral and Written 

Expression Based on the Film 

"Peoples of Canada" 



FILM SCENES 


SUGGESTED TOPICS 


1. Historical background 


a. Indian life 




b. Early explorers, fur-traders. 




missionaries, or adventurers 


2. Early settlers 


a. Types of immigrants who 




settled Canada 




b. Contributions of settlers of 




various nationalities 




c. Reasons for settlements on 




their particular sites 




d. Biographical sketches of 




pioneer ancestors of pupils 




e. Work of men settlers 




f. Work of women settlers 




g. Influence of industry on set- 




tlements 


3. Industries 


a. World trade 




b. Lumbering 




c. Farming 




d. Shipping 




e. Shipbuilding 




f. Mining 




g. Other industries 




h. Canada's part in World War 




II 


4. Canada today 


a. Important cities. Trace de- 




velopment 




b. Places of interest 




c. Famous Canadians 




d. The church as center of 




small-town life 




e. Sports 


5. Future of Canada 


a. Importance of Alaska High- 




way 




b. Future effects of air trans- 




portation 


# 


c. .Advantages of proposed St. 




Lawrence Seaway 




d. Future development of in- 




dustry 




e. Growth of cities. Why? 




f. Canada's part in United 




Nations Organization 




g. Youth in Canada 




h. Significance of cooperation 




in affairs of country and 




world 



June, 1948 



271 



WILLIAM S. HOCKMAN, Editor, 1616 Marlowe Avenue, Lalcewood 7, Ohio 



The Church Needs These Films! 

THE CHURCHES OF AMERICA need many good motion 
pictures. They need badly right now four films on 
the basic aspects of the great foreign missionary enter- 
prise. The four aspects of the overseas work of the 
church are : medical, educational, evangelistic and agri- 
cultural. A fifth film could be made on the romance of 
the world-wide literacy movement. 

These films should be non-sectarian — the spirit of 
most overseas work of the church. Each one would 
touch upon the work of many denominations in a num- 
ber of countries. They would interpret the outreach 
work of the church and inspire present-day churchmen 
to meet more adequately the opportunities for the 
strengthening and extending of Christian missions. 

These four films could be documentary in type. They 
would be designed to take their audiences on a tour and 
show them the work being done and needed to be done. 
The commentary would mix carefully, and in the right 
proportions, emotional appeal, facts, and deep apprecia- 
tion for the devotion, skill, and general competence of 
missionary personnel. 

The Time Is Now 

The church needs these films now. If they can be 
produced in the next five years, they will receive a 
volume usage manyfold greater than they will get ten 
years from now. Churches are hungry for films, espe- 
cially hungry for quality films of this character. They 
would not displace present films, and masses of Amer- 
ican churchmen need to be reached with films designed 
to build world-mindedness. This job cannot be done 
alone by the spoken words of addresses and the printed 
words of leaflets and newsletters. The masses can be 
reached only with mass media. 

Each one of these films can be roughed-out by those 
who are familiar with the area of work to be treated, 
and then a detailed script can be produced by those 
having specialized skill. The fundamental pictorial se- 
quences out of which each film will be built will need to 
be carefully planned so that the actual shooting on loca- 
tion can be expedited. One camera-crew might be able 
to secure the basic footage for all four films if its 
itinerary were planned by those familiar with travel 
conditions in the places to be visited. Expert editing and 
sounding could then build this footage into the individual 
films. 

High Quality Is Essential 

These films must be good — good because they major 
in .showing and not in talk. For greatest flexibility in 



utilization, they should be kept to 20 to 25 minutes run- 
ning time, and color will be worth the extra cost. 

While these films will cost some money, they will 
be able to earn money, especially if they are produced 
before the list of available films has doubled or trebled. 
This type of categorical film will have usefulness over 
many years. With it the church can interpret its over- 
seas work, build interest and give understanding. The 
springs of missionary support are located in knowledge 
and understanding. 

Now is the time to begin. Regardless of what the 
church is planning to produce, these four films should 
receive a very high priority and their planning should 
be undertaken immediately. The motion picture is a 
talent in the hands of today's churchmen — to be un- 
wrapped and put to work. — WSH. 

A Sequel to "Beyond His Own" 

FOR A SEQUEL FILM to the motion picture Beyond 
His Ozvn. this department suggests the title, 
"Among His Own." This film would tell the story of 
Peter's life after he returned from China. It would 
show how he lived in his home, related himself to the 
community and its institutions, and practiced the law 
profession. The treatment would be dramatic, and 
Peter would have no easy time keeping his life 
topside-up. 

It is just possible that the PFC could secure a first- 
class story or script for this film by the announcement 
across the country of a sizeable prize for the best treat- 
ment sent in. If any of our readers have ideas or 
suggestions along this line, send them along. — ^WSH. 

A Church Makes Good Use 
Of Teacher-Education Films 

By WALTER W. BENNETT* 

AN OBVIOUS TENDENCY, common with church and 
school enthusiasts for audio-visual materials, is 
to attempt production of their own visual materials be- 
fore they have mastered ntili::ation. Thus did our com- 
mittee begin three years ago. Recently, however, this 
group of ten enthusiasts discovered that the real need 
for their talents in the church school field was to pro- 
mote effective utilization of visual materials. 

The proper use of existing materials and the broader 
concepts of teaching methods related to their use are 



* Chairman, Curriculum Aids Committee, Brick Presbyterian 
Church, Rochester, N. Y. 



272 



Educational Screen 



understandings not easily gained by a volunteer staff 
of lay teachers in a church school. We decided to pro- 
vide the teachers with experience in problem solving 
themselves under modern methodology using audio- 
visual materials with the teachers as learners. 

How Teachers Were Taught 

The McGraw-Hill Text-films on "Teacher Educa- 
tion"' became the core and resource of our experimental 
learning program for teachers. Ueginning with a topic 
vital to all teachers, we selected the tilin Maintaining 
Classroom Discipline for the lirst meet.n^. The com- 
mittee conducted a carefully prepared film forum at a 
regular stalT meeting. The film and its accompanying 
discussional filmstrip were presented. All the valid 
utilization techniques were practiced by a capable leader. 
Orientation of the group, preparation before screening, 
follow-up with summarization afterwards were not only 
"experienced" but participated in by the group — 40 
church workers. 

A fortnight later a second session was held, using 
the film Broader Concepts of Method. The same par- 
ticular provisions for experiencing the techniques of 
utilization were made, and the second session was a 
very natural outgrowth of the discussion of the first 
meeting. 

With Excellent Results 

The- results of the first two forums were profound. 
Magnetic tape recordings of the discussions were caught 
by a candid microphone and carefully analyzed by the 
committee afterwards. As anticipated, discipline proved 
to be the j)oint of departure. Curriculum, objectives, 
methods, pupil-teacher rapport and pupil participation 
became the basic issues for discussion. This led directly 
to the second film-forum on "Broader Concepts of 
Method"' and the need for developing pupils interests. 
The teachers were eager to get back to their classrooms 
to try out teaching as they had been taught. 

Mr. Harold I.. Clark. Educational Minister of Brick 
Church, summarizes our venture in these words : 
"There can be a serious use of films in the teacher- 
training program ; public school films can have real 
value in the church school ; the teachers of church and 
school can profitably share experiences with great bene- 



fits to the church school staff ; and films can be used to 
bring teachers closer to real life situations in which they 
must learn to function." 

Our third program is being planned. We believe that 
we have made a fruitful beginning in the improvement 
of utilization by helping our teachers to experience and 
understand the factors involved in the ehective use of 
methods and materials. 

The Story of Our Bible 

Few filmstrips produced recently will have greater 
utility than the 58-frame black and white The Story of 
Our Bible, which was prepared by Helen M. McKee 
and published by Pilgrim Press (14 Beacon St., Boston 
8). 

This filmstrip has five sections: Introduction, six 
pictures on how the Bible is used today ; The O. T. 
Period, seven frames surveying the Bible story from 
early beginnings down to Jesus' time; The N. T. and 
Early Christian Period, eight pictures carrying the 
story through the era of Roman persecution; From 
Early Canon to Modern Bible, eighteen pictures which 
bring the Bible story up to the present time; and twelve 
frames illustrating the importance of the Most Import- 
ant Book in the World. Each section is a unit in itself 
and may be shown alone. Used in its entirety, this film- 
strip surveys the main events in the story of our 
Bible. 

The publishers are to be conunended for developing 
two scripts for this filmstrip : one for children, the other 
for young people and adults. The adjustment in con- 
cepts and vocabulary between the two is considerable. 
The script for children averages approximately 28 
words per frame ; for adults, approximately 30. 

The "leader's guide" accompanying this filmstrip 
suggests some ways it can be used in the church to help 
boys and girls, young people and adults gain a better 
understanding of the background of our Bible and the 
formation of the Bible canon. The guidance offered 
is down-to-earth; practical. The worship service script, 
utilizing frames 30 (St. Jerome) through 43 (Pilgrims 
Going to Church) would be excellent for class and de- 
partmental use. 

Both photographs and original drawings have been 




Scenes from "The Story of the Bible," a 58-frame black and white filmstrip published by the Pilgrim Press. Left: Jerome, 
the first known translator of the entire Bible. Right: Johannes Gutenberg and an assistant at work on the first printed Bible. 



June, 1948 



273 



used in the pictorial sequences and are very harmonized. 
The uses to which this fihnstrip can be put in the 
church are so many and varied that every church should 
own this strip. Public school leaders interested in see- 
ing a non-sectarian presentation of this subject should 
preview, and then use this fihnstrip. — WSH. 

The Use of Filmstrips to Train 
Teachers of Children 

By JACK MC MICHAEL* 

FOR SOME MONTHS I havc been using parts of two 
filmstrips for a program, How to Teach Children, 
in workers' conferences, children's work groups, and 
in vacation church-school training institutes. The film- 
strips are Let the Children Come and Teaching Juniors, 
both published by the Methodist Church and both in 
black and white and accompanied by manuals. 

Beginning with Let the Children Come, I have used 
frames 15 to 21, showing "Goals for Children" and 
the emphasis in teaching each age group from Nursery 
through Junior age. After a careful discussion of these 
goals and emphases as a background, I change to Teach- 
ing Juniors, taking the sections in order, beginning with 
"What Is Teaching?" 

Discussion of this first section is usually helpful and 
interesting, and many teachers with limited training can 
be led to see teaching in a new light. The next section, 
on "The Teacher's Preparation," is of real value to 
new or untrained workers. While Methodist materials 
are referred to for illustration, it does not detract from 
using this section in any church. 

The third section, on "How to Initiate a Unit," opens 
new avenues of thought to many teachers. Usually, 
the lesson outlines for the year or the whole cycle will 
illustrate how important is the need for studying units 
before preparing the individual lessons for class meet- 
ings. Some teachers have never tried any method of 
introducing a new unit of study, while others find it 
hard to make a clear distinction between units by remov- 
ing pictures and other materials of the old unit from the 
room when a new unit is begun. 

The last section used, "Procedures in Teaching," has 
proved most helpful to vacation church school leaders. 
It is almost like watching someone else teach. The 
many suggestions here on ways of teaching, and in pre- 
senting new materials, offer excellent guidance to the 
teachers of children. 

The first section, on "Knowing Juniors," and the 
last, on "The Teacher's Evaluation," may be used but 
they make a rather long program for one evening. They 
tend, also, to focus attention on Juniors rather than 
on all ages of children. 

When shown in this sequence, and with a running 
discussion from the group, these filmstrips tend to 
give a broad basis for approaching children's work 
and they lead teachers into new thinking and new pro- 
cedures. P'or teachers accustomed to a more formal 
teaching situation devoid of pupil participation, these 
filmstrips offer help in a form which they can see and 
understand and perhaps adopt. 




* Regional Director for Georgia for the Presbyterian Church 
U. S. 



Church Screen Productions 

The minister visits the kindergarten and has his picture 

painted (a scene from the filmstrip "When We Go to 

Church"). 

New Materials 

• A 40-frame black and white filmstrip for kinder- 
garten children and their teachers, Wlien We Go to 
Church, was released about May 1 by Church Screen 
Productions. It was produced by Abbie Greenwald. 
children's worker, and Rev. N. Eugene Kirchner, edu- 
cational director, of Glen Ellyn (Illinois) Congrega- 
tional Church. It tells the story of five-year-old Tommy 
on a typical Sunday morning in the kindergarten. It 
shows activities and methods of teaching small children 
according to modern, approved methods. 

• Admiral Pictures Inc. (1450 Broadway, N. Y. 18) 
has released the Christmas film, Christ Is Born. It 
runs 20 minutes and is available in both color and black 
and white. On every count — treatment of story, casting, 
costuming, acting, photography — it rates poor to bad. 
It has small utility: Children should not see it; youth 
will laugh at it; and adults of discernment will say, 
"What a pity !" 

• The United Board for Christian Colleges in China 
(150 Fifth Ave., N. Y. 11) has released a 25-minute 
sound film in color. Front Line oj Democracy. It tells 
the story of thirteen Christian colleges in China as they 
spearhead the movement for education and democracy. 
It shows the epic flight of students and faculties before 
the invading Japanese armies ; reveals their heroic 
struggles in Free China; and pictures the return to 
former campuses. Other scenes depict Chinese rural 
life and show the country's basic needs in food, con- 
servation, industry, health, education, public informa- 
tion, sound democratic government, and vital religion. 
Some of the ways in which the colleges work to solve 
these problems are portrayed, and the film shows how 
out of chaos a better world is being built. The com- 
mentary is interesting, informative, and technically ex- 
cellent. The photography is good to excellent, and the 
editing is satisfactory. The film is recommended. 

• The National WCTU (Evanston, 111.) announces 
the relea.se of Liquid Lore, a 20-minute color film show- 
ing the value of water in life and contrasting the uses 
of water and alcohol. It shows the place of alcohol in 
industry and its harmful effects on the human body. 
(To be reviewed later.) 



H'A 



Educafional Screen 



International Council A-V Workshop 

Green Lake. Wisconsin, is to be the site of the fifth 
Audio-\'isiial \\'orkshop under the auspices of the In- 
ternational Council of Religious Education (203 N. 
Wabash Ave., Chicago 1) the week of September 6-11. 
The leaders of this workshop will gather two days early 
for a pre-workshop institute. Attendance this year is to 
be limited to those having responsibility for visual edu- 
aition above the level of the workers in the local church. 
Miss Pearl Rosser. of the ICRE staff, will serve as the 
workshop director. 

Youth Council Film 

The 20-minute sound film Make Way for Youth 
tells the story of the organization of a teen-age, inter- 
organization youth council and shows this council at 
work doing things for youth and the whole community. 
The virile American youth of this film pull down 
several respected "fences" (prejudices) which separated 
them in order to form a council in which, and through 
which, thev could work together for a better home 
town. 

This useful film was produced by the Youth Division 
of the National Social Welfare Assembly, and can be 
obtained from Association Films. (See the Trade Direc- 
torv for its nation-wide addresses.) Available with the 
film is an excellent discussion guide, giving utilization 
directions and supplementary information. 



mentary is satisfactory. The film will be acceptable 
and u.seful to all denominations and churches. (Inquire 
of RFA or write to Missions Council, 287 Fourth Ave., 
New York 10.) 

Correspondence 

• Thanks to Winthrop M. Mager, Route 42, El Paso, Texas 
for an article (carried over to September) setting forth his 
ideas on a visual-centered curriculum for the church school. 
.■\lmost the same mail brought a syllabus from A. R. Stewart, 
Visual Education Director of Epworth Methodist Church, San 
Francisco 14, of a three-months unit of St. Paul which utilizes 
films as basic teaching material and other visual and printed 
materials as supplementary resources. A report on this ex- 
periment will be carried early this fall. 

• Mr. Wesley Matzigkeit (Centro Evangelico Unido, Apartado 
117 BIS, Mexico, D. F.) writes that he was interested in the 
article on using car batteries as power for 2x2 projectors. 
He takes out the regular lamp and puts in a 50 candle-power 
bayonet-base auto headlight bulb. The filament lines up ok, 
he says. He finds the 6-volt motorcycle battery useful. It gives 
two hours of full performance before it begins to fade. He wraps 
it in newspaper and puts it in a bucket for easy carrying. He 
says nothing can beat the beaded screen. 

• From India (A. P. Mission, Fatehgarh, United Provinces), 
Mr. H. R. Ferger, well-known for his excellent film photog- 
raphy, writes to say that he likes the Screen "very much," and 
wonders if any firms or individuals here would send him large 
photos for use in the exhibits which they have in connection 
with audio-visual institutes. He could use spare 2x2 koda- 
chrome slides of life in the States, or elsewhere, for the 
general library. Our readers are invited to correspond with 
him direct. — WSH. 



New Medical Film 

While presenting the medical work of the Pierce 
Memorial Hospital in the city of Wai, Marathi, North 
India, the 30-minute sound and color film. In the Steps 
of the Great Physician, will have wide usefulness in 
presenting medical missions in a general way to con- 
gregations and groups within the church. 

Since its founding in 1913 this hospital has served, 
in every way possible within its resources, the needs of 
a people whose life-span averages 27 years. It shows 
us Dr. Walter Hume, nephew of the founder, going 
about the 105-bed hospital which serves more than 
2.400 in-patients yearly. Three-fourths of its work is 
surgical. It has trained most of its present personnel, 
from Dr. Abraham, woman surgeon, down to the 
orderlies. 

With each of the 2,400 patients bringing his family 
with him to the hospital, the out-patient opportunity 
and work of this institution are tremendous. 

The photography is fair to good. It was done by an 
Indian amateur in gratitude for the medical care given 
his mother. The background music is excellent, being 
exceptionally beautiful in certain sequences. The com- 



Thc Religious Screen 

William S. Hockman, Editor 

A Reprint of 19 Helpful Articles from 

"The Church Department" of EDUCATIONAL SCREEN 

SEND FOR YOUR COPY NOW 

Price 60c 



A Film Serves School and Coniniunity 

(Continued from page 266) 

she was encouraged by the meeting to continue and 
enlarge upon her use of this technique. 

7. A second-grade teacher, during one of the writer's 
visits to the school, asked him to observe a program 
which her pupils had prepared for a public perform- 
ance to be given soon. She explained that the child- 
ren had prepared the program almost entirely by them- 
selves* vbut it clearly indSKjpH results of cooperative 
teacher-pupil planning. 

8. In a number of different classroom situations the 
writer observed variations in seating arrangements, 
with greater emphasis upon the arrangements of chairs 
or seats in circles so that everyone could see each 
other. This clearly reflected attention to the physical 
environment in connection with cooperative planning 
procedures. 

Summary 

It is certainly reasonable to state that the film played 
a significant role, and that it had direct and indirect in- 
fluences upon subsequent events. It definitely helped 
to create support on the part of teachers and parents 
for cooperative planning as one way of working with 
peoi)le — one way of providing experiences in demo- 
cratic living. To this extent it enhanced the ob- 
jectives of our curriculum development i)rogram. 



June, 1948 



275 



TEACHEB - COMMITTEE EVAIUATI ON 




L. C. LARSON, Editor 
Director, Audio-Visual Center 
Indiana University, Bloomington 

The Feeling of Rejection 

(National Film Board of Canada, 400 West Madison Street, 
Chicago 6, Illinois) 23 minutes, 16mm, sound, black and white. 
1947. $50. Produced by National Film Board of Canada, Ot- 
tawa, Canada. Discussion guide prepared by the National In- 
stitute of Social Relations, Washington, D. C. 

Description of Contents: 

The first in a series of mental health films sponsored by the 
Mental Health Division of the Canadian Government's Depart- 
ment of National Health and Welfare, The Feeling of Rejection, 
through a case-study of Margaret, shows the development and 
growth of the feeling of rejection. The film begins with scenes 
of Margaret at the age of twenty-three consulting a psychiatrist 
because of frequent headaches and undue physical fatigue. Up- 
on request of the doctor, she relates her most recent emotional 
upset. Through flashbacks the film shows that on the previous 
night Margaret, at the insistence of her mother, gave up a 
picture show to stay home and do the ironing while her sister 
Virginia had a date. Margaret is shown at the ironing board 
becoming more and more exhausted and finally giving up com- 
pletely. The film returns to the psychiatrist's office, where Mar- 
garet is urged to tell more about her headaches. Following 
flashback scenes trace the origin of her headaches to situations 
in her present life, in her higli school days, in her grade school 
days, and finally in her childhood. 

All incidents show that Margaret Iiad always felt compelled 
to give up ner own interests and desires to carry out the wishes 
of others. During high school days, in order to avoid competi- 
tion which might lead to failure, Margaret enjoyed the success 
of her closest friend. In grade school, even though she wanted 
very much to play the part of the princess in the school play 




National Film Board of Canada 



A sheltered child, Margaret learned the feeling of rejection 
early in life. 



CAROLYN CUSS, Instructor, School of Education 

BETTY STOOPS, Film Librarian, Audio- Visual Center 

Indiana University, Bloomington 

and in her own room had perfected her acting, she did a poor 
job and lost the part because she was afraid that she might 
lose the friendship of the first girl trying out. As a child she 
depended too much upon the protection and shelter of her 
mother, who was constantly saying "don't" to her. Her emo- 
tional attitudes were further bent toward a feeling of rejection 
by the arrival of a baby sister who seemed to claim all of the 
attention and love of the parents. 

Later, Margaret is shown in a group therapy class, where she 
gains an understanding of the origin of her diflficulties and be- 
comes able to deal with the causes and to live a fairly normal 
and happy life. A final shot reveals Margaret in a business 
situation in which she asserts her own feelings with poise and 
self-confidence. 

Committee Appraisal: 

The committee highly recommends the film for use by teach- 
ers, student-teachers, parents, and psychiatrists, with their pa- 
tients, in analyzing and studying the effect of environmental 
and societal incidents on human behavior and attitudes. It 
should be useful for showing that the causes for maladjustment 
may often be discovered by a trained person and that an un- 
derstanding of the causes and a scientifically-controlled attempt 
to overcome them will lead to a cure. Excellent techniques were 
used in photographing and editing the content. The film treat- 
ment is warm and intimate ; the acting is excellent. It is to be 
hoped that where the film is used for group therapy purposes, 
the situation will be carefully controlled. 

Punctuation — Merit Your Meaning 

(Coronet Productions, 65 East South Water Street, Chicago 1, 
Illinois) 10 minutes, 16mm, sound, color, $90.00; black and 
white, $45.00. 1947. Teacher's guide available. 

Description of Contents: 

A class in the intermediate grades learns several punctuation 
rules while writing a series of stories for a group of South 
American pupils. 

When George hands in an illustrated story about a marionette 
show, he is afraid that it will not be accepted because he does 
not know how to punctuate. Tom and Beth, the elected editors 
for the class project, find that they can not decide what George 
means as long as he writes without punctuation. As they read 
a passage various ways, the original marionettes are shown 
acting out the possible interpretations. George becomes very im- 
patient when they misunderstand his story ; so they have him 
read it correctly as they put in the punctuation, including 
periods, question marks, exclamation points, capitals lor proper 
names and the first word of each sentence, and quotation marks 
around conversation. The correct story is then shown a few 
plirases at a time, along with the marionettes. 

Tom and Betli next make a poster containmg questions about 
the punctuation rules discussed. The summary emphasizes that 
inmctuation marks tell which words belong together, announce 
feelings, and indicate quotations. It also suggests that language 
textbooks offer help in learning how to use punctuation. 

Committee Appraisal: 

Tlie combination of a functional classroom situation and at- 
tractive marionettes to act out meanings should make this film 



276 



Educational Screen 




Coronet Productions 

A marionette show in "Punctuation — Mark Your Meaning" 
is the setting for a lesson in proper punctuation. 

valuable for motivating interest in punctuation as a useful tool 
for making one's ideas clear to others. The rules presented 
are deliberately over-simplified and would need a great deal of 
supplementation by other means. Several committee members 
felt that George's case was not typical if he could type and 
spell perfectly and yet would not even attempt any punctuation, 
but the rest of the committee felt that this situation would not 
detract from the general efifectiveness of the film. The class 
situation shown is interesting in that the teacher remains com- 
pletely in the background, letting the boy and girl editors super- 
vise the class activities. The film is recommended for use on 
the intermediate and junior high school levels as an introduction 
to initial teaching or to a review. 

The Oyster and Virginia 

(Virginia Department of Education, Richmond 16, Vir- 
ginia) 21 minutes, 16mm, sound, color. 1948. Apply to 
producer for purchase price. Discussion guide in prepara- 
tion. 

Description of Contents: 

This film showing the importance of the oyster industry 
to Virginia covers the harvesting, marketing, and planting 
of oysters, as well as their use as an item of diet. The 
film begins with a map of Virginia on which dots are used 
to show the sources of oysters, among which are Chin- 
coteague Bay and Lynnhaven Bay. A second map shows 
seed beds in the James River from which only small oysters 
are taken and planted elsewhere. A third map shows addi- 
tional sources in Virginia, while the commentary points 
out that these many less important beds supply a major 
portion of the oysters. The picture of the process involved 
in gathering oysters follows the tong boats at sunrise from 
their home harbor to the public oyster beds, where they 
drop anchor and for five or six hours remove oysters with 
long scissors-like tongs. Since the work is heavy and hard, 
members of the crew divide the work of using the tongs 
and sorting oysters. The film next shows the development 
of the oyster from the egg through cell division to the 
time that it is full grown. It emphasizes the fact that 
oysters need old shells in order to survive. Tongers are, 
therefore, required to replace all empty shells and debris 
which they remove along with the oysters. They are further 
shown returning all oysters which are not three inches in 
length. In addition to these public beds, there are those 
which are owned by private operators. Here oysters are 
harvested by dredges and are not subject to the close in- 
spection and supervision given public beds. A third method 
of gathering oysters is by hand. Hand gathering occurs 
along the seaside in low tides or while the tide is out. 
At the end of a day's gathering, the oystermen return to their 
home harbor where buy-boats take the oysters to the shuck- 
ing houses. The film shows the shells being removed and 



the oysters being graded, cleaned, and canned. In conclu- 
sion, scenes show oysters being enjoyed raw or cooked in 
homes, restaurants, or out-of-doors. 
Committee Appraisal: 

The committee felt that the film, even though originally 
produced to acquaint students in the schools of Virginia 
with one of Virginia's natural resources, would nevertheless 
be very interesting to students elsewhere. It should be 
useful in providing information on the growth of the oyster 
and the processes involved in gathering and marketing it, 
as well as information concernhig the work of oystermen. 
Its aesthetic value is enhanced by beautiful color photog- 
raphy. The musical background is an original score. The 
film is recommended for use by groups on the intermediate, 
junior high, and senior high school level interested in the 
resources of Virginia or how oystermen work. The content 
is well organized and presented in an extremely interesting 
manner. Adult groups, too, should find the film of interest. 

The House of Rothschild 

(Teaching Film Custodians, 25 West 43rd Street, New York, 
New York) 29 minutes, 16mm, sound, black and white. Ten- 
year lease, $105.00. 
Description of Contents: 

This film follows the rise of the House of Rothschild from 
the ghetto of Frankfurt, Prussia, in 1780 to the final triumph 
of Nathan Rothschild's recognition by the Prince Regent of 
England. 

As their father is dying, the five Rothschild boys promise 
that they will carry out his plan for establishing banking houses 
in the five great cities of Europe, so that in event of war, funds 
might be transferred from one country to another as needed 
without danger of loss. The father also admonishes his sons 
to strive always by precept and example for the rights of the 
Jews to live and work in dignity. 

Thirty-two years later, the five branch banks are well es- 
tablished, and England is in the throes of the Napoleonic Wars. 
Nathan, the eldest Rothschild, sanctions loans to the Allies, 
but still he is discriminated against by the English. Likewise 
in Frankfurt the family is feeling the brunt of anti-Jewish riots. 
The mother urges her sons to withhold their financial support 
from the unappreciative Allies, but Nathan remembers his 
promise to his father to stay on the side of peace. 

When the .'Mlied delegation calls after Napoleon's escape 
from Elba, Nathan grants their request for further aid only 
on condition that the Jews be allowed to live in peace and 
work with dignity. 

Back in London, Nathan risks his entire resources to con- 
tinue buying Allied securities on the stock market. While he 
ii appealing to the panic-stricken stockholders at the Exchange^ 

(Concluded on page 293) 



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Teaching Film Custodians 

Featuring the eminent actor George Arliss in the role of 

Nathan, "The House of Rothschild" provides a dramatic 

experience which should motivate and enrich classroom 

study and develop desirable attitudes and appreciations. 



June, 1948 



277 



Coordinated Program 

NATIONAL AUDIO-VISUAL CONVENTION 

Hotel Sherman, Chicago, August 6-11, 1948 

FRIDAY, AUGUST 6 

9:45-12:30 P.M., 2-5 P.M. . Midwest Forum on Visual Teaching Aids — West Room. 

2-8 P.M Registration for National Association of Visual Education Dealers and Edu- 
cational Film Library Association — Room .1 10. 
8-10 P.M EFLA Board Reception — West Room. 

SATURDAY, AUGUST 7 

9-10 A.M EFLA General Session — West Room. Theme: "Sharing Our Film Concerns as 

They Relate to Service Activities." (Program jointly sponsored by Midwest 
Forum and EFLA.) Presiding: J. R. Bingham, President of EFLA. Panel: Com- 
prised of discussion leaders of sectional meetings which are to follow. 

10:15 A.M.- 1 2: 1 5 P.M. . . EFLA Sectional Meetings: I. Problems Involved in Film Selection: Room 104. 

2. Film Circulation Techniques and Problems: Room III. 3. The Psychological 
Aspects of Learning as These Relate to Film Utilization: Room 114. 4. Plan- 
ning Institutional Film Productions: Room 106. 5. Administering and Super- 
vising a Film Program: Room 116. 

2-3 P.M EFLA General Session — West Room. Theme: "Sharing Our Film Concerns as 

They Relate to Institutional Programs." 

3:15-5:15 P.M EFLA Sectional Meetings: Discussion of problems of audio-visual education 

in the various phases at the following levels: I. The Schools: Room 116. 
2. Institutions of Higher Education: Room 1 14. 3. Religious Organizations: 
Room 104. 4. Public Libraries: Room 106. 5. General Adult Organizations: 
Room III. 

8-10 P.M EFLA General Session — West Room. Theme: "The Experts Look at Films." 

(A preview session utilizing criticisms of a good panel and a special technique 
to secure audience participation.) 

SUNDAY, AUGUST 8 

9 A.M NAVED Board of Directors Meeting— Room 110. 

10 A.M.- 1 2 Noon .... EFLA General Session — West Room. (Annual EFLA Membership and Business 

Meeting.) 

2-4 P.M Film Council of America Annual Meeting — General Session: Louis XVI and 

Crystal Rooms. Theme: "Planning a Community-Wide Program." 

4-6 P.M. . NAVED Women's Get-Acquainted Tea— Grey Room. 

4-15-5:15 r.M pj|p^ Council of America Business Session: Louis XVI Room. 

8-10 P-M Film Council Meeting. 

MONDAY. AUGUST 9 

8:30-10 A.M Texas Visual Education T)ealers' Association — Breakfast Meeting. 

10 A.M.-I2 Noon .... NAVED Opening General Session — Crystal and Louis XVI Rooms. Presiding: 

Olson Anderson. (Joint meeting with EFLA.) 

12 Noon-6 P.M NAVED Trade Show. Mezzanine Floor. The Trade Show will include the newest 

and best products of all principal manufacturers of audio-visual equipment 
and producers of audio-visual materials, displayed in 90