Full text of "Educational screen & audio-visual guide"

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From the collection of the

San Francisco, California
2007

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EDUCATIONAL

BRETT HAUL
JANUARY, 1954

JAN 1 1 195.

THE

AUDIO-
VISUAL
MAGAZINE

VOL. 33, NO. 1

NEW WAYS (IF SFFINR WHAT TFAHKFRS LIKE ABOUT AN A-V PROGRAM ABC'S OF TV

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remote, ancient with mysteries;

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'^our films deserve this disappointment proof sound treatment
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this superlative sound, and . , . the
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FREE BOOKLET

I Please send me the very attractive and
informative booklet that tells the
JAN story.

Name ____

anuary, 1954

Teaching Film Custodians

Inc.

Announces the release
of its latest classroom motion pictures

prepared in cooperation with
national curriculum organizations

National Council of Teachers of English
MEET THE FORSYTES
WASHINGTON SQUARE

National Council for the Social Studies
RENAISSANCE INTRIGUE

National Science Teachers Association
THE FIRST ATOMIC PILE
PIONEER OF FLIGHT
PROGRESS ON TRIAL
RAINBOW OF STONE

National Coordinating Council
(Family Life)

CRISIS FOR COOKIE

Citizenship Education Project

THE LAW PROTECTS THE PEOPLE

Write for your FREE study guides and
informative materials to:

TEACHING FILM CUSTODIANS, INC*

25 West 43rd Street New York 36, N. Y.

"FIBERBILT" CASES

"THEY LAST INDEFINITELY"
Equipped with steel corners, steel card
holder and heavy web straps.

Only original Fiberbilt Cases bear this

Trade Mark

Your Assurance

of Finest Quality"

for 16mm Film
400' to 2000' Reels

Sold by All Leading Dealers

On the SCREEN

Cover Boy's Eye View

Our cover boy with a missing tooth
or two is Jimmie, who plays a leading
role in the new Churchill-Wexler film
Wonders in the Desert (reviewed on
page 27). The photo was taken on
location in the Great Colorado Desert
near Indio, California. Jimmie was
just curious to see what things look
like on the ground glass of the cam-
era (a bit unusual in shape, we're
told, because it's a new French cam-
era called the Camerette).

New Faces

Perhaps the new cover look pre-
pared you for the new look you'll
find throughout this issue: new type
faces, new page format, new depart-
ment headings, a new feature or two.
Many people, including you readers,
are responsible for specific changes
all designed to make the magazine
more eye-catching, more readable,
more useful, we hope.

We want to give a very special
word of credit and appreciation to
the artist who designed the new head-
ings for several of our departments:
Harvey Frye, Supervisor of Graphic
Arts at Indiana University's Audio-
Visual Center. If he doesn't object,
we expect to make use again of his
generous talents.

We hope all you readers noted the
mailing envelope in which your Jan-
uary issue arrived. This is what many
of you have asked for to keep your
copies in good condition for annual
binding and lifelong reference.

For more about you and us as
EoScREEN begins its 33rd year of pub-
lication, see the editorial in its new
and now regular location opposite
the inside back cover.

More New Faces

It is with pleasure and regret thai
we welcome four new faces to oui
Editorial Advisory Board table.

We are regretful because the new
members take the place of Walter S
Bell, Elizabeth Golterman, and F
Dean McClusky. (Four replace three
because of an unfilled vacancy.) Edu
cators Bell, Golterman, and McClusky
have served us well and we expect
informally to continue taking advan-
tage of their knowledge and experi
ence, their good judgment and good
will.

We are pleased because the Edi-
torial Advisory Board could not have
elected to its membership any four
we would more heartily approve 01
more eagerly welcome. Alphabetically
introduced, the new Board members
are: Margaret Divizia, Supervisor in
Charge, Audio-Visual Education Sec-
tion, Los Angeles City Schools; F.
Edgar Lane, Supervisor, Instructiona
Materials Department, Board of Pub-
lic Instruction, Dade County, Florida;
Charles F. Schuller, Director, Audio-
Visual Center, Michigan State College,
East Lansing; Ernest Tiemann, Direc-
tor, Visual Instruction Bureau, The
University of Tej^^J

We regard o^ r j^-litorial Advisory
Board as a vit,] p art ' of our editorial
setup. By ' ett j ng ove $apping terms,
we have a: surec i both cc/ntinuity and
change iifmembership ovfcr the years.
As term s expire, the BoarSJ members
themse^es elect the new members.

Tj" departing members BeJl, Gol-
u-rn iin. and McClusky: EoSdtEEN's
deed appreciation for a job well done.
To/ n ew members Divizia, Llnne,
Sfhuller, and Tiemann: a warm wel-
come. -JNS

EDUCATIONAL SCREEN
EDITORIAL STAFF

PAUL C. REED Editor

JUNE N. SARK Managing Editor

WILLIAM S. HOCKMAN Editor for the Church

Field

L. C. LARSON Editor for Film Evaluations
MAX U. BILDERSEE Editor for Recordings
PHILIP LEWIS Editor for Television

BUSINESS STAFF

MARIE C. GREENE Publisher
JOSEPHINE HOFFMAN KNIGHT

Business Manager

PATRICK A. PHILIPPI Circulation Manager
WM. F. KRUSE AND ASSOCIATES

Advertising and Public Relations

EDITORIAL ADVISORY BOARD

JAMES W. BROWN, School of Education, San
Jose State College, California

EDGAR DALE, Head, Curriculum Division, Bu-
reau of Educational Research, Ohio State
University

AMO DE BERNARDIS, Director, Instructional
Materials, Portland, Oregon, Public Schools

MARGARET W. DIVIZIA, Supervisor in Charge,
Audio-Visual Education Section, Los An-
geles City Schools, Los Angeles, California

W. H. DURR, Supervisor, Bureau of Teaching

Materials, State Board of Education, R ;ch-,

mond, Virginia
CHARLES F. HOBAN, Project Big Ben, Unii,ver-

sity of Pennsylvania, Philadelphia
F. EDGAR LANE, Supervisor, Instructio \a

Materials Department, Board of Public '

struction, Dade County, Florida
1. JAMES McPHERSON, Executive Secrete

Department of Audio-Visual Instruct!'

N.E.A., Washington, D. C.

KURTZ MYERS, Head, Audio-Visual Depart
ment, Detroit, Michigan, Public Library

SEERLEY REID, Chief, Visual Education Service,
U. S. Office of Education, Washington,
D. C.

CHARLES F. SCHULLER, Director, Audio-Visual
Center, Michigan State College, East Lan-
sing, Michigan

MAYER SINGERMAN, Director, Audio-Visual
Department, Chicago Office, Anti-Defa-
mation League of B'nai B'rith

ERNEST TIEMANN, Director, Visual Instruction
Bureau, Associate Professor, Division of
Extension, The University of Texas, Austin,
Texas

PAUL W. F. WITT, Professor of Education,
Teachers College, Columbia University;
President, Department of Audio-Visual In-
struction, National Education Association

Educational Screen

Founded in 1922 by Nelson L. Greene

DUCATIONAL

GREEN

THE

AUDIO-
VISUAL
MAGAZINE

January, 1954

Editorial

34 YOU AND WE

Volume 33, Number 1, Whole Number 318

IN THIS ISSUE

12 NEW WAYS OF SEEING Barbara Chopin

14 WHAT TEACHERS LIKE ABOUT A VISUAL AIDS PROGRAM

0. L. Detwiler

16 THE A-V DIRECTOR IN THE SMALL TEACHERS COLLEGE

R. H. Simmons

20 ABC'S OF COMMERCIAL TV FOR EDUCATORS Don W. Lyon

^Department 6

8 AS PERSONAL AS POSSIBLE DAVI NEWS J. J. McPherson

22 CHURCH DEPARTMENT William S. Hockman

25 EVALUATION OF NEW FILMS L. C. Larson, Carolyn Guss, John Fritz

28 LOOKING AT THE LITERATURE

29 RECORDS ON REVIEW Max U. Bildersee

30 AUDIO-VISUAL TRADE REVIEW

{Jther .U-eutureS

4 ON THE SCREEN

6 THE READER'S RIGHT

1 1 A-V CONFERENCE CALENDAR

34 PICTURE OF THE MONTH

33 TRADE DIRECTORY OF THE AUDIO-VISUAL FIELD

32 INDEX TO ADVERTISERS

AMERICA

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Lake St., Chicago 1, Illinois. Printed in the U.S.A. Re-entered as second-class matter
October, 1953 at the post office at Borrington, Illinois, under the Act of March 3, 1879.

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CORRELATED

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5e/S(C FILMS on the wonders of
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\ HISTORY

Write for
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Almanac

January, 1954

The reader's right

Instructional Materials

EDITOR:

I have just finished reading your
excellent editorial in the December,
1953 issue ("Including the Printed
Word!") ... I am glad to see you
emphasizing the use of all kinds of
"audio-visual materials" by all teach-
ers. There certainly has been entirely
too much gadgeteering by so-called
audio-visual directors.

I have been convinced for a long
time that all in the audio-visual field
must more closely identify themselves
with the whole field of instructional
materials before "audio-visual" media
will be accepted by all teachers and
used by them.

The basic ideas you have expressed
and which are also expressed in Dr.
Swank's article ("Sight & Sound in
the World of Books," Dec., 1953,
EoScREEN, page 436) should be more
widely emphasized. It is very fine to
give it to the librarians and it is even
better to give it to our audio-visual
people. Can't we do something about
visualizing the ideas that Dr. Swank
has expressed and that you so ably reit-
erated in your editorial in order that

a great many more people will have

the benefit of this good basic thinking?

HERBERT M. ELKINS

Herbert M. Elkins Co.
Tujunga, Calif.

EDITOR:

Congratulations on your December
editorial and your whole approach
with the Swank message. . .

IRVING LIEBERMAN

School of Librarianship
University of California. Berkeley

Thrust into A-V

EDITOR:

For the past five years I have been
functioning as audio-visual coordina-
tor in a small teachers college (aver-
age yearly enrollment, 500). My back-
ground training has been in science
and this was a job which for one rea-
son or another was "thrown in my
lap."

During the time I have been en-
trusted with the responsibility as a
part-time function, I have tried to
develop a creditable program. To in-
crease my knowledge I have kept read-
ing in the A-V field and I have also
taken some advanced instruction in
the area.

YOU CAN BEGIN YOUR

MONTHLY FILM FORUM

. . . with Any One of
These Current Issues

1 SHOULD SENATE DEBATE
(the filibuster) BE LIMITED?

with SENATOR ELLENDER
SENATOR DOUGLAS

2 SHOULD AMERICAN
TARIFFS BE LOWERED?

irith ERIC JOHNSTON
JOHN LEE COULTER

3 AN EVALUATION OF THE
EISENHOWER ADMINISTRATION

u-ith SENATOR SMATHERS
SENATOR CAIN

4 THE ARAB-ISRAEL
QUESTION

with ROBERT NATHAN
JAMES ANSARA

MODERATED BY MARQUIS CHILDS

THE PLAN: American Film Forum, Inc. releases 9 new
discussion films on current domestic and international
affairs . . . one a month . . . with Senators and Congress-
men presenting opposing viewpoints . . . springboards
for discussion among students, and adults on all levels.
Programs available on a subscription-rental basis.

Write for prospectus now!

MERICAN

film FORUM,

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Pleose send me complete details including

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NAME

ADDRESS

CITY STATE

Send letters to the Editor,
EDUCATIONAL SCREEN,

64 E. Lake St., Chicago 1, 111.

All in all, my experiences have made
me believe that there are others in the
beginning stage with programs thrusl
upon them who could profit by some
of my experiences. In view of this I
am sending you an article which offers
a few suggestions that have been tried
and found valuable by us. ... Blanc's
article which you published last sum-
mer was an inducement for me to sub-
mit the article for I agree that he has
drawn attention to a very real problem
at the level of teacher education.

R. H. SIMMONS

Coordinator, Audio-Visual Aids
Albany State College
Albany, Georgia

\Vc are pleased to present Mr. Sim-
mons' article on page 16 of this issue

Too Many Libraries

EDITOR:

Before someone else calls your at
tention to an error in my article
("16mm Films Libraries in the U. S.,'
November, 1953 EDUCATIONAL SCREEN)
note that in the first table on page 407
the total should read "2,644," noi
"2,664."

SEERLEY REIE

Chief, Visual Education Service
U. S. Office of Education
Washington, D. C.

Keeping Up to Date
EDITOR:

Where can I purchase a textbool
that would explain all the new photo
graphic processes in motion pictures
such as 3-D, Cinerama, Cinemascope
and stereophonic sound?

WILLIAM M. BUR!

Film Librarian

Valley Forge Army Hospital

Phoenixville, Pennsylvania

See "Looking at the Literature" or
page 28 of this issue. ED.

"A" for Ed.
CHURCH EDITOR:

I think that you deserve an "A" foi
your frank reviews of religious audio
visual materials. I do hope that reli
gious educators who read EDUCATIONAI
SCREEN will as a result of reading
your reviews become a bit more criti
cal in their selection of materials
Only when religious schools will re
fuse to accept some o the inadequate
films and filmstrips produced for th<
field of religious education will com
mercial producers turn to the religion!
educator for his advice in planning
good instructional materials.

IRWIN SOREI

Supervisor. Audio- Visual Dept.

Bureau of Jewish Education

Los Angeles, Calif., Jewish Community Council

Educational Screen

Here's what A-V experts say
about the Pageant's exclusive
pre-lubrication feature

"Over-oiling is one of the
chief hazards in projec-
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damages film. Pageant
users never have any such trouble
because their projectors are per-
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a need for service caused by over-
or under-oiling."

A. R. Mickelson, Director
Audio-Visual Dept.
Epko Film Service
Fargo, North Dakota

"In spite of all we tell cus-
tomers about how to oil
projectors properly, too
many of them never seem
to do it right or at all. So
it's a welcome relief to be
able to offer Kodak's lifetime-lu-
bricated Pageant."

Paul M. King

Krum't Audio-Visual

Battle Creek, Michigan

"After 18 years' experi-
ence serving educational
institutions with numer-
ous service headaches re-
sulting from under- or
over-lubrication of mo-
tion-picture projectors, I, as well
as my customers, welcome the
Kodascope Pageant Projector's
permanent pre-lubrication feature
as an important contribution to-
ward trouble-free operation."

R. G. Smith, Jr.
Audio-Visual Center
Augusta, Georgia

"No wonder the Koda-
scope Pageant Sound
Projector is gaining pop-
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sive pre-lubrication fea-
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fellow.' "

Wilson Gill

Wilson Gill, Inc.

Washington, D. C.

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Model 1 is the economical top choice for all-
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Model AV-151 has an extra-powerful 1 5-watt
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Model AV-151- f combines added sound power
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Model AV-151-S has a powerful 1 5-watt ampli-
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Model AV-151-SE has a 1 5-watt amplifier for
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How your dealer can help you

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hester 4, ,<J. Y.

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Models AV-151 and AV-151-E D Models AV-151-S and AV-151-SE D

1-111

NAME
TITLE-

ORGANIZATION

STREET

CITY

January, 1954

News from the Department of Audio -Visual Instruction, National Education Assn:

A-V Survey on the Way

A comprehensive survey of the status
and progress of audio-visual education
in school systems of the United States
is being undertaken cooperatively by
the Department of Audio-Visual In-
struction and the Division of Research
of the National Education Association.
Results of the study are expected to be
published in the late spring of 1955.
Plans now call for questionnaires to be
mailed to representative schools and
school systems throughout the nation
during March of 1954.

A preliminary questionnaire to de-
termine what data should be collected
has been sent to the following groups:
representative DAVI members, includ-
ing directors of city, county, and rural
audio-visual education programs, per-
sons interested in research and profes-
sional education in the audio-visual
field, and the Chief State School Audio-
Visual Officers.

No comprehensive research study
has been made on a national scale in
this field by the NEA since 1946, when
the NEA Research Division published
a bulletin entitled, "Audio - Visual
Education in City School Systems," ac-
cording to Frank W. Hubbard, Direc-
tor of the NEA Research Division.

1954 Convention News

Remember, DAVI meets March 2-5,
1954, at the Hotel Morrison in Chi-
cago. Plan now to meet old friends
there, make new friends there, and
pick up a wealth of ideas!

Watch for an announcement about
program features in your mail and
look for a complete outline of the
program in the February EDSCREEN.
Here are a few of the valuable con-
current sessions which are offered as a
part of the program in addition to the
general sessions already announced
and a host of demonstrations and
practical problems meetings: The In-
structional Materials Concept in Pub-
lic School Programs, Communications
Concept in College and University
Programs, Readability: Its Application
to Audio-Visual Publications and Cata-
logs, Forefront Thinking in Pre- and
In-Service Teacher Education, The

by J. J. McPHERSON

Executive Secretary, DAVI
1201 16th St., NW, Washington 6, D. C.

Audio-Visual Director's Responsibility
for Educational Television, The In-
ternational Role of Audio-Visual Spe-
cialists, Vitalizing State Associations,
Preparation of Audio-Visual Instruc-
tional Materials Specialists, Research
in Audio-Visual What Are Today's
Greatest Needs?

Also remember that DAVI is par-
ticipating in the American Association
of School Administrators Convention
at Atlantic City, February 13-18, 1954,
and in the Convention of the Associa-
tion for Supervision and Curriculum
Development, March 7-12, 1954, at Los
Angeles.

Right Around Home

One of the real pleasures of the
DAVI office is the opportunity to meet
the grand people who drop by to say
hello when they are in town. Here are
some folks who have been by in the
last couple of months:

Mitoji Nishimoto, Professor of Edu-
cation for the International Christian
University at Tokyo, stopped by on
his trip to various audio-visual centers
in the U. S. Mr. Nishimoto has re-
cently completed over twenty years of
work in educational radio.

Fridolin Schmid, Director of the In-
stitute for Film and Slides in Munich,
Germany. Director Schmid's Institute
is the primary source for educational
films and slides in all of western Ger-
many.

Howard B. Allen, Director of Audio
Visual Services for West Virginia Uni
versity. Howard has been a loyal DAV
supporter since the memory ot ma:
runneth not to the contrary and
always a welcome and helpful visit

David Strom, who is hard at work i
his position with the Jam Handy
ganization.

Tom Batson of the D. C. Publ
Schools. Tom is preparing some of thq
art work for our buildings brochur

Hal Fisher, sales manager for Com
co Corporation, also dropped by

see our new DAVI offices. Here w
have a view of him using the phone ir
our semi-private facilities.

DAVI Film First

The new DAVI film, Andio-Visu
School Service Plan, can now be bo
rowed at no charge from the nation
office and prints will soon be availab
in a number of the states. This seve
minute black and white sound fil
was designed for use with groups
teachers and school administrators. 1
principal purpose is to show how a
individual school can benefit from
subscription to the DAVI School Sert
ice Plan, which includes a year's su
scription to EDUCATIONAL SCREEN an
all other service publications.

If you are interested in havin
DAVI materials come into every schoo
in the system or systems with whic
you are working, arrange to have th
brief film shown at a meeting of you
teachers, school administrators,
audio-visual coordinators. It's the be
explanation we have yet been able t
prepare telling how DAVI can he:
strengthen a school program and it

Educational Scree

done the audio-visual way! DAVI is
indebted to Lee Cochran and his film
production start at Iowa State Univer-
sity for the production of this first
film.

With the States

A I, A B A M A ACCELERATES -

Audio-visual leaders in Alabama met
for a day and a half at the University
of Alabama last month largely for the
purpose of planning for a professional
audio-visual organization in the state.
Though the Department of Audio-
Visual Education of the Alabama Edu-
cation Association has met for the past
few years at the time of the annual
meeting of the Association, a need has
become evident in the state for more
frequent meetings of audio-visual di-
rectors. Under the leadership of Jim
Caldwell, Director of Audio -Visual
Service for the University of Alabama,
and Jim Cummings, President, De-
partment of Audio-Visual Education
of the Alabama Education Association,
preliminary planning for a strong state
>rgani/ation was carried on.

Other features of the conference
program were an address by C. R.
Crakes, educational director for the
Dt'Vry Corporation; a discussion of
plans of the Alabama State Depart-
ment of Education for better audio-
visual programs by Miss Martha Jule
Blackshear, School Libraries Consult-

ant in the State Department; an over-
view of State and National Educational
Television Developments by Graydon
Ausmus, President of the National
Association of Educational Broadcast-
ers; a visualized talk by the DAVI
Executive Secretary, and a series of
clinic meetings.

Incidentally, we tracked down an-
other verision of why "hush puppies,"
that famous southern cornbread deli-
cacy, are called "hush puppies." Ac-
cording to Jim Caldwell, when fox or
coon hunters gathered around the fire
for their post-chase nourishment, they
threw these tidbits to the clogs to keep
their yowling from drowning out all
conversation. There's a moral in that
too, "If you want something yowl
for it!"

CALIFORNIA AND ILLINOIS
AFFILIATE Newest state associa-
tions to join the group of those affili-
ated with DAVI are the California
Audio-Visual Association and the Illi-
nois Audio-Visual Education Associa-
tion. The national office welcomes
both state groups and looks forward
to an active and pleasant working re-
lationship with the members of each
association!

NEW MEXICO ELECTS -Homer
W. Heathman, Jr., has been elected
President of the New Mexico Audio-
Visual Association for the coming year.
Other officers of the Association are:
James W. Green, of Hobbs, Vice Presi-

dent; Carl Woodwart, of Raton, Secre-
tary; Miss Kathryn Riordan, of Dem-
ing, Treasurer. Delegates at large for
the Executive Committee are: Robert
Kline, Artesia; William Hemsing, U.S.
Indian School at Santa Fe; James
Dyke, Eastern New Mexico University
at Portales; and Oscar Hosmer, of New
Mexico Western College at Silver City.
The Association has decided to pub-
lish a state handbook during the year.
Committees will be appointed soon
and work will start the first of 1954.

IOWA INFORMS-The Audio-Visu-
al Education Association of Iowa spon-
sored an information booth at the
convention of the Iowa State Education
Association. In addition, the IAVEA
also offered consultative services in the
location of audio-visual materials for
use by all other educational groups
meeting at this state convention.

CALIFORNIA CONFERS. The
state conference of the Audio-Visual
Education Association of California
will be held at Santa Rosa, California,
January 14-16. The program is being
presented with the cooperation of the
California School Supervisors Associa-
tion (Bay Section), California Elemen-
tary School Administrators Association
(Bay Section), School Library Associa-
tion of California (Northern Section),
and various distributors of instructional
materials and equipment. The con-
vention theme is "Better Services for

New
Additions

to
Coronet's

world history

series

HERE are the newest additions to Coronet's popu-
lar World History Series . . . 16mm sound motion
pictures which link the important past events of
history to the economic, social and political developments
we witness in the world today.

THE STORY OF PREHISTORIC MAN (1 reel) -Reconstructed
from authentic evidence, here is a visual description of the
life of prehistoric man, his probable appearance, his habitat
and his achievements. $50 B W $100 Color.

ENGLISH HISTORY: EARLIEST TIMES TO 1066 (1 reel) -The
building of Anglo-Saxon England, with emphasis on the
many different peoples and cultures which were its ingre-
dients, is the central theme of this film. $50 B & W
$100 Color.

ENGLISH HISTORY: NORMAN CONQUEST TO THE 15TH CEN-
TURY (1 reel) This overview of medieval England covers
the tumultuous period from 1066 to the decline of feudal-
ism, and stresses the growth of the limited monarchy as
the unique form of English democracy. $50 B & W
$100 Color.

ENGLISH HISTORY: TUDOR PERIOD (1 reel) -The growth of
the national state under the dynamic Tudors is treated in
this film, with a special examination of the reign of Queen
Elizabeth and the rise of England as a leading world power.
$50 B & W -$100 Color.

Other lilies in the World History Series, listed in historical chronology, art:

Our Inheritance from the Past

Ancient World Inheritance

Ancient Mesopotamia

Ancient Egypt

Our Inheritance from Historic Greece

Ancient Greece

Ancient Rome

The Medieval World

The Meaning of Feudalism

The Mohammedan World: Beginnings and Growth

The Renaissance

Age of Discovery: Spanish and

Portuguese Explorations
The Meaning of the Industrial Revolution

Plan now to add Coronet's complete World History Series to your
permanent film library ... for repeated use in social studies
classes. Each is closely correlated to your curriculum. For
full information on the Coronet World History Series, or
the individual titles of your choice, write to:

Coronet Films

Dept. ES

January, 1954

Advertisers welcome inquiries. Just mention EDUCATIONAL SCREEN.

Better Learning." The keynote ad-
dress will be given by Dr. Maurice F.
Seay, Dean of the School of Education,
University of Chicago. Among other
participants will be Dr. James W.
Brown, immediate past president of
DAVI, and your DAVI executive sec-
retary.

DEEP IN THE HEART OF -We
have known for two years that things
were happening in Texas, but didn't
realize just how much has happened
until we took part in the Texas Audio-
Visual Instruction Directors Associa-
tion Conference at Lubbock early last
October. Under the leadership of pres-
ident Ernie Tiemann and with the
aiding and abetting of a host of other
strong Texas leaders, the newly formed
Tex AVID is off to a powerful slart.
The chief matter discussed at the con-
ference was the development of an
effective statewide audio-visual pro-
gram. Preliminary plans developed by
State Director Hugh Proctor with the
help of a large number of state lead-
ers were given thorough study during
the three days of the conference and
numerous suggestions for improve-
ment were made.

We confidently predict that with
the head of steam we see being devel-
oped by us Texas folks (we were hon-
ored by being made a naturalized
Citizen) one of the finest state pro-
grams in the nation can be developed,
a program that has widespread sup-
port throughout the state and the
strong support of the State Superin-
tendent of Public Instruction.

Chairman of this well-planned con-
ference was Horace Hartsell, of Texas
Technological College.

New officers of TexAVID for 1953-
54 are: Ernie Tiemann, Director, Vis-

YOU CAN'T AFFORD TO MISS IT

1954 DAVI CONVENTION

March 2- 5
Hotel Morrison, Chicago

WATCH FOR A COMPLETE OUTLINE

OF THE PROGRAM IN THE FEBRUARY

EDUCATIONAL SCREEN

ual Instruction Bureau, University of
Texas, re-elected president; Horace
Hartsell, Texas Tech, vice-president;
Wiley Embry, Dallas Independent
School District, secretary; and Hugh
Proctor, Audio-Visual Consultant for
the Texas Education Agency, treas-
urer. New directors are: Ben Holland,
University of Texas; W. W. Farrar,
Director of Research for Ellis Public
Schools; Marion England, Coordinator
of Audio-Visual Services, Corpus
Christi Public Schools; and Rex Shel-
lenberger, Director of Audio-Visual
Services, Hill County Public Schools.

UTAH RE-DRAFTS. The big job
of the Utah Audio-Visual Instructors
and Directors during the past year was
to redraft their constitution to fit the
needs and purposes of the organiza-
tion. The revised constitution was ac
cepted at their recent annual meeting.

The following new officers have
been chosen: Merrill B. Hill, presi-
dent; Dorothy Anderson, vice-presi-
dent; A. Leroy Urry, secretary-treas-
urer. Dr. Morris A. Shirts, the im-
mediate past president, is now the new
second vice-president.

Some of the projects for the coming
year are a membership drive, publica-
tion of a monthly bulletin to the
schools describing coming educational
radio and television programs, and the
writing of a brief history of AVID of
Utah.

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We suggest the following AWARD WINNING* films:

-*C SEAL ISLAND (27 min.) Authentic life cycle of fur-bearing

seals filmed on the Pribilof Islands. A Disney TRUE-LIFE

ADVENTURE.
-ft MOTOR MANIA (7 min.) The appalling change in the average

person when he becomes the driver of an automobile.
-K HISTORY OF AVIATION (IB min.) Documentary of pioneer

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Coming Events

Watch for the "Guide to Films in
Human Relations," which will be pub-
lished by DAVI in cooperation with
the Human Relations Institute of New
York University and the Anti-Defama-
tion League of B'nai B'rith.

Editor of the Guide is Ed ScIiofield.B
assistant supervisor, Department on
Libraries, Visual Aids, and Radio, ,
Board of Education, Newark, New
Jersey. Project manager is Irene Cy-B
pher, of New York University. Eachl
DAVI member will receive a copy ofi
the Guide and it will also be available!
for purchase at a nominal price. Fol-1
lowing the pattern set in the earlier!
"Guide to Films in Economic Educa-l
tion," the new guide will not only give i
a brief summary of the content of films!
and filmstrips listed, but will also give!
an objective appraisal of each.

Watch for the most important single!
DAVI publication up to the present!
time "Planning Schools for the I'se I
of Audio-Visual Materials, No. 3, The'l
Audio-Visual Instructional Materials!
Center." This brochure expresses a!
basic philosophy concerning the place!
of instructional materials in a modern!
school program and suggests facilities!
required for housing basic functions^
It will be from 60 to 70 pages in
length and will include approximately!
60 illustrations. If you are a DAVH
member, you may already have reJ
ceived your copy by the time you read!
this or it will soon arrive.

Watch for an illustrated article onj
"How to Make a Tape Recording"!
which will appear in the February!
issue of the "NEA Journal." This!
article was prepared by Leo Martin,!
of Boston University, Division of Com-J
munication, and Kelsey Sweatt. In]
Charge, Office of Audio-Visual Aids.l
Massachusetts State Department oil
Education. It is designed to help the!
classroom teacher.

More People and Places

FLOYDE BROOKER is now deep-
in the heart of a four months' audio-
visual training program for education
officers from seventeen different Latin
American countries. The training
course is being given in Puerto Rico
under the sponsorship of the Puerto
Rican government. His address: Apt.
A, Stop 101/2, 619 Ponce de Leon,
Santurre, Puerto Rico. From Mrs.
Brooker we hear that Floyde is ex-
tremely pleased with the intelligence
and the energy of the members of the
group with whom he is working. Even
the time-honored "siesta" has fallen
victim to the enthusiasm of the group
so that the latest word is that Floyde
is not sure whether he is working the
group to death or they are working
him to death!

Educational Screen

TOM L. BURDICK, of East Aurora
Schools, New York, has developed a
fine little projectionist's pin that is
given as an award to student projec-
tionists who complete a prescribed
period of service in the schools of East
Aurora. Why not write him about the
design of his pin if you are considering
something of this nature for your own
school system?

BOYD LINDROP, who is audio-
visual coordinator for the South Gate
High School in Los Angeles, came by
for a visit during the course of a
20.000 mile coast-to-coast and north-to-
south "Sabbatical" tour of the nation.
Boyd, a former assistant to Dean Mc-
Clusky at U.C.L.A., has visited audio-
visual centers in scores of cities and
universities during the course of his
trip. His general report is that audio-
visual is decidedly looking up. Every-
where, everybody is expanding pro-
grams or planning for expanding pro-
grams. Like most of the rest of us, he
was especially impressed with the ex-
tent of the facilities for St. Louis
schools and for the Cleveland schools.

ROBERT PAULSON has been ap-
pointed director of Audio-Visual Edu-
cation at Iowa State Teachers College
during the absence of Wally Gjerde
while he completes work on a doctorate
at the State University of Iowa. Inci-
dentally, Wally is the one who takes

the part of the school principal in the
new DAVI film, Audio-Visual School
Service Plan.

MEL RIZZIE, head of the audio-
visual division of the Silver-Burdett
Publishing Company, reports that this
division has been discontinued as a
separate division. A company decision
to limit the amount of future produc-
tion of audio-visual materials was re-
sponsible for this change.

Teacher Education

DAVI recommendations for an eval-
uation schedule for audio-visual edu-
cation in teacher education institutions
were placed before the American Asso-
ciation of Colleges for Teacher Edu-
cation at a conference December 13.
Representing DAVI at the conference
were Bill Fulton, co-chairman of the
DAVI National Committee on Teacher
Education, and Ann Hyer, assistant
secretary of the Department. If ac-
cepted by the AACTE for inclusion
among the criteria which are used in
accrediting teacher education institu-
tions, the DAVI proposals will repre-
sent the greatest single step that has
been made in recent years to secure
adequate recognition of the need for
emphasis on audio -visual materials
and methods in teacher education in-
stitutions.

A-V CONFERENCE CALENDAR

JANUARY 14-16 State Conference
of the Audio-Visual Education Association
of California, Santa Rosa, Calif.

JANUARY 15-16 Educational Film
Library Association Eastern Regional
Meeting, Carnegie International Center,
345 E. 46th St., New York, N. Y. Theme:
Exploring the Audio-Visual World.

JANUARY 21-23 National Audio-
Visual Association Mid-Winter Confer-
ence, Hotel Buena Vista, Biloxi, Miss.

JANUARY 29-30 Annual Winter
Meeting, Oregon Audio-Visual Associa-
tion, Oregon State College, Corvallis, Ore.
Topic: "Preparation of Hand - Made
Audio-Visual Teaching Aids by Class-
room Teachers."

FEBRUARY 1 Audio-Visual Work-
shop for Library School Faculties, Hotel
Morrison, Chicago, immediately before
Midwinter Conference of the American
Library Association. Advance registration
requested. Send $1 registration fee to:
Irving Lieberman, School of Librarianship,
University of California, Berkeley 4, Calif.

FEBRUARY 13-18 American Asso-
ciation of School Administrators National
Convention, Atlantic City, N. J.

MARCH 2-5 Department of Audio-
Visual Instruction 1954 Convention,
Hotel Morrison, Chicago, III.

MARCH 7-12 Association of Su-
pervision and Curriculum Development
Convention, Los Angeles, Calif. (One-
day regional meeting of the Department
of Audio-Visual Instruction on March 6.)

A NEW HIGH IN QUALITY

THE PAGEANT OF AMERICA FILMSTRIPS

This vital and authentic series of 30 documentary filmstrips, based largely upon source material,
depicts our Nation's stirring rise to a position of world leadership. Enthusiastically acclaimed by
visual education specialists, teachers, librarians and historians, THE PAGEANT OF AMERICA
FILMSTRIPS are a contribution of top importance to the filmstrip as a tool of instruction. Each of
the following 30 units will be accompanied by a fully-illustrated Teacher's Guide:

* 1. The Story of the American Indian

* 2. European Explorers Discover a New

World

* 3. Spain Establishes a Great Empire

* 4. The Rise and Fall of New France

* 5. The English Colonies in North

America

* 6. Life in Colonial America

* 7. Patriots and Minutemen

* 8. The Thirteen Colonies Win

Independence

* 9. Free Americans Establish a New

Nation

*10. The Young Nation and Foreign

Affairs

*11. Westward to the Mississippi
*12. Winning the Far West

13. Early Americans on the High Seas

14. California, Texas and the Mexican
War

15. Slavery and the War Between the
States

16. Union and Reconstruction

17. The Age of Reform

18. Farmer, Rancher and Cowboy

19. Communication in the United States

Write immediately for descriptive circular

20. Transportation in the United States

21. The Growth of American Education

22. The Story of American Sport

23. The American Spirit in Literature

24. The Story of American Painting

25. The American Spirit in Architecture

26. The Story of Iron and Steel

27. The Story of Coal, Oil and Uranium

28. The Story of the Factory

29. The Growth of American Democracy

30. The Rise of America as a World
Power

YALE UNIVERSITY PRESS FILM SERVICE

386 Fourth Avenue

Units 1-6 ready now; Units 7-12 ready very soon; Units 13-30 in preparation

New York 16, N. Y.

January, 1954

EDUCATIONAL SCREEN The Audio-Visual Magazine
January, 1954

THE AMERICAN ASSOCIATION OF

UNIVERSITY WOMEN

presents

A FREE FILM FESTIVAL

STATE FAIR DAILY

"New Ways of Seeing": ART FILMS on
subjects of interest to clubs, churches,
schools, and community. : means films of
appeal to children.

PROGRAM

SATURDAY (adventure)
10:00-1:00

'Pen Point Percussion (invention)

Age of Exploration (filmstrip)
'Nanook of the North (classic feature)
'Pacific 231 (trains and music)
The Quiet One (57 intense minutes)

2:00-4:00

'Special Cartoon
Passion for Life (outstanding French

feature 85 min.)
;;; A City Sings (choral music)

SUNDAY (fellowship)
10:00-1:00

Creation According to Genesis
>: -One God The Ways We Worship Him
Fro Angelica at San Marco (3 very
beautiful films for religious and in-
spirational use)

The High Wall (human relations)
*A Garden We Planted Together (UN)
The Children (UN)
The River (brilliant documentary)

5:00-8:00
'Cartoon

And So They Live (education)
* Instruments of the Orchestra
- :; UN Screen Magazine (action report)

Passion for Life (starts at 6:30)
'Boundary Lines (discussion material)

MONDAY (using all arts in films)
10:00-11:00

Rhythm of Africa (arts, crafts, dance)
'Images from Debussy (music and vision)
'The Loon's Necklace (perfect story-
telling)

TUESDAY (other lands and ways)
10:00-11:00

'Peiping Family (modern China)
Film on South America
The River (a section of the USA)

WEDNESDAY (Women's Day: education &
community)

9:30-10:15
'Cartoon

Understanding Children's Drawings
'Kinescope (TV program) Through the
Enchanted Gate: Paint a Picture of
Sounds
The Living Gallery

THURSDAY (Governor's Day: New York

State )
10:00-11:00

= It Takes Everybody to Build This Land

(Farmers' Museum, Cooperstown)
'Corning Glass Center
'Nature's Half Acre (garden film)

FRIDAY (meeting exciting people)
10:00-11:00

Come for a surprise. Meet an artist, a
musician, see a sculptor work.

SATURDAY (strictly for fun)
10:00-11:00
'Fiddle De Dee

'Cartoons

1:00-4:00

Repeat showings of films by request
and according to popularity

(Ed. Note: To find rental sources for films
in this list, consult a 16mm film catalog or
your local 16mm film dealer.)

The AAUW finds & uses

WAYS OF

by BARBARA CHAPIN

LAST YEAR at the New York State
Fair, visitors met Madeleine and
Henry Moore; visited San Marco,
and rode the Pacific 231. They ex-
plored the north with Nanook, and
the world of Nature's Half Acre. They
toured the Corning Glass Center, and
saw their own countryside pictured in
// Takes Everybody to Build This
Land.

Art on 1 6mm films! What does it
mean to the growth of our national
culture?

Stressing art as a manner of express-
ing what you wish to say in the most
effective way, the American Associa-
tion of University Women has selected
films for various study groups and
programs which, although listed as
"art," are pertinent to international
relations, social studies, fellowship:
the various AAUW interest fields.
What does this do? It shows the fine
art film to "non-art" people. Thus a
group of women intensely interested
in school programs will be interested
in a film like Understanding Chil-
dren's Drawings. It tells them some-
thing about child training. At the
same time, almost unconsciously, they
awake to the importance of art train-
ing. This is good for children, good
for the future of art, and also good
for art film rentals.

Believing every State Fair needs art
in some form, the New York State
Division of AAUW offered to run a
preview Film Festival as part of
the program iri the Women's Build-
ing. With the help of the Syracuse
Educational Film Library and many
independent companies, the commit-
tee screened 35 topflight "art" films
for an estimated 5,000 people.

The people who came were people
from farms and rural communities;
people who drifted in to "free movies"
and stayed; people who read flyers and
came at the time listed to see The
Quiet One and One God; teachers
who spent part of their final day of
vacation previewing Boundary Lines:
people who remarked, "I don't know
anything at all about this United

Miss Chapin is State Arts
Chairman of the New York
Division of the American
Association of University
Women.

Nations business. Guess this is as good
a time as any to find out something,"
and went in to sit through a complete
showing of The Children.

There were youngsters who laughed
at Gerald McBoing Boing, and gazed
wide-eyed at children like themselves
singing and dancing, or hungry and
neglected, as in And So They Live and
The River. There were children who
thought Georgie and the Dragon "was
the funniest picture I ^ever sawed,"
and nurses who wondered whether
Madeleine could be used to prepare
a child for a hospital experience.

There was an army MD, looking
for ways to help his "psyc" patients.
He came several days and remarked
about The High Wall and the UN
films especially. There were theo-
logical students, and ministers, and
women in church work, who spoke
their gratitude for guidance to films
of real inspirational value, smh as
Creation According to Grnesis. and
Fra Angelica at San Marco.

WAS IT A SUCCESS?

As entertainment, yes. It did not
compete in numbers attracted with
the auto races and the midway, but
it did not try. The auditorium was
almost always filled. In some cases,
the same people came time and again
to see specific films or to request re-
screenings.

As education, yes. Individuals went
away with new concepts and ways oi
education direct, as in Passion for
Life, the Screen Magazines, and The |
Family Circus; indirect, as in Peiping
Family. They learned a great deal
about "art," and its appeal and joy
and excitement. But this was only
part of the plan.

Upstairs was a "Resource Center"
a place where people who came to
see the films could find out how to
get them and use them. The informa-
tional display itself was a fresh ex-
perience in seeing; museum tech-
niques were used to provide back-
ground for the display of materials,
especially designed by George Kimak,
director of "Artmobile" (see cut on
facing page). The Resource Center and
its services were announced during
screenings and those interested were
invited to come and ask questions.
They did.

Educational Screen

IVIierc do we get these films? When
I someone asked this question, we ar-
I ranged for catalogs to be mailed di-
' rectly by each company to the
' interested person, thus establishing
| permanent ties between user and
source of supply.

How can we use these best? Infor-
mation on community and group film
programs and use was available from
the Educational Film Library Associa-
tion and the Film Council of America.
Where can we find this kind of film,
and how do we know it will be good
unless we can see it? Books, such as
"Ideas on Films" and "Films on Art,"
INts of books on films, various maga-
zines and other publications with film
reviews were displayed. Evaluation
services and preview privileges were
discussed and "The Educational Film
Guide" was explained.

Members of the AAUW Syracuse
Branch, Mrs. Gilf ether, State AAUW
President, from Elmira, Mrs. Vander-
vort, Chairman of the State Fair Pro-
gram, and Mrs. Turk, Education
Chairman, both of Ithaca, asked
passers-by: "Would you like informa-
tion on 16mm films and other ways
of bringing art to your community?"
M'hat other ways? Slides and film-
strips were suggested. Again on hand
were catalogs and samples of fine art
slides, demonstration filmstrips, and
materials on where to get all of these.
We have no projection equipment.
What can we do? Art catalogs, list-
ings of touring shows from museums
and from the American Federation of
Arts, and special reproduction mate-
rials were available. "The Art Index"
was at hand so hostesses, all experi-
enced in educational work, could ex-
plain how it can be used in locating
materials and techniques for use.

Then the hostesses showed art ma-
terials and information for study and
action programs which AAUW sends
from national and state headquarters,
and told of local branch programs in
the arts.

' The artwork used is so exciting
that one woman, finding the booth
unattended in a slack moment, took
with her one of the national publica-
tions on display. She left her name
with our neighbor who was keeping
watch, saying, "I must have this for
my school. Have them let me know
if I owe anything or must send it
back." One school will see drawings
by Matisse this fall!

"Know and Use Your Art Re-
sources," read the exhibit. Next to
the resource materials was a projec-
tion showing slides of programs and
exhibits in many of the New York
State Museums. Just to see the ex-
terior of our great institutions was
exciting. "Some day I'll visit some

of those," said one boy about eleven
years old. "I read about them, and I
take art. Someday I'll see one really."

ART-ON-WHEELS

Until that day, what? The Center
featured the "Artmobile." As you
stepped toward the small model, a
machine began to talk about what
this is: "A museum-on-wheels: a serv-
ice for the schools, and later for the
communities. A museum for every
section of our State. Original works
of art, going out, just as books go
into the country in a Bookmobile."

The Artmobile is sponsored by the
New York State Art Teachers Asso-
ciation, supported by AAUW. It is
somewhere between a dream and real-
ity a pioneer venture. Not too long
ago it was a dream and a pioneer ad-
venture for Flaherty to think he could
make a film of people as they normally
live. Today, Nanook stands proof
against all time of his vision. Some-
day when Artmobiles operate through-
out the country, providing all areas
with museum opportunities, it will be
hard to remember the year it was just
a model at State Fair, just a plan in
the minds of a fervent few.

But do the shadow and the real
conflict? Without the real, there can
be no shadow. Art films will be the
strongest single supplement to the
Artmobile program. Films, slides, film-

strips, and reproductions will be used
many times to each single visit by the
museum-on-wheels. Experience teaches
us all that once we have seen the
original, we are more eager to learn
about it than when we see it first in
some form of reproduction. If proof
is needed of this, one had only to
watch the people at the Fair exhibit,
who stood through an entire cycle of
the museum slides, pointing out build-
ings and works they knew: "That's a
bowl by Marian Fosdick. I know her."
"That's the Rochester Museum. I've
been there several times."

These are all new ways of seeing:
modern developments which use our
technical know-how to make the treas-
ures and travels and special vision of
rare persons available to people every-
where. If we use these, what riches
can develop in our cultural life!

Do we need resource centers in the
state and at the national level? AAUW
thinks we do. Quality materials suf-
fer from lack of mass distribution. It
is not because public taste is so low.
Rather it is that those people who
would use fine materials so often do
not know how to reach them. It is
because we have not yet reached a
vast rural audience whose interest in
basic excellence is as great and sin-
cere as any other audience and whose
eagerness to learn now goes unsatis-
fied all too often.

"These are all new ways of seeing: modern developments which use
our technical know-how to make the treasures and travels and special
vision of rare persons available to people everywhere. If we use them,
what riches can develop in our cultural life!"

ARTMOBILE IN VIRGINIA. Like the state of New York, the state of Virginia too has
an Artmobile an art museum mounted on a specially designed aluminum Fruehauf
trailer. The trailer unit was financed by Miller & Rhoads, Inc., as a public service
and the Virginia Federation of Women's Clubs is furnishing funds to operate the mobile
museum on its state-wide tour to bring the best of art to town squares, school and
church yards, to roped-off streets wherever it can best serve Virginia communities.

Waukegan schools know

Him TEACHERS LIKE
ABOUT A VISUAL tins PROGRAM

by O. L. DETWILER

[ATERIAL is well chosen, films are
in good repair, delivery of ma-
terial is dependable, films and
filmstrips are recent, material is avail-
able when it is needed, ordering
materials is simple, there is a mini-
mum of "red tape" . . . These are a
few of the comments Waukegan,
Illinois, teachers make about their
Visual Aids Department. Of course
all statements were not so compli-
mentary when teachers filled out ques-
tionnaires to help evaluate and im-
prove the visual aids program; but
those comments that were not com-
plimentary generally pertained to the
lack of sufficient materials and to the
need for more suitable conditions for
the projection of films and filmstrips,
and not to the general organization
and administration of the program.

The building of a visual aids library
in the Waukegan elementary school
system actually began only seven
years ago when the writer was placed
in charge of the project and allowed
a budget of 51,500 for the purpose of
purchasing and renting materials.
None of this money was necessary for
the purchase of motion picture pro-
jectors, filmstrip projectors, or screens.
This equipment had been provided
by the Parent-Teacher Associations in
the schools. Neither was this money
used for the darkening of rooms; the
business office considers that expendi-
tures for the preparation of classrooms
for instruction should come from the
building fund.

With this modest beginning the
library was started and a few films and
filmstrips were purchased at once;
however, during the first few years
a larger part of the money was used
for the rental of films. After two
years the appropriation for the Visual
Aids Department was increased to
52.500, where it has remained for the

Mr. Detwiler is principal
of the Greenwood Ele-
mentary School in Wau-
kegan, Illinois and Direc-
tor of Visual Aids for the
Waukegan City Schools.

last five years. With this relatively
small appropriation (less than 60
cents for each pupil enrolled), the
district has been able to accumulate
a library of 245 reels of sound motion
pictures, 977 filmstrips, 22 other
items, and the necessary filing cabi-
nets, repair and cleaning equipment,
and printed forms for the operation
of the library. The library serves
4,700 children in 170 classrooms in 12
buildings. The fact that the amount
of money appropriated was small was
in no way a detriment to a good start
in developing the program. When one
has little money to spend, he must be
more selective in spending it; only
the best material can be purchased.
This helped to build the feeling
among the users that the "material is
excellent," which in no way discour-
ages teachers from using "something
new."

Not only has the library grown with
respect to the number of items it con-
tains, but it has had an even greater
growth in use. During the 1952-53
school term 3,241 items were checked
out of the library, each item to be

used in a building for a period of one
week. The library keeps no record of
the number of times an item is used
during the week it is checked out,
but it is known that many teachers
use the material more than once.
During the 1951-52 term, 2,433 items
were checked out; 1,958 items were
used during the 1950-51 term. During
the last two years the use of the
library has increased 65% while the
number of items in the library has
increased only 38%. The more rapid
increase in use of materials can be
attributed to three causes: (1) Teach-
ers in general are becoming more
aware of the value of visual materials;
(2) there has been a growth in the
size of the teaching staff; and (3) each
year the quality of material offered
for sale seems to be better.

TEACHERS SELECT MATERIALS
The operation of the Visual Aids
Library was based upon the follow-
ing principles which have proved
highly satisfactory to the teachers:

(1) Material must be carefully
selected. Classroom teachers preview
all material before it is purchased for
the purpose of evaluating it in terms
of instructional value. This preview-
ing is not done by a special viewing
committee meeting at certain speci-
fied times; instead it is done in the
classroom in the presence of pupils.
Teachers say that by observing the
reactions of their pupils, they are
better able to evaluate material. A
very simple evaluation form is filled
out and a final rating is given. With
our limited funds we are able to pur-
chase only those items receiving the
highest rating. Teachers volunteer
to do the previewing, which does not

A special chart shows Waukegan's new teachers just how the visual aids program
works. Left to right: Visual Aids Director Detwiler and three Hyde Park School teach-
ers Shirley Blumenfeld, Jeanne Hanson, and Nancy Nolan.

Educational Screen

interfere much with regular school
work since one class may preview only-
one or two items a year. No doubt
leathers like the material better be-
ta use they select it.

(2) Material must be easy for
teachers to secure and use. So-called
"red tape" must be reduced to a
minimum. Each building is sup-
plied with a number of "postal order
forms," which teachers may use in re-
requesting materials. These postal
cards are pre-addressed to the library.
The teacher merely fills in the infor-
mation needed by the library in book-
ing the material desired and drops
the card in any postal collection box.
Orders may also be placed by tele-
phone, but since full time clerical
help is not provided in the library,
telephone calls are not always satis-
factory. Besides, most telephone calls
cost more than the price of a 2-cent
postal card. All orders are confirmed
and bookings are made so teachers will
know whether or not they will receive
the material as requested. The method
of ordering and booking of material
has received more favorable comment
from teachers than any other phase
of the program.

Although each principal functions
as the building coordinator, the teach-
ers order directly from the central
library. The material ordered for use
during the week is packed in boxes
for delivery to the buildings. Two
copies of the "booking slips" are in-
closed; one is for the principal's use
and the other is for the teachers who
have ordered material. Practically
100'i of the book work pertaining to
the program is centered in the library.
Clerical help is provided \ l /n days a
week for the purpose of inspecting
and checking in, booking, and pack-
ing the supplies for delivery.

(3) Material must be maintained
in good condition. Nothing can
dampen a teacher's enthusiasm more
than to have a class all set, prelim-
inary comments made, room darkened,
and then find that the film is broken,
or, as one teacher commented, "up-
side-down, and backwards, or some-
thing." All films are inspected and
repaired if necessary each time they
return to the library. They are not
re-wound before they are sent back
to the library since they can be re-
wound and inspected in the library in
one operation. Teachers are very
helpful in inclosing notes in case
there is something wrong with a film
when it is returned. Once each year
(during the summer months) all ma-
terial is more thoroughly inspected,
cleaned, and repaired. Material that
is likely to cause trouble when used
the next year is destroyed and re-
placed.

Friday afternoon rush hour in the Wau-
kegan Visual Aids Library. Irma McNeill
checks in all films and filmstrips used
during the week, then packs up orders for
Monday morning delivery. Most of the
clerical work is done Thursday afternoon.

(4) Teachers should be encouraged
to use visual materials, but they should
not be coerced into using them. One
enthusiastic customer of the visual
aids library can do much to advertise
the department. Likewise, one per-
son who has been "persuaded" to use
the material can do the program much
harm, and just the mere fact that she
might have been coerced into using
the material arouses a feeling of sym-
pathy from other teachers and pro-
spective customers. We should all real-
ize that there are different ways to do
a job well. Many of our teachers are
doing excellent teaching jobs with lit-
tle help from visual materials.

(5) The Visual Aids Program
should not increase the teacher's
work. Too often teachers justly make
the statement, "Whenever a new spe-
cialist is added to the staff, it means
more work for us." Opportunities for
unlimited "extra work" are present
in the visual aids department. Corre-
lation committees in different grade
and subject areas, evaluation commit-
tees, pre-viewing committees, build-
ing committees, workshops and many
other auxiliaries could be included in
a visual aids program, but it is doubt-
ful if they would have much real
value. Teachers must realize, how-
ever, that it requires work on their
part to use visual materials properly.
They should also realize that their
extra efforts are more than repaid by
the extra results in learning on the
part of the children.

The visual aids department in Wau-
kegan is by no means perfect; it is
not even a goal for other school sys-
tems to strive to reach. More and
better material is needed; better fa-
cilities for the projection of materials
are necessary; and there is a lack of
suitable facilities for training teach-
ers to make better use of visual ma-
terials. But the Visual Aids Depart-
ment in the Waukegan Elementary
School district is an example of an
effective program that has been de-
veloped within a few years without an
elaborate budget and without a highly
organized program.

'The Living City":Tool for Community Action

FROM THIS

A new 25-minute motion picture on
urban decay and renewal was given
its world premiere at the Surf Theatre
in Chicago on December 3. Simul-
taneous premieres were held in Wash-
ington and New York.

Titled "The Living City," the film
was produced by Encyclopaedia Britan-
nica Films under a grant from the
Twentieth Century Fund and is based
on the Fund's newly published study
of urban renewal and city planning,
"Renewing Our Cities," by Miles L.
Colean.

The film was made for EBFilms by
John Barnes.

The Living City movingly pictures
the constant change going on in cities
for better but more often for worse.
It shows that the cycle of growth, de-
cay, and renewal too often bogs down
at the point of renewal and analyzes
some of the reasons why delays in re-
construction give rise to "blight" areas.

The 16mm film is available for
rental through EBFilms libraries
throughout the U. S. For more infor-
mation about sale and rental, write
Encyclopaedia Britannica Films, Wil-
mette, Illinois.

TO THIS

januory, 1954

;

A-V AT ALBANY STATE COLLEGE. A technician checks student- made slides to be put on display in the Medichrome view boxes
shown on the table. The boxes, better known to X-ray technicians than to A-V directors, make excellent display boxes for slides.

THE 1-1 DIRECTOR n THE SMALL TEACHERS COLLEGE

What are his problems, how can he tackle them, how can he solve them?

IN THE PAST DECADE a great many
audio-visual aids have invaded the
classroom as new tools to learning.
These aids have met both criticism
and praise. Some lazy dreamers have
welcomed A-V to the classroom with
the hope of reducing instruction to
an eight-hour shift of adjusting ear-
phones and manipulating dials. The
tradition-bound skeptics maintain that
A-V is a waste of the state's money
and the teacher's time and is a poor
and wrong incentive to the child.
Individual case histories may be cited
to support both points of view, but
the weight of evidence makes it cer-
tain that audio-visual methods of
teaching are here to stay.

Mr. Simmons is audio-
visual coordinator at Al-
bany State College in
Albany, Georgia. For more
about him, see his letter
to the editor on page 6 of
this issue.

by R. H. SIMMONS

The ever-widening use of audio-
visual aids in the classroom and the
conviction that training in the selec-
tion, construction, and use of various
teaching aids is fundamental to teach-
ing competence have caused the
teachers college to do much more than
just show a few movies and term
it "audio-visual education." Teachers
colleges in many sections of the coun-
try have recognized the need to make
A-V a functional unit of their pro-
grams. One solution has been to set
up a small section and designate some-
one as A-V director or co-ordinator.

Small budgets have not permitted,
in many instances, the employment of
a full-time person or one with special
training. The job has often been
filled by someone already on the staff.
It is difficult for many a director taking
a new position under these conditions
to grasp the philosophy underlying

the program. He begins to ask him-
self, "Has the A-V department been
established merely to keep in step
with other institutions having similar
programs?"

At this point let us look at the
problems relating to the directors'
program. Administrative problems
have been given detailed analysis by
McCluskyi, who systematically gath-
ered his data from national surveys.
Drawing from his data and from lim-
ited personal experience, I prefer to
group some of the administration
problems of the audio-visual director
into this broad framework:

(1) General administration and op-
erations

(a) Philosophy of A-V within
the college
(1) President and faculty

(2) Job qualifications

(a) Basis of selection

'McC.lusky, F. Dean. "Problems of the Audio-
Visual Administrator." Audio-Visual Jdministra-
ntm, Harcleroad and Allen. Uubuquc. Iowa:
Wm. C. Brown Co., 1951, p. 7.

Educational Screen

(3) Physical facilities and equipment

(a) Basic equipment, supplies

(b) Budgets, staff, etc.

(4) Academic and instructional

(a) Teacher education and
utilization of materials

(5) Evaluation

(a) Techniques of evaluation

(6) Expansion and development
(a) Suggestions for expansion

ADMINISTRATION

The first function of the coordina-
tor will be to make the existing pro-
gram work, to alter the one in opera-
tion in such a manner that it will
work, or to start an entirely new one.
The expressed points of view of the
president and the faculty members can
help set the philosophy behind the
program, its objectives, and its func-
tions.

An audio-visual director recruited
from the teaching ranks often feels a
bit out of place because he has no
special training for this particular
work. The words of Dean Edwin A.
I .(<-' of the University of California
suggest some of the qualifications for
the job. Lee said, "A-V administrators
must be providers and encouragers,
participators and users, evaluators and
interpreters."

The audio-visual director can do
much to adjust himself to his duties
by setting up an audio-visual com-
mittee. In small colleges this com-
mittee may represent a cross-section
consisting of six faculty members and
three students. If used expertly, it can
be a cementing force to the program;
it can serve also as a shock absorber.
(.ood working relations with the mem-
bers of this committee can prove a
valuable asset to any director.

-I.i'c. Edwin A. "The Administrator's Role in
Audio- YiMial Institution," D.ll'I Conference
1'iiHi'i-ilings. Washington. I). C.: Dept. of Audio-
visual Instruction, N.E.A., 1949, p. 10.

More A-V at Albany State College.

FACILITIES AND EQUIPMENT

In facing the problem of equipment
and physical facilities, the A-V com-
mittee can also be a source of help,
but the real tips you need regarding
equipment items will come from the
salesmen who sell them. They are key
people in the operation of your pro-
gram; hence their judgment along
with their friendship should be valued.
Professional ethics will prevent you
from making commitments about mod-
els and preferred makes of equipment
in the presence of company repre-
sentatives. Casual remarks may de-
stroy good working relations when the
point of submitting competitive bids
for an item of equipment arises.

Much of what may be had in physi-
cal facilities depends on the submitted
and approved budget. In making out
this very important instrument, sound
judgment, good bookkeeping, and
imagination are needed. Rough drafts
can be drawn up from previous budg-
ets and gone over in detail with the
audio-visual committee before the
final document is completed. The di-
rector should keep a folder on all espe-
cially good equipment information he
has found in printed material and
also a folder on needed equipment,
materials, and supplies. Both folders
will help him in planning the budget.

TEACHER EDUCATION

The problem of effective use of
audio-visual aids by teachers at the
college level is a problem of major
concern to the director and one he
cannot afford to neglect. There are
many techniques, of course, for en-
couraging and improving teacher use
of audio-visual aids.

Some teachers will follow some of
your suggestions; others will express
interest but never do anything; many
will conscientiously and enthusiasti-

cally work with the program because
they are really interested. In the long
run, those who work because of inter-
est will become the main arteries
through which the program will be fed.
A good in-service program for
teachers who are interested enough to
give an hour or so, preferably after
school hours, can lead to improved
use of A-V aids. Voluntary Saturday
half-day workshops, if well planned
with a variety of teaching tools, can
accomplish good results.

EVALUATION

The director must also come to
grips with the problem of evaluating
the program. Neatly kept records of
pictures shown, new equipment pur-
chased, and filmstrips made give only
one measure of the physical growth.
There are many things to measure
which do not lend themselves to quan-
titative measurements. To what de-
gree have the audio-visual aids im-
proved learning? Has the learning
process been accelerated by the use
of various teaching aids? The kind of
evaluation needed to answer questions
of this kind can only be made indi-
rectly and over a long period of time.

Questionnaires and opinion polls
may be of use to the director in mak-
ing his evaluation. Schwartz 3 has
worked out a set of criteria which may
be helpful in evaluation. A program
should undergo continuous evaluation,
and teachers should be encouraged to
cooperate in such evaluation.

EXPANSION

Besides evaluating the program, the
director is charged with the responsi-
bility of stimulating its growth. To do
this, he needs to keep in close contact

: 'Sihuart/, John Charles, Jr. Evaluative Criteria
for tin Audio-Visual Iinlnu nanul I'rogram. Du-
buquc, Iowa: Wm. C. Brown Co., 1950, p. 39.

In-service teachers get training in how to
operate projection equipment.

Future teachers learn how to make hand-
made lantern slides.

A-V course student puts her term paper
on tape for class evaluation.

January, 1954

with what is going on in the field
through current literature, attending
professional meetings, and carrying on
some special project.

The special projects or ideas listed
here represent possible approaches to
program development and enrichment.
Experience may prove many of them
useless to some, but to others they may
be very worthwhile.

(1) Establish and teach a course for
the pre-servife teacher within your
institution.

The A-V director in the teachers
college must be critically concerned
with the amount and kind of audio-
visual training future teachers are re-
ceiving within his institution. The di-
rector may get added incentive for
setting up a functional course for
teachers in the use of audio-visual ma-
terials from an observation made by
Corey. 4 He says, "Most of the dangers
involved in the use of audio-visual
aids can be overcome by superior utili-
zation practices. The greatest single
problem is a result of the inadequate
training of teachers."

In most teachers colleges this intro-
ductory audio-visual course is highly
functional. De KiefferV study showed

that 95% of the teacher training insti-
tutions surveyed had some introduc-
tory course designed to give the stu-
dent functional information about
sources, selection, and utilization of
audio-visual materials along with some
knowledge of equipment operation.

If there is no course in the curricu-
lum designed to develop teacher com-
petence in the use of audio-visual aids,
one should be started at once. As its
nucleus it should have at least the fol-
lowing broad objectives:

(a) Systematic treatment of audio-
visual techniques, methods, and ma-
terials.

(b) Opportunities for students to
use audio-visual materials in super-
vised teaching situations.

There is little doubt that one will
inevitably face the problem of pro-
viding adequate equipment for class
instruction. It stands to reason that it
is better to limit the class enrollment
and get started with what materials
and equipment are available than to
wait later until sufficient amounts are
available.

Following are suggested minimum
essentials for adequate instruction for
classes of thirty students. The absence

'Corey, Stephen M. "Values and Hazards in
Using Audio-Visual Materials," Using Audio-
Visual Aids with Children. Washington, D. C.:
Assn. for Childhood Education, p. 10.

5 Audio-V isual Materials of Instruction, 48th
Yearbook of the National Society for the Study
of Education, Part 1 . Chicago: University of
Chicago Press, 1949, p. 96.

of part of them, however, should not
prevent classes from being set up.
These suggestions represent the think-
ing of the professional courses com-
mittee of our Audio-Visual Adminis-
trative Conferences, 1947-1951.

(A) Six sound projectors for in-
structional and preview pur-
poses to be common types used
by the schools represented in
the class.

(B) Three to six filmstrip projec-
tors, preferably combination
filmstrip and 2x2 slide projec-
tors.

1 overhead projector 3 1/4x4

2 3i/4x4 slide projector
1 2x2 slide projector

(D) One or two opaque projectors.

(E) One two - speed transcription
player.

(F) One recording machine (alter-
nating the disc, tape recorder,
and wire recorder during period
of instruction).

(G) One portable radio AM-FM.

(H) Three screens and other avail-
able surfaces. Wall screens of
the same size.

(I) Projector stands as needed.
(J) One microphone.
(K) One splicing machine.
(L) One film editor.

THE SHORTEST DISTANCE
BETWEEN TWO POINTS...

The modern way to reach
any point on the map with-
out leaving your classroom
is through B. I. S. FILMS.

The answer to any question
about the peoples, customs,
traditions, industries and
general background of
virtually any country on
the map from Aberdeen to
Zululand is only as far
away as the excellent
1 6MM Sound films in our
catalogue of Films.

Ranging from entertaining
color travelogues to up-to-
the-minute instructive doc-
umentary reports filmed to
be suitable for classroom
use, these films are an in-
dispensable part of the
teaching curriculum of
every modern audio-visual
minded American school
today.

dialog of

nuts nwUiiruiK

ROYAL SCOTLAND

COMMONWEALTH OF NATIONS

fiwsw*: 1MM
PICTURE OF MITAIN
IWMHnBMHHI
SO THIS IS LONDON

SNOWDONIA

THi HOfll NEXT DOM

JAMAICA PROBLEM

TURKEY-KEY TO THE MIDDLE EAST

DRUMS FOU A HOLIDAY S 8 DAYMEAK IN <

CHALLENGE IN NIGERIA

CYftUS IS AN ISIAI

snuoou FOX '

CEYLON, THE NEW DC

INTRODUCING EAST Al

FALKLAND ISLANDS

FUTURE OF 1.000,000 AFRICANS

ANTARCTIC WHALEHUNT

Educational Screen

(2) Develop a small Materials Cen-
ter.

The director can render a great
service to the school directly and to
the outlying areas served by the school
by centering sources of free and inex-
pensive audio-visual materials at some
place within his section.

These materials could represent con-
tributions by students made as parts
of laboratory assignments, such as lan-
tern slides, posters, graphs, charts,
models, felt cut-outs, etc. The center
could contain a collection of radio
transcriptions, equipment catalogs,
references on all types of A-V ma-
terial, film rental catalogs. Much of
this material could be picked up by
teachers on a loan basis. Many teach-
ers have shown a desire to make use
of audio-visual material but are not
familiar with the sources for the kind
of material they wish to use. This was
clearly pointed out in reference to the
use of films by elementary teachers by
Mallison 8 : "The teachers in the ele-
mentary schools would like to make
use of films but are deterred by lack
of equipment, lack of knowledge of
films available, and the difficulty of
obtaining these films when needed."

6 Mallison, George G. The Use of Films in
Elementary Science, Faculty Contributions Series
II, No. 2. Kalamazoo, Mich.: Western Michigan
College of Ed., p. 2.

(3) Set up a consultative service to
small rural schools.

If the coordinator can find time to
make periodic visits to nearby small
towns and rural schools, he can do
much to give the campus program a
"shot in the arm." It stimulates good
relations on the part of the communi-
ties and the alumni of the school to
know that you have a direct interest
in their problems and are willing to
give assistance.

(4) Issue a printed bulletin to main-
tain intra-school interest.

The faculty can be kept up to date
about new film releases, articles of spe-
cial interest, new books, etc. by the
release of such a bulletin.

(5) Start a movie night.

The director will find that it is a
wonderful boost to his program to
show some of the best entertainment
and informational films.

(6) Plan an "audio-visual field day."
This can be a novel and valuable

experience if planned far enough in
advance and if a variety of demonstra-
tions are scheduled.

(7) Hold "preview parties."

In some small college communities
there is a stiff feeling between the city
teachers and those who live on the
college campus. Preview parties bring
together all parts of the teaching pro-

fession along with members of the
local community.

(8) Keep the administration con-
stantly informed as to how the pro-
gram is developing.

There is no harm quite the con-
traryin keeping close working
contact with the chief administrative
officers of the college and especially
the president. Exceptional pieces of
work may be placed at good ob-
servation points. Periodic charts
showing the number and kinds of pic-
tures and other aids used by all de-
partments in the school may be help-
ful if they reach the attention of the
proper administrative officers.

Regardless of the merit of any of the
suggestions mentioned in the course
of this article, success in the audio-
visual field has been characterized by
what Lemler and Leestma 7 call "Shirt-
sleeve Administration," the kind of
leadership that takes off its coat and
gets things done by doing them. They
have summed up a philosophy for all
audio-visual directors: "The rolled-up
sleeve will remain the hallmark of the
contributing audio - visual director
by this sign ye shall know him. He is
providing leadership by showing the
way."

'Lemler, Ford L. and Leestma, Robert C.
"Shirtsleeve Administration," EDUCATIONAL
SCREEN, June, 1953, Vol. 32, No. 6.

A PARTIAL LIST OF CLASSROOM FILMS

Available from B. I. S. for Sale or Rental

ANTARCTIC WHALEHUNT

..A complete whaling expedition in Antarctica

CEYLON, THE NEW DOMINION
CHALLENGE IN NIGERIA

..West Indies customs, old and new

ent and modern Singoiese history
..Progress towards self-government

COMMONWEALTH OF NATIONS.

..A picture of its peopl<

lEfOKT ON HONG KONG

CYPRUS IS AN ISLAND

DAYBREAK IN UDI

DRUMS FOR A HOLIDAY

EL DORADO

FALKLAND ISLANDS

..Life from ancient Greek

Ceremonial i of the West African Gold Coast

..The 3 faces of British Guiana

..life in the islands around Antarctic

FIGHT IN MALAYA

..Democracy vs Con

FUTURE OF 1,000,000 AFRICANS..

unism in present day Malaya
..The natives of South Africa

INTRODUCING EAST AFRICA

..The people and territories of East Africa

JAMAICA PROBLEM

..A Caribbean Colony progr

to self-government

NEW ZEALAND, WORLD POWER
PICTURE OF BRITAIN

REPORT ON HONG KONG

ROYAL SCOTLAND

SNOWDONIA

SO THIS IS LONDON

STRUGGLE FOR OIL

THE PEOPLE NEXT DOOR

..Its government, education and scenery
..An overall impression of Britain today

..The de&tiny of a strategic port

Scotland in all the

..The magnificent scenery and people of

..Life in the world's

Turbulent history of Iranian oil

. A visit to the middle European countries

THE WHITE CONTINENT

TURKEY-KEY TO THE MIDDLE EAST

An expedition to Queen Mood Land
Turkey in world affairs

THE MODERN AMERICAN
TEACHER KNOWS...

There is no more effective
way to teach than with
films . . . particularly when
they are augmented with
the proper

SUPPLEMENTARY
TEACHING TOOLS

B. I. S. has available a large
selection of

PICTURE SETS

FILM STRIPS

BOOKS and PAMPHLETS

all on subjects allied to
those in its films, at very
nominal cost (and in some
cases free). Catalogues of
these materials for class-
room use as well as the
film catalogue described at
left will be sent free upon
request to:

BRITISH INFORMATION SERVICES

30 ROCKEFELLER PLAZA
NEW YORK 20, N. Y.

January, 1954

How to make your programs easier to do, better to view

ABCs OF COMMERCIAL TV FOR

by DON W. LYON

IN THE NEXT TWO YEARS, as an in-
creasing number of television sta-
tions go on the air, an increasing
number of audio-visual specialists will
be invited to produce educational pro-
grams for those stations. Most of those
programs will be broadcast over sta-
tions that are: (1) In business to make
money, (2) pressed by operating costs
of $100 to $300 an hour, (3) chal-
lenged by vigorous competition, (4)
surviving only as they get sales results
for sponsors, (5) and never relieved
of the endless burden of program
deadlines.

It is the purpose of this article to
help the audio-visual person under-
stand some of the problems of the
commercial station so that his own
educational programs broadcast over
that station will be both more effec-
tive and more easily produced.

USE A RIFLE

Commercial broadcasting usually
knows what it is doing. Commercial
programs, if intelligently planned and
produced, are aimed at the specific
goal of satisfying a sponsor's particular
requirements: To increase store traffic,
publicize location, increase sales in a
weak department, introduce a new
product or package any one of a
dozen advertising goals.

Such concise definition of purpose is
equally necessary for the producer of
serious, or educational, programs on
commercial stations. Without such
definition, neither the station pro-
ducer nor the educator can bring to
bear the full force of television. When
all concerned know exactly what the
objective of the program is, then every
camera angle and visual used on the
program contributes to that end.
Think of your television program as
being a single-shot rifle, as opposed
to a shotgun. You have but one shot
at any particular audience. Make sure
it counts. If you do use the rifle tech-
nique, you will automatically elimi-
nate the frequent charge of vagueness
hurled at educational programs.

Mr. Lyon is Director of
Television and Radio at
the University of Roches-
ter in Rochester, Neiv
York.

BROADCAST TIME

Many times in your work with com-
mercial stations, you will discover that
the station has commitments to net-
works and/or sponsors which prevent
them from putting on your program
at the time you would like. Before
arguing with the station, or condemn-
ing it, you in your own mind should
know exactly at what audience your
program is directed. A good program
director will, with justification, expect
you to know the age brackets, educa-
tional and occupational status, etc., of
the audience you are trying to reach.
From his experience, plus audience
measurement studies, he will be able
to tell you whether or not the audi-
ence in which you are interested is (1)
available (that is, can watch) and (2)
is apt to watch your program in com-
petition with others. It is unrealistic
to assume that in the markets of the
future, you will have no competition.
Those days are gone forever. The ques-
tion you must really answer, then,
provided it is agreed that the desired
audience is "available," is whether
your program might attract a sizable
section of the audience that otherwise
might not be watching television or
whether it must pull its audience away
from other programs on other stations.

IN THREE PARTS
This tri-partite question of provok-
ing "new" tune-in, pulling audience
away from other stations, or merely
"holding" the audience already there
is one of a station's most challenging
problems. For the audio-visual educa-
tion person, it is further complicated
by the lack of control he has over
some of the most important factors
determining how a station shall pro-
gram i.e., newspaper tie-ins, promo-
tion budgets, network affiliation, and
available "star" talent. In all fairness,
then, remember that an educational
program or series can't be separated
from the station's total programming
policy.

If, however, after a thorough and
honest evaluation of the available
audience, competition and program
adjacencies, you still believe that the
purpose of your program cannot be
fulfilled at the time offered by the
station, then it is far better to develop

a new series whose objective can be
fulfilled in the available time than it is
to tilt at the windmill.

Not unexpectedly, the whole ques-
tion of audience size is one of the most
debatable you will face in working
with commercial stations. If it is to
survive, the station must think in
terms of mass audience, since without
it, television's cost per thousand homes
is high. The station may ask you,
therefore, to set the level of your pro-
gram nearer to a common denomina-
tor than you had originally intended.
This is a hard and explosive deci-
sion to make. It is better to err on the
side of simplicity, however, for what
may to the faculty person seem ele-
mentary is often to the audience
elemental. The producer's most help-
ful self-analysis here is to ask himself:
Does my program have pertinence,
relevance, meaning and wortli for my
intended audience? If the answer is
yes, then audience size tends to take
care of itself.

PERSONNEL

In some of the stations in which
you'll be working, the technical crew,
announcers and producers will belong
to a union(s). This need be no prob-
lem. Learn and abide by union regu-
lations on preparation of visual ma-
terial, performance personnel, credits,
movement of props, use of sound ef-
fects, etc. Give your instructions to the
station's, producer-director: he will
relay them to the proper personnel.
Whether the station is unionized or
not, this rule is a good one, for the
compartmentalized responsibilities of
television demand smooth teamwork
under one boss.

Explain to your own faculty person-
nel what the union regulations are;
advise them to remember those rules
when working at the station. Check
with the station on the use of faculty
personnel on a series basis. In some
instances, particularly if the faculty
person is acting as a moderator or
emcee, the union may bring up the
question, "Is this man a specialist in
the field in which he is broadcasting,
or is he replacing a station an-
nouncer?" Again there are too many
ramifications to allow full discussion
of this problem here. The safest thing
to do is to check thoroughly with the

Educational Screen

, station in advance and avoid trouble
Inmi the beginning.

In selecting your performance per-
sonnel, look for those faculty people
who have strong personalities, who are
I flexible and can make adaptations for
I the medium, and finally those who
MI in to be the most effective teachers
in the classroom.

REHEARSALS

When you remember that a com-
mercial station has an operating ex-
pense of at least $50 or $100 for an
hour of camera rehearsal, the need for
thorough preparation in advance of
rehearsal becomes obvious. Your per-
sonnel should be thoroughly dry-run
j before reaching the station. They
should know where they are to be on
>iage at all times during a program,
what movements they are to make,
what visuals they are going to use,
when and how they are to use them,
and how much time each topic unit
of the program should take. With this
much advance preparation, the camera
time becomes, as it should, a rehearsal
for the director, camera men and
crew. Obviously, this cannot be done
without careful work on your part.
Get copies of the station's floor plans,
acquaint yourself with the conven-
tional symbols used, and thoroughly
plot out your program set-wise and
shot-wise on paper before going to the
station. This may seem like a great
deal of work, but that's what televi-
sion is.

VISUAL AIDS

In the facilities available for the use
of visual material, all stations differ.
The only way in which the producer,
working from the outside as the audio-

visual specialist would be doing, can
determine what visuals should be used
on the show is for him to talk to direc-
tors, projectionists, camera men and
producers. Learn the station's require-
ments for transparencies, opaques,
studio cards, strip visuals, photographs,
maps, charts and all the other devices
you are likely to use. In almost all
cases, the station knows from bitter
experience what will and what won't
work; and what you as an audio-visual
specialist might believe is the best de-
vice may, because of the peculiarities
of television, turn out to be less than
effective.

CONTENT

The questions of content and for-
mat have probably caused more argu-
ments between station and educator
than all other problems put together.
By now, it is safe to say that any con-
tent area, given enough thought and
time, can be turned into an interesting
show. Some, like the sciences, are
easier to present than others, like
philosophy. But incisive thinking plus
hard digging for the material will al-
ways produce an interesting program
in any field. In this instance, therefore,
the audio-visual person, if he has done
his job well, should have the final say
on program content.

FORMAT

On format, however, the station's
recommendation is likely to be
sounder. Either through actual prac-
tice or observation of network pro-
grams, the station in almost every
case will be familiar with any
format you might bring in and will
know both the advantages and disad-
vantages of that type of presentation.

The format which comes closest to
achieving the purpose of the program
is the one you should use, naturally.
But in too many instances, because of
the faculty personnel with whom you
have to work, this is an ideal that
can't be achieved. In attempting to
develop novel formats, keep in mind
that the networks have tried out many
of them. This does not mean that you
should avoid unusual presentation de-
vices, but rather ask yourself if your
program gives the audience an oppor-
tunity to compare it with a similar
device used on the network. If this is
the case, then keep in mind that the
network almost always can bring to
any unusual format far more effective
and smooth production than can any
educational broadcaster.

SUMMARY

In conclusion, the problems of a
commercial station that influence the
relationships between station and edu-
cational institution can best be sum-
marized by: "costs," "audience," and
"survival."

Any program that you bring into
the station, therefore, must be evalu-
ated not only from the standpoint of
your own educational standards but
also from the point of view of these
three words. Your planning must be
as efficient as possible to keep pro-
gram costs to a minimum. You must
honestly face the challenge of compe-
tition for your audience, and you
must understand that to survive, a
program must help the station achieve
its objectives even educational pro-
grams.

If these points are kept in mind,
many of the production problems will
iron themselves out and eventually
cease to be problems.

UNIVERSITY OF ROCHESTER ON TV. At left. Dr. Glenn Wiltsey, Chairman of the Department of Government, explains steps that a
tax bill follows through Congress on University Open House program titled "Conflicts in Congress." At right, Dr. Lincoln D. Canfield,
Professor of Spanish, demonstrates jai-alai on "Entertainment Running" program during the 1 3-week language series, "Spanish Today."

January, 1954

IA/V

LLCihtirch

by WILLIAM S. HOCKMAN

.1 1 \ Illl! N LIVE \VITH A FILM

by RUTH L. KILGORE*

It was in summer vacation school.
A group of eleven-year-old Juniors
were about to see a motion picture,
Birthday Party.

When Archie came in, he was some-
what downcast. I asked the trouble.
He said that he had hurt Sam's feel-
ings, but didn't mean to. Sam trailed
him, in a neutral kind of mood.

Sensing an opportunity, I said,
"Well, boys, how about helping me
with our new film, Birthday Party?"

I shared Archie's and Sam's prob-
lem with the group, and with it as a
basis, we got right into a discussion
of personal relationships. Then I ex-
plained that our film would help us
see right into these relationship prob-
lems. I told them about the film,
omitting the final scenes. This, I
hoped, would whet their interest and
concentrate their attention.

Now we listed on the blackboard
the questions which we wanted to
concentrate upon as we saw the film:

How did the new girl help the
others in the class?

How did the brother help the new
girl?

Where did the teacher of the class
make a mistake?

How did the gossipy girl hurt
everyone and herself?

Then we invited the mothers to
come, and a few responded. They saw
the film with the class and remained
for the discussion following the film.
Several participated in the discussion.
I hinted that this discussion could be
continued in the home by the parents
and the children. Later I had reports
that such discussion had taken place.

In class session the following day,
there was further discussion to air
ideas and clarify some misunderstand-
ings. In other sessions we discussed
the meaning of the film, and some
rather subtle understandings grew
from simple beginnings. After three
weeks, in which many activities were
carried out, we could list the follow-

ing as some of the important "under-
standings" we had arrived at:

The film is a story about feelings.

Such things as happened in the film
can happen any time.

No one intended to hurt any one,
but people did get hurt just the same.

Everyone in the film had a problem
to work on, even the older people.

The problem of being a good neigh-
bor continues right through life.

Jesus is everyone's friend and
teacher.

If we are aware of His presence,
being a good neighbor will be easier.

We are happier when we are good
neighbors.

Our living with the film and learn-
ing from it took us into certain activi-
ties which were scattered along
through the three weeks.

The group acted out scenes from

" Director of Audio-Visual Education, Second
Baptist Church, Germantown, Pa.

the film. The members of the class
explained to their parents and friends
what they were doing in the school.
We learned thoroughly the story of
the film. We made charts: "How We
Help Our Friends" and "What Each
One in the Film Had to Work on
to Be a Better Person and Neighbor."
And last, each one worked out an
original prayer, and these prayers
were used later on in the closing pro-
gram of the vacation school.

Through all this activity, growth in
the children could be observed. I
learned it from the parents, too, who
had things to tell about the new in-
sights and ideas their children got
out of the film study. I believe that

the outcomes achieved were made pos-
sible because we did more than just
show the film we lived with it. In
this way films can become a part of
the experience by which children
grow and learn.

NEW RESOURCE GLIDE

When the Division of Christian
Education (DCE) of the National
Council of Churches (NCC) holds its
annual meeeting in Cincinnati in
February 1954, the Department of
Audio-Visual and Radio Education
(DAVRE) will have very significant
news for the annual dinner of the
Visual Education Fellowship (VEF),
a nation-wide fellowship of local and
national leaders in the field of visual
education. The good news for every
local church, every pastor, every di-
rector of religious education, every
A-V committee chairman, every coun-
cil of churches executive, etc., will be
that the "Audio- Visual Resource
Guide" is now available.

This unique, comprehensive, and
invaluable Resource Guide came into
being through cooperation at the top
levels as well as the grassroots, but
the pride of achievement belongs to
DAVRE, and that spelled out in
terms of persons means Pearl Rosser,
Elmer Million, Don Lantz, June

Educational Screen

Kushino, and many others at 79 East
Adams St., not to mention the pre-
view and evaluation committees,
scattered across the country and giv-
ing uncounted hours of work.

The Resource Guide, to be released
at the dinner meeting of the VEF on
February 8th, is in reality a third
edition, bringing former editions
within the scope of one well-organized
and highly useful volume in which
will be listed films by the thousands
and filmstrips by the hundreds, to-
gether with slides and recordings.

They will be more than listed. They
will be evaluated in terms of content,
technical qualities, and in relation to
the categorical objectives of religious
education and church work. This
Resource Guide is unique in that all
evaluations reflect the point of view
of the educator and the user and not
that of the producer.

In this edition, and in those to
follow, the church and its workers
will have its audio-visual "bible."
This volume is basic. All effective
utilization begins with knowing what
there is. After that the user needs a
summary of content and an objective
evaluation of quality. All this and
much more the Resource Guide will
give him for a ten-dollar membership
in the VEF. Renewals will be seven

fifty. As a VEF member he will re-
ceive the "Monthly Evaluation Bul-
letins" on current materials and the
"Quarterly Newsletter" bringing news
and ideas on utilization. As a bonus
he will get "Using Filmstrips in the
Church" and a filmstrip on this basic
manual.

WHAT SHOULD WE USE?

The editor of this Church Depart-
ment is often asked, "What films and
filmstrips do you recommend that we
use?" Although no one person or
group of persons can decide for you
exactly which films and filmstrips are
best to accomplish the purposes you
have in mind, I can tell you about
some of the films and filmstrips I
would use and why.

Every local church should build
slowly and carefully an audio-visual
library of highly useful material. We
have recommended many materials
in the past; we shall recommend many
more in the future. The following
are, of course, only a few of the films
and filmstrips recently made avail-
able. Get prices and place orders for
motion pictures through your regular
audio-visual dealer or library. Sources
for purchase of filmstrips are given.

SOME FILMS I WOULD USE

AND WHY

MY BROTHER is a black and white
30-minute film giving the Christian
answer to race prejudice. It gets
right at the core of the trouble. It
has two good child actors. It keeps
to its theme. It gets the important
things "said." Could there be a bet-
ter film for a family-night program?
Follow the film with a mixed panel
of children, youth and adults with a
chairman who would keep their men-
tal noses pressed right tight against
what's going on in the local commu-
nity, and you would have a meeting
which people would call an experi-
ence. With good planning the whole
thing could be done in an hour and
15 minutes.

AS FOR ME AND MY HOUSE is
dramatic, interesting, full of suspense,
and says more in 30 minutes on the
subject of marriage and the place of
religion in it than most sermons and
some books! Here is the film for the
first of a series of meetings on marriage
for modern youth. Let the church join
with the "Y's" in sponsoring such a
series. Or get such a series underway
in the local church. I'd use this film
the first night, to open the series, in
a setting of worship; I'd discuss it at
the next meeting. For discussants, I'd

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January, 1954

Writing for more information? Mention EDUCATIONAL SCREEN.

the

PROPHETS

of Israel

new color filmstrips

Isaiah

Amos & Hosea

Jeremiah

Elijah & Elisha

Ezekiel & Micah

other Old Testament subjects
preview prints available

ALEXARK & NOR5IM, Inc.
156 N. Ardcn Blvd., Los Angeles 4, Col.

CHRISTIAN LIVING
FILMSTRIPS

* 44 subjects now available, many
in full color.

* Used and recommended by near-
ly all Protestant denominations.

* Send for free illustrated catalog.

Church Screen Productions

JP.O. Box 5036 Nashville 6, Tenn.

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ROBERT FLAHERTY presents

THE TITAN

Story of MICHELANGELO

Norroted by FREDRIC MARCH

"A Masterpiece" Soturdoy Review

\ou' Available exclusively from

Contemporary Films, inc.

13 E. 37th St., Dept. ES, New York 16, N.Y.

pi<k a mixed panel of youth and
adults.

THAT THEY MIGHT HEAR keeps
to the major theme of what a young
man will do with his life, having
as an obligato the resolution of
race prejudice in the mind of his
father. It digs deep. You'll be saying:
"I know just how he feels." Those
planning youth rallies, conferences,
retreats in local churches and colleges
will find this film tailored to their
need. It is dramatic, interesting, has
enough suspense to hold the atten-
tion of any audience of youth and
adults, and it will do more. It will
make them think. It can be used in
either the context of worship or dis-
cussion.

IN HIS NAME is the story of a
broken church window and a congre-
gation roused from its slumbers. If
you are trying to get your church in-
terested in its surrounding commu-
nity, here is your film. Show it to
the whole congregation. It will hold
their interest and make them think.
If you don't want to discuss congre-
gational action immediately, the film's
ideas will carry over for a later meet-
ing when you have specific proposals
for doing something for and with the
people who live close about you
and in America a lot of people live
close to some pretty sleepy churches.
Yours may be one that needs to rouse
itself. Here's your film!

SOME FILMSTRIPS I WOULD

USE AND BUY

THE FEAST OF LIGHTS WITH
JESUS, 21 frames, color, manual.
How the family of Jesus might have
celebrated the feast of Hannukkah

(Feast of Lights) as a child. Down on
child's level. Useful year in and year
out. Usable at Christmas. Apprecia-
tive of our Jewish neighbors. (SVE,
1345 W. Diversey Pkwy., Chicago 14,
111.)

BEYOND THE TEXTBOOK, 86
frames, color, script. Presents wide use
of audio-visual materials, how to
mount pictures, make dioramas, box
movies, etc. For use with teachers.
Practical. Would be used over and
over. Sound educationally. (F. A.
Lindhorst, College of Pacific, Stockton,
Calif.)

OUR PROTESTANT HERITAGE,

64 frames, color, manual. Presents im-
portant beliefs of Protestants. Good
for youth and adults. Fine for dis-
cussion. Can be used to motivate a
series. Not dated. (Christian Educa-
tion Press, 1505 Race St., Philadelphia,
Pa.)

SEA SHELLS AND COCONUTS, 30
frames, color, manual. Missionary en-
richment material on Primary level.
Gets over basic idea of Christian help-
fulness. Lifts child's horizons. Should
create questions. Good quality.
(Church Screen Productions, Box
5036, Nashville, Tenn.)
MBUJI AND NTEJI OF THE
CONGO, 51 frames, color, script.
Presents home and school life of
African boy and girl. Primary and
Junior age level. Interesting: inform-
ing. Shows how missions work. Not
dated. Good quality. (The UCMS,
222 Downey Ave., Indianapolis 7,
Ind.)

SUNDAY AROUND THE WORLD,
41 frames, color, script and guide.
Shows people in many countries go-
ing to church and what church means
to them. Down on child's level. Pri-
mary and up. Good quality. Can be
used by youth. Not dated; general
subject. (Joint Committee on Mis-
sionary Education, 156 Fifth Ave.,
N. Y. 10)

THE VISITING TEACHER, 61
frames, black and white, captions.
Presents importance of calls on pupils
by teacher and shows how to do it.
For leadership conferences and
courses; for workers meetings. Keeps
to the essentials. Not dated. (Con-
cordia Pub. House, 3558 S. Jefferson,
St. Louis 18, Mo.)

THE STORY OF OUR BIBLE, 40
frames, black and white, script-man-
ual. Tells how it came to be; was
transmitted and translated. Adapted
to children. Never out of date. Useful
year after year. (Pilgrim Press, 14
Beacon St., Boston 8, Mass.)

CARVER STORY, 70 frames, color,
art drawings, captions. Tells story of
his life and achievements and his deep
religious feelings. All ages. Not dated.
To motivate reading and discussion.
(Artisan Productions, Box 1827,
Hollywood 28, Calif.)

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Serving for many years Universities of Notre
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Write for catalog E

rapid FILM TECHNIQUE INC.

21 West 46th Street, New York 36, N. Y.

ADVENTURES OF CH/CO

55 minutes $175 In English or Spanish
IFB is now the distributor of this outstand-
ing film about a native boy and his love
for birds, animals and creatures of the
wilderness.

INTERNATIONAL

FILM BUREAU INC.

57 E. Jackson Blvd.

Chicago 4

Educational Screen

by L. C. LARSON

Director, Audio-Visual Center
Indiana University

of new films

CAROLYN GUSS

Assistant Professor, School of Education
Indiana University

and JOHN FRITZ

Instructor, School of Education
Indiana University

Film reviews and evaluations on
these pages are based upon discus-
sions by a preview committee com-
posed of Indiana University faculty
members, public school teachers, stu-
dents of audio-visual education, and
staff members of the Audio - Visual
center of Indiana University.

Preview prints should be sent direct-
ly to the Audio-Visual Center, Indiana
University, Bloomington, Indiana.

Records for review should be sent
directly to Max U. Bildersee, 36
Holmes Dale, Albany 3, New York.

A DAY WITHOUT EMBERS

(Audio-Visual Materials Consultation
Bureau, Wayne University, Detroit,
Michigan) 9 minutes, 16mm, sound,
black and white or color, 1958. $45 or
|75.

DESCRIPTION

The film shows how a primary-grade
youngster's lack of interest in arith-
metic is replaced by a willingness to
work with numbers after he experi-
ences a most frustrating day without
numbers.

The film opens with a primary class
hard at work on some arithmetic ex-
ercises. Almost the entire class is
working. Only Bob, who thinks arith-
metic is a waste of time and wishes he
didn't have to work with numbers,
shows no interest in the assignment.

Suddenly Johnny Numbers, a pup-
pet with magic powers, appears on
Bob's desk. He offers to take Bob out
of the classroom and to make all
numbers disappear for a day. Bob
happily and expectantly leaves the
school building with his new-found
and most attractive friend, Johnny
Numbers.

Strolling through the neighborhood,
they see a baseball game break up
after the scores disappear from the
Scoreboard. Later Bob is unable to
decide whether or not he can buy the
train in a store window. Johnny, true
to his promise, is giving Bob a "day
without numbers."

They then go to Bob's home. To
his increasing unhappiness, he dis-
covers that he is unable to use a

yardstick, tell the time, use a tele-
phone, or play shuffleboard. Much
to his chagrin and disappointment,
all the number have disappeared. The
two then leave for the home of Bob's
aunt. Bob finds that even the house
numbers are gone and that it is im-
possible for him to find his aunt's
house.

Disappointed and unhappy, Bob de-
cides he would rather be back in the
classroom with numbers, than outside
without them. In a flash, he finds him-
self back in school keenly aware of
the fact that when "we learn to work
with numbers, numbers work for us."
His puppet-friend, Johnny, magically
disappears to go help some other little
boy.

APPRAISAL

Imaginative, thoroughly convincing,
and dealing with an important sub-
ject, this film should be welcomed by
primary teachers. In all probability
youngsters will find it delightful. The
committee agreed that its single pur-
pose is to interest children in arith-
metic by showing them on their own

level the importance of arithmetic.
Produced primarily for the children
themselves, the film should also be in-
teresting and useful to parents and
teachers.

SOCIAL-SEX ATTITUDES
IN ADOLESCENCE

(McGraw-Hill Book Co., Text-Film
Dept., 330 W. Forty-Second St., New
York 36, N. Y.) 22 min. 16mm, sound,
black and white, 1953. SI 10. (Series,
S450) Produced by Crawley Films Ltd.

DESCRIPTION

As one of a series of five films, cor-
related with Elizabeth Hurlock's book,
"Adolescent Development," this film
portrays the gradual growth and de-
velopment of Mary and Bob through
the adolescent years into adulthood
and depicts the importance of per-
sonal experiences and the influence of
parents and friends in the young cou-
ple's struggle to achieve mature social-
sex adjustment.

Opening scenes showing Mary and

Wayne University
Puppet |ohnny gives Bob an unhappy day without numbers.

Januory, 1954

'"HEAR, NOW!"

(EAR HEALTH AND SAFETY)
AND

"THE MAGIC TOUCH"

(IMMUNIZATION)

Brand new, one reel 16mm sound color-
films for lower grades health education, by
the producers of "Judy's Smile," "Eyes
Bright," "Soapy the Germ Fighter," and
other films in the highly successful "Pic-
tures of Good Health" series.

/1VIS FILMS INC.

9O4 EAST PALM AVENUE

BURBANK, CALIFORNIA

SOUTHWEST INDIANS

New sound films in brilliant color.
Produced by an experienced educator.

PEACEFUL ONES Hopi mesa life
presents men as they spin and weave,
make Kachina dolls for ceremonial

dance.

Avalon Daggcrt
Productions

441 North Orange Drive
Los Angeles 36, California

Snakes Are Interesting

An outstanding classic frequently copied
but never duplicated. The only film show-
ing both the laying of eggs and the birth
of living young.

5427 W. Howard Avc., Milwaukee, Wis.

Here Are Two New "Incentive" films
in Color and Sound

"THE BACKYARD ARTIST"

(Primary)

"MICROSCOPIC WONDERS
IN WATER"

(Elem. to Jr. High)

PAT DOWLING PICTURES

1056 So. Robertson Blvd.
Us Angeles 35, Calif.

Bob leaving a church as a married
couple are followed by a flashback to
their childhood days that documents
their growth into mature adults over
the years. Mary's mother is shown re-
sponding honestly to her daughter's
inquiries about the coming baby and
accepting her offer to help care for it.
She explains the menstrual process at
an opportune time and patiently waits
for questions even though her daugh-
ter's frequent daydreaming at this pe-
riod causes the parents some concern.
Bob's mother, a widow, also answers
his questions conscientiously and even
arranges situations to evoke inquiries
about the reproductive process. Both
parents encourage their children to
participate actively in group activities.
As a result, Mary reveals a healthy sex
attitude when in the course of a dis-
cussion with a group of her high
school friends she states that having
children is a natural function contrib-
uting to a home and family. The film
then shows her passing through a pe-
riod of antagonism to the male sex,
experiencing her first "crush" on the
captain of the school football team,
and imagining moments of fanciful
romantic situations. For Bob, how-
ever, the problem appears more as a
mental one, and scenes show him par-
ticipating actively in sports and de-
veloping a confident though somewhat
indifferent attitude toward girls.

Though Mary at sixteen is seen
gaining increasing confidence through
her popularity at group gatherings,
her parents strongly wish that in addi-
tion to knowledge of physical facts she
would learn "how to have fun without
being silly." Nevertheless, they see the
need for their daughter to learn by
her own experiences at this stage, en-
courage her to make a variety of male
acquaintances, and help her develop
critical judgment during their many
free discussions. A succession of three
more serious attachments enables her
to gain improved insight into the de-
sirable qualities in male companions
as well as to recognize the need for
more discreet behavior and careful
discrimination.

At sixteen, Bob likewise reveals a
change in his regard for the opposite
sex. His mother accidentally discovers
a highly suggestive drawing in his
school book and overhears a telephone
conversation indicating considerable
latitude in her son's intersexual rela-
tions. Bob's marked resentment at his
mother's innocent inquiry about his
plans for a particular evening finally
prompts the narrator to observe that
at times all guidance seems a waste.
However, in later scenes Bob recog-
nizes the serious need for a career and
experiences a radical change in his
perspective, a change which the nar-

McGraw-Hill
Mother responds honestly.

rator attributes to the impact of early
training.

When Mary and Bob meet at a
party, they both have a good idea of
the kind of person they like. Their
subsequent relationship is character-
ized by real affection, mutual respect,
shared enjoyments, a good sense of
humor, and a harmonious union of
values and ambitions. As the audience
witnesses the deepening of their af-
fection, the narrator reiterates that
healthy attitudes between husband and
wife grow out of experiences extend-
ing into early childhood. In closing,
he reviews the major determinants of
satisfactory sex adjustment and asks
the audience whether or not these two
persons have a sound preparation for
a happy adult life.

APPRAISAL

The evaluating committee suggested
that this film can be used most effec-
tively with high school classes and
adult groups to help provide new
insights into the complexities of
healthy sexual adjustment, especially
during the adolescent years, as well as
to suggest to both parents and stu-
dents possible ways of handling new
situations. The film can also help to
show the adolescent that his struggles
are not peculiarly his alone but that
similar problems are shared even by
his immediate associates. Adults can
be impressed with the crucial impor-
tance of parental influences in the cul-
tivation of mature sex attitudes in the
young. College classes can use this
film as an introduction to their study
of adolescent behavior.

The outstanding quality of the film
is its frank and honest portrayal of the
typical problems facing many young
people in their search for more effec-
tive behavior patterns. Furthermore,
the high degree of sincerity that char-
acterizes the performances of Bob and
Mary, does much to make their growth
toward greater maturity seem both
probable and convincing. Some mem-
Educational Screen

bers felt that the film might have re-
ferred to the relative absence of emo-
tional upheaval in the lives of the
young in some other societies upon
their entering adulthood. If retained
within the American cultural context,
however, the film provides a pertinent
and helpful diagnosis of a vital area
in human development.

HOW TO MAKE A PUPPET

(Bailey Films, Inc., 6509 De Longpre
Ave., Hollywood 28, Calif.) 12 min.,
16mm, sound, color or black and
white, 1953. $112 or $50. Produced by
Ruby Niebauer, Associate Professor
of Education and Supervisor of Art,
San Diego State College. Guide
available.

DESCRIPTION

How to Make a Puppet, as the title
indicates, is basically a step-by-step
demonstration of the construction of
a single puppet. It does, moreover,
show ways of expressing individual
interpretations in the creation and
manipulation of puppets.

After showing a variety of puppets
in action, the film shows that every
puppet consists primarily of three
parts the head, the hands, and the
feet and then proceeds to show how
the head and hands are modeled from

plasticine which is repeatedly covered
with strips of paper and paste. Fol-
lowing sequences show how the mold
is cut and removed from the plasticine
base and painted.

The hands of the demonstrator, a
girl of about ten years who is seldom
shown in the film, next try different
types of hair on the puppet string,
yarn, raffia each of which gives a
different personality to the puppet.
After the hair has been applied, the
puppet is dressed in a simple costume
designed to express the creator's ideas.

The concluding sequence shows how
puppets are controlled on the stage
and as a number of distinctly dif-
ferent puppets parade across the stage,
the narrator points out how each pup-
pet producer can make his puppet dif-
ferent from any that has ever been
made and can use his puppet for a
variety of purposes act out his
own stories, dramatize stories and
plays that have already been written,
portray people of other lands, and
perform in ballets and operas.

APPRAISAL

Excellent close-up photography, a
clear step-by-step presentation, beau-
tiful color combinations, effective ver-
bal explanation, and subtle sugges-
tions not only involving the audience
in the action of the film but also in-

volving their imagination in processes
and applications not shown in the film
combine to provide any group of
youngsters and/or oldsters a delight-
fully worthwhile and aesthetic ex-
perience.

WONDERS IN THE DESERT

(Churchill-Wexler Film Productions,
801 N. Seward St., Los Angeles 38,
Calif.) 10 min., 16mm, sound, black
and white or color, 1953. $50 or $100.

DESCRIPTION

This film describes the experiences
of two youngsters, Joan and Jimmy,
during the course of their day's activi-
ties as they discover a number of dif-
ferent animals that live in a California
desert.

With the help of explanatory re-
marks and pertinent questions by the
narrator, the film shows the physical
characteristics and some of the natural
behavior of the jack rabbit, the wild
burro, the horned lizard, the ordinary
lizard, the chuck walla, the pocket
mouse, and the desert tortoise. The
sight of a full grown jack rabbit,
jumping swiftly over the landscape, is
followed by the discovery of a baby
rabbit about three weeks old that still
has to hide for protection. A mother

"eye opener";

. . . <ayi a college film library, of "our prin<
with Prll Film Treatment, P*rlei
protection keeps our films in good condition,
enables us to show them more frequently
without replacing and thus has resulted In
appreciable economy."

Yes, Peerless Film Treatment starts new prints
off right, keeps them in good condition longer.
So, specify "Peerless Film Treatment" in your
purchase orders for films. Send your untreated
prints la Peerless licensee nearest you.
Write for list of licensees.

PROCESSING CORPORATION

14S WHT 44TH STMFT. NIW YOtK >*, H.
t SiWAID JTIIIT, HOLLYWOOD 31. CM

HERE IS A MOTION PICTURE SERIES IN FRENCH

"ACCENT AICU"

French Conversation Exclusive// 10 Min. Per Reef

Produced in Paris, France. Practically Designed for Students of
the Living French Language. Series Includes: "L'ARRIVEE A
PARIS," "AU RESTAURANT," "COURSES ET ACHATS."

FOCUS FILMS CO. 13S5 Westwood Blvd., Los Angeles 24, Calif.

FEATURED IN THE NEW

BRANDON
FILM LIST

writ, fo, Fr~ . P y: BRANDON FILMS, INC. 8ylA~9 W -

FILMS FOR CHILDREN

including:

BLACK PATCH

ZANZABELLE IN PARIS

THE FISH AND THE FISHERMAN,
etc.

" st

for EDUCATION

Theater men are just finding out what schoolmen
have known for years: 3-D is so thrilUngly realistic that
flat pictures cannot compare.

The child who is spellbound by a sense of reality is
lastingly impressed. Thousands of schools are getting
more effective learning with Keystone 3-D pictures for
Nature in color, Science, Geometry, Social Studies, etc.
Just released: 2 new stereograph units on Eskimo Life.

3-D Eye Testing Is Equally Essential:

3,000 School Systems are using the modern Telebinocu-
lar and Visual-Survey Service, for eye testing that
gives information on Acuity with both eyes open and
seeing, Fusion, Depth Perception, Balances.

Is your school making full use of 3-D's Advantages?

Write for further information.

KEYSTONE VIEW CO., Meadville, Pa. 3-D Pioneers
for 62 years: First, 3-D Travel Stereographs . . . then
Educational 3-D pictures . . . and now, modern plastic
Televiewers and integrated units of Educational 3-D
Pictures, edited with Source Manuals, and 3-D Eye Tests.

January, 1954

Advertisers welcome inquiries. Just mention EDUCATIONAL SCREEN.

KINESIS

Presents a film by
Henry Arian

THE NORTHWEST FRONTIER
PROVINCE OF PAKISTAN

With a geographical-historical in-
troduction, this film contains
glimpes of pastoral nomads, a de-
tailed study of methods and prob-
lems in an agricultural commu-
nity and views of urban redevelop-
ment.

KINESIS, INC.

566 Commercial St. San Francisco

54 West 47th St. New York 36, N. Y.

(New
Release)

THE COOL HOT ROD

This new 26'/ 2 rnin. film on "Hot Rods"
received the 1953 TREND PUBLICATION'S
AWARD. Film shows how today's "Hot
Rod" enthusiast has changed the "Hot Rod"
hazard to a scientific, safe hobby.
THE SCHOOL SAFETY COMMITTEE

13 min. (1953 award winner)
MIRACLE OF REPRODUCTION 15 min.

OTHER SID DAVIS FILMS "aTf

Gossip The Terrible Truth

Alcohol is Dynamite No Smoking
Why Take Chances? Name Unknown
Vandalism The Dangerous Stranger

SID DAVIS PRODUCTIONS

3826 Cochran Ave., So. Los Angeles 56, Cal.

The Museum

Fiimstrip

Club

A new color filmstrip

each month Oct.

through May.

$25 for 8 color filmstrips with study guides.

Authentic, curriculum -centered

picture stories.

MUSEUM EXTENSION SERVICE

10 East 43rd St., N. Y. 17, N. Y.

A NEW SERIES OF
2" x 2" KODACHROMES!

These close-ups of animals, birds, plants
and minerals are stimulating, creating a
real appeal to study the wonders and
beauties about us.

Write for our current price list

VISUAL AIDS LIBRARY

601 E. Rollins Ave. Orlando, Florida

SITUATION WANTED AUDIO VISUAL
AIDS DIRECTOR, 10 years wide experi-
ence educational and commercial field,
B.S. plus graduate work visual media,
prefer west coast, available immediately,
resume' on request, Box 401, Educational
Screen, 64 E. Lake St., Chicago 1, III.

burro and her baby then emerge into
view while the narrator, by way of a
question, seeks to point out the resem-
blance between the shape of the ears
of this animal and those of the jack
rabbit. Jimmy finds a sleepy, horned
lizard completely hidden beneath the
warm, sandy earth except for the out-
lines of its head. He picks it up and
strokes its short horns and the layer
of scales that clothes its body. The
children then try to catch an ordinary
lizard, but discover that it is able to
leave its tail behind to confuse its
enemies, and so escape, only to grow
another tail. A close-up of a chuck-
walla reveals its loose and baggy skin
coat which it inflates while hiding
among rocks, and thus makes it diffi-
cult for pursuers to drag it out.

The film concludes with scenes de-
picting the busy antics of a pocket
mouse and the labored movements of
a desert tortoise. As Joan and Jimmy
set out for home, the narrator con-
fides, "They decide they want to learn
more about the strange things living
in the desert."

APPRAISAL

The members of the committee sug-
gested that this film could be used on
primary and intermediate grade levels
to describe the nature of a desert
climate and to show some desert ani-
mals in their natural habitat, their
physical characteristics, and the unique
way in which each is capable of
protecting itself. The narration aids
the visuals effectively by providing
pertinent explanations or additional
information and asking the occasional
question to guide the learning experi-
ence of the viewer. The color photog-
raphy is of good quality while the
liberal use of close-ups helps to en-
hance the interesting details of the
animals' characteristics. Some mem-
bers felt that the film tends to give the
erroneous impression that all deserts
possess some kind of animal life. The
majority, however, decided that proper
use by the teacher can prevent the
rise of such an impression, and that
the film succeeds in dealing with its
subject in a fascinating and authentic
manner.

Looking at the literature

NEW SCREEN TECHNIQUES.

Edited by Martin Quigley, Jr., Quigley
Publishing Co., 1270 Sixth Ave., New
York 20, N. Y. 1953. 208 pages. $4.50.
Here is a concise guide for all inter-
ested in the new methods of motion
picture production and projection, in-
cluding three-dimensional and wide-
screen projection and stereophonic
sound. The volume is a compilation of
28 articles by the men responsible for
the development or promotion of each
of the new film methods.

TELEVISION AND EDUCATION
IN THE UNITED STATES by
Charles A. Siepmann. Unesco publica-
tion. Paris, 1952. Available through
Columbia University Press, N. Y. 132
pages. $1.00. This Unesco publication,
one of a series dealing with the press,
film and radio, is designed to make
available to the peoples of the world
an intimate report on the activities
and progress of video in this country.
The documentation capitalizes on the
experience and experimentation of the
leader in this field of communication
and is presented for examination and
evaluation by all who are now inter-
ested in utilizing television.

Excellent treatment is given the
areas concerned with explaining the
U. S. system of television, network TV
and their educational policies, tele-
vision at the college and university

level, along with moderately good cov-
erage of television and the schools.
Audience composition, TV impact and
effects, and research findings are given
superficial mention. Despite these lat-
ter shortcomings, due in major part to
space limitations, a rather laithlul de-
scription of U. S. television is given
including many items not generally
known even to residents of this coun-
try. It is time well spent to read this
report. -PHILIP LEWIS

EDUCATIONAL FILM GUIDE, llth
Edition. The H. W. Wilson Company,
950 University Ave., New York 52,
N. Y. 1037 pages. $7.50 postpaid (or
$12.50 with semi-annual supplemen-
tary service through the spring of
1957). The publishers announce this
new edition as "the most comprehen-
sive list indexing and describing 16mm
motion pictures ever compiled." Some
11.000 films are included, with more
than 3000 "free" films and 249 feature
films selected for their educational
value. Order numbers are given lor
4000 Library of Congress catalog cards
and for 2000 evaluation cards of the
Educational Film Library Association.
Age levels are suggested and film re-
views that have appeared in leading
periodicals (including EDUCATIONAL
SCREEN) are noted. This main volume
is kept up to date with semi-annual
supplements.

Educational Screen

Records on review

by MAX U. BILDERSEE

I \RICHMENT MATERIALS (246
Fifth Ave., New York I, N. Y.) con-
tinues to produce recordings serving in-
struction in American history. Four
new titles have recently been released
and maintain the traditions of dra-
matic presentation and accuracy typi-
lal of earlier productions. Each of the
records is adapted from a book of the
same title in the popular Landmark
series published by Random House.

"Explorations of Pere Marqette"
dramatically presents the discovery of
the answer to a question which Euro-
pean rulers sought. In 1670 men
wanted to know: "How big was this
new world? Was it just a strip of land
between the Atlantic and Pacific
Oceans?" Louis Joliet and Pere Mar-
quette through their explorations
demonstrated that the Mississippi
river did not reach the Pacific Ocean
but rather emptied into the Gulf of
Mexico. This recording begins with
Marquette's arrival from France and
follows his explorations as reported to
us in the daily log which he kept so
faithfully. This recording makes the
story of Pere Marquette a living ex-
perience that will give student listen-
ers an increased appreciation of this
important chapter in the development
ol America.

Continuing the story of the opening
of the West, "The Lewis and Clark
Expedition" reproduces some of the
adventures of this great episode in
American history. Beginning with an
explanation by President Jefferson of
the need for detailed information con-
cerning the lands beyond the Missis-
sippi, the recording takes us on the
slow, heart-breaking journey across
unmapped territory. The successes of
the expedition are dramatically por-
trayed and should help upper ele-
mentary and junior high school stu-
dents understand not only the reasons
for exploration but also the hardships
encountered on such journeys.

Two dramatic episodes of the Civil
War are reproduced in "The Monitor
and the Merrimac" and "Lee and
Grant at Appomattox." The former
disc becomes "talky" in spots as ef-
forts are made to explain events which
precede the actual action. The open-
ing interview between C. H. Bushnell
and John Ericsson is not convincing
and the repetition that the "Merri-
mac" was renamed the "Virginia" by
the Confederacy contributes little.
However, the introduction of fully
armored vessels in naval warfare is a
dramatic event skilfully portrayed and
should appeal to youthful listeners.

The story of the surrender of the Army
of Virginia is excitingly presented and
the characters of both General Lee
and General Grant are sympatheti-
cally portrayed. "Lee and Grant at
Appomattox" is a vivid portrayal of
one of the most dramatic pages in
American History. Any class group
studying the differences between North
and South and the war which followed
will find this listening experience well
worthwhile.

CHARMING AND DELIGHTFUL

describe "Frere Jacques" (Young Peo-
ple's Records, 100 Sixth Ave., New
York 13, N. Y.), a dramatic play re-
cording which will appeal to kinder-
garten and some primary grade stu-
dents. The record, subtitled "The
Story of the Bells of Calais," intro-
duces the round with which we are
all familiar, telling a simple but ap-
pealing fantasy story. Certainly the
record can be used for entertainment
and as a device for motivating chil-
dren to learn this favorite song. Dra-
matically, the simple story can be
portrayed and the whole class can
participate in the fun.

SEA SONGS always appeal to young-
sters, perhaps because the rolling
rhythms are so easily mastered. "Hunt-
ers of the Sea" (Children's Record
Guild, 27 Thompson St., New York
13, N. Y.) is an authentic whaling

story. Its songs, a rich part of our folk
heritage, are still being sung by Amer-
ican seamen. The rhythms are the
rhythms of the sea. The songs sung in-
clude "Blow Ye Winds of Morning,"
"The Whale-O," "Around Cape Horn"
and "Haul Away." Primary grade chil-
dren enjoy hearing and learning these
songs, and the disc can be used not
only for the presentation of informa-
tion (words and tunes) but also to
motivate group singing for sheer
pleasure.

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January, 1954

Advertisers welcome inquiries. Just mention EDUCATIONAL SCREEN.

-visual trade review

PEOPLE

George Spoor Dies

A film industry pioneer who par-
ticipated actively in the whole caval-
cade of development from the Edison
peep-show and the Armat Vitascope of
1896 through stereophonic sound and
3-D George K. Spoor died at his
home in Chicago November 24 at the
age of 81.

In 1907 he organized the Essanay
Film Manufacturing Company and for
many years operated a studio and ad-
joining laboratory at which the greats
of entertainment filmdom Chaplin,
Swanson, Pickford, and others got
their start. The studios and lab are
now operated by Wilding Pictures
Productions.

Spoor is credited with originating
the first artificially lighted studio, and
in his novel productions of Niagara
Falls and roller coaster thrills in 1926
and again at the 1933 Chicago World's
Fair, he forecast the Cinerama de-
velopment.

His interest in the educational film
goes back at least to 1909 when, with
George Kleine and W. N. Selig, he
copyrighted the famed "The World
Before Your Eyes" statement by
Frederick Gates Starr, professor of
anthropology at the University of Chi-
cago. This oft-quoted statement, prob-
ably the most eloquent all-out
testimonial of the power of the mo-
tion picture ever written, became the
introduction to the Kleine-Urban
catalog of 1,000 educational motion
pictures published in 1910, which ex-
ercised major influence in getting
school and church use of films under
way.

Spoor died on the 60th anniversary
of his wedding. His wife died two
years ago. He is survived by a mar-
ried daughter and two sisters.

Joseph Burstyn, Too

Joseph Burstyn, motion picture dis-
tributor who pioneered in bringing
foreign language films to the United
States, died aboard a Paris-bound
trans-Atlantic plane at the end of
November. He was among the first
to see the value of the "realistic"
motion pictures produced in Italy and
France and imported many such out-
standing films as Open City, Paisan,
and The Bicycle Thief.

NAVA NEWS

Film Conference

The Third Annual Film Confer-
ence of the National Audio-Visual
Association will be held April 9-10 at
the Hotel Park Sheraton, New York
City, according to an announcement
by NAVA President Carroll Hadden,
of Louisville, Kentucky.

The meeting will concentrate on the
entertainment, educational, and reli-
gious film business. It is designed to
give NAVA members handling 16mm
films an opportunity to discuss prob-
lems in the selling, distribution, mer-
chandising, and utilization of films of
every kind.

New Chairman

T. C. Morehouse, Jr., Vice President
for Sales for Young America Films,
Inc., New York City, was elected chair-
man of the New York Education Com-
mittee of the National Audio-Visual
Association for 1953-54 at a recent
meeting of the committee. Retiring
chairman is Alfred E. Devereaux of
Eye Gate House Inc., New York City.

This committee works with the New
York City Board of Education to bring
together the educational and commer-
cial people so they can exchange ideas
on curriculum development and audio-
visual programming.

Other members of the committee
are representatives from Viewlex, Inc.,
Neumade Products, Bowmar Com-
pany, Brandon Films, Almanac Films,
and McGraw-Hill Co., all of New York
City, and American Optical Company
of Chelsea, Mass.

Sales Institute 1954

The Board of Governors of the
NAVA Sales Training Institute met
with Indiana University faculty mem-
bers recently at Bloomington and
worked out the main lines of the 1954
Institute. There will be five courses:
(1) Fundamentals of Salesmanship
will be little changed from the pattern
that has been found effective hereto-
fore, except that there will be greater
emphasis on audio-visual examples and
more teaching personnel drawn from
the A-V industry. (2) Applied Sales-
manship in Specialized Fields will be
a new course emphasizing utilization
in industry, school, church and related

consumer areas, with accent on im-
proving the salesman's capacity for
stimulating and serving needs. (3)
Production Know-How is the "working
title" for a course adapted from last
year's course on film production, with
accent on providing the A-V sales rep-
resentative with knowledge of produc-
tion techniques and facilities rather
than in movie-making on his own.
(4) Sales and Personnel Management
will be a combination of last year's
course and a considerable part of the
previous course called "Business Man-
agement." (5) Financing an A-V Busi-
ness is a new course limited to the
financial aspects and believed to be of
special interest to owners and partners.
The courses will be given on the
Indiana University campus at Bloom-
ington from Sunday, July 25th through
Thursday, thus allowing ample time
for transportation to the NAVA con-
vention and trade show in Chicago im-
mediately following.

EQUIPMENT

B&H Acquires TDC

Bell and Howell Company, well-
known manufacturer of motion pic-
ture equipment, has purchased all out-
standing capital stock of Three Dimen-
sion Company, Chicago manufac-
turer of slide projectors and tape
recorders. Henry Bohm, co-founder
and Chief TDC executive officers,
continues as president of the company.
TDC will operate as a division of
Bell & Howell.

Baja Cabinets

The improved sectional library
cabinets announced by Barnett &
Jarre (6100 N. 21st St., Philadelphia)
now feature a lid in the front with an
identification card holder attached.
Library cabinets are available for
2x2, reflex, and stereo slides.

Brandt Eye Cameras

Two instruments for measuring see-
ing and reading are available from the
Institute of Visual Research in Chi-
cago. The Photo-Graphic Brandt Eye-
Camera records the ocular perform-
ance of the viewer or reader on 16mm
spectroscopic film. The Photo-Electric
Brandt eye-camera records electron-
ically the ocular performance of the

Educational Screen

viewer or reader without the use of
film, film processing or film projection.

The cameras are the invention of
Herman F. Brandt, former professor
I of psychology and author of "The
Psychology of Seeing."

A complete description of the
Brandt eye-cameras is available from
the Institute for Visual Research, 424
N. Homan Ave., Chicago 24.

Draper Shading Unit

The Luther O. Draper Shade Com-
pany (Spiceland, Ind.) has developed
a new method of shading combina-
tion glass block-clear glass window
walls. Full daylight control and pro-
tection are said to be assured in this
type of room, regardless of the season,
time of day or angles of light refrac-
tion.

Mounted on the division bar be-
tween the clear glass and glass block
sections, the "New Way Shade Unit"
consists of double roller shades suffi-
ciently overlapped to prevent direct
light gaps. The upper and lower
shades are entirely independent in
action, affording complete shade ad-
justability for the desired daylight.
When not in use, the shades are

rolled up completely out of the way
and kept clean and ready for opera-
tion.

New Coffey Cabinet

A combination mobile projection
cabinet and stand for all types of
projection equipment has been an-
nounced by the Jack C. Coffey Co.
(Wilmette, 111.), manufacturers of or-
ganized systems for filmstrips.

The cabinet is designed to provide
convenient storage space for projec-
tion equipment, films and filmstrips.
When the drawers are not required
there is an extra shelf for an addi-
tional 1,600 cubic inches of storage
space.

The interior center shelf is adjust-
able and removable. The lift-up out-
side utility shelf provides the operator
with convenient working space for pa-
pers, notes, films, and filmstrip cans.
This shelf folds down and spring-
locks snugly against the side of the
cabinet when not in use. The cab-
inet door opens to the rear of the
direction of projection so the operator
has easy access to the contents of the
cabinet.

MOTION PICTURES

Motion pictures announced here are
16mm, sound, and black and white,
unless otherwise noted. Write directly
to the source for purchase and/or
rental prices or consult your local
audio-visual dealer. Sponsored free-
loan films are so marked.

D CORONET FILMS, 65 E. South
Water, Chicago 1, 111. Each film about
10 min., color or black and white.

English History (3 films) junior-high
to college level summary of historical
events, portrayed through authentic
landmarks, historical materials, and
brief enactments. Titles: Earliest
Times to 1066, Norman Conquest to
the 15th Century, Tudor Period.

Bird Films (3 films) intermediate-
junior high introduction to bird life.
Titles: Five Colorful Birds, Birds of
the Dooryard, Birds of the Country-
side.

D AVIS FILMS, 932 N. La Brea Ave.,
Hollywood 38, Calif.

Hear, Now! (10 min., color) pri-
mary and intermediate grade presen-
tation of the principles of hearing
and the care of the ears.

The Magic Touch (10 min., color)
primary and intermediate grade film
designed to counter apprehensions
about immunization by showing in
simple terms the why and how of
immunization.

Good Health Practices (2 parts,
each 10 min., color) primary and
intermediate grade presentation of
good health practices with regard to
eating, toilet, cleanliness, rest and
sleep, teeth, eyes, ears and nose, and
posture.

Other films announced by Avis
Films are titled Foundation Foods,
Young Mother Hubbard (on nutri-

\ * Beautifully produced,
* Tunefully scored.

20e Per Word
SILENT or MUSIC

Minimum Title $2.00

It never pays to han-
dicap good pictures
with inferior or ama-
teurish-looking titles.

To be sure of profes-
sional quality, so es-
sential to successful
showings, have Fil-
mack make your ti-
tles. Try us on your
next order.

1321 S. Wobosh Ave., Chicago 5, III

MAKE YOUR
OWN SLIDES

on your own
TYPEWRITER

by using
RADIO-MATS

Regular size 3 1/ 4*4 or the New Duplex 2x2.
Sold by Audio-Visual, Photo & Theatre
Supply Dealers. For FREE SAMPLE write

RADIO-MAT SLIDE CO., Dept. V,

222 Oakridge Blvd., Daytona Beach, Flo.

HEIDENKAMP
BIRD FILMS

Producer & Distributor Eastern Representative

HEIDENKAMP ALBERTSEN

NATURE PICTURES DISTRIBUTING CO.
538 Glen Arden Drive 1105 Pork Avenue
Pittsburgh 8, Pa. New York 28, N. Y.

1000 TRAVEL SCENES

fREE 1/ST
CAMPUS 30c WRITE TODAY

KELLY S. CHODA

P.O. BOX 588 STANFORD, CALIFORNIA

January, 1954

Writing for more information? Mention EDUCATIONAL SCREEN.

SCIENCE FILMSTRIPS

SINCE 1931 SINCE 1931

MADE BY TEACHERS FOR TEACHERS
BIOLOGY HEALTH & SAFETY

PHYSICS GENERAL SCIENCE

CHEMISTRY MICROBIOLOGY

NEW Elementary Science Series in
Brilliant Spectracolor

VISUAL SCIENCES

Box 599E

Suffern, New York

LINCOLN'S BIRTHDAY SPECIAL! lull
color 2 x li projection slides of the recent
re-enactment of Lincoln's Gettysburg Address
for your special program on Lincoln's birth-
day. Ten slides for $5.00 guaranteed satis-
faction. ERBE PICTURE CO., 44 E. 26th St.,
Baltimore 18, Md.

INDEX TO ADVERTISERS

Albertsen Distributing Co..- 31

Airequipt 5

Alexark & Norsim 24

Almanac Films 5

American Film Forum- 6

Avis Films 26

Bell & Howell Co Inside Back Cover

Brandon Films 27

British Information Services 18, 19

Camera Equipment Co 24

Choda, Kelly S 31

Church Screen Productions. _. 24

Colburn Lab., Geo. W._ 23

Contemporary Films 24

Coronet Films 9

Daggett Productions, Avalon _ 26

Davis Productions, Sid 28

Deusing Film Productions, Murl 26

DeVry Corp. . 3

Disney Productions, Walt 10

Dowltng Pictures, Pat 26

Draper Shade Co.. _ 23

Eastman Kodak Co 7

Erbe Picture Co _ 32

Fiberbilt Case Co. 4

Filmack Laboratories 31

Focus Films Co 27

Heidenkamp Nature Pictures 31

International Film Bureau 24

Keystone View Co 27

Kinesis 28

Museum Extension Service - 28

Peerless Film Processing Corp 27

Radio Apparatus Corp. of Indianapolis 29

Radio-Mot Slide Co 31

Rapid Film Technique 24

Stancil-Hoffman Corp 24

Teaching Film Custodians .4

Vocuumate Corp 29

Victor Animatograph Corp. Back Cover

Viewlex Inside Front Cover

Visual Aids Library. 28

Visual Sciences 32

Yale University Press Film Service 1 1

Classified .... _ 28

tion), Soapy the Germ Fighter, Pos-
ture Pals, Eyes Bright, Judy's Smile,
The Clark Shaughnessy "T".

D YOUNG AMERICA FILMS, 18 E.
4 1st St., New York 17, N. Y.

Your Posture (10 min.)-stresses the
importance of good posture to appear-
ance and health.

Water Safety (10 min.)-demon-
strates safety in and around water for
swimmers and boaters.

D AMERICAN FILM FORUM, 516
5th Ave., New York 86, N. Y.

The Arab-Israel Question fourth
in a series of discussion films on pub-
lic affairs; features Robert R. Nathan,
economist and expert on Middle East
affairs, and James M. Ansara, Execu-
tive Director of the Syrian-Lebanese
American Federation.

D LIBRARY FILMS, 25 W. 45th St.,
New York 36, N. Y.

Let's Make Puppets (10 min.)-dem-
onstrates a new and inexpensive
method of puppet making.

The Wanderer (10 min.)-life cycle
of the Monarch butterfly.

D BRITISH INFORMATION

SERVICES, 30 Rockefeller Plaza, New
York 20, N. Y.

Open House (10 min.) shows in-
teriors and exteriors of English coun-
try houses near London.

Man on Trial (30 min.) demon-
strates how British justice works
through portrayal of the entire pro-
ceedings of a trial.

Waters of Life (10 min.) shows Cey-
lon and the effects of the Colombo
Plan to raise living standards.

People's Palace (13 min.) shows the
beauty and history of Hampton Court
Palace on the Thames.

FILMSTRIPS

35mm films/rips announced here are
silent and black and white, unless
otherwise noted. Write directly to the
source for purchase price and further
information.

D THE FILMSTRIP HOUSE, 25
Broad St., New York 4, N. Y.

The Seasons (2 parts) Part 1: Day
and Night (28 frames) introduces the
study of the earth as a globe and shows
how day and night are caused by the
rotation of the earth. Part 2: Spring,
Summer, Autumn, Winter (33 frames)
shows the effect of seasonal changes
on temperature.

Wind (35 frames) shows the connec-
tion between air temperatures and
air pressure and between air pressure
and movement of the air; explains
the main types of winds.

D TO HELP YOU .CHECK
Use the open white squares on
these pages to check or X items
you want to make special note
of for yourself or for others who
share your copy of EoScREEN.

D ALEXARK & NORSIM, 156 N.I
Arden Blvd., Los Angeles 4, Calif.

Isaiah (color) artwork visualizes tilt-
Biblical prophet's teachings and tinu-..

D NEW YORK TIMES. Office of I
Educational Activities, Times Square, I
New York 36, N. Y.

In Congress Assembled (57 frames) I
describes the powers of the U. S. I
Congress, its structure, and the proc-l
ess of law making.

D YOUNG AMERICA FILMS, 18 E.
41st St., New York 17, N. Y.

Early American History Series (11 i
color filmstrips) - - history of early
America visualized by artwork. Titles:
Before the White Man, America Is
Discovered, Spanish Explorers, France
in the New World, Southern Colonies,
Colonial New England, Middle Col-
onies, Struggle for a Continent, Causes
of the Revolution, War for Independ-
ence, A New Nation.

American Folklore Series (4 color
filmstrips) famous folk tales of Amer-
ica: Johnny Appleseed, Joe Magarac,
Pecos Bill, Paul Bunyan.

D SOCIETY FOR VISUAL EDUCA-
TION, 1345 W. Diversey Parkway,
Chicago 14, 111.

Adventures with Art Materials (6
subjects, color) intermediate-junior
high demonstration of various art
techniques. Titles: There Is Magic in
a Wax Crayon, Let's Paint, We Like
Clay, There Is Art in Cutting Paper,
You Can Create with Finger Paints,
It's Fun to Combine Art Materials.

Using and Understanding Numbers
(5 filmstrips, color) -- numbers are
made to "come to life" for the primary
child. Titles: Using and Understand-
ing Numbers (3 parts), Learning to
Tell Time, Learning About and Using
Pennies, Nickels, and Dimes.

Adventures with Early American
Indians (1 subjects, color) primary-
intermediate presentation of the way
of life of some early American Indian
tribes.

Your Future in the Skilled Trades
(5 filmstrips) describes certain occu-
pations in the skilled trades and shows
their importance; describes qualifica-
tions, extent of opportunities, duties,
working conditions. Titles: Wood-
working Trades, Building Trades,
Basic Electrical Trades, Radio, Tele-
vision and Electrical Appliance Re-
pairmen, Printing Trades.

Educational Screen

Trade Directory
For the Audio-Visual Field

To increase the usefulness of this Trade Directory, symbols have been inserted to distinguish original sources (producers, manu-
facturers, primary importers, etc.) from audio-visual dealers and film rental libraries. KEY: (P) producers, importers. (M)
manufacturers. (D) dealers, film rental libraries, projection services. Where a primary source also offers direct rental services,
the double symbol (PD) appears.

FILMS

Academic Films, Inc. (PD)

516 Fifth Ave., New York 18, N. Y.
Almanac Films, Inc. (PD)

516 Fifth Ave., New York 18, N. Y.
American Film Forum (PD)

516 Fifth Ave., New York 18, N. Y.
American Film Registry (D)

24 E. 8th St., Chicago 5, III.

Association Films, Inc. (PD)

Headquarters:

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

Regional Libraries:

Broad at Elm, Ridgefield, N. J.

79 E. Adams St., Chicago 3, III.

351 Turk St., San Francisco 2, Cal.

1915 Live Oak St., Dallas 1, Tex.
Avalon Daggett Productions IPD)

441 N. Orange Dr., Los Angeles 36, Cal.
Bailey Firms, Inc. (PD)

6509 De Longpre Ave., Hollywood 28, Cal.
Brandon Films (D)

200 W. 57th St., New York, N. Y.
Bray Studios, Inc. (PD)

729 Seventh Ave., New York 19, N. Y.
Capron Travelogues (PD)

P.O. Box 773, Laramie, Wyo.
Commonwealth Pictures Corp. (PD)

723 Seventh Ave., New York 19, N. Y.
Concordia Publishing House (PD)

Audio-Visual Aids Service

3558 S. Jefferson Ave., St. Louis 18, Mo.
Contemporary Films, Inc. (PD)

13 E. 37th St., New York 16, N. Y.
Coronet Instructional Films (P)

Coronet Bldg., Chicago I, III.
Council Films, Incorporated (D)

50 N. Main St., Homer, N. Y.
Davis Sid Davis Productions (PD)

3826 Cochran Ave., So. Los Angeles 56
Deusing Murl Deusing Film Productions (PD)

5427 W. Howard, Milwaukee 14, Wise.
Dowling Pat Dowling Pictures (PD)

1056 S. Robertson Blvd., Los Angeles 35, Cal.
Family Films (PD)

8840 W. Olympic Blvd., Beverly Hills, Cal.
Films of the Nations, Inc. (PD)

62 W. 45th St., New York 19, N. Y.
Focus Films Co. (PD)

1385 Westwood Blvd., Los Angeles 24
Fryan Film Service (D)

1810 E. 12th St., Cleveland 14, Ohio
Heidenkamp Nature Pictures (PD)

538 Glen Arden Dr., Pittsburgh 8, Pa.
Hoefler Paul Hoefler Productions (P)

7934 Santa Monica Blvd., Los Angeles 46
Hoffberg Productions, Inc. (PD)

362 W. 44th St., New York, N. Y.
International Film Bureau (PD)

57 E. Jackson Blvd, Chicago 4, III.
Kinesis, Inc. (PD)

566 Commercial St., San Francisco 1 1, Cal.
Library Films, Inc. (PD)

25 W. 45th St., New York 19, N. Y.
Mahnkc Carl F. Mahnke Productions (P)

215 E. Third St., Des Moines 9, Iowa
Mogull's, Inc. (D)

112-14 W. 48th St., New York 19, N. Y.
Post Pictures Corp. (P)

1 15 W. 45th St., Mew York 19, N. Y.
Southern Visual Films (D)

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

614 N. Skinker Blvd., St. Louis 5, Mo.
United World Films, Inc. (PD)

1445 Park Ave., New York 29, N. Y.

605 W. Washington St., Chicago 6, III.

6610 Melrose Ave., Los Angeles 38, Cal.

287 Techwood Dr., NW, Atlanta, Ga.

2227 Bryan St., D-llas, Tex.

5023 N. E. Sandy Blvd., Portland 13, Ore.

1311 N. E. Bayshore Dr., Miami, Fla.

For Trade Directory, display and classified
advertising rates, write EDUCATIONAL
SCREEN, 64 E. Lake St., Chicago 1, Illinois.

FILM PRODUCTION

Bray Studios, Inc.

729 Seventh Ave., New York 19, N.Y.
Seminar Films, Inc.

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

FILM TITLES

Filmack Laboratories

1321 S. Wabash Ave., Chicago 5,

LABORATORY SERVICES

Geo. W. Colburn, Inc.

164 N. Wacker Drive, Chicago 6, III.
Hollywood Film Enterprises (P)

6060 Sunset Blvd., Hollywood 28, Cal.
Peerless Film Processing Corp.

165 VV. 46th St., New York 36, N.Y.
Rapid Film Technique

21 W. 46th St., New York 19, N. Y.
Society for Visual Education

1345 Diversey Parkway, Chicago 14, III.

AUDIO-VISUAL SUPPLIES

Beckley-Cardy Co. (shades) (M)

1632 Indiana Ave., Chicago 16, III.
Radio Apparatus Corp. of Indianapolis (M)

1602 W. 92nd St., Chicago 20, III.
Society for Visual Education (M)

1345 Diversey Parkway, Chicago 14

MOTION PICTURE
PROJECTORS AND SUPPLIES

Ampro Corporation (M)

2835 N. Western Ave., Chicago 18, III.
Bell & Howell Co. (M)

7117 McCormick Road, Chicago 45, III.
Eastman Kodak Company (M)

Rochester 4, New York
Mogull's, Inc. (D)

112-14 W. 48th St., New York 19, N. Y.
RCA-Victor (M)

Radio Corp. of America, Camden, N. ).
Revere Camera Co. (M)

320 E. 21st St., Chicago 16, III.
Southern Visual Films (D)

686-9 Shrine Bldg., Memphis 1, Tenn.
Victor Animatograph Corp. (M)

Davenport, Iowa

PRODUCTION EQUIPMENT

Camera Equipment Co. (MD)

J600 Broadway, New York 19, N. Y.
S.O.S. Cinema Supply Corp. ( MD )

602 W. 52nd St., New York 19, N. Y.

SCREENS

Da-Lite Screen Co., Inc. (M)

2711 N. Pulaski Rd., Chicago 39, III.
Fryan Film Service (D)

3228 Euclid Ave., Cleveland 15, Ohio
Radiant Mfg. Corp. (M)

1201 S. Talmon Ave., Chicago 8, HI.
Southern Visual Films (D)

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

RECORDS

RECORDERS PLAYERS

Am pro Corporation (M)

2835 N. Western Ave., Chicago 18, III.

DuKane Corporation (M)

St. Charles, Illinois

Stoncil-Hoffman Corp. (M)

921 N. Highland Ave., Hollywood 38, Cal.

SOUND SYSTEMS

DuKane Corporation

St. Charles, Illinois

(M)

FLAT PICTURES

Creative Educational Society

Mankato, Minn.

(PD)

FILMSTRIPS

Church Screen Productions (PD)

Box 5036 (East Sta.), Nashville, Tenn.
Educational Projections, Inc. (PD)

(Formerly Curriculum Films, Inc.)

1 E. 40th St., New York 1 6, N. Y.
Filmfax Productions (P)

10 E. 43rd St., New York 17, N. Y.
Mahnke Carl F. Mahnke Productions (P)

215 E. Third St., Des Moines 9, Iowa
Silver Burdett Company (PD)

45 E. 17th St., New York, N. Y.
Society for Visual Education (PD)

1345 Diversey Parkway, Chicago 14
United World Films, Inc. (PD)

1445 Park Ave., New York 29, N. Y.
Visual Sciences 'PD)

599E Suffern, N. Y.
Yale University Press Film Service (PD)

386 4th Ave., New York 16, N. Y.

SLIDES

Key: Kodachrome 2_ x 2. 3>/ 4 x 4_l/ 4 or larger

Graphic Slide Library (PD-2)

192 Washington Park, Brooklyn 5, N.Y.
Kelly X. Choda (PD-2)

P O B. 588, Stanford, Cal.
Nesbit's Western Color Slides (PD-2)

711 Columbia Rd., Colorado Springs, Colo.
Radio-Mat Slide Co., Inc. (P-2, 4)

22 Oakridge Blvd., Daytona Beach, Fla.
Society for Visual Education (PD-2)

1345 Diversey Parkway, Chicago 14, III.
Visual Aids Library (PD-2)

601 E. Rollins Ave., Orlando, Fla.

FILMSTRIP, SLIDE and
OPAQUE PROJECTORS

American Optical Co., Projector Div. (M)

Chelsea 50, Mass.
Ampro Corporation (Ml

2835 N. Western Ave., Chicago 18, III.
Beseler Company, Charles (M)

60 Badger Ave., Newark 8, N. ).
GoldE Manufacturing Co. (M)

4888 N. Clark St., Chicago 40, III.
Keystone View Co. (Ml

Meadville, Pa.
Society for Visual Education (M)

1345 Diversey Parkway, Chicago 14, III.
Southern Visual Films n

686-9 Shrine Bldg., Memphis 1, Tenn.
Three Dimension Co. <M)

3512 N. Kostner Ave., Chicago 41, III.
Viewlex, Incorporated (M)

35-01 Queens Blvd., Long Island City, N. Y.

SOUND SLIDE PROJECTORS

RCA-Victor, Educational Services Div.

Radio Corp of America, Comden, N. J.

'Ml

DuKane Corporation

St. Charles, Illinois

(Ml

January, 1954

Writing for more information? Mention EDUCATIONAL SCREEN.

editorial

YOU AND

The editorial view for this month is focused sharply
upon you, who are the readers of EDUCATIONAL SCREEN,
and upon us, who have special responsibilities for
bringing you each month the most worthwhile things
to read about in the field of audio-visual education.
The closer we look at our relationships, the closer you
and we seem to be. You and we have a mutual con-
cern and devotion, and a respect for one another, that
have helped us get along so well together all these
years.

If such comments sound a little sentimental, we hope
they'll not be misunderstood. This issue of EDUCA-
TIONAL SCREEN is numbered 1 of Volume 33. No other
magazine in this field has ever printed a number like
that; and we are even more conscious of the responsi-
bility it brings than of our pride in being able to make
the claim. We are looking forward to Volume 50.

Three hundred eighteen separate issues of EoScREEN
have been aimed directly toward serving you who are
using audio-visual materials for instruction. The ob-
jective was clearly set by Nelson Greene, founder of
the magazine, in his first editorial: "The purpose is
single and emphatic ... to get at the truth about
visual education in all its phases and broadest aspects
... to supply the best in theory, opinion, and experi-
ence ... to present a survey of really significant
visual activities." Although we have since added
"audio" to the "visual," our purpose has remained
constant through the years.

Concern and respect for you was emphasized in the
first editorial written by the present editor seven years

ago: "We know that if we are to serve you well, we
must serve you honestly and truthfully. We will strive
constantly to sort out the sound from the unsound,
to discriminate between the sincere and the insincere,
between the deceitful and the honest. To find and
bring you the truth will be our endeavor ... In
fundamental belief and purpose, we have not changed.
Within this framework we shall be subject to constant
change in whatever way will best serve your interests."

With steadfast adherence to fundamental principles
we do change. We change our appearance. We add
new departments and columns; we delete the out-
moded. We recognize and encourage new audio-visual
materials and methods. We change to serve your in-
terests better. We succeed in that effort to the extent
that we accurately distinguish and truly meet those
interests. We succeed as you and we become less and
less distinguishable the more we are one.

You are already we in many respects. We are nota-
bly proud of our elected Editorial Advisory Board
and its four new members announced this month on
page 4. (It too changes, systematically, to represent
you better.) They are you and we both, and con-
tribute freely their advice and counsel. We learn
more about you and your interests through our sur-
veys of your opinions and through your unsolicited
but welcome letters. Our authors are you, too you
with ideas and experience and a willingness to share
them. Departmental editors, and also the editor,
are of you not only believers in audio-visual methods
but daily practitioners of their beliefs. We are prac-
tically you.

It is with such thoughts in mind that we begin
eagerly another year of publication, our thirty-third.
We look confidently toward a future that never held
more promise for audio-visual progress. We and
that includes you must achieve that promise.

Pau.1 6.

PICTURE OF THE MONTH

Cartoon by Drucker. Courtesy Young America Films.

"- . . and this is our new Audio-Visual Center."

In this space every month
we hope to bring you a pic-
ture of some special interest.
Not a picture from the "best"
film or filmstrip. Not the best
picture photographically. Not
necessarily the kind of pic-
ture we might have used on
the cover. Just a picture we
editors found especially sig-
nificant or amusing or mov-
ing. Just a picture we liked,
for whatever the reason, and
thought you readers would
like too. After all, we are
you and you are we or so
it says above.

Like the best of pictures,
the one here doesn't need to
be belabored with words. It
might well have said its say
without caption.

We do want to say a few
words, though, about the
source of the picture. It came

to us from Young America
Films, who had it drawn by
cartoonist Drucker for publi-
cation in the YAF newsletter.
This is not the (irst cartoon
inspired and published by
YAF and it won't be the last.
We think thev deserve high
praise for encouraging a
humorous look at some of our
audio-visual problems.

Some of you may already
have seen this picture. It ap-
pears on the cover of the new
Department of Audio-Visual
Instruction brochure on the
audio-visual instructional
materials center, "the most
important single DAVI pub-
lication up to the present
time" (see announcement on
page 10). That's another good
reason for our selecting it as
the picture of this month.

Educational Screen

EDUCATIONAL

FEBRUARY, 1954

PUBLIC LIBI

THE WCT

FEB 10
AUDIO-

VISUAL
MAGAZINE

VOL. 33, NO. 2

Pointing Gets tie Idea Across

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An indispensable reference in eurricular planning

Educational Record Catalog

MERE'S a functional and easy-to-
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recordings, and designed with the
classroom teacher specifically in
mind. It comprises a wealth of ma-
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social studies, language arts and
other studies, and is carefully organ-
ized for convenient reference and
abundant information.

Especially helpful is the Red Seal
section of more than 700 listings,
each annotated for grade and activ-

ity, and with suggestions for diverse
use in the classroom. Other features
include a special section devoted to
the instruments of the orchestra a
Budget Library for progressive
purchase of school records help-
ful tips on the care and storage of
records.

Educators will be especially grati-
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DIVISION OF RADIO CORPORATION OF AMERICA, CAMDEN, N. J.

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EDUCATIONAL

SCREEN

THE

AUDIO-
VISUAL
MAGAZU

Februory, 1954

C^aitorial

82 NO PASSING FAD

Volume 33, Number 2, Whole Number 31

IN THIS ISSUE

54 LANGUAGE TEACHERS RETOOL FOR A-V

Earle S. Randall and S. Edgar Schmid

56 TEACHING FILMS BEHIND BARS Robert O'Toole

57 FORTY "QUIET ONES" Philip Alan Smith

33 II : YOUR FILM'S PASSPORT BACK HOME Wilbert H. Pearson

59 OPERATION ABSENTIA Robert de Kieffer

60 A-V INTERNATIONAL A. J. Foy Cross

'epartmenti

46 AS PERSONAL AS POSSIBLE DAVI NEWS J. J. McPherson

62 CHURCH DEPARTMENT William S. Hockman

67 EVALUATION OF NEW FILMS L. C. Larson, Carolyn Guss, John Fritz'

72 LOOKING AT THE LITERATURE

73 RECORDS ON REVIEW Max U. Bildersee

74 AUDIO-VISUAL TRADE REVIEW

{Jther ^feature*

42 ON THE SCREEN

44 THE READER'S RIGHT

79 A-V CONFERENCE CALENDAR
82 PICTURE OF THE MONTH

81 TRADE DIRECTORY OF THE AUDIO-VISUAL FIELD

80 INDEX TO ADVERTISERS

IDUCATIONAL
JHESS

ISSOCIATION
OF

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Educational and Religious dealersj

February, 1954

Writing for more information? Mention EDUCATIONAL SCREEN.

The reader's right

Send letters to the Editor, EDUCATIONAL SCREEN, 64 E. Lake St., Chicago 1, 111.

The New Look

MANAGING EDITOR:

My first view of the January, 1954
issue of EDUCATIONAL SCREEN was really
quite a "shock" and if I who helped
plan it was shocked, what will all our
thousands of readers say? I think
they'll say what I say: I LIKE IT!

PAUL C. REED
Editor, EDUCATIONAL SCREEN

EDITOR:

Congratulations on the new format!
The January issue arrived today and
we are all impressed. You certainly
have done a wonderful job improving
it.

CAROLYN GUSS

Audio-Visual Center

Indiana University, Bloomington

EDITOR:

. . . the new format of the magazine
is very attractive and a big improve-
ment . . .

HENRY CLAY GIPSON

Filmfax Productions
New York City

EDITOR:

... let me congratulate you on the

new make-up of EDUCATIONAL SCREEN.

ARTHUR C. STENIUS

Audio-Visual Materials Consultation Bureau
IVavnc 1'imersity, Detroit

EDITOR:

. . . Congratulations to you and your

asMx iates on EDUCATIONAL SCREEN'S

streamlined and attractive new format.

HERBERT BROOK

Yale University Press Film Service
New Haven, Connecticut

A-V and Books

EDITOR:

Thanks for reprinting Ray Swank's
speech ("Sight and Sound in the
World of Books," December, 1953
EDUCATIONAL SCREEN, page 436). It is,
as you say, provocative and challeng-
ing and a joy to read. I hope that it
will help to break the barrier between
book and A-V materials and to make
librarians and educators think of all
such materials in terms of their con-
tent and their usefulness to people.

Finding the Swank article in ED
SCREEN was worth the yearly subscrip-
tion. How about more such articles?
SEERLEY REID

Chief, Visual Education Service
U. S. Office of Education
Washington, D. C.

EDITOR:

If at all possible, I should like to
have permission to reprint the article
"Sight and Sound in the World of
Books" ... I think it would do a lot
of good if each Toronto principal
could read this article.

W. BRUCE ADAMS

Teaching Aids Centre
Toronto Board of Education
Ontario, Canada

Permission granted ED.

Common Cause

EDITOR:

We of the Anti-Defamation' League
of B'nai B'rith are grateful indeed
for your cordial message on the occa-
sion of our 40th Anniversary (see
December, 1953 EDUCATIONAL SCREEN,
page 430).

for

EDUCATION

Theater men are just finding out
what schoolmen have known for
years: 3-D is so thrillingly realistic
that flat pictures cannot compare.

The child who is spellbound by
a sense of reality is lastingly im-
pressed. Thousands of schools are
getting more effective learning with
Keystone 3-D pictures for Nature in
color, Science, Geometry, Social

Studies, etc. Just released: 2 new
3-D -units on Eskimo Life.

3-D Eye Testing Is Equally Essential:

3,000 School Systems are using
the modern Telebinocular and
Visual-Survey Service, for eye test-
ing that gives information on Acuity
with both eyes open and seeing,
Fusion, Depth Perception, Balances.

Is your school making full use of 3-D's Advantages? Write for details.

KEYSTONE VIEW CO., Meadville, Pa. 3-D Pioneers for 62 years: First,
3-D Travel Stereographs . . . then Educational 3-D pictures . . . and now,
modern plastic Televiewers and integrated units of Educational 3-D Pic-
tures, edited with Source Manuals, and 3-D Eye Tests.

The words of encouragement and!
appreciation which have poured inl
from friends like you, who are engaged!
directly in the fight against prejudice!
and bigotry, have given us courage and!
increased determination to go for-l
ward in our task. With so many)
working in a common cause, we be-l
lieve we can jointly achieve the goal I
we have set for ourselves. . . .

HENRY EDWARD SCHULTZ

Anti-Defamation League of B'nai B'rith
New York City

Films in College

EDITOR:

Donald Auster seems somewhat un-
realistic in his article "The Last Fron-
tier" in the October, 1953 issue of
EDUCATIONAL SCREEN. Our instructors
in freshman Communication have
spent the past four years searching for
instructional films to use in the course.
Only a few, The City and Boundary
Lines, for instance, are mature enough
to interest our freshmen.

We are eager to use instructional
films but cannot waste class time bor-
ing our students or exposing them
again to films which they have viewed
and re-viewed throughout junior and
senior high school.

We use the "Ways of Mankind"
series of tape recordings from the Na-
t i o n a 1 Association of Educational
Broadcasters and need films of the
same intellectual complexity and pro-
fessional polish. Where do we find
them? We have asked the same ques-
tion of everybody from the Library
of Congress to our own audio-visual
department. We shall appreciate any
help Professor Auster or your readers
can give us.

MRS. JEAN MALMSTROM

Dept. of English

Western Michigan College of Education

Ka!;iniazoo, Michigan

EDITOR:

Attached you will find a brochure
listing a series of post-graduate lec-
tures in the field of dentistry. I think
you and your readers might be inter-
ested in the fact that the entire series
of lectures is supplemented with films,
as shown in the description of the
lectures.

Although many departments on this
campus have been using films for many
years, this is our first attempt to sup-
lement an entire series of lectures
from one college with films. The plan-
ning for this series of post-graduate
lectures on dentistry was under the
direction of William J. Simon, Di-an,
College of Dentistry, State University
of Iowa.

LEE W. COCHRAN

Executive Assistant

State University of Iowa Extension DhiMon

Iowa C.'ty, lima

Educational Screen

Come, little darling!
Come with DeVry
down the enchanted
lane of Movie-
Magic learning!

** *

see AND HCAR FOR yowtsuff

DAVI Convention in Chicago March 2 to 5 BOOTH 48 Morrison Hotel
AASA Convention in Atlantic City Feb. 13-18 BOOTH E45 Auditorium

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Yes, teachers . . . see what
happens to your students'
faces, when you open the
DeVry Magic Box. To the
young, all knowledge IS
magical. Movies bring the
whole world onstage into
your classroom where magic
belongs.

Presto! With the flick of a
DeVry 16mm projector switch,
sparkling eyes see the dark-
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light. How interest mounts, as
a wonderland in sound and
song seems to wrap your
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Invite yourself to a display of
movie magic for your class-
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Q I would be interested in more information.
] I would like a demonstration.

ES-2K

NAME

SCHOOL-

ADDRESS-
CITY

_TITLE_

_ZONE_

February, 1954

Advertisers welcome inquiries. Just mention EDUCATIONAL SCREEN.

ftekbcncd

News from the Department of Audio -Visual Instruction, National Education Assn.

We Couldn't Say it Better!

We are glad to quote from the New
Mexico Audio-Visual Bulletin:

IMPORTANT ANNOUNCEMENT!!

"If it is at all possible for you to do
so, plan now to attend the DAVI Con-
vention in Chicago on March 2-5, 1954.
Previous meetings have always been
tremendously interesting and so will
this one!"

See following page 52 for an outline
of this year's convention program.

DAVI at Atlantic City

If you are planning to be at the
A.ASA Convention in Atlantic City
February 13-18, don't miss the Audio-
Visual Roundup arranged by the Met-
ropolitan New York Audio-Visual As-
sociation. Here is the schedule:

FRIDAY, FEBRUARY 12
A.M. Arrival and registration at Chal-

fonte-Haddon Hall

2:30-5:00 p.m. Group conferences on
the following levels:
Primary, Intermediate,
Junior- High, Senior-
High
6:30 p.m. Dinner

Greetings: Dr. Jordan L.
Larson, Superintendent of
Schools, Mt. Vernon, New
York, and president -elect of
AASA

Guest Speaker: Dr. Roy K.
Marshall, scientist and tele-
vision celebrity

SATURDAY, FEBRUARY 1 i
10:00 a.m. - 12:00 noon - Final group

conferences

2:00-5:00 p.m. Visitation of Audio-
visual Exhibit at
Convention Hall
DAVI will have a
special exhibit in the
Architectural Exhibit
of AASA and will
also have an exhibit
booth on the exhibit
floor.

Evening Entertainment as guests of
Chalfonte-Haddon Hall Hotel

Chairman of the program for the
Roundup is Ursula Moran. President
of Metropolitan New York Audio-Vis-
ual Association. In charge of publicity,
P. Sugannan; in charge of housing,
Wendell Shields; in charge of dinner
arrangements, Emma Fantone.

Also, look for the several section
meetings in the AASA program that are

by J. J. McPHERSON

Executive Secretary, DAVI
1201 16th St., NW, Washington 6, D. C.

being co-sponsored by DAVI! Here are
their title's: Clinic Groups: "School
Kuildings" and "Ways in Which the
Superintendent Can Improve Instruc-
tion." Dixntssion Group Topics: "Im-
portant Changes in Elementary Cur-
riculum," "The Role of Television in
the Educational Program, I'he Su-
perintendent as the Leader of the
Instructional Program," "Important
Changes in the Secondary Curriculum,"
"Providing Special Educational Services
to Small Communities Through the
County .Superintendent's Office," and
"Blazing New Trails in Educational
Telecasting."

DAVI at Los Angeles

DAVI is cooperating in the conven-
tion of the Association for Supervision
and Curriculum Development at Los
Angeles, March 7-12. A committee un-
der the co-chairmanship of Margaret
Divi/ia and Helen Rachford has
planned numerous audio-visual pre-
views and visitations for the morning
of Monday. March 8.

The California Audio-Visual Educa-
tion Association, Southern Section, an
affiliate of DAVI, is providing an op-
portunity for audio-visual persons at
the convention to get together for a
luncheon meeting, Monday, March 8,
at 12:00 noon, in Conference Room 2
of the Biltmore Hotel. If you are going
to be at the convention, you can get
your luncheon reservations from Mary
Chandler, Executive Secretary of the
California Audio-Visual Education As-
sociation, Southern Section, 808 North
Spring Street, Los Angeles, California,
price, $2.50.

The theme of the entire ASCD Con-
vention. "Creating a Good Environ-
ment for Living," is one that will have
a special appeal for persons working in
the audio-visual instructional materials
field. We hope to see you there, too!

The complete DAVI Chicago convention
schedule appears on following page 52

Tape Recording Plans

Kelsey Sweatt, In Charge of Audio-
Visual Aids of the Massachusetts State
Department of Education and Chair-
man of the Joint DAVI-AERT Com-
mittee on Radio and Recordings, came
into Washington during January to
work with Mrs. Gertrude Broderick.
of the U. S. Office of Education and
President of AERT, and with Ann
Hyer, Assistant Secretary of DAVI, on
definite plans for a National Tape Re-
cordings Library Services program.

The most important aspect of the
program will be the publication of a
catalog of available tape recorded pro-
grams. In each case information will
be given which will enable the user
to determine where the program can
be secured and under what conditions
it can be secured. Forms on which
some of this data is to be collected
will be distributed at the DAVI Con-
vention in Chicago. The first catalog
will be experimental in nature and will
include only a few hundred selected
programs. If it appears to meet a wide-
spread national need, attempts will
be made to secure additional finaiu-
ing for a more complete catalog in the
future and for publishing this catalog
on a regular basis.

Criteria Approved

Criteria for the evaluation of pro-
grams of Teacher Education in Audio-
Visual Materials and Methods which
were developed by the DAVI National
Committee on Teacher Education have
been approved by the Coordinating
Committee of the American Assoc i.i
lion of Colleges for Teacher Educa-
tion with the recommendation that
they be presented to the Study and
Standards Committee of the American
Association of Colleges of Teacher
Education at their February meeting.
If approved by this committee, tluv
will then become an official part of the
standards used in evaluating programs
of teacher education in colleges and
universities throughout the nation.

This progress comes as a result of

long months of work by our National

Committee under the leadership <>l

Roy Wenger. of Kent State University,

(Continued on pngf /.V)

Educational Screen

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is the Pageant, Model AV-151. Separate bass
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IN music instruction and in dozens of other fields where 16mm.
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For such applications, more and more schools are specifying
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these alone are equipped with a built-in sound-focusing control
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In conventional sound systems, the scanning beam is fixed. If the
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Pageants for every 16mm. need

There are in all six Pageant models three sound-and-silent
machines and three sound-only projectors equipped with Kodak's
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ments with a Pageant exactly equipped for the job. See your
Kodak Audio-Visual Dealer soon or mail the coupon below.

Here's what A-V experts say about EXCLUSIVE Pageant pre-lubrication

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in more ways than one!"

L. H. Sanborn, Visual Aid Consultant

McCurry Foto Co.

Sacramento, California

"Our experience indicates clearly
that hit-or-miss lubrication is the
chief cause of damage to school pro-
jection equipment. The Pageant
Projector's permanent pre-lubrica-
tion totally eliminates this problem and we're
happy to endorse it."

Charles Baum

Baum's Sporting Goods, Inc.

Sunbury, Pa.

"No wonder the Kodascope Pag-
eant Sound Projector is gaining
popularity so rapidly. Its exclusive
pre-lubrication feature completely
eliminates the possibility of under-
or over-oiling . . . the primary cause of damage to
16mm. projection equipment."

Paul Rubenstein
Tampa Movie Center
Tampa, Florida

"Our experience has proven clearly
that the pre-lubrication feature of
the Kodascope Pageant Sound Pro-
jector is the logical answer to a
good many of our service problems.
We cannot recommend the Pageant Projector too
highly."

Harold McLarey
Grimm-Williams Co.
Little Rock, Arkansas

EASTMAN KODAK COMPANY

Dept. 8-V, Rochester 4, N. Y. 2-1 1 1

Please send me the name and address of my nearest
Kodak Audio-Visual Dealer and further information
about Kodascope Pageant Sound Projectors.

NAME

February, 1954

Writing for more information? Mention EDUCATIONAL SCREEN.

AS PERSONAL

Continued

and Bill Fulton, of the University of
Oklahoma, co-chairmen of the Na-
tional Committee. It also represents
the most important single step that
audio-visual educators have taken in
their attempts to make certain that
teacher education institutions will give
adequate attention to the- audio-visual
field. We feel safe in saying that no
development during the past two years,
even including the securing of lower
postal rates for educational films and
other audio-visual materials, has more
significance for the potential develop-
ment of our field than this work by
our Teacher Education Committee.

Advancing with Advice

Air University, the chief education
agency for the U. S. Air Force, is tak-
ing the development of a top-notch
training aids program for their teach-
ing staff seriously. Leadership is being
given to this work by Perry Graybill,
who is attached to the office of the
director of education for the Univer-
sity. An advisory board composed of
Francis Noel, Robert de Kieffer, Lee
Cochran, and Perry Graybill has
worked during the past two years re-
viewing the needs of the University
and recommending steps to be taken
which will provide good training aids
services. We have just returned from
a meeting with this advisory commit-
tee and are especially impressed with
the value of inviting in a group of
outside specialists to advise on the
development of a program of this type.
In addition to the good advice given
there is the further advantage that
administrators in charge seem more
inclined lo accept the judgment of
their own staff officer if it is reinforced
by the thinking of outside specialists.

Adult Education

At the last meeting of the Delegate
Assembly of the Adult Education Asso-
ciation in New York City, the follow-
ing resolution was passed: "It is re-
solved that, whereas, the Department
of Audio-Visual Instruction of the
NEA has established a Committee- on
Adult Education, the Adult Education
Association consult with this Commit-
tee in order that, through mutual aid.
audio-visual materials on techniques
for use in adult education may be
improved."

Ken Mclntyre, Chairman of our Na-
tional Committee on Adult Education,
reports that his committee greatly ap-
preciates this resolution and plans
to do everything possible to make cer-
tain that AEA will not regret having
passed it!

Members of the Audio-Visual Advisory Board for Air University are shown hard at
work during the recent four-day conference on the University campus at Maxwell Air
Force Base. Left to right seated around the conference table: Francis W. Noel, Lee
Cochran, Perry Graybill, and Robert de Kieffer. Colonel Aylesworth, standing, is ex-
plaining a chart that outlines the administrative organization of the University and
its several schools.

Of People and Places

Paul Witt, Acting President and
President of DAVI during the past two
years, sails February 4 for a four-
months' tour of Europe which will take
him to Italy, the Swiss Alps, France,
England, the Netherlands, and several
of the Scandinavian countries. Paul is
slated to sail for home about the mid-
dle of June, 1954. He will be on sab-
batical leave from his position as Pro-
fessor of Education at Teachers Col-
lege, Columbia University. Although
he expects to visit UNESCO offices in
Paris and to get in touch with audio-
visual personnel in some of the coun-
tries through which he passes, he em-
phasi/ed the fact that he is on sab-
batical leave and is old-fashioned
enough to be paying his own expenses
on the tour, so a generous portion of
the time will be devoted to sight-seeing
with Mrs. Witt.

We will certainly miss Paul at our
Chicago convention, but can think of
no one who has done more to earn
such a fine opportunity to travel in
Europe.

Irv Boerlin, In Chaige. \udio-Yisual
Aids Library, Pennsylvania State Uni-
versity, who served as the Executive
Secretary for the Committee on Equit-
able Postal Rates for Educational
Films and whose record is too well
known to need comment will chair
a "cracker barrel" session at the Chi-
cago Conference on the matter of "Ad-
vancing the A u el i o - V i s u a 1 Field
Through Legislative Action." One of
the chief concerns ol this "cracker
barrel" session will be the question of
whether or not it is desirable to estab-
lish a national committee in DAVI to
give particular attention to legislative
matters on both state and national
levels.

The many friends of Frank Dunham,
Chief of the Radio-Television Section
of the U. S. Office of Education, may
not recognize him the next time they
see him. Frank tells us that since last
August he has reduced from 223 to 175
pounds and as a result is having to

acquire an all-new wardrobe to avoid
setting a new style with a "wrap-
around" effect.

Frank has just returned from a
month's tour in which he visited Cali-
fornia, Washington, Oregon. Arizona,
New Mexico, and Texas. During the
tour he filled 2!) speaking appoint-
ments, made five television and ten
radio appearances, and gave innumer-
able' newspaper interviews. In speaking
of his trip Frank stated, "The thing
that thrilled me most was meeting peo-
ple around the nation with whom our
office has had contact over main yean
and having them tell me how much
our office has clone for them in various
vva\s. One' man reported that v*
sisted him in getting his doctor's de-
gree. Another stated that his entire
office had been reorgani/ed as a result
ol help we have' given him. It was a
gratilving experienc e!"

Floyde Brooker is president of the
newly formed "Management and
Training Services. Inc.." which has
been organi/ecl to offer training pro-
grams on an international basis. Vice-
president of the new organization is
Snowden Chambers, lormerlv \ssistant
Director of the Olliic- ol Technical
Media, Institute of Inter-American
Affairs. Chairman ol the Hoard for the |
new organization is Chaumey O. Rowe, '
former Acting President of the Insti-
tute of Inter-American Affairs.

At the present time Floyde is con-
ducting a four months' training work-
shop in Puerto Rico in which 27 repre-
sentatives of 15 South American coun-
tries are participating.

We regret to hear that Margaret
Divizia, Supervisor, Audio-Visual Aids
Section, Los Angeles City Board nl
Education, recently suffered the loss of
her home and many of her personal
possessions through an unfortunate
fire.

Ray Hadsell, who has been working
at Yale University while completing a
doctorate, will join the staff of the
Audio-Visual Center at Syracuse Uni-

(Conlitnu'd on /ni^i' 50)

Educational Screen

cw^;o-|Jts
' Lr o !? w- _ . G

AS PERSONAL

Continued

versity starting in February. Ray will
teach several classes in audio-visual
materials and methods and will also
have responsibility for some film plan-
ning activities. For the past three years
Ray has served as a member of the
DAVI National Committee on Re-
search.

Charles Hoban and Edgar Dale will
be on a panel which will review the
new National Society for the Study of
Education Yearbook on Communica-
tion which will be unveiled at the
Atlantic City Convention of AASA.

J. Edwin Foster is the newly ap-
pointed Director of the Medical Audio-
visual Institute, Chicago. He is a for-
mer member of the staff of the Audio-
Visual Center of Indiana University.
For the past year and a half he has
been working as a member of the staff
of the Medical Audio-Visual Institute.

Charles Bushong, associate director
of the Film Council of America, has
been appointed head of the Foreign
Policy Association's new Film Program
Service. He will direct the setting up
and operation of mobile film units,
which service community groups with
films and speakers on world affairs, act
as consultant to organizations on
films about world affairs, and publish
catalogs and handbooks on films in
the field of international relations.

It's Coming

"Administering the Audio -Visual
Program," DAVI's first yearbook, is
now in the hands of the printer. We
have had assurance that we will have
25 to 50 examination copies available
at the Chicago Convention.

The publication of this important
treatment of problems involved in ad-
ministering audio-visual programs will
be a milestone in the history of DAVI
and a most important contribution to
an aspect of the field which has been
insufficiently treated up to this time.
High publication costs will make it im-
possible for DAVI to give this yearbook
free to all members. However, mem-
bers will be able to buy it at a reduced
cost.

Plan now to add this important pub-
lication to your personal library and
to use it with classes you may be teach-
ing in the administration of audio-
visual programs.

To Charley Schuller, Editor, and his
hard-working staff of chapter editors
and writers must go thanks from all
of us in the field for the sustained work
they have done on this project during
the past two years.

It's Worth Reading

The Bulletin of the Audio-Visual
Center of Indiana University has be-
come an imposing and information-
packed document. The last issue of
ten pages is filled with information.
Editor is Wendell Williams, newly
appointed administrative associate on
the staff. Wendell also has responsi-
bility for some of the center's work
with television. Here are a few highly
condensed highlights from the bulle-
tin: For the first time the film center
circulated in excess of 100,000 reels last
year. This represents a nearly 500%
increase during the past ten years and
this was off-campus service only. On
the campus -1,800 film titles were
booked and there were 353 bookings
of other types of audio-visual mate-
rials last year. The center also pro-
duced 9 seven-minute films lor tele-
vision use.

Harold Lasswell, professor of law
and political science, Yale University,
discussed ways in which intangible
concepts in relationships with human
society can be described and commu-
nicated to students in a three-day con-
ference on the campus. In connection
with this, he used the film, "Social
Process," for which he served as ad-
visor.

Next summer an audio-visual work-
shop one week in length and carrying
credit is being planned.

Newcomers to the professional staff
of the center include Robert Hunyard,
who will be instructor in education
and program supervisor in the circu-
lation department. John Fritz has been
made acting assistant in selection.

The Indiana Audio-Visual Cente
now has 318 tape recordings, most o
which are usable in the school cur
riculum.

Hung in Shame

Our head, that is after telling yoi
a couple of months ago that we wen
shocked when the audio-visual centei
of a leading university sent us a film
without taking advantage of the new
low "book rate," we were thrown into
confusion when this selfsame univer
sity reported to us that when the film
was returned to them through the
\E \ Shipping Department, it was not
relumed at the lou> rate! We the
university and us have now straight-
ened our shipping departments out
and can be as self-righteous as before
if we ever hear of any other audio-
visual center failing to use the new
low postal rates!

We Hope It's Catching

AVID of Indiana is paying expenses
of its president, Ward Holaday, Audio
Visual Director at the Shortridge High
School in Indianapolis, to the DAV1
Convention in Chicago. Since presi-
dents of state audio-visual associations
affiliated with DAVI are automatically
members of the Board of Directors, this
action assures the state association ol
having a word in the affairs of the De-
partment and is also a fitting way to
honor the president of the state asso-
ciation. It will greatly strengthen DAVI
if this step taken by Indiana can be
adopted by every affiliated state group
every year! JJM

First Annual American Film Assembly

The Film Council of America has
announced plans for the First Annual
American Film' Assembly, April 1-3,
1954. to be held at Chicago's Conrad
Hilton Hotel. The Assembly is ex-
pected to bring together film users
from hundreds of national organiza-
tions as well as representatives of all
branches of the 16mm film industry.

High point of the Assembly will be
the Golden Reel Film Festival, a two-
day display of recent outstanding
16mm motion pictures. The showings,
running simultaneously in each of
twelve broad subject categories, will
be open to all registrants. Juries of
users and producers will select one
film in each category to be granted the
Golden Reel Award. Award winners
will be announced at a banquet in
the Hilton's Grand Ballroom Friday
evening, April 2, and will be reshown
the following day. They will be
shown subsequently in selected com-

munities across the nation under the
auspices of local film councils.

Film categories are: Agriculture and
Natural Resources; Geography and
Travel; Graphic Arts; History and
Biography; Home and Family; Med-
ical Sciences; Religion and Ethics;
Safety; Sales Promotion; Science; So-
ciological and Political Understanding;
Training.

Competition in the Golden Reel
Film Festival is open to all films pro-
duced for a principal purpose other
than entertainment, of 50 minutes or
less in running time, and released in
16mm to nontheatrical users in the
United States during the period Jan-
uary 1, 1953 to February 1, 1954.
Entry is on official entry forms only.

Complete information and entry
forms may be obtained by writing to
the Film Council of America. 600 Davis
Street, Evanston, Illinois.

Educational Screen

ifcti

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thread the RCA "400" in less than 30 seconds.)

way to handle films

IN YEARS TO COME, you'll appreciate the careful way your
RCA "400" projector handles film.

Slow-running sprockets twice the size of ordinary
sprockets provide a long, gradual curve for film to follow.
The thread-easy film path does away with sharp bends
which tear or scuff film. It's designed to give you hun-
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(In actual tests a film run through the RCA "400" projector
700 times shows no sign of wear. Splices fail to show any
sign of part ing after hundreds of passes through the projector.)

For careful film handling, tell your RCA Dealer you want

the RCA "400" 16mm sound projector.

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3 . Floating sprockets for gentle film
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5. Simplified design for 2-minute
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6 .

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OUTLINE OF Dili CONFERENCE PROGRAM

Department of Audio-Visual Instruction, National Educatioi
Association, Hotel Morrison, Chicago, Illinois, March 2-5, 1954

PRE CONVENTION MEETINGS

TUESDAY, MARCH 2

9:00-3:45 - MEETING OF NATIONAL

COMMITTEES AND SPECIAL

GROUPS

1. Accreditation of Secondary Schools.
Chairman: Daniel Rohrbach

2. Adult Education. Chairman: Ken-
neth Mclntyre

3. Archives. Co Chairmen: Winifred E.
Crawford and Lee W. Cochran

4. AV Instructional Materials. Chair-
man: Wanda Daniel

~>. Buildings and Equipment. Co-Chair-
men: Irene Cypher and A. J. Foy
Cross

6. City Programs. Co-Chairmen: Amo
DeBernardis and Lloyd Cartwright

7. College and University Programs.
Chairman: Robert de Kieffer

8. County and Rural Programs.
Chairman: Robert Fisler

9. Military Training Aids Specialists.
Chairman: Larry Braaten

10. Professional Education. Chairman:
Kenneth Norberg

11. Professional Tape Project. Chair-
man: Lee W. Cochran

12. Radio and Recordings. Chairman:
Keisey B. Sweatt

13. Research. Co-Chairmen: A. W.
VanderMeer and Morton Mailer

14. Teacher Education. Co-Chairmen:
Roy E. Wenger and W. R. Fulton

1">. Television. Co-Chairmen: I. Keith
Tyler and Harold E. Wigren

16. Association of Chief State School
Audio-visual Officers. Chairman: S.
E. Alkire

9:30-12:00 -VISITATIONS IN CI1IC\GO
ARF.A FOR IN I F.RKS I ED PERSONS.
Chairman: Elizabeth Bloss, Director,
Audio-Visual Education. Aurora (111)
East Side Schools

CONVENTION MEETINGS

TUESDAY, MARCH 2

2:00~(>:00-RK(;iST RATION AND OPEN-
ING OF COMMERCIAL EXHIBITS

4:30-6:00 - AUDIO-VISUAL ROUND-UP.
An opportunity to see old 1 1 lends and
to make new acquaintances. Chairman:
Louise Jones, Chairman. Audio-Visual
Education, School District 102, La
Grange, III.

8:00 -9:30 -GENERAL SESSION. Educa-
tional Possibilities of 3-D. Chairman:

Tom Roberts, Supervisor, Visual Audi
lory Utilization Center, Wayne I in
versity.

WEDNESDAY, MARCH 3

9:00-10:15 -GENERAL SESSION. Pre-
siding: Benjamin C. Willis, Geneial
Superintendent, Chicago Public:
Schools. President's Message: Paul \V.
!'. Witt, Professor of Education!
Teachers College, Columbia Univer-
sity. Keynote Address: "A Communi-
cations Philosophy for Education"
Rensis Likert, Chairman, Department
of Research, University of Michigan.

10:30-12:30- CONCURRENT SESSIONS
I. The Communications Concept in
Colleges and Universities. Chair-
man: Charles E. Hoban, University
of Pennsylvania. Presentations l>\:
Louis Shores, Dean, Library School,
Florida State University; D;m C.

Williams, Coordinator, Audio-Vii
ual Center, Syracuse University
and James D. Finn, Associate Pro
fessor of Education, University o
Southern California.

2. The Instructional Materials Con
cept in Public School Programs
Chairman: Lewis Saks. Director
Visual Education, East Octroi
(Mich.) Public Schools

3. The International Role of AV Spe
cialists. Chairman: A. J. Foy Cross
Director, Personnel Services, New
York University. Presentations by:
Floyde E. Brooker, President, Man
agement and Training Services,
Inc., Washington, D. C.

12:30-2:00 -EXHIBITS O\'\\

2:004:00 - CONCURRENT SESSIONS
1. Vitalizing State AV Associations.
Chairman: Charles R. Robinson,
Director, Audio-Visual Department,
Sonoma (Calif.) County Schools
2 Preparation of AV Instructional
Materials Specialists. Chairman:
Kenneth Norberg, Associate Pro-
fessor of Education, Sacramento
State College
3. Readability: Its Applications to AV
Publications and Catalogs. Chair-
man: Edgar Dale. Professor of
Education. The Ohio State I'ni-
versity

4:00-6:00 -EXHIBITS OPEN

7:00-9:00 -CRACKER BARREL SES-'
SIGNS. Meetings planned to make
possible an exchange of practical in-
formation and discussions ol "pros"
and "ions" of problems in the follow-
ing arc-as:

1. Administrative Leadership Oppor-
tunities in AV

2. Advancing AV Through Legislative
Activities

3. AV Conference Planning

I \V in School Public Relations
."'. AV Laboratory Tei hints
(>. AV Methods in Language Educa-
tion

7. AV School Service Plan
*. Budgeting the AV Program
!'. Building Coordinator

10. Building Facilities -- Operation
Make-Do

11. Certification of AV Personnel

12. Community Resources in AV

13. Cooperative AV Libraries

14. Equipment Maintenance Clinic
1">. In-Service Teacher Education

IG. International Cooperation in AV

17. Interpreting Education Through

Commercial Television
. Local Production of AV Materials

19. Locating and Selecting AV Mate-
rials

2<X Museums as School Resource
Centers

21. Problems of the Small School

22. Radio and Television Script Ma-
terials

23. Reducing Costs of Providing Pre-
view Materials

24. Shortcuts in Cataloging and Dis-
tributing Materials

2.">. Sponsored AV Materials
2(>. Student Service Corps
27. The Ten Watt Station

Educational Screen

THURSDAY, MARCH 4.

9:00-10:45 - CONCURRENT SESSIONS
1. Forefront Thjnking in Pie- and
In-Service Teacher Education.
Chairman: Frederick A. White,
Distant. Director, Bureau of Audio-
visual, Instruction, University of
\\ ivonsin

. \Vhat Should We Be Doing in AV
Communication Research? Chair-
man: William H. Allen, Associate
Professor of Education, University
of Wisconsin

3. The AV Director and Educational
Television. Chairman: Francis W.
Noel, Chief, Bureau of Audio-
Visual Education, California State
Department of Education

4. Planning School Buildings for Bet-
ter Learning. Chairman: Irene F.
Cypher, Associate Professor of Edu-
cation, New York University. Pres-
entation by: Darell B. Harmon,
Consultant on School House Plan-
ning, Austin, Texas

11:00-1 1:30 -GENERAL SESSION -THE
YEARBOOK STORY. Chairman:
Charles F. Schuller, Director, Audio-
Visual Center, Michigan State College

11-30-12:30 -GENERAL SESSION -
DAVI BUSINESS MEETING. Pre-
siding: Lee W. Cochran, Executive
Assistant, Extension Division, State
University of Iowa

1L':.!() 2:00 -EXHIBITS OPEN

2:004:00 -GENERAL SESSION -CUR-
RENT TRENDS IN EDUCATION.
Reports by representatives of the As-
sociation for Supervision and Curricu-
lum Development, the American Asso-

ciation of School Administrators, the
National Commission on Teacher Edu-
cation and Professional Standards, the
Association for Higher Education, and
the American Library Association.

4:00-6:00 -EXHIBITS OPEN

6:30-9:30 - DAVI BANQUET. Program
open to all. Presentation by: Ross
McLean, Head, Films and Visual In-
formation Division, UNESCO, Paris

FRIDAY, MARCH 5 SCHOOL SERVICE
DAY

9:00-1 1:00 -GENERAL SESSION-FREE-
DOM OF THE TEACHER TO
TEACH AND THE LEARNER TO
LEARN. Chairman: Richard B. Ken-
nan, Executive Secretary, NEA Na-
tional Commission for the Defense
of Democracy Through Education.
Presentation by: Paul Bixler, Librarian,
Antioch College

11:15-12:30 - DEMONSTRATIONS -
The following demonstrations have
been planned to show practical meth-
ods of producing and using audio-
visual materials:

1. Audio-Visual Materials for Teach-
ing Science

2. Audio-Visual Materials for Teach-
ing Arithmetic

3. Audio-Visual Materials for Teach'
ing Social Studies

4. Audio-Visual Materials in Guid-
ance

5. Dioramas

6. Effective Bulletin Boards

7. Home-Made Projectors

8. How to Make and Use Relief Maps

9. Magnetic Recording on Film

10. Making Field Trips Effective

11. Models and Mock-ups

12. Mounting Flat Pictures

13. Silk Screen Process

14. Simple Paper Puppets

15. Sound Slides in Kindergarten Edu-
cation

16. Teacher Preparation of Graphic
Materials

17. Teacher Preparation of Larger
Transparencies

18. Uses of the T-Scope

19. Uses of the Tape Recorder

20. Uses of the Opaque Projector in
Teaching English

21. Uses of the Opaque Projector in
Teaching Geography

22. Uses of the Felt Board with the
Opaque Projector

23. Using Projected Time Study Films
for Teaching Athletic Sports.

11:1. 5-2:00 EXHIBITS OPEN

2:00-3:45 - GENERAL SESSION - SYS-
TEMATIC INSTRUCTION THRU
THE USE OF EDUCATIONAL
TELEVISION. Chairman: John Ross
Winnie, Department of Speech and
Drama, State University of Iowa

4:00-5:00 - GENERAL SESSION -
FRONTLINE THINKING IN AV: A
REVIEW OF CONVENTION CON-
TRIBUTIONS. Chairman: Carolyn
Guss, Associate Professor of Education,
Indiana University

General Convention Chairman: Benjamin
C. Willis, General Superintendent,
Chicago Public Schools

Vice Chairman for Arrangements: James
P. Fitzwater, Director, Visual Educa-
tion, Chicago Public Schools

Vice Chairman for Program: Lee W.
Cochran, Executive Assistant, Exten-
sion Division, State University of Iowa

A NEW HIGH IN QUALITY

THE PAGEANT OF AMERICA FILMSTRIPS

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depicts our Nation's stirring rise to a position ot world leadership. Enthusiastically acclaimed by
visual education specialists, teachers, librarians and historians, THE PAGEANT OF AMERICA
FILMSTRIPS are a contribution of top importance to the filmstrip as a tool of instruction. Each of
the following 30 units will be accompanied by a fully-illustrated Teacher's Guide:

* 1. The Story of the American Indian

* 2. European Explorers Discover a New

World

* 3. Spain Establishes a Great Empire

* 4. The Rise and Fall of New France

* 5. The English Colonies in North

America

* 6. Life in Colonial America

* 7. Patriots and Minutemen

* 8. The Thirteen Colonies Win

Independence

* 9. Free Americans Establish a New

Nation

*10. The Young Nation and Foreign

Affairs

*1I. Westward to the Mississippi
*12. Winning the Far West

!3. Early Americans on the High Seas

14. California, Texas and the Mexican
War

15. Slavery and the War Between the
States

16. Union and Reconstruction

17. The Age of Reform

18. Farmer, Rancher and Cowboy

19. Communication in the United States

Write immediately for descriptive circular

20. Transportation in the United States

21. The Growth of American Education

22. The Story of American Sport

23. The American Spirit in Literature

24. The Story of American Painting

25. The American Spirit in Architecture

26. The Story of Iron and Steel

27. The Story of Coal, Oil and Uranium

28. The Story of the Factory

29. The Growth of American Democracy

30. The Rise of America as a World
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New York 16, N. Y.

February, 1954

In Purdue's polyglot workshop . . .

LANGUAGE TEACHERS RETOOL FOR

by EARLE S. RANDALL and S. EDGAR SCHMIDT

Americans soon will be spending
much more time learning other lan-
guages, l\'illi<im R. Parker, executive
secretary of the Modern Language As-
sociation, declared at the organization's
68th annual convention in Chicago re-
cently. And they will be learning to
speak other tongues in classrooms and
language laboratories equipped with
modern audio-visual teaching tools.
One outstanding example of such a
language laboratory is at Purdue Uni-
versity.

This article describes not the Pur-
due Language Laboratory but an
annual summer workshop held in the
laboratory to demonstrate A-V teach-
ing techniques to language teachers.
Teachers from seventeen slates and
Canada, representing eight languages
and all levels from elementary to grad-
uate school, have attended the annual
workshops. Enrollment in 1953 taxed
the capacity of the laboratory so the
workshop will be offered twice in 1954-

THE USE of visual aids in foreign
language teaching was not entirely
new even a generation ago when,
in the Oclton Theatre in Paris, an
American teacher was overheard fret-
fully complaining about having to pay
three francs for a program. She was
doubtless reflecting that she had paid
about the same for her secqnd-balcony
seat, but consoled herself audibly:
"Anyway, it's realia!"

LANGUAGE LAB

Audio devices have also been used
for some time, though less extensively.
But only recently have A-V materials
and devices seen great expansion, botli
in variety and in use, in the language
field. Purdue University has for some
five years been developing a program
of foreign language teaching in which
the language laboratory plays an inte-
gral part. Two years ago it seemed
time to present our techniques to
other language teachers, for we felt
that new ideas and improvements
should be shared with the profession.
The outcome was our two-week work-
shop (Education 524), held in our
language laboratory during the last

two summers and offered jointly by the
Division of Education and the Depart-
ment of Modern Languages.

Preparing for the workshop required
considerable analysis and evaluation
of the A-V techniques used in our un-
dergraduate courses. As in many col-
leges, our required language courses
have as a central objective the acquir-
ing of reading facility. Four weekly
contact hours in the first-year course
are divided into two meetings in regu-
lar classrooms and two alternating ones
in the laboratory: in the second year
there are three weekly meetings, one
of them in the laboratory. The tape
recorder is at the core of work done in
the laboratory, assisted by slide,
opaque and film projectors.

HOW TO USE IT
All this instrumentation and sam-
ples of our recorded materials and the
planning behind them were demon-
strated and studied in the workshop.
but it was stressed that, while we find
our program valid for our students, it
would be an error to consider it the
only way to use a language laboratory,
or indeed to assume that ours was
the laboratory installation. No two
teaching or budgetary situations are
alike, and so variations in set-up and
utili/ation are inevitable.

The plan of the workshop, then,
was to present as wide a range of de-
vices and applications as possible and
to give all participants much oppor-
tunity for practice. Each was asked to
prepare and record at least one model

Mr. Randall is Associate
Professor of Modern Lan-
guages at Purdue Univer-
sity, Lafayette, Indiana.
Mr. Sclnnidt is Assistant
Professor of Modern Lan-
guages at Purdue. He was
in charge of the Purdue
University annual work-
shop in audio-visual tech-
niques for teachers of for-
eign languages in 1952,
Mr. Randall in 1953. Mr.
Randall ii'ill lie in charge
of both sessions of the
summer workshop in 1954.

lesson appropriate for his (or her)
own teaching situation. The playing
til each of these tapes was followed by
analysis and evaluation of the tech-
niques and probable effectiveness in
the home classroom.

OUTSIDE THE SCOPE

We "teachers of teachers" refrained
from criticizing the aims themselves,
for this seemed to be outside the scope
and purpose of the workshop. (It may
be added that we thereby received a
work-out in will power. It is extremely
tempting to champion one's pet ideas
and theories. Self-restraint sometimes
approaching pedagogical martyrdom
was required ol us when we were askec
to suggest A-V help to do things that
we knew in our professional souls
were heresy!)

An initial handicap had to be over
come, and each summer we strugglec
with il how MIK esslully. only the
participants can tell. The Purdue lab
oratory is an unusually complete am
expensive installation. Workshoj
members promptly began to ask them
selves: What chance has my school to
get such a set-up? It was our convic
tion that even a "dream laboratory'
is dead weight unless animated by the
superior teacher, and that, conversely
a modest installation used by alert, re
sourceful teachers will get excellent re
suits. We stressed the possibilities of :
single portable tape recorder and wtf
gave examples of its use. One day w<
barred the door, covered the keyhole
and admitted humbly that we, too, hac
made mistakes in our earlier days o
trial-and-error. We even gave an A-\
demonstration of one horrible examph
of how thousands of dollars' worth o
equipment can multiply the evils o
mediocre material. In short, our poin
was that A-V aids intensify the neet
for superior teachers. And this was on
answer to that larger and apparent!'
deathless question: "Won't the ma
chinerv replace the teacher?"

The authors of this article had gep
eral charge, one each summer, of th
workshop. In addition, Professor E!
ton Hocking of the Department o
Modern Languages discussed theor
and psychology of A-V language learr

Educational Scree;

The tope recorder is at the core of work done in the laboratory, assisted by slide, opaque and film projectors.

ing and also the important aspects of
procurement, maintenance, and gen-
eral administration. Professor George
P. Salen of the Division of Education
and Mr. L. D. Miller of the Purdue
A-V Center, also one each year, went
more deeply into the theory and use
of the more general audio-visual de-
vices and techniques. Several meetings
were held in the A-V laboratory of the
Division of Education, and there were
group visits to the A-V Center, the
main library, the English Department's
reading laboratory, and to radio sta-
tion WBAA. The Director of the work-
shop was available for individual con-
sultations in the afternoon, witli the
result that he had only the evenings
for his previewing and "homework."

Since the workshop carried two
hours of credit, some formal require-
ments were necessary. Four hours of
attendance five mornings a week were
prescribed; in the afternoon the lab-
oratory was open on an optional basis.
But these requirements proved a mere
formality: the real problem was how

February, 1954

to drive out enthusiasts at closing
timel

A considerable number of films and
kinescopes are now available for lan-
guage teachers, either for direct instruc-
tion or for arousing interest and giving
background. Much of this is very
good but is obviously not equally well
suited to all classes, levels, or occa-
sions. Descriptive folders and some-
times even complete scripts can be
consulted, but the only satisfactory
way to evaluate the films is by view-
ing. This can be somewhat difficult to
arrange. The workshop provided for
group viewing of a large number of
films in the several languages, thanks
to the co-operation of several distribu-
tors. Since various members of the
workshop had used many of them,
they were able to share their expe-
riences and suggestions for use.

Such suggestions and comments were
an important part of the two-week
course, for nearly all participants were
experienced language teachers, a few
were supervisors or department heads.
College, high-school and Army teachers

mingled and made the most of the op-
portunity to talk shop, in and out of
the classroom. Several of them stressed
the value and pleasure derived from
such largely extra-curricular discus-
sions.

GUIDES FOR THE FUTURE

Naturally, written comments and
criticisms were requested at the end
of the course. Members were very kind
in their expressions of appreciation,
and for this we are naturally grateful,
but we are also inclined to return the
compliment by saying that enthusi-
astic, mature students help immeasur-
ably in the effectiveness of any course.
But they also took seriously the request
for constructive criticism. Two main
suggestions were made: more "work"
in the "shop" and the devoting of
more time to organized group discus-
sion and exchange of ideas. These
comments will serve as guides for the
future. They will act, too, as a re-
minder of our heartening experience
of having a group of students eager to
do more work than is required.

Ti:\nii\i- FILMS BEHIND BARS

bv ROBERT O'TOOLE

rOTION PICTURES have long
been used for teaching and learn-
ing in the best of our public and
private schools. And they arc being
put to good use too in another kind of
educational institution the prison.
The New York State Department of
Correction, for example, has a central
library of motion pictures containing
33 subjects with an equal or greater
number expected to be added yearly.
Fifteen institutions (the two for
the mentally ill are excluded) make
use of motion pictures in teaching
their 15,000 "students" enrolled in vo-
cational and commercial courses, art,
arts and crafts, agriculture, current
events, basic elementary school sub-
jects, basic high school subjects, health,
morals and ethics, occupational guid-
ance, personal adjustment, music,
physical education and recreation.

ATTENTION-GETTING

Few classes in the institutions make
no use of films. The trained teacher
and the untrained (most of the teach-
ers in the maximum security prisons
are inmates) are benefited by their
use. Many inmates employed at teach-
ing have difficulty keeping the atten-
tion of students. The motion picture
makes almost any student attentive.
It removes other distractions from the
classroom. The darkened room and
the light and movement on the screen
compel attention.

Indeed, the motion picture has added
much to prison education. For ex-
ample, it brings the distant into the
classroom. Korea, the almost daily
topic in current events, is made more
real when its people and their cus-
toms, dress, food, homes, farms, cities,
schools, and industries can be seen on
the screen. Why the United Nations
forces were unable to advance was
more easily understood when films of
the mountainous terrain were shown.

In all maximum security prisons a
considerable number of students are
enrolled in Cornell agricultural cor-
respondence courses. The logical as-

signment for such inmates is agricul-
tural work. Seldom, however, is a re-
cent admission given a farm job. Many
will never be allowed to do such work
because of a warrant on file, previous
history of absconding. dangerous
character, life sentence, and other rea-
sons. But if the student cannot go to
the farm, the farm can come to the
student. By means of the motion pic-
ture, hogs, cattle, bees, chickens,
sheep, goats, and everything but the
feel and smell come to the classroom.
There are few agricultural pursuits
which are not depicted in films.

"Four walls do not a prison make"
is plain bunk to the prisoner. He
knows he is locked up. During his
waking hours he is under constant
observation. At frequent intervals in
the day he is counted. Even while he
sleeps he must have his head uncov-
ered for the patroling guard to sec
him during the night. Bars and walls
plus guards are constant reminders
that he does not have freedom of
movement. He is a something apart,
removed from free society. To keep
such prisoner in touch with life one
of the best means seems to be motion
pictures which bring the outside world
inside. Their use can keep him in
touch with the environment to which
he is to return.

1' \RLEZ-VOUS

There is scarcely a subject that does
not lend itself to instruction with mo-
tion pictures. Try to visualize this
classroom. The subject being taught
is French. The teacher is an English-
man who has lived in Paris and who
is well known to law enforcement
agencies in England and France. He
is well educated although he is not a
product of boarding school or univer-
sity. He knows French but he is not
a teacher. His group consists of eight
men who requested the educational
department to organize a beginning
French class. All have sufficient edu-
cation, intelligence, and sufficient sen-
tence time (one is a natural lifer) to

acquire considerable knowledge of the
subject.

Shall the instruction be a first-year
French book with the student trans-
lating French into English easily and
English into French not so easily? So
many pages today and so many to-
morrow with everybody interested the
first few weeks and few interested in
two months? No. The student in high
school may suffer through such a
course and likely receive a passing
mark, but not so a prisoner. He will
not take such treatment. When he
loses interest, he quits.

FRANCAIS?

In this particular class, the teaching
was kept really alive by the teacher
with the help of the supervisor of edu-
cation. Everything in the room was
labeled in French. Posters and maps
were sent for from French tourist
agencies and were hung on the drab
walls. Before beginning instruction,
a film in French was shown. The
teacher told the group that before long
everyone would understand the lan-
guage in the pictures. From the first
day the teacher asked questions and
received responses in French. Use was
made of many aids: illustrated periodi-
cals, cartoons and newspapers in
French, and a course with phonograph
records. Many books were used but
the initial one was "French Self-
Taught With Pictures" (Pocket Books,
Inc.). Monthly a motion picture in
French was shown to the group. In
a year's time, all students were read-
ing, writing, and speaking French. It
was the teacher's opinion that class
interest had been sustained through
use of films and other such aids.

HISTORY, TOO

American history became a live sub-
ject in many institutions without
trained teachers through motion pic-
tures. In conjunction with books, pic-
tures were used showing Washington,
Franklin, Jefferson, Eli Whitney, Lin-
coln, and Booker T. Washington.
Colonial times and all periods of
American history were better visual-
ized for students through use of pic-
tures than from books alone. Printed
words are beautiful. For those who
read well, they have the power to stir
and to arouse. But they become even
more meaningful when pictures are
used.

Mr. O'Toole is Assistant
Director of Education, New
York State Department of
Correction, Albany, New
York.

"Four walls do not a prison make". . . well . . .
projected pictures help!

Educational Screen

LOVE THY NEIGHBOR

Here is still another example of the
effective use of projected pictures. It
is i ompulsory for all newly received
inmates of the New York State Depart-
ment of Correction to enroll in a
course in morals and ethics called
"Successful Living." The content is
based upon the moral law and obliga-
tions of the Ten Commandments.

To enrich and enliven the teaching
vniie of the filmstrips used by the
chaplains in the Army-Navy-Air Force
program are used. In addition, the
following motion pictures are used:

Right or Wrong? (Coronet); Love Thy
Neighbor, No Other God, On the
Right Side, Honor Thy Family, Unto
Thyself Be True (Family Films); The
High Wail (iUcGraw-Hill); Let George
Do It, Government Is Your Business,
Faith, Hope and Hogan (The Chris-
tophers); The Flickering Flame, As
for Me <md My House, My Brother
(Concordia).

Such films and filmstrips do much to
point up the why and how of getting
along with yourself and other people
and provide excellent learning and
discussion opportunities.

So that they will be prepared for
the present and years ahead in and
out of prison, all newly-appointed
prison teachers are instructed in the
use of motion pictures. They learn
how to operate and care lor the pro-
jector. They learn to preview and
analyze every film before classroom
time. They learn to supplement the
film with reading and to plan effec-
tive follow-up discussion.

Unlike some other inmates, films
are really here to stay in the New
York State Department of Correction!

Forty "Quiet Ones"

The Department referred to in the
following report is the Department of
Mrntnl IJ\gii'ne of the state of Cali-
fornia, under the direction of Walter
Rapuport. M .D. The report was sent
to EDUCATIONAL SCREEN by Philip Alan
Smith, Chief. Public Health Edum-
tion.

ONE of the Department's most fre-
quently-loaned films is The Quiet
One the story of the struggle and con-
fusion that builds up in the mind of
a little colored boy who is continually
denied the feeling of being wanted
and who expresses his problems in de-
linquent behavior.

A few weeks ago this film was shown
to a group of adult "quiet ones"-
forty colored inmates of a county jail,
all narcotics addicts, who are meeting
twice weekly for group discussion of
their problems.

They had been shown other films
: dealing with the problems of narcotic
addiction, but showed no response and
the psychiatric case worker in charge
of the group requested this particular
film in the hope that it would arouse
memories of their own lives. For, as
the leader pointed out, an important
.issct in any therapy with addicts is to
get them to "feel" emotions strongly
so much effort has been made in their
lives to suppress emotions.

STRUCK A CHORD
'I watched the audience closely dur-
ing the showing and could tell by the
nervous movements and the uncom-
fortable laughs when the film struck
a chord," the leader reported. "Don-
ald's kicking of the can down the
street, breaking up the small children's
games, smearing his mother's cold
cream on her dresser-mirror, knocking
over the beds when he learned he

"The Quiet One" (Athena Films)

couldn't have a monopoly on the at-
tentions of his counsellor all these
signs of frustration were identified
with by the audience. Donald's few
happy moments also evoked sympa-
thetic response."

Here are some of the reactions re-
ported by the group:

N. said that he had the same feelings
as the boy in the film many times
when he was a child. He recalled the
sequence in the film when the boy,
feeling rejected and frustrated, took
his mother's cold cream and smeared
it over the mirror in a fit of anger and
despair. N. said that he had done
similar things although he did not
know the cause of them. His parents
died when he was young and he lived
between two sets of grandparents who
were fairly good to him but he never
felt as though he "belonged." He felt
alone and thought that nobody cared
for him.

M. L. said that he recognized in him-
self a tendency to use heroin whenever
he felt "disgusted." "Whenever some-
thing goes wrong and it upsets me, I

start using heroin I feel like I'm a
kid in that respect."

J. H., an orphan, was shifted around
from one institution and foster home
to another until he was old enough to
go into the Army. "I never thought
anybody loved me and I always felt
as if nobody cared."

T. said, "You know it's pretty rough
to wake up in the morning and feel
that nobody in the whole wide world
cares for you."

ALL AT ONCE

At times the discussion got complete-
ly out of hand as all the men tried to
talk at once to explain their own
backgrounds and how they had become
addicted to drugs and of their strug-
gles to overcome the habit.

L. said, "A man who's mind is
wishy-washy will never quit."

At this point H. M. said that many
times he had wanted to quit and he
has walked out of jail feeling that he
will never go back on heroin again.
However, as soon as he left the jail
and started walking down his old
street, his nose started to run, his eyes
became teary and he felt like he does
when he is "kicking the habit."

The leader pointed out that his fa-
miliar environment may have condi-
tioned him to the drug habit and even
though he had become physically re-
habilitated, when he returned to his
familiar haunts, his reactions were al-
most the same as those when he was
taken to jail. All tensions were lessened
in the jail getting out increased ten-
sions, made decisions necessary.

One of the men said that all of them
had been "kicked around" a lot had
no families to speak of and the wrong
kind of friends. But he was sure he
was very sure that people on the out-
side would start helping them if they
began to help themselves.

February, 1954

ttll

YOUR FILM'S IMSSIIIIIi BACK HOME

by WILBERT H. PEARSON

TOBODY in his right mind," ex-
claimed the director of an Amer-
ican educational film library
last year, "would attempt to rent or
loan instructional films abroad under
these conditions!"

The conditions were the numerous
and complicated forms, and in some
cases expensive and time-consuming
procedures, required to secure the
duty-free return through United States
customs of American films which had
been temporarily exported to another
country.

Similar protests from educators, pro-
ducers and distributors called attention
to the problem which apparently
threatened to cut off entirely the prac-
tice of loaning or renting films to in-
stitutions and individuals abroad from
sources within the United States.

The forms and procedures grew up,
of course, not because of any lack of
interest in encouraging the flow of
such materials, but rather because of
the responsibility of the Bureau of
Customs and customs officers to fulfill
the obligations of the law and to pro-
tect revenue.

Officers of the U. S. Information
Agency and the Bureau of Customs dis-
cussed the problem and proposed cer-
tain changes, which, incorporated in
the new Customs Simplification Act
and in a Circular Letter issued by the
Bureau of Customs, enables United
States customs officers to process ship-
ments of American films returned to
the sender by mail and valued at not
over $250 with but a single form, No.
3311. This form may be executed BE-
FORE the shipment leaves this coun-
try and should accompany the ship-
ment on its return.

The complete procedure is set forth
in Circular Letter No. 2859, on the sub-
ject: "Entry requirements for Ameri-
can-made films exported temporarily
on a rental or loan basis."

The key to the new procedure is
Customs Form 3311.

Mr. Pearson is Acting At-
testation Officer, United
Stall's Information Agen-
cy, Washington, D. C.

HERE IS WHAT TO DO

(1) Obtain Customs Form 3311 from
the U. S. Customs Office in your area
before you ship the film.

(2) Fill out and execute the form,
making the following statement in the
remarks section:

"It is requested that all other forms
required by section 10.1 of the regula-
tions be waived. These films contain
no obscene or immoral matter, nor
any matter advocating or urging trea-
son or insurrection against the United
States or forcible resistance to any law
of the United States, nor any threat to
take the life of or inflict bodily harm
upon any person in the United States."

(3) Affix the form to the outside of
the film can or container in an enve-
lope marked "Documents for U. S.
Customs." Tell the consignee to see to
it that the form is still on the can
u'hen tin- film is returned.

The Customs Officer at the port of
entry will remove the form when the
film is returned, and find on it all the
information he needs to enable him to
admit the film duty-free.

The procedure applies to shipments
of educational films produced in the
United States, returned from abroad
to the United States sender by mnil.
and valued at not to exceed 250.

OTHER POINTS TO
REMEMBER

The U. S. Information Agency as-
sists the movement abroad of eligible
American visual and auditory materials
by certification of international educa-
cational character. A score of countries
and territories now recognize these-
certificates or find them helpful in de-
termining the educational character of
audio-visual materials and so accord
to materials covered by certificates cer-
tain privileges, including freedom from
customs duties.

The Agency also publishes a catalog.
"United States Educational Scientific
mid Cultural Motion Pictures and
I'iltnstrips Suitable and Available for
Use Abroad," which, thanks to the co-
operation of some 354 producers of
such materials and of an advisory board
of American audio-visual specialists,
informs the foreign purchaser of the
existence, availability, and suitability
for his purposes of a very large number
of American films and filmstrips.

Producers and distributors inter-
ested in increasing the circulation
abroad of American visual and audi-
tory materials are making increasing
use of UNESCO Coupons, which en-
able institutions and individuals in
"soft currency" countries to huv
films, filmstrips, and projection equip
ment from suppliers in the United
States and other "hard currency"
countries.

Further information about the fore-
going can be obtained by writing U. S.
Information Agency, 1778 Pennsyl-
vania Avenue, N. W.. Washington 2."),
D. C. (IMS/COA-REV).

Educational Screen

ll^^W^^MBiUi ML

Oklahoma A-V coordinators come up with the conference -idea -of -the -year

Operation Absentia

THE AUDIO-VISUAL COORDINATORS of
Oklahoma had a problem. How
would they be able to bring the top
audio-visual leaders of the country to
the Oklahoma Education Association
convention with a limited budget?
Jones Graves, the President of AVCO,
and Bill Fulton, from the University
of Oklahoma, came up with the an-
swer. If they couldn't get these leaders
to the convention in person, they
toiild capture their thoughts on audio-
visual materials in the form of film
talks and interviews.

These talks were not to be made on
unrelated topics but were carefully
planned to fit into a program designed
to discuss pertinent problems of audio-
visual instruction of significance to the
teachers and audio-visual directors of
Oklahoma.

Outstanding leaders in the field
were contacted and gave their help
and cooperation to "Operation Ab-
sentia," as it was later dubbed.

Dr. J. James McPherson of DAVI
happened to be attending a confer-
ence in Oklahoma and an interview
with Earl Cross, Oklahoma State Co-
ordinator of Audio-Visual, was filmed.

When Dr. Walter Wittich, from the
University of Wisconsin, passed
through Tulsa. Oklahoma, Ted Ander-
son and other audio-visual coordina-
tors met him with cameras to visually
record his comments.

Lee Cochran, of the State University
of Iowa, responded to the call by send-
ing a four-minute camera talk which
he produced in his own studio.

Air. De Kiefler is a mem-
ber of the staff of the Uni-
versity of Oklahoma at
Gorman, Oklahoma.

by ROBERT DE KIEFFER

A different type of presentation was
prepared by Margaret Divizia of the
Los Angeles Public Schools. She sent
slides which illustrated the types of
visual materials being produced and
distributed to the teachers in the Los
Angeles system. The slides were accom-
panied by a tape recording, made by
her, explaining the slides. In addition,
Mrs. Divizia sent a large packet of ma-
terials for display which, in her re-
corded talk, she invited the group to
look over.

When the day of the convention
actually arrived, the program listed a
symposium comprised of national and
state audio-visual leaders. In the con-
ference hall, a long conference table
brandished name cards of symposium
members. "Operation Absentia" was
under way.

The chairman introduced the state
members and, in absentia, the national
leaders. When pertinent questions con-

cerning various audio-visual problems
were asked by the chairman, sym-
posium members both those present
and those there via audio-visual media
discussed each question in turn.

House lights and projectors were
synchronized, which made it seem that
when one of the national leaders was
asked a question, the answer was di-
rected specifically to the group. The
audience felt, with amazement, that
the absent guests were not hundreds
of miles away but were right in their
midst.

From a financial point of view, the
total cost of the entire program was
less than S50. This, however, was not
nearly so important as the fact that
audio-visual media had been used with
great effectiveness in an audio-visual
conference for the communication of
ideas.

"Operation Absentia" succeeded in
bringing to the teachers of Oklahoma
information and ideas from audio-
visual authorities in a personal and
dramatic way.

SEE THE EXPERTS IN PERSON!

They'll all be there at the 1954 Department of Audio-
Visual Instruction Convention in Chicago March 2-5. You
might even find time and place to record their words and
images tor that springtime state or hometown audio-visual
conference you're planning.

As terrific an idea as is "Operation Absentia," it can't
quite substitute for the real thing. Make plans now to join
the other experts (somebody may want to put you on film or
tape!) at Chicago's Hotel Morrison the first week in March.

February, 1954

A-V work session at Sicily seminar. Seminar director Ross McLean, U. S. delegate,
is the first person at left in the front row.

Sicily seminar studies

H IITERMTIOIL

by A. J. FOY CROSS

FEW PEOPLE will deny that audio-
visual specialists made a great a
vital contribution to the success-
ful prosecution of the late world war.
The almost overnight conversion of
many A-V specialists from positions in
education and in education in industry
to creative production and utilization
jobs in the military and war-plant
training programs proved a move that
helped assure the success of our coun-
try's desperate race against time after
Pearl Harbor.

This same group, now embracing
much larger numbers of well-trained
and experienced men and women, is
faced with a new challenge. The war
efforts to which these professionals con-
tributed so effectively plus certain

Mr. Cross is a member of
the faculty of New York
University in New York
City. He was a U.S. dele-
gate to the Seminar on
Visual Aids in Fundamen-
tal Education described in
this article.

result-of-the-war international develop
ments have created an opportunity
for audio-visual service in a cause of
far greater importance than any war.
Through its many faceted foreign aid
program and through its full and ac-
tive support of cooperative interna-
tional economic and cultural develop-
ment programs, our nation is involved
in the greatest and most important
educational effort the world has ever
seen.

The role of audio-visual aids to in-
struction and learning and the chal-
lenge to the audio-visual expert in this
gigantic undertaking are clearly recog-
nized by those who are actively en-
gaged in the field-work tasks the
"front line" of these international
programs. Likewise, these field agents
of peace and those who plan and co-
ordinate their work know that only
through the cooperation and the front-
line participation of the audio-visual
people can the rapidly approaching
deadline of success or failure of these
peace efforts be met.

Recently the United States partici-
pated in a special study conference to

explore audio-visual needs in one of
these international cooperative educa-
tional programs. A brief account of
this conference - a UNESCO Seminar
on Visual Aids in Fundamental Edu-
cation provides an illustration of the
challenge international education proj-
ects offer the audio-visual specialist.

The planned purpose of the Semi-
nar was to conduct a study of the tech-
niques of production, distribution, and
utilization, of effective media for fun-
damental education. (Fundamental
education is the term used by UNESCO
to describe work going on in various
countries under such names as mass
education, social education, cultural
missions, community development and
literacy campaigns, ft has been de-
fined by UNESCO as that kind of
minimum and general education which
aims to help children and adults, Vho
do not have the advantages of formal
education, to understand the problems
of their immediate environment and
their rights and duties as citizens and
individuals, and to participate more ef-
fectively in the economic and social
progress of their community.)

From the reports of field work dur-
ing the past decade, it had become
quite evident that visual media were
an effective means of communicating
fundamental education. The applica-
tion of these aids to the special prob-
lems of fundamental education, how-
ever, was known to be still in the ex-
perimental stage. The study, the pre-
liminary steps ol which were to be
accomplished at the conference an-
nounced by UNESCO, was to pool
the experience of recognized leaders
in the field of visual aids in funda-
mental education.

Membership in the study conference
or Seminar on Visual Aids in Funda-
mental Education was limited from the
beginning to forty actual participants.
Invitation by UNESCO to propose
participants was limited to those Mem-
ber States of which the promotion of
fundamental education is a major
preoccupation and which are already
engaged in the wide use of visual me-
dia for fundamental education. Those
Member States which were solicited
were urged to nominate as participants
only persons who had professional
skill and speciali/ed experience as pro-
ducers or users of visual aids for funda-
mental education or as administrators
concerned with the planning of pro-
grams for fundamental education.

In addition to those persons who
were appointed by their respective
countries to participate in the Semi-
nar, several Member States were un-
officially represented at this UNESCO
meeting by accredited observers and by
specialists retained by UNESCO as "re-
source persons" for the conference ses-

Educational Screen

sions. TweiHv-three member countries
and the Vatican were either officially or
unofficially re-presented by 35 partici-
pants and 10 observers. Thirty-one
members of UNESCO headquarters
and field staffs were in attendance as
conference administrators, interpreters,
translators, technicians, or clerical
workers.

The Seminar was convened in Mes-
sina. Sicily, on August 31, 1953 and
was dismissed on September 2(>, 1953.
The preliminary arrangements and
the administration of the seminar
were under the direction of the head
of the Film and Visual Information
Division of UNESCO's Department of
Mass Communication. The program-
ming of the work of the seminar was
accomplished by a seven-member steer-
ing committee under the direction of
the delegate from the United States.

All persons attending the Seminar
were housed and took their meals at
the Casa Dello Studente, a rooming
house, privately managed but under
the supervision of the University of
Messina. All plenary sessions were
held and all committee work and in-
dividual research were accomplished in
classrooms made available to the Semi-
nar by the University of Messina.

Elaborate provisions for simultane-
ous interpretation made it possible to
conduct all sessions in the two official
working languages of the conference,
French and English. Certification of
all participants required that each be
proficient in at least one of these
languages.

The work program of the Seminar
included a consideration of the follow-
ing topics:

Recruitment of trained audio-visual
personnel for field work in funda-
mental education. Criteria of selec-
tion and recruiting procedures were
proposed.

Training of personnel, it was recog-
nized, presented problems in two cate-
gories. What special pre-service and
what on-the-job or in-service training
are most needed by audio-visual field
workers? And what procedures are
most appropriate to the special edu-
cation and training of local nationals
selected to carry on the audio-visual
aspects of a fundamental education
program in their own country after
the aid-program specialists have left?

An important basic principle of all
economic and cultural development
programs was prominent in the dis-
cussions of training. The principle re-
Ileus the polity that all field-work aid
must be directed toward developing
as early as possible a degree of self-
sufliciency on the part of those to
whom the aid is given to the end that
direct aid becomes no longer necessary.

Criteria for use in the technical and

February, 1954

Delegate Cross presiding at seminar.

educational appraisal of materials of
instruction in all media were estab-
lished.

Effective methods and procedures of
utilization of instructional materials
in the field were demonstrated, dis-
cussed, and noted in the final report
and recommendations of the Seminar.

Intensive study was made of the ap-
plication of audio-visual aids and pro-
cedures to purposeful-literacy educa-
tion based upon the real-life problems
of: health and sanitation, agriculture
and the proper use of natural re-
sources, family welfare and home life,
home craftsmanship and vocational
skills, recreation and other use of
leisure time, and the development of
community-cooperation in all of these
areas.

Each of the major problems on the
agenda of topics to be considered by
the Seminar was presented for pre-
liminary discussion before plenary ses-
sions of the conference. Following
their presentation by a recognized au-
thority, each of these problems was re-
ferred to one or more work commit-
tees of the Seminar participants.
Throughout the plenary sessions and
at frequent appropriate occasions in
the work group sessions, illustrative
films, filmstrips, opaque projections,
llannelgraph presentations, and other
representative aids were viewed and
evaluated by the participants.

Electrical transcriptions of presenta-
tion talks and of the discussions of
each topic were made. Typed trans-
criptions of the talks and the sum-
mary reports of the discussions were
submitted with recommendations for
action to the administrators of
UNESCO's field projections in funda-
mental education.

Space does not permit a recounting
here of the findings and recommenda-
tions of this month-long meeting of
audio-visual specialists. A single state-
ment from the final report of one of
the Seminar work groups, however,
serves very well to sum up a most
important conclusion of the Sicily
meeting. "The education program
with which they (A-V field workers)
work is one which corresponds closely
to the real needs and desires of the
people and, therefore, challenges the
application of the best philosophy and
know-how the (A-V) field affords."

Brotherhood: "We must work at it!

Charles H. Percy, president of Bell
& Howell Company, will spearhead
Brotherhood Week observances Feb-
ruary 21-28 as chairman for the State
of Illinois and under the auspices of
the National Conference of Christians
and Jews. The announcement was
made recently by Leo K. Bishop, vice-
president of NCCJ (203 N. Wabash,
Chicago).

Only thirty-four years of age, Percy
is a member of the Board of his col-
lege, the University of Chicago, and
vice-chairman of the Ford Foundation
Fund for Adult Education. In 1949 he
was cited by the United States Junior
Chamber of Commerce as one of the
ten outstanding men in the country.
In the Navy during the war, Percy was
discharged a lieutenant senior grade
with a commendation from Admiral
V. H. Ragsdale.

"It is the purpose of the American
Brotherhood program to help develop
a generation of Americans without
prejudice, distrust, or disrespect for

others because of religion, race, or
background," Percy said. "We all be-
lieve in this objective and recognize
that at no time in history has it been
so necessary that we find better ways
of living and working together. But
we must not just believe in this," he
added. "We must work at it!"

More than 7,000 communities in the
United States and Canada will partici-
pate in this year's programs marking
the 21st annual Brotherhood Week
and the 26th anniversary of the Na-
tional Conference of Christians and
Jews.

The event was proclaimed by Presi-
dent Dwight D. Eisenhower, who is
honorary chairman of the observance.
Thomas E. Braniff, who was killed in
an air accident on January 10th, was
active leader of the event. Catholic
Co-Chairman of the National Confer-
ence of Christians and Jews for seven
years, Braniff has not yet been re-
placed.

by WILLIAM S. HOCKMAN

bepartrnent

EFFECTIVE USE OF FILMS

The effective use of films depends
upon five things: selecting the film,
getting yourself ready, getting your
group ready, putting on a "good
show," and planning your follow-up.

SELECTING THE FILM
You can't use what you don't know
about! This means you must study
catalogs and lists very carefully. After
you know what there is, you can go
to the next phase. This will be de-
ciding what you want to do. Your
utilization purpose controls your se-
lection. What do you want to bring
about worship, thinking, or moti-
vation to action? You must go far-
ther. What will be your worship
theme? What do you want the group
to think? They are to be inspired and
motivated to do what? Until you have
a clear-cut purpose, you are not ready
to select your film.

Don't be surprised if you get pro-
gram ideas as you study catalogs and

lists of films available to you. That's
fine. Keep track of these ideas and
build later programs around them.

GETTING YOURSELF READY

This begins with your preview of
the film. In many instances you will
not have any too much time to do this.
You'll be tempted to skip it, but if
you do you most certainly will not
make the best use of the film. Think
of what the whole film "says." Think
of some of the details. Get a rough
outline of its contents in your mind.
See the things which you wish to em-
phasize. Get its message well in mind.

Now you are ready to put your
utilization program together. What
are your time limits? How will you
begin and how will you close the
service or program? What will you
do just before the film is shown?
Make sure that all the components of
your service harmonize with your
theme, and keep your theme upper-
most in your mind.

How is this done? You must frame

CHURCH OF THE EMPTY CROSS but church that works for people and progress-
that is the theme of the new 16mm film "Church of the Empty Cross" reviewed on
allowing page 65. Shown at right above is Alfredo Padea, one of the "stars" of the
>cumentary motion picture. He was educated in various mission schools in the "Plaza"
ction of New Mexico. Here he is shown helping distribute posters in the drive to
unds for the March of Dimes campaign at Menaul School in Albuquerque.

the film psychologically by preceding
it with a meditation, prayer, scrip-
ture reading, a litany, remarks, just
the right hymn or any combination
of these. This will set the mood; make
the group ready for a service, not a
show.

Think this readiness material
through carefully. Keep it short.
Give it punch. Speak thoughtfully.
Be thoughtful, and give the audience
time to think. Sometimes a summary
of the film will be effective. You may
wish to ask a series of hard-hitting
questions. Finally, don't let anything
come between getting the group ready
and their seeing the film.

PUT ON A "GOOD SHOW"
Have everything buttoned up tight.
Don't neglect any of the external and
outward things which so frequently
spoil such services. Very likely you
can't have a rehearsal. That means
you must think of everything, before
hand. List what you are to do. Give
memos to those helping you so they
won't slip up.

What about power? What about
black-out? What about ventilation?
What about late-comers? Will the en-
tire group be able to see and hear?
Do your helpers know what they an
to do and when to do it? In straight
preaching and teaching you're in con-
trol of just about everything. Not so
with films. It's your mastery of these
physical and external things that in-
sures a "good show."

PLANNING YOUR
FOLLOW-UP

The effective use of films demands
that you know exactly what you are
going to do after the lights come on.
Keep your follow-up in the same key
and mood as your readiness or intro-
duction. If the film was to be a back-
drop for a sermonette, then preach.
If you planned to conclude with .1
prayer, pray. If you planned critical
thinking, get on with it immediatelv.
If you planned to teach something,
speak of something you learned and
invite others to speak up.

Don't drag things out. Remember
that the film should carry the brunt

Educational Screen

of your "message." Be sure that psy-
chological nail which the film drove
gets clinched in your follow-up.

Lastly, reflect on the whole affair.
What went well? What went badly?
What can be improved? What went
better than you expected? What can
you improve next time? In this post-
operative reflection you'll do your
learning. If you will plan, and work,
and pray, the many fine films avail-
able to you can be a powerful re-
source in your great work of preach-
ing and teaching.

EQUIPPING THE SEMINARY

Within the next decade every semi-
nary of any importance will join the
audio-visual movement in one way or
another.

The best way to join is to get some
audio- visual understanding before
there is a large investment in equip-
ment. Yet some seminaries will reverse
this order by getting loaded up with
equipment which may do quite a bit
of sitting around until someone finds
out what it is good for and how to use
it in promoting the real goals of edu-
cation.

The first principle for the seminary
to follow is to get equipment as it gets
understanding of audio-visual resources
and techniques in relation to what it
is trying to do. If professors of speech
and homiletics have no interest in tape-
recorders as tools for the most effective
training of students in speaking and
preaching, then there is little value in
having a flock of them sitting in some
closet.

On the other hand, if these depart-
ments, together with music, radio and
TV to say nothing of religious educa-
tion, need tape recorders, they ought
to have some medium-priced, medium-
fidelity tape recorders for classroom
use, for seminar use, for the use of stu-
dents within the freedom and infor-
mality of their rooms; and all the tape
recorder money should not be plunked
down for a miniature Radio City, or a
midget version of a sound production
laboratory.

This same principle holds for such
equipment as filmstrip projectors.
While there should certainly be at least
one 1000-watt air-cooled job on the
campus for important auditorium use,
there ought to be on the campus also
enough filmstrip projectors so that stu-
dents doing field work can check one
out for use in these learning situations
in the local churches and other institu-
tions. During the week these same pro-
jectors can serve classroom instruc-
tional nee-ds and be available for those
students who are preparing demonstra-
tion lessons and programs for seminars

and advanced classes in audio-visual
aids and religious education.

Several three-speed record players
will be needed. One of these should be
in the high-fidelity bracket, but the
others can be of the inexpensive type.
They will be needed for the utilization
of good recorded music and for film-
strips with recorded commentaries. The
automatic feature is not necessary on
these.

The seminary will probably need
one good auditorium size (1000-watt)
motion picture projector which will
project with some degree of perfection
such motion pictures as may come to
the campus and too few are making
the trip! Beyond this, it should secure
enough of the so-called "light-weight"
projectors to meet the classroom needs
and the needs of students doing field
work, acquiring them against need and
not as the result of sales pressure.

Should A-V equipment (and mate-
rials to a degree) be available for the
students who are doing field work in
nearby churches and institutions? It is
a fair question, and the answer is Yes,
if these institutions do not have such
equipment for the use of student help-
ers. Is there a better way for the stu-
dent to learn about A-V materials and
techniques; to find out what they can
and cannot do? If the total compe-
tency of the student as a pastor or di-
rector of religious education is con-
sidered, then it is obvious that the
seminary has an obligation to help
him learn what he needs to know to
be a good pastor or DRE.

The seminary will need at least one
good high-fidelity 7 1/3 ips tape re-
corder for special recording purposes:
that sermon someone wants to "can";
that special musical program which is
to be sent into town to be cut onto
LP records; that record of a notable
address, or the installation of a new
professor, etc.

Depending upon the needs of its stu-
dents, the seminary should have facili-
ties for photographic development, for
copying, and for the production of
filmstrips and sets of slides. This in-
stallation need not be top professional
quality in extent or in the cost of indi-
vidual units of equipment, for it can
be elaborated ax demand requires.

Somewhere in the institution there
should be at least one good audio-
visual room which approaches as close-
ly as possible the ideal for such a room.
The acoustics should be excellent. It
should be well located. If possible, it
should have a sound-proof booth into
which recording and projection equip-
ment can be taken. It should seat at
least fifty students. It should be used
for instruction; special recordings; for
experimental program building; and
for preview and other purposes. The

10 FILMS

to enrich your

LENTEN

and

EASTER
PROGRAMS

The most complete film series
portraying the climactic final
days of the life of Christ.

Last Journey to Jerusalem
Thirty Pieces of Silver

The Upper Room

Betrayal in Gethsemane

Jesus Before the High Priest

Trial Before Pilate

The Crucifixion

Nicodemus

The Lord Is Risen

The Lord's Ascension

These films, available in both black
and white and color, are 15 to 20
minutes in running time and may be
secured on Family Films' Series Sav-
ings Plan, which saves you the normal
seasonal increases of 50% as well as
10% on all other Living Bible rentals.

Make reservations at your denomina-
tional or local film library, where Fam-
ily Films' 1954 calendar and illustrated
descriptive catalogs with utilization
suggestions and Bible references are
available on request to aid you in mak-
ing your selections.

. INC

1364 N. Von Ness Ave.
Hollywood, 28, Calif.

February, 1954

CATHEDRAL'S

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teach the Life of Christ thru the modern
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personal experience.

EPISODES COMPLETED TO DATE

Schedule for your church NOW I

HOLY NIGHT suggested for DEC. or JAN.

ESCAPE TO EGYPT suggested after JAN. 1st
BOYHOOD AND BAPTISM, suggested after FEB. 1st
MEN OF THE WILDERNESS " " MAR. 1st

I BEHELD HIS GLORY . . . .for LENT and EASTER
RESERVE NOW at your film library, or write to

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ROM among the thousands of
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screen for this room .should be perma-
nently installed.

Good projectors are just about
worthless without good projec tion
screens, and such screens today are
reasonable in price. The screen for
assembly halls and public auditoriums
ought to be permanently installed. Just
one fumble in the temporary installa-
tion of a big screen can be very costly.
In classrooms portable tripod screens
will suffice, but the wall screen is pre-
ferred by many.

Good screens without sufficient
blackout are a waste of money, acid to
patience, and a strain on the eyes.
Where projection is to be frequent,
black-out devices, whether drapes or
blinds, should be permanently in-
stalled. Inexpensive installations based
on ingenuity and commonsenss often
do a better job than some of the ex-
pensive professional jobs.

In closing, the seminary will need
facilities for its A-V library. Only high
potential materials should be accumu-
lated, but in time any such library-
should grow to considerable propor-
tions and practical provisions should
be made for it.

WHAT SHOULD WE USE?

The church has a total job to do. It
must select adequate and appropriate
means to accomplish these ends. In
selecting materials and methods, it is
now possible to find good films on all
the principal concerns of the church.
Here are a few films I would use this
winter and spring, and why I would
use them.

HIGH WALL is a powerful film on
race prejudices. It shows how young
people get that way, with the accusing
finger pointing directly at some adults
who had no idea they were emotionally
very unhealthy. Here is the film for
the Sunday evening youth fellowship.
Set in a context of honest discussion
which has been* well-planned, it can
bring about a lot of re-education in one
evening. Again, it would be strong
medicine for adults to face. Let some
adult group wrestle with the basic facts
of this presentation, and they, too, may
grow up a bit and find out what really
makes kids and oldsters tick negatively
as well as positively.

THE MEANING OF ADOLES-
CENCE: So much has been written that
it is high time that some aspects of
"adolescing" be put on the screen for
leaders and parents to see. This is a
new film, made by Crawley Films, Ltd.
for McGraw-Hill that says much in 16
minutes. It is short on preaching; long
on showing. It avoids professional jar-
gon and cliche concepts, dear to those
who make the "pee-h-dee" approach to

youth. Here is the film for the parents
of pre-adolescents. It will help them
understand adolescence when it walks
in on the two feet of their own chil-
dren. It would be equally good for the
youth leaders and teachers of the
church. Social workers, club leaders,
and others like them, should take a
peek at this film, also.

IT'S THE BRAIN THAT
COUNTS is the best dramatic film
yet produced on the subject of alcohol.
It centers on the theme of the first
drink. It does not preach, but right
in the middle of it two young people
learn some scientific facts that changed
their whole lives. Here is the film for
youth to see and discuss. It will be
good for Juniors, also. It is just the
film for the parents of youth, and pre-
youth, because it will give them the
facts and ideas which they need when
talking with their young people about
enemy Number One of personal hap-
piness and about the greatest social
cancer of our time.

THE CALL OF THE NAVAJO is

a beautiful motion picture which will
make everyone glad they came to your
mother-and-daughter banquet or your
father-and-son affair. It won't cost any
more than you ought to pay a speaker
who can't be half as interesting or
helpful. This 10-year-old Navajo boy
will win your heart, and put some new
ideas in your head about beauty, hu-
man dignity, the place of religion in
life, and you'll say, "Why don't they
make more films like that!"

Ask your regular dealer or rental
library about these films. Think of
them as you plan for the months ahead.

WE PASS ALONG

Good Ideas

A certain rental library sent out last
fall a flier to its client churches, and
others, and included special notes to
Baptists, Presbyterians, Congregation-
alists, the Evangelical-Reformed, and
others.

Having secured from these denomi-
nations brochures giving the 1953-'54
curriculum in detail, it was easy, there-
fore, for him to nominate to them
A-V materials which would enrich and
supplement the lessons they would be
studying.

We commend this idea to others, and
it is the exercise of this kind of wit
and concern which helps determine
the survival-potential of the A-V dealer.

A certain A-V library owner had
difficulty getting church peeple to
come back downtown, from distant
suburbs, for his monthly previews of
materials.

Then a thought hit him: Why not
schedule the previews so they can come

Educational Screen

direct from work at 5 o'clock, get a
snack, and stay as long as their time
will permit. Now his previews are held
in the center of downtown at from
5:30 to 8:30 with snack-coffee available.
Another good idea we are glad to
pass along for those who need a new
slant on the old preview problem.
Your own version of this idea may click
with your people.

Good News

The Rev. S. Franklin Mack has been
elected executive director of the Broad-
casting and Film Commission of the
National Council of the Churches of
Christ in the U. S. A. He succeeds Dr.
Ronald Bridges, who retired recently
to become visiting professor of Chris-
tianity at Bowdoin College.

Mr. Mack, an ordained minister of
the Presbyterian Church, U. S. A., has
been director of films for the inter-
denominal agency since June 1, 1952.
As executive director, he will have
over-all charge of religious radio-TV
and film production and distribution
.ind broadcasting training in behalf of
30 major Protestant and Eastern Or-
thodox communions cooperating
through the National Council.

[JEW iMATERULS

Isaiah Filmstrip

Alexark and Norsim, Inc. (156 N.
\idcn Blvd., Los Angeles 4) has a new
series. "The Prophets of Israel," under
u.iy with the first of this five-unit series
ready for distribution. It is Isaiah, a
34-frame filmstrip with original art in
color. The printed commentary gives
the passages from Isaiah on which the
various frames are based and gives also
a paragraph in modern English which
interprets this biblical passage. It is
helpful to have both versions of the
commentary in the same booklet.

Taken as a whole, the artwork is
good. Some pictures, it seems to this
reviewer, contain too much architec-
ture, and others have in them some
very fanciful content (such as a river
alongside the city of Jerusalem). On
the whole interior scenes are more
pleasingly composed than exteriors,
and at times the literal representation

of flights of prophetic imagination
seems to detract from the solid core of
teaching to be derived from this great
statesman-prophet's advice to Judah's
rulers.

Church of the Empty Cross

The Church of the Empty Cross is
a documentary of mission work in the
"conquistador" area of New Mexico
and among the people of Mexican
descent in Texas, with dramatic over-
tones provided by the experiences of
real people. One of these is Ramon
Martinez, whose story unfolds in the
film. He comes to find a new church,
whose cross is empty but which has
concern for people and progress as ex-
pressed in schools, medical care, com-
munity improvement, and personal
development. He sees with the eyes
and faith of youth a new day for his
people, the Spanish-speaking Ameri-
cans.

In sound, photography, color and
commentary, the picture has good tech-
nical qualities. It will be useful in any
context of youth or adult education
where the meaning of home missions
is needed to be spelled out in simple,
concrete, and winning terms.

The film was produced by the Board
of National Missions, Presbyterian
Church, U.S.A. (156 Fifth Ave., N. Y.
10). Running time is 44 minutes.

Church History

The Society for Visual Education is
to be commended for undertaking the
production of an eight-unit series of
color filmstrips, with reading scripts,
under the title, "The History of the
Christian Church."

The first three of this series, The
Church h Born, Death for Faith, and
Open Door to Faith, are now available,
with the other five to follow this
spring.

There is a "General Utilization
Guide" for the series. It is fine, giving
the user the general orientation he so I
much needs to make the best use of the
series. After this comes the "Reading
Script and Utilization Guide" for each
filmstrip of the series. These guides are
a real source for the user. A mere list-
ing of the section titles will indicate
their thoroughness and utility: Outline
of Contents, Why Use This Filmstrip,
Possible Outcomes, Possible Uses, A
Suggested Utilization Plan, Preparation
(which includes a pronunciation key
and a chronological table of the period
covered), Introduction, Presentation,
Follow-Up, and Please Note.

The commentary is printed in large
easy-to-read bold type, a great improve-
ment over earlier SVE scripts. These
scripts have been written by Dr. Elmer
G. Million, who took his graduate de-

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February, 1954

Writing for more information? Mention EDUCATIONAL SCREEN.

gree in the area of church history.
They are factual in an interesting way,
with no poetic flights or diverting
asides.

Mr. Frank Hopper did the full color
artwork for the series, and taken as
a whole, it is satisfactory. His compo-
sition is generally good, with due atten-
tion to the field of (visual) interest
and to the implied action of the pic-
ture. His approach to the characteriza-
tion of people is stylized rather than
documentary, and facial detail is gen-
erally satisfactory, but there is a tend-
ency to flatness which a more skillful
use of light and shadow could elimi-
nate. The legible material in the maps
is a little small for quick and easy
reading.

In this series of historical filmstrips
the continuity thread is the personali-
ties of church history, and not histori-
cal events as such. The producer con-
siders this series as curriculum supple-
mentation rather than curriculum it-
self. It seems to this reviewer, however,
that this series can be used as the back-
bone of a church history course, and
that with it a deep appreciation of the
development of the Christian church
could be imparted. If young people get
no more church history than this series
gives, they will have five times as much
as most of their elders.

PROPHETS

of Israel

new color filmstrips

Isaiah

Amos & Hosea

Jeremiah

Elijah & Elisha

Ezekiel & Micah

other Old Testament subjects
preview prints available

ALEXARK & NORSIM, Inc.
156 N. Arden Blvd., Los Angeles 4, Cal.

CHRISTIAN LIVING
FILMSTRIPS

44 subjects now available, many j
in full color.

Used and recommended by near- '
ly all Protestant denominations. |

Send for free illustrated catalog, j
Church Screen Productions

P.O. Box 5036 Nashville 6, Tenn. J

In this reviewer's rating book, SVE
gets an "A" for general effort; a "B"
on the art; an "A" on the utilization
guides; and for the commentaries, a
"B plus." Wherever church history is
to be taught to Senior High young
people, adults, and even Junior Highs,
this series will prove extremely useful.
If present quality is maintained in the
five to be released, this series ought to
find a place in the A-V library of many
local churches.

Stewardship

Stewardship is an important theme
in the church, and a good subject for
visual treatment. The Story of Peter
Vance is a 92-frame, 19-minute, black
and white, sound (33 1/3 and 78 rpm)
filmstrip on this subject. It tells how
Peter Vance, successful young lawyer,
came to understand Christian steward-
ship via the explanations of his min-
ister. The treatment is sermonic rather
than dramatic; while all the proper
arguments are there, it is full of cliches
and quite unimaginative. The techni-
cal qualities are good. (Presbyterian
Church USA, 156 Fifth Ave., N. Y. 10.)

Worldwide Church

Curriculum enrichment through the
use of good filmstrips is here to stay,
and Christian Education Press (1505
Race St., Philadelphia, Pa.) is pointing
the way. The Church Around the
World is a 72-frame, color filmstrip
with comprehensive script-guide for
use with the Church and Home Series
of lessons for Winter Quarter 1954. It
shows the church as worldwide and
with a manifold work in helping peo-
ple. There are two scripts: for chil-
dren by Dorthea G. Pflug; for adults
by Oscar J. Rumpf. The guide carries
fine utilization suggestions. Technical
qualities are good.

Youth A-V Kit

Composed of seven new sound film-
strips, the new Youth Audio-Visual
Kit should be a great boon to those
seeking to interpret the fundamental
objectives and methods of the youth
fellowship movement as it is not spread
across all the major denominations.

The YAV filmstrips are tools to be
used by the local churches to enrich,
strengthen, and interpret the work of

'Backgrounds of
Our Freedom"

Growing filmstrip
series on democracy
FREE Catalog FREE Preview

heritage filmstrips, inc.

89-11 63rd Drive, Rego Park 74, N. Y.

the church in all phases of the youth
program.

The series is introduced by We Have
This Fellowship and concludes with
Big Enough to Tackle. In between
these two are filmstrips dealing with
each of the five program areas: The
Faith of a Guy, Gallery of Witnesses,
I Found a New World, The Measure
of a Man, and How Wide Is Your
Circle.

The YAV Kit is a package consisting
of the seven filmstrips above, seven 10".
33 1/3, microgroove discs which carry
the commentaries, plus a utilization
guide for each filmstrip.

Produced by some three score co-
operating demonimations, this Kit is
available from the Department of
Audio-Visual and Radio Education of
the National Council. 79 East Adams
St., Chicago 3, Illinois.

Methodist Release

The Family \ext Door, production
of the Methodist Radio and Film Com-
mission, is announced as "the dramatic
story of a Christian family." The story
has a three-cornered plot which car-
ries in dramatic form what the film has
to say. It is in black and white and
has a running time of 30 minutes. (In-
formation from The Methodist Pub-
lishing House, Nashville 2, Tenn.)

MAKE YOUR
OWN SLIDES

on your own
TYPEWRITER

by using
RADIO-MATS

Regular size 3'/ 4 x4 or the New Duplex 2x2.
Sold by Audio-Visual, Photo & Theatre
Supply Dealers. For FREE SAMPLE write

RADIO-MAT SLIDE CO., Dept. V,

222 Oakridge Blvd., Doytono Bench, Flo.

ART IN FILM '

"PAINTING A
TRUE FRESCO"

A New

Americania Art

Film on Henry

Varnum Poore

16ram Sound Kodachrome Rental $10 Sale $160

BRANDON FILMS, INC.

Dept. ES, 200 W. 57th St.

New York 19

SOUTHWEST
INDIANS

New sound films in brilliant color. Produced
by an experienced educator.

WARRIORS AT PEACE Contrasts Apaches
at work on their modern cattle ranch with the
ancient Pollen-Blessing for an Apache maid.

Avolon Doggett Productions

441 North Orange Drive
Los Angeles 36, California

Educational Screen

mmvaluatiw of new films

by L. C. LARSON

Director, Audio-Visual Center
Indiana University

Preview prints should be sent direct-
ly to the Audio-Visual Center, Indiana
University, Bloomington, Indiana.

UNCOMMON CLAY

(International Film Bureau, Inc., 57
E. Jackson Blvd.. Chicago 4, 111.) 20
min., Itimm. sound, black and white.
SI 00. Produced by Thomas Craven
and photographed by Frederic Bornet.

DESCRIPTION

This film portrays six leading Amer-
ican sculptors D o n a 1 d De Lue,
Wheeler Williams, Paul Manship,
Cecil Howard. James Earle Fraser, and
Laura Gardin Fraser working in their
studios, surveys the finished products
ol their creative efforts, and suggests
how these works reflect the distinctive
characteristics of each artist.

Opening scenes showing Cecil How-
ard preparing the portrait of a woman
prompt the narrator to state that the
possession of "inner vision" forms the
basis of an artist's creative powers.
The following sequence reveals the
artist watching a boxing and a wres-
tling match and himself participating
in a fencing bout, and explains how
these experiences have given rise to a
number of subsequent works cast in
bron/e that depict boxing and fencing
protagonists in critical positions.
Views of the "Reclining Nude," "Quiet
Meditation." and "Nude Leaning on
a Column," are preceded by a number
of drawings that have guided the
sculptor's creative strokes in shaping
the completed works. Cecil Howard's
interest in his era and its people is
again reempha.si/ed through a portrait
of his daughter, a god-like statue of a
young man named "Sacrifice," and one
of the "Mother and Child."

A close - up of the "Mother and
Child" dissolves into a view of

CAROLYN GUSS

Assistant Professor, School of Education
Indiana University

and JOHN FRITZ

Instructor, School of Education
Indiana University

International Film Bureau
Admiral Halsey poses for sculptor Wheeler Williams, as seen in "Uncommon Clay."

Wheeler Williams completing his "Me-
morial to A'irmen." As the camera
|>;ms across the "Three Graces," the
"Four Seasons." and the "Head of
Mercury," and moves outdoors into
the wonderland of "Childhood God"
figures to show "Apollo," "Pan," and
"Neptune" in their natural surround-
ings, it reveals how a love of symbol-
ism and gods of Greek mythology
marks the works of this sculptor. Views
of the artist shaping a portrait of
Admiral Bull Halsey and the com-
pleted statues of Katharine Cornell,
James Montgomery Flagg, the sculp-
tor's daughter, Diane, and Eve Brooks
are followed by the "Fountain of
Youth." and "Primavera" looking
hopefully for spring.

Paul Manship is next introduced
with some of his works the "Celes-
tial Sphere," "Sun Is Stolen," "Day
Turns Into Night," "Europa," and
"Jupiter" in the'shape of a bull. The
bronze statues of a reindeer and a
horse are shown to be only a part of

a "menagerie in bron/e" that is grad-
ually revealed in more detail by the
(amera as it accompanies the sculptors
and a boy in a tour of the studio.

By pursuing the pet dogs of James
l.arL- Eraser the camera gains entry
into the studio of "the most prolific
and successful sculptor" and discovers
the maker of the head of Lincoln, the
Indian head, and the buffalo head that
adorn the coins of this country. A
view of Teddy Roosevelt on a horse
in a New York memorial is followed
by a shot of the original model in the
studio and portraits of Theodore
Roosevelt and Thomas Edison. Close
relations with Indians during the art-
ist's youth have led to sucli works as
the "Pioneer Woman," "Indian Chief
at Prayer," and "The End of the
Trail." A sequence of scenes also por-
trays Laura Gardin Eraser in the proc-
ess of completing the first of four large
panels that highlight major events in
American history.

Erom the silhouette of "The End
of the Trail" the camera turns to the

February, 1954

Works of Donald be Lue. "Power and
Strength" are here recorded as the
camera pans across the statues of
Thomas Jefferson, Stonewall Jackson,
and the "Infantry Man" of the last
world war, and pictures "Jupiter" as
a bull, "The Athlete," "Eve," "North
Wind," "Sun God," and "Icarus." Ma-
jor emphasis, however, is placed on the
creation of the main figure for the
Omaha Bench Memorial by this sculp-
tor. A series of scenes document the
artist's unyielding determination in
search for an appropriate symbol
while he displays a few figurines from
a large group that he rejected. As the
human form of the selected figure
stretches skyward, and dissolves into
the dark clouds, the narrator describes
the sculptor's aim as an attempt to
inject "meaning into a dead soldier's
sacrifice" and to record the "pain and
turmoil of human striving" for ever-
lasting peace.

APPRAISAL

The committee agreed with the pro-
ducer that this film does not require
extensive preliminary study of the art
form to be appreciated and enjoyed as
a work of art. The members, there-
fore, did not hesitate to recommend it
for high school, college, and adult use
to provide an artistic portrayal of the

creations of six prominent American
sculptors and to demonstrate the ex-
acting demands of their work as neces-
sitated by the process of continual
selection and rejection.

For professional film - makers and
college classes in motion picture pro-
duction, this film exemplifies excellent
planning of content, an exceptionally
effective use of smooth transitions, and
masterful editing. The synopsis above,
designed as it is to highlight basic
content, fails to provide an adequate
review of the film. Especally note-
worthy are the professional lighting
and camera techniques that succeed in
recording the subtle modulations on
the surface of the figures and captur-
ing the life-like quality of the sculp-
tured pieces. Furthermore, the clever
use of smoke rising before the ex-
pressive statues as they revolve in one
position, or pass vertically or horizon-
tally across the screen, accentuates the
inherent vitality of the forms and
helps to enhance those attributes of
mobility and dramatic interaction.
The major strength of the film, how-
ever, is its basic overall unity as a
complete art form itself a unity of
idea photography, music, and narra-
tion that flows unimpaired from the
opening titles to the closing sequences
and "The End." A rare aesthetic ex-
perience, indeed!

V* | ** YOU CA
*j&k MOXTHL

IV BEGIN YOUR
Y FILM FORUM

. . with Any One of
These Current Issues

2 SHOULD AMERICAN
TARIFFS BE LOWERED?

with ERIC JOHNSTON
JOHN LEE COULTER

^ Mij 1 '""^ 7V^^ ^^

jpnnniniiil

1 SHOULD SENATE DEBATE
(the filibuster) BE LIMITED?

i< i//i SENATOR ELLENDER
SENATOR DOUGLAS

SAN EVALUATION OF THE
EISENHOWER ADMINISTRATION

wit/I SENATOR SMATHERS
SENATOR CAIN

4 THE ARAB-ISRAEL
QUESTION

ii-ith ROBERT NATHAN
JAMES ANSARA

MODERATED BY MARQUIS CHILDS
THE PLAN: American Film Forum, Inc. releases 9 new
discussion films on current domestic and international
affairs . . . one a month . . . with Senators and Congress-
men presenting opposing viewpoints . . . springboards
for discussion among students, and adults on all levels.
Programs available on a subscription-rental basis.

^ rite for prospectus noiv!

MERMAN

film F

ORI'M.

MAIL THIS COUPON Es .,

AMERICAN FILM FORUM, Inc.

516 Fifth Avenue

New York 36, N. Y.

Please send me complete details including

subscription cost.

NAME

ADDRESS

CITY

STATE

LEVITTOU1, PEMSYLViJIA

(McGraw-Hill Book Company, Text-
Film Department, 330 West 42nd
Street, New York 36, New York) 26
minutes, 16mm, sound, black and
white. 5100. Produced by March of
Time.

DESCRIPTION

This film documents the execution
of a bold and ambitious project to
build a modern city in the rolling
farmland of Pennsylvania.

Aerial views of Levittown reveal the
careful design and large-scale construc-
tion of a community sixty-five miles
from New York City and twenty-five
miles northeast of Philadelphia. Amid
scenes of mass clearance of the land
through the use of bulldozers, fire.
dynamite, and levelling machinery, the
narrator states that a total of 4,600
acres of land has been purchased. The
film shows the project as being one-
fifth completed and housing 3,600 fam-
ilies of a population that is expected
to grow to 70,000 people. Scenes of
children on bicycles and walking in
groups support the contention of the
narrator that to accommodate youth
is one of the primary concerns of the
builders of Levittown.

Alfred Levitt, who with his brother.
William, conceived the idea of a mod-
ern community, then presents the basic
philopsophy that guides its construe
tion. Their aim is to prevent the resi-
dent from becoming a lost occupant
of a big city. With rough sketches he
shows how they hope to inculcate a
feeling of neighborliness and commu-
nity pride in the citizens by building
a city composed of small neighbor-
hoods encircled by major driveways.
In addition, each will have its own
name, school, swimming pool, and ball
park. A model shows the type of house 1
being built for the townspeople.

The real reason for the existence ol
Levittown is shown to be the new
United States Steel plant three miles
away at Morris, Pennsylvania. Views
of some employees of this company
and selected workers of Paterson Parch-
ment Paper Company and Kaiser
Metal Products Company exemplify
the kind of person who either lives
in Levittown or is planning to move
there.

The major portion of the film por-
trays current developments as con-
ducted by builders, residents, and serv-
ice industries. While a resident of the
town welcomes a new neighbor, work-
ers plant a young tree before the lat-
ter's home. A partially completed
shopping center is to cover fifty-five
acres at completion and will serve the
community's numerous needs. A series
of pictures documents the progress

Educational Screen

being made in providing adequate
educational facilities, police protec-
tion, and medical services. The tele-
phone, however, is as yet not available
to the residents and consequently per-
sonal visits are necessarily relied upon
to achieve communication.

Toward the end of the film, William
Levitt, the manager of the construc-
tion project, confides to the narrator
that at the outset Bucks County had
no community life; his firm had to
start building everything at once
houses, water and sewage systems,
lights, and roads a project in which
every part of government is involved
as a partner. When Levittown is com-
pleted at the end of two years, how-
ever, he sees it as another Atlantic
City or Galveston. In the words of
the narrator the town becomes the
"prototype of 20th Century Living . . .
the fastest growing city in America."

APPRAISAL

The reactions of the committee in-
dicate that the film can be used in
high school civics and social studies
(lasses to show the wide array of serv-
ices that are indispensable to modern
;_;ioup living. In addition, it can be
>hmvn to college classes to exemplify

a long-term building program initiated
by a private firm to help meet housing
needs in a particular locality. To
adult groups concerned with the or-
ganization and expansion of their own
community, the film can portray the
value of planned construction that
recognizes a desire for sharing com-
mon interests and a feeling of neigh-
borliness among the residents as well
as the need for assuring the safety of
children and providing facilities for
recreation. Technically, the film pos-
sesses good sound and acceptable pho-
tography, though the latter is lacking
in contrast. It seems that the film
could have directed more attention to
the nature of the civic organi/ation
of the community and provided some
indication as to how the town is ex-
pected to pay the original cost of the
public services. On the other hand,
the film portrays effectively the sin-
cere determination of the local resi-
dents and their simple and honest at-
tempts to establish themselves in a
new home in new surroundings. It
possesses that freshness of quality so
characteristic of new growth and
clearly documents the natural opti-
mism and exuberance of an energetic
community just passing through its
youthful stage.

A JAPANESE FISHING
VILLAGE

(Young America Films. Inc., 18 E.
Forty-First St., New York 17, N. Y.)
13 minutes, 16mm, sound, black and
white, 1953. $62.50. Produced by Alfred
T. Palmer. Teacher's Guide available.

DESCRIPTION

Narrated in the first person by an
American-born Japanese, the film de-
picts life in the tiny Japanese fishing
village of Himajo as described by
Hiroshi Kimura, a fisherman and a
father.

The principal action of the film is
that which takes place during a typical
day in the lives of Hiroshi, his wife,
his fourteen-year-old daughter, his
twelve-year-old son, his baby, and his
mother who lives with the family.
Hiroshi, after a breakfast of rice and
soup, joins other fishermen for a day
of fishing off Japan's rocky coast. The
Head Man of the Village, who for-
merly owned the fishing rights and
equipment, discusses with them the
weather and their day's work. They
decide on this particular day to fish
with poles for bonito and yellowtail.

While Hiroshi is fishing, his wife

preview now for next year's classes. . .

A New Coronet Film Series on American Literature

Teachers and students of American Literature are sure to welcome these authoritative
16mm sound motion pictures the first in a long-awaited series by Coronet Films.
Written and filmed in close collaboration with Robert C. Pooley, Ph.D., Professor of
English, University of Wisconsin, these films provide a visual wealth of background
material for understanding the beginnings and growth of literature in this country.

AMERICAN LITERATURE: COLONIAL TIMES an overview of the
practical, useful early writings which reflected the period that
became a vivid source of literary inspiration for later writers.

AMERICAN LITERATURE: REVOLUTIONARY TIMES -the impor-
tant political speeches, documents and letters of the war
period . . . the feeling, depth and beauty of which raised
them to the level of true literature.

AMERICAN LITERATURE: EARLY NATIONAL PERIOD -an excit-
ing background for understanding the first real literature of
America ... as shown in the writings of Philip Freneau,
James Fenimore Cooper, Washington Irving and others.

AMERICAN LITERATURE: THE REALISTS emerging with "a lit-
erature, not of books, but of life" a searching study of men
like Dreiser, Tarkington, Hamlin Garland, Jack London
the theme of realism associated with many of our present-day
novelists, poets, essayists and dramatists.

You may request preview prints of these newest American 'iterature films now
for possible purchase later on. Now is also the time to preview any of the
other more than 500 available Coronet titles . . covering virtually every subject
area at every grade level. Determine for yourself the unequalled teaching
effectiveness of Coronet films. For complete information on how easy and inex-
pensive it is to preview, purchase or rent the Coronet films of your choice, just
write to:

Coronet Films

Dept. S-254
CORONET BLDG., CHICAGO 1, ILL.

February, 1954

Advertisers welcome inquiries. Just mention EDUCATIONAL SCREEN.

Academic Film Co. Inc.

516 Fifth Ave,N.Y. IS, N.Y.

Writing for more information?
Mention EDUCATIONAL SCREEN.

McGRAW-HILL
TEXT-FILMS

Life in a Garden

made in cooperation with the
American Museum of Natural
History by Roy Wiltox Prodns.

Bronx Zoo Films

made by the New York Zoologi-
cal Society 7 films now avail-
able, more in preparation

for further information
write:

McGraw-Hill Book Company

TEXT-FILM DEPARTMENT

330 W. 42nd St.
New York 36

and the other women follow their
daily routine. The children are
awakened, their straw mat beds are
rolled up and put away, and after a
breakfast chiefly of rice they leave
for school. At school the children
study English, practice arithmetic ex-
ercises on a soroban, and enjoy play-
ing baseball. After school they work
in the vegetable garden and care for
the baby. The grandmother, too,
works. She goes out for branches of
firewood. Hiroshi's wife does the wash-
ing by hand, shops for such vegetables
as giant radishes, cooks, mends fishing
nets, and cares for the fish her husband
catches.

Hiroshi and the other men are shown
returning at the end of the day.
Luckily they have a good catch. Roll-
ers under the keels and cables to the
windlasses are used to bring in the
boats. The fish are then unloaded.

A film insert shows the villagers par-
ticipating in a festival celebrating a
good fishing season. Parades, music,
dances, exotic costumes, and exciting
ceremonies add to the impressiveness
and meaning of a festivity such as this.

The film ends with the close of the
day. Hiroshi rests a little while the
children do their homework, Sumiko
recounts the activities of the day to
her husband, and then Hiroshi goes
to tend to his boat and nets in prep-
aration for the next day.

APPRAISAL

Activities which show similarities
existing between life in this fishing vil-
lage in Japan and in America as well
as those activities which show the dif-
ferences are interestingly and warmly
depicted. An incongruity like Hiroshi's
recounting what happens during a day
in his home as if he were there when
he is actually out fishing and the
slight difficulty of understanding the
Japanese-born narrator are lost in the
enjoyment that comes from the sim-
ple, straightforward presentation of
this way of life. The film should be
of value to groups from the interme-
diate grades through high school inter-
ested in understanding the way of
life in a Japanese fishing village.

THE MTURE OF HEAT

(Coronet Instructional Films, Coronet
Building, Chicago 1, Illinois) 11 min-
utes, 16mm, sound, color or black and
white, 1953. $100 or $50. Teacher's
Guide available.

DESCRIPTION

Through animation and live pho-
tography, the film explains the theory
that heat is the energy of molecular
motion and shows the several different

ways in which the transference of heat
is observed.

The film is introduced by a sequence
showing that Count Rumford's 1789
studies on the boring of cannon re-
vealed that the mechanical energy of a
turning drill is transformed through
friction into heat and that heat is
another form of energy. The ignition
of phosphorous, when placed in con-
tact with the drilled metal, reveals the
fact that heat has been produced. The
narration at this point explains that
heat is the energy of the motion of
molecules.

Conduction, convection, and radia-
tion the three methods of heat trans-
ference are next explained and dem-
onstrated. Experiments showing that
heat in a metal plate is transferred to
phosphorous to set it abla/e at one end
of a wire and that heat from the flame
of a burner is transferred along a wire
to melt a ball of wax illustrate the
process of conduction.

Thermometers attached to copper,
glass, wood, and a vacuum disclose dif-
ferences in the ability of these various
materials to conduct heat. The experi-
ment shows that copper conducts the
heat most readily, glass and earth only
moderately well, and a vacuum con-
ducts the least heat. Building mate-
rials are similarly tested with the re-

TEACHING FILM
CUSTODIANS, INC.

A Non-Profit Service

Organization of

Educators

Distributors of Films Produced by

Member Companies of the
Motion Picture Ass'n of America

Selected and Prepared for

School Use by Committees

Representing National Curriculum

Organizations

We extend a cordial invitation to visit
our representatives at

The AASA Convention, Atlantic City
(Booth B49)

The ASSP Convention, Milwaukee
(Booth 46)

The DAVI Convention, Chicago
(Booth 46)

Informative materials sent free
to teachers on request

TEACHING FILM
CUSTODIANS, INC.

25 West 43rd St., New York City 36

Educational Screen

suits that glass is a fairly efficient
conductor of heat, brick and plaster
are less efficient, and fibreboard is the
least efficient.

Convection is illustrated by applying
heat to the bottom of beakers, the first
of which has water and ice and the
second, steel wool and ice. Speeded
camera action shows that the heat
passes more quickly through the water
than through the steel wool. Visible
particles added to the water show the
convection currents as they distribute
heat through the liquid.

Radiation is demonstrated by the
use of a lamp and a lens. The dis-
tinction between heat and light is
made by placing over the lens a filter
which absorbs almost all the visible
light and yet there is enough invisible
heat radiation to ignite paper. The
heat which travels by radiation is
shown passing through some materials
and being absorbed by others.

The film ends by raising some ques-
tions concerning the practical applica-
tion of these principles.

APPRAISAL

The film is recommended for use on
the junior and senior high school
levels in general science and physics
classes studying heat. The film should
serve three purposes to show the
molecular nature of heat, to explain
how heat is transferred, and to demon-
strate the application of these princi-
ples to everyday use. Animated illustra-
tions, time-lapse photography, clearly
presented demonstrations, pertinent
questions, and suggested practical ap-
plications of the scientific information
presented in the film enhance the
teaching value of the film.

SPRINGBOARD DIVING

(Educational Film Sales Department,
University Extension, University of
California, Los Angeles 24, Calif.) 13
minutes, 16mm, sound, color or black
and white. $125.00 or $56.25. Pro-
duced by University of California Ex-
tension, Berkeley.

DESCRIPTION

The fundamentals of good spring-
board diving techniques and some
common faults in forward and back-
ward diving are demonstrated by wo-
men divers.

While two performers execute some
dives in slow motion photography, the
narrator explains that concentration,
precision, and control are the prin-
cipal requirements in good diving
technique. This sequence is followed
by the half-gainer and running jack-
knife dives that are frozen in consecu-
tive poses to demonstrate how the ap-
proach, take-off, position in the air.

Photography is man's supreme achieve-
ment in his efforts to develop a device for
the transmission of ideas. The mission of
photography is to record and clarify so
that the world of tomorrow can learn from
the world of today. O. N. Solbert in
"Image" (Eastman House Journal)

and entry into the water form the main
stages of an executed dive.

Springboard diving, however, re-
quires preliminary training in the
standing front dive from the edge of
the pool and land drill to correct
feet and arm movements in the take-
off. A number of divers go through
a series of exercises on land and on
the springboard to illustrate the im-
portance of the full extension of feet
and ankles to achieve maximum spring
in a well-executed dive and to demon-
strate how the hurdle becomes the
important transition between the ap-
proach and the take-off. The narrator
in turn explains that the resulting
additional height requires more bal-
ance and control.

The forward dive is then examined
closely with special emphasis on the
master swan and running front dives.
Included in the demonstration of the
essential components of the *forward
dive are also common faults, such as
lack of sufficient height in take-off,
body too far forward, arms and ankles
not extended, back excessively arched,
and lifting of hips to the height posi-
tion. Three dives the one and a
half summersault, the running front
dive with a one-half twist, and the
half gainer well executed, end this
sequence.

The last sequence deals with the
backward dive. The narrator states

that the requirements and stages as
listed above apply equally to this par-
ticular dive. A variety of dives in-
cluding the back jackknife, the cut
away, and the backward summersault
front position, illustrate the position
of the feet on the springboard, the
coordination of arms and legs in the
take-off, and the arching and move-
ment of the body. In addition, per-
formers portray a number of faults
in the back dive and follow up witli
one that is correctly executed.

APPRAISAL

The committee felt that this film
would be of considerable value to
college and community groups train-
ing in the fundamentals of spring-
board diving techniques. The mem-
bers decided that, though the film
contains female demonstrators exclu-
sively, its worth as an instructional
tool with male groups would not
necessarily be diminished. The slow
motion and stop photography give
effective support to the demonstra-
tions, while the quality of color is
better than average. The narration,
used mostly as an explanatory device,
is not overworked but remains per-
tinent and subsidiary to the visuals.
At one point in the film, unfortu-
nately, more careful editing might have
removed a number of blank frames
that interrupt the action for a frac-
tion of a second. In the main, how-
ever, the film with the gracefulness,
precision, and all-round masterful dem-
onstration of the performers succeeds
in generating a feeling of sincere ad-
miration on the part of the audience,
and consequently can be used to moti-
vate as well as to instruct.

Man, you Ought
to try it!

No tough sleddin' in your classrooms when you present occupational
information the dramatic, interesting way . . . with YOUR LIFE WORK Films.

Quickly, and without leaving the classroom, motion pictures pro-
ject your students into the hustle and bustle of American business
and industry ... at low cost, and in minimum classroom time.

Independent educational research in group guidance techniques shows YOUR
LIFE WORK Films to be more effective, practical than field-trips or printed
materials.

Write for information . . . and visit Booth 1-4 AASA, Atlantic City

CARL F. MAHNKE PRODUCTIONS

215 East Third Street

Des Moines 9, Iowa

February, 1954

nnouncina...

A NEW motion picture on
Normal Menstruation

Molly
Grows Up

For presentation to girls

nine to fifteen years of age

I6mm., sound, black and

white

15 minutes in length

For preview and rental and
purchase information, please
write:

MEDICAL ARTS
PRODUCTIONS

(formerly Medical Films, Inc.)

116 Natoma Street, San Francisco 5

or
1 1 West 42nd Street, New York 36

At Atlantic City

At the A.A.S.A. Exhibits

Be sure to visit
Booth 1023

Ask about the latest plan

of the Department of Audio-
visual Instruction, National
Education Association
which provides a

COMPLETE AUDIO-VISUAL

EDUCATION GUIDANCE

SERVICE

for each Individual school

on the basis of DAVI

institutional membership,

including

EDUCATIONAL SCREEN
The Audio-Visual Magazine

And be sure to visit the DAVI
School Building Exhibit in the
Architectural Section in the Audi-
torium basement, also.

Looking at the literature

FILMS IN PSYCHIATRY, PSYCHOL-
OGY, & MENTAL HEALTH by
Adolf Nichtenhauser, Marie L. Cole-
man, and David S. Ruhe, Medical
Audio-Visual Institute of the Associa-
tion of American Medical Colleges.
Published by Health Education Coun-
cil, Number 10 Downing St., New
York 14, N. Y. 1953. 269 pages. $6.00.
This volume is an authoritative and
practical review-manual that should
prove indispensable to anyone using
films on the mind in academic teach-
ing or popular education. It presents,
in well-organized and readable form,
the results of an exhaustive study of 51
representative films conducted by the
Medical Audio-Visual Institute of the
Association of Medical Colleges.

Preceding the reviews, which form
the core of the volume, are four brief
chapters constituting a guide to the
use of the book: a discussion of the
value of the film medium for present-
ing material on the mind, directions
for using films in teaching psychiatry,
and a history of psychological motion
picture*. Together these chapters pre-
sent a body of guiding principles for
the production, study, and use of films
in this field.

Also included in this comprehensive
book are an eight-page Gallery of
Scenes that gives the flavor of the films;
a Supplementary Film List of 50 addi-
tional titles, with brief descriptive
notes on each; an Audience Guide,
showing in tabular form the groups
for which each of the basic 51 films is
most suitable; and a Subject-Matter
Index, containing film references to
such topics as "battle neurosis" and
"overprotection."

The films selected for study fall into
three categories: technical films for
professional groups in general medi-
cine, psychiatry,, nursing, psychology,
etc. (e.g., Activity Group Therapy);
non-technical films for popular audi-
ences, interpreting life experiences
(e.g., Palmour Street); and films that
have both popular and professional
uses (e.g., The Feeling of Hostility).
(It seems to the writer that the reviews
of the films might well have been
grouped under these headings instead
of being given in alphabetical order.)

Each film was screened, discussed,
and evaluated by at least three sep-
arate panels consisting primarily of
authorities in medical and educa-
tional fields from the Medical Audio-
Visual Institute, Columbia University
Teachers College, the New York State
Psychiatric Institute, and the Boston
University School of Medicine. The
resulting reviews present: (1) a sum-

mary of content and evaluation for
ready reference; (2) data on produc-
tion and distribution (running time,
writer, consultant, sources, etc.); (3)
content description: a full account of
action, story line and sound; (4) criti-
cal appraisal of content, presentation,
and general effectiveness in terms of
style, direction, scientific accuracy, im-
pact, etc.; and (5) utilization: question
of discussion leader, type of audience,
and value for each.

This volume is far more than a cata-
log of films or even a collection of
reviews. It presents an integrated and
astute study of an important area of
thought and presentation, and estab-
lishes critical and constructive stand-
ards of the highest order.

It is at the same time a practical
manual for constant use. The Reviews
and the Audience Guide will expedite
selection of films, cutting down on time
and money spent in previewing; the
pooled comments of the specialists pro-
vide provocative commentaries that
can serve as guides for teaching and
discussion.
-ROBERT M. GOLDENSON, Ph.D.

Dept. of Psychology and Philosophy
Hunter College, New York City

USING RADIO IN THE CLASS-
ROOM. Bulletin of the California
State Dept. of Education, Vol. XXII,
No. 4, February, 1953. 32 pages. Write
to State Dept. of Education, Sacra-
mento, Calif., for information about
price and availability. Attractively
illustrated and readably written, this
bulletin is designed to help California
school administrators, supervisors, and
teachers make increasingly effective
use ol radio as a tool of classroom in-
struction. In his Foreword, Superin-
tendent of Public Instruction Roy E.
Simpson points out that much of the
information regarding radio has simi-
lar applications for television.

The book was prepared by Francis
W. Noel, George W. Ormsby, and
Harry J. Skelly of the California Bu-
reau of Audio-Visual Education. Illus-
trations are by Bessie Peirce Heller,
also of the Bureau.

STEREOSCOPIC TRANSMISSION

by Raymond Spottiswoode and Nigel
Spottiswoode. University of California
Press, Berkeley and Los Angeles. 1953.
177 pages plus appendices. S6.00. This
book is announced as the "first book
ever published which deals exclusively
with 3-D motion pictures." It is a de-
tailed explanation of the theory of
stereoscopic transmission and its ap-
plication to the motion picture.

Educational Screen

Records

on review

by MAX U. BILDERSEE

Records for review should be sent
directly to Max U. Bildersee, 36
Holmes Dale, Albany 3, New York.

"U N U S U A L," "outstanding," and
"worthwhile" are all good words but
they hardly do justice to the rare
authentic audio documents recently
released by Audio Classroom Services
(323 Franklin Street, Chicago). Their
series on "American Government" are
1'ar and away the finest we have heard
that deal with the three branches of
the federal government.

The United States Constitution is
given life and meaning in the language
of the student. This is not the very
practical and yet unrealistic interpre-
tation of words and their meanings as
set down in the textbook. This is not
the theory expounded and expanded
that was taught and is being taught
in American schools. This is real, this
is honest, this is American government
as it exists, as it is practised, as it re-
lates to the lives of each of us stu-
dent and teacher as it mirrors Amer-
ican life and our changing social and
economic concepts.

The disc dealing with "The Legis-
lative" phase of government gives a
down-to-earth view of the political
parties, American politics, the selec-
tion of candidates for office, the mean-
ing of representation, the "inside
story" of how a bill becomes a law;
it discusses some of the rules that
Congress has adopted in its own or-
ganization. Each aspect is thought-
fully treated, carefully explored,
written and presented with dramatic
impact which will undoubtedly appeal
to junior and senior high school stu-
dents studying their local, state and
national law-making bodies. This re-
cording attempts successfully to an-
swer such questions as: "What makes
for a good Congressman? Must he be
an angel or a villain; a mentally in-
competent or a genius? Can he have
just 'good common sense'?" And then
there is the question, "Whom does he
represent individuals, groups, the
nation, his political supporters?"

Certainly the Executive Department
is an important third of the American
legislative scheme. What is the Execu-
tive Department? What does it do?
Does it influence legislation? Does it
lobby for a specific program or against
specific bills? Does the Executive De-
partment influence legislation? How?
These and many other essential ques-
tions concerning the government are
answered not in the dry, lecture or
dais manner but through carefully

explored, prepared and presented
dramatizations.

This second disc dealing with "The
Executive" discusses and illustrates the
Executive Department in its relations
with the Legislative branch both indi-
vidually as elected representatives and
potential candidates and collectively
as the fundamental law-making body
of American government.

There is discussion of foreign policy
and who makes it. To implement this
facet of government, the history of the
Monroe Doctrine and some of its
growth and implementation through
presidential interpretation is given in
some detail. The President is de-
scribed as "a leader in foreign policy"
because it is never made without his
agreement.

Who is a bureaucrat? Is it good or
bad to be one? How may you become
one? The problems of the government
employee are explored. Then, too, the
results of vociferous expression of pub-
lic opinion are traced in the story of
"Target: Nine Old Men" which was
formally known as "The Supreme
Court Reorganization Bill of 1937."
Students have an opportunity to recall
and relive that dramatic episode in
American History.

Finally, the "Court and Constitu-
tion" aspects of American Government
are explored. Here is the story of
how the court became supreme, and
over what it is supreme. Three im-
portant Supreme Court cases are re-
counted accurately and with dramatic
dexterity. They are "Marbury versus

Madison," whkh defined certain Su-
preme Court Powers; the action of the
court in reversing an earlier decision
and in upholding state minimum wage
laws: and finally the court action in
deciding against the administration in
the great steel case of 1952 when
Justice Black, speaking for the entire
court, read an historic lecture on the
unconstitutionally of the doctrine of
inherent Presidential powers.

Our enthusiasm for these records
cannot be fully expressed other than
by saying that they are wholeheartedly
recommended to all schools for in-class
listening as well as for outside listen-
ing. They are more useful than any
other material we have seen or heard
on this subject for junior and senior
high school students.

SPEED

RECORD AND
TRANSCRIPTION PLAYERS

FOR EVERY PURPOSE

High Fidelity Versatile Low Priced

Ask For Our New Catalog

AUDIO-MASTER CORP.

17 East 45th St., New York 17

a/ie

I lltytk+n
a biemeriaauA, bit!

LISTEN l\ll DO SERIES

ALBUM ABC-1 The Friendly Train and Ginger and Josh
ALBUM ABC-2 The Handsome Scarecrow and The Little Clown
ALBUM ABC-3 The Panda Balloon and Joco, the Dancing Monkey
AI.BtM ABC 4 Work and Sing; Play and Sing; and My Shadow
In each album: 2 ten-inch vinylite records, 78 rpm
Teacher's Manuals

These popular recordings encourage all children, regardless of
abilities, to work for better posture, rhythmic co-ordinated move-
ment, and grace in creative expression. The music features
full, rich tones, and the stories are appealing in their simplicity.

Audio Education, Inc.

55 Fifth Avenue
New York 3, N. Y.

February, 1954

Writing for more information? Mention EDUCATIONAL SCREEN.

^udio-visual trade review

NEW TECHNIQUES

Cinemascope for Amateurs

That the marvels of wide-screen
Cinemascope will not be barred to
amateur movie-makers was demon-
strated recently before an audience of
more than 200 members of the Society
of Motion Picture and Television En-
gineers at the Bell & Howell Company
plant in Chicago.

l-'or the- advanced amateur who has
readied the stage of film projection
with magnetic sound, there is now the
promise of future 16mm reduction
prints from Cinemascope Technicolor
subjects like The Robe. Of course it
will be a long time if ever before
such films can be rented for school and
church use, but the technical basis for
making the prints and projecting them
in "amateur" 1 6mm width is here now.
Equally impressive and indicative of
things to tome was the demonstration
of two test films shot in Kodachrome,
with magnetic sound, on a 16mm cam-
era fitted with an anamorphic tele-
scope-type supplementary lens mount-
ed in front of regular amateur-type
camera lenses ranging at present from
the 1-inch fl.9 to the 4-inch {4.5. One
series of scenes, beautifully photo-
graphed from a moving automobile in
Washington, D. C., and processed by
Byron Company laboratories in that

eity, gave an utterly astonishing illu-
sion of driving a full-vision modern
car through the capital's busy traffic.
Another test film demonstrated not
only Cinemascope - type wide - screen
16mm photography but also a major
measure of stereophonic sound. Mere-
ly by using two microphones spaced
tp obtain a binaural recording on
twin channels, perfect illusion was ob-
tained of dialog from opposite sides
of the screen, merging into composite
sound when the speakers came to-
gether at the center. A tractor mowing
machine moving from one side of the
wide screen to the other carried its
directional sound with it, as did an
airplane in taking off and landing.

The importance of making this ad-
vanced type of equipment available to
advanced amateurs and semi-profes-
sionals was stressed by the engineers.
Many new techniques and uses have
to be learned the "hard way," as in the
case of the motion picture itself, and
amateurs can help. WFK

NAVA NEWS

Regional Associations

Three new regional audio - visual
dealer associations were formed recent-
ly, according to an announcement by
Don White. Executive Vice President
of the National Audio-Visual Associa-

THEY'RE BLACK-

Opaque Black-

THEY DARKEN
ANY ROOM

Beckley-Cardy

LIGHTPROOF

SHADES

Make any room

into a good projection room.

Beckley-Cardy Co.

These heavy-weight canvas
shades dull black and com-
pletely opaque effect de-
cided savings in adapting
rooms to visual teaching pro-
grams.

With or without
lightproof housing.

Ask your regular supply house
or write for Bulletin 54.

1632 INDIANA AVE.
CHICAGO 16, ILL.

tion, with which the new organizations
are affiliated. The new groups are the
Michigan Audio-Visual Dealers Asso-
ciation, Western Missouri Audio-Visual
Dealers Association, and Buckeye
Audio-Visual Dealers Association of
Ohio.

A total of six state and regional
audio - visual dealer associations are
now active as affiliates of NAVA. These
include the Pacific Northwest A-V
Dealers Association, the "granddaddy"
group, which has been active for five
years or more; the Rocky Mountain
A-V Dealers Association, and the Penn-
sylvania A-V Dealers Association.

PEOPLE

EB's Everote Promoted

Warren Everote has been promoted
to the position of director of research
and production of Encyclopaedia Bri-
tannica Films, Inc., it was announced
recently by Maurice B. Mitchell, presi-
dent of the company.

Mr. Everote has been a producer
with the Britannica Films enterprise
lor almost eight years. While taking
his Ph.D. at Teachers College, Colum-
bia University, he began working for
EB Films under Melvin Brodshaug,
who is retiring as vice-president in
charge of production. Mr. Everote
continued to work for the company on '
a contract basis until he was commis-
sioned in the Navy in 1943. He served
for three years in the Bureau of Ord-
nance in the Navy Department, Wash-
ington, D. C., and on his return to
civilian life moved to the Britannica
Films headquarters in Wilmette, Illi-
nois as a producer.

EQUIPMENT

New Viewlex Models

Viewlex has introduced three new
combination 214 x 214 and 2 x 2 slide
projectors. Model V-5 is a 150-watt,
convection - cooled projector, Model
V-53 is 300-watt, motor-fan-cooled, and
Model V-55 is 500-watt, motor-fan-
cooled.

The new 214 x 2|4 models are all
of die castings, finished in double
baked hammertone gray. All other
parts are plated and rustproofed
throughout.

The new models are said to give
clear, brilliant, corner to corner pro-

Educational Screen

jection. The motor-fan-cooled units
feature the "Venturi-Airjector" cooling
system. The "light multiplier" optical
system consists of three condensing
lenses and a heat filter. All are
mounted on individual coded lens
holders. The projectors are available
with either a 5" or 6y<," coated color-
corrected, anastigmat professional lens.

A 214 x 214 carrier is furnished with
the projector, and the 2x2 carrier
may be had at additional cost. The
214 x 2|4 carrier features the "E-Z-Ject"
push button for ejection of the last
slide.

The new Viewlex "Change-O-Matic"
automatic slide changer for 2x2 slides
can be accommodated.

These units contain two switches.
One switch controls the lamp and one
the fan. The lamp switch is inopera-
tive unless the motor is first turned on.
This is said to insure safety of the
ilm and prolong the life of the lamp.
.Vhen projection is stopped, the lamp
.iay be turned off, and the motor al-
>wed to run until the entire unit is

Ampro Unveils "Super Stylist"

\mpro Corporation unveiled the
:.au.-st model in its line of 16mm "Styl-
ist" motion picture projectors recently,
the single-case, lightweight "Super
Stylist."

With new features said to provide
"true theatre presence," the projector
offers flexible sound volume sufficient
in range for use in both classroom and
auditorium.

Advanced sound performance is ac-
complished by a 10-watt amplifier
.'living a 10-inch speaker which is
built into the projector case-cover.
This case-cover itself forms an en-
larged "base reflex" type baffling
chamber.

Weighing only 22 pounds, the pro-
jector can be lifted, moved, and set up
by teacher or students, church director,
or business executive.

For further information, write
Ampro Corporation, 2835 N. Western
Ave., Chicago, Illinois.

The Pronunciary

A new audio aid to language teach-
ing, the "Pronunciary," was demon-
strated at the annual meeting of the
Modern Language Association, held in
Chicago December 28-30, 1953.

The Pronunciary is a compact, rec-
tangular machine, about the size of a
small table radio, which "plays" words
recorded on tape stripped to cards
about 10" x 4" in size.

For English teaching there is avail-
able a set of 250 individual words and
phrases printed on the cards with the
accepted pronunciation of the words
recorded on the strip of tape attached

to the card. In the language laboratory
the student can insert the cards into
the machine, a simple operation, and
listen to the same card or any assort-
ment of cards as often as he likes and
whenever he likes. Since the cards can
be easily filed, it is easy for the teacher
or student to choose just the words or
phrases or sentences on which prac-
tice is needed.

Cards for foreign languages -
French, Spanish, German, etc. give
the correct pronunciation and intona-
tion for words and groups of words.

According to reports, the Pronunci-
ary has also been found very useful in
speech correction work.

For further information about the
new audio aid to language teaching,
write Paul Moore, School of Speech,
Northwestern University, Chicago, Ill-
inois.

Redesigned Da-Lite

Da-Lite Screen Company has rede-
signed one of its most popular port-
able projection screens. The new
"Push-Button" Hilo projection screen
is available in the three most popular
sizes for maximum viewing distances
of 25 feet (50 x 50" screen) to 35 feet
(70 x 70" screen).

The Hilo screen is said to be in-
stantly adjustable on its tripod sup-

RflDlflNT LUMPS

RADIANT LAMP CORPORATION, 300 Jelliff Avenue, Newark 8, N. J.

lor PROJECTION

SOUND REPRODUCTION AERONAUTICAL SPORTS LIGHTING AND GENERAL SERVICE

MOTION PICTURE PRODUCTION
1AL SERVICE RECTIFIER BULBS

February, 1954

Writing for more information? Mention EDUCATIONAL SCREEN.

KINESIS

presents
EXPERIMENT

FILM AND MUSIC
Number Three

A translation of music into animate
visual images. The purpose of the film
is to present a series of pictures which,
though generally related, allow for as
much interpretation by the audience as
does the music which they parallel.
For high school, college and adult music
or film appreciation groups.

KINESIS, INC.

566 Commercial St.
54 West 47th St.

San Francisco
New York 36, N. Y.

ROBERT FLAHERTY presents

THE TlTAtt

Story of MICHELANGELO

Narrated by FREDRIC MARCH

"A Masterpiece" Saturday Review

\ uir Available exclusively from

Contemporary Films, inc.

13 E. 37th St., Dept. ES, New York 16, N.Y.

Meet The Sioux Indian

The life of the plains Indian including the
preparation of pemmican, use of the tepee

the m kin9 f P rCUpine

5427 W. Howard Ave., Milwaukee 14, Wis.

Just Issued

"THE MODERN FARM"

4 new Filmstrips tell the story of
Farm Mechanization in America
in the last 100 years. Suggested
for Junior- High Grades.

(Set of four $1 0.50)
PAT DOWLING PICTURES

1056 S. Robertson Blvd.
LOS ANGELES 35, CALIF

HEIDENKAMP
BIRD FILMS

Producer & Distributor Eastern Representative

HEIOENKAMP ALBERTSEN

NATURE PICTURES DISTRIBUTING CO.

538 Glen Arden Drive 1105 Pork Avenue

Pittsburgh 8, Pa. New York 28, N. Y.

port from a low screen-bottom level ol
Mi/, inches above the floor to a height
of 4614 inches above the floor, with
the screen-top level at from 66% inches
to 97'/8 inches above the floor. The
wide-angle visibility of the "White
Magic" crystal-beaded projection sur-
face provides a wide range of com-
fortable viewing for the audience 1 , ac-
cording to the announcement.

Detailed information about the
screen is available from Gilbert Heck,
Da-Lite Screen Company, 2711 N. Pu-
laski Road, Chicago 39, Illinois.

Tape Player

A mechanism designed solely for
playing magnetic tapes is now offered
by the Pentron Corporation (664 N.
Michigan Ave., Chicago). According to
the announcement, this is the only
standard, stock design play-back unit
currently available.

Elimination of the recording mech-
anism is said to make it possible to
offer the new unit at a price much
lower than the combination of re-
corder and player and thus to enable
many schools to add extra tape players
for classroom use.

The new player - Model PB-A2
measures 113/ 8 inches by 9?4 inches
and weighs 22 pounds.

Pictured here is the new tape player

being used for dictation in the Moser
Secretarial School. Chicago. Jean May-
hew is the instructor.

TV-T for Kinescope
Recording

An announcement by Berndt-Bach
(7377 Beverly Blvd., 'LOS Angeles)
states that Auricon cameras are now
available with the new Television
Transcription "TV-T" shutter for
kinescope recording. This develop-
ment is said to make it possible to
photograph TV pictures from a re-
ceiver tube, occurring at 30 frames per
second, onto 16mm motion picture
film at the rate of 24 frames per sec-
ond without loss of picture quality.

Auricon cameras equipped with the
TV-T shutter film regular live-action
1 6mm sound-on-film pictures without
any camera modification. The Auricon
"Super 1200" camera can kinescope-

record a continuous 30-minute pro-
gram using 1200-foot film magazines.
The TV-T shutter is said to work
equally well with negative-positive or
reversal film.

Berndt-Bach announces that Auri-
con 50-foot kinescope TV-T demon-
stration films are available on loan to
TV film producers and station man-
agers.

Here Come the TV Midgets

RCA's new low-cost, four-pound tele-
vision cameras are now being dis-
played and demonstrated in sales-
rooms of electronic parts distributors
throughout the country. Assembly
workers are shown above attaching
lens mounts and securing outer hous-
ings on the cameras as the first models
move off assembly lines at Camden,
New Jersey, plant of RCA Victor Divi-
sion. Compact control units which
complete the "TV Eye" system are seen
up-ended in left background.

The midget closed-circuit TV sys-
tem is expected to find wide use in
education and industry.

Vue-File Mounts for Slides

Burke & James (321 S. Wabash, Chi-
cago 4) has announced a new 12-slide
cardboard album for filing 2x2 slides
and for easily locating slides - since
twelve slides may be- seen at a glance
by holding the "Vue-File" in normal
indoor light. The file fits any standard
notebook. The system can 'be easUj
expanded by inserting additional 12-
slide mounts.

LP Sound-Filmstrip Projector

The DuKane Corporation has an-
nounced production of a sound film-
strip projector using long-playing rec-
ords to give an uninterrupted, fully
automatic 22-minute presentation or
lecture. The entire equipment fits
nilo a portable container about the
size of the average bride ase. Further
information about the DuKane "Micro-
matic," Model 14A290, can be obtained
by writing to Robert Shoemaker. Man-
ager, Audio-Visual Division, The
DuKane Corporation, St. Charles,
Illinois.

Educational Screen

MOTION PICTURES

Motion pictures announced here are
16mm, sound, and black and white,
unless otherwise noted. Write directly
to the source /or purchase and/or
rental prices or consult your local
audio-visual dealer. Sponsored free-
loan films are so marked.

D NATIONAL FOUNDATION FOR
INFANTILE PARALYSIS, Division of
Public Education, 120 Broadway, New
York 5, N. Y.

Born in the White House (26 min.)

traces the progress of medical re-
search in the conquest of disease, with
particular emphasis on developments
in polio research and the history of
man's fight against this disease. Free
loan.

D AETNA LIFE AFFILIATED COM-
PANIES, Public Education Dept.,
Hartford 15, Conn.
Toward a Generation of Safer Drivers

(14 min.) shows how a forward-look-
ing board of education and a public-
spirited business organization co-
operate to introduce a new classroom
teaching aid, the Drivotrainer, which
enables a single teacher to give behind-
the-wheel instruction to as many as 30
students simultaneously. Free loan.

Look Who's Driving (8 min.) car-
toon by the United Productions of
America offering insight into the major
cause of highway accidents improper
attitudes. Free loan.

D NATIONAL EDUCATION ASSO-
CIATION, National Commission on
Safety Education, 1201 16th St., N. W.,
Washington 6, D. C.

Fire in Their Learning (19 min.,
color) teacher education film show-
ing how schools teach the fundamen-
tals of fire prevention; the story of the
film is an actual account of the study
of fire made by a fourth-grade class.

D CORONET FILMS, 65 E. South
Water, Chicago 1, 111.

American Literature (-1 subjects,
each 10 min. color or black and white)

high-school series covering the major
periods and trends in American litera-

WORLD FAMOUS

synchronous
gattit film
recorder for
motion pictures

and television

ture and highlighting some outstand-
ing American authors. Titles: Colonial
Times, Revolutionary Times, Early
National Period, The Realists.

D MEDICAL ARTS PRODUC-
TIONS, 116 Natoma St., San Fran-
cisco 5, Calif, or 1 1 W. 42nd St., New
York 36, N. Y.

Molly Grows Up (15 min.) presents
the story of a 13-year-old as she expe-
riences her first menstrual period and
learns something of its significance.
Production financed in substantial part
by Personal Products Corporation.

D BRANDON FILMS, 200 W. 57th
St., New York 19, N. Y.

Painting a True Fresco (16 min.,
color) shows the "true fresco" proc-
ess (painting on wet plaster) as done
by the American artist, Henry Varnum
Poor; the Land Grant Mural at Penn-
sylvania State College is seen painted
through all its stages.

D CENTER FOR MASS COMMU-
NICATION, Columbia University
Press, 1125 Amsterdam Ave., New
York 25, N. Y.

Your Body Speaks (12 min.) dem-
onstrates how posture expresses age,
personality, health; effects of balance
and body control and comfort; effects
of muscular tensions.

D FORD FILM LIBRARY, 16400
Michigan Ave., Dearborn, Mich.

Technique for Tomorrow (23 min.)
tells the story of an industrial com-
munity of tomorrow in which ma-
chines do all the hard work. Free
loan.

D SINCLAIR REFINING CO., Sales
Promotion Dept., 600 Fifth Ave., New
York 20, N. Y.

500,000 to 1 (25 min., color) - illu-
strates the various destructive insects
the farmer must fight against and the
friendly insects that help him; shows
help available from government and
private industry and methods of insect
control. Free loan.

D GOLDEN KEY PRODUCTIONS,
P. O. Box 2192, Terminal Annex, Los
Angeles 54, Calif.

A Story of Whole Grain Breads (20

min., color) explains principles of
whole grain bread making; sponsored
by the Oroweat Baking Company.
Free loan.

D AMERICAN IRON AND STEEL
INSTITUTE, 350 Fifth Ave., New
York 1, N. Y.

Chemistry of Iron (color) - - de-
scribes the iron-making process. Free
loan.

The American Geographical Society's Color
Filmstrips on the World. Through Herbert E.
Budek Company, Inc., 55 Poplar Ave., Hack-
ensack, N. j.

can be found in front
of the camera rather
than behind it, in...

Wonders in the Desert

Wonders of Plant Growth

for preview prints write:

Murchill-Wexler

801 NORTH SEWARD ST., LOS ANGELES 38. CALIF

FILM

PRODUCTIONS

"FIBERBILT" CASES

"THEY LAST INDEFINITELY"
Equipped with steel corners, steel card
holder and heavy web straps.

Only original Fiberbilt Cases bear this

Trade Mark

Your Assurance

of Finest Quality"

For 16mm Film
400' to 2000' Keels

Sold by All Leading Dealers

February, 1954

Advertisers welcome inquiries, just mention EDUCATIONAL SCREEN.

iniversiti

who is a
Perfectionist..

What you're shooting for, in the
long run, is frequent showings of your
film and sustained audience interest.

But, if your prints are untreated, they are
bound to pick up scratches and other damage
which show up on the screen, and thus
irritate the audience.

To avoid this, the producer who is a perfectionist
includes Peerless-treatment in his budget.

The cost is negligible - the results gratifying.
Write for information

PEERLESS

| FIIM PROCESSING CORPORATION
UJ Will 4,h mm. NEW YO<K J, Ntw ro
t I1WAID imiT. HOUYWOOO II, CAUf.

Splices Not Holding?
Try

WRITE FOR SAMPLE

Camera Equipment Co.

1600 Broadway. New York 19, N. Y.

A NEW SERIES OF
2" x 2" KODACHROMES!

These close-ups of animals, birds, plants
and minerals are stimulating, creating a
real appeal to study the wonders and
beauties about us.

Write for our current price list

VISUAL AIDS LIBRARY

601 E. Rollins Ave. Orlando, Florida

UNCOMMON CLAY

18 minutes $100

A film of unusual quality produced by
Thomas Craven. An introduction to the
work of six distinguished American artists
Donald De Lue, Wheeler Williams, Paul
Manship, Cecil Howard,
James Earl Fraser and
Laura Garden Fraser.

INTERNATIONAL

FILM BUREAU INC.

57 E. Jackson Blvd.

Chicago 4

SCIENCE FILMSTRIPS

SINCE 1931 SINCE 1931

MADE BY TEACHERS FOR TEACHERS
BIOLOGY HEALTH & SAFETY

PHYSICS GENERAL SCIENCE

CHEMISTRY MICROBIOLOGY

NEW Elementary Science Series in
Brilliant Spectracolor

VISUAL SCIENCES

Box 599E

Suffern, New York

FILMSTRIPS

35mm filmstrips announced here are
silent and black and white, unless
otherwise noted. Write directly to the
source for purchase price and further
information.

D MUSEUM EXTENSION SERV-
ICE, 10 E. 43rd St., New York 17,
N. Y.

Our National Capitals (color) pic-
torial history of the cities that have
been capitals of the United States of
America.

Jefferson and Monticello (color)
story of Jefferson's monumental home.

D EYE GATE HOUSE, 2716 41st
Ave., Long Island City I, N. Y.

The Story of the American Indian

(9 filmstrips, color) covers all aspects
of Indian life.

Growth of Our Nation, 1783-1860

(9 color filmstrips) artwork illustrates
history and growth of the United
States of America.

D ENCYCLOPAEDIA BRITAN-
NICA FILMS, 1150 Wilmette Ave.,
Wilmette, 111.

Heroes of Long Ago (6 filmstrips,
color) middle-grade presentation of
the life and times of Marco Polo, King
Alfred, Charlemagne, Leif Ericsson,
Roland, and King Arthur.

The Earth and Its Wonders (6 film-
strips, color) middle-grade presenta-
tion of basic geologic concepts. Titles:
Story of Rivers, Story of Underground
Water, Story of the Air, Story of Ice
and Glaciers, Story of Mountains,
Story of Volcanoes.

Children's Stories of Famous Ameri-
cans (6 filmstrips, color) - dramatic
accounts of lives of Captain John
Smith, Ethan Allen, William Penn,
Peter Stuyvesant, Paul Revere, John
Paul Jones.

D PAT DOWLING PICTURES, 1056
S. Robertson Blvd., Los Angeles 35,

Calif.

Evolution of the Modern Farm (4

filmstrips) tells the story of the great
changes that have taken place in
American agricultural methods during
the last 150 years.

D SOCIETY FOR VISUAL EDUCA-
TION, 1345 W. Diversey Parkway,
Chicago 14, 111.

St. John's Catechism (color, with 78
rpm recordings) synchronized records
and filmstrips present the lessons of
the Revised Baltimore Catechism.

RECORDINGS

D EDUCATIONAL DANCE RE-
CORDINGS, Beardsley Station, P. O.
Box 6062, Bridgeport 6, Conn.

Social Dancing Made Easy (33 1/3
rpm) the first release on the Fox
Trot includes four lessons and a sum-
mary of all lessons and music.

D OXFORD UNIVERSITY PRESS,
114 Fifth Ave., New York 11, N. Y.

The New Fundamental French
(33 1/3 rpm) French-language teach-
ing record designed to help students
perfect their French pronunciation and
their understanding of the spoken lan-
guage.

D FREDA MILLER, 8 Tudor City
Place, New York 17, N. Y.

Music for Rhythms and Dance (3

10-inch 78 rpm records)-13 short
rhythm pieces for use with pre-school,
elementary, and junior high children.

D NEWPORT PUBLICITY COM-
MISSION, City Hall, Newport, Rhode
Island.

Newport Packet (40 2x2 color
slides) views of the historic attrac-
tions and scenic charms of the city
of Newport. Free loan. (Also avail-
able for free loan is a 16mm color mo-
tion picture, Newport, Playground of
America.)

D FRED VISSER CO., 234 N. Juan-
ita, Los Angeles 4, Calif.

The Bible in Pictures (800 2x2 color
slides)-events of the Bible pictured
by well-known artists. Slides are
mounted in plastic for better protec-
tion and longer wear, according to
the announcement.

CATALOG,

THE BIGGEST OF ITS KIND!!
80 pages, more than 1000
different items with prices
and over 300 illustrations. For
Producers, TV Stations, Film
Labs., Industrial Photography,
Educational Institutions, etc.

morion

PICTURE

pRoaumon

EQUIPmEHT

S.O.S. CINEMA SUPPLY CORP., Dept.AB, 602 West 52nd St., N. r.t

Educational Screen

A-V NEWSNOTES

AMERICAN FILM FORUM, 516

."nil Ave., New York, N. Y., has added
to its advisory board four outstanding
educators: Grace L. Stevenson of the
American Library Association, Ernest
Tiemann of. the University of Texas,
Malcolm S. Knowles of the Adult Edu-
cation Association, and Irene Cypher
of New York University . . . 1954 is
the centennial year of George East-
man's birth and plans for the celebra-
tion are being made by the GEORGE
EASTMAN HOUSE OF PHOTOG-
RAPHY, the educational museum me-
morial to him located in Rochester,
New York. The Eastman House has
requested the Postmaster General to
consider issuing a commemoratory cen-
tennial stamp.

"Let's All Get Together"

BROTHERHOOD WEEK

FEBRUARY 21 28

Program aids may be secured from
the National Conference of Chris-
tians & Jews, Commission on Edu-
cational Organizations, 381 Fourth
Ave, New York 16, N. Y.

A new organization in the medical
film field, the AUDIO-VISUAL CON-
FERENCE FOR MEDICAL AND
ALLIED SCIENCES, was recently es-
tablished at a meeting held in Chicago
by eleven national medical, dental,
health and allied associations or agen-
cies. The executive committee mem-
bers, elected for 1954, are: Chairman,
David S. Ruhe, M.D., Medical Audio-
Visual Institute; Vice Chairman, J.
Edwin Foster, Medical Audio-Visual
Institute: Secretary-Treasurer, Helaine
S. Levin, American Dental Associa-
tion: Helen Yast, American Hospital
Association, and Harry K. Kingman,
Jr.. American Veterinary Medical As-
sociation.

KNOWLEDGE BUILDERS
CLASSROOM FILMS, Visual Educa-
tion Center Bldg., Floral Park, New
York, has announced that the price of
all KB films is now $50 per reel, $90
far two reels thanks to rising cost of
materials, supplies, etc. . . . The con-
tinuation of the "This is the Life"
TV series of the Lutheran Church-
Missouri Synod into its 3rd successive
year was assured by the signing of
a contract between Lutheran TELE-
VISION PRODUCTIONS and FAM-
ILY FILMS, producer of the TV
"religious hit."

Early motion pictures reproduced
on durable, modern film were intro-

duced at the LIBRARY OF CON-
GRESS in Washington and at the
ACADEMY OF MOTION PICTURE
ARTS AND SCIENCES in Holly-
wood last November. The preview
marked successful completion of ex-
periments to convert the paper prints
of early films to 16mm celluloid, thus
making available once again the his-
toric, significant, and interesting mo-
tion pictures produced between 1849
and 1912 . . . "Picture Parade," called
"the first educational comic-type mag-
azine ever published for the exclusive
use of elementary school students,"
has been introduced by GILBERTON
COMPANY, 101 5th Ave., New York
3, N. Y.

TRANS-WORLD FILMS, 2209 E.
75th St., Chicago 49, 111., is making
available a series of outstanding for-
eign language feature films (with
English titles) for classroom use at
special reduced rental rates. The first
two features are French: Sylvie and
the Phantom and Night Is my King-
dom. . . CONTEMPORARY FILMS,
13 E. 37th St., New York, N.Y., has
acquired for distribution the last
Flaherty classic Louisiana Story. Also
available through Contemporary are
the new Italian art film // Demoniaco
Nell 'Arte and a new 16mm color film
tracing the growth of the artist Renoir.

The Audio-Visual Department of
ILLINOIS STATE NORMAL UNI-
VERSITY, Normal, Illinois, has de-
veloped a "Trouble Location and
Remedy Chart" for motion picture
projectors and tape recorders. For
more information, write A-V Director
Murray Lincoln Miller.

A-V CONFERENCE CALENDAR

FEBRUARY 12-26 First International
Film Festival of Brazil, Sao Paulo.

FEBRUARY 13-18 American Asso-
ciation of School Administrators National
Convention, Atlantic City, N. J.

MARCH 2-5 Department of Audio-
Visual Instruction 1954 Convention,
Hotel Morrison, Chicago, III.

MARCH 5 Ninth Annual Radio Cr
Television Conference, Kellogg Center for
Continuing Education, Michigan State
College, East Lansing, Michigan. Theme:
"The Role of Radio & Television as Mass
Media."

MARCH 7-12 Association of Su-
pervision and Curriculum Development
Convention, Los Angeles, Calif. (One-
day regional meeting of the Department
of Audio-Visual Instruction on March 6.)

MARCH 15-19 Master Photo Deal-
ers & Finishers' Association Annual Con-
vention, Conrad Hilton Hotel, Chicago.

MARCH 25-27 Western Conference
of the National Audio-Visual Associa-
tion, Hotel El Rancho, Sacramento, Cali-
fornia.

MARCH 26 Ninth Annual Michigan
Audio-Visual Conference, Grand Rapids,
Michigan. Co-chairmen: Roger Zinn,
Director of Audio - Visual Education,
Grand Rapids Public Schools, and Lewis
Saks, Director of Audio-Visual Education,
East Detroit Public Schools.

APRIL 1-3 First Annual American
Film Assembly, Conrad Hilton Hotel, Chi-
cago. Sponsored by The Film Council of
America (600 Davis St., Evanston, 111.)

APRIL 3-11 Cologne International
Photo and Motion Picture Exhibition, Co-
logne, Germany.

APRIL 4-6 -- Illinois Photographers
Association, Peoria, III.

APRIL 7-10 Institute for Education
by Radio-Television, Columbus, Ohio.

APRIL 9-10 Film Conference of the
National Audio-Visual Association, Park-
Sheraton Hotel, New York City.

eat

ROOM
DARKENING
EQUIPMENT

One unit controls

BOTH Silas Willard School, Golesburg,

daylight and darkening situations

No need for double installations.

CJ Y 1 T 1 it demonstrated at DAVI-NEA Exhibit

Morrison Hotel, Booth 43, Chicago.

MACKIN VENETIAN BLIND CO.,

300 W. 6th St.,
Momence, III.

February, 1954

Writing for more information? Mention EDUCATIONAL SCREEN.

ff 55th ANNUAL
BUR" & JAMES

CAMERA, LENS
5 || AND EQUIPMENT

CATALOGUE

96 Pages crammed with

_ ft co etc.), LeNSEb,
PROJECTORS Lighting
Equipment, Developino
Equip., Enlorgers. etc.,
for Arnoteur P'ofes-
sional in daily Scien-
tific or Industrial work.

154. Mr. While. Deot.

HERE IS A MOTION PICTURE SERIES IN
FRENCH

"ACCENT AIGU"

French Conversation Exclusively
10 Min. Per Reel

Produced in Paris, France. Practical'y De-
signed for Students of the Living French
Language. Series Includes: "L'ARRIVEE A
PARIS," "AU RESTAURANT," "COURSES
ET ACHATS."

FOCUS FILMS CO.

1385 Westwood Blvd., Los Angeles 24, Cal.

THE ONLY GUARANTEED

SCRHTCH REmouni

PROCESS FOR 16 AND 35 MM FILM

Serving for many years Universities of Notre
Dame, Wisconsin, Nebraska, Indiana, Colo-
rado, Yale and Syracuse, and State Depart-
ments of Education of Georgia, Ohio, Con-
necticut and Maryland.

Write for catalog E

rapid FILM TECHNIQUE INC.

21 West 46th Street, New York 36, N. Y.

The Museum

Filmstrip

Club

A new color filmstrip

each month Oct.

through May.

$25 for 8 color filmstrips with study guides.

Authentic, curriculum-centered

picture stories.

MUSEUM EXTENSION SERVICE

10 East 43rd St., N. Y. 17, N. Y.

you will never forget the new
color approach of

GOLDEN EARTH

new and old ways in agriculture
and soil conservation

GOLDEN KEY PRODUCTIONS INC.
P.O. Box 2991, Hollywood 28, Calif.

CLASSIFIED

Distributorship of educational, etc., films avail-
able for established distributors Radius Films
310 W. 53rd St., New York 19, N.Y.

Complete b/w and color filmstrip laboratory
service. The finest equipment for finest qual-
ity. Producers have 1 2 months to pay. Herbert
E. Budek Company, Inc., 55 Poplar Ave., Hack-
ensack, N.J.

CATALOGS & BOOKLETS

Materials listed here are available
free unless a price is noted.

D AMERICAN MEDICAL ASSO-
CIATION, Committee on Medical
Motion Pictures, 535 N. Dearborn St.,
Chicago 10, 111.

List of Films Available Through
the Motion Picture Library, American
Medical Association listing and de-
scription of 16mm motion pictures on
medical subjects. Price not indicated.

A Selected List of Films on Health
Education Reviewed in the Journal,
American Medical Association 40-
page mimeoed reviews of medical and
health films. Price not indicated.

D INTERNATIONAL FILM BU-
REAU, 57 E. Jackson Blvd., Chicago
4, 111.

16mm Film Catalogue describes and
illustrates IFB films on a wide variety
of subjects: visual education, art, music,
English and drama, languages, health,
psychology, science, etc.

Alphabetical Catalog of 16mm Films
in the IFB Rental Library includes
rental prices for all films.

D S.O.S. CINEMA SUPPLY CORP.,

602 W. 52nd St., New York 19, N. Y.
Motion Picture Production Equip-
ment 80-page catalog of film produc-
tion, editing, and projection equip-
ment with detailed descriptions of
over 1,000 items and more than 300
illustrations. Ten of its twelve sec-
tions apply to 16mm facilities.

D GATES RADIO CO., Quincy, 111.

Gates AM, FM, TV Broadcasting,

Recording ,and Communication

Equipment 240-page book with de-
tailed descriptions and profuse illus-
trations. Price not indicated.

n STANLEY BOWMAR CO., New
York 32, N. Y.

Aids to Visual Education (No. 6)
40-page catalog listing filmstrips of 17
different producers and educational
records.

D AUDIO-MASTER CORP., 17 E.
45th St., New York 17, N. Y.

Audio Equipment Catalog-describes
wide range of audio equipment from
a small low-priced phonograph to a
powerful transcription player combi-
nation with P. A. system.

D AMERICAN ASSN. FOR
HEALTH, PHYSICAL EDUC-
TION AND RECREATION, 1201
1 6th St., N.W., Washington 6, D. C.
Sports Teaching Aids: Audio-Visual
Card Catalog-new 1953 packet of 3x5
cards describing more than 150 sports
films, filmstrips, and slides Price-
$1.50.

INDEX TO ADVERTISERS

Academic Film Co 70

Albertsen Distributing Co 76

Airequipt 52

Alexark & Norsim 66

American Film Forum 68

Ampro Corp 43

Audio Education 73

Audio-Master Corp _. 73

Avis Films . 42

Beckley-Cardy Co 74

Bell & Howell Co Inside Back Cover

Beseler Co., Charles. Inside Front Cover

Brandon Films ._ 66

Burke & James. 80

Camera Equipment Co 78

Cathedral Films __ 64

Church Screen Productions 66

Churchill-Wexler Film Productions-... 77

Colburn Lab., Geo. W 52

Concordia Films.- 65

Contemporary Films 76

Coronet Films 69

Daggett Productions, Avalon..... 66

Deusing Film Productions, Murl 76

DeVry Corp 45

Dowling Pictures, Pat- 75

Eastman Kodak Co 47

Educational Developmental Laboratories 49
Electro-Chemical Products Corp 40

Family Films __ 53

Fiberbilt Case Co 77

Filmack Laboratories- 42

Focus Films Co. go

Golden Key Productions .

Heidenkamp Nature Pictures ... 76

Heritage Filmstrips. ... 66

International Film Bureau.. 78

Keystone View Co 44

Kinesis 75

Mackin Venetian Blind Co 79

Mahnke Productions, Carl F 71

McGraw-Hill Book Co., Text-Film Dept. 70

Medical Arts Productions 72

Museum Extension Service 80

National Council of Churches 64

Peerless Film Processing Corp 78

Radiant Lamp Corp. .... 75

RCA, Educational Services 39

RCA, Visual Products 51

Radio-Mat Slide Co 66

Rapid Film Technique _. 80

S. O. S. Cinema Supply Corp. 78

Society for Visual Education.... ... 41

Stancil-Hoffman Corp. 77

Teaching Film Custodians _ .. 70

Victor Animatograph Corp Back Cover

Visual Aids Library 78

Visual Sciences 73

Yale University Press Film Service- 53

Classified __ 42, 77, 80

Educational Screen

Trade Directory
For the Audio -Visual Field

FILMS

Academic Films, Inc. (PD)

516 Fifth Ave., New York 18, N. Y.

Almanac Films, Inc. (PD)

516 Fifth Ave., New York 18, N. Y.

American Film Forum (PD)

516 Fifth Ave., New York 18, N. Y.

American Film Registry (D)

24 E. 8th St., Chicago 5, III.

Association Films, Inc. ( PD)

Headquarters:

347 Madison Ave.-, N. Y. 17, N. Y.

Regional Libraries:

Broad at Elm, Ridgefield, N. J.

79 E. Adams St., Chicago 3, III.

351 Turk St., San Francisco 2, Cal.

1915 Live Oak St., Dallas 1, Tex.
Avolon Daggett Productions (PD)

441 N. Orange Dr., Los Angeles 36, Cal.
1 Bailey Finns, Inc. (PD)

6509 De Longpre Ave., Hollywood 28, Cal.
Brandon Films (D)

200 W. 57th St., New York, N. Y.
i. Bray Studios, Inc. (PD)

729 Seventh Ave., New York 19, N. Y.
Capron Travelogues (PD)

P.O. Box 773, Laramie, Wyo.
Commonwealth Pictures Corp. (PD)

723 Seventh Ave., New York 19, N. Y.
Concordia Publishing House (PD)

Audio-Visual Aids Service

3558 S. Jefferson Ave., St. Louis 18, Mo.
Contemporary Films, Inc. (PD)

13 E. 37th St., New York 16, N. Y.
Coronet Instructional Films (P)

Coronet Bldg., Chicago 1, III.
Council Films, Incorporated (D)

50 N. Main St., Homer, N. Y.
Dousing Murl Deusing Film Productions (PD)

5427 W. Howard, Milwaukee 14, Wise.
Dowling Pat Dowling Pictures (PD)

1056 S. Robertson Blvd., Los Angeles 35, Cal.

Family Films (PD)

1364 N. Van Ness Ave., Hollywood 28, Cal.

Films of the Nations, Inc. (PD)

62 W. 45th St., New York 19, N. Y.

Focus Films Co. (PD)

1385 Westwood Blvd., Los Angeles 24

Fryan Film Service (D)

1810 E. 12th St., Cleveland 14, Ohio

Heidenkamp Nature Pictures (PD)

538 Glen Arden Dr., Pittsburgh 8, Pa.

Hoefler Paul Hoefler Productions (P)

7934 Santa Monica Blvd., Los Angeles 46

Hoffberg Productions, Inc. IPD)

362 W. 44th St., New York, N. Y.

International Film Bureau (PD)

57 E. Jackson Blvd, Chicago 4, III.

Kinesis, Inc. (PD)

566 Commercial St., San Francisco 1 1, Cal.

Library Films, Inc. (PD)

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

Mahnke Carl F. Mahnke Productions (P)

215 E. Third St., Des Moines 9, Iowa

Mogull's, Inc. (D)

112-14 W. 48th St., New York 19, N. Y.

Post Pictures Corp. (P)

1 15 W. 45th St., New York 19, N. Y.

Southern Visual Films (D)

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

614 N. Skinker Blvd., St. Louis 5, Mo.

United World Films, Inc. (PD)

1445 Park Ave., New York 29, N. Y.
605 W. Washington St., Chicago 6, III.
6610 Melrose Ave., Los Angeles 38, Col.
287 Techwood Dr., NW, Atlanta, Go.
2227 Bryan St., D lias. Tex.
5023 N. E. Sandy Blvd., Portland 13, Ore.
1311 N. E. Bayshore Dr., Miami, Fla.

FILM PRODUCTION

Bray Studios, Inc.

729 Seventh Ave., New York 19, N.Y.
Seminar Films, Inc.

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

FILM TITLES

Filmack Laboratories

1321 S. Wabash Ave., Chicago 5, III.

LABORATORY SERVICES

Geo. W. Colburn, Inc.

164 N. Wacker Drive, Chicago 6, III.
Hollywood Film Enterprises (P)

6060 Sunset Blvd., Hollywood 28, Cal.
Peerless Film Processing Corp.

165 W. 46th St., New York 36, N.Y.
Rapid Film Technique

21 W. 46th St., New York 19, N. Y.
Society for Visual Education

1345 Diversey Parkway, Chicago 14, III.

AUDIO-VISUAL SUPPLIES

Becklcy-Cardy Co. (shades) (M)

1632 Indiana Ave.. Chicago 16, III.
Radio Apparatus Corp. of Indianapolis (M)

1602 W. 92nd St., Chicago 20, III.
Society for Visual Education (M)

1345 Diversey Parkway, Chicago 14

MOTION PICTURE
PROJECTORS AND SUPPLIES

Ampro Corporation (M)

2835 N. Western Ave., Chicago 18, III.
Bell & Howell Co. (Ml

7117 McCormick Road, Chicago 45, III.
Eastman Kodak Company (M)

Rochester 4, New York
Mogull's, Inc. (D)

112-14 W. 48th St., New York i9, N. Y.
RCA-Victor (M)

Radio Corp. of America, Camden, N. J.
Revere Camera Co. IM)

320 E. 21st St., Chicago 16, III.
Southern Visual Films (D)

686-9 Shrine Bldg., Memphis 1, Tenn.
Victor Animatograph Corp. (M)

Davenport, Iowa

PRODUCTION EQUIPMENT

Camera Equipment Co. (MD)

1600 Broadway, New York 19, N. Y.

S.O.S. Cinema Supplv Corp. (MD)

602 W. 52nd St., New York 19, N. Y.

SCREENS

Da-Lite Screen Co., Inc. (M)

2711 N. Pulaski Rd., Chicago 39, III.
Fryan Film Service (D)

3228 Euclid Ave., Cleveland 15, Ohio
Radiant Mfg. Corp. (M)

1201 S. Talman Ave., Chicago 8, III.
Southern Visual Films (D)

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

RECORDS

RECORDERS PLAYERS

Ampro Corporation (M)

2835 N. Western Ave., Chicago 18, III.
DuKanc Corporation (M)

St. Charles, Illinois
Stoncil Hoffman Corp. (M)

921 N. Highland Ave., Hollywood 38, Cal.

SOUND SYSTEMS

DuKanc Corporation
St. Charles, Illinois

(M)

FLAT PICTURES

Creative Educational Society

Mankato, Minn.

(PD)

FILMSTRIPS

Church Screen Productions (PD)

Box 5036 (East Sta.), Nashville, Tenn.
Educational Projections, Inc. (PD)

(Formerly Curriculum Films, Inc.)

10 E. 40th St., New York 16, N. Y.
Filmfax Productions

10 E. 43rd St., New York 17, N. Y.
Mahnke Carl F. Mohnke Productions

215 E. Third St., Des Moines 9, Iowa
Silver Burdett Company (PD)

45 E 17th St., New York, N. Y.
Society for Visual Education

1345 Diversey Parkway, Chicago 14
United World Films, Inc. <PD>

1 445 Park Ave., New York 29, N. Y.
Visual Sciences

599E Suffern, N. Y.
Yale University Press Film Service

386 4th Ave., New York 16, N. Y.

SLIDES

Key: Kodachrome 2_ x 2. 3'/4 JJ/4 ' larger

Graphic Slide Library (PD-2)

192 Washington Park, Brooklyn 5, N.Y.
Nesbit's Western Color Slides

711 Columbia Rd., Colorado Springs, Colo.
Radio-Mat Slide Co., Inc. < P-2, 4>

22 Oakridge Blvd., Daytona Beach, Fla.
Society for Visual Education

1345 Diversey Parkway, Chicago 14, III.
Visual Aids Library

601 E. Rollins Ave, Orlando, Fla.

FILMSTRIP, SLIDE and
OPAQUE PROJECTORS

American Optical Co., Projector Div.

Chelsea 50, Mass.
Automatic Projection Corp.

29 W. 35th St., New York 1, N.Y.
Bcseler Company, Charies

60 Badger Ave., Newark 8, N. ).
GoldE Manufacturing Co.

4888 N. Clark St., Chicago 40, III.
Keystone View Co.

Meadville, Pa.
Society for Visual Education

1345 Diversey Parkway, Chicago 14, III
Southern Visual Films

686-9 Shrine Bldg., Memphis 1, Tenn.
Three Dimension Co.

3512 N. Kostner Ave., Chicago 41, III.
Viewlex, Incorporated

35-01 Queens Blvd., Long Island City,

(M)
IM)
(M)
(M)
(M)
(Ml
(D)
(M)

(M)
N. Y.

SOUND SLIDE PROJECTORS

For Trade Directory, display and classified
advertising rates, write EDUCATIONAL-
SCREEN, 64 E. Lake St., Chicago 1, Illinois.

Folkways Records & Service Corp. (PD)

117 W. 46th St., New York 19, N.Y.
RCA- Vic tor, Educational Services Div. ' M)

Radio Corp of America, Camden, N. J.

Automatic Projection Corp.

29 W. 35th St., New York 1, N.Y.
DuKanc Corporation

St. Charles, Illinois

(M)

February, 1954

Writing for more information? Mention EDUCATIONAL SCREEN.

editorial

Ko PASSIIG FAD

How would you respond to a school administrator
like the one I heard about the other day? Scornfully
and dogmatically he wrote oft the whole development
of audio-visual education. "That whole business,"
said he, "was just a passing fad. Schools aren't using
motion pictures much at all any more!"

Well, you feel sorry for a fellow like that. Of course
he can be answered. The statistics could be gathered
increased production of materials; sales of equip-
ment; the totals of audio-visual school budgets; con-
stantly expanding use of films from educational film
libraries; increased personnel in the field; expanding
DAVI membership. But so rational a response to
such an irrational outburst would probably be uncon-
vincing to one whose point of view had become so
distorted. Wonder how he got that way, and what
can be done about it?

Maybe as an unprepared school principal he had
decided to jump on the "movie bandwagon." He
bought a projector, borrowed "free" movies, and or-
ganized "shows" for all the kids. Disillusionment.
Could have happened that way or some other way.
But certainly he had never experienced a real soundly-
conceived, broadly-based audio-visual program with
a trained person in charge. Such a program he needed,
but didn't know it.

A classroom teacher from another school has put
her "chalk-dusted finger" precisely on the need for a
broadly-conceived instructional materials program. In
a letter to an NEA official she wrote,

"In my years of teaching, one thought keeps re-
turning to me, that too many teachers are poor
teachers because they lack resource materials, pic-
tures, bulletin board materials, etc.

"Why shouldn't there be a person in the schools
who does nothing but provide materials for teachers,
arrange field trips, bring in resource people, and do
nothing but make the way easy for teachers?"

It could be although we know it isn't that this
classroom teacher and the aforementioned school ad-
ministrator are employed in the same school system.
Neither has seen a good audio-visual program in ac-
tion. The one has closed his "mind" temporarily, at
least to all things audio-visual. The other, whose
thinking is based on personal need, is grasping for
administrative assistance that thousands of other
teachers already have.

To both of these school educators, and to hundreds
of others who are ready to learn from J:he experience
of others, we recommend further reading. Specifically,
they should read DAVI's new "Brochure No. 3 The
Audio-Visual Instructional Materials Center." They'd
learn what a center is". . . a service agency. Its chief
purpose ... is to assist teachers ... in providing
learning experiences. It is a resource center for teach-
ing tools, materials, and ideas." They would learn
what it takes to organize such a center and assure its
success.

To these same school educators we also recommend
that they consider getting their copy of Brochure
No. 3 through membership in the Department of
Audio-Visual Instruction. In that way they will re-
ceive other valuable publications and services directly
from the Department in addition to being kept up
to date every month through the pages of EDUCATION-
AL SCREEN.

Finally, inasmuch as this teacher and this admin-
istrator are both in the Midwest not far from Chicago,
we recommend one further step for their immediate
action: Go to DAVI's 1954 Convention at the Hotel
Morrison in Chicago on March 2-5. Go and see and
listen and participate and learn. You'll discover prac-
tical solutions for providing materials that will "make
the way easy for teachers." You'll find that audio-
visual education is no "passing fad."

Paul 6.

PICTURE
OF THE MONTH

The statistics needed by that benighted
school administrator referred to in the
editorial upstairs are on their wayl

Our picture of this month shows Frank
Hubbard, Director of the Division of Re-
search of the NEA, and Paul Witt, DAVI
President, talking over plans for a nation-
wide survey of the status and progress of
audio-visual education in American school
systems. It is expected that results of the
study will be published by late spring of
1955.

This will be the first comprehensive
research study in this field on a national
scale since 1946.

Educational Screen

EDUCATIONAL

MAGAZINE

CHERS COLLEGE MATERIALS CENTER TV DICTIONARY

OVERHEAD PROJECTION TECHNIQUE!

FILMSTRIP
PROJECTORS

FOR REAL
ECONOMY

combined with

PERFECT
PROJECTION

There is no longer any reason to deprive anyone of the benefits of
visual instruction. Certainly not a budget reason because this fine Viewlex
Filmstrip projector is so modestly priced that it is easily within the reach
of even the most stringent budgetary limitations.

The Viewlex models V-4 and V-44 have been specifically designed for
use with filmstrip only in classroom or auditorium. It has been designed
to put your lecture material "across" effectively, effortlessly . . . and
INEXPENSIVELY! Even under the most adverse conditions it will give perfect
projection.

Look at its many features. Unsurpassed performance and top-notch
construction, combined with functional, streamlined design. Clear, sharp
projection, brilliant illumination 2" - 3" - 5" - 7" interchangeable lenses!

Compare the real value of this exceptional projector with it's extremely
low cost. Decide NOW to use Viewlex for your visual instruction equipment.

Write for descriptive literature Dept. 16.

INC. 35-01 QUEENS BOULEVARD LONG ISLAND CITY 1, N. Y

JUBILEE

Worlds of Experience

1954 is Silver Jubilee Year at Encyclopaedia Britannica Films. Dur-
ing this past quarter-century, the searching lenses of our cameras
have gone nearly everywhere in space and time to record the events
and ideas which have literally brought the "world to the classroom."

Today over 600 motion pictures and related audio-visual materials
(filmstrips and recordings) are available to schools and adult groups.
Created under the direction of renowned authorities and produced
with high professional skill, this significant library truly upholds
the standard of educational superiority which EB Films' pioneers
raised 25 years ago. Experience, that incomparable teacher, is evi-
dent in the quality and content of such current productions as
Major Religions of the World; Look to the Land; The Living City;
Bacteria; Scientific Method and The Farmer; among other titles
now available for previewing.

II 'rite I fir new Teachers'
Film Guides, supplement-
ing each current EB Film.

1150 Wilmette Avenue, Wilmette, Illinois

March, 1954

"f/BRB/IT" CASES

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Equipped with steel corners, steel card
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Only original Fiberbilt Cases bear this

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EDUCATIONAL

SCREEN

THE

AUDIO-
VISUAL
MAGAZINE

March, 1954

Volume 33, Number 3, Whole Number 320

IN THIS ISSUE

122 "NEW SCHOOLS, ECONOMY TOO"

98 FROM BLUEPRINT TO REALITY Philip Lewis

100 TV DICTIONARY Paul DeH. Hurd

102 THE OSLO A-V WORKSHOP Howard S. Kresge

104 MUSIC OVERHEAD James C. Beavers

106 "BETTER SERVICES FOR BETTER LEARNING" Kenneth D. Norberg

fjje part merit 6

94 AS PERSONAL AS POSSIBLE DAVI NEWS J. J. McPherson

107 CHURCH DEPARTMENT William S. Hockman

1 10 EVALUATION OF NEW FILMS L. C. Larson, Carolyn Guss, John Fritz
1 12 RECORDS ON REVIEW Max U. Bildersee
1 1 4 AUDIO-VISUAL TRADE REVIEW

\_Jtrier Creatures

90 ON THE SCREEN

92 THE READER'S RIGHT

A-V CONFERENCE CALENDAR

INDEX TO ADVERTISERS

TRADE DIRECTORY FOR THE AUDIO-VISUAL FIELD

PICTURE OF THE MONTH

- 97
120
121
122

AMERICA

CORRESPONDENCE should be sent to EDUCATIONAL SCREEN, 64 East Lake Street,
Chicago 1, Illinois.

SUBSCRIPTION PRICE (U.S. currency or equivalent): Domestic $4 one year, $6.50 two
years, $8 three years. Canadian and Pan-American 50 cents extra per year. Other for-
eign $1 extra per year. Single copy 45 cents.

CHANGE OF ADDRESS should be sent to the Circulation Department immediately to insure
uninterrupted delivery of your magazine. Allow five weeks for change to become effective.

EDUCATIONAL SCREEN is published monthly except July and August by the Educational
Screen, Inc. Publication office, Barrington, Illinois; Business and Editorial Office, 64 E.
Lake St., Chicago 1, Illinois. Printed in the U.S.A. Re-entered as second-class matter
October, 1953 at the post office at Barrington, Illinois, under the Act of March 3, 1879.

Educational Screen

timu

YOUR STUDENTS' UNDERSTANDING OF DEMOCRACY

Help Them See

and Understand

the Responsibilities

of Citizenship!

Both A Citizen Participates and A Citizen

Makes a Decision are inspiring documentary motion
pictures in the new YAF Citizenship Series. Each film
presents a dramatic CASE-STUDY of citizenship in action
each stresses and explains the importance of the indi-
vidual in helping to solve community problems. Designed
for Secondary School, College and Adult Groups.

A CITIZEN MAKES A DECISION

A powerful case-study in citizenship. The story of how
an average citizen, confronted with an issue vitally
affecting his community, makes his decision. 2 reels.

$100.00

A CITIZEN PARTICIPATES

A dramatic film emphasizing the citizen's responsibility
to participate actively in the solution of problems con-
fronting his community. 2% reels. $125.00

OTHER TITLES JUST RELEASED

Here are titles adding to two popular YAF teaching
film series:

Industrial Arts: Boring Tools
Industrial Arts: Chisels and Gouges
Discussion Problems: The Show- Off

Each 1 reel, $50.00

A new development in music education

y 1 j^-~- s /)

WMW&tC^tft

An integrated program of filmstrips and high-fidelity disc
recordings. Designed for middle elementary grades. Helps
every teacher teach music with confidence. Write for
free descriptive circular.

March, 1954

YOUNG AMERICA FILMS, INC.

Dept. ES-3, 18 East 41st Street, New York City 17, N. Y.
Writing for more information? Mention EDUCATIONAL SCREEN. 89

TEACHING FILM
CUSTODIANS, INC.

A Non- Profit Service

Organization of

Educators

Announces the publication

ENGLISH LANGUAGE ARTS-
FILMS FOR CLASSROOM USE

and

HISTORY AND SOCIAL STUDIES -
FILMS FOR CLASSROOM USE

Compiled and annotated in coopera-
tion with committees representing the
NCTE and the NCSS

Available to teachers
without charge on request

We extend a cordial invitation to visit

our representatives at

The DAVI Convention, Chicago

(Booth 46)

TEACHING FILM
CUSTODIANS, INC.

25 West 43rd St., New York City 36

warping or oenaing or reel at cntica
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hammertone gray enamel fitiiifo

COMPCO CORPORATION

f fint Photographic Equipment Since 1932
2251 W. ST. PAUL AVE., CHICAGO 47, ILLINOIS

On the SCREEN

Welcome, DAVI!

Welcome to Chicago, that is, for
what we're confident will be one of
your (and our) best conventions to
date. Thanks to our strictly-on-sched-
ule printer, this issue should be off
the press just in time to greet those
many hundreds of you attending the
DAVJ meeting at the Hotel Morrison
March 2-5. Those who miss the meet-
ing can see some of it and read about
it in the April issue.

Cover Boy & His Dog

On this month's cover is another

Jimmy (January's toothless boy was

similarly named, you may recall). Ob-

.viously sharing the cover spot is

Jimmy's dog. Name? Spot.

Jimmy and Spot are from the Cor-
onet film City Pets: Fun and Responsi-
bility, a primary-grade one-reeler de-
signed "to familiarize children with
the kinds of animals suitable as city
pets and to demonstrate the kind of
care which city pets require."

We know two cover Jimmies in three
magazine months is probably one too
many, but we couldn't resist either
Jimmy (or Jimmie). Lest we be ac-
cused of being partial to one sex
(which we are), we'll try to give you
a cover girl in April.

The Broad View

We want to call your special atten-
tion to the words and pictures on
pages 98-99 describing the Chicago
Teachers College Materials Center.
We take particular pride in the de-
velopment because (1) we have
watched it grow in size and scope and
inlluence here in EDSCREF.N'S own
headquarters city and (2) it is in large
measure the result of the vision and

work of one of our own staff members,
Phil Lewis.

Because of his excellent and numer-
ous reports on TV, some of you may
have mistakenly thought Phil Lewis
couldn't see beyond his TV screen.
The article in this issue will prove
beyond a doubt that he has a wide
and expanding view of the whole
field of instructional materials, the
kind of broad view most of us share
these days.

Speaking whereof reminds us of the
audio-visual workshop in library edu-
cation we attended recently here in
Chicago. There was no doubt in most
of the workshoppers' minds about the
"broad view." The public and school
libraries they envision will be in every
sense instructional materials centers
with books, films, recordings and other
materials all taking their proper place
together as aids to learning.

The school library of the future,
somebody pointed out, will look like
an "A&P Supermarket." It will be a
center for all kinds of learning aids
and experiences, a center to provide
"exploratory situations."

Summer Already?

"The work-monsoons of summer are
closer than you think! Now is the
time for you to start your planning."
We're quoting from an article by
Church Department editor Bill Hock-
man to appear in the April issue.
He'll give specific get-ready-for-sum-
mer suggestions to church A-V leaders
and workers. In the same issue you'll
read about one of last summer's audio-
visual courses at the University of
Oregon that should be interesting and
helpful, we think, to next summer's
students and teachers. JNS

EDUCATIONAL SCREEN

EDITORIAL STAFF

PAUL C. REED Editor
JUNE N. SARK Managing Editor
WILLIAM S. HOCKMAN Editor for the Church
Field

L. C. LARSON Editor for Film Evaluations
MAX U. B I LDERSEE Editor for Recordings
PHILIP LEWIS Editor for Television

BUSINESS STAFF

MARIE C. GREENE Publisher
JOSEPHINE HOFFMAN KNIGHT

Business Manager

PATRICK A. PHILIPPI Circulation Manager
WM. F. KRUSE AND ASSOCIATES

Advertising and Public Relations

EDITORIAL ADVISORY BOARD

JAMES W. BROWN, School of Education, San
Jose State College, California

EDGAR DALE, Head, Curriculum Division, Bu-
reau of Educational Research, Ohio State
University

AMD DE BERNARDIS, Assistant Superintend-
ent, Portland, Oregon, Public Schools

MARGARET W. DIVIZIA, Supervisor in Charge,
Audio-Visual Education Section, Los An-
geles City Schools, Los Angeles, California

W. H. DURR, Supervisor, Bureau of Teaching
Materials, State Board of Education, Rich-
mond, Virginia

CHARLES F. HOBAN, Project Big Ben, Univer-
sity of Pennsylvania, Philadelphia

F. EDGAR LANE, Supervisor, Instructional
Materials Department, Board of Public In-
struction, Dade County, Florida

J, JAMES McPHERSON, Executive Secretary,
Department of Audio-Visual Instruction,
N.E.A., Washington, D. C.

KURTZ MYERS, Head, Audio-Visual Depart-
ment, Detroit, Michigan, Public Library

SEERLEY REID, Chief, Visual Education Service,
U. S. Office of Education, Washington,

CHARLES F. SCHULLER, Director, Audio-Visual
Center, Michigan State College, East Lan-
sing, Michigan

MAYER SINGERMAN, Director, Audio-Visual
Department, Chicago Office, Anti-Defa-
mation League of B'nai B'rith

ERNEST TIEMANN, Director, Visual Instruction
Bureau, Associate Professor, Division of
Extension, The University of Texas, Austin,
Texas

PAUL W. F. WITT, Professor of Education,
Teachers College, Columbia University;
President, Department of Audio-Visual In-
struction, National Education Association

Educational Screen

filmstrips for teachers...by teachers

...FROM THE WORLD'S
LARGEST AND FINEST
LIBRARY
AT

Primary Graded Word Phrases-A112SD

^ A few of the hundreds of subjects on easy-to-use 35mm
filmstrips are listed here for your convenience in requesting
preview prints. You are sure to find one or more series to be of
prime interest to you. Check your selections, complete the
coupon below, and mail it today. Prints will be
delivered without obligation.

$32.50

$28.50

17 filmstrips, black and white, manual

Dr. Selma E. Herr, Reading Lab., U. of S.C.

G Intermediate Graded Word Phrases All 2SJ

40 filmstrips, black and white, manual

Dr. Selma E. Herr, Reading Lab., U. of S. C.

G Children's Fairy Tale Series-All IS

6 filmstrips, color

Barbara Bartley, M.A., Waukesha Schools, Wis.

G Your Dictionary and How to Use It A125S

6 filmstrips, color ................................... $28.50

Devona M. Price, Director of Instruction, & Kathleen Mulryan,
Ass't., Office of Instr., Public Schools, Oak Park, Illinois

G Phonics: A Key to Better Reading A115S

6 filmstrips, color ................................... $28.50

Devona M. Price, Dir. of Instruction, & Hilda B. Pogue, Teacher,
Oak Park, III., Elementary Schools

G Words: Their Origin, Use, and Spelling A 123S

6 filmstrips, color ................................... $28.50

Devona M. Price, Dir. of Instruction, & Kathleen Mulryan, Ass't.,
Office of Instr., Public Schools, Oak Park, III.

G Our National Government: How It Developed A366SA

4 filmstrips, color ................................... $20.00

Dr. J. G. Kerwin, Professor of Pol. Science, U. of Chi.

Geography of American Peoples

Ruby M. Harris, Dept. of Geography, E. III. State College,
Charleston, III., and Rand McNally Co.

G The Northeastern United States A259SR

G The South-A259SC

G The Middle West-A259SD

G Canada and the Far North (Alaska) A259SF

Each set of 4 filmstrips, color .................... $1 9.00

G Great Explorers of America A246SC

5 filmstrips ........................................ $23.75

Margaret Bradfield and Associates

Society For
Visual Education

Inc.

G Adventures with Early American Indians A233S

4 filmstrips, color ................................... $19.00

Mrs. Margaret Friskey, Editor, Children's Press; Karl Murr, well-
known illustrator of children's books

.$75.00 Using and Understanding Numbers

Joseph J. Urbancek, Chmn., Dept. of Mathematics, Chicago Teachers
Coll., and Francesco L. Urbancek, Classroom Teacher, Chicago
Public Schools

G Kindergarten and Grade One A537SA

5 filmstrips, color ............................. $23.75

G Grade One-A537SB

6 filmstrips, color ............................. $28.50

G The Earth and the Universe-A487S

7 filmstrips, black and white .......................... $21.50

John Sternig, Ass't. Supt. of Schools, Glencoe, Illinois and Lecturer
in Astronomy

G Basic Weather-A426S

4 filmstrips, black and white .......................... $12.00

Elgin Wollman, M.A., former U.S. Air Corps Meteorologist

Your Future Career

Dr. John L. Feirer, Head of Industrial Arts Dept., Western Michigan
College of Education, Kalamazoo

G Your Future in the Skilled Trades-A629S

5 filmstrips, black and white .................... $15.00

G Your Future in the World of Work -A627S A

7 fllmstrips, black and white .................... $21.00

G Your Future in the Metal Trades-A634S

7 filmstrips, black and white .................... $21.00

G Adventures with Art Materials A653S

6 filmstrips, color ................................... $28.50

Jessie Todd, M.A., Teacher of Art, Laboratory School, University
of Chicago

SOCIETY FOR VISUAL EDUCATION, INC.

(A BUSINESS CORPORATION)

1345 Diversey Parkway, Chicago 14, Illinois

Gentlemen: I would like to receive the filmstrips checked above

for "no obligation previews." I will return them within 10 days or

ask that you bill me (or the school) for them.

D Please send me a free copy of the new Educational Catalog.

NAME_

SCHOOL.

ADDRESS^
CITY

-ZONE

_STATE_

March, 1954

Advertisers welcome inquiries. Just mention EDUCATIONAL SCREEN.

The reader's right

Send letters to the Editor, EDUCATIONAL SCREEN, 64 E. Lake St., Chicago 1, 111.

More about the New Look

Editor: Congratulations on the new
EDUCATIONAL SCREEN! It is attractive
and full of vital suggestions to all in
our field. It has been and will continue
to be, I am sure, one of the "standbys"
in audio-visual instruction. It was my
privilege to work with Founder Nelson
Greene for many years, part of that
time as a member of your Advisory
Committee. . . . EDSCREEN has been
the one magazine in the field to con-
tinue and grow. I have been reading
it for nearly 31 years, and all the time
I have given my yearly file to our li-
brary for binding so that we do have
an almost complete file a valuable
historical summary of audio-visual in-
struction, to my way of thinking. More
power to you!

LELIA TROLINGER
Director, Bureau of Audio-Visual Instruction
University of Colorado, Boulder

Editor: The new format for ED-
SCREEN is certainly different. I really
like the cover very much. It brings the
publication in line with present-day

treatment and should be well received.
. . . I'm still trying to make up my
mind about the choice of type for the
article titles. . . . I'm not too enthu-
siastic about this selection but maybe
it's the novelty. Overall, however, I
believe the new look is a fine step
forward.

PHILIP LEWIS

Chairman, Dcpt. of Education
Chicago Teachers College

Editor: Congratulations on the birth-
day and on the very pleasing make-up;
your new cover will be able to hold its
own against any competition on any
newsstand. But what an odd place for
an editorial! The editor's decision, of
course, is always final: so now, it would
seem, are his opinions. . . .

BRIAN WATKINSON

Editor, Film User
London, England

Editor: . . . congratulations on your
new format. It is approximately a one
thousand per cent improvement. . . .

ROBERT B. CHURCHILL

Churchill-Wexler Film Productions

Los Angeles, Calif.

BIRTH Of A FLORIDA KEY

A thrilling Film Documentary on the origin of
the Keys from the mangrove seeds that embed
under water in the sandy soil to a full sized
Key. Insects are attracted by the flowers. In turn
the birds follow the insects. Guano fertilizes
the soil and causes rapid expansion of vegeta-
tion. Frogs and small animals escape the danger
of the mainland and settle on a new Key. Snakes
follow them. It is a true story of ecology.

A worthy companion to

SPRING COMES TO A POND

ANIMALS UNLIMITED

and the new thrilling release
UNDERWATER SPEARFISHING

16mm 14 minutes

American Narration Request preview print
Color- $140.00 list B/W-$45.00 list

Released b,

FILMS OF THE NATIONS

62 West 45th St., New York 36, N. Y.

Editor: May I add another favorable
reaction to your new format? It brings
EDUCATIONAL SCREEN out of the class
of just useful magazines into the class
of "eye-catchers."

CECILS STARR

16mm Film Dept.
Saturday Review
New York, N.Y.

Editor: My compliments on your
improved format. ... It is gratifying
to note that Harvey (Frye) is getting
due recognition for his efforts. (He
designed the major department head-
ings ED.) As a former colleague of
his at Indiana I have a very fine feeling
about him and his work. . . . You
should feel proud that EoScREEN now
ranks with the best of professional
publications.

ALBERT L. GOLDBERG

Audio-Visual Materials Consultation Bureau
Wayne University, Detroit, Mich.

On the College Level

Editor: It is gratifying to realize that
my recent article ("The Last Fron-
tier," October, 1953 EDSCREEN) stimu-
lated the critical thinking evidenced
by Mrs. Jean Malmstrom's letter which
appears in the February, 1954 issue
(page 44). Mrs. Malmstrom implies
that my article did not show aware-
ness of the fact that there is an inade-
quate supply of good films on the
college level. She apparently over-
looked the statement in the article
noting the exaggerated grade level
content of many so-called "college"
films. Nor did she consider the follow-
ing statement in the article:

"Thus it can be seen that from the
standpoint of ... film content . . .
educational films do not as yet satis-
factorily serve the needs of the liberal
arts instructor."

Actually, I feel that if she had the
previewing opportunities we do here
at the IU A-V Center, she might dis-
cover that, despite the limited supply,
there are quite a few good truly col-
lege-level films.

DONALD AUSTER

Indinna University
Bloomington, Indiana

Where to Get the Kit

Editor: Please thank whoever is re-
sponsible for the nice "plug" for our
new Youth Audio-Visual Kit of seven
sound filmstrips (February. 1954 ED-
SCREEN, page 66) A slight correc-
tion, please! The kit is available from
denominational publishing houses
(not from the Department of Audio-
Visual and Radio Education) and the
Evangelical and Reformed Church's
Bureau of Audio-Visuals is sen-ing as
the distributor for these materials.

PEARL ROSSER

Audio-Visual & Radio Education
National Council of Churches of Christ

Educational Screen

The screen is a blur

Ready!
The image snaps sharp and clear

for a timed exposure,

then vanishes back into a blur.

The exposure may last up to l'/i seconds

or may be as short us

1/150 second.

How much do you remember?

Over 15,000 exposures
are available for instruction in:
Reading
Spelling
Arithmetic
Typewriting
Shorthand

By using the Timex,

the teacher can develop in her students

in a surprisingly short time

such skills as:
FORM SENSITIVITY

rapid seeing

accurate perception

organized retention

wider span of apprehension

The training correspondingly brings about:

greater attention
heightened poivers of concentration

aggressive seeing
improved ocular accommodation
increased eye-hand coordination

A moving slot

travels across the screen

covering and uncovering a line of print

as it goes.

Throughout the story,

you must be on your toes visually and mentally
to understand what you have read,
i

the hill and aro

Over 221 graded selections are available
for teaching reading in:
Readiness
Grades 1-3
Grades 4-6
Junior High
High School
O&llege Level
Adult Level

With the Controlled Reader,

the teacher can develop in her students

improved comprehension

speedier reading

visual mobility

expanded word power

economy of fixations or eye-stops

effective left-to-right control

fewer regressions

broader span of recognition

a more positive attitude toward reading

Daily use of the Timex and Controlled Reader in both clinical and classroom instruction on all levels of edu-
cation is proving the value of these instruments in the teaching of retarded, average, and superior students.

For information, write: Educational Developmental Laboratories, Inc., 15 Washington Place, N. Y. C.

March, 1 954 Writing for more information? Mention EDUCATIONAL SCREEN. 93

News from the Department of Audio- Visual Instruction,
National Education Association

A-V Stressed at AC

Extensive participation by DAVI
in the exhibit and program at the
American Association of School Ad-
ministrators convention in Atlantic
City, February 13-18 gave added em-
phasis to audio-visual methods of
teaching at this significant national
convention.

Much favorable attention was at-
tracted by the two DAVI exhibits. In
the architectural exhibit which fea-
tured plans, drawings, and models of
250 new school buildings a well-
lighted 3-D display presented the work
of the DAVI Buildings and Equipment
Committee. This was designed and
constructed by Faith Guden and Mr.
and Mrs. Fred Winton, graduate stu-
dents at New York University, work-
ing under the direction of Irene
Cypher.

On a main aisle leading from the
exhibit hall entrance stairway, another
booth presented the story of DAVI
services -- publications, proceedings,
and EoScREEN, the official magazine.
Special emphasis was given the new
DAVI School Service Plan, which pro-
vides a variety of publications and
services for schools enrolling in the
plan.

To a greater extent than ever be-
fore, DAVI served as co-sponsors of
discussion groups and clinic sessions
on the AASA program. These included
the following:

"Providing Special Educational Serv-
ices to Small Communities Through
the County Superintendent's Office"
DAVI participant, Robert Z. West.

"Important Changes in the Second-
ary Curriculum" DAVI participant,
Amo DeBernardis.

"Important Changes in the Ele-
mentary Curriculum" DAVI partic-
ipant, Wanda Daniel.

"The Superintendent as the Leader
of the Instructional Program" DAVI
participant, Amo DeBernardis.

"Blazing 'New Trails in Educational
Telecasting" DAVI participant,

William H. King.

"The Role of Television in the
Educational Program" - DAVI par-
ticipant, Martha Gable.

"Ways in Which the Superintendent

by J. J. McPHERSON

Executive Secretary, DAVI
1201 16th St., NW, Washington 6, D. C.

Can Improve Instruction" - DAVI
participant, W. R. Zinn.

"School Buildings" - DAVI partic-
ipant, A. J. Foy Cross.

During the two days prior to the
opening of the AASA convention, the
Metropolitan New York Audio-Visual
Association sponsored a conference
attended by audio-visual specialists
from New York, New Jersey, Connec-
ticut, and several other states. Among
topics discussed was DAVI participa-
tion in the NEA summer meeting at
Madison Square Garden, where a dem-
onstration with many audio-visual fea-
tures is to be bs sponsored. The pro-
gram also included a session on tele-
vision and a report from the DAVI
Archives Committee by chairman
Winifred Crawford.

Latest on the DAVI Yearbook

The final decision of the Yearbook
Editorial Committee is that the title
will be "The School -Administrator
and His Audio-Visual Program."

Latest news on the publication date
is that we will have examination copies
available at the DAVI Chicago Con-
vention, March 2-5. Order your copy
now!

Latest cost estimates are these: The
yearbook will sell to DAVI members
for S3 in hard cover and $2.75, paper
bound. To non-members the price will
be S3. 75 for the hard cover edition and
S3. 25 for the paper-bound edition.

Here are the chapter titles and the
principal authors of each chapter:

Chapter One: Vitalizing the Cur-
riculum - Charles F. Schuller

Chapter Two: Initiating an Audio-
Visual Program Joseph B. Johnson

Chapter Three: The Administration
of an Audio-Visual Center Margaret
Divizia

Chapter Four: Provision of Audio-

LtP Mn h 74 ^7 /^ a ^ su P ervls rs attending the tenth annual audio-visual insti-
moHP w th th Un.versity of Minnesota will have a chance to hear recordings

Wefc. H,vJ.tn Tth J- Pe micr P hone - Listening to such recordings are Erwin C.
W A ptt/r n audio-visual extension service of the University of Minnesota;

vM L P P n 9rQm d J reCt0r the Center for Continuation Study at the University
eville Pearson, audio-visual instructor at the University.

Educational Screen

Projector Runs Eq o u , al 2'/ 2 Years
Without One Drop of Oil!

"Operation 1000" proves projector lubrication a problem of the past...

000 hours of projector operation is equal
to two and a half yean of hard, steady use in
the average school. That's a lot of projection
time enough to show more than 2 million
feet of film. And it's a lot of time for a pro-
jector to run without breakdowns, adjust-
ments, or maintenance . . . without even a
single drop of oil. Only one sound projector
could do it the Kodascope Pageant!

Dealer proves the point

An amazing public test conducted by the
Colorado Visual Aids Supply Co. of Denver,
Colorado, has proved that the Pageant can
stand up to just such a grueling ordeal . . .
and come right back for more! Two Koda-
scope Pageants, selected at random from
Stock, were run constantly for 1000 hours . . .
day and night, week after week, for a whole
month and a half without a minute's rest.

And they took the punishment every second of
the time!

How did the Pageants perform after this

grueling endurance test? "Just like brand
new!" says Mr. Hal Guzofsky, Manager of
the Colorado firm. "The mechanisms oper-
ated as smoothly and quietly at the end of
the run as the day we set them up!"

The amazing results of this test were pos-
sible because of an exclusive Pageant fea-
ture permanent pre-lubrication. Among all
16mm. sound projectors, only the Pageant
has this feature to eliminate the chief cause
of projector failures under- or over-oiling.

Other plus features

In addition, only the Pageant offers you all
of these important advantages . . . Fidelity
Control for precise sound focusing . . . ny-
lon gears and a silicone-damped roller to
prevent distracting projector noises . . .
built-in field-sharpening element . . . true-
rated amplifier for full power delivery . . .
and a portable model specially tailored for
every 16mm. need with each model the
lowest priced in its field.

How "OPERATION 1000'
was conducted

1. UNDER WAT After attaching a meter to
record the number of hours of continuous
operation, Ralph B. Mayo of Mayo & Com-
pany Certified Public Accountants, turned
on the projectors and sealed them in oper-
ating position.

J. FULL PUBLIC VIEW One Pageant was
placed in the Colorado Visual Aids Supply
Company's display window . . . one inside
the store. Under CPA supervision, both ran
continuously throughout the test without
maintenance or lubrication.

3. AFTER 1,122 HOURS of constant opera-
tion, the Pageants were running as smoothly
as they had on the first day of the test. A
Mayo Co. official checked out the projectors
at this point so that they could be moved to a
convention display.

Company manager sums H up...

"In the past, under- or over-
oiling has caused our biggest
servicing problem with 16-
mm. projectors, especially in
the educational field where
many different operators are
assigned to handle projec-
tion equipment. 'Operation
1000* proves conclusively
that permanent pre-lubrication is a signifi-
cant factor in reducing maintenance costs.
Congratulations to Kodak on this outstand-
ing achievement!"

Harold GuzoHky, Mgr.
Colorado Visual Aids Supply Co.
Denver, Colorado

veniencea oy - i,, n allv

downs, you will be oble .0 ; save sub .tanhaHy

EASTMAN KODAK COMPANY, Dep i. s-v, Rochester 4, N. v.

Please send name of nearest Kodak Audio-Visual Dealer
and information on Kodascope Pageant Sound Projectors.

NAME

ORGANIZATION

ADDRESS

CITY

March, 1954

Advertisers welcome inquiries. Just mention EDUCATIONAL SCREEN.

AS PERSONAL

Continued

Visual Materials, Equipment, and
Building Facilities - A. J. Foy Cross
and Irene F. Cypher

Chapter Five: School Production of
Audio-Visual Materials Lee Cochran

Chapter Six: The Selection and Edu-
cation of Audio-Visual Personnel
Fred F. Harcleroad and James D. Finn

Chapter Seven: Curriculum Improve-
ment and the Audio-Visual Program
Paul W. F. Witt and Max R. Brun-
stetter

Chapter Eight: Supervision and In-
Service Education Herbert Hite

Chapter Nine: Distribution and Cir-
culation of Audio-Visual Materials
William Fulton and Earl Cross

Chapter Ten: Financial Support for
the Audio-Visual Program W. A.
Wittich

Chapter Eleven: Evaluation of the
Audio-Visual Program Joseph Nerden

Chapter Twelve: Research Related
to Audio-Visual Administration Wil-
liam H. Allen and Morton S. Malter

Chapter Thirteen: Trends in Unde-
veloped Areas Edgar Dale and Rob-
eit W. Kilbourn.

Members of the Yearbook Commit-
tee are: Charles F. Schuller, Editor;
Ann Hyer, William H. Allen, Fred
Harcleroad, George Ingham, Joseph
B. Johnson, Robert de Kieffer, L. C.
Larson, Clyde Miller, and Raymond A.
Petrie.

Early Returns about No. 3

Although No. 3 of the brochures in
the DAVI series on "Planning Schools
for the Use of Audio-Visual Mate-
rials" has barely cleared our mailing

room, we have begun to receive some
gratifyingly favorable comments con-
cerning it. For example, Earl Stroh-
belin, Director of Audio-Visual Educa-
tion for Oak Ridge, Tennessee Schools,
writes: "Thanks for the No. 3 bulletin
("Audio-Visual Instructional Materi-
als Center"). I have already benefited
from several suggestions gleaned from
it. The Buildings and Equipment
Committee, and especially the editors,
are to be highly commended for the
excellent manner in which the bulletin
has been presented. The format is at-
tractive; the copy is down to earth and
practical while not neglecting the the-
oretical from which any sound pro-
gram must proceed. What I like best
is the fact that a firm stand is taken
where needed (page 9, for example)
while tact and diplomacy govern those
situations where issues have not yet
been clearly resolved (par. 1, page 25).
I hope the high standard established
in the first three bulletins can be
maintained. I am sure it will be."

We Predict

Yes, we predict that equally favor-
able comments will be received on the
new "Guide to Films in Human Rela-
tions" which is going to the printer
immediately and will soon be in your
hands. The great value of this guide
lies in the fact that it not only gives
an accurate description of film content,
but also includes a summary of the
comments made by one or more pan-
els of previewers. The guide covers
nearly 200 films classified under 40
subject categories which may be used
to interpret more completely the mul-
tiple ideas inherent in the term "hu-
man relations." It was edited by Ed-
ward T. Schofield, Supervisor, Depart-

Man, you Ought
to try it!

No tough sleddin' in your classrooms when you present occupational
information the dramatic, interesting way . . . with YOUR LIFE WORK Films.

Quickly, and without leaving the classroom, motion pictures pro-
ject your students into the hustle and bustle of American business
and industry ... at low cost, and in minimum classroom time.

Independent educational research in group guidance techniques shows YOUR
LIFE WORK Films to be more effective, practical than field-trips or printed
materials.

Write for information . . .

CARL F. MAHNKE PRODUCTIONS

215 East Third Street Des Moines 9, Iowa

Put the dates on your calendar
APRIL 1, 2, and 3

AMERICAN FILM ASSEMBLY

AND

GOLDEN REEL FILM FESTIVAL

Conrad Hilton Hotel
Chicago, Illinois

For complete details, write the Film Coun-
cil of America, 600 Davis Street, Evans-
ton, Illinois

ment of Libraries and Audio-Visual
Aids, Newark, New Jersey. The project
was managed by Irene F. Cypher, As-
sociate Professor, Department of Com-
munications, New York University.
The guide is being produced in co-
operation with the Anti-Defamation
League of B'nai B'rith organization.
Members will receive a copy at no cost.
Additional copies may be purchase for
50c from the Department.

With the States

Georgia Publishes. We are constant-
ly impressed with the good quality and
valuable information in the many
newsletters that we receive from vari-
ous state audio-visual associations. One
of the latest to amaze us is the 19-page
first issue of the Georgia Audio-Visual
Education Association Newsletter. This
up-and-coming state group is planning
to issue three newsletters during the
year: one in November, one in Janu-
ary, and the last in May. One of the
primary purposes of the newsletter is
to make possible the sharing of suc-
cessful audio-visual experiences that
have taken place in various schools
and school systems throughout the
state.

Iowa Pilots. For some weeks now we
have been hearing of the Audio-Visual
Pilot Centers that are being established
in Iowa under the sponsorship of the
Iowa Audio-Visual Education Associa-
tion in cooperation with the State De-
partment of Public Instruction. From
Don Scott, President of the AVEAI, we
received word that he will be able to
tell us more about their pilot centers
when we see him at the DAVI Con-
vention in Chicago.

Minnesota Implements. "Implement-
ing the Audio-Visual Objectives" will
be the theme of the tenth annual
audio-visual institute March 24-27 at
the University of Minnesota Center for
Continuation Study. Keynote speaker
will be Dr. Francis W. Noel, chief of
the bureau of audio-visual education
for the California department of edu-
cation at Sacramento.

Educational Screen

Two institutes have been planned,
according to William A. Porter, pro-
gram director of the University of
Minnesota Center of Continuation
Study, because the problem of pre-
service and in-service training of
teachers in the use of audio-visual
tools is becoming increasingly severe.

The program on Wednesday, March
24, is geared to the needs of teachers
of audio-visual courses, coordinators
in charge of audio-visual training and
administrators and supervisors who
wish to study in-service training in the
audio-visual area.

The program for March 25, 26 and
27 is planned to answer needs of co-
ordinators and teachers who want to
learn more about the philosophy, aims
and application of audio-visual tools
and techniques.

Associated with the institute will be
the annual meeting of the Audio-
Visual Coordinators Association of
Minnesota.

Some items on the program will be:
demonstrating the use of television by
televising a classroom demonstration
on the use of pre-recorded tapes, re-
sults of curriculum research, and dem-
onstrations on projection lamps and
screens, use of the felt board, use of
filmstrips as well as study and evalua-
tion of new equipment.

Registrations ($6 for both insti-
tutes) should be sent to the DAVI
national headquarters, 1201 16th St.,
N.W., Washington 6, D. C.

A-V CONFERENCE CALENDAR

MARCH 25-27 Western Conference of
the National Audio-Visual Association,
Hotel El Rancho, Sacramento, Calif.
MARCH 26 Ninth Annual Michigan
Audio-Visual Conference, Grand Rapids,
Mich.

APRIL 1-3 First Annual American Film
Assembly, Conrad Hilton Hotel, Chicago
III.

APRIL 2-3 Wisconsin Department of
Audio-Visual Instruction Annual Spring
Meeting, Stevens Point, Wis.
APRIL 7-10 Institute for Education by
Radio-Television, Columbus, Ohio.
APRIL 12-14 Calvin Company Motion
Picture Production Workshop, St. Louis,
Mo.

APRIL 12-15 Second Regional Instruc-
tional Conference sponsored by the Na-
tional Education Association and its de-
partments, Minneapolis, Minn.
MAY 2-7 75th Convention of the So-
ciety for Motion Picture and Television
Engineers, Statler Hotel, Washington
D.C.

MAY 7-8 Film Conference of the Na-
tional Audio-Visual Association, Hotel
Park-Sheraton, New York, N.Y.
MAY 15 Fourth Annual Film Festival of
the Film Council of Greater Boston,
Sheraton Plaza Hotel, Boston, Mass.
MAY 23-28 National Association of
Radio and Television Broadcasters, Chi-
cago, III.

New projector

gives brighter, crisper pictures
...corner-to-corner sharpness

"OPAQUE

"SCREEN TEST" shows efficiency of
"Opaque 1000." To "see for yourself,"
ask for an actual demonstration of this
remarkable new AO projector. Then
compare it by demonstration with any
other 1000-watt opaque model. The
results will be dramatic.

An exclusive AO coated lens on the
"Opaque 1000" spreads light evenly to
every edge of the screen. Images are
bright and lively, even in rooms just
semi-dark. On counts of light output . . .
optical performance . . . depth of focus . . .
color reproduction, the "Opaque 1000"
effectively and demonstrably outper-
forms all comers. That is why we say,
quite proudly, this is "the world's finest
opaque projector."

LARGE APERTURE 10" x 10" lets you
project a tiny postage stamp ... or a world
atlas.

K AIR FROM TOP KEEPS COPY FLAT. Pres-
sure cooling forces air down over surface of

the world's finest
opaque projector

platen. Small objects and flimsy papers are
thereby "slapped" securely in place. Mate-
rial can't nutter annoyingly.

K KEEPS COOL. The "Opaque 1000" can't
damage your copy through heat. Even with
platen completely covered, projector stays
cool and safe. Quiet, 60-cycle, AO motor-
driven fan assures you 100% protection.

* MOST DURABLE. The "Opaque 1000" is
of all-metal construction. It is strong and
sturdy yet weighs only 38 pounds.

> EASY TO OPERATE. Any student or teacher
can use the "Opaque 1000" without experi-
ence. Lens is carried on a rack and pinion for
quick, needle-point focusing. Spring-loaded
legs make the projector simple to raise or
lower.

> PRICEwith 4l<i"diameter, 22" focus, coated
lens . . . $254.50.

SEND NOW FOR FREE FOLDER

Ameri
Optical

can

CHELSEA,
MASSACHUSETTS

American Optical

Projection Division

Department ES-1

80 Heard Street, Chelsea 2. Mass.

Please send me your free folder on the
AO "Opaque 1000" Projector.

Name

Organization or title

Address

March, 1954

Writing for more information? Mention EDUCATIONAL SCREEN.

In the CTC Materials Center students learn to operate a wide variety of 16mm and other projectors.

FROM BLUEPRINT TO REALITY

IT TOOK TWO YEARS of constant
experimentation, selection of equip-
ment, and installation procedures to
complete the unusual Materials Train-
ing Center at Chicago Teachers Col-
lege. The outcomes already evident
more than justify the unique approach
involved. Designed as a multi-purpose
facility, the Center has been adapted
to general as well as highly specialized
uses, most of which can be carried on
simultaneously and without mutual in-
terference. This eliminates the need
for separate rooms and laboratories
often required in some of the more
usual arrangements.

Dr. Lewis is head of the
Department of Education
at Chicago Teachers Col-
lege. The CTC Materials
Training Center has been
planned and developed
under his leadership and
guidance. EDUCATIONAL
SCREEN reported the blue-
print stage back in Feb-
ruary, 1952 ("A-V Blue-
print for Chicago Teachers
College" by Philip Lewis).

Chicago Teachers College now has

a remarkably well-equipped Materials Training Center

adapted to general as well as highly specialized uses

by PHILIP LEWIS

How It Works

A series of five acoustically-treated
booths is located at one end of the
large room. Here teachers and train-
ees examine, preview, and evaluate
visuals of all kinds in connection with
lesson-planning activities or for direct
learning from slides, films, filmstrips,
and other projected materials. Ma-
chines having sound channels are
fitted with headphones to confine the
audio. The booth equipment is always
set up ready to operate, and small,
daylight-type screens make darkening
procedures unnecessary. As many as
sik persons can be accommodated in
each cubicle. One of these compart-
ments is equipped with a variety of
magnetic tape devices to permit the
recording of scripts, group discussions,
voice correction exercises, language

and stenographic dictation sequences,
as well as audio tapes usi>d with locally-
produced filmstrips.

Proficiency in operation of equip-
ment is not left to chance. A sep-
arate section of the Center has been
fitted with devices reserved "for in-
structional purposes only." Eight
welded metal stands are stationed at
intervals, paralleling a long wall on
which small screens have been
mounted. Based on a schedule worked
out in conjunction with the regular
classroom instructor in the "Principles
of Teaching" course, designated
equipment components are placed on
these mounts at planned time inter-
vals. As these instructional tools are
introduced and integrated in the class-
room, operational skills are developed
in the Center. For example, 16mm

Educational Screen

motion picture projectors are used for
a week. This is followed by three days
of exposure to slide-filmstrip machines.
Then tape recorders, phonographs,
radios, duplicators, etc., are employed
in succession. When the series has
been completed, the cycle is repeated
throughout the school term. This sys-
tem permits more effective utilization
of instructional personnel and achieves
a high degree of correlation with the
classroom activities. Certification cards
are stamped for each piece of equip-
ment as soon as a student attains the
desirable degree of operational facil-
ity. The more widely used machines
are processed in this manner before
the students go out into the field for
their pre-practice teaching orientation.
In this way, techniques and principles
learned can be applied in practice.

As one of the mainstays of instruc-
tion, appropriate emphasis is placed
upon familiarity with the operation
and applications of copying machines.

A special section accommodates the
gelatin duplicator, hand-operated and
motor-driven spirit duplicators, a
Mimeograph, and a Multilith offset
machine. Also included are a dry
mounting press for use with flat pic-
tures and a locally constructed Ozalid
Foil printer and developer to capital-
ize on the use of transparencies for
overhead projection. Companion facil-
ities to the duplicating machines are
the tables equipped with a Varityper,
Mimeoscopes, styli, lettering guides,
and show-card lettering pens.

Forty tablet armchairs, arranged in
five rows, comprise the group seating
area. The chairs are electrically
wired for listening purposes, being
fitted with individual headsets and
volume controls. Each row of eight
chairs forms a separate circuit. The
five distinct circuits are cabled to a
switching and mixer unit. Also feed-
ing into this unit are the audio out-
puts of two television receivers, a

shortwave radio, an AM/FM tuner,
three tape recorders, a high-fidelity
phonograph and the audio from a
closed-circuit TV chain. The switch-
ing and mixing arrangement permits
all forty listening positions to be con-
nected to any single source men-
tioned, or each of the five rows can be
switched to receive one of five dif-
ferent audio sources simultaneously.
In use, an entire class can view a
motion picture projected on the screen
at the front of the room while lis-
tening to the sound accompaniment
through headsets all this without
disturbing other students engaged in
different activities in the Center.
Likewise, trainees taking dictation or
listening to foreign language tapes can
divide up into three separate groups
(rows) and listen to such transmis-
sions at as many different speeds. In
this same instance, students sitting
in the first row of seats can be watch-
ing a TV broadcast while those in the

A certification card is stamped for each piece of equipment as
soon as a student attains the desirable degree of operational
facility.

In acoustically-treated booths students can preview and eval-
uate audio-visual materials of all kinds: Filmstrips (sound and
silent), motion pictures, slides, etc.

Mounted pictures and other non-projected aids are an important
part of the training program. Students become acquainted also
with copying machines.

CTC Dean Raymond Cook and Chicago Superintendent of
Schools Benjamin Willis inspect the Center facilities with justi-
fiable pride.

March, 1954

second row can be listening to an FM
program. Of course, other combina-
tions can be arranged to accommodate
variations in the size or interests of
the groups involved.

Three magnetic tape playbacks and
eighteen two-speed phonograph list-
ening units are recessed into four
large tables near the preview booths
and are available for study as well as
for recreational applications. These
high-fidelity components are equipped
with plug-in jacks to accommodate up
to six headsets per unit. Here docu-
mentaries, transcriptions, and record-
ings can be used. Specially-built stor-
age cabinets have been designed and
installed for the express purpose of
facilitating the use of record, film,
filmstrip, and magnetic tape collec-
tions.

In-Service Function

Stress is given the concept that
audio-visual is an important part of
the broad field of materials of instruc-
tion that all materials, devices, and

techniques that reinforce instruc-
tional procedures are legitimately the
precinct of the teacher-in-training as
well as the teacher-in-service.

Several hundred senior students
have already checked out in equip-
ment operation. Their reports of sub-
sequent benefits in the field have
been more than gratifying. The
opportunity for teachers in the schools
to participate in A-V workshop courses
offered since midyear of 1953 drew
enthusiastic support. Fifty-two in-
structors enrolled in the first class held
last summer, with 126 joining the sub-
sequent offering completed this Jan-
uary. The chance to experiment with
an unusually wide selection of instruc-
tional materials and to employ the
very latest equipment was an adven-
ture indeed!

Elementary and high school teach-
ers, librarians, trade school instruc-
tors, audio-visual coordinators, super-
visors, curriculum workers, and teach-
ers of exceptional children contribut-

ed from their vast fund of experience
to make the sessions an enriching ex-
perience for all. Perhaps the major
purpose accomplished was to help the
participants develop a clearer concept
of the function of materials and equip-
ment in instruction not as something
special to be reserved for the initiated,
but consisting of exploration and ex-
ploitation of all pertinent approaches
toward more effective communication.
In addition to the special instruc-
tional functions discharged by the
Center, the more general operations
are also significant. Working as a
unit of the Chicago Teachers Col-
lege-Woodrow Wilson Junior College
Libraries, the services are made avail-
able to all students in the same man-
ner as are other conventional library
offerings. Add to this the responsi-
bility for ordering films and film-
strips, arranging for classroom uses of
equipment, and providing a trained
staff of operators, and the wide scope
of this undertaking becomes clear.

Educators: Here's your . . .

TV DICTIONARY

THE EXTENSIVE COINAGE of
new words to express ideas about
educational television is one indi-
cation of the widespread interest in
the subject. Never has an educational
movement been identified by so many
new terms. While an educator has
always been a philologist of sorts,
seldom has he had the opportunity to
translate so completely the symbols of
his profession into a new vocabulary.
The development has taken place so
rapidly that a dictionary of terms used
in educational television is rapidly
becoming an essential for the un-
initiated.

This glossary was developed from
terms used in a wide variety of articles
on educational television. It is doubt-
ful whether any true distinction can
be drawn at this time between those
words which represent "lingo" and
those which may have a standard mean-
ing. A few of the terms in the glossary
are actually manufacturers' trade
marks which have been adopted into
general usage. Technical, engineering,
studio, and programming terms are

Mr. Hurd is Assistant Pro-
fessor of Education at Stan-
ford University, Stanford,
California.

TOO

by PAUL DeH. HURD

not included in the list except in the
few instances where they were fre-
quently used in articles on educational
television.

Definitions for each of the new
words were developed from the con-
text in which the word was used. In
most cases it was possible to verify
the definition by analyzing the works
of several different writers. Published
glossaries and dictionaries of television
terms provided synonyms or standard
meanings for some of the words. This
glossary lists the generalized meanings
of a selected list of terms that are
most commonly used by writers on
educational television.

AUDIO 1. That part of a television
script which describes the audible sounds
to be used in the telecast, including the
vocal, musical, and sound effects. 2.
Pertaining to the transmission or recep-
tion of sound.

COMMUNITY TELEVISION 1. Gener-
ally a closed-circuit television service to
a limited number of subscribers in a par-
ticular area. 2. Term has been suggested
as an alternative for educational tele-
vision.

CTV Abbreviation for commercial tele-
vision.

EDUCATIONAL TELEVISION Defini-
tion in process of evolving; at the present
time "televized education" seems to be
the most agreed upon.

ETV Abbreviation for educational tele-
vision; rarely, E-TV.

KINESCOPE RECORDING A film re-
cording of a television program, some-
times called a telefilm.

"LIVE" - Short for alive; refers to a
telecast direct from the producing studio,
as opposed to a film presentation.

PHONOVISION One of several ar-
rangements for subscription television;
the telecast is transmitted in a scrambled
form and the subscriber who wishes to
view the program requests a telephone
exchange to send a decoding signal into
the television set, for which service a
charge is then added to the home tele-
phone bill. See subscription television.

SIMULCAST A combined radio and
television presentation of the same pro-
gram.

SUBSCRIPTION TELEVISION A plan
whereby a person selects and pays for
the type of television program he desires;
program delivered to receiver in coded
form, subscriber is then charged for the
decoding key required to unscramble the
picture and sound.

Educational Screen

TELE An abbreviation for television;
a combining form meaning "afar" or at
a distance.

TELECAMERA A camera to convert
scenes into corresponding electrical im-
pulses for transmission over the tele-
lanes.

TELECAST A broadcast of a program
combining sight and sound; telecasting,
less frequently televising.

TELECASTER A "broadcaster" of a
television program.

TELECHROME An arbitrary scale of
color values used on television to min-
imize excessive use of black and white.

TELECINE A televised motion picture
Syns. "telepix," "vidfilm," "video-
film."

TELECINEMA A theater featuring
television programs.

TELECLUB 1. Organized television ses-
sions where people meet to watch and
discuss telecasts. 2. In Europe, teleclubs
are organized by the pooper peoole for
the purchase of a common television set,
which is usually installed in the village
school. In France the teleclub is replac-
ing the local cafe as the meeting place
for the village.

TELECOURSE Usually an adult or col-
lege level course offered over television
for credit. To obtain credit one is re-
quired to take a "teletest" for which he
receives a grade. See telegrade.

TELECRAT One who listens to only
the "best" programs; an individual who
discriminates in his televiewing.

TELEFILM See kinescope recording.

TELEFORUM A television program
which provides for open discussion upon
some issue.

TELEGENIC (adv.) A term used to
describe a person with good pictorial
qualities for television; the combination
of personality, attractiveness, and color-
ing which makes one eminently suited
for television. Syn. videogenic; Obs.
viseogenic.

TELEGRADE The grade given at the
end of a telecourse. Syn. videograde.

TELEGUEST The 1 special or invited
participants on a regular television pro-
gram.

TELEMETER A device attached to a
television set which requires the deposit
of a coin in order to view a program.
See subscription television.

TELEMETERING Remote viewing or
observation of an operation or process by
means of a closed-circuit television set-
up. Education: observation of a class or
classes from a central office by means
of television.

TELENEWSVIEWS A news telecast
featuring film clips of news events.

TELEPEEPER Any person who drops in
to view his favorite program on your
television set.

TELEPERFORMERS Any person par-
ticipating in a transmitted television
program.

TELEPLAY A story or play written or
adapted specially for television.

TELEPROMPTER Any of several me-
chanical devices used to remind or cue
television actors and speakers.

"TELEPULSE" One of several methods
used to compare the popularity of vari-
ous telecasts.

TELEQUIZ 1. An informal questioning
or examination of teleguests for their
edification and for the amusement of
the audience. 2. A test given in a tele-
course. Syn. teletest.

TELERECEIVER A device having chan-
nels for the reception of a visual imaae
and associated sounds. Syn. "teleset" (a
trademark); television receiver.

TELESCENE A single scene in a tele-
vision program; a succession of scenes
concerned with the development of one
idea is referred to as a sequence.

TELESCREEN Viewing area of the
cathode-ray or picture-tube in a tele-
vision set; the surface of a cathode ray
tube which becomes luminous when bom-
barded by an electron beam:

TELESELLING To advertise over tele-
vision in a manner which emphasizes the
visual aspects of the product.

TELESERIES A number of related pro-
grams offered at a stated time and ex-
tending over a period of several weeks
or months. Programs may be related by
theme, casting, or sponsorship.

TELESITE 1. The best place for the
location of a television set. 2. Advertis-
ing: a comfortable viewing salon for the
showing of merchandise over television.

TELESPECS Special glasses designed to
make the viewing of television easier
on the eyes.

TELESTAR The principal performer
on a television program.

TELETHEATER A theater producing
plays which are televised for direct view-
ing in other theaters. Home viewing
would be available in areas wired for
subscription television.

TELETHON Any single program hav-
ing the qualities of an endurance con-
test, i.e., telecasting continuously for
twelve to twenty-four or more hours.

TELETRIP An excursion by means of
television.

TELEVIEW 1. To witness programs
transmitted by means of television.
2. A single scene in a television program.

TELEVIEWER A television spectator.
Syns. televist, teleseer, televisioner.
Obs. viseur.

TELEVISE (v) To pick up a scene by
a television camera for transmission.

TELEVISION A system for transmit-
ting optical images by means of electrical
signals and the translation of these sig-
nals back to light waves so as to dupli-
cate the original image on a telescreen.
Syn. video. Obs. telerama, telescopy,
telautography, telectroscopy.

TELEVISION RECORDING A televi-
sion program photographed on film for
P'ther a nermanent record or for presen-
tation at a later time; called a kinescope
recording if recorded directly from the
picture tube.

TELEVISIT 1. A television program in
which participating guests are invited to
express their opinions on some selected
topic. 2. A teletrip.

TV Accepted abbreviation for tele-
vision. Obs. TV.; T-V; T.V.; T/V.

VIDEO 1. The picture or visual part of
television. 2. That part of a television
script which refers to both the visual
aspects of the program and the camera
movements. 3. Rarely, synonym for tele-
vision.

VIDEO-SCHOOL 1. A television station
specializing in educational programs.
2. Any program or series designed for
teaching.

VIEWDENT-

course.

One who takes a tele-

Michigan State College ETV on the Air

The nation's third non-commercial
educational television station went on
the air from the campus studios of
Michigan State College at East Lans-
ing on January 15. Plans call for a
regular schedule of educational tele-
casts that will bring 42 hours of pro-
gramming every week to TV viewers
within the 65-mile radius of the sta-
tion's signal.

Michigan State College has already
had two and a half years of experi-
ence in television production. It has
been producing TV programs over a
closed circuit and on film since the
summer of 1951. More than 500 of the
programs were kinescoped and dis-
tributed to five commercial stations
throughout Michigan.

The schedule undertaken by the
new WKAR-TV is the most ambitious
of any educational station now on the

air. Its 6-hour-a-day, 7-day-a-week plan
includes 35 hours of live programming.
The opening program on January 15
offered viewers a sampling of the
types of programs that will be seen
regularly in the future: "Symphony
Notebook," "Let's Visit School,"
"Curtain Going Up," "Driver Educa-
tion and Traffic Safety," and "Sales-
manship Principles and Practices."

Like WOI-TV at Iowa State College
in Ames, WKAR-TV telecasts over a
non-reserved channel, but Michigan
State College officials have announced
that the station will be operated on
a non-commercial educational basis.
In addition to extending the educa-
tional facilities of the College beyond
the campus, instruction and research
are conducted at WKAR-TV with a
view toward advancement and im-
provement of the medium.

March, 1954

101

Oslo Workshop Planners & Participants: Left, advisor Kresge. Right, chief engineer Egil Folkvard with assistant, engineer Arntzen.

0, letted ticm Palis about . . .

THE OSLO A-V WORKSHOP

by HOWARD S. KRESGE

Paris, France
January, 1954
Dear Editor:

The first time I got the idea to write
you this "story" was while lying under
a beach umbrella on the coast of
Normandy. Hardly the place where
one would imagine ideas on work
would intrude upon the pleasantness
of vacationtime!

But I was relaxing and my thoughts
turned back to a conversation we had
had in Chicago the year before on the
completion of the EGA Film Evalua-
tion Project and I knew you would
want to hear about at least one of
the satisfying things which have been
achieved in Europe and which is in-
directly a result of that project.

Here is the story, told informally
just as though I were talking to you. . .

THE NORWEGIAN WORKSHOP
held in Oslo from the 16th-20th
March, 1953 stands out as a symbol
of the enthusiasm and wonderful
working cooperation which we had
hoped to generate and then help
member nations continue by them-
selves.

You may remember the last time we
talked in Chicago . . . you were asking
about the Film Evaluation Project we
had just concluded at Washington
State College for the EGA (FOA).
You recall that these written film
appraisals were sent to the Depart-
ment of Commerce. From these re-
ports, films were selected for inclu-

sion in the Technical Assistance pro-
gram of the Productivity plan. These
procurement requests were handled
and activated by Sophie Hohne of
Movies-en-Route, New York, who got
the pre-print material and films start-
ed "on the way" to the Paris audio-
visual center of the Productivity Divi-
sion.

This busy workshop in Paris labored
painstakingly to convert the American
films to European ears. Synchroniza-
tion, adaption, scripts, screening
prints, distribution, shipping . . .
these were the words most heard in the
cubicle offices of an old converted
movie studio building. After the
films had been selected by the coun-
tries for their use, after the blood-
sweat - and - tears of synchronization
and printing, after the various coun-
tries started to receive their appro-
priate language prints, another word
was heard: utilization.

Our first call came from Inga Millar
in Oslo. She said, "You have helped
us get the tools; the films and film-
strips are rolling in; we are getting
enough projectors to start, but we need
help in understanding how to properly
use audio-visual aids in our vocational
schools, our industrial associations and
our factories."

In response to this call, we made
our first trip to Oslo early in Febru-
ary. I wish I had time to tell you of
this winter fairyland, and if you are
ever lucky enough to get to Oslo in
the winter, don't forget your skis!

You can carry your skis over your
shoulder to the subway right in front
of your hotel, strap them on the racks
on the side of the subway train, and
ride three thousand feet up to the
top of the mountain guarding the port.

My introduction to the Norwegian
people overwhelmed me. Their warm
hospitality, their enthusiasm and in-
terest swept me along like a cork on
the tide. Inga said, "We have made a
survey of the vocational schools, in-
dustrial associations, labor groups,
and factories and found that they
would be intensely interested in par-
ticipating in a workshop or confer-
ence on the use of audio-visual aids."

"Wonderful!" I responded, "and
how many people do you think would
come?" "More than we can handle,"
she said. "We have the names of three
hundred and sixty, and this is too
many. What shall we do?"

Mr. Kresge is an A-V spe-
cialist working with the In-
dustrial Training and Edu-
cation Branch of the U.S.
Mission to the Xorth At-
lantic Treaty Organization
and European Regional
Organizations, with head-
quarters in Paris. In 1951-
52 he directed the EGA
Film Project at Washing-
ton State College (see
"Story of the EGA Film
Project," October, 1952 ED-
SCREEN).

102

Educational Screen

So we had a couple of cups of
coffee! Incidentally, it was the best
coffee I had had in Europe. The
Norwegians are confirmed coffee
hounds, and they use it for problem-
solving, the way we do. As a result,
we decided on a plan.

We (the FOA ex MSA/ECA) would
help them plan a conference and
would contribute what we could in
the way of ideas, suggestions, films and
other material, but we emphasized it
was to be a Norwegian show. They
should plan it, organize it, and run
it. We felt our role should be in the
wings backstage helping all we could.
This attitude, at first, was disappoint-
ing to them. They had hoped an
"American expert" would come flying
in with all the answers and the props,
that they could sit at the feet of the
prophets and memorize the gospel.

We firmly emphasized that in the
big area of communications, we are
faced with some of the same problems
as are they. We do not know all the
answers. We are still trying to estab-
lish ways to test and control the power
of these media. We wanted to sit
down with them as co-partners in
communication and probe the prob-
lems together.

We talked about audio-visual work-
shops in the States, some of the con-
ventions, some of the problems, some
of the places, and left them with the
assurance that we would give them
all the support possible and that
friends of ours in the States would be
contacted to send additional material
and suggestions.

In listing some of the materials that
should be demonstrated and discussed,
we included "flannel boards," which
drew a blank. After drawing some ex-
amples and waving our arms vigor-

ously, I suddenly remembered Betty
Stoops' article, "Facts and Fun on
Flannel Boards," which appeared in
your October 1952 issue. I yanked
this from my brief case and handed
it to Mr. Larson. Mr. Larson doesn't
read English, but he could read the
pictures all right. He asked permis-
sion to keep the magazine so he could
have the article translated, which he
did. As a result some of the students
from the Vocational Training Schools
made five excellent flannel boards and
stands for the conference.

The next six weeks were busy weeks
of planning and preparation. The
board for vocational training agreed
to sponsor the course, a planning
committee was organized, then the
usual meetings, discussions, decisions,
details, arrangements followed. They
decided on a name, a place, the length
of time, the course content, the par-
ticipants, etc., etc.

The "Audio- Visual Promotional
Course" was held at the Folksmuseum
in Oslo. Mr. Roeming, head of the
board for Vocational Training, offi-
cially opened the course Monday
morning with the hope that this con-
ference would bring about a clearer
understanding of the use of modern
tools of learning.

Generally the course was organized
in a rather unorthodox way, but it
was carefully designed to fit the needs
of the Norwegians. Of the two hun-
dred participants, half attended a
morning session from 9:00-1:00 and
half the evening (repeat performance)
from 5:00-9:00. In between these
formal sessions, the commercial peo-
ple maintained a working exhibit
where they demonstrated their equip-
ment and helped new learners ac-
quaint themselves with the threading,

Workshopper Tor Arnevoog of the National Safety Council

They learned about flannel boards from Betty Stoops in EDSCREEN.

March, 1954

care, and maintenance of equipment.
Also during the afternoon there were
organized tours to the Statenfilm-
sentral (the state-financed central film
library). For those who cared to stay,
there was a continuous showing of
technical films from 9 to 1 1 p.m.

Throughout the week the idea was
to give the participants something to
talk about then let them talk. After
an hour's "impact" demonstration, the
larger groups were broken up into
four discussion groups of twenty-five
each with their own rooms, their own
equipment, their own "roundtable."
Rather than simply say, "This is a
film" or "This is a tape recorder" or
"This is a flannel board," we tried
to demonstrate good techniques of pre-
senting subject matter content through
actually using audio-visual aids. Typ-
ical subjects were "Safety in Industry,"
"Human Relations," "Work Simpli-
fication," but the method was strictly
"audio-visual."

For an example, we had been asked
during the introductory session to
"talk about" the (MSA) FOA Tech-
nical Film Program and productivity.
For this hour and a quarter we used
in our presentation two sets of flip
charts, which were straight-line, water-
color and black on butcher paper (to
show inexpensive material), flannel
board, two slides, tape recording, and
parts of five motion pictures.

During the final summing-up period
we handed out evaluation sheets
with three questions, "What did you
like most about the course?", "What
did you like least?", and "What are
your suggestions for improving this
and similar courses?". Most agreed
that they had seen so much in a short
period of time that they would like
to let it "jell" a bit before answering.
Over a hundred returned the ques-
tionnaire via the mail after the
course had "jelled." They had some
helpful suggestions. Many felt that
the filmstrip had stolen the show;
others praised the flannel board; many
had cjuestions about where to get
equipment and films, and most felt
that more time should have been spent
in the discussion groups.

We all learned in Oslo. Already,
as a result of this conference, the
Norwegian National Safety Council
has had two workshops on the use of
audio-visual aids in safety. Four
courses were planned for other sec-
tions in Norway last fall. The tech-
nical films and filmstrips, generously
contributed by American industry, are
being used wisely and well. Nor-
wegians are learning new methods,
new techniques for industry and
with them new methods, new tech-
niques in teaching, training and com-
munications.

103-

V A V V

V V A

/ Z+3H

V V VA V

V VA VV

mm mmiK.ui

o use Me overhead projector in music instruction

by JAMES C. BEAVERS

ALL OF US teachers of music in
the public schools are searching
for better techniques in teaching
band, orchestra, and choir. Since
we agree that the ideal method is for
each pupil to take private lessons, the
closer we can come to this ideal situa-
tion in teaching students in groups or
classes the better the results will be.
One device that the writer has used
in Gary, Indiana is the overhead pro-
jector. Used with a well - planned
course of study in any method book,
it will help you make your class les-
sons more like private lessons, and
you can be at each student's stand
much of the time in a personal way
without leaving your podium.

Overhead vs. Blackboard

The overhead projector is a machine
that throws a strong beam of light
through transparent plastic slides of
your own design onto a large screen
in a fully lighted room. Actually it
takes the place of your blackboard in
a much more efficient and personal
manner. Your classroom need not be
darkened because the machine pro-
jects a brilliant picture under ordinary
lighting conditions. A flat white
screen should be used in preference to
a beaded screen because it gives the

Mr. Beavers is a music in-
structor at the Horace
Mann school in Gary, In-
diana. He has been experi-
menting with the use of the
overhead projector for
many years. The strip of
music at the top of this
page is from one of the
many slides he has made
for use with the projector.

same brilliant picture from any angle
in the room.

A whole course of study can be pre-
pared over a period of time that will
save you countless hours of black-
board preparation (which must be
immediately erased). Since the material
for each class is prepared ahead of
time, there is more time for presenta-
tion and study during the class hour,
and each slide can be filed for use
over and over again. Because you
will have a wealth of slides at your
fingertips, you can present more
material in a greater variety during
the class hour, thereby improving the
continuity of the presentation and
holding the attention of your students.

During the presentation, the in-
structor's back is never turned toward
the students since the projector throws
the image over the shoulder onto the
screen directly behind him. This
means that you have better control of
your class at all times because your
eyes need not leave the students ex-
cept to glance and point at the slide
in front of you.

Projector Uses for Music Theory

In their eager attempt to play and
sing tunes, many aspiring young musi-
cians neglect or shy away from music
theory, which must be thoroughly
learned if they are going to become
well-rounded musicians. To make
sure, then, that a greater percentage
of our music students do gain this
necessary theoretical background, is
it not necessary that we expose these
students, especially in our beginning
and intermediate classes, to an interest-
ing daily program of theory, which can
be divided between memorization,
drill, testing, and games? This pro-
gram can be carried out by the teach-

er and the class as a whole; or the
teacher may give short private music
lessons to each student while an assist-
ant carries out the theory program
with the rest of the class under the
guidance of the teacher.

Teaching Names of Notes

Although the projector method has
unlimited possibilities, according to
each director's choosing and ingenuity,
the following uses are suggested:

Can most of your students name all
of their notes spontaneously, or do
many of them say, "Well, I don't
know the name of the note, but I know
how to play or sing it"?

The projector method we use for
presentation, memorization, drill, and
testing of all notes in the clefs desired
during a few minutes of class time
will insure a knowledge of note names.

One slide of all the notes in the
clefs desired with the note names
written underneath may be used for
daily study and drill. For beginning
students this slide may be used to ex-
plain the names of the lines and spaces
of the staff and the sentences or woid-
that help the new music student to
memorize these names. An example
of this in the treble clef from the
bottom of the staff upward would be
F-A-C-E for the spaces and E-very
G-ood B-oy D-oes F-ine for the lines.
Added lines and spaces above and be-
low the staff may also be explained to
the beginning student from this slide.
Since all notes are named after the first
seven letters of the alphabet, they may
be written underneath each staff for
the student to memorize, to teach him
to say them backwards too, and to show
that the name of any note may be de-
termined by counting up or down from
any known note name. This slide is

104

Educational Screen

especially useful for study by all stu-
dents a few minutes each day before
oral drill, note games, or written note
name tests are introduced.

One slide of all the notes in the
clefs desired without the note names,
may be used for drill, note games, and
tests. These are two general methods
of drill. The first is oral drill with
each student naming the notes as the
teacher points to them on the screen,
while the balance of the class stands
by to make any corrections of mistakes
that the individual student might
make. More interest in this drill may
be obtained by having the class divide
into two teams, each with a captain
who names the people that he wants
to recite on his team. Each team
continues to recite one by one until
the opposing team detects an error in
their recitation. This procedure con-
tinues until the teacher calls a halt to
the game and tabulates the correct
number of note names to determine
the winning team.

The second method of drill is to
have the teacher plan and point to a
certain sequence of note names while
the class writes the sequence and cor-
rects it upon completion. A sequence
of words spelled from the first seven
letters of the alphabet may also be
used for this method of drill. A stand-
ard mimeographed note name test
should be given and recorded periodi-
cally to determine the results and to
act as a guide to help those students
who are weakest in the memorization
of their notes.

Rhythm Training

A child's ability to sight-read and
play or sing music depends in large
part on his knowledge of the number
of counts that the different kinds of
notes and rests receive and his ability
to apply this knowledge when reading
music. Slides of all notes and their
(or responding rests can be made with
the counting and footbeats written
underneath in order to teach their
values and how they are counted.
Rhythm slides of all exercises in any
particular method book can also be
made with the counting and footbeats
written underneath for rhythmic ex-
planation and drill before the exercise
in the book is either played or sung.
Oral and physical drill should follow
with the whole class counting aloud
and clapping or tapping the rhythm
patterns out with a pencil. The ex-
ex ises can also be played or sung on a
unisonal tone. Upon completion of
this drill, the class can then apply
what they have learned by playing or
singing the corresponding exercise
hom their books. Periodic mimeo-
graphed rhythm tests can be given and
recorded so that the teacher may single

March, 1954

out the students that need special help
and review.

Key Signatures

Key signature presentation, memori-
zation, drill, and testing can be accom-
plished in the following ways. One
slide can be made of all the sharp and
flat key signatures in the clefs desired
and from this slide the rules for de-
termining the key name, the number
and name of the sharps and flats in
each key signature, and the position
of the sharps and flats on the staff
can be taught.

Making the Slides

To make slides for a Vu-Graph
overhead projector you need 8" x 8"
plastic sheets, India ink, a lettering
pen and holder, and a can of clear
plastic spray. When making the slides
with India ink, it is important not to
touch the new plastic sheet with the
hands or arms, as this will leave a film
of oil from the skin and the ink will
not flow on smoothly in that spot.
After the slide has been made, spread
a thin film of clear plastic over the
inked area to keep the ink from crack-
ing off and mount the plastic sheet in
a cardboard mount which can be made
or purchased. The slide can then be
marked with the proper filing infor-
mation, and you have a permanent
record of this particular phase of your
work which you can use year after
year. The Scripto pencil with large
black crayon lead can be used to draw
on plastic sheets or glass in much the
same fashion that you would use chalk
on a blackboard, if you need to pre-
sent material which you have not had
time to prepare with India ink.

Permanent slides may also be made
by using a camera that takes 8"x8"
negatives and Kodalith film which de-
velops a white background and a
black image. When this film is devel-
oped, the contrast between the black
and white is very sharp; so this method
is a very good one for making slides
of printed material to which the
teacher has added other pertinent in-
structions.

Permanent slides may also be made
by using a camera that takes 8" x 8"
negatives and Kodalith film which de
velops a white background and a
black image. When this film is de-
veloped, the contrast between the
black and white is very sharp; so this
method is a very good one for making
slides or printed material to which the
teacher has added other pertinent
instructions.

The suggestions above are just a few
of the possible teaching helps that the
overhead projector will give to the
energetic music teacher who has time
to save through its use and in so doing
to present more material to more stu-
dents in a more personal way. Because
you will have a complete library of
slides designed after any method of
your choosing, your students will not
only hear your instruction but also see
your detailed explanation of each
musical problem and example as you
point to your slide and the image of
your pointer and music example
appears behind you on a large screen.
The results will be better understand-
ing of the musical problems that you
present and development of greater
individual musicianship in all of your
students in a class situation.

The instructor's back is never turned toward the students since the projector throws the
image over the shoulder onto the screen directly behind the instructor.

105

"Better Services for Better Learning 9 '

A RECENT CONFERENCE of the
Audio-Visual Education Associa-
tion of California brought together
audio-visual educators, school super-
visors, elementary school administra-
tors, school librarians, and distributors
of instructional materials and equip-
ment in a meeting representing a
cooperative approach to the improve-
ment of instructional services. Con-
temporaneous meetings of professional
organizations are not uncommon, but
this was something far different from
the usual type of concurrent meeting
of professional groups. Two days of
the three-day convention were given
over to joint sessions in which all four
professional organizations were repre-
sented. Even the section meetings on
the final day of the conference were
set up on a cross-sectional plan so that
audio-visual educators, supervisors,
administrators, and librarians would
be brought together in small groups
working toward common objectives.
The specific results of the conference
were important, but even more im-
portant (in this observer's opinion)
was the idea on which the conference
was based: a conception of a broad
and cooperative approach to the im-
provement of instructional services.
This was expressed in the theme of the
three-day meeting: "Better Services
for Better Learning."

Mr. Charles R. Robinson, President
of the Audio-Visual Education Asso-
ciation of California, served as host of
the conference, and Dr. Richard B.
Lewis of San Jose State College was
program chairman. The conference
was held in Santa Rosa, California,
January 14, 15, 16.

On the first day of the conference,
members of the Audio-Visual Educa-
tion Association of California con-
vened in two main sections: Teacher
Educators with Audio-Visual Respon-
sibilities and County and City Audio-
Visual Directors. At these meetings
problems that figured prominently in
discussion included course offerings
in audio-visual education, the study
of competencies required by teachers
in the use of audio-visual instructional
materials, the integrated program of
audio-visual instruction in the train-

Dr. Norberg is Associate
Professor of Education and
director of the audio-visual
program at Sacramento
State College in California.

by KENNETH D. NORBERG

ing of teachers, the administrative or-
ganization of procurement and use of
audio-visual instructional materials, the
audio-visual course requirement for
renewing teaching credentials, and the
certification of audio-visual directors.
County and city audio-visual directors
were concerned with an examination
of the functions of the audio-visual
director and with the total question
of a desirable audio-visual program;
also with methods of cataloguing ma-
terials, room darkening, and with
budgeting and procurement of equip-
ment and materials.

On the following two days of the
conference all the participating
groups convened in joint sessions to
work with the common problem sug-
gested by the convention theme:
"Better Services for Better Learning."
In his keynote address, Dr. Maurice
Seay related the total problem of in-
structional services to the conception
of the community school. He empha-
sized the importance of making full
use of community resources in the
joint effort of school and community
to apply the power of education to
the solution of human problems. He

declared that teachers do a better job
of teaching when educational goals
are developed in the democratic way
and that teachers, along with other
members of the community, are most
effective when they are not only in-
formed but also free to speak. Other
major addresses of the general session
on Friday included Dr. J. Davis Con-
ner's speech on "Cooperative Effort
for Better Instructional Services," Dr.
James J. McPherson's description of
the national services of DA VI, Mr.
Dennis O'Shea's presentation, "Better
Books for Better Learning," Dr. Paul
Wagner's review of "Sixty Years of
16mm Film," and Dr. Bruce Findlay's
dramatic story, "It Could Happen
Here." An unusual feature of the
general session was the fact that the
commercial distributors taking part
in the convention exhibits arranged
the afternoon meetings.

The concluding session on Saturday
morning included a general meeting
of the participating organizations fol-
lowed by section meetings devoted to
joint study and discussion of a series
of problem-questions growing out of
the previous meetings.

A state A-V association points the way

to a cooperative program for improving instruction

J ? T IO > c er m t et |r 9: (left to ri 9 htl M >- e ' Crumb, AVEA vice-president;

N TY ^ n r )OSe St te u Co Ie 9*; Ernestine Runner, San Bernardino County Schools
V , Sc D h ls; Guy Helmke ' Berkele y Cit V Schoo| s; Fwnch Noel

106

Educational Screen

mure

h berattrnent

by WILLIAM S. HOCKMAN

YOU CM BE CREATIVE

A student writes, "I hear a great deal
about the imaginative and creative use
of audio-visual aids with small chil-
dren, say of Primary age. What do you
think of this idea?"

I like it. Let's see what can be done
with this text! We must have three
points, to be homiletically sound. Here
they are: (a) select the right medium;
(b) select appropriate material; (c)
use your imagination and common-
sense.

Suppose I had a group of Primary
children and I wanted an interval of
relaxation or fun during the church-
time program; while their mothers
were meeting: or even wanted to in-
dude a visual aid in my party pro-
gram. That's the setting. Now for the
right medium.

Films, of course, are good but there
are other visual aids! What about the
easy-to-use captioned filmstrip? Not
much machinery involved; can do the
whole job of presentation yourself,
staying right in the midst of a sizable
group. So it will be a filmstrip.

Now for the right subject matter.
It need not be funny to be enjoyable.
That's a first principle. What's inter-
esting is entertaining. Disney in his
True-Life Adventure films has proved
this! Suppose we take something as
simple as a fable. What about The
Country Mouse and The City Mouse,
adapted by Filmfax Productions from
Aesop's l-'ables? It is in delightful color
art. The captions are right there under
each frame.

Now for the use: I'd gather all the

i children into a compact group right

in front of the screen (so everyone

would see a nice bright picture). Then

Letters, films, filmstrips,
etc. for Church Depart-
ment Editor William S.
Hockman should be sent
to him at 5 Spring Grove
Ave., San Anselmo, Cali-
fornia.

March, 1954

I'd project the filmstrip, at a slow pace,
reading the captions and laughing
at the right places. Soon the children
would be enjoying it, too. After once
through, I'd ask if they wanted to see
it again. They would, of course. This
time we would go faster, laugh harder,
ad lib additional comments and invite
such from the children. By the end
they would be in the spirit, enjoying
the fun.

"How about seeing it once more,
children. This time one of you will be
the Country Mouse and one of you
the City Mouse? You know the pic-
tures now. You know the way the story
goes, so make up your conversation as
you go, putting in all the extra things
like the way each would talk, and don't
forget to do the right thing when you
are surprised, or scared, or amazed."

Here is where the real fun begins
this time through! Your "actors" will
pull out the stops and give you a real
performance and the enjoyment of the
children will be keen to the last frame.
And they'll want to do it over but
along about now church will be out
and the parents will be standing at the
door for the happiest children they've
seen coming from "Junior Church" for
some time!

How do I know all this? Because I
have done it, and if / can, then anyone
who reads this can do it better. Does
that help you see what is meant by
being creative with visual aids? This
was for enjoyment. You can be creative
just like this in teaching, too. All over
the country teachers are doing it every
day. You can, too. Good luck!

SOME FILMS
I WOULD USE ADD WHY

Little Grey Neck, a 20-minute sound
film in color, tells the story of a little
goose who did not want to go south
with the others when winter came. The
things that Happened to him up north
that winter aie revealed by some of
the finest animated film to date. It has
beauty, pathos, thrills, suspense
everything, even a moral for those who
wish to see one. It is superb for the
entertainment part of Primary and
Junior parties. It is sure-fire enjoyment
on a very high level.

Seal Island, 27-minute sound and
color film in the Walt Disney True-
Life Adventure Series, is a documen-
tary about the seals which summer on
the Pribilof Islands in the Bering Sea.
Now released in 16mm, this film will
win friends wherever it is shown to
children, youth and adults. It is not an
entertainment film. It is not cut in that
pattern. But being intensely interest-
ing and informative, it is for this rea-
son more entertaining than many so-
called entertainment films. The next
time you need a film for a party or to
enliven a church family-night, check
with your dealer on this film.

Motivating the Class, a black and
white sound film by McGraw-Hill,

107

J-

ROM omong the thousands of
tilms, sound films, slides, recordings
and transcriptions that have been
produced for church workers at all
levels, how can you quickly select
the ones best suited to your own
needs? You can't alone. But the

1 500 titles from over 200 producers

complete index, by topic and title

accurate, basic data

clear, condensed synopsis

detailed evaluation

overall rating

ages when best used

about 500 pages, 7" x 10",
Chromecoat cover, $5.50

Order today from

NATIONAL COUNCIL OF CHURCHES

Dept. of Publications Midwest Office

79 E. ADAMS STREET, CHICAGO 3, ILLINOIS

CHRISTIAN LIVING j
FILMSTRIPS

44 subjects now available, many j
in full color.

Used and recommended by near- :
ly all Protestant denominations, j

Send for free illustrated catalog, j

Church Screen Productions

JP.O. Box 5036 Nashville 6, Tenn. j

Splices Not Holding?
Try

WRITE FOR SAMPLE

Camera Equipment Co.

1600 Broadway, New York 19, N. Y.

THE ONLY GUARANTEED

iiRDiCH REmouni

PROCESS FOR 1 6 AND 35 MM FILM

Serving for many years Universities of Notre
Dame, Wisconsin, Nebraska, Indiana, Colo-
rado, Yale and Syracuse, and State Depart-
ments of Education of Georgia, Ohio, Con-
necticut and Maryland.

Write for catalog E

rapid FILM TECHNIQUE INC.

21 West 461 h Street, New York 36, N. Y.

Concordia Films

FAITH OF OUR FAMILIES shows how some pattern of family worship is possible in
every type of home situation.

shows how motivation is basic to good
teaching and drives home Horace
Mann's dictum that the teacher who
does not motivate her pupil is like the
blacksmith who pounds on cold iron.
We pound a lot of cold iron in our
church schools! For this reason here is
a good film for one of your teacher
training sessions. It gets a lot shown
in 19 minutes and, carefully used, it
will lead to plenty of thinking and
discussion. Inquire of your dealer.

Cheating is a Young America film
lor teenagers. It digs right into a teen-
age problem. It takes up the case of
John, student council member who
cheated. His schoolmates took sides.
That's what your teenagers will do. A
skillful leader will get them to think
as well as talk, and some new insights
can be gained by all present. Here is
the film for the Sunday evening fel-
lowship Junior Hi or Senior Hi. For
those who plan carefully, a top-quality
program ought to result. It is black
and white and 1 1 minutes long.

NEW MATERIALS

Family Worship

Is family worship on its way in or
out of the home? Whatever your an-
swer, the 27-minute black and white
sound motion picture Faith of Our
Families has its own unique reply. It
goes beyond reply. It shows how some
pattern of family worship is possible
in every type of home situation. As you
see it, you will think they are not go-
ing to get to your unique case. But
when the film does, you'll smile to
yourself and look at your spouse and
whisper, "Don't you think it's time for

us to try?" Produced by Family Films,
Inc. for Concordia Films (3558 S.
Jefferson, St. Louis 15, Mo.).

Missions

When the Japanese military over-
lords left New Guinea, they wrecked
in one way or another the hospitals
and schools of the Lutheran missions
in this far-away country. For more
than two years the natives carried on
as best they could, hoping and praying
for the return of their friends and co-
workers in kingdom building. At last
the time was ripe for the missionary
doctors, nurses, teachers, and techni-
cians to return. This return and the
reconstruction are pictured for us in
the sound and color motion picture
Tlie Great Invasion (American Lu-
theran Church, 57 E. Main Street. Co-
lumbus 15, Ohio). This is an inter-
esting and informative film for youth
r.nd adults. The running time is some-
thing over forty minutes.

When Balamani got well she de-
cided to stay on in the hospital of the
American Lutheran Mission in India.
In her recovery she saw her field of
work. The 40-minute color and sound
motion picture which tells this story
in full bears the title Balamani and it
is recommended for use with Junior
Hi and up. It will help young and
old to understand just what medicil
missions arc, how the people respond,
how this great work is more and more
passing into the hands of skilled and
consecrated native people. Balamani
goes about a great hospital as an "an-
gel" of comfort and encouragement
and speaks the Words of Life with
winsomeness and the conviction born
of personal experience. (An American
Lutheran production; address above.)

108

Educational Screen

r ilmstrip Notes

Do You Really See? tells the story
of a family challenged by the Christian
needs of the world. The Jim Norton
aniily realizes that their giving to the
hurih ha-- been only token giving.
Assisted by an elfin guide, Mr. Norton
s able to peer into the past to see
low bis own chunli was built; to see
Menaul School (in New Mexico) and
Allahabad Agricultural Institute (in
India) as examples of what the church
can really do. This is a black and
white (ilm.strip with a running time of
15 minutes. The commentary comes on
78 or 33 1/3 rpm records and also on
7!/2 ips magnetic tape.

Similar in general format is another
ilmstrip, Feed My Sheep, dealing
with the building of the church budg-
et, with emphasis on self-allocation. It
was designed primarily for official
boards but may be used with other
groups.

Judith Touro is a 36-frame color
filmstrip with printed commentary-
notes which was produced by the Com-
mission on Jewish Education of the
Union of American Hebrew Congre-
gations (838 Fifth Ave.. X. Y. 21). It
tells the story of a great man, a great
philanthropist, a great American who
lived in New Orleans during the first
half of the 19th Century. Such a story
is the raw material of brotherhood
education. Such material is being
sought by educators in church, syna-
gogue, and school. To these and others
this fine filmstrip is commended. Here
is the story of a great man. Let us use
it. How can there be greatness in the
adults of tomorrow if the children of
today Iced upon TV criminals and
crackpots and the pseudo-men of comic
books? The least we can do is balance
their diet!

Biblical Recordings

"Festivals and Holidays When Jesus
Was a Boy" what a course for the
Junior age in church school, week-day
and vacation church school, the junior
church, and in book form for just plain
reading in the home! Until someone
builds such a course, teachers with a
dash of originality and imagination in
their mental-blood can use three new
recordings. The Purirn Story, The
Chanuko Story, and The Passover
Story as the core of a unit on this
subject. The first tells of Queen Esther
and the heroic action which saved her
people. The second dramatizes the
M.iccabean struggle for freedom when
Antiochus Epiphanes ruled, arid the
third dramatizes the events which give
meaning and content to the Passover.
All this material is vivid in its drama
and is well recorded on 10-inch, 78

rpm unbreakable records, with the four
sides of two records for each story.
Christians are trying to get religious
teaching back into the home; the Jews
are trying to keep it from leaking out
of the home. Here is material which
can be used in homes, synagogues and
churches to give a deeper understand-
ing of biblical material and Bible
times; to motivate the reading of chil-
dren and youth; and to broaden their
appreciation of their neighbors. (De-
partment of Audio-Visual Aids, 838
Fifth Ave., N. Y. 21, N. Y.)

CORRESPONDENCE

"You speak of a new film on the
life of Christ. It may sound heretical,
but if I had money for films, I'd
rather spend it in portraying the teach-
ings of Jesus. I think that is what
people want. The life of Christ is in-
teresting, but the teachings are vital."
W. E. Laganke. How does this idea
strike you? Do we need films which
explain what it means to be a Chris-
tian here and now? Churches, what
kind do you need? Dealers, where do
you think the emphasis should be put?

Sally Klaar, first-year student in a
great university, wants help on A-V
materials for the student YW and for

the campus Westminster Fellowship.
Can you recommend filmstrips and
films to her? Tell her about something
that worked for you. (Address her at
Roberts Hall, Ames, Iowa.)

J.S.D. wants a film for a family
night dinner which will "get under the
hides of the parents and make them
sign up to help with the teaching."
Many DRE's and pastors will join
J.S.D. in his sentiments. For Every
Child is the film for him. It comes in
either color or black and white and has
a running time of 29 minutes. The
sound is fine and the other technical
qualities are good. In Mr. Wilcox
many people will see themselves as
they are and as they ought to be if
they take the church's teaching task
seriously and personally.

A student working among migrants
this summer wants to know how he
can best project pictures in daytime
out of doors before small groups of
children. He should do the following
things: (1) Set up so the sunlight falls
neither on the screen nor into the
faces of the children; (2) shade the
screen if he possibly can; (3) seat his
children very compactly in a V-shaped
group; (4) move the projector up close
so as to project a picture no larger
than is needed by the children farthest
away. Observe all four for best results.

10 Films To Enrich Your
Lenten and Easter Programs

LAST JOURNEY TO JERUSALEM

THIRTY PIECES OF SILVER

THE UPPER ROOM

BETRAYAL IN GETHSEMANE

JESUS BEFORE THE HIGH PRIEST

TRIAL BEFORE PILATE

THE CRUCIFIXION

NICODEMUS

THE LORD IS RISEN

THE LORD'S ASCENSION

Faithfully adhering to the Bible text

The most complete film series

portraying the climactic final

days of the life of Christ

Use these films in your special Lenten
and Holy Week services for instruc-
tion, inspiration and motivation.

All Living Bible films (26 in the series)
are factual, i5- to 20-minute teaching aids
on 16mm sound film, available in black
and white and color at daily rental rates of
$5.00 and up.

See your denominational or local film
library for reservations and informa-
tion about Family Films' Series Sav-
ings Plan and free helps for pastors.

, INC

1364 North Van Ness Avenue
Hollywood 28, Calif.

March, 1954

Writing for more information? Mention EDUCATIONAL SCREEN.

109

of new films

by L. C. LARSON

Director, Audio-Visual Center
Indiana University

CAROLYN GUSS

Assistant Professor, School of Education
Indiana University

and JOHN FRITZ

Instructor, School of Education
Indiana University

Preview prints should be sent direct-
ly to the Audio-Visual Center, Indiana
University, Bloomington, Indiana.

GALILEO'S LAWS
OF FALLING BODIES

(Encyclopaedia Britannica Films,
1150 Wilmette Ave., Wilmette, 111.)
6 min., 16mm, sound, black and white,
1953. 25. Film Guide available.

DESCRIPTION

This film recreates the events that
led to Galileo's discovery of some of
the fundamental laws pertaining to
falling bodies, provides demonstrations
that verify Galileo's discoveries, and
summarizes the contributions of Gali-
leo as one who recognized the impor-
tance of the experimental method and
represented certain laws of nature
mathematically.

Introductory scenes show that a man
being shot from a cannon, leaves fall-
ing, and a pendulum swinging are all
drawn toward the earth's center by
gravitation. The narration explains
that the laws' which govern freely fall-
ing bodies were not discovered until
the latter part of the seventeenth cen-
tury by Galileo.

Galileo is shown conducting experi-
mentation on falling objects. As he
repeatedly drops objects of different
weights and sizes from the Leaning
Tower of Pisa, the commentary ex-
plains that Galileo may never have

actually used the Tower. The action
shifts to an instructor in a modern
physics laboratory. Here are recreated
some of Galileo's experiments.

Slow-motion photography shows
that all objects, regardless of size or
weight, fall at the same rate of speed.
A vacuum tube experiment testing the
rate of speed with which a feather and
a coin fall shows the rate to be identi-
cal. The inclined plane and water
clock which Galileo used to ascertain
the speed of a falling body at any in-
stant are next shown. The release
mechanism and the electric timer used
for the same experimentation in a
modern physics laboratory are then
illustrated and contrasted to Galileo's
equipment. Galileo uses the data
gained from these experiments to de-
velop formulae giving the relationship
between the distance traveled and the
time.

The summary reviews the impor-
tance of Galileo's developing these
laws of motion and his use of the sci-
entific method.

APPRAISAL

This short film clearly and concisely
defines and demonstrates the laws of
motion which Galileo developed and

shows the method by which he devel-
oped them and the method by which
they can be demonstrated and tested
in modern physics laboratories. Tht
film should be useful in verifying the
laws, identifying selected application of
the laws, and developing an apprecia-
tion of the contribution of Galileo to
modern science. The film is recom-
mended for use by physics classes in
senior high school and physical sci-
ence classes in junior high school.

HEALTH - YOUR FOOD

(Young America Films, Inc., 18 E.
Forty-First St., New York 17, N. Y.)
13 minutes, 1 6mm, sound, black and
white, 1953. $62.50. Produced by
Centron Corp. Teacher's Guide avail-
able.

DESCRIPTION

A combination of live action and
animated puppets with the narration
and voice effects written in an ele-
mentary form of rhyming verse is
used in the film to explain that food,
provides for energy and growth and
to point out the nature and function
of the basic food elements.

Percival promises Nute to reform his eating habits.

Young America Films

Educational Screen

The introduction presents Percival
Pate, a young boy with bad eating
habits, eating only sweets and scorning
\( ^('tables. The scene then shifts to
a night when Percival suffers from his
bad eating habits. While he is having
a nightmare, "Nute," a shortened form
of nutrition, explains to Percival that
nutrition includes those processes by
which one takes in and uses his food.
As Nute tells Percival about the food
elements carbohydrates, fats, pro-
teins, minerals, and vitamins a pup-
pet symbolizes each one. Similarly pup-
puts represent each of the seven basic
foods and point out their value.

In conclusion, Percival promises
Nute to reform his eating habits and,
even though the next day he thought
the whole thing was a dream, he stuck
by his promise week after week.

APPRAISAL

The imaginative combination of
fantasy and fact in this film results in
a motivational film which should help
produce desirable attitudes toward
proper eating. The film is recom-
mended for use in the third, fourth,
and fifth grades. Even though the se-
quence dealing with the seven basic
foods seems long for adults, children
appear to sustain an interest in it.
The rhyming verse and puppets rep-
resent a novel way of presenting an
important subject which has been
previously treated in a number of in-
structional materials.

THE CHAIN OF LIFE

(Dept. N Pictura Films Corporation,
487 Park Avenue, New York 22, N. Y.)
II minutes, 16mm, sound, color. $100.
Produced by Thomas Craven Films
Corporation. Teacher's Guide avail-
able.

DESCRIPTION

As one of a series of ten films en-
titled, "The World Around Us," this
film documents and describes the con-
tinuity of plant and animal life and
the interrelatedness between nature's
species.

Moving past tall Cyprus trees, the
camera slowly enters the world of nat-
ural life in a swamp where each form,
be it plant, insect, animal, or bird, is
shown to be dependent on and in turn
provide the means for the existence of
other forms. The narrator states, how-
ever, that ultimately all forms rely on
the plant for its 'ability to utilize the
raw materials of earth, air, water, and
sunlight in producing the basic food.
The scenes that follow include some
close-up photography of water life
and, with the help of narration, _illus-
trate this "chain of life": tadpoles

feed on water plants; a crawfish de-
vours a tadpole; the breen is said to
rely on the crawfish for its food and
to become the means of life for the
bass. The narration suggests, however,
that the bass does not go unchecked
its eggs are attacked by the breen and
the crawfish.

Natural life on land exemplifies a
similar interdependence. A raccoon
is shown attacking the eggs of a turtle
while the alligator is reputed to feed
on fish, turtle, or raccoon. A series of
scenes explain the gradual transforma-
tion of the tadpole into a frog and
depict the slow emergence of a Poly-
themus moth from its cocoon. A spider
busily spins his web and swabs a victim
in silk, and a puff adder rehearses
some of his defensive tactics as the
narrator relates that the spider be-
comes food for the frog while the
snake feeds on the tree toad. A swarm
of swallow-tail butterflies are seen
sucking nutrition from the soil which
the narrator explains has become fer-
tilized by the body of some dead ani-
mal. Succeeding sequences indicate the
dependence of tree swallows on the
abundance of flying insects and illus-
trate how the water birds take food
from the swamp and then return tons
of fertilizer to the waters to sustain
new life.

In summary, the film reviews this
perpetual cycle in the nourishing of
plants and animals. Whether it is
"food maker or food eater, fertilizer
or scavenger . . . each forms an indis-
pensable link in this unending chain
of life."

APPRAISAL

Members of the committee felt that
this film could be used in intermediate
and junior high school classes to por-
tray the characteristics of various forms
of plants and animals in their natural
surroundings; to illustrate how one
form enables another to survive; and
to provide the students with some
general background knowledge in an
introductory study of soil and wild life
conservation. Excellent color photog-
raphy with some effective close-ups
permit an easy identification of the
characteristics and behavior of the in-
sects, birds, and animals. Some mem-
bers suggested that the inclusion of
man within this "chain of life" would
have made the discussion more com-
plete, while others regretted the fail-
ure of the visuals on some occasions to
document adequately this continuous
struggle for survival among the spe-
cies. In the main, however, the film
possesses sufficient unity of theme and
purpose to convey a reasonably co-
herent description of this basic inter-
dependence among nature's creatures.

can be found in front
of the camera rather
than behind it, in ...

Wonders in the Desert
Wonders of Plant Growth

for preview prints write:

Churchill-Wexler

801 NORTH SEWARD ST., LOS ANGELES 38, CALIF

FILM
PRODUCTIONS

comnc

iltis

MARRIAGE - 3 new films:
Who's Right - Jealousy -
In Time of Trouble

AGES & STAGES - new film:
Sociable Sixes to Noisy
Nines

N. Y. ZOOLOGICAL SOCIETY
new films on reptiles, on
elephants, and on the work
of the natural scientist.

for complete listing

OF NEW AND ESTABLISHED
FILMS AND FILMSTRIPS

write:

TEXT-FILM DEPARTMENT

McGraw-Hill Book Company
330 W. 42 St. - New York 36

March, 1954

Writing for more information? Mention EDUCATIONAL SCREEN.

Ill

SPEED

RECORD AND
TRANSCRIPTION PLAYERS

FOR EVERY PURPOSE

High Fidelity Versatile Low Priced
Ask For Our New Catalog

AUDIO-MASTER CORP.

17 East 45th St., New York 17

OWLING PICTURES

FILMSTRIPS on:

Primary Reading, Early
West, Early America,
Hawaiian Islands, Ocean
Freighters, Trees and Forest Conserva-
tion, Water and Soil, Public Relations,
Elementary Music, Evolution of Mech-
anized Agriculture.
1056 S. Robertson Blvd., Los Angeles 35, Col.

HEIDENKAMP
BIRD FILMS

Producer & Distributor Eastern Representative

HEIDENKAMP ALBERTSEN

NATURE PICTURES DISTRIBUTING CO.
538 Glen Arden Drive 1105 Pork Avenue
Pittsburgh 8, Pa. New York 28, N. Y.

BUILDING BIRDHQUSES

From Living Science Series
6 mins., color. Sole $60, Rental S3. A moti-
vation film for children. Explains purpose
of building bird ho uses and points to re-
member in construction.

INTERNATIONAL
FILM BUREAU INC.

57 E. Jackson Blvd.
Chicago 4

FOLKWAYS RECORDS

World's leading producer of AUTHENTIC folk
music on HKCOHDS including THE ETHNIC
FOLKWAYS IJBUAKY which contains an unusual
selection of the music of over 150 cultures: re-
corded on location by native orchestras and vocal
groi-p* ; each Long Play Hecord is accompanied by
extensive notes by famous collectors and recognized
authorities . . .

And the famous SONGS TO <:KOW ON series for
children. AXTIIOUIIiY OK JA7.J! and AMKKICAN
FOLK MUSIC. INTERNATIONAL, SCIENCE and
LITERATURE series.

For complete catalog write to :

FOLKWAYS RECORDS & SERVICE CORP.

117 W. 46 St., New York 36, N. Y.

THE COLORADO RIVER

(Bill Park Films, 228 North Almont
Drive, Beverly Hills, California) 18
minutes, 16mm, sound, color or black
and white. $150 or $75. Produced from
Burton Holmes film footage. Teacher's
Guide available.

DESCRIPTION

The Colorado River its location,
geographical characteristics, and im-
portance is shown and explained.

Picture and commentary show the
Colorado River beginning from tiny
streams of melting snow high in the
Rocky Mountain National Park. The
course of the river through various
states is shown on an animated map.
Maps, road signs, and commentary
combine to explain and locate the
Continental Divide at Loveland Pass
and the Atlantic and Pacific watershed
areas. Pictures of the river during vari-
ous seasons of the year show how sea-
sonal changes affect the size of the
river.

The next sequence depicts some of
the area and activities around the
river. Moose, beaver, chipmunks, and
Rocky Mountain sheep are shown as
indigenous to the area. Governmental
regulations controlling sheep and cat-
tle grazing practices are explained.
The Black Canyon, the Gunnison
River and its fertile valley at Grand
Junction, and the twisting San Juan
River with its deep rock gorges are
shown as representative of the color
and picturesqueness of the area. Tour-
ists with a guide thrill as they "shoot"
the swirling Express Train Rapids in
a row boat.

The work of the U. S. government
in harnessing the power of the river

and utilizing the water for irrigational
purposes is shown in some detail.
Scenes of Hoover Dam and Lake Mead
supplemented by a map indicate the
enormity and importance of the proj-
ect. The All American Canal is shown
to carry some of the stored-up water
as far as ninety miles into Northern
California to nourish the citrus groves.
Such information as cost and size of
Hoover Dam is given.

The film ends with a view of the
river emptying into the Gulf of Cali-
fornia and commentary pointing out
that this water will go through the
water cycle to return again as snow
to the high Rocky Mountains and ulti-
mately melt and again course down
the Colorado River.

APPRAISAL

Teachers who have seen Burton
Holmes' films during his sixty years as
a film-lecturer will be interested in
knowing that these films are now being
edited, sounded, and released as Bur-
ton Holmes School Films. Three series
- "Our America," "Our Good Neigh-
bors," and "Europe Today" are
planned. The Colorado River is one
of the first three released and is repre-
sentative of the "Our America" serif..
The film, combining a wealth of in-
formation about the Colorado River
with beautiful photography, should be
interesting to intermediate, junior
high, and senior high school groups
as well as adults. The preview com-
mittee commented favorably on the
treatment of the area around the Colo-
rado River and background informa-
tion. They felt that the film did much
to give the audience an understanding
and appreciation not only of the river
itself but also of the ways in which
man governs and utilizes it.

Records on review

by MAX U. BILDERSEE

Records for review should be sent
directly to Max U. Bildersee, 36
Holmes Dale, Albany 3, New York.

Shakespeare in short pants should
perhaps be the subtitle for "A Mid-
summer Night's Dream" (CRG 205),
produced by the Children's Record
Guild (27 Thompson St., New York 13).
The secret lies in the simplification of
story line, direct and understandable
language and action, and the inspired
music of Felix Mendelssohn. Play and
music have been skillfully adapted to
meet the needs of children and to en-
courage them to sing and to dance to

the same rhythms sung and danced by
King Oberon, Queen Titania, and
their court with rainbow wings. Chil-
dren will love taking part in all the
fun along with the mischievous Puck
and the comic troupe of amateur vil-
lage actors who provide the fun of this
famous story. Certainly this will ap-
peal to children in grades 3-1-5 and it
will introduce them gently to the idea
that Shakespeare is worth reading.
even though they cannot read his plays
immediately. But the transition from
these records to the Lamb interpreta-
tions should be easy.

112

Educational Screen

Group singing is fun almost all the
cime, but when the "right" songs are
chosen it is irresistible. "Folk Songs
for Singing and Dancing" (YPR
8005/6) is one of those rare collections
which will have universal school ap-
peal (Young Peoples Records, 100
Sixth Ave., New York 13). These are
songs basically for singing for group
singing for singing tor fun. Among
the selections offered are "What Are
You Made of?", "A Capital Ship,"
"The Little Pig," "Jennie Jenkins,"
and other equally well known and
loved folk songs. Once the words are
learned, the children will sing along
with the disc and have a wonderful
time. The upper elementary grades
will find this type of recreation worth-
while. And of course folk music sing-
ing is a pleasant way to participate in
both music and social studies educa-
tion.

Perhaps we are an old "fuddie-dud-
die." but we don't like modernized
fairy tales. And when an old favorite
of ours, "Aladdin" (CRG 207), was
released by the Children's Record
Guild, we listened hopefully only to
be disappointed because it tailed to
meet our expectations. The music is
delightful (Rimsky-Korsakov's "Sche-
hera/ade") but the rendition of the
story deprived us of real listening

pleasure. It may appeal to children
who have not heard the story before,
or have not read it and been enchanted
by it, but we doubt that anyone fa-
miliar with "Aladdin" will enjoy this
version.

Audio communication enhances the
written word, giving it color, depth
and beauty which the printed page
cannot deliver. That is, when the
audio communication is deft and the
written words are woven into mean-
ingful language with the skill of a
master. Thus Sir Osbert Sitwell reads
portions of his "Left Hand, Right
Hand!" (ML 4763) as part of the
Columbia Masterworks Literary Series
(Columbia Records, Bridgeport, Con-
necticut). This magnificent collection
of discs features famous authors read-
ing their own works. Sir Osbert se-
lected passages from his autobiography
and he gives new life and meaning to
his magnificent prose as he recounts
portions of his childhood. The audi-
ence is held spellbound not only by
his diction but also by his delivery.
The smooth flow of both language and
idea accompanied by his precise, well-
modulated delivery certainly will ap-
peal to an adult audience and will
contribute significantly to the critical
appreciation on the part of many sec-
ondary school pupils. This is a disc
which belongs in homes and libraries

as well as in schools. Rehearing adds
to the pleasure of the language.

Similarly, audio communication un-
masks the tired or bored speaker and
his work. William Saroyan is included
in this Columbia Masterworks series
and he is described as "talking and
trying to read from some of his novels,
plays and stories." We can only agree
wholeheartedly with the editor who so
described Saroyan's contribution. It is
very "talky" and the listening experi-
ence is very "trying." College groups
may profit from hearing the disc. We
add, only for your information, that
the excerpts read are from "Jim Dandy
O Fat Man in a Famine," "Rock
Wagram" and others. Mr. Saroyan's
interspersed comments do not contrib-
ute to his literary stature.

We are delighted to see that some
older recordings are being reissued
under new labels. One of the first we
reviewed was Charles Dickens' "A
Christmas Carol," narrated by Ernest
Chappell with Eustace Wyatt as
"Scrooge." We have always felt that
this particular interpretation of the
classic Christmas story was most en-
joyable and well worth school pur-
chase and utilization. It has been re-
issued under the "Camden" label on
LP discs. It is an old friend in a new
suit of clothes but still, an old
friend.

DRAMATIC! AUTHORITATIVE! ACCLAIMED!

FOR A SOUND EDUCATION

GOVERNMENT - CIVICS
CITIZENSHIP - HISTORY

Reloaded!

1. American Government- Three 12 inch L.P. D.-SCS $18.50

RECORD I THE LEGISLATIVE

TOPICS: Legislators Are People - Congress, Play Ball - Inside Story
of A Law - What Is Representation?

RECORD II THE EXECUTIVE

TOPICS: Leader in Congress - Leader in Foreign Policy - The
Bureaucrat - Target: Nine Old Men

RECORD III COURT AND CONSTITUTION

TOPICS: Unwritten Constitution - A Court Becomes Supreme -
The Court Changes - A President Is Checked

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exists." ED. SCREEN

2. Citizens In Action TWO 12 inch L.P. Discs $12.50

RECORD I PEOPLE IN POLITICS

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RECORD II POLITICS AND THE PUBLIC

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3. WORLD HISTORY $18.50

RECORD I Ancient World
RECORD II Medieval World
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RECORD II Later America

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SEND ALBUMS 1-2-3-4 (Encircle)

D 10- DAY APPROVAL
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D PURCHASE ORDER ENCLOSED
Name .

most important audio aid"
FILM NEWS

School-

Add re ss-
City

-State-

March, 1954

113

^udio-visual trade review

NAVA NEWS

Biloxi Is Gone

Audio-visual dealers and suppliers
are expecting an excellent year in
1954, reported Carroll Hadden, Presi-
dent of the National Audio-Visual
Association, following the NAVA Mid-
Winter Conference at Biloxi, Missis-
sippi. The dealers and suppliers con-
ceded, however, that more sales effort
and better service will be required of
companies in the audio-visual indus-
try.

More than 200 members of NAVA
attended the three-day meeting at the
Buena Vista Hotel held Janury 21-23.
Featured speakers at the conference
were: Ian Stuart, Director of Public
Relations for the Southern States In-
dustrial Council, Birmingham, Ala-
bama; Dr. Darell Boyd Harmon, of
Harmon Associates, Austin, Texas;
Carroll M. Hadden of Hadden Films,
Louisville, Kentucky, and John J.
Dostal of RCA Audio-Visual Prod-
ucts, Camden, New Jersey. Dr. Har-
mon gave an interesting account of
current research in which he is en-
gaged on the design and lighting of
classrooms for convenient and effec-
tive use of audio-visual teaching tools.

Mr. Dostal gave an analysis of TV
tape recording and its possibilities
as regards the audio-visual industry.

Sacramento Is Coming

Four guest speakers will head the
program for the 1954 Western Confer-
ence of the National Audio-Visual
Association, according to H. J.
McCurry, Jr., of McCurry Co., Sac-
ramento, California, who is Local
Arrangements Chairman for the meet-
ing. The three-day meeting will be
held at the El Rancho Hotel in Sac-
ramento on March 25-27. More than
150 members of NAVA are expected
to attend.

Cliff Welch, director of the U. S.
Navy Training Aids Center on
Treasure Island, San Francisco, will
speak on "Training with Audio-
Visuals." Mr. Welch, who also spoke
at the NAVA National Convention
in Chicago last August, has made more
than 30 television appearances and a
great many talks before civic, church
and educational groups to explain
audio-visual utilization.

"How We Use Audio-Visual Aids
in College Education" is the subject
of Dr. Richard Lewis of San Jose
State College, San Jose, California.

n both eyes
w * efficiently
TOGETHER?

More than

3,000 School Systems

are now using KEYSTONE Visual Survey

I to ">dlce sure

'tat every pupi/
'"VlSUALLy

*** Accepted
schoolmen

a larger Increase in 1953 than any previous year. Thousands of eye doctors
are now using, in their own offices, tests that coordinate with the Keystone
Visual Survey. We appreciate this approval by leaders in the field of public
health, as well as educators, and shall continue further development of
this service.

Have yon seen the went improvements in these tests of visual functions?

A revised manual, a new graphic record form, new Durastyle cards Write

complete information: KEYSTONE VIEW TO., Headline, Penna.

114

Two other speakers from the church
and industrial fields, to be announced,
will speak on "How We Use Audio-
Visuals."

Become an Associate

Associate memberships in NAVA
will now be offered to audio-visual
users of all kinds, according to a re-
cent decision of the NAVA Board.
These have been available for years
but no effort has been made to pub-
licize them. The Board has now de-
cided that it will be to the interest of
educators, industry audio-visual users,
and religious film users to know more
of A-V dealer problems and of the
activities of the Association. For this
reason, Associate memberships in
NAVA will be offered at $5.00 per
year to users of audio-visual media
who are not commercially engaged in
the A-V business. Information on these
can be obtained from the Associa-
tion's headquarters in Evanston, Illi-
nois (2540 Eastwood Ave.).

NEW TECHNIQUES

3-D on Single Film

A new development simplifying and
improving projection of 3-D motion
pictures was revealed recently in the
announcement of a working agreement
between Polaroid Corporation and
Technicolor, Int. The agreement pro-
vides for Technicolor processing of
Polaroid's new Vectograph base film.
Up to now 3-D motion pictures have
had to be shown using two projectors.
Vectograph film is said to make it
possible to put both images necessary
to achieve 3-D's stereoscopic effect on
the same strip of film, which can be
projected with one ordinary motion
picture projector.

"Transistor" MP Projector

1 he first use of the transistor in a
motion picture projector was an-
nounced recently by Ampro Corpora
tion of Chicago. Employed in a
"playback" projector, it is said to be
the latest development in the new
field of magnetic recording on 16mm
film.

The tiny transistor, no bigger than
a dime in circumference, is built right

Educational Screen

into the projector, making possible the
first single-case unit of its kind. Called
the "477-R," it is primarily designed
to play back film with magnetic sound
tracks recorded by the film user. It
can also project standard silent and
optical-sound films.

I Reusable Magnetic Records

Magnetic recording on an ordinary
phonograph is now possible with the
Magneticon, developed by the Mag-
netic Recording Industries (30 Broad
St., New York 4, N. Y.). It is a three-
speed portable (12 Ibs.) phonograph
which instantly converts into a com-
plete magnetic recorder-playback unit
whenever student or teacher wishes to
make a magnetic recording on a mag-
netic record. A magnetic needle sim-
ply plugs into the place of the phono
needle. The records can be replayed
an indefinite number of times, or can
be erased and reused over and over
again.

\ variation of the basic Magneticon,
called the Magneticon Attachment,
converts existing phonographs for the
making and playing of magnetic
records.

It is expected that the Magneticon
will fill a need of educators for a
ir. H hint; aid combining the advantages
of magnetic recording a reusable
medium with little upkeep cost and
the advantages of the ordinary phono-
graph simplicity and familiarity of
operation, no rewinding, instant re-
peat of any section without delay.

EQUIPMENT

'Discussional Control"
Record Player

A new audio-visual aid which places
complete control in the hands of the
classroom teacher has been announced
by the DuKane Corporation (St.
Charle.s. Illinois). The device is a
three-speed record player with a "dis-
tussional control," with which the
teacher, at the touch of a finger, can
start and stop records instantaneously
to allow lor comments or student dis-
cussion, without losing a syllable of a
recorded sound.

In keeping with its development as
a ( lassroom teaching tool, the new
machine, called the "Recordmaster,"
has a case with a fold-back cover which
becomes a sturdy projector stand for
showing filmstrips or 2" by 2" slides.
The projector conveniently plugs into
the player's instrument panel to elim-
inate one extension cord.

Because many educational discs
contain several bands of individual
recordings, a special light illumi-
nates the grooves and needle for ac-

DeVry to B&H

DeVry Corporation announced Feb-
ruary 18 that effective April 15, 1954,
a substantial portion of its assets will
be sold to Bell & Howell Company,
Chicago.

DeVry manufacturing operations
will cease April 15. Bell & Howell will
manufacture DeVry's 16mm govern-
ment and commercial products and
spare parts in its own plant beginning
May 1, 1954. No change is contem-
plated in the retail distribution of
DeVry commercial products, repair or
maintenance parts, which will be avail-
able from Bell & Howell, 7100 Mc-
Cormick Road, after May 1.

W. C. DeVry, president, and Ed-
ward B. DeVry, secretary-treasurer, sons
of the late founder of the company,
Dr. Herman A. DeVry, a pioneer pro-
jector manufacturer, plan to devote
more of their time to expanding opera-
tions of the DeVry Technical Insti-
tute, Inc., a training school for tele-
vision technicians, and other business
interests.

curate placement, especially under
dimout projection. To keep the small
incandescent bulb from causing dis-
tortions in the cartridge and adding
undesirable weight, light is conducted
to the needle area along the tone arm
by a lucite bar, terminating in a
reflecting mirror.

Lifetime Magnetic Tape

Reeves Soundcraft Corporation an-
nounced recently that it has developed
a magnetic recording tape which it
"unconditionally guarantees will never
break or curl when used under nor-
mal conditions of recording and play-
back." It will be marketed under the
trademark name, "Lifetime" Tape,
although Reeves reports "it will last,
to the best of engineering knowledge,
forever!"

The new tape is said to owe its
permanent qualities to Soundcraft's
newly developed magnetic oxide coat-
ing and to its base of DuPont "Mylar"
polyester film, neither of which con-
tains a plasticizer.

McClure Record Player

A new record player at a popular
price is announced by O. J. McClure
Talking Pictures (1115 West Wash-
ington Blvd., Chicago 7). It is an
auditorium-size playback with 8-inch
detachable speaker, three speeds, with
public address facilities. It is com-
pletely enclosed, streamlined, with two-
tone luggage covering; weight, 17
pounds.

One of the unique features is the
microphone volume control in the

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SITUATION WANTED

Indiana trained, experienced administrator and
teacher with AV Supervisor's license desires posi-
tion in public school or college AV Department.
References sent upon request. Reply Box 403,
EDUCATIONAL SCREEN, 64 E. Lake St., Chi-
cago 1, 111.

March, 1954

Advertisers welcome inquiries. Just mention EDUCATIONAL SCREEN.

115

KINESIS

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film as a medium

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Documentary

Painting- in- motion
Art

Experimental

Send for our list
of 16mm films

566 Commercial St., San Francisco 11, Calif.
54 West 47th St., New York 36, N.Y.

you will never forget the new
color approach of

GOLDEN EARTH

new and old ways in agriculture
and soil conservation

GOLDEN KEY PRODUCTIONS INC.

1921 Hillhurst Ave., Hollywood 27, Cal.

Tel. No 3-9421

SOUTHWEST
INDIANS

New sound films in brilliant color. Produced
by an experienced educator.

VILLAGES IN THE SKY Hopi mesa life
presents women making baskets and pottery
and baking outdoors for ceremonial dance.

Avolon Daggett Productions

441 North Orange Drive
Los Angeles 36, California

ROBERT FLAHERTY presents

THE TlTAH

Story of MICHELANGELO

Narrated by FREDRIC MARCH

"A Masterpiece" Saturday Review

JVou> Available exclusively from

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13 E. 37th St., Dept. ES, New York 16, N.Y.

FILMS about
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microphone itself instead of in the
machine, thus saving much loss of
time for the operator when he changes
his public address volume. Feedback
is also reduced.

B & H Offers Free
Sound Track

Audio-visual departments of schools,
churches and industry as well as ama-
teur movie-makers may convert 16mm
silent films to sound motion pictures
free of charge during the month of
March. Carl G. Schreyer, Vice-Presi-
dent of Merchandising of Bell &
Howell, announced that the company
will apply its magnetic Soundstripe
free to up to 400 feet of 16mm film
sent in through an authorized dealer.
The free offer is designed to acquaint
16mm movie makers with the new
system of recording magnetic sound
on film.

The film will be returned to the
dealer ready for recording. Dealers
will assist film owners in recording
their own sound commentary.

Imperial Silent Projector

The