Full text of "Filmstrips, a descriptive index and users' guide"

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FILMSTRIPS

A DESCRIPTIVE INDEX
AND USERS' GUIDE

by VERA M. FALCONER

CONSULTANT ON MOTION PICTURES AND FILMSTRIPS

FIRST EDITION

NEW YORK TORONTO LONDON

McGRAW-HILL BOOK COMPANY, INC.
1948

FILMSTRIPS

Copyright 1948 by the McGraw-Hill Book Company, Inc. Printed in the
United States of America. All rights reserved. This book, or parts thereof,
may not be reproduced in any form without permission of the publishers.

TO HAROLD GRIFFIN

Preface

This book was prepared at the suggestion of teachers, school administrators, and
others interested in the effective dissemination of ideas. The main object is to
provide a complete description of all filmstrips suitable for instructional use, which
were available on or before March 15, 1947. Each filmstrip listed has been personally
reviewed, frame-by-frame, by the author, and while some strips may possibly have
been overlooked, this is the result of a 1 2-year search for filmstrips and their sources.

Every effort has been made to make this book so simple to use that no key or
code will be necessary. The mechanics of satisfactory exhibition are described, and
the practical aspects of school filmstrip production are presented. Suggestions for
filmstrip use are summarized. The general chapters provide background informa-
tion for those who are inexperienced with the filmstrip medium, while the alpha-
betical listing under appropriate subject-matter sections is useful for those who have
used filmstrips extensively.

Each filmstrip listing includes the name of the distributor, technical data, and
information concerning manuals and teachers' guides or lecture notes where avail-
able. A complete Distributor Directory is included at the end of the book. The
table of contents will enable most users to locate the information they need, since
cross-referencing is provided at the end of each subject-matter listing, but there is
also an alphabetical title index.

If the reader is looking for a new philosophy of education, a short cut, or a solu-
tion to the teacher shortage, he will be disappointed, although the retention of
information by the student is undoubtedly enhanced by the use of pictures that
visualize the concepts being presented. Motion pictures are more glamorous than
filmstrips, but much more expensive. A still-picture file can present the same mate-
rial as filmstrips but is more difficult to use and usually consumes more time in
both teacher preparation and classroom use. If an opaque projector is used, the
equipment investment is greater and its operation more cumbersome. Standard
slides can also present still pictures effectively, but the projector is more expensive,
and the cost per single picture of the professionally made 3/4 by 4 glass slide is
usually between ten and fifty times as much as that of a filmstrip frame.

The only other alternatives in static illustration are teacher- or student-made
slides (both 2 by 2 and 3% by 4), posters, wall maps, charts, and standard black-
board illustration. Desirable as these possibilities are, their use can be made more
effective by 'integrating them with filmstrip-presented visual ideas. In the case of

vii

Vlll PREFACE

blackboard drawing, the busy teacher can save much time by using filmstrip draw-
ings to trace diagrams otherwise difficult or time-consuming. Teacher-made film-
strips can include much of the material presented previously in a more laborious
way without diminishing the effectiveness of presentation.

Any classroom teacher, group leader, or individual can project filmstrips prop-
erly. Mechanical details can and should be delegated to a member of the class or
group. Although the emphasis on the use of visual aids was originally placed on
lightening the teacher's load, the pendulum has swung in recent years and it some-
times seems more difficult to teach with some visual aids than without them. For-
tunately, this is not the case with filmstrips. Of course, effective utilization develops
with practice, but it is hoped that any reader of this book will see that no special
training is needed to use filmstrips well.

VERA M. FALCONER

NEW YORK, N. Y.
February, 1948

Acknowledgments

Individual acknowledgments for all the assistance received in the preparation of
this type of book are impossible due to the fact that most of the material in it was
obtained either directly or indirectly from some outside source. However, it is
necessary to point out to the reader that the book would not have been possible
without the specific assistance referred to here.

One of the biggest debts is to my elementary and high school students who for
more than 7 years reacted with varying degrees of interest to the filmstrips and
other visual aids used in my courses. This information received from my own
students would have been of limited value without the cooperation of my col-
leagues and administrators in public schools and the faculty members of Dartmouth
College who shared with me their experiences with visual aids.

The foregoing field experience would not in itself have enabled me to undertake
this task. In fact, without the very special opportunities provided in the United
States Armed Forces Institute Visual Aids Department wartime program, under
the direction of Col. Francis T. Spaulding, I would not have had sufficient back-
ground in the use of mass media in education to tackle this assignment. The sym-
pathetic understanding of Lt. Col. Herbert G. Espy and his assistance in integrat-
ing educational requirements with the Army system were invaluable prerequisites
to the development of the ideas included in this book. The day-to-day encourage-
ment of and discussions with Maj. John C. Rose gave me the confidence necessary
for correlating all the material previously gathered and for reviewing, frame-by-
frame, more than three thousand filmstrips.

A most important criticism of any visual aid must be made against a background
of information concerning visual possibilities inherent in the subject matter. An
inevitable dilemma is created by the fact that many academic authorities think in
abstract rather than in visual terms while at the same time most creative people in
the visual arts are not familiar with, pedagogical problems. Therefore, a very special
debt of gratitude is due the various artists who have helped me to learn to think in
visual terms. Specific acknowledgment is made to the following: Abner Dean, Will
Downs, Jack Levine, Charles Mack, Charles McCurdy, Shelley Moldoff, Bob Moore,
and Paul Sample.

Space does not permit specific acknowledgment to individuals in distributing
and producing companies who provided screening prints, information, and cour-
teous assistance. Persons in each of the companies listed in the Distributor Directory

X ACKNOWLEDGMENTS

were exceptionally helpful and generous with their time. The sources of illustra-
tions, credited individually beneath each picture, gave a considerable amount of
their time to supply the requested illustrations. Their assistance is much appreciated.
The special drawings prepared for this book under the sponsorship of the Da-Lite
Screen Company by York Studios were particularly welcome, as were the cartoons
drawn by Frank Pagan.

Of course, the constant encouragement and patience of my husband during the
preparation of the manuscript helped immeasurably.

Contents

Preface vii

Acknowledgments ix

What Are Filmstrips? ..... i

CRITERIA FOR SELECTION 27

Using the Filmstrip 42

NONSCHOOL USE 73

Projectfon 78

SUBJECT MATTER CLASSIFICATIONS

Agriculture and Forestry . . /.. i ... . ; . . ...,,%.... ... . 98

ANIMAL HUSBANDRY . .'. . . , 99

Bee Culture . f v 99

Dairying and Cattle Production 100

Horses ...-."... ........ ... /. . - .-. ..'/.- rft 104

Poultry Production 104

Sheep and Wool . . 108

Swine Production : . ; 108

Diseases and Insect Pests ...... 109

CROPS . in

field Crops : ... in

Fruits and Vegetables , . .... . . . . ........ 114

CROP DISEASES AND INSECT PESTS . " 17

FARM BUILDINGS AND EQUIPMENT . 119

FARM MACHINERY 121

FORESTRY .:.:.,., . : . . 124

SOIL CONSERVATION AND IRRIGATION = 128

GENERAL 131

Business . 135

CLERICAL 135

ADVERTISING 139

SALESMANSHIP - - 142

Xll CONTENTS

English 155

Fine Arts 161

VISUAL ARTS 163

Music 171

Foremanship and Personnel Supervision 174

Home Economics 177

Languages . 181

Literature 185

Reading 194

Safety 209

INDUSTRIAL SAFETY 209

STREET AND ROAD SAFETY 212

GENERAL 216

Schools and Teacher Training 220

Science 227

ASTRONOMY 228

BIOLOGY 229

CHEMISTRY 240

GENERAL SCIENCE 242

MATHEMATICS 256

NATURE STUDY 268

PHYSICS 284

PHYSIOLOGY AND HYGIENE 299

Diseases 315

First Aid 317

General 319

Nursing and Related Subjects 320

Social Sciences 323

ARCHEOLOGY AND ANTHROPOLOGY 324

GEOGRAPHY 329

Regional and Political 329

Economic and Industrial 362

Principles of Geography 392

HISTORY 395

American '.".. 395

: World 406

ECONOMICS, SOCIOLOGY, POLITICAL SCIENCE, GOVERNMENT, ETC. , 414

SOCIAL STUDIES PRIMARY AND LOWER ELEMENTARY 428

Sports 435

Vocational Guidance 438

Vocational Training 444

AERONAUTICS 445

Construction and Maintenance 445

CONTENTS Xlll

Theory and History 463

AUTOMOTIVE OPERATION AND MAINTENANCE 469

BASIC ELECTRICITY 478

ELECTRICAL WORK 481

ENGINEERING 485

MACHINE-SHOP PRACTICE 494

OPTICAL CRAFTSMANSHIP 514

PLASTICS 515

REFRIGERATION SERVICE 516

SHIPBUILDING 518

WELDING . . , .,...,..,.... 521

WOODWORKING AND CARPENTRY 526

Distributor Directory 534

Title Index 539

What Are Filmstrips?

Filmstrips are frequently called by other names. Just as some motion-picture
people do not like the use of the word "movie," some producers in this field feel
that the term "filmstrip" lacks dignity. However, for want of a better term, the word
"filmstrip" is in more common usage than the various substitutes that refer to
still pictures printed in sequence on a strip of film.

A description of the physical properties of filmstrips (given later) is relatively
unimportant compared with the need for a definition of filmstrips as a distinct
medium of communication. Such a definition is not yet permitted, except as an
objective, by the present development of the field. Ideally, the filmstrip as a unique
medium requires a treatment of its own for greatest effectiveness. It cannot be a
textbook chapter "adapted" for slide-lecture projection, or a motion-picture
sequence with the motion removed, or a magazine or newspaper article presented
on film. Its potentialities and characteristics point to its production treatment not
as a different version of other media, but as a filmstrip.

Any creative individual, who takes time to consider the great opportunities
inherent in a picture sequence integrated with effective subtitling, realizes instinc-
tively the unmet challenge of the filmstrip. It is important for the user, too, to
pause a moment before selecting filmstrips to consider the special attributes of the
filmstrip. The user should do more than recognize that the filmstrip provides the
simplest, most direct, and least expensive mass medium of communication yet
invented. We do not mean that the user should be concerned with the technology
of laboratory operations for reproducing 35-mm nonflammable filmstrips, which
is almost as far removed from the teacher's concern as the operation of a linotype
is from the author's. But a consideration of the potentialities and attributes of this
opportunity for communication made possible by the development of the photo-
graphic industry in the light of previous picture uses may help the newcomers to
the filmstrip field to save time in selecting, using, and producing filmstrips. A brief
history of filmstrip development is provided here as a reminder that the idea of
telling stories in still-picture sequences has grown and matured through the ages
and is not merely a new use for a by-product of motion-picture-film manufacture.

From the days of Cro-Magnon drawings, the picture has been a part of man's
communication. In addition to the drawings still preserved in caves and in the
remains of early civilizations uncovered by archaeologists, there is substantial

2 WHAT ARE FILMSTRIPS f

evidence that drawings in the sand were used long before any alphabet was
invented. Centuries ago the Greeks used objects and drawings in instruction.
With the advent of photography in the last century, the possibilities of this me-
dium expanded, just as the possibilities of the word in communication expanded
with the invention of printing a number of centuries earlier. The use of photo-
graphic reproduction is being accepted much more rapidly than the use of the
printed word was during its early years. The projected picture introduced by
the magic lantern held promise of usefulness in education, and developments
brought the opaque projector and the standard 3%- by 4-in. glass slide early in
the century. These developments made possible the accomplishment of the follow-
ing objectives: (i) The same drawings and other materials could be used year in
and year out, thus relieving the teacher of the drudgery of redrawing intricate
materials on the blackboard for each new class; (2) material made by both teacher
and pupils could be used; (3) the personality and teaching ability of the teacher
were enhanced rather than subordinated by the use of such visual devices; (4) the
use of still pictures projected individually allowed ample time for discussions of
each picture; (5) the teacher now had for the first time a much more unlimited
range of pictures and other matter from which to choose; (6) the common experi-
ence provided by the simultaneous viewing of pictures previously available only
in the printed form gave the group a supplement for the individual study of each
student.

The projection simplification that we now know as the filmstrip came into being
shortly before 1920 when Underwoods of New York conceived the idea of putting
their large photographic library on 55-mm film. In a sense the step was comparable
to the introduction of Eastman roll film in photography. These new materials were
mainly photographs of people and places with brief identifying captions. The
activity was taken over by the Stillfilm Company for distribution to schools as a
substitute for the glass slide, with a "teaching" title for each picture as an added
attraction. Later 35-mm film was found more desirable and became the standard
width for the filmstrip. This type of pictorial teaching aid continued to gain popu-
larity until the early 1930*5 and the development of the educational sound motion
picture. For a time, school interest was captured almost completely by sound
movies; however, in recent years the filmstrip is again coming into popularity not
to the exclusion of other visual devices, but where it has most to contribute. Teach-
ers are becoming more and more alert in their selection of visual aids, becoming
shrewder buyers in getting utmost teaching value out of visual education budgets,
particularly in those subject matter areas, over 90 per cent of all subject matter
taught in schools, where motion is not essential to adequate presentation.

WHAT ARE FILMSTRIPS? 3

As pointed out by J. Y. Taylor in the manual "Opaque Projection": 1

The teaching program today differs in many respects from that of a few years ago.
Now, teachers recognize the importance of a child's readiness for any new skill or
activity. If he is not prepared through experience or maturity for his new learning prob-
lems, little or no result can be expected. Good teaching recognizes this basic fact and
sets itself to prepare the pupil for each progressive step in his learning. This preparation
for progress is as necessary at the high school level as at the primary stage.

In present-day schools the teacher has become a guide in child learning. The greatest
problem is not to think for the children, but to plan circumstances that arouse mental
activity on the part of the pupils. Everything possible is done to stimulate the natural
learning assets and through proper motivation, to minimize conscious effort and capitalize
on spontaneous attention.

In accomplishing these aims and in bringing about a closer relationship between the
child's practical experience and his school experience, Visual Teaching is rinding its
rightful place in the modern school. . . . The use of these aids (mechanical aids such
as the many varieties of projectors) unleashes the tremendous force of spontaneous
attention which is basic to easy, natural learning.

A sequence of still pictures can combine the dramatic stimulation of 'the motion
picture with the academic integrity of the carefully prepared instructional diagram,
painting, or photograph. Even though the theater, motion pictures, and other media
depending on a time element for presentation have achieved great artistic triumphs,
the message carried in these media is never as direct as that preserved in its original,
complete visual form as in painting, sculpture, photographs, and architectural
construction. Music and other arts require more from the audience than can be
expected from the average student previously unprepared for the appreciation of
the art impression. However, pictures have been able to carry a message through
the centuries that is in no way limited by the previous aesthetic development of the
audience. To be sure, instructional pictures must of necessity be adapted to the
grade level and intelligence of the group to which they are shown, but a resourceful
teacher can interpret the picture of almost any object in terms suitable to the age
and capacities of her students.

A filmstrip, the old-new medium of communication in our society, is the most
inexpensive medium of mass communication yet devised, providing good teaching
pictures at a smaller unit cost than any other medium. It consists of a strip of cellu-
lose acetate (noninflammable) film 35mm, slightly over an inch, wide and varying
in length from 2 to 5 feet. A filmstrip in a metal container is usually mailed in a
standard cloth mailing bag with label attached, or in a cardboard box. The weight
of a single strip packed for shipment is so slight that it can be mailed for 3 cents.

1 TAYLOR, J. Y., "Opaque Project A New Frontier in Teaching," American Optical Com-
pany, Scientific Instrument Division, Buffalo, N.Y., 1941.

WHAT ARE FILMSTRIPSr

The pictures begin after a short length of blank leader, which is provided at both
ends of the filmstrip to facilitate threading into the projector. These pictures are
all related to one topic and are organized in a definite order. Filmstrips are printed
and projected on machines with sprockets similar to those used in motion pictures.

The projected pictures from either single-frame or double-frame filmstrips are equally satisfactory.
{Da-Lite Screen Co., Inc. 1 Drawing by Yor^ Studios.)

In fact, the filmstrip's dimensions and location of sprocket holes, down both sides
of the film, are exactly the same as those used for 35-mm silent motion pictures.

The size of each frame or "picture" (a frame may consist entirely of printed
copy, drawings, or photographs, or any combination of the three) in the commonly
used single-frame size is generally about i inch across and % inch high (precisely,
it is 0.906 by 0.6795 inches). The proportions are the same as those of motion-
picture screens and standard lantern slides. The single-frame filmstrip is run
through the projector vertically. It is also possible to print the filmstrips with the
frames running horizontally instead of vertically in what is referred to as the

1 Da -Lite Screen Company, Inc., 2711 North Crawford Avenue, Chicago 39, Illinois.

WHAT ARE FILMSTRIPS? 5

double-frame process. In this case each picture is about I inch high and 1% inches
wide. The double frame may be printed either horizontally, so that the width of the
picture runs along the sprocket edge of the film, or it may be printed vertically, so
that the height of the picture runs along the sprocket edge. The horizontal printing

Double-frame filmstrips are sometimes printed vertically when required by the special nature
of the subject matter. (Da-Lite Screen Co., Inc. Drawing by Yorl^ Studios.)

is most usual, but the vertical is sometimes used for pictures showing a tall object
such as a skyscraper or a flag pole. The double-frame strip is run through the
projector horizontally. If vertical frames occur the strip can be easily turned from
horizontal to vertical position, since projectors designed to take both single and
double frames have swivel heads. The double frame, for instance, is commonly
used in the inexpensive candid camera to enable amateurs to make larger prints of
individual pictures. Possibly the only point on frame size of importance to the
average user is that while the single-frame strips may be projected on any filmstrip
projector, the double-frame strips can be used only in projectors designed for

6 WHAT ARE FILMSTRIPS?

them, such as the machines that project both single- and double-frame filmstrips
as well as 2- by 2-inch slides.

Filmstrips suitable for projection are distributed either with or without accom-
panying recordings (silent or sound filmstrips). In some cases, the user has an
opportunity to choose between a silent version without recordings or sound version
with them. However, in most cases the filmstrip has been produced for release only
as a silent filmstrip or a sound filmstrip (sound slide). In the latter case, the record-
ings carry a lecture or other appropriate material such as music. Some signal, a
gong or a "cricket," is employed in most of these recordings to indicate when the
picture on the screen should be changed. Many instructors find this signal some-
what distracting and would prefer to have it eliminated. A new sound filmstrip
equipment is available that eliminates the need for audible cuing. It operates auto-
matically from a supersonic cue, which cannot be heard by the audience, thus
making sound filmstrips usable without any distraction. 1

The important point for user consideration on sound versus silent filmstrips is
the record player required for the sound versions. Combination filmstrip projectors
and record players are on the market, specifically designed for this type of filmstrip.
If this combination machine is not available, any playback or record player with
appropriate speed can be used. Filmstrips are now produced with accompanying
records that are designed to be played back at either 33% revolutions per minute
(rpm) or at 78 rpm, the standard speed of home phonographs. Of course, if a
record recorded at 33% rpm is played on a 78 rpm playback, the sound is so
speeded up that it is unintelligible, sounding rather like Donald Duck. If a record
recorded at 78 rpm is played on a 33% rpm playback, the sound is so slowed down
that it cannot be understood, sounding as if played on a hand-wound phonograph
which had run down. The slower speed is more commonly used in radio's electrical
transcriptions and these slower speed records come in sizes as large as 16 inches in
diameter and make possible the uninterrupted recording of slightly more than 15
minutes' worth of material. The largest size of record for 78 rpm playback is 12
inches, which will not run for much more than 6 minutes. Of course, smaller size
records are produced in both speeds depending on the length of the recording.
Prior to releasing a new program of recorded material accompanied by some visual
matter in filmstrip form, Lewellen's Productions 2 surveyed the field to determine
which speed to use. Their experience was as follows:

Eighty-nine percent of schools in cities of 2500 or larger own their own record players.
By a great margin, these are 78 r.p.m. only. There are comparatively few 33^ only
players and a slightly larger number of dual-speed players.

1 Aids Equipment Corporation, 131 West 520! Street, New York 19, New York.

2 Lewellen's Productions, 8 South Michigan Avenue, Chicago 3, Illinois.

WHAT ARE FILMSTRIPS .' 7

It would seem, then, that recordings should be most acceptable in the 78 r.p.m. speed.
Schools which have dual-speed players can use them as easily as the schools which have
78 r.p.m. only players. Further, any school which has a 33% r.p.m. only player is very
likely to be very audio-visual conscious and will have a 78 r.p.m. playback, too.

Projection requirements and expedients for sound filmstrips will be discussed
more fully in the chapter devoted to that topic.

Of course, anyone can record a lecture to go with existing silent filmstrips, so
that any filmstrip subject is potentially "sound." Moreover, many teachers find that
some sound filmstrips can be used more effectively without the record, especially
in cases where the pictorial material contributes effectively to interpretation of the
subject matter. Thus the distinction between sound and silent filmstrips is not so
definite as it might seem at first glance.

There is a definite distinction, however, between the filmstrip designed for
projection and various other uses of strip film. A common toy derived from the old-
fashioned stereopticon employs a strip of 35-mm film printed with double-frame
stereopticon pictures, seen through a two-eyepiece viewer that is held immediately
in front of the eyes facing some light source. Although some refer to the films for
these viewers as filmstrips, they are not considered so in the context of this book.
Another use of the word "filmstrip" has recently been made in marketing a
monocular viewer using the narrow-gauge i6-mm film, also with double-frame
pictures. The purpose of the manufacturer in this instance is to make projection
impossible and thus obtain permission to use characters originally developed for
the motion-picture theater without infringing on the rights of the theatrical exhib-
itor. Although the material available in these i6-mm double-frame strips might
be made suited for school use, it cannot be effectively and economically used in its
present form.

A much bigger use of strips of film is in the various microfilming procedures.
The microfilm process can be adapted to the recording of any printed material on
film, primarily to gain in storage space and ease of handling. While the majority
of microfilm material can be projected on the screen (it is usually 35-mm double-
frame) this use will not be considered in this book since it is nothing more than a
mechanical reproduction of the printed page and as such does not need to receive
any special attention. Microfilm viewers are usually constructed with translucent
screens designed for individual readers, and the length of the strip of film is deter-
mined by the number of printed pages reproduced. Some microfilm documents
are frequently many times the length of the conventional filmstrip.

In filmstrips designed for projection, the treatment technique takes a number
of forms. A large majority of the silent strips use both text and pictorial material.
In some of these, text frames and pictorial frames alternate. Sometimes the text

WHAT ARE FILMSTRIPS .'

frames contain lengthy material, often running well over 25 words on one frame,
which results in reduced legibility. Others use this alternating technique to provide
only simple, brief picture identification on the text frame. Another method of
incorporating printed material in the filmstrip is the superimposed caption, which

A visual use of the superimposed caption. From filmstrip "Soil Erosion in the United States."
(Soil Conservation Service, USDA.)

appears on the same frame as the picture, usually at the bottom. These super-
imposed captions tend to be considerably shorter than the material that appears on
separate frames. Filmstrips with printed material use either the text frame or the
superimposed caption, or a combination of both. Newer productions show a ten-
dency toward brevity in words, putting the emphasis on visualization.

Some silent, and most sound, filmstrips consist entirely of pictures with no text
or captions whatever. Usually with silent filmstrips of this type lecture notes are
provided. This all-picture material has the advantage of being easily adaptable to

WHAT ARE FILMSTRIPSr

individual class needs and to several age levels. However, such adaptation does
require adequate teacher preparation, and if the manual or guide containing the
information concerning' the strip happens to be mislaid prior to preview of the
strip, there may be some difficulty in definite identification of the pictures shown.

Typical uncaptioned frame showing one step in preparation of flats for planting vegetable
seeds. From filmstrip "Home Grown Plants for Transplanting." (Bureau of Plant Industry,
Soils and Agricultural Engineering, USDA. Photo by W. /. Mead.)

Whether or not the strip includes narrative in any form, the pictorial material
will present photographs, drawings, diagrams, reproductions of paintings, or any
other similar matter. Although many of the early productions consisted entirely
of photographic material, newer strips introduce other visual forms where best
suited. Some strips consist entirely of drawings. It is not important which type of
picture is used, if the picture itself really visualizes the material being presented
and employs close-up, medium shot, and long shot where each is needed.

One technique incorporates devices for active audience participation. This is
particularly true of the newer releases. These devices may be direct questions for
factual information or for development of discussion, or sample problems to be

WHAT ARE FILMSTRIPS?

solved by the group before the solution as worked out in the filmstrip, or outline
summaries to be filled in by the class, or identification quizzes, or reviews and short
tests which appear at the end of a complete sequence or at the end of the entire
strip. One of the newer approaches to the end review or test is the "photo quiz,"
used by producers such as Popular Science Publishing Company, Row, Peterson
and Company, and the Syndicate Store Merchandiser. The photo quiz consists of

Typical frame from a filmstrip made up entirely of drawings. From color filmstrip "Ivanhoe."

(Pictorial Films.)

pictures, usually repeating some of those used earlier in the strip, in which the
students are to find answers to specific questions. For example, the class may be
required to identify objects or actions, or to locate errors. The photo quiz not only
motivates testing but also makes the visual images an integral part of the student's
experience.

The question technique has been used to its greatest extent, perhaps, in filmstrips
designed for use in conjunction with motion pictures. Those produced by the U. S.
Office of Education are a good example of this, since these strips review the informa-
tion given in the motion picture posing questions and problems for the audience.
,Other filmstrips produced for use in conjunction with motion pictures, such as

WHAT ARE FILMSTRIPS?

those produced by Encyclopaedia Britannica Films and by Young America Films,
do not use this approach but are designed to be more self-sufficient.

Another approach to filmstrip presentation is the use of a story device to present
the instructional material. This has been done in several strips designed for the
lower elementary grades, for instance, those presenting social studies material, such
as the life of a small Indian boy. Here the story device is probably most successfully

Example of "photo quiz" technique, from filmstrip "How Plants Live and Grow," designed
specifically for the lower elementary grades. (Popular Science Publishing Co.)

used. However, a number of sound filmstrips, in the field of salesmanship and of
foremanship, for instance, have also employed story devices. Since these subjects
are for a more mature audience, the necessity for such attention motivation is
negligible, and the story device often does nothing more than lengthen the
presentation.

Many filmstrips, particularly in connection with story devices, employ cartoon
characters as personifications of various abstract qualities, as in one of the industrial-
safety strips using a cartoon figure to personify Carelessness. Some of these are
excellent visual devices, adding to the instructional value of the strips; others add
little or nothing, however, lacking even interest value.

As was mentioned above, the sound filmstrip often consists entirely of pictorial

WHAT ARE FILMSTRIPS?

f^ff

material, utilizing no printed words whatever, and the
story device has been frequently used. There is one
major criticism particularly of some of the earlier sound
filmstrip productions and that is that they tend to pre-
sent static pictures. Many of these older productions de-
pend almost entirely upon the recorded material, provid-
ing such nonvisual pictures as photographs of a group
conversing, showing this same group from various angles
as the narration is heard. In this type of sound filmstrip,
the filmstrip itself is of no value except possibly as a focus
of attention, and as far as actual teaching value is con-
cerned might as well be dispensed with entirely and the
recording used by itself.

Fortunately, this inadequate visualization in sound
filmstrips is disappearing. More recent productions pro-
vide pictorial material that is really a visual aid and not
merely a static illustration, and the strips themselves
contribute much to the presentation of the subject.

The use of color in filmstrips has been limited by the
expense of making copies and consequently has been rare
to date. Much of the new production, however, is in
color and includes the following processes: Technicolor,
commonly associated with motion pictures; Ansco color;
a relatively new process called Americolor; and a number
of others. The color experts probably feel that there is a
great difference in the effectiveness of the various color
processes, but the choice of process has not affected the
appropriateness with which color can be used. Color in
itself does not appear to have been overworked in the
way in which the addition of sound was at one time. Pro-
ducers in most cases have used it for definite functional
purposes, and should be commended for selection of sub-
jects to which color can contribute most. Some color strips
have a garishness that may be distracting when used with

This sequence from a story-device filmstrip for Spanish instruc-
tion is a typical example of the way in which stories may be
employed in filmstrips. From "Marzo y el pastor." (Society for
Visual Education.)

WHAT ARE FILMSTRIPS? 13

small children; however, such flaws may be in the original art work rather than in
the color process.

In limiting this book to filmstrips suitable for projection, the aim is to provide
in one place all the information that can be helpful to those interested in using
filmstrips as a part of group activity. The group-activity purposes, especially in
school and college, for which available filmstrips are most suited are (i) demonstra-

Motion-picture animation techniques are frequently used to create filmstrip cartoon characters.

(Photo and Sound Productions.)

tions of skills, (2) direct teaching, (3) illustration, and (4) supplementary instruc-
tion. Filmstrip types in each of these categories are described below.

The skill demonstration or "how-to-do" subjects treated fall into two major
groups the simple and the complicated. An example of effective visual presenta-
tion of a simple skill is found in the Fruehauf Company's instructional strips for
tractor-trailer operators. Here photography and diagrams are combined with
succinct captions. Several operational skills are presented factually, in carefully
organized sequences, ranging from the simple to the more difficult. In the treatment
of the simple skill, the best filmstrips employ little textual material, allowing the
pictorial material to show the step-by-step procedures. A direct factual approach,

WHAT ARE FILMSTRIPS ?

BACKING
a. Right "blind" back

without extraneous material such as story
devices, is generally most effective, par-
ticularly if diagrams and close-ups are
used where required for clarity and em-
phasis.

The more complicated skills usually

require certain differences in treatment

for greatest instructional value. Generally

the presentation demands inclusion of

such difficult-to-visualize matter as ab-

stract principles, mathematical computa-

tions, or time and space relationships that

cannot be photographed or drawn. This

makes necessary the use of more detailed

captions and explanatory text frames if

the strip is to be self-sufficient, unless an

accompanying recorded lecture is used.

However, this necessity for verbal expla-

nations does not mean that the text mate-

rial needs to be overdone or used where

visualization is possible. The more com-

plicated the skill, the less important it is to

present in a filmstrip the entire operation

being studied. In fact, the filmstrip can

make its greatest contribution in the dem-

onstration of complex skills if the strip is

used to show those phases of the operation

which can be most appropriately visual-

ized, acting as a steppingstone for the in-

structor's presentation of the whole proc-

ess. After all, the instructor's contribution

is the most important factor in the teach-

ing of skills. Filmstrips or any other visual

aid can only assist the instructor when it

is restricted to doing that portion of the

Effective picture sequence demonstrating a
simple skill. From filmstrip "The Man Behind
the Wheel." (fntehauj Trailer Co.)

WHAT ARE FILMSTRIPSI

teaching job to which the individual medium is best
suited. The pictorial material best suited to treat-
ment of the more complex skills generally includes a
greater proportion of diagrams, sectional views, or
cutaways. It is in visualizing small or hidden parts
and complex operations that the filmstrip can be most
helpful to the instructor.

One technique of treating an advanced skill is that
used in the case of filmstrips dealing with the slide
rule. The main teaching problem in presenting the
slide rule to groups is that it is difficult for the instruc-
tor to be sure that each group member has set the slide
rule correctly without personally inspecting every class
member's rule. The only substitute for this time-con-
suming process is the use of the "jumbo" rule, which
is cumbersome, awkward, and expensive. The correct
settings are not only shown in the filmstrip, but Spe-
cific problems are presented enabling the student to
follow slide-rule technique step by step.

Another effective treatment involves the use of a
visual device, as in the explanation of the development
of basic blueprint views. From this sequence, the
group members get an understanding of the relation-
ship of the drawing and the object itself, making the
reading of a blueprint more meaningful to the novice.
Of course, the instructor in this case could employ
much the same device by unfolding a large box, but
this would have the disadvantage of showing only one
side or end at one time. The basic criterion for select-
ing a visual device is that the device itself be easier to
comprehend than the subject itself. Of course there is
no point in using a device if too great an instructional
detour is necessary; therefore, it is generally desirable
that the device be selected from everyday experiences.

Two major treatments have been employed in

This demonstration example indicates a type of filmstrip ap-
proach suitable for direct teaching by the lecture method. From
"Transmitting Pressure Through Liquids." (Jam Handy
Organization.)

Liquids Transmit;
Pressure

l6 WHAT ARE FILMSTRIPS?

handling materials for direct teaching, particularly of academic subjects. The most
complete provides an organized presentation of an entire topic. An example of
this treatment is the Young America Films series on American government. Each
strip provides a brief and self-contained summary of the important points on one
governmental department. In these, the instructor finds a lecture outline that can
be expanded as required by class needs. A fuller "complete" lecture treatment is
found in sound of the sound filmstrips, such as the Westinghouse series on elec-
tronics. Here the lecture itself is given, rather than an outline. Both the silent and
sound types of this treatment can be of assistance to the instructor, although many
may feel that the silent type is preferable since it can be adapted to individual needs
more easily. This approach in filmstrips technique can lead to oververbalizing, both
in silent and sound versions. The best strips of this type, however, limit narration
and allow the pictorial content to carry as much of the instructional load as possible.

The second major type of direct-teaching strips is closely related to that described
above, but differs by presenting only some of the major aspects of a topic and
generally treats of a topic larger in scope. In the best of this type, the aspects
presented in the filmstrip are those to which visualization can contribute most. Of
course, with this type of material it is necessary for the instructor to do more than
merely expand or explain the phases presented in the filmstrip.

For direct teaching, particularly of lower elementary or primary subjects, another
treatment is often used. This consists of uncaptioned photographs or drawings
organized to present important phases of one subject, a visual lecture outline. From
this the teacher can develop various activities such as oral composition, drawing,
or related reading. A good example of this for kindergarten or primary uses is the
Stillfilm Company's "Kindergarten Series" which deals with such topics as the
fire department, community workers, the post office, ships, and trains. For example,
the strip on the fire department shows the activities and services of such a depart-
ment, with the pictures arranged in a logical progression. A similar visual treatment
has been used for a recently produced series for primary arithmetic. Another treat-
ment, more fully developed in the newer filmstrips, is the use of children of the
same age as the class to which the strip is to be shown as characters in a story about
the subject matter being presented or as demonstrators of activities.

It is in the filmstrips designed for direct teaching that student participation
devices, summaries, reviews, and tests are being included. The treatment of such
inclusion varies from scattering the "activity" frames throughout the strip to
presenting it only at the end of the entire strip.

Filmstrips for reading or literature classes have afforded an opportunity for the
development of a storytelling treatment unique to that subject matter field. These

WHAT ARE FILMSTRIPS? 17

strips tell an entire story with briefly captioned illustrations of all the major events
and characters, following the plot or organization of the tale itself. In relating such
stories as "Ivanhoe" or "Treasure Island" the captions are adapted quotations from
the book itself, retaining the original style and phrases. In storytelling treatment of
fairy tales, the captions are generally simple enough for lower elementary practice

Example of uncaptioned frame from primary grade discussional filmstrip "The Fireman."

(Stillfilm Co.)

or supplementary reading. Particularly when used in the lower grades, this treat-
ment with superimposed captions is almost always preferable to the older method
of alternating pictures and text frames, since it is sometimes difficult for small
children to remember the picture clearly while reading the text on the next frame.

Filmstrips suitable for illustrative purposes fall into two categories. One group
might be described as a picture file. This type consists of a series of photographs,
generally with some identifying captions or brief text, illustrating the subject being
presented but not attempting to provide any interpretation or additional facts. Such

1 8 WHAT ARE FILMSTRIPS ?

picture-file strips are most often found at their best in regional and political
geography subjects. The Filmette Company's "Characteristic Landscape Views"
series is an excellent example of carefully selected illustrative photographs.

The other category of illustrative filmstrips are those which present a series of
examples, as of applications of abstract principles. For instance, the Jam Handy
Organization's two-part filmstrip on "Applications" in their "Basic Electricity"
series provides a series of such examples. The example treatment may also be found
in nature study and biology materials, giving examples of various plants or animals
in particular orders, or in filmstrips presenting examples of paintings or archi-
tecture. The illustrative treatments are most valuable in those fields where it is
desirable to have a fund of pictorial material, particularly of subjects which cannot
otherwise be easily seen. If the pictures are well selected and provide enough
different illustrations so that the teacher can choose for emphasis those most
pertinent to the individual classes' needs, such filmstrips can be a real visual aid.

Supplementary school uses of filmstrips include chiefly "picture reading" and
auditorium presentation. Picture reading can be compared with supplementary
reading of books, texts, magazines, etc. Such filmstrips usually treat small phases
of subject matter which are not generally dwelt upon during class time but hold
specific interests for individual students. Use of these filmstrips will be described in
more detail in the next chapter.

Auditorium purposes for filmstrip use include incorporation of suitable strips
into travel talks, safety lectures, and programs for holidays, such as Lincoln's
Birthday, Arbor Day, or Christmas. Visual materials on literature or reading might
be useful in auditorium programs designed to stimulate outside reading. Filmstrips
best suited to such purposes should be high in interest value as well as containing
the subject matter desired. It is in the auditorium presentation that the story-device
treatment described earlier can be most effective, if the story is well selected,
original in idea, and properly coordinated with the information it is intended to
present. Using filmstrips for this purpose is also often helpful to students who are
to give talks and is quite similar to the use of filmstrips in adult groups including
farm organizations, women's clubs, churches, etc.

The source of a filmstrip or any other teaching material is relatively unimportant
to the teacher. The unimportance of the source per se is sometimes more exag-
gerated in the case of filmstrips than in any other item usually acquired for
classroom teachers. In most cases the teacher or the school administrator is anxious
to have some regional representative who will be available to maintain equipment,
or supply replacements, or assist in mechanical problems. However, with filmstrips
there can be no maintenance assistance which could be appropriately rendered by
a dealer (if a patch is to be made in the filmstrip it can be made on any 35-mm

WHAT ARE FILMSTRIPS? 1 9

motion-picture splicer available in the local theater splicers with which filmstrip
dealers are not usually equipped). Replacements have to bo ordered from the
original source by the dealer, and can just as well be ordered directly by the user.
As will be seen under Projection, any child can learn all that is necessary about
filmstrip projection from the simple directions accompanying the equipment, and
the equipment dealers supply whatever information is necessary in the replacement
of worn-out lamps, selection of screens, and room-darkening facilities.

However, the individual filmstrip users will want to know something about
filmstrip sources, prices, and methods of distribution before planning the expendi-
ture of funds. All known primary filmstrip sources are listed in the back of this
book. A simple postcard request addressed to these organizations will bring free
price lists, etc., and information about local dealers, if any, as well as news of any
new filmstrips released since March 15, 1947. Filmstrip prints, or copies, are rela-
tively inexpensive. For example, prints of a 50-frame strip cost about 30 to 35 cents
apiece when ordered from a laboratory in quantities of 200 to 300 prints at one
time. The list price of a strip accounts for this print cost (which includes cutting,
rolling, and packaging in containers), royalty to the author, production cost
amortization, and distribution charges. For school customers there is sometimes
a discount on list price. Such discounts are most common on filmstrips originally
produced for other purposes, such as industrial or business training.

The filmstrips in this book available for manufacturing and handling cost were
produced by the U. S. Department of Agriculture and are available exclusively
from Photo Lab. Certain U. S. Navy filmstrips are available through Castle Films
at a slightly higher price range. Castle Films also distributes the productions of
the U. S. Office of Education for $i on which a royalty is payable to the U. S.
government under the act of Congress which authorized the production of visual
aids by the U. S. Office of Education. Of course, some sponsored filmstrips supplied
by industrial sources are available for print cost or free of charge, but the majority
of other strips described in this book are sold at a price designed to give both the
distributor and the producer a fair return on their investment. In evaluating the
prices indicated throughout this volume it is appropriate to bear in mind that the
cost of color printing is approximately five times the cost of black-and-white
printing and that print cost varies with the number of prints ordered by the
producer at a given time, as well as by the laboratory and printing process used.
If the royalty payments for filmstrips are evaluated in terms of the customary text-
book royalties, it is generally apparent that the producers and distributors of
filmstrips make a much smaller profit per classroom unit.

Some filmstrip users may have the impression that because they are familiar
with one or two sources of filmstrips these larger sources have the monopoly on

20 WHAT ARE FILMSTRIPS ?

this medium of communication. This misconception may arise from the fact that
projection-equipment salesmen have of necessity been forced to emphasize the
filmstrip libraries with which they were familiar in order to make equipment
sales. Since these salesmen frequently also handle motion-picture equipment,
opaque projectors, and other audio-visual devices, their information on sources of
filmstrips for instructional use has often been limited to a few names such as the
U. S. Department of Agriculture (Photo Lab), U. S. Office of Education (Castle
Films), Society for Visual Education (a commercial organization), and the Jam
Handy Organization. It will be apparent from a quick perusal of this book that
these large organizations are not alone in supplying filmstrips suitable for school
and college use. Although the number of strips from each large source is in the
hundreds, the large library is in itself of little help to the classroom teacher since
her problem is one of selection.

The size of the source does not usually affect the purchase price nor the quality
of an individual strip. Therefore, an instructor gains little by dealing with an
individual source other than the saving of correspondence with more than one
source. This insignificant advantage is more than counterbalanced by the advan-
tages of a careful investigation of the individual titles available in the subject matter
desired from all possible sources. Although the larger sources sometimes maintain
branch offices, the postage on filmstrip shipments is so small that these regional
offices can be of little assistance for anything except personal visits. For example,
the Stanley Bowmar Company, 1 representing the SVE in New York, is very
helpful to teachers located in the metropolitan area in allowing the review of strips
in their offices, but a teacher as far away as Albany can receive little assistance
from a New York representative that would not be available as readily from
Chicago. Filmstrips are such an inexpensive commodity that their sale price can
never justify an extensive network of salesmen handling filmstrips alone. Conse-
quently, it is possible that the organizations with the smallest overhead may give
the best filmstrip value to the user. A good example of the minimum overhead
combined with maximum academic value can be found in the case of Filmette
Company, which is operated in the private dwelling of Dr. and Mrs. Drucker, who
brought the negatives of the filmstrips they distribute with them from central
Europe.

The basic problem in filmstrip merchandising is that the list price is frequently
so small that provision of screening prints is impractical. Unfortunately, filmstrip
distributors have not yet adopted the general policy so common in the textbook
industry of supplying materials on a lo-day free examination basis, allowing the

1 The Stanley Bowmar Company, 2067 Broadway, New York 23, New York.

WHAT ARE FILMSTRIPS? 21

return of unsatisfactory materials without obligation after a few days for review.
A very efficient system for filmstrip review, completely eliminating the possibility
of film damage, is practiced by Stillfilm, Inc., which incloses a printed card with
each preview shipment stating that the strips may only be viewed through the
fingers unless they are purchased. If strips are not projected, but merely "reviewed"
by holding them up to the light between the fingers (with the thumb on one edge
of the strip and a finger on the other edge so that no fingerprints are made on the
strip itself) there is little possibility for as much wear and tear on the filmstrip as
on a textbook sent for review. It is certainly unreasonable for any teacher to be
expected to select teaching materials without seeing them first, and consequently
more progressive filmstrip producers are supplying preview prints in spite of the
high cost of this service. Users can show their appreciation by very careful handling
so that filmstrips returned from preview are in good enough condition to be
sold as new.

Distribution of filmstrips is frequently handled by the producers themselves,
as in the case of Young America Films, the Filmette Company, Stillfilm, Inc.,
Visual Sciences, the Jam Handy Organization, Popular Science Publishing Com-
pany, and others. With this type of distribution, which provides a library from
one producer only, the quality of filmstrips varies little except for improved
techniques in more recent productions. This is an advantage to the individual
teacher in the selection of strips, as the problem of suitability of treatments and
technical quality is much simplified. Other distributors, such as the Society for
Visual Education or Brandon Films, handle not only their own product but that
of other producers also. The former also distributes some sponsored filmstrips,
such as the series on air transport and travel sponsored by United Airlines. Such
a library, of course, has an unevenness of technical quality, treatment, and effective-
ness of visualization. There is a possible advantage to the teacher in saving cor-
respondence. Others, such as the regional distributors, are not producers themselves
but carry the product of several of the producing companies. Regional distributors
are not listed in this book, as primary sources only are indicated. However, names
and addresses of regional agents will be supplied, if desired, by those listed dis-
tributors or producers who have such agents.

For some time certain producers tended to specialize in particular subject
matter areas, but this is in most cases no longer true as these producers are turning
their attention to other fields also. For instance, the Jam Handy Organization's
material contains a great percentage of vocational training strips, as in machine-
shop work and aeronautics, and some materials in physics. While the company
still continues in the production of similar topics, materials on nature study and

22 WHAT ARE FILMSTRIPS?

general science are being added as well as more production on salesmanship. Visual
Sciences, as its name implies, confines most of its production to the various fields
in science, but has recently released strips in other, although related, fields.

There has also been a tendency to specialize in materials for particular grade
levels, and although this tendency is also changing somewhat, the difference is
not yet so noticeable as in the expansion of subject matter treated. Recently the
filmstrip designed specifically for discussion purposes has been receiving consid-
erable attention from various producers. Such filmstrips are often aimed at adult
groups, but offer excellent material for high school and college classes as well.
Film Publishers, for instance, has been emphasizing this type of material, which
is organized so as to stimulate discussion on such topics as atomic energy, racial
intolerance, and international affairs. Other examples, besides the Jam Handy
Organization and Visual Sciences, of the educational level tendency and subject
matter specialization follow. It will be well to keep in mind, however, while
reading these generalizations as to scope of particular libraries, that each includes
other materials also, since the examples indicate content and level of a large propor-
tion of the library only and not of the entire production.

American Council on Education mainly materials in the social sciences, for
junior and senior high schools, with some applicable for adult discussion
groups.

Audivision, Inc. salesmanship, supervision, and related subjects in business
field, designed specifically for use in business or industry, but applicable
in senior high school or college courses.
Brandon Films, Inc. social sciences and personnel supervision or foremanship;

designed mainly for adult groups but applicable in school situations.
Business Education Visual Aids subjects for business training courses, such as
accounting or bookkeeping, for high school or beginning college courses.
May be used for adult education also.

Castle Films Division mainly vocational training in various fields, for use in
senior high schools, vocational schools, colleges, and for industrial training
programs (filmstrips originally produced by U. S. Office of Education,
U. S. Public Health Service, U. S. Navy, and the Army Air Forces).
Curriculum Films, Inc. little tendency to specialize; include material on mathe-
matics, English, fairy tales, and sports. Range in level from primary grades
to senior high school.
Dartnell Corporation salesmanship; designed specifically for use in business

or industry, but applicable in senior high school or college classes.
Encyclopaedia Britannica Films, Inc. social studies; range from elementary to
high school.

WHAT ARE FILMSTRIPS? 23

Eye Gate House, Inc. emphasis on social studies with a fairly large group in
elementary science also; elementary grades and junior high school.

Filmette Company considerable material on European history and history of
art; social sciences and the sciences treated in relatively smaller groups;
senior high school and college with some materials applicable in upper
elementary grades.

Film Publishers, Inc. the social sciences, emphasizing timely topics. Senior
high school and college; adult discussion groups.

Foley and Edmunds, Inc. social studies, particularly geography; elementary
grades with some materials for junior high school.

Informative Classroom Pictures Publishers social studies; elementary grades.

Long Filmslide Service social studies and elementary science; elementary
grades and junior high school.

National Agricultural Supply Company vocational agriculture; senior high
school, college, and adult groups. Distributes filmstrips prepared by Voca-
tional Agriculture Service, College of Agriculture, University of Illinois.
Plans in progress for own production.

National Safety Council, Inc. safety, including street, road, industrial, etc. From
elementary grades to college. Many suitable for adult groups. Distributes
safety subjects produced by others in addition to own productions.

Photo and Sound Productions vocational training, foremanship or supervision,
designed for industrial uses, but applicable in vocational schools, senior high
schools, or college. Beginning to produce subjects in other areas also.

Pictorial Films literature, junior and senior high school, although useful with
other groups interested in same stories.

Popular Science Publishing Co. emphasis on social studies, but materials in
other areas such as punctuation, arithmetic, hygiene, etc. Level range from
primary through high school, but major emphasis on materials for primary
and lower elementary.

Stillfilm, Inc. social studies with emphasis on geography and history, with
groups on nature study and other topics also; level ranges from primary
or kindergarten materials through junior high school.

Society for Visual Education no tendency toward definite specialization,
although large proportion of materials deals with social studies; range level
also large with considerable material for lower and intermediate elementary
grades. A number of their older productions are reported to be currently
undergoing revision.

Syndicate Store Merchandiser retail selling; designed specifically for training

24 WHAT ARE FILMSTRIPS ?

of variety-store sales personnel, but applicable to senior high school or college

classes interested in the subject.
U. S. Department of Agriculture agriculture and related subjects (i.e., home

economics, forestry); high school, college, and adult groups.
Vocational Guidance Films, Inc. entirely vocational guidance materials for

high schools.
Young America Films little tendency to specialize; include reading, health,

government, and others. Range in level also large elementary, junior, and

senior high school.

In addition to the commercial producers and distributors and the Federal
agencies which produce visual aids, there are others which should be mentioned
separately. Some of the information offices of other countries have produced one
or more filmstrips about their own lands. These strips generally provide informa-
tion on such aspects as geography, industry, history, government, and place in
world trade. As may be expected, the factual material is excellent and, contrary
to the fears of some instructors, is singularly unbiased. Most of this material is
suitable for high school classes, supplementary material for college classes, and
for adult groups.

Another group is comprised of various associations and societies, interested in dis-
seminating information on specific subjects (such as the National Safety Council,
the National Tuberculosis Association, the Better Vision Institute, National Con-
servation Bureau, and the National Society for Prevention of Blindness). The size
of these libraries varies from one or two filmstrips, as in the case of the National
Tuberculosis Association, to selections of 20 to 30 strips as in the case of the
National Conservation Bureau. Naturally, each of these producers deals only with
the subject matter pertinent to the over-all purpose of the organization. Usually
there is an attempt to provide materials for all age levels which should receive the
information, from children to adults, with a few technical strips as for instance
"Selective Enforcement," which deals with traffic safety from the traffic squad's
point of view.

Two types of filmstrips are available from industrial producers. First there is the
so-called "sponsored" filmstrip, which is generally designed as institutional adver-
tising or for public-relations purposes. Again contrary to the opinion of some indi-
vidual instructors, the sponsored filmstrip in many cases is not so biased as might be
supposed and often has definite contributions to offer. Examples of- some of these
which are well made technically, well visualized, and organized for effective class-
room use are "How To Cook Meat By Dry Heat," sponsored by the National Live-
stock and Meat Board, "Sound," sponsored by General Electric, and the railway
transportation series sponsored by the New York, New Haven and Hartford Rail-

WHAT ARE FILMSTRIPS ? 25

road. In these particular examples little or no advertising whatever appears; the sub-
ject matter is treated factually. Other strips include some direct advertising but in
a manner that is not offensive or overly obtrusive.

The other type of industrial filmstrip is the training strip designed either for
training users of the company's product or for training the company's own per-
sonnel. Of those designed for training users, a good example is the Carboloy Com-

Sample frame from a sponsored public-relations filmstrip showing the facilities of the sponsor.
From "Coast to Coast Geography from the Air." (United Air Lines.)

pany's series on Carboloy tools. This series is accompanied by excellent manuals for
the trainees, which contain not only the information presented in the filmstrip so
that it is readily available for reference but also pertinent glossaries, tables, scales,
and similar matter. The Kearney and Trecker Corporation have also issued a train-
ing series of this type, dealing with their milling machine and its proper operation,
and Linde Air Products Co. have issued an oxyacetylene-welding series providing
training in fundamentals, operations, and safety precautions. Filmstrips designed
specifically for in-company training are now becoming available to outside users
also. For instance, the Fruehauf Trailer Company has produced two tractor-trailer

WHAT ARE FILMSTRIPS?

driver strips, accompanied by trainee manuals, which were designed for their per-
sonnel and the users of their product. Upon being queried concerning availability
to schools desiring subject matter of this nature (in order to ascertain whether these
strips should be included in this book) the trailer company indicated that it had not

With this information at hand, tjou are in a position
to design a specific tool to fit the specific job

3 So ff Jaws "older No. 420^

C-5O4-I
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JOB LAYOUT SHEET

C- 50 4-1
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Holder No. 3416

OPERATIONS

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A sample frame from a sponsored filmstrip designed to train users of a specific product. From
filmstrip "Designing Carboloy Tools." (Carboloy Company.)

occurred to them to release the strips in this manner, but that they would be glad to
make the materials available to any instructional group interested. This is also true
of the same company's series of strips designed for their own salesmen and their
dealers. Another example is the training series prepared by the Syndicate Store Mer-
chandiser for personnel training in variety stores. These are now available to other
interested users also and can be helpful in classes dealing with retail selling. One of
the series, "Tommy and His Fountaineers," can also be of assistance in training
school-lunchroom or cafeteria personnel. Both types of industry-produced filmstrips
for training purposes are technical in nature, and generally explain the operations
exceptionally clearly and simply.

CRITERIA FOR SELECTION 27

The industrial training filmstrips are generally distributed by the companies that
produced them. The sponsored public-relations and advertising strips may also be
distributed by the sponsoring company, but sometimes receive additional distribu-
tion through other agencies, such as regional distributors and those filmstrip com-
panies who handle both their own product and that of others. The price to users
varies. The training materials are often sold, much as other filmstrips are, with
royalty payment added to print cost and handling charges. However, some of these
are available on a rental basis, which is not true in general of the filmstrips produced
expressly for sale. The public-relations or advertising strips are usually available
either for a nominal handling fee or on a loan basis in which the user pays only
transportation charges. Some companies, such as J. I. Case Company, are making
their strips available for purchase at print cost.

Textbook publishers are becoming increasingly interested in the possibilities of
filmstrips to be used with textbooks. A few, such as the Macmillan Company, Row,
Peterson and Company, and the McGraw-Hill Book Company, Inc., are currently
producing filmstrips especially for use with some of their books. Another approach
is that of the American Book Company, which publishes leaflets and teacher's
guides describing filmstrips available from other sources which can be effectively
used with their texts. The publishers who produce their own filmstrips usually
distribute them directly. The publishers who refer to strips produced by others gen-
erally restrict themselves to giving information on sources as well as suitability.

CRITERIA FOR SELECTION

When the individual classroom teacher, group or club leader, training instructor,
or other filmstrip user comes to the task of selecting the specific filmstrip that is to be
used, the procedure may vary but should probably take into consideration the same
factors. Perhaps the most important is to decide first exactly what part of the sub-
ject matter should be presented by the filmstrip medium. Of course, since filmstrips
have not been produced on all topics, it may be that none exists for the particular
subject for which such treatment is desired. But, there is little point in using a film-
strip to emphasize an obscure or minute point merely because a strip is available on
that topic; therefore, it is more desirable to select a strip to fit the need and not to
select a need to fit the filmstrip. Once the subject matter area is chosen, it is well to
know for what purpose the strip is desired; that is, for review, for introduction of a
unit, for discussion, for direct teaching, for demonstration, for illustration, or any
other purpose that the user may have in mind. This decision is helpful in the selec-
tion of a strip since different filmstrip treatments and techniques serve different
instructional purposes best. When the user knows exactly what kind of filmstrip

WHAT ARE FILMSTRIPS?

would be the ideal selection, the existing filmstrips concerning the subject matter
can be considered. Undoubtedly, although some excellent filmstrips are on the
market, the user may find that none is exactly what is desired. However, the pre-
selection decisions can assist in selecting the one nearest to the ideal.

There are other points to keep in mind during the actual selection. Does the
vocabulary used suit the age level of the group to which it is to be presented ? And
is the approach and treatment suitable for the group? A too elementary vocabulary

"What does she think we are children?" (Filmstrips, Inc.' 1 Drawing by Fran\ Pagan.)

or a too juvenile approach or device can be just as undesirable as difficult vocab-
ularies and advanced treatments. In some cases, particularly in some materials
designed for elementary grades, it may be found that the vocabulary and the
approach are of the proper level, but that the tone of the entire strip is one of con-
descension, talking down at the children instead of talking with them. Such treat-
ment can obviate much of the teaching value of the presentation. For instance, in
the selection of strips for lower elementary health classes two titles may present the
same material equally well, but one states the health rules categorically without pro-
viding any acceptable reasons for them while the other stresses reasons for such rules
that appeal to the children themselves, providing excellent motivation for observing
the precepts taught. Of course, the teacher could supply the motivation if the first
hypothetical example were used, but would have the added task of breaking down
the possible barrier of resentment on the children's part at being "lectured" at. If
the filmstrip can present the facts from the viewer's own point of view, it approaches
success as a real aid.

If approach, treatment, and tone are appropriate for the audience and the purpose
in mind, it is then good to consider the visualization employed. Do the photographs,
drawings, diagrams, and other pictorial materials in the film really visualize the

1 Filmstrips, Inc., 1307 Sixth Avenue, New York 19, New York.

CRITERIA FOR SELECTION 29

subject? Do they add something to understanding that words cannot supply as
effectively? Do the pictures themselves "speak" to the audience? The pictorial treat-
ment should also make use of the close-up, the medium shot, and the long shot to
best advantage. These terms, commonplace in movie terminology, are becoming
increasingly common in everyday conversation due largely to the intense interest of

The AILERON

a small hinged surface at the

of aileron,, which is

to compensate 'for wing*

if ike- airplane tends

to fly with one wing low*

The medium shot and the close-up can be combined on one frame for emphasis. From the "Aircraft
Mechanics Series." (Jam Handy Organization.)

an army of still and motion-picture photographers. Their importance to the teacher
does not require elaborate definition. Although some technicians would argue that
the distinction between a close-up and a medium shot should be defined in terms of
focal lengths and distances, it is sufficient for the present purpose to be continually
alert to the need of bringing the observer close enough to details of the object being
presented in a filmstrip. Throughout this book the term "long shot" will be used to
refer to those views which show objects in their natural surroundings, visible to a
casual observer such as a man looking across the street at a store window. The
"medium shot" will apply in situations analogous to a change in viewpoint, which
would result if the hypothetical observer crossed the street and stood in front of the
window. The "close-up" in this instance would be the direction of attention to a

30 WHAT ARE FILMSTRIPS f

single article on display. There is no distinction between the close-up and the big
close-up, nor are the movie abbreviations (Is, ms, cu, and bcu) employed. The im-
portance of the proper viewing distance is true not only in vocational subjects, where
the need for close-ups of minute parts or operations is readily apparent, but also in
academic subjects. For instance, in a filmstrip dealing with the regional geography
of some area all three should be used for greatest effective visualization. A long shot

Typical long shot. From filmstrip "Coast to Coast Geography from the Air." (United Air Lines.)

might be required to show the over-all appearance of an agricultural valley. The
medium shot might be employed to emphasize the appearance of a typical farmyard
in the valley; while the close-up could focus attention on points of particular inter-
est, such as the farmer himself, a section of a unique building, or on some product
in which the valley farmers specialize.

The organization of the material in the filmstrip is also of importance. A good
strip has the facts and ideas organized in a logical sequence that is easy to follow,
moving smoothly from one thought to the next. A haphazard collection of pictorial
material and text that jumps from one topic to another and then later returns again
to the first topic is both distracting and confusing, leaving no vivid impression with

CRITERIA FOR SELECTION

the audience. This need for clarity of organization is easily recognized in strips
desired for direct teaching or review, for discussion, or for demonstrations. How-
ever, it is just as important in strips for purposes such as illustration. A collection
of photographs of the life of an Indian tribe, for example, can illustrate that life
much more clearly if properly grouped and arranged. If the pictures show first a
view of a dwelling interior, and then one of a hunting party, followed by pictures of

A variation of the text frame. From filmstrip "Selective Enforcement." (International Association

of Chiefs of Police.)

a tribal dance and individual tribesmen, and again one of part of a dwelling interior
such as the sleeping arrangements, the total impression left of that life is slight. But,
if the illustrations are arranged in related groups and progress from one activity or
aspect of the tribe's mode of life to another smoothly and logically, the impression is
clear and details also will remain longer in the memory of the viewers.

The problem of the amount of text contained in a strip is probably dependent to
a large extent upon not only the subject matter and the purpose for which it is
desired, but also to some extent at least upon the individual user's preference. How-
ever, if the strip is to be a visual aid, undoubtedly the pictorial matter should carry
the major portion of the information. There is also the superimposed caption versus
the text-only frame factor. Both have their uses, and many good strips employ both.
If the caption is definitely related to the picture, it probably should appear on the

32 WHAT ARE FILMSTRIPS ?

same frame so that the two will be presented together for greatest effectiveness. The
frames carrying only text are necessary for some uses, such as dividing sections or
introducing new topics, and are most successful if not too much is crowded into the
small space of one frame.

Of course, the technical quality of the filmstrip also has a bearing on its effective
ness as a teaching aid. The photography should be good, in proper focus so that
all lines are sharply defined, and should be properly exposed. Overexposed or under-
exposed pictures lose in teaching value. In black-and-white strips the contrast should
be sharp. In color strips, the quality of photography is even more important for
proper color reproduction and lack of "fuzziness." The film itself should be in good
condition with no scratches, marring stains and blots, or torn places.

Naturally, the information presented in the filmstrip must be accurate and there
should be freedom from bias or distortion of facts. If there are two valid sides to a
question, the ideal filmstrip should present both. However, a one-sided treatment
can be useful in stimulating discussion of both sides if it is made clear prior to the
screening that the strip does not present the whole story.

When the right material has been selected, it should be used at the right time, as
a definite part of the normal class procedure. Obviously, the filmstrip should be
introduced to the viewing group at that time when it can contribute most to the
particular topic under consideration. As with all other teaching materials, grade
level is of paramount importance. Fortunately filmstrips, particularly those without
captions, can more easily be adapted for use in grade levels other than those for
which they were intended than any other teaching material. In spite of this ease of
adaptation, no teacher should use a filmstrip unless previously convinced that it
could be appropriately used at the grade level as well as at the particular stage of
instruction reached by the group at the time when the strip is to be introduced.

In selection of filmstrips for primary grades the suitability for that level and its
particular requirements is perhaps more important than at any other level, since the
instruction received by primary pupils must not only give them factual information
but also provide them with a basis for future learning. The interests should be stim-
ulated and directed; good habits for group and individual play and work encour-
aged; experience and vocabulary broadened; and a readiness for learning estab-
lished. Well-produced filmstrips can help the primary teacher to meet these
objectives, and usually it will be found that filmstrips produced specifically for this
level meet the requirements best. Young America Films' "Primary Health" series,
for example, stimulates interest, in good health and directs these interests toward
proper health habits through suitable motivation devices and reasons that appeal
to the children themselves. A number of the available strips on different subjects
can assist in providing vicarious experience and environmental vocabularies; for

CRITERIA FOR SELECTION

example, Encyclopaedia Britannica Films' "Children of Many Lands" series; Popu-
lar Science Publishing Company's "On the Farm With Tom and Susan*' series,
which deals with elementary science topics; and some of the reading series such as
Long Filmslide Service's "The Home" series and Stillfilm Company's "Primary
Reading Set." Material expressly for establishment of learning readiness has been
produced recently the Row, Peterson and Company's "Reading Readiness" series
and Popular Science Publishing Company's "Primary Arithmetic" series. In the
latter, the first two strips of the series especially assist in development of arithmetic
readiness. Individual habits, such as safety and health habits, are dealt with in film-
strips designed definitely for that purpose. However, the filmstrip itself, since it is
shown at the front of the room, obtains group attention and aids in the encourage-
ment of group activity. A few of the uncaptioned filmstrips produced primarily for
other levels can be used in primary grades, since there is no vocabulary difficulty
present and the teacher can use the pictures to illustrate her own comments. A good
example of such a strip is the American Council on Education's "Day on the Farm,"
which pictures one day's activities of a farm family, with considerable emphasis on
those of the children.

Since the selection requirements for primary grades are more specialized than
those for other levels, filmstrips suitable for this level have been so indicated
throughout this book. Definite grade level indications have not been given for other
strips in many cases unless specific aspects of the strip place it definitely at one level
only. While the primary teacher could search the various subject classification for
the indicated primary level strips, the materials produced expressly for those grades
are so few that they are listed here.

Sections:

Reading

Primary and Lower Elementary Social Studies
Series and individual titles:

Sing a Song of Safety Series

On the Farm With Tom and Susan

In Zooland

Kangaroo Junior Steps Out

The Owl Family

A Visit to the Zoo

A Day with Bobby and Ellen

Primary Health Series

Bending the Twig

Let's Make a Post Office

14 WHAT ARE "FILMSTRIPS ?

,. Seeing .the Airport

How We Travel on the Train

It's Fun to Travel by Train
. Life of the Eskimo
. , Living In Other Lands Series

Indian Life

Life in Colonial America
,: -Pioneer Day$, f -

Primary Arithmetic Series

Selection of filmstrips for use in the intermediate grades should consider the con-
tributions that filmstrips can make to the special problems of that level. Perhaps one
of the major tasks of the teacher in these grades is to satisfy the many divergent
requirements of her pupils. Children at this level frequently vary much more in
background, previous learning, experiences, and interests than do primary pupils.
Filmstrips can assist in the broadening of individual backgrounds and providing
vicarious experiences common to the entire group for use as a basis for further class
study. They can be useful also as interest stimulators, helping to get the class as a
unit ready for the next stage of learning. By the time children have reached this
level they are usually able to "read" pictures, gaining an understanding of what a
picture means, while earlier they were able to describe only what they actually saw
in the picture itself. Therefore, illustrative filmstrips become more meaningful at
this level than before and can be used for such purposes as bringing life and reality
to the social studies, nature study, geography, and history. Geography filmstrips like
the Filmette Company's "Characteristic Landscape Views" series, while illustrative
only, will help to motivate and bring more understanding to the study of various
lands besides providing the class with opportunities to develop their interpretive
abilities. Considerable filmstrip material is currently available in subjects such as
economic and industrial geography, nature study, and hygiene, which should per-
mit selection of strips for any specific class. Stillfilm Company's "Wild Animals of
the U.S.A." series, for example, provides pictures and general information that
can be expanded as required by specific class needs or interests. Young America
Films' "Good Health" series approaches the subject of health habits from a point of
view which should captivate the interest and elicit the proper response from most
children at this level. In language classes, uncaptioned strips can be particularly use-
ful to supply interesting subject matter for oral or written stories, stimulating
imagination and providing a springboard for independent thinking and creative
expression for example, the strips produced by the American Council on Educa-
tion including "Forest Ranger," "Indians of the Southwest," or the " Panorama of

CRITERIA FOR SELECTION 35

the United States" series can be used for this purpose even thought they were
originally produced primarily for use at the junior high school level and for other
courses. Since the range of interests and learning readiness at this level is large, film-
strips in this book are not generally designated as specifically for the intermediate
grades. Also, individual teachers may find that some of the strips indicated as upper
elementary material are suitable for their particular groups.

The need for recognition of individual needs carries over, of course, into the
upper elementary and junior high school classes; however, perhaps one of the most
important factors in selection of filmstrips for these levels is the approach used. These
groups are becoming more and more sensitive to what in their opinion is too "child-
ish" or is an attempt to dictate to them. Materials slightly more difficult or mature
in approach than their actual readiness indicates may be more acceptable to certain
groups than materials which are even slightly below their level of progress and pro-
vide a challenge for the class. Of course, ideally the filmstrips used should be at
exactly the proper level for the entire class, but with the divergence of abilities in the
average class this is impossible of attainment. Considerable material has been pro-
duced expressly for these levels, but teachers will probably wish to consider also
those designated in this book as elementary and as senior high school materials in
order to locate those most suitable for their particular needs. For example, the Jam
Handy Organization's "Basic Bird Study" series is suitable for many groups of this
age, but may be too elementary for some classes that have a wide background of
information on this subject. Devices such as those used in the Popular Science Pub-
lishing Company's "All Aboard the Punctuation Express" series approach the sub-
ject through general interest of many of these classes and may be found useful
particularly in motivation of this topic so often uninteresting to many pupils. Some
of Film Publisher's discussional filmstrips, such as "American Counterpoint," while
designed primarily for older groups can be used successfully at these levels especially
with classes of more mature interests or to assist in development of wider interests'.

Very little filmstrip. production has been aimed specifically at senior high school
and college uses in most academic subjects. This factor, of course, has a bearing on
the selection of strips for these levels. Various fields in vocational training agri-
culture, machine-shop work, welding; woodworking, and carpentry, for-instance-^-
have received considerable attention from filmstrip producers and some variety of
selection is possible in these areas. Those strips available for business education-^
clerical, advertising, salesmanship, and personnel supervision provide some ma-
terials although many were produced expressly for business or industry rather than
for classroom situations. Obviously, it will be found that those filmstrips designed
for use with adult groups are, at least, not too juvenile for the young men and
women of high school and college. This point is important to the acceptance of the

36 WHAT ARE FILMSTRIPS?

filmstrip by these groups and to the response it will elicit from them. Although
interchangeability of instructional materials at these levels is not usually considered
a possibility, instructors may find it desirable with some classes (particularly with
first-semester or beginning classes) to use filmstrips designed for the preceding in-
structional level for rapid review or as a refresher. Besides assisting the class mem-
bers to recall information learned previously, such filmstrip use can aid the instructor
in rapid pretesting of a new class to determine the extent of their knowledge back-
ground.

As has been mentioned before, -throughout this book specific grade levels are not
designated except in cases where levels are not clearly apparent from the subject
matter description. In general, arbitrary grade level classifications have been avoided
because such classifications are either so broad that they can be criticized as over-
selling or so narrow that they discourage the teacher from previewing a strip which
might be very effectively integrated into a current teaching problem on a grade level
not specifically recommended. Indications are given of the range of levels for which
vocabulary, treatment and approach, or devices may be suitable in most cases to pro-
vide the teacher with some guide in addition to subject matter content which may
assist her in narrowing down the number for final consideration and selection. It is
more important for the teacher to be sure that the material presented in the filmstrip
can contribute forcefully to the subject at hand than it is to worry about arbitrary
grade classifications made by someone not cognizant of specific local requirements.

In the same way, abstract evaluation of filmstrips is impossible. No one can do
the teacher's job of selection and evaluation in terms of the needs of her own group.
Technical quality, visualization, and similar aspects can be evaluated by others, but
appropriateness and teaching value of any strip for any specific instructional pur-
pose in a given class situation can be judged accurately only by the teacher herself.
There is only one sure way to be confident that a filmstrip serves all the special needs
of the local situation and that is to produce it locally.

The criteria for selection, also, can be applied in greater detail when school-
produced films are employed. For example, the amount of text photographed for
reproduction on the screen can be limited to that considered necessary in the indi-
vidual teaching situation for which filmstrips are being produced. The opportunities
of school-produced films are not only great because they provide a chance for tailor-
made material, but also because they give an opportunity for participation on the
part of the more intelligent students who might otherwise become impatient with
the progress of the class. In addition, filmstrip production usually involves the stu-
dents who have photography as a hobby. Since these individuals frequently have
the more retiring personalities, benefits of filmstrip production activity may accrue
to the individual student in a greater degree than it does to the class as a whole. At

CRITERIA FOR SELECTION

the same time, the locally produced filmstrip is likely to stimulate a greater class
interest than the filmstrip acquired from an outside source.

The average teacher will immediately object to the excessive cost of "production";
but, before these abstract objections are allowed to disqualify a filmstrip production
project it may be appropriate to consider the individual possibilities. For example, if

A story board, similar to this one used in motion-picture production, can be helpful in school
production of filmstrips. (Photo and Sound Productions.)

the most inexpensive filmstrip technique is employed using camera equipment, etc.,
already available through the photography club or owned by individual students, it
is possible to turn out an effective filmstrip for as little as $i if the developing is
done by the students, and about $2.50 if the film processing is done in the local
camera store. It will be noted that these costs compare favorably with many of the
filmstrip sale prices.

Of course any student-produced filmstrip that relies entirely on student help,
available equipment, and local processing facilities may be a little amateurish; but
an amateurish, locally produced strip can frequently prove to be a much more effec-
tive teaching tool than much of the material currently available for school use. In

38 WHAT ARE FILMSTRIPS?

addition there is the great added advantage of desirable results that active filmstrip
production responsibilities may have for the students who participate.

The simplest type of filmstrip production can be arranged by the use of a simple
"copier" 1 employing an inexpensive 35-mm "candid" camera. A simple copier con-
sists of a vertical stand with a sliding clamp that holds the camera above the table
surface. Pictures and drawings to be photographed are placed on the horizontal
surface, centered under the camera, with the camera the proper distance above
to "frame" or mask the material as desired. All the lighting required is two photo
flood reflectors, which can be mounted on arms attached to the stand or on separate
supports. An enlarger with a copying stand or rack can be used if it is available;
otherwise, a copying stand can be built in the school shop. With such equipment, it
is possible to photograph various still pictures in textbooks, magazines, news-
papers, booklets, photographs, and simple drawings (preferably white on black
which can be executed on an ordinary slate if desired) as well as appropriate titles
which can be hand lettered. If these materials are arranged in the desired sequence,
an entire filmstrip can be photographed on a single roll of film, if the length of the
strip does Jiot exceed 36 double frames (description of double frame versus single
frame given earlier in this chapter).

Procedure for a "copier" filmstrip production is simple, but provides the partici-
pating students with a number of worth-while learning experiences in addition to
producing a visual presentation keyed directly to a specific situation. The first step,
naturally, is the selection of the topic to be visualized. Such selection generally arises
out of a need recognized by both the teacher and the class. At the same time, the
purpose for which the finished production is to be used is decided. Ideally, at this
point a "script" is written, indicating exactly what is to be covered in each frame of
the filmstrip the kind of pictures wanted and the text or captions to be used. The
script can be written by the students, using information gathered from many
sources. When the script is completed, the proper pictures must be found or drawn.
Of course, it is possible to reverse this order. A mass of related pictorial material can
be gathered by one student committee while another prepares a preliminary draft
of the script, later adjusting the script to the available pictures. If "ready-made" pic-
tures are not found to visualize a specific point, student drawings can fill the gap.
In many cases, it may be desirable to have the students prepare drawings for the
entire strip, using no other pictorial material.

With the pictures arranged in the order in which they are to appear in the strip,

1 Photographic copying is discussed in many books on photography. For example, chapter
fifteen of "Making Your Photographs Effective" by J. A. Lucas and Beverly Dudley (Whittlesey
House, McGraw-Hill Book Company, Inc., New York, 1940) includes complete information
on copying apparatus and procedures.

CRITERIA FOR SELECTION 39

captions and text frames are added where required^of course, the filmstrip can
remain uncaptioned if desired. The strip is now ready for "shooting" and the
material is photographed in the sequence in which it has been arranged. After
developing and the making of a positive transparency, the filmstrip is ready for
projection.

In addition to production via the copier, there are a number of other possibilities
for school-made filmstrips by direct photography, 1 which requires more work, time,
and skill. In such production also the students with photographic hobbies can be
the "cameramen," utilizing all their photographic abilities with more opportunity
for creative work than with the copier method. The need for planning the produc-
tion is even greater with direct photography, to save time, effort, and film. It is usu-
ally a good idea to prepare a "shooting script," which can be merely an outline of
the material to be photographed in the order in which it is to appear. With such an
outline, the actors, models, props, and other necessary objects can be assembled more
quickly and the actual "shooting" done with a minimum of delay. This necessity for
detailed planning gives the students who are working on the production experience
in organizing the subject matter, which they will have studied carefully to select
scenes to be photographed, since a thorough acquaintance with the filmstrip topic is
essential for adequate preproduction plans.

"Live action" can be used for filmstrips on many topics. For instance, dramatiza-
tions for reading or literature classes can be photographed to illustrate or interpret
most tales. Classes in dramatics can make strips on make-up by photographing stu-
dents as they are being made up, showing the process step by step. Here color adds
much to the teaching value of the finished product. Stage sets and scenery-building
processes can also be the subject of filmstrips. When planning live-action strips, the
outline should indicate clearly exactly what the actors are to be doing and what
props and costumes are needed, so that nothing is missing when photographing the
scenes. Rehearsal will also be necessary to cut down necessity for retakes. Naturally,
if the strip can be so planned and rehearsed that retakes are unnecessary, the entire

1 Much literature is available on photographic techniques, composition, lighting, graphic design,
etc., which can be explored as extensively as the age and grade level of the student producers
justify. Filmstrip production can be a creative exercise or a mechanical recording; either activity
having great instructional value. The following references are given as examples for those who
would achieve a professional-type quality in school produced strips, but the use of such books
is not a prerequisite for the production of educationally valuable filmstrips:

Lucas, J. A., and Beverly Dudley, "Making Your Photographs Effective," Whittlesey House,

McGraw-Hill Book Company, Inc., New York, 1940.
Herrschaft, William, and Jacob Deschin, "Lighting Ideas in Photography," Whittlesey House,

McGraw-Hill Book Company, Inc., New York, 1938.

Friend, Leon, and Joseph Hefter, "Graphic Design," Whittlesey House, McGraw-Hill Book
Company, Inc., New York, 1936, .., - ... . . _

40 WHAT ARE FILMSTRIPS ?

production job is easier, less expensive, and less time consuming because the
originally completed negative can be used to make the finished filmstrip without
editing.

Table-top models or puppets can also be used, instead of live actors, for the same
type of subject matter. Here is an added project for students in the actual designing
and making of the models or puppets to be used. Possibilities here^ in addition to
simulation of live action, are many and the ingenious instructor can adapt this
method to many subject matter topics. For instance, table-top models, similar to the
salt or sand map, can be constructed for a strip on physical geography. The sand
table itself can be used to make strips for elementary social studies depicting local
farm activities, for example. Materials for botany or zoology classes can be made by
photographing specimens either live or preserved.

Various extracurricular activities also offer filmstrip possibilities. Certain plays in
football or basketball, for example, can be photographed as a supplementary aid in
addition to the diagrams already used. In other sports, such as tennis or archery,
techniques of play can also be emphasized in a filmstrip. In addition, it may be desir-
able to use the filmstrip to record special school events, such as commencement, club
activities, or special programs.

The local community also offers filmstrip possibilities. The production of strips
about the community, its varied activities and interests, not only results in a useful
addition to the school's filmstrip library, but also can be the basis for the participating
students to learn more about their own environment and to develop a greater appre-
ciation of it. Class journeys to local factories, stores, scenic spots, or other places can
also be recorded in filmstrips. It is often found that students on a class trip do not
notice and remember the things they should. Planned picture taking during the
journey stresses the important items and the finished production can be used during
the follow-up activities. Of course, with the next class in the same course, the film-
strip can be useful as an introduction to the journey.

Another special use for school filmstrip productions exists. The school, its achieve-
ments and its needs, can be presented to adult groups of the community such as
the parent-teachers association, the school board, or other interested local organiza-
tions. A need for repairs, improvements, new equipment, or materials can be pre-
sented graphically and vividly to such groups by using pictures instead of just
words. Samples of student's work from the art classes, the woodworking shop, or
results of a detailed project in one of the academic courses can be photographed
and shown to the school patrons to engender more community interest in the school.

If the material, either by the copier method or by direct photography, has been
photographed in the order in which it is to appear in the finished strip no editing
will be required after the film has been developed and printed. However, editing is

CRITERIA FOR SELECTION 4 1

possible by using a 35-mm splicer, which can sometimes be borrowed from the
local motion-picture theater. 1 Sometimes, particularly with live action, it is consid-
ered simpler to photograph all scenes using the same settings, actors, and props at
the same time whether they are to appear in that order or not. If this procedure is
followed, editing will be necessary.

Once the photography has been completed, there are a number of substitute
methods by which the material can be presented. Eight-by-ten glossy prints can be
made for use on bulletin boards or in any other display. These prints of course are
more expensive than the filmstrip itself. Also, there is a problem in proper storage.
The strip can also be cut up and framed as slides either 2 by 2 or the standard 3%
by 4. With the larger size, more expense is again involved, and since glass is used,
the finished product is breakable. Both types of slide collections present other prob-
lems that should be considered before slides are prepared. Slides get out of proper
order easily and must be checked for sequence before each use; also, single slides
may become misplaced or lost, leaving a gap in the presentation. Naturally, slides
need considerable storage space and require special facilities such as frames or boxes.

While these are alternate possibilities, the filmstrip may prove to be the most prac-
ticable for school-produced materials. The filmstrip retains the photographs in the
same order at all times and is always ready for use. Duplicate negatives can be made
at a nominal cost to preserve the production and to make copies available to others.
The storage space required is negligible and no special arrangements are necessary
since the container, furnished when the strip is processed or purchased, protects the
strip itself. Racks for holding filmstrips can be made (the average school shop can
make one easily) or a steel cabinet can be purchased, but such storage racks are not
an absolute necessity, although they are helpful if a large number (more than one
hundred) of strips is to be stored. Less than this number can be kept in a drawer or
a box 25 strips can be easily stored in a box 7 by 7 by 2 inches. Filmstrip titles are
generally on the top of the container, and if the strips are stored so that these are
visible individual strips can be found rapidly when needed. The only precaution
needed to prolong the life of a filmstrip is to wrap a small piece of camphor gum in
paper and place it in the box with the strips. This helps to keep the film from brittle-
ness, which may cause cracks.

1 If a motion-picture splicer is used, it is important to use either "all-purpose" cement or the
film cement especially designed for use with acetate film. The majority of 35-mm splicing is done
with a film cement that can be used only widi the nitrate (highly flammable) base film used in
most theatrical film releases.

Using the Filmstrip

Generally directions for the classroom use of filmstrips include the following in-
structions: (i) Preview the filmstrip and prepare the lesson; (2) present the film-
strip; (3) follow up the showing; and (4) show the filmstrip again if necessary.
These four steps may be given as simply as above or may be elaborated by the addi-
tion of details until they are something like the outline given below:

PREPARATION

1. Lesson

a. Select the filmstrip.

b. Preview the filmstrip.

c. Study the accompanying manuals or guides.

d. Prepare introductory remarks.

e. Plan entire lesson.

2. Class

a. Introduce the film.

b. Arouse interest in the filmstrip.

PRESENTATION

1. Pretest.

2. First showing.

3. Posttest.

4. Discussion.

5. Application.

6. Additional showings as needed.

APPLICATION

1. Contribution to lesson explained or discussed.

2. Practical application.

3. Learning activities.

4. Relation to next lesson.

The four steps, either in their simplest form or in the lengthy detailed form, do
not really differ from the usual procedure followed by teachers for any lesson,
whether or not they are using a filmstrip. Of course, the experienced teacher may
not go through some of the detail consciously, but nevertheless the "stages of in-

USING THE FILMSTRIP 43

struction" (from preparation by the instructor, through presentation, application,
and examination, to follow-up or discussion) are always present. The preview of
the filmstrip, for instance, can be compared with the need for the teacher's acquaint-
ance with any materials maps, models, laboratory equipment, the textbook,
reference books, and anything else being used for instruction. Since this is true, it is
readily apparent that there is no special trick to using the filmstrip in teaching; it is
used in exactly the same manner in which the effective teacher uses any materials.
This chapter provides some examples of ways in which filmstrips have been used
for various classroom purposes, with a few reminders of methods which can be most
effectively applied to the use of this medium.

Perhaps greatest benefit can be derived from the filmstrip if maximum active
student participation is gained. One approach to such participation is by allowing
class members to do the projection and to attend to all details concerning the
physical setup of the classroom for showings. The filmstrip projector is so simple
that even pupils at the elementary school level can operate it properly. Arranging
the classroom can also be simple enough for these pupils to do. They can set up the
projector and screen before class time, with the strip to be shown threaded and
properly focused. They can darken the room at the proper time, provide adequate
ventilation, and rearrange the seats if this is necessary. The pupil or student in
charge of the projection will necessarily be alert and listening to any accompanying
remarks or lecture so that he will know when to change the picture on the screen.
Others will be attentive if only to check on their classmate's ability as projectionist.

Students can also be active in the selection of filmstrips to be shown. If preview
prints are available, class committees can study these and make recommendations
as to the ones that they feel would most benefit the entire class. If such prints are not
available, the student committees can make selections from available descriptions or
catalogues. Of course, the instructor would have the final decision, but the class
members could be made to feel that they had made a real contribution to the actual
selection made. Student-selected strips often meet with readier acceptance and inter-
est, attention for the filmstrip showing being already motivated at least in part. The
need for active class participation in any filmstrip use cannot be too strongly empha-
sized and specific methods will be suggested in connection with the various utiliza-
tion examples discussed.

Certain procedures apply equally to filmstrip use for the majority of instructional
purposes. Proper selection is naturally the first important step in using filmstrips
and has been discussed in detail under What Are Filmstrips? Naturally, the strip
should be one which has definite value in relation to the topic of the lesson in which
it is to be used. Not only the teacher but also the class should understand this rela-
tionship. Therefore, the strip should be properly introduced and its purpose ex-

USING THE FILMSTRIP

plained. For example, if the instructor wishes to use a film for illustration of
examples showing applications of a scientific principle, the class should be reminded
of the principle and told why examples are being shown. In some situations at this
time it might be well to indicate exactly how the principle is applied in one of the
examples to be shown so that the class will know what to expect from the strip itself.
The introduction should also include clear directions as to what the group should
look for in the film and what the instructor wants them to get from it. This can be
done in several ways. The instructor can give the points verbally, expecting the
group to keep them in mind during the showing. Verbal instructions are usually
sufficient for older groups or if only one or two specific items are to be gleaned from
the showing. However, with pupils at the elementary level or with strips from
which considerable information is to be learned, other methods may prove more
satisfactory. An outline or questions may be written on the blackboard and explained
during the introduction. Or, such outlines or questions can be mimeographed in
advance so that each class member has a copy. This latter method is preferable in
cases when this same material is desired for follow-up activities. Seeing the written
words assists the class to recall the points during the showing itself, even though the
blackboard or mimeographed material cannot always be referred to while the room
is darkened. Of course, both written instructions are particularly useful if daylight
projection is used, since the students can refer to them whenever necessary during
the screening. If a quiz is to follow the screening, the introduction might warn
the class that certain questions will be asked. The introduction itself, however,
should be brief, probably not more than 5 minutes. Although the above discussion
may seem to indicate a complicated process, the content of an introduction can be
summarized as stating ( i ) what the filmstrip is about and how it relates to the topic
being studied; (2) why it is being shown; (3) what the class should get from it; and
(4) warning of a test or quiz if one is to be given. A good short introduction helps
to arouse interest in the strip and gains attention for its content.

As was suggested in the discussion of selection procedure, use of a filmstrip
should be a purposeful activity with the filmstrip selected and shown for a specific
purpose that is clear to both instructor and class. Merely showing a strip because it
is available is of no more teaching value than telling the class to use the encyclo-
pedia just because it is in the school library strips as well as encyclopedias are pre-
sented to the class for clearly defined purposes. If the film is being shown as an
integral part of a review lesson, for example, its relation to other review procedures
should be made clear. Also, its use by the class and by the instructor should be
restricted to its review values.

Just as is done during the presentation of subject matter by any method, class
questions and discussion should be encouraged during the actual showing of the

USING THE FILMSTRIP

filmstrip. This is possible with silent strips, but of course cannot be done during the
screening of a sound strip. If the pupils do not understand the information as pre-
sented in a single frame or in a sequence, or want additional information, their
questions can be most satisfactorily answered at the time when they arise in the
pupil's mind and while the pictorial or text material of the strip is still on the screen.
It is one of the advantages of the filmstrip medium that each frame can be held in

Example of one device for encouraging student discussion during the filmstrip showing. From
filmstrip "Safety in the Home." (Young America Films, Inc.)

view as long as is desired. Class discussion on any point in the strip can be developed
at any time during the showing. Often the projected material arouses interest in
a specific topic that might be lost to some degree, at least, if discussion is postponed
until after the showing. Some filmstrips, particularly the more recent productions,
make provision for student participation by posing questions that can be used to
develop lively class discussions. The instructor can also encourage such discussion
with her own questions if the students do not spontaneously desire to amplify a
particular topic being shown. At times it may be found that the discussion and
amplification of information becomes of such interest and value to the class that it is
desirable to continue it for some length of time before resuming the showing of the
strip. In this case, it is a simple matter to turn off the projector, leaving the strip just

46 USING THE FILMSTRIP

as it is. When the animated discussion is completed, the filmstrip screening can be
resumed at exactly the same place. If the previous discussion covered some of the
material shown in the rest of the film, the relationship can be pointed out. Such a
brief pictorial review assists the class in understanding and retaining the informa-
tion gathered from both the film and the discussion.

Since the filmstrip can be an elastic medium, it is usually well to plan its use dur-
ing the first half of the class period so that the pressure of time will not preclude dis-
cussion or questions. Furthermore, its timing should be such that enough class time
remains after the showing for what are usually called the follow-up activities. Of
course, these actvities may be of such a nature that more time is needed to develop
them completely, but some part of the follow-up should come immediately after the
showing for greatest effectiveness for example, additional class questions or dis-
cussion, assignments of related projects or reports, tests or quizzes on the strip itself,
and similar activities.

The follow-up of a filmstrip can take many forms, depending of course upon the
subject matter, purpose for which it was used, and type of strip. Tests or short
quizzes on the content of the filmstrip itself are one part of follow-up, and may be
given in either oral or written form. Tests are generally useful with strips from
which considerable factual information is to be retained by the class. Or, in elemen
tary grades particularly, a comprehension test is often valuable after the screening of
a strip designed for supplementary reading. Sometimes it is desirable to present
questions, not in the form of a test but as an assignment for the class to complete
both from memory of the film's information and from textbooks or references. Such
questions, either on the blackboard or mimeographed, can be ofhe type mentioned
in the discussion of the introduction of a strip prior to the showing. Or, they may be
presented after the showing as an assignment. The questions may be confined to
the film's content, or may require amplification through study of textbooks, refer-
ence books, or current publications. With this type of question sheet, specific text-
book or reference reading assignments can be given and the relationship of new
material to the filmstrip pointed out. For instance, if a filmstrip on the life of George
Washington has been presented as an introduction to a unit in an elementary history
class, the question sheet could test retention of information presented by the film
and present inquiries concerning other aspects of Washington's life or activities to
be found in textbook assignments or reference books.

With filmstrips demonstrating skills the follow-up is generally either an actual
demonstration of the skill or a practical application. A strip that presents the funda-
mentals of lathe operation to a woodworking class leads directly to an introduction
of the lathe itself and assignment of specific operations to be performed. Of course,
the test or question sheet is sometimes applicable here also. A strip demonstrating a

USING THE FILMSTRIP 47

skill such as the use of the slide rule can well be followed by assignments of prob-
lems for solution by the class.

In some classes, themes or oral compositions are natural developments of the film-
strip. Again, the topics of the compositions can be confined to the strip itself or can
concern related material. In either case, however, the filmstrip can motivate interest
in theme topics. Such compositions can be assigned after the entire strip has been
shown. In some classes, the students can select their own topics, choosing those in
which most individual interest has been aroused. Another method for filmstrip
composition is to project one frame or a brief sequence and have the class compose
short written compositions during the class period. These can be discussed imme-
diately, or assigned for expansion later when the class has time to do additional
reading. Extemporaneous oral compositions, too, can grow out of the "one-frame"
show. Talks of this nature can be based on frames in a filmstrip new to the class or
on frames in a strip previously screened in entirety. In the latter case, the oral com-
position work could be assigned after the screening to permit planning of talks and
gathering of additional information, the talks to be given the following day as the
selected frames are again projected. Using a filmstrip as a basis for compositions
helps to provide stimulating topics, especially for language and English classes, and
avoids the assignment of such topics as "What I Did During Vacation," which are
all too often uninteresting to the class.

In certain subjects and particularly in the lower elementary grades, drawing or
painting, clay modeling, or similar creative activities can be based on the filmstrip.
These activities may grow out of the showing of an entire strip and be used as a
follow-up with each child making a picture or object related to the strip itself. Or,
groups can work together reproducing the filmstrip on long rolls of paper, either
while it is being shown or following its showing. With older children, the paper
filmstrip might take the form of original strips on related topics. With a project of
this type, small groups can be assigned to work on a topic together, preparing not
only the paper filmstrip but also a related report.

The follow-up report is adaptable at any age level and in every type of class.
There are perhaps three major types of reports that can develop from a filmstrip
showing. One type is a report which amplifies the information given in the filmstrip
and which can be directly related to the class discussion during or following the
screening. For instance, if a strip on air transportation has been shown that gives a
general survey of many aspects of an air journey, individual amplifying reports
could be given on those aspects of most interest to the class, and might include such
topics as how meals are served on a plane; what the duties of a stewardess are;
what other crew members are carried and what their duties are; what types of
planes are used for different types of transport; or what ground personnel is

48 USING THE FILMSTRIP

required and what each contributes to the success of each flight. More technical
topics might be included with older groups or if the younger groups evince an
interest in them. Such a report provides an opportunity for considerable research
and additional reading. However, if an incentive for research and reference reading
is desired, the other types of reports may prove more effective.

Reports on related material can lead class members into exhaustive search of all
possible sources, particularly if the individual topics have been suggested and
selected by the students themselves. With the same strip which was used as an
example above, related topics might include the technical phases which had not
been covered in the strip itself, other uses of airplanes such as the dusting of fields
with insecticides or for dropping men and supplies for fighting forest fires, voca-
tional information on how one becomes a stewardess or pilot or mechanic, and
the requirements for such vocations. The reports can go further afield and concern
other methods of transportation, comparing them as to speed, uses, areas served,
etc. If the need for student participation is fully recognized, any topic that in the
mind of the student himself is related to the strip or to the lesson being studied can
well be the basis for a report. The filmstrip stimulates interest and motivates and
prolongs study, research, or discussion. This has a direct bearing on the selection
of the report topic, since the best reports based on the most careful study and
research grow out of those topics of greatest interest to the student making the
report.

The third type of report is one based upon another filmstrip that deals with
related material. This can be either individual or group activity. The students
preparing such a report study the pictures carefully, doing reference reading as
needed to give complete information about each picture. All the gathered material
can then be prepared as "script," keyed directly to the frames of the filmstrip. The
group, or the individual, will then present the strip and the information to the class,
taking charge of the projection details and of discussion or questions. Naturally,
the other members of the class will be attentive, possibly taking notes on the pictures
or on the information given in the script, so that they can question the reporting
students. Of course, this is usually done with the hope of tripping up or catching
the student on something he doesn't know, but if this is recognized and the ques-
tioning unobtrusively guided, it results instead in well-motivated, interested, and
active learning. If a group has prepared such a report, each member of that group
should contribute something to the actual presentation, taking an active part in
the discussions and in the answering of class questions. These students might also
prepare a brief quiz or a question sheet for the class. In this case, the reporting
group can correct the resulting papers themselves, prior to a final check by the
instructor. With a report of this nature, sometimes it is well for the strip to be

USING THE FILMSTRIP 49

shown again the following day and the phases not fully understood further
explained by the teacher.

In some subjects a school journey may grow out of the filmstrip showing.
Generally this, of course, is planned in advance by the instructor as the follow-up
to be used; however, sometimes the instructor has not specifically planned for such
a journey but finds that the filmstrip has aroused an interest in some topic which
can best be further treated by one. Filmstrip uses that most often result in class
trips include (i) filmstrips used to introduce a unit, and (2) school-produced strips.
If the unit introduced by the film contains the possibility of a journey, it may be
that pupil interest following the screening will turn immediately to such an activity.
Since the interest is there, perhaps it would be well to have the journey at this point
in the unit rather than postponing it. This situation may arise, for instance, in a
unit on milk production and distribution, which has been introduced by a strip
giving an overview of milk from field to home. If the local community has a
creamery or a milk-processing plant, the interest of the students may focus upon
this and a journey results to amplify information gained from the strip while the
desire to learn is still present. As was mentioned in the discussion of school-produced
filmstrips, the local community and school journeys can result in the production
of strips. If such a strip has been made, it can be used in subsequent classes for
the express purpose of motivating the journey and stressing the things that the
class should observe.

Another general procedure for gaining as much value as possible from a filmstrip
is referring to it during the development of the unit of study of which the film-
strip is a part. The material gained from the screening should be recalled frequently
during the other activities, and the information related to new points as these are
being presented. The teacher brings in, at appropriate times, references to previous
textbook assignments, to class discussions, to information gained from maps, sup-
plementary or reference reading, and all other class activities. In the same way,
whenever the pictures of the filmstrip have a bearing upon new lessons within the
unit, they should be called to mind. Of course, if desired, the particular frames or
sequences can be shown again. Referring to the strip throughout the unit and
during the review of the unit helps to gain from it the greatest possible learning
values.

The filmstrip, too, like all teaching materials, should be used together with other
aids and tools. One method of using the blackboard together with the filmstrip has
already been mentioned blackboard outlines or questions on the strip itself.
However, written or drawn material of many kinds can be placed on the blackboard
for use in conjunction with the filmstrip or its follow-up. Related outline maps,
graphs, or problems on the blackboard can be referred to whenever appropriate

50 USING THE FILMSTRIP

during the screening. This use is of particular assistance when certain points need
clarification or amplification. Sometimes it is desirable to hold a diagram or drawing
that appears in the film before the class for several lessons. No matter how compli-
cated the drawing desired for this purpose, it can easily be reproduced by projecting
the selected frame on the blackboard and tracing it with chalk. In such blackboard
reproduction, additional material can be added by the instructor if desired. For
instance in a diagram showing the circulation of the blood in the body, the
instructor may wish to use red and blue chalk to emphasize the venous and arterial

The proper spacing of the dots as shown in this filmstrip frame can be used as an easy guide
for blackboard illustration. From filmstrip "Sound." (General Electric Co.)

systems. In a later lesson, the location of digestive organs may be indicated on the
diagram when the class is studying the absorption of food.

Still pictures, such as photographs or tear sheets from periodicals, and class
drawings may be used to emphasize specific phases of the lesson or unit touched
upon in the filmstrip. These can be displayed prior to the screening and called to
the attention of the class during the introduction to the filmstrip as a part of the
explanation of what is to be learned from the strip, The same pictures or drawings
can be used during the discussion of the strip or in later lessons to assist in recalling
information learned. Other uses may involve comparisons. For instance, a strip
on coal-mining methods in Great Britain has been shown to a geography class.
Still pictures showing methods used in the United States would point out differ-
ences and similarities.

The bulletin board can be used for many other related materials, which should
be referred to prior to or after the filmstrip screening and their relationship and
purpose pointed out. Reading lists, graphs (particularly those which bring filmstrip-

USING THE FILMSTRIP 51

given statistics up to date) or material such as a copy of the Declaration of Inde-
pendence for use with a filmstrip on the same subject these and others are useful
with filmstrips as well as with textbook assignments.

Wall maps and globes also can be used to locate the areas discussed in the strip,
either prior to or after the showing. The routes of explorers or of characters in
stories can be traced. The understanding of distances can be clarified. Wall charts
of many types may be useful in the same manner as blackboard drawings or still
pictures. A chart showing a coffee plantation might be useful in connection with
a strip on Brazil that does not provide sufficient pictorial material on this subject.
A manufacturer's chart of a storage battery could be profitably used with a film
on the same topic.

If a slide collection is available, the instructor may wish to use some of them
with the filmstrip. For instance, in history of art or art appreciation classes, the strip
used may not include some of the same examples as are available on slides. It may
be desirable to expand the number of examples shown by presenting some of the
slides. Or the slides may be used to draw comparisons. For instance, a filmstrip
showing European cathedrals is being shown. The school slide % collection contains
some slides showing cathedrals and churches in the United States that use similar
architectural detail, copied from a European original. The slide may be projected
at the same time as the related frame in the filmstrip. While both pictures are held
on the screen, the differences and similarities can be pointed out. Two filmstrips
may also be used for purposes of comparison. This may be done by projecting them
one after the other, but if sufficient equipment is available it may be highly desirable
to operate two projectors simultaneously.

Naturally, the textbook and reference books are used in conjunction with the
filmstrip whenever assignments in either are made as part of the follow-up. How-
ever, there are other possibilities. The modern textbook is often well illustrated and
the relationship between textbook and filmstrip illustration should be brought to
the attention of the class. This is particularly true with the more recent filmstrip
productions, for they sometimes present a more up-to-date illustration of the same
subject as is shown in the textbook. Here differences, developments, additions, and
other points of progress or change can be discussed. With reference book assign-
ments definite sequences of a filmstrip seen by the entire class can be used as the
focal point for further research and study. Or a strip that has not been seen during
class time may be included in the assignment for individual viewing to assist in
understanding of the subject covered in the reading assignment.

When visual materials are available that have been designed specifically to
accompany certain textbooks, the correlation of textbook and visual aids should be
easier for the instructor and more readily apparent to the students, thus providing

52 USING THE FILMSTRIP

even greater assistance in the learning process. There is such a program underway,
using motion pictures with review-type filmstrips, for the following texts: Diehl's
"Textbook of Healthful Living," 1 French and Svensen's "Mechanical Drawing," 2
French's "Engineering Drawing," 3 and Schorling's "Student Teaching." 4 These
motion-picture filmstrip units are being planned in collaboration with the authors
of the textbooks to provide as close a correlation as possible between text and visual
aids, and, as much assistance as possible to the instructor using the textbook. Film-
strip units correlated with specific textbooks are being produced for Mavor's
"General Biology," 5 for the "Alice and Jerry" reading books, 6 and for the unitexts
of the Basic Science Education Series. 7 Another type of visual treatment, using
illustrations from the textbook, is employed in filmstrips to accompany Masson's
"Physics Made Easy," "General Science Made Easy," and "Chemistry Made
Easy." 8 Still another approach to textbook-visual aids correlation is being done by
selecting existing motion pictures and filmstrips for particular textbooks. This has
been done for the Whitman-Peck "Physics." 9

Even though a strip on a given academic subject was not produced in collabora-
tion with the author of a particular textbook, the author of the book and the
producer of the filmstrip faced the same problem in selecting illustrations. That
problem is fundamental in the presentation of any subject matter. It is the difficulty
of visualizing specific topics. Too often it has been necessary to use an inadequate
symbol as an illustration rather than an actual visualization. For example, a
photograph of Boulder Dam is sometimes used to demonstrate water power,
or a picture-postcard view to illustrate points in geography. Actually neither is
very helpful unless it is tied into other pictures showing how the water pressure
behind Boulder Dam is used to generate water power, or the scenic view is supple-

1 DIEHL, HAROLD SHEELEY, "Textbook of Healthful Living," McGraw-Hill Book Company,
Inc., New York, 1940.

2 FRENCH, THOMAS EWING, and CARL LARS SVENSEN, "Mechanical Drawing," McGraw-Hill Book
Company, Inc., New York, 1940.

3 FRENCH, THOMAS EWING, "Engineering Drawing," McGraw-Hill Book Company, Inc., New
York, 1941.

4 SCHORLING, RALEIGH, "Student Teaching," McGraw-Hill Book Company, Inc., New York,
1940.

5 MAYOR, JAMES W., "General Biology," The Macmillan Company, New York, 1941.

6 O'DONNELL, MABEL, and ALICE CAREY, "The Alice and Jerry Books," Row, Peterson and
Company, Evanston, 111., 1936-1947.

7 PARKER, BERTHA MORRIS, and GLENN BLOUGH, "Basic Science Education Series," Row, Peterson
and Company, Evanston, 111., 1941-1947.

8 MASSON, Louis T., "Physics Made Easy, General Science Made Easy, Chemistry Made Easy,"
School Science Press, Buffalo, N. Y.

9 WHITMAN, WALTER G., and A. P. PECK, "Physics," American Book Company, New York, 1946.

USING THE FILMSTRIP

merited with detailed photographs demonstrating the geographical principles being
discussed. The more abstract the^ idea to be presented, the more difficulty is
encountered in visualizing it. However, the same problem is encountered in
illustrating topics that appear simple to present pictorially. At first thought, it may
seem an easy matter to illustrate with a photograph the highly pictorial topic of
inland water transportation. But, if one considers the number of pictorial possibili-
ties, it is readily apparent that no one picture, or indeed no small group of pictures,
can present an adequate visual concept of the topic. Examples, either historical or
modern, can be provided; but, the drama, the significance, and the interrelation-
ships with other phases of economic life cannot be captured easily in a few
illustrations.

The fundamental problem of selecting visual ideas to illustrate common areas
of instruction has been solved by some textbook authors in some parts of their
subject matter. The filmstrip may solve the problem for other parts of the subject
matter treated in the textbook. Therefore, the first step in planning filmstrip use
is to analyze the text to see which areas need outside visual assistance most, and
correlate filmstrip with text illustrations. In some cases it will be found that a certain
picture appears in both textbook and filmstrip. This pictorial repetition, instead of
being undesirable, can be used profitably to expand the learning experience.

Use of the filmstrip together with a motion picture has been mentioned before in
the chapter What Are Filmstrips? As was there indicated, a number of producers
of visual materials are designing filmstrips expressly for that purpose. Some of
these strips, like those produced by the U. S. Office of Education, are organized
specifically for review purposes, to follow the motion picture and emphasize
important points. Others use an approach that makes the filmstrip independent of
the motion picture, usable either with it or without it. For example, the Encyclo-
paedia Britannica Films' strips are self-sufficient and can be valuable aids without
the motion picture. However, they have an additional value when used with the
motion picture. Often it is desirable to let a class see a motion picture more than
once in order that fullest learning may derive from it. This, naturally, consumes
considerable class time, even when the movie is brief. Filmstrips of the type
produced by Encyclopaedia Britannica Films eliminate the necessity for subsequent
showings of the motion picture itself, since they summarize all the important
points. Furthermore, these particular filmstrips contain devices for student partici-
pation and to encourage discussion. This also assists in both the completest possible
recollection of the motion picture, if it has been shown, and in the use of the strip
without the movie. Another approach in the independent filmstrip has been used
by Young America Films. This producer aims to design strips that will supplement

54 USING THE FILMSTRIP

the motion picture and also to provide additional filmstrips in the same area, not
based on a motion picture, for use in carrying discussion further, without neces-
sarily repeating the same visual devices.

The filmstrip produced for use with a specific motion picture can of course be
used for review of the movie, but it has other applications also. It may be used
prior to the screening of the motion picture to help the class to find in the movie
those points which they should particularly note. It may be used as a focus for the
follow-up discussion. A few of the self-sufficient filmstrips based upon motion
pictures present an entirely different point of view from that of the movie or
provide additional information. An example of this is Film Publishers' "Man One
Family," which is based upon the motion picture of the same title (a British
Information Service film). This strip is designed to bring the information to the
local groups and to relate it more directly to conditions in the United States the
original motion picture was planned for a world-wide audience.

However, the instructor is not restricted only to those filmstrips expressly
designed for the purpose when he wishes to use a strip with a motion picture. He
can select and use any of the available filmstrips that will fit the purpose in mind.
Sometimes a motion picture shown in a particular class covers a great deal of
information, possibly giving an overview of an entire unit. In this case, the
instructor may wish to take up for further study one small phase at a time. It is
here that a filmstrip can assist in relating the detailed study to the information
gained from the motion picture. The same kind of use applies, and to even greater
extent, with motion pictures that have been shown in the auditorium. Let us
suppose that a feature-length movie on the life of the Eskimo has been shown to
the entire school during an auditorium program. It is possible to find related
filmstrips for a number of the different classes, pointing out and emphasizing
phases most pertinent to the subject matter of each. Nature study classes could see
a filmstrip showing the animals of the northland; social studies groups, a strip on
the life of the Eskimo, or on their hunting methods; a class studying transportation,
a strip showing the advantages of the airplane in negotiating areas in the frigid
zones; strips on the geography of Alaska or northern Canada or Greenland could
be utilized where pertinent. The interest aroused by the motion picture can be
carried over through the filmstrip to the subject matter being studied by each class,
besides emphasizing and expanding whatever was learned from the movie itself.

While the above procedures are merely adaptations of methods used in presenta-
tion of subject matter through any other medium, there are a few utilization
techniques that are unique to the filmstrip. It is possible to improve the organization
of a filmstrip, or to adapt it more completely to class needs, by the method of
showing it. If the strip contains some sequences that are not of importance to the

USING THE FILMSTRIP 55

class at the present time, these can be projected rapidly and those sequences
requiring emphasis projected slowly while discussion on each frame takes place
or while a lecture is being given. The same applies to strips which contain more
text frames than required for the class, or text frames which do not make the points
which the teacher wishes made in connection with the pictorial content. The text
frames can be clicked rapidly through the projector, while the instructor explains
why they are being omitted. This cannot be done with motion pictures and is often
difficult to do with materials such as the textbook. It may occur to the teacher from
the above discussion that filmstrip frames may be shown in any sequence desired.
While this is possible physically, it may be found that too much reorganization
through projection is confusing to the class. Minor adjustments, such as omission
of frames or rapid projection of sequences, retain smoothness of presentation if
done skillfully. However, if much reorganization seems necessary to adapt a strip
to the desired purpose, it is probably wiser instead to select another.

With the filmstrip it is also possible to turn back, during the showing, to earlier
frames or sequences. This may be done to show relationship between knowledge
already presented and a new idea, or to clarify a point in answer to a student
question that may arise during the showing or in discussion. For instance, it may
be desirable with a biology filmstrip dealing with reproduction to refer back to
the sequence showing cell division to assist in the understanding of the development
of the fertilized ovum presented later in the strip. Of course, such referrals to
previous material are possible with textbooks and reference books although the
teacher cannot be certain that all the students have turned back to the correct page;
but, with the motion picture this cannot be done.

It is also possible, and many times desirable, to use only selected sequences 1 or
to start the showing elsewhere than at the beginning of the strip. Some strips
contain much material, which if discussed fully in one class period could not be
completely assimilated by the class. In this case, only the sequence or sequences
pertinent to the particular day's lesson are used whether they occur at the beginning
of the strip or in the middle of it. Perhaps a strip dealing with a certain country
contains both geographical and historical sequences, opening with the geographical
data. The instructor of world history may wish to use that particular strip for its
historical content, but not wish to use the other information. With the filmstrip,
it is simple to start the showing with the historical sequence, omitting the earlier

1 As emphasized by Harry C. McKown and Alvin B. Roberts in "Audio- Visual Aid to Instruc-
tion" (McGraw-Hill Book Company, Inc., New York, 1940, p. 142), "Many teachers make the
mistake of presenting too many slides or pictures from the strip at one time or in one period. . . .
The test of good picture teaching is not to be found in the number of prints displayed but in
the extent to which those that are shown are really learned. Studying a few carefully selected
pertinent pictures is much more valuable than merely looking at a greater number."

56 USING THE FILMSTRIP

geographical material. Also, particularly with the long filmstrips containing much
information, it may be a good idea to present the strip in several showings, using
sequences only at the times when they are definitely related to the subject matter
being presented through other media. Some strips of this nature can provide brief
showings for three or four lessons. Of course, in this case, the entire strip may be
shown later as a review.

The utilization procedures described above can be applied when using filmstrips
for demonstrations of skills, direct teaching, review, introduction of new units,
motivation, illustration, discussion, and other supplementary purposes. However,
additional methods and particular adaptations of the general procedures can help in
most fully meeting each purpose.

The previous discussion has already suggested follow-up of skill demonstration
strips by actual demonstration or practice. Such strips are generally of greatest use
as a supplement to actual practice, because they make it possible to show small or
hidden parts, methods of handling small tools, and similar material to a large
group at once. Therefore, the instructor using such a strip would probably dwell
upon particular frames, pointing out the small units to be observed later in the
demonstration, or the difficult-to-see techniques of operation to be employed in
later practice, or things which cannot be seen without a microscope. With the
strips used for these purposes, blackboard reproduction is often desirable to keep
certain important diagrams or sectional views before the class as they practice the
skill demonstrated. It may be found that individual students wish to refer again
to the strip as they proceed with their work to clarify some point not remembered
completely. For this purpose, in well-made strips that do not contain too much
text or overcomplicated drawings, projection is not necessary. The student can
look at the filmstrip through his fingers, holding the film between his eyes and
the light.

If a filmstrip is wanted for use in introducing a new unit of study, its proper
selection is of great importance, for it must not only aid in presenting the new
material but should assist in motivation. Utilization of a filmstrip for introductory
purposes differs little from the use of any material for the same purpose. However,
its relationship to the entire unit and to the next day's lesson should be made
clear. Here the filmstrip can best serve in pointing out pupil interests. The discus-
sion during and following the showing of the strip will indicate to the teacher
which phases of the unit hold greatest interest for the class or for individuals. The
rest of the necessary information in the unit can then be related to these interests
and developed from them.

A filmstrip being used as part of direct teaching, or presentation of a particular
lesson, can serve several specific purposes. It may be used to clarify and expand

USING THE FILMSTRIP 57

subject matter presented by other methods, or help to clinch essential facts, or to
provide a substitute for firsthand experiences. One procedure for using a strip for
these purposes is to present the strip as an integral part of the instructor's lecture,
with the information organized so as to be keyed to the frames of the strip. This
of course requires complete familiarity by the teacher so that the class can be led
from frame to frame and from sequence to sequence without omission of necessary
information by lecture. With some practice, a lecture with a filmstrip is as easy
to organize as a lecture without one and can be of greater interest to the students.
It is in this type of utilization that the need for student participation is sometimes
forgotten. Time for questions and discussion during the showing should be
included in planning such a filmstrip lecture if at all posible. And, if spontaneous
questioning does not arise, the teacher can start discussions by questioning the
class herself, just as she would do when giving a lecture without a filmstrip, to
emphasize important points and to be sure that the class is alert and receptive.

Several methods may be employed in using filmstrips during review. Of course,
any filmstrips used for other purposes during the study of the unit can be screened
again to recall for the class the information learned from them previously. The
review can be simply a rapid reshowing, but this can be amplified by such devices
as oral quizzing as the film is shown, or rapid drill in subjects where this is
possible. Another use of the previously studied strip is one which can be of great
interest to the class, but which generally takes more time. The review strip can
be used as a "memory game," showing only the first frames or some brief selected
sequence from any part of the strip and then requiring the class to recall the
information given in the rest of the strip. Such a procedure also helps the class to
verbalize the data learned. This particular aspect of the use of visual aids cannot
be overemphasized, since the use of a filmstrip or other visual device may give
the student momentary comprehension and retention without enabling him to
verbalize and transmit to others what he has learned. While it is valuable to have
information in visual terms, it cannot usually be turned to productive ends unless
it can be put into words. Without this ability, the student will find it difficult to
use his knowledge, thus defeating the purpose of the education he has received.
Sometimes, with the filmstrip memory game, it is desirable to show the entire
strip rapidly after the class has recalled as much of the strip as they can, stopping
only to emphasize any important points missed previously. It is also possible to
use for review purposes filmstrips which are new to the class, allowing them to
relate the new pictorial material to the unit of study. This provides not only a
review of the information already learned, but also a new application. The student
generally remembers longer and more vividly knowledge that he has used. The
use of new filmstrips is particularly applicable in reviews of skills. For example, a

58 USING THE FILMSTRIP

woodworking shop class has not used any filmstrips in learning to operate the
various machines in the shop. During a general review, filmstrips concerning these
machines could be presented for discussion by the group and comparison with
their own models of machines. In this case, the instructor can be certain that the
members of the group can all see the particular part of the operation under discus-
sion and can also ascertain whether or not it was completely understood. It is
possible in such work for individual students to turn out creditable practice jobs
without completely understanding why certain operations were included. The
filmstrip can help to clarify these misunderstandings. An uncaptioned filmstrip is
particularly useful for review purposes, whether or not it has been seen previously.
However, the strip must be really visual and show pictorially what it is supposed
to show; otherwise the class will not be able to use the pictures to remind them of
the knowledge they possess.

Particularly when using filmstrips for illustrative purposes, the teacher can view
the strip as a conveniently accessible still-picture file, with the pictures already
arranged under subject matter headings. She would use them in the same way that
she would use any still pictures for the same purpose. Of course, the principle or
point being illustrated should be recalled for the class and the relationship of the
pictures to be seen to that principle or point made clear.

The motivation and development of an active, meaningful discussion is often a
difficult problem in many classes. The students seem reluctant to talk, either
because they can think of nothing to say or because they have a shyness about
speaking before their classmates. Surprisingly, such shyness is often evidenced by
individuals who in situations other than the classroom have no reticence in talking.
These students seldom participate even in daily recitations, but often will take a
greater part in a discussion carried on in a room darkened for filmstrip showings.
If no other value were gained from the discussion strip, this in itself would be an
adequate reward, since once these members of the group realize that they have
something to say and can express themselves freely they will gradually learn to
take part in other verbal class activity. However, filmstrips contribute much more
to a discussion. In the first place, the pictures stimulate the imagination of the
students and motivate an interest in the subject matter itself. Secondly, the pictures
assist the individuals in finding something to say. Of course, the first comments
may not be exactly what the instructor desires and may tend to lead the discussion
off on a tangent; however, even such comments are at least a beginning. A skillful
leader can guide the discussion arid keep it within bounds, but cannot do so until
the group shows a willingness to "discuss." Also, the filmstrip itself can assist the
leader in holding the discussion to the point, acting as a focus of attention and
interest^ Since the pictures in the strip are all related to one particular topic, the

USING THE FILMSTRIP 59

students are brought back to the topic whenever a new frame appears on the
screen.

The ideal filmstrip for discussional purposes, naturally, is one that presents
impartially both sides of a given question. The discussion can then treat with
both points of view and the group be led to make decisions of their own. Unfortu-
nately, there are very few strips that present such impartial treatment. However,
strips that present only one side or stress one attitude can also be helpful. These,
of course, should be carefully introduced, pointing out that only one view is given
and indicating that there are other opinions on the same subject. If it is desired
that the class reach their own conclusions, this introduction should be as impartial
as possible. Otherwise the class members will quickly decide that the instructor
wishes them to hold either the opinion given in the strip or the one not there
shown, and will obligingly evidence that as their own opinion. Unfortunately,
some students will parrot opinions. Some do this out of sheer laziness to do their
own thinking; others because they think this will help in getting better grades in
the easiest possible way; and still others simply to curry favor with the instructor
or to impress him with their ability to arrive at the conclusion he also holds.
Another type of response which may occur, if students sense that the instructor
favors a particular side of a question, is an immediate decision in favor of the
contrary side. Such reaction is frequently caused by individual student's fear that
others in the class will suspect him of trying to curry favor with the instructor. If
the introduction is properly done, the class will be unable either to parrot or to
contradict, and therefore will need to formulate their own opinions. The filmstrip
can help them to do so by stimulating independent thinking.

As with any discussion, the success of a filmstrip discussion depends upon the
ability of the leader. However, even that leader who is able to draw forth lively
and intelligent discussion from even the reticent members of his group and to
keep the discussion moving forward can be assisted in his task by the filmstrip.
Strips are particularly adaptable for any socialized activity since they have group
appeal. Such appeal narrows down the wandering thoughts, concentrating them
upon the subject at hand. Questions by the leader designed to open discussion on
a particular phase are given more meaning by the projected picture and often the
picture helps to clarify the object of the question. The student can make no
contribution to the discussion if he is vague about the precise point to be discussed,
and pictorial clarification often elicits more response.

There are two major methods of using filmstrips for discussion: (i) by showing
the filmstrip first and then holding the discussion, and (2) by carrying on the
discussion while the strip is being shown. The second method can perhaps gain
most from the strip itself and has been in mind in the paragraphs t above. The

6O USING THE FILMSTRIP

first method also has its own advantages and is particularly suitable for older
groups and for sound filmstrips. A combination of the two methods is also pos-
sible, which is especially useful with more complicated problems. Such a combina-
tion involves showing the entire strip rapidly first, without comment, and then
showing it again as slowly or rapidly as necessary while discussion takes place. If
a sound filmstrip is being used by this combination method, it is a good idea to
show it without sound for the second showing; otherwise discussion will be
hampered.

With either method, the good discussion leader employs the techniques used
with any other type of discussion. However, a few additional points, unique to
the filmstrip, should be utilized to gain utmost values from the strip itself. If the
discussion is to take place during the showing of the strip, the leader should have
complete familiarity with the strip so that the order in which frames or sequences
are shown can be changed from the original order whenever necessary to follow
discussion. This is not a contradiction of the statement that the filmstrip assists the
leader in holding a discussion in bounds. Sometimes the group proceeds without
prompting or guiding to a pertinent point, which however is presented in the
filmstrip in a later sequence. If the intervening filmstrip information is not neces-
sary to the development of the point brought up by the group, it is well to take
advantage of the group's interest and spontaneity, turning rapidly to the proper
sequence in the strip. It may be thought unnecessary to show the pertinent
pictorial matter since the group arrived at the point by themselves, and therefore
do not need stimulation from the picture. However, the picture or the sequence
may bring to light further aspects and assist the group in developing the point
completely. At other times during discussion, the group may return to a point
already discussed. In such cases the strip can easily be turned back to the pictures
shown during the original discussion of that point. Seeing the same pictorial
material assists the group in recalling their previous ideas and in relating their new
thoughts to them.

If the discussion is to follow the screening, without using the entire strip again,
it is often a good idea to leave the projector set up in case the need for seeing
particular parts of the strip arises. The leader can use such reshowings to bring
the discussion back to the topic under consideration, to remind the group of points
that were overlooked during the screening, or to clarify items not completely
understood. With some groups, a rapid rescreening of the entire strip is desirable.
Rescreening can be useful if the group seems to have completed its thinking on
the subject without having covered it adequately. Seeing the strip again may
stimulate further thought, since it is seldom that a group gets everything a strip
has to offer from the first showing. Showing the strip again, after discussion has

USING THE FILMSTRIP 6 1

been completed, can also be used for another purpose. A thorough thrashing out
of the subject in a lively discussion usually alters the group's attitude toward the
material in the filmstrip. If it is shown again, the changes in opinion can be
brought out. Often when a student realizes that his opinion on a topic has changed
and understands how it has changed, he may have a greater feeling of satisfaction
over the activity. Also, he is less likely to revert to earlier erroneous opinion, when
he understands the difference in his own attitude and feels satisfaction with it.
In addition, giving the student the pictorial material to tie in with his newly
acquired knowledge assists him in retaining it.

The point has been made earlier that it is often difficult for students to verbalize
information gained from pictures. This problem is another reason for being sure
that a definite connection is made between filmstrip and discussion. Individuals
may recall the visual image more quickly than they recall the discussion itself, and
unless the two are closely and clearly associated in their minds, they will not be
able to put their remembered knowledge into words. The problem is also another
reason for permitting free and full discussion of every filmstrip used, especially
during the showing itself if possible. The verbalizing at the time that the picture
is presented builds up the desired association and enables the student later to voice
what he has learned.

There are a number of supplementary uses for filmstrips, but perhaps the two
with greatest possibilities are "picture reading" and auditorium showings, as was
mentioned in the first chapter. For picture reading the filmstrip is regarded as
another reference tool, and may be assigned in the same manner that any reference
book or current publication is assigned, either for the entire class or for individual
reports. An instructor may wonder why a strip suitable for supplementary refer-
ence for an entire class should not instead be projected during class time. Film-
strips shown during class time should, ideally, deal only with topics important to
the subject matter being studied, providing amplification, clarification, and ex-
planation of a particular point that the instructor wishes to stress. Also, such strips
generally accompany or illustrate the instructor's lecture or a full discussion by the
class itself, and are an integral part of the instructional process. However, some-
times the instructor feels that pictorial material can assist the student in assimilat-
ing knowledge to be found in reference assignments and provides a filmstrip to be
viewed in conjunction with the reading the filmstrip providing illustrations
which help in understanding the printed page and the printed page helping to
interpret the pictures.

A strip can be assigned without any tie-up with a reading assignment when its
pictorial content can serve to broaden the group's knowledge and understanding
of the unit being studied, showing related aspects that emphasize the importance

62 . USING THE FILMSTRIP

of phases discussed in class time. For example, a geography class is engaged in a
unit on the southwestern states. During class time the aridity of the region has
been discussed and its effect upon the life of the people and their types of work
indicated. The instructor wishes the class to see further evidence of this and to
appreciate more fully the meaning of such dry climate. Therefore, he assigns
filmstrips showing the deserts and their plant and animal life, or of the land prior
to and after irrigation projects, or merely of scenic views of the region, or of the
life of the Indians of the area and their adjustment to the arid climate. Viewing
such strips, the members of the class gain a truer appreciation of the problem and
of its pervading effect on all aspects of life in the region. They will be able to
understand more easily such points as the scarcity of population and the types of
industry or products as they are discussed in class. Furthermore, the pictures will
help the class to retain their knowledge about the area, since the climatic reason
behind much of the factual data has been indelibly impressed upon their minds.
To do this, a large number of pictures may be necessary and the instructor may not
wish to take time to project more than one such strip during class.

It is also often desirable to provide filmstrips for such viewing by rapid learners
and the intellectually curious students in the group who complete the general
class assignments more quickly than others. Such students often waste their spare
time, gained by their ability to assimilate knowledge rapidly, unless they are
directed to additional meaningful pursuits. However, unless such assignments hold
interest for these individuals, the extra activities may be resented and refused as
a penalty for being intelligent. The student may grumble to himself, "Just because
I can get work done fast, teacher loads me down with more." Such an attitude
may result in intentional dawdling and slackness even in the general assignments,
merely to prevent further demands for "extra work." The filmstrip, if properly
selected, or if the student is permitted to select his own, can help to overcome this
problem and provide an interesting presentation of additional information. The
intellectually curious are not so likely to resent extra assignments, but they also
may be more appreciative if such work involves the use of varied materials and not
simply more references and more reading, particularly if additional work appears
voluntary on their part.

Individualized assignments can develop into real contributions to the entire
class if the student prepares a report. The filmstrip report as a part of follow-up
after a filmstrip screening in class has already been discussed; however, similar
reports can be prepared which have no connection with a class-viewed strip.
Individual reports may be handled in several ways. The reporting student may
wish to present the entire filmstrip to the class as a part of his report. In this case,
the previously suggested method of preparing a script keyed to the film is generally

USING THE FILMSTRIP 63

used. However, it may be desired to,show only a few selected frames or sequences.
Such a report is excellent experience for the student in selecting the most important
points and the best possible illustrations; Also, he must summarize the information
gleaned from the rest of the strip and must relate additional data gathered from
other sources to his film-gained knowledge, providing experience in evaluation
and organization. Such an experience assists the student in learning how to apply
his knowledge. A third method is for the student to report on the nlmstrip without
showing any part of it to the class. This, of course, is a good verbalizing experience
for the reporting student, but may have disadvantages for the class itself the
report may not be so interesting, the individual making the report may not be able
to communicate clearly the knowledge he has gained from the pictures, and the
class may receive an entirely different impression from the report than the student
himself received from the nlmstrip. In the latter case, it can be an interesting
experiment to project the nlmstrip for the class after the student report, without
comment, following it with an open discussion.

The teacher may dismiss the idea of using picture reading in spite of its values
in teaching because she may feel that the physical problems involved would be
more trouble than such a project was worth. However, for individual viewing it
is not necessary to project the strip. It can be seen by holding it in the fingers,
between the eyes and a light source a window or any electric light. If this is done,
care in handling will prevent mars such as fingerprints. The strip should be held
lightly betwen thumb and finger, letting the fingers touch only the edges of the
film and never the actual frames themselves. Although it is usually not necessary,
a simple magnifying glass can be used to enlarge the frames for more ease in
reading captions and text. Or, a "viewer," which has a small light under a
magnifying glass, can be built in the school shop, the student viewing the strip by
sliding it between light and glass. If this method is used, care should be taken not
to let the filmstrip touch the light bulb or to be held too near it for a long period,
or the film may blister or buckle. Of course, if desired and if an extra projector is
available, one can be set up in a convenient spot as in the library or wherever
reference materials are kept for student use. The setup can be as simple as putting
the projector on a table and using a light-colored wall as the screen or as elaborate
as providing a small screen and building a three-sided wooden booth to provide
some darkening.

An experience with a high school public speaking class will illustrate one
adaptation of picture reading combined with both student reports and school
production. One requirement for this class was to prepare and deliver a speech
before a large group other than the immediate class. Naturally, a number of the
students disliked this requirement, mainly because they had considerable shyness

64 USING THE FILMSTRIP

about talking before "the public." Some developed "stage fright" at the thought
of addressing a gathering, even one composed of fellow high school students. One
such reticent student, a basketball captain who had little shyness in other situations,
was particularly worried about this requirement. One day he brought to class a
number of photographs he had taken while in Canada during the summer, where
he had done a number of odd jobs on farms and in forest camps. The pictures also
showed something of hunting and fishing. As he showed the snapshots to the
class he related his various experiences, knowledge he had gained firsthand about
the parts of Canada he had visited, and he answered the questions of his classmates
freely with no sign of inhibition or shyness and with considerable self-assurance.
In fact, the boy gave a good extemporaneous talk. Another member of the class
suggested that Bill should tell his story in assembly during an auditorium program
that the speech class was to present later in the semester. Bill immediately and
indignantly refused to do so.

However, Bill did make the speech and actually enjoyed the process. A number
of other class members shared his hobby of photography. They, together with Bill,
used a homemade copier and a simple "candid" camera to prepare a filmstrip of
Bill's Canadian photographs. Bill himself organized the pictures in proper order
so that he could give a chronological account of his summer's activities. While
engaged in this preproduction planning, he found that his own photographs did
not include views of two areas he had visited. Since he wished to include in his
talk something about his experiences in these places, he found other pictures in
books and magazines that would serve the purpose. The finished strip contained
no titles, captions, or text. The producing group had considered using a few
captions but decided to dispense with the extra work such captions would have
entailed since Bill would provide a running explanation.

Bill still refused to stand up in the front of the auditorium by the screen even
though the auditorium would be darkened. Therefore, the public address system
was used and Bill could hide in a corner with the microphone while another
student ran the projector. The showing went very smoothly and Bill delivered a
well-prepared, well-organized talk from his "script" notes. After the screening,
a number of the students in the auditorium had questions. Surprisingly, even
though the lights were now on again and Bill was in full view, he answered the
questions and soon found himself standing by the screen at the front of the
auditorium talking without hesitance. The picture "crutch," together with the
permission to use the public address system, apparently took him over the first
hurdle of meeting his audience, and his complete knowledge of the subject matter
carried him through.

USING THE FILMSTRIP 65

The rest of the class immediately wished to use filmstrips for their required
talks also. One or two had photographs, picture collections, and similar photo-
graphable material. They too wanted to produce their own filmstrips for this
purpose. Others, however, did not. Their problem was, "What can I talk about
to which group and still use a filmstrip?" The school had a small library of film-
strips that were used for various courses and the speech class Bought these might
provide a possibility. A number of talks developed from that library. One girl
selected a nature study strip concerned with water fowl. Working with this
pictorial material, she consulted the biology instructor, read a number of reference
books, scanned various periodicals, and even talked with a number of the towns-
men who were well known for their success in hunting wild duck. From all this
research, she prepared a talk on water fowl in general and the water fowl of the
locality in particular, which she later gave to a seventh-grade nature study class.
Similar talks based on instructional filmstrips were given in elementary geography,
general science, and ^language classes, and to high school history, physics, and
Latin classes.

Two more auditorium speeches were given one on street safety and one on
Shakespeare for the school's annual library-week program. Others prepared talks
on Italian art for the local woman's club, on modern Palestine for a young people's
church group, on history of photography for the school photography club, on
industrial applications of electrical principles for the science club, and on Indian
pottery-making processes for the hobby club.

The entire speech class project had a number of valuable aspects in addition
to providing the students themselves with something to talk about and an incentive
for research. They began to comprehend the usefulness of an ability to talk. They
saw relationships between their various classes and understood how what they
learned in one could be of use in another. The people of the community felt closer
to the school and developed more interest in what was being done there. And,
necessarily, the cooperating members of the faculty learned that intraclass projects
were a worth-while possibility. One incident rather amusingly high lighted this.
The student preparing a talk for the history class happened to be a member of
that class. Therefore, he promptly inquired of his history instructor whether his
speech class talk couldn't be counted as part of his history work. When this request
was granted, both speech and history instructors found that the student spent
much time and care on his talk, remarking to fellow speechmakers that "mine's
got to be good enough for two teachers." Perhaps, the instructors decided, that if
two separate reports or projects had been required of that student, he would not
have done a good job of either. Other intraclass assignments resulted from this first

66 USING THE FILMSTRIP

attempt, amplifying the feeling that it was after all one school and the classes were
often related to each other. One example of this was a report by a girl to both her
American history and her American government classes.

Of course, this particular experience took place in a small school where arrange-
ments for talks in other classes and in the elementary grades were comparatively
simple to make. However, it is included here mainly to point out the interest
aroused by individual use of filmstnps and the stimulation of research, in addition
to the obvious value in helping students to overcome shyness in talking in public.
It cannot be claimed that all the talks were polished and perfect in every respect,
for the speech faults and errors were present as usual. However, there was apparent
much more self-confidence and, most of all, a willingness to get up and talk, which
had previously posed quite a hurdle for this particular group.

This public speaking class project also provides an example of auditorium uses
of filmstrip a strip as the basis of a student-prepared and delivered talk. Strips
can also be used by others as part of an auditorium lecture. The faculty may wish
to use such pictorial material in presenting general information of interest to the
entire school. A filmstrip can also be used for auditorium showings without de-
tailed accompanying comments as part of a program dealing with some specific
topic. Sound filmstrips are often particularly well adapted for such use.

Use of the school-produced strip as a teaching device is also illustrated by the
speech class story. The filmstrip to be made provided learning activities by requir-
ing location and organization of material compiled from many sources. Making a
filmstrip, praticularly by the simple "copier" method, has a number of learning
values. Naturally, the project stimulates and motivates research, not only a search
for usable pictorial material but also of subject matter. The production provides
experience in organization of subject matter, selection of topics to be stressed, and
selection and organization of pictorial matter. In productions based on stories, the
students must have a thorough knowledge of the tale to be so treated and they
learn interpretation through either drawing or selection of available pictures or
in dramatization. School productions dealing with school activities help to en-
gender a pride in and understanding of the school and its aims, besides bringing a
closer relationship between the school and the groups who see the filmstrip when
it is completed.

Most of the utilization methods discussed are adaptable to any age level or any
subject matter area. However, filmstrips have additional values and uses at the
primary or lower elementary levels. Teachers at these grade levels have used many
types of pictorial material successfully for various instructional purposes. The
filmstrip provides another pictorial medium, which has some advantages over flat

USING THE FILMSTRIP 67

pictures, for filmstrips are already organized, and the pictures are ready for use
in such a manner that the entire group of children can see them at the same time.
The storage space problem is negligible, and it is a simpler matter to keep the
filmstrip in good condition than to maintain a collection of flat pictures in
usable form.

It is with these children that the value of a filmstrip as a substitute for firsthand
experience is most evident. There are many objects and situations which young
children have had no contact with, and which cannot easily be presented to them
in reality for example, farm life is difficult to show in actuality to children in city
schools, but can easily be shown in a filmstrip. Reading readiness programs
especially may utilize filmstrips to broaden the child's experience and to develop
a meaningful environmental vocabulary. Strips on a number of suitable subjects
have been produced for primary and kindergarten use. The teacher can select
topics which will enhance her usual program and correlate the strip with what-
ever subject matter is included in the preprimers she expects to use.

The filmstrip can assist these children in the development of speaking and
reading vocabularies not only in reading readiness activities, but throughout their
lower elementary learning experiences. If an uncaptioned strip is used, comments
on each picture by both teacher and children provide practice in use of a speaking
vocabulary and an opportunity to add new words. The child associates the words
and the pictures, gaining a meaningful and usable understanding of new words
and clarifying his understanding of familiar words. Reading vocabulary enrich-
ment is even more evident. By using filmstrips with captions, the child makes an
even closer association of printed word and the object shown. The captions help
him to interpret the pictures; and, the pictures help him to understand and
remember the words read.

A number of uncaptioned filmstrips, designed specifically for the primary grades,
are available. Perhaps the best method in most cases for presenting these is for the
teacher to tell the story of the filmstrip as it is first shown, especially if the subject
matter is unfamiliar to the children. During the second showing the children
should be encouraged to comment about each picture and to retell the story if the
strip is one that deals with some fairy tale or other story. If the strip concerns a
topic such as transportation or the fire department, the children will probably relate
experiences they know about and will ask questions. With a familiar story or
topic, the second showing is not always necessary since the children can discuss
the pictures without a previously teacher-told story. A filmstrip with captions can
be presented in the same manner, with the teacher reading the captions first. Or,
the class can read the material without teacher assistance if their reading ability is

68 USING THE FILMSTRIP

already developed to a point where they can handle the vocabulary of the strip.
In this case, it is often found that the children read simple new words with some
ease because the pictures help them to comprehend the content of the caption.

Several series of filmstrips are available for these grades which provide suitable
material for correlation of several subjects, such as reading, language, and social
studies. The subject matter content of one series, for example, is concerned with
the activities of children in other countries, constituting teaching material for
social studies. The captions are in a simple vocabulary, suitable for reading prac-
tice. For use in language these same materials can be the basis for oral stories and
with older groups for written stories. Drawing, clay modeling, sand-table activities,
and other types of handwork, including the paper filmstrip described earlier, also
are natural outgrowths of filmstrip use.

One of the main precautions at this level is to limit the number of pictures
shown at one time. Too many pictures may confuse the children and they may
make the wrong knowledge-picture or word-picture associations. Most of the
more recent filmstrips designed for this age level are intentionally short; however,
even with these it is not necessary for the entire strip to be used at one time unless
it is desired to do so. A large number of the older productions dealing with fairy
tales and nursery rhymes present alternating pictures and text frames (often quite
lengthy). These are more difficult to use effectively with the youngest groups. The
solid text frames lack interest, the children generally cannot read them and thus
the text frame constitutes a break in the continuity of the filmstrip story even
when the teacher reads the text for the class. Also, it is more difficult for the chil-
dren to make a word-picture association since they do not see both at once. If the
projector can be adjusted to show both frames (pictorial and text) at the same
time, some of these problems can be overcome.

It is possible to use too much illustration in any one class meeting at other age
levels also. If only a few pictures are needed to give the students the desired infor-
mation, it is poor policy to show two or three rolls of film simply because they are
available and are related to the subject under consideration. One well-selected strip
is enough for any one showing; and, even this strip is sometimes of more value if
shown in sections. Pictures to be of value should be studied, not merely seen without
comment from either students or instructor. Furthermore, students interpret pic-
tures in terms of their own background unless means for other interpretation is sup-
plied. For example, a picture of a cloud means one thing to a primary pupil, another
to a student in a general science class, and still another to a climatology or meteorol-
ogy student. To point up the conclusions to be drawn and the information to be
gained, teacher amplification of the filmstrip is necessary. Projecting a number of

USING THE FILMSTRIP

strips in one session is frequently a waste of time; such showing is necessarily some-
what hurried, there is little time for discussion or questioning, and the class retains
little except a confused remembrance of a few of the pictures or an incomplete
impression of the whole. Often, if the students do remember some of pictures, they
are unable to put even this retained knowledge into words.

Enthusiasm for visual aids does not require the use of more than one filmstrip at a time.
(Filmstrips, Inc. Drawing by Franf^ Pagan.)

Throughout this discussion of filmstrip utilization, student participation during
the showing has been stressed. In this, filmstrip and motion-picture utilization differs
greatly. It has been found that when a motion picture is interrupted, either by a
device permitting discussion or other activity while the film continues or when the
film is actually stopped to be resumed later, the continuity of thought is broken,
turning the motion picture from a single unified film into two, three, or more films
each resumption of screening constituting a new movie. This does not hold true
in using a filmstrip. The unity of the strip is retained and in many cases intensified
by the accompanying comments or discussion.

Because the filmstrip is admirably suited for such discussional usage, it is often

JO USING THE FILMSTRIP

found to be of greater value than the motion picture for many direct teaching pur-
poses. It becomes an integral part, for example, of the presentation of new informa-
tion, of a review, and especially of a discussion. On the other hand, the motion pic-
ture is often found to be more valuable for such purposes as the introduction and
motivation of large units of study, for the presentation of general information, and
particularly for auditorium uses. Perhaps the ideal visual material for many pur-
poses is the motion-picture-filmstrip combination, using each for the purpose to
which it is best suited.

It will be noticed in many of the filmstrip listings that some producers distribute
manuals, guides, or lecture notes. These are varied types and of varied value. Some
are free and are supplied automatically with each filmstrip ordered. Others are
available at a nominal cost, especially in the case of student materials, which may
be desired in quantity. Some of the teacher leaflets are very brief, such as those
accompanying the Young America Films' filmstrips. These particular guides con
tain information, such as indications of grade level and class for which the strip was
designed and the aim of the strip; summary of the strip's contents; suggestions for
activities prior to and during the showing of the film, emphasizing the teaching
points; suggested test questions; a glossary; and a list of related reading material
for both teacher and pupils. This guide is usually only about two pages in length,
condensing the information and saving time for the teacher using it. On the other
hand, many of the teacher materials are very long. This is particularly true of lec-
ture notes for uncaptioned filmstrips. The lecture notes generally identify each
frame and provide fairly detailed information, written so that it can be read as the
strip is being projected. While it is difficult to use an uncaptioned strip without some
method of identifying each frame, reading a complete lecture as given can be an
unsatisfactory method if the lecture is too long. The teacher generally prefers to pre-
pare her own comments, adapting the instruction to the needs and abilities of the
class. However, the lengthy lecture-note type of guide can assist the teacher in
organizing or compiling information to be presented during the filmstrip showing.
While reading a long guide takes considerable time, it may save time by giving the
busy teacher related information all in one place. Naturally, in most cases, the in-
structor does not require additional information either from his own compiling or
from a guide, since he is well acquainted with the subject matter and can prepare his
comments without further search for data.

The lecture notes provided by the American Council on Education, for their un-
captioned strips, provide considerable information and interpretation not found in
the strip itself, drawing from the pictorial content of the film conclusions which
could not be visualized. Film Publishers, Inc., provides lecture notes followed by

USING THE FILMSTRIP 71

suggestions for conducting a discussion, which include a few good opening ques-
tions and point out types of discussion which can be developed from the strip. Some
of the strips distributed by the Society for Visual Education are uncaptioned and
lecture-note-type manuals are provided for these, identifying the frames and present-
ing information on each. Lecture notes have also been made to accompany strips
that contain both captions and text frames. The frames of the Informative Class-
room Picture Publishers' filmstrips are briefly captioned; the accompanying manuals
provide stories or factual information for each frame. The lecture notes prepared
by the U.S. Department of Agriculture give pertinent information, expanding that
given in the strip itself. In this latter case, such long guides serve a definite purpose
the strips are frequently used by community farm groups who have neither the
time nor the facilities for locating and compiling all the facts required for a com-
plete presentation of the subject.

Another type of literature which accompanies filmstrips is the booklet which
reproduces the frames of the strip itself. Such materials are designed either for the
teacher or for the students themselves. The Better Vision Institute, for example, uses
the reproduction method, presenting the entire filmstrip and the lecture from the
recording that accompanies the strip on a large sheet of paper. This saves time for
the teacher, since she can scan the reproduced material and does not need to listen to
the lecture on the record when planning "the use of the filmstrip. Later, if desired,
the sheet can be placed on the bulletin board for reference by the students after the
showing. The Fruehauf Trailer Company has prepared booklets that also repro-
duce both filmstrip pictures and recorded lecture. These can be used by both the
instructor, for a preshowing review of the strip, and by the students, for ready refer-
ence and review. The Carboloy Company manuals contain, in addition to reproduc-
tions of the filmstrip material, reference data such as glossaries, tables, and similar
matter. Of all the available printed matter designed specifically for use with a film-
strip, this type is undoubtedly of the greatest value. Unfortunately, this type of
literature is also the most expensive to produce, and therefore is not issued for
many strips and at present is available mainly for some sponsored materials previ-
ously designed for on-the-job training. An example of this elaborate type of
guide, designed specifically for school use, is that produced by the Popular Science
Publishing Company for their filmstrips. These guides provide an emphasis of
teaching points and questions for directing pupil response next to each reproduced
filmstrip frame, besides indicating outcomes to be sought and suggesting develop-
mental activities.

A number of producers have used other literature expressly for student use.
The National Fertilizer Association provides booklets on subjects related to the

72 USING THE FILMSTRIP

filmstrips that may be used as references or additional reading. The Metropolitan
Life Insurance Company has published small pamphlets which give in story form
the information presented in their "Health Heroes" series of filmstrips. Definite
lesson manuals for students have been published by the Linde Air Products Com-
pany, to accompany their series of welding strips, and by the Westinghouse Elec-
tric Corporation for the "Electronics At Work" series. The Dartnell Corporation
also has lesson books for study together with their salesmanship filmstrips. These
companies have designed the lesson manuals and the filmstrip series as units, cor-
relating the two closely. If courses of this nature are being given outside a school
situation, the accompanying lesson books are necessary. In a school situation they
can be used if desired, but the filmstrips can be used separately and can be inte-
grated into the course of study already being followed.

While a teacher's guide or manual can be of some assistance, materials to be
placed in the hands of the students may be more valuable. The competent teacher
does not lean heavily upon the manuals, preferring to relate the strip to her own
teaching situation. On the other hand, the student can gain much from accom-
panying written, mimeographed, or printed matter. Printed expendable materials
for the use of students can theoretically be made available in the same way as
workbooks. The cost of such special materials will delay their widespread use.
However, it is not necessary to wait for filmstrip producers to make printed
matter for students. The simplest method of accomplishing the same objective is
for the teacher to write out appropriate information on the blackboard and have
students copy it in their notebooks. This system can be varied by using only major
headings on the blackboard, with intervening points to be filled in during the
screening of the picture in response to verbal suggestions of the teacher. This sys-
tem is especially appropriate with silent filmstrips containing captions that do not
require a running lecture.

Another simple way of putting something into the student's hands is to have a
mimeographed form made up locally to meet the special needs of the group study-
ing the film. Such mimeographed sheets can become a part of the student's note-
book or can be made up within a course outline or syllabus if one is being used.
A simple summary of the filmstrip's contents, if given to the students prior to the
showing, can help them in overcoming the problem of verbalizing. Other teacher-
designed materials can consist of questions to be answered as the strip is projected
or of a listing of the important points with enough space under each for the stu-
dent to make notes. Sometimes, particularly when considerable visual material
has been used in a class during a quarter or a semester, the various films become
confused in the minds of the students. Reference pages of the type mentioned can
serve to clarify such confusion.

NONSCHOOL USE

Community services are becoming increasingly interested in using filmstrip
programs to achieve their objectives. Church groups, clubs, and cultural organ-
izations of all kinds are more and more interested in including visual materials
in their plans. Each program director has a problem of filling a specific number
of dates with stimulating and interesting material. Talented speakers are not
usually available in sufficient quantities within the budget range of the organiza-
tion and the rental of motion-picture projector equipment and films may be too
expensive for frequent use. Therefore, filmstrips provide an ideal medium for the
dissemination of information of interest to local groups.

Utilization techniques for this type of informal group use are very simple. All
that is required is that some member of the group be ready to present the strip
and supplement it with his own specialized information on the specific topic
under consideration. This individual should also be ready to answer questions and
lead a discussion if desired. Such filmstrip utilization can really be classed as a lec-
ture technique, previously described for school auditorium purposes. In such situ-
ations, sound filmstrips may be very well received because they frequently contain
the very elements of general interest designed to make strips most suited to this use.

Clubs and similar organizations will find that there is considerable filmstrip
material suitable for their purposes, and more is currently in production or in
planning stages to be released soon. While this book does not list such materials
in a separate section, individual titles will be found in most of the subject matter
listings. The indication of age level included in the descriptive paragraphs will
assist program chairmen in selecting strips that are not too juvenile. Women's
clubs and other groups interested in comparable activities will find useful strips
on art, archeology, geography, or history. Current topics in filmstrip treatments,
designed particularly for discussions, appear in the section on economics, sociol-
ogy, and related subjects. Farm women's clubs will find titles in the agricultural and
home economics sections designed specifically to meet their problems. They too
will find strips on other topics in the same sections as mentioned above for other
women's organizations. Clubs with women memberships may also be interested in
seeing some of the strips produced specifically for young children, such as the
various story series, and those on health and hygiene. If a program chairman has
in mind a particular topic, a rapid survey of strips available on that subject will
soon disclose any which may be of assistance.

For organizations with a central interest (such as literature, international rela-
tions, community welfare, child care, specific businesses, or trades) the search for
usable filmstrip material is simplified. In some subjects quite a few interesting

74 USING THE FILMSTRIP

strips will be found, as is the case in child care or in salesmanship. In other fields,
such as music and advertising, the selection is meager. Church groups, particu-
larly those dealing with young people, will find good material on such problems
as intolerance.

Public libraries are becoming increasingly conscious of their role in handling
pictures as well as the printed word. Their use of microfilm (usually double-frame
filmstrips) has given them contact with the technical aspects of the filmstrip
medium. Therefore, it is reasonable to expect that increasing numbers of libraries
will make filmstrip collections and arrange for demonstration showings. Since
program chairmen already make extensive use of library facilities, they will
naturally consult with the local librarian in planning use of filmstrips or motion
pictures.

Home filmstrip use can be expected to continue to expand with the increasing
interest in miniature photography and the availability of new filmstrip and 2-by-2
slide-projector combinations for the amateur cameraman. Not only will this in-
crease take place in the case of filmstrips suited for club purposes but it is antici-
pated that many of the filmstrips produced for younger children will eventually
occupy the same place in family activities that storybooks and the comic strips
now enjoy. Specifically, Young America Films is releasing its Primary Reading
Series both as filmstrips and as 2-by-2 slides for home distribution. Home film-
strip use can also be expected to expand for sick children, particularly during
convalescence, and for instruction in hobbies. For convalescing children, in addi-
tion to projectable strips, the nonprojected films described in the first chapter pro-
vide an interesting activity both the i6-mm filmstrips and the stereoptic views.
This type of material is usually best used by children who have recovered enough
to be able to sit up, since holding the viewers to the eyes while lying down can be
tiring. The stereoptic filmstrips particularly offer a wide selection of subject
matter, so that strips within the child's own interests can be selected.

The use of filmstrips in hospitals with convalescing patients is now undergoing
intensive study in the special wards of New York's Bellevue Hospital devoted to
the pilot rehabilitation program, which is the forerunner of the peacetime adapta-
tion of wartime rehabilitation practices. The basic reason for filmstrip suitability
for hospitalized personnel is that the mechanics of filmstrip projection are easier
on the patient than reading a book or magazine and do not require the complica-
tion and expense of motion-picture projection. Since the filmstrip projector can be
tilted to almost any angle, it lends itself to ceiling projection much more easily
than other projection systems. Furthermore, pictures at a distance are much easier
for the patient to "read" than the average book. Since most hospital ceilings are
white, no special screen is required and the patient does not have to assume an

NONSCHOOL USE 75

uncomfortable position in order to enjoy a filmstrip. In actual practice, a simple
portable projector stand can be employed so that the equipment can be wheeled,
with a complete library of filmstrips, from one bed to another, thus requiring a
minimum amount of time investment on the part of hospital personnel. The
topics of greatest interest to patients are those related to the work or activities
which the patient expects to do when he leaves the hospital. Particularly in cases
where physical disabilities are anticipated, the patient's will to get well is greatly
enhanced by examples of the way in which others are overcoming similar handi-
caps. Although this type of strip is not currently available, it is anticipated that
such subjects will be increasingly available in the near future. For other patients
(those convalescing from operations or serious illness, children, etc.) filmstrips on
most subjects of individual interest are available and can be used to relieve the
monotony of doing nothing but lie in bed. Strips on hobbies, on art, on geog-
raphy, on stories and fairy tales can be selected by hospital personnel to stimulate
patient interests.

The expansion of employee-relations programs within industry has also resulted
in a greatly increased use of filmstrips, not only on subjects related to the product
or services rendered by the individual company concerned, but also on matters of
general interest. For example, a large milk company uses regular filmstrip show-
ings for its salesmen after the day's milk deliveries are completed. The subjects
shown include pointers on salesmanship, the importance of milk in the human
diet, and the significance of proper diet in the development of our economy. Other
companies use filmstrips on general economic and political problems in order to
round out program scheduling for weekly, biweekly, or monthly meetings. Many
of the available filmstrips on salesmanship are suitable for employee-relations use
as well as for training purposes. Those presenting general sales principles are
applicable to almost any industry, and those dealing with specific products can be
useful in indicating how related products or services are being sold. Much of the
filmstrip material on safety is also useful with employee groups strips are avail-
able on both industrial safety and on general street, road, and home safety. Pic-
tures dealing with nutrition and general health can also be incorporated into such
programs.

Although the use of filmstrips as a public-relations medium has been amply
indicated above in the discussion of industry-sponsored filmstrips suited for school
use, it should be pointed out that public-relations messages are being increasingly
carried to the interested adult audience via the filmstrip. Such messages have gone
far beyond simple sales presentation and examples of the products in use. Particu-
larly in the case of farm-machinery manufacturers, the filmstrips embrace topics
of interest to almost any farmer even though these topics may not be directly

76 USING THE FILMSTRIP

related to the product of the manufacturer. Such sponsored strips are used in
schools, for club purposes, and with employees. In some cases, they are even used
for home showings. Public-relations programs, as well as employee-relations pro-
grams, utilize the existing filmstrips on safety subjects. Organizations such as the
International Association of Chiefs of Police, the National Conservation Bureau,
and the National Safety Council, as well as a number of insurance companies,
have produced strips suitable for this purpose. Dealers in smaller towns, desiring
to conduct public-relations programs in their own communities, can often use
filmstrips prepared by the companies whose product they handle. For example,
dealers with General Electric or Westinghouse products will find that these
corporations have prepared a number of strips admirably suited for public-
relations work.

Perhaps the single greatest nonschool use of filmstrips is in connection with
on-the-job training in various vocations. 1 Such training strips are used very effec-
tively in acquainting salesmen with new products or campaigns, introducing new
machinery or shop practices in a manufacturing establishment, or in describing
the functions and operations of a new product. Filmstrip uses in training pro-
grams usually follow the pattern for the training within the particular industry
concerned. Since this kind of training is usually not cluttered with the ideological
concerns of public education, the introduction of filmstrips has not waited for the
stimulus of "visual education experts" and has usually proceeded at a much more
rapid pace. An indication of the extent of the use of visual aids in industry was
included in a speech before The American Management Association, Mid-Winter
Personnel Conference, in Chicago on Feb. 24, 1947, by Daniel Rochford, employee-
relations department, Standard Oil Company (New Jersey):

Our survey shows that 70% of U.S. managements use training films. The literature
and practices in this field are familiar to nearly all managements. "How to do" and "nuts
& bolts" film catalogs and films are in every competent training director's work-kit.

In addition to this use of training films, Mr. Rochford found:

Based on replies from fifty of the leading U.S. employers of labor the survey shows
that 62% of large U.S. employers made use of incentive or "employee attitude" motion
picture films during World War II. Most managements reported them as very much
worth while. Since the war, that 62% has dropped to 34%.

In other words, two-thirds of U.S. industrial managements today are not using morale

1 An example of the ready acceptance of filmstrips, along with other visual aids, for industrial
training, is the way in which such aids are taken for granted in analyzing instructional methods
and training department organization within industry. One specific reference containing such
material is: MORGAN, HOWARD K., "Industrial Training and Testing," McGraw-Hill Book Com-
pany, Inc., New York, 1945.

NONSCHOOL USE . 77

or employee attitude films. Of course, we haven't had any labor trouble in America
since the war! No bad feelings between employees and management!

It is grimly interesting to note that among today's non-users are some of the manage-
ments whose relations with their employees have been most conspicuously unhappy since
the war.

We are talking about entertainment and educational films, "point of view" films, films
which are interesting enough to attract the employee to them on his own free time.

Even though two-thirds of industry does not use employee-relations films, a
much larger percentage of classroom teachers overlook this medium. Of course
the teaching of skills is not nearly so complicated as presenting academic subjects,
but even with this factor taken into consideration, American education could
profit by the experience of American industry in the effective utilization of the
filmstrip medium.

Projection

Filmstrips lend themselves to projection more simply than any other projected
aid. The bugaboo of combining a sufficient degree of darkness with adequate
ventilation is more easily solved with filmstrips than with most other projected
aids. The very design of filmstrips does not allow latitude for the operator, which
sometimes results in the projection of slides out of order, upside down, or
reversed. The lack of moving parts in the equipment does not permit the kind of
machine neuroses experienced by some teachers during the operation of a i6-mm
sound motion-picture projector. Nor is there the feeling of relief that a novice
feels when a lo-minute reel has been run off without interruptions or imagined
dire consequences.

The compactness and portability of the filmstrip projector makes it compara-
tively simple to experiment with different setups in any given room to obtain the
clearest possible picture with the minimum of window coverage. Although a
shadow-box construction around the screen can be used to solve this problem,
most teachers prefer to avoid such cumbersome equipment and to solve their own
problem by projecting the strips into the darkest area of the room. As in all pro-
jection setups, it is desirable to locate the screen in such a way that the eyes of the
audience are not distracted by adjacent slits of light or by beams of light falling
directly on the screen. However, if sufficient wattage is used in the projector, there
is no reason why a window in the rear of the room cannot be left open and un-
darkened during the filmstrip screenings. Unless forced ventilation is available, it
is absolutely essential that either a window or a door can remain open during
showings, because bad ventilation combined with darkness provide an excellent
opportunity for the occurrence of drowsiness and inattention. Furthermore, the
teacher should be able to see all the students during the showings or the tempta-
tion of activities not related to the subject matter of the filmstrip may prove too
great for the audience. If discussion is proceeding during the showing, the teacher
must be able to see her class members clearly in order to conduct the discussion
most effectively.

One danger of allowing the classroom to be too well illuminated is emphasized
when color strips are used. It is important that every member of the class can see
each picture clearly. There is only one way to be sure that the ratio of light com-
ing from the projected screen and stray light from other sources is adequate and
that is personally to view the projected picture from every position in the class-

7 8

PROJECTION

room. On dull days it may be possible to obtain effective color projection with
only part of the window space darkened. On the other hand, on bright sunny
days, particularly with snow on the ground, it may be necessary to darken all
windows and rely solely on a door opening of a few inches for ventilation.

The mechanics of room darkening depend entirely on the construction of the
individual room and the location of windows and doors. The first step which
should be taken in any room which will be used for projection is to provide an

Bad ventilation may discourage attention. (Filmstrips, Inc. Drawing by Frank Pagan.)

opaque covering for any surfaces which are not usually opened. For example, if
the door opening into the hall has a ground-glass window, it will probably be
worth while either to paint this window the color of the door itself, to attach a
bulletin board to the inside of it, or to hang some heavy curtain which will com-
pletely eliminate this source of light which has no value for ventilation. If such
action is impractical because the light through this ground glass illuminates the
hall, it may be worth while to have a permanent metal shield constructed around
whatever ceiling fixtures there are in the hall, which would otherwise throw light
directly on such a door window. If the hall lights have frosted globes, it is possible
to locate such a small shield inside the globe in such a way that direct rays of
light are deflected from the door.

If the classroom has four or five windows at one side, it may be desirable to
abandon the front two windows for ventilation purposes and arrange for a heavy
opaque covering for these windows to eliminate potential light leaks, which would
either be distracting in themselves or would reduce the brilliance of the projected

80 PROJECTION

picture. A very efficient and inexpensive window covering can be made from ordi-
nary monk's cloth faced on the window side with any black material. Such cur-
tains may be hung from the ceiling molding, if there is one, or may be suspended
from a specially constructed curtain rod, enabling them to be pulled back when
not in use. If the curtains are hung from the molding or nailed directly into the
window frame, they can be tied back with an ordinary sash when screenings are
completed. Some teachers prefer to leave this type of heavy curtain closed at all
times, since it provides an ideal surface on which to hang various bulletin-board
materials. A more expensive but just as satisfactory device for darkening windows
not required for ventilation can be constructed from wallboard section fitted in
grooves so arranged that the sections of wallboard can be pushed to the side of the
window when not in use. These panels, too, can be used as bulletin boards. A
more inexpensive method, which like the above can be made in the school shop,
is a cardboard window covering made with a wooden frame the exact dimensions
of each window to be thus closed. These frames are light enough to be handled
by students as well as teachers and can be stacked either in a storage room or be-
hind a bookcase when not in use.

If there are so many windows in the room that the teacher is willing to forgo
one or two of them permanently, they can be painted out. The advantage of paint-
ing out one or two windows is that the windows can still be opened in warm
weather and no special covering has to be acquired.

The window-covering problem for those windows that are also used for ventila-
tion during a screening is more complicated, if special coverings are to be used.
However, most classrooms equipped with ordinary window shades will find that
if the above precautions are taken with potential light sources most damaging to
the projected picture, ordinary window shades will be adequate on the remaining
windows, nothwithstanding the light leaks at the edges.

If special added care is necessary, it is a simple matter to provide permanent
protection against light leaks around the sides of the window shades by hanging
narrow monk's cloth or other inexpensive curtains permanently at the edges of
each window. There are a number of other ways of eliminating these side leaks.
One of them is the construction of wooden grooves and facings in which the shade
is to travel. Another, with the same results and effect as wooden troughs down
the sides of the windows, is a narrow heavy cardboard shield that can be thumb-
tacked, nailed, or fastened with Scotch tape down the side of the window frame.
In modern schools with metal window facings, it is frequently possible to remove
the side of the facing and to insert a cardboard, metal, or wooden shield between
the removable section of frame and the side of the window.

Such solutions are extremely effective as long as the window remains closed.

PROJECTION 8 1

However, in the case of opened windows special precautions should be taken in
order to avoid window-shade flapping or the elimination of all circulation by such
complete window darkening that the open window is not allowed to accomplish
its purpose. In many cases this problem does not arise since it is frequently pos-
sible to leave a rear window open and undarkened. Where this is unwise, the best
method is to construct a simple wooden louver system designed to permit efficient
circulation of air without admitting any light. The simplest louver system can be
made on the order of glass deflector shields frequently used at the base of the
window. The window shade is pulled down as far as the window, which in turn
is lowered an inch or two below the top of the deflector. If glass deflectors are
already installed, these can be painted opaque or covered. However, it will prob-
ably be preferable to substitute a wooden deflector considerably wider than the
standard glass deflectors. It may be found desirable to thumbtack the bottom of
the window shade to the window in order to avoid rattling.

Of course each situation will require some local improvisation and if this impor-
tant problem is given sufficient attention the first time any projected aids are used
in a given room, the time thus spent will undoubtedly prove to be a worth-while
investment.

Since the location of the screen should be determined, among other things, by
the arrangements for darkening the room, it is not surprising that the screen sur-
face to be used also varies with the relative darkness possible in any given situa-
tion. The screen surface also depends upon the shape of the room and the arrange-
ment of the audience. If the room is long and narrow with the screen located at
one narrow end, a beaded screen will generally provide the best projected pictures.
Since the beaded process reflects the picture with the greatest intensity for those
seated nearest the center of the room, such a screen is usually helpful in narrow
rooms or where the audience is to be seated within an angle of 50 degrees to the
screen. However, if the room is shaped so that many students must view the pro-
jected picture from an angle, a flat white surface is preferable. This applies in
rooms that are exceptionally wide or where the audience must be seated at a con-
siderable angle to the screen. The various surfacing processes for screens are rela-
tively unimportant except in the special case of the long narrow room. If economy
is desired, a simple roll-type screen will generally prove sufficient for filmstrip
projection. In fact, a plain, flat white-painted surface is entirely adequate. Of
course, any glossy surface, such as that obtained by use of an enamel, results in an
eye-straining glare that is highly undesirable. If a rolled screen must be used, in
order to clear the area where the screen hangs for other purposes, particularly if
that area contains a blackboard, some movable screen surface is essential. Arrange-
ments to achieve this result can be improvised by hanging a wooden, flat, painted

PROJECTION

screen from pulleys in the ceiling, by having a flat, painted wallboard screen
designed to slide on a track or rest on the chalk rack, or by use of an improvised
rolled screen. A very effective rolled screen can be made out of any window shade
by coating the shade surface with the rubberized paint used on white-wall auto-
mobile tires. An ordinary sheet can be used as the base for the rubber paint, which
will not crack when rolled, or a sheet itself may be stretched tightly on a frame to

Audience comfort is a factor in securing proper attention. (Filmstrips, Inc. Drawing by FranJ{

Pagan.)

provide a very satisfactory projection surface. The only problem with an uncoated
sheet is that it must be set closely in front of an opaque surface and each time that
it is set up special attention must be given to avoiding wrinkles.

Many schools will prefer to select from the commercially available screens now
on the market a manufactured product suited to their requirements. If a new
screen is to be bought from a manufacturer, the local visual education dealer can
usually arrange for demonstration and installation taking into account all the spe-
cial variables. The main point in connection with selection of screens for filmstrip
projection is that the screen, like the room-darkening arrangements, can be just as
inexpensive as local conditions dictate. It is important that every room used for
projection have its own screen. It will usually be found more desirable to impro-
vise screen surfaces for every classroom than to attempt to use a portable screen for
many different purposes at the same time If the staff time and detail attendant to
the scheduling and movement of a portable screen from room to room is taken

PROJECTION 83

into account, it will become evident that it is better to make the arrangements for
an adequate number of screens than to adjust the teaching schedule of individual
classes to suit screen availability. It will also be found that tripods and other
mechanical suspension devices are often bent and damaged if moved too
frequently.

Optimum seating area is between two screen widths and six screen widths from the screen.
(Da-Lite Screen Company, Inc. Drawing by Yor^ Studios.}

Rear projection screens are not generally worth the expense in classroom situa-
tions although their specialized possibilities sometimes make them desirable. Rear-
view projection is very simple in principle, but is usually complicated by the special
surface and wide-angle projection lens required. If there seems to be a need for
this type of projection, it is desirable to consult an expert before acquiring such
equipment.

The further the screen is from the audience, the better. In most classrooms this
usually means that the screen is hung on the front wall. The optimum relation-
ship between screen and audience is usually figured by multiplying the width of
screen by two to find the distance between the screen and the first row of seats

84 PROJECTION

and multiplying by six to find the distance between the screen and the last row of
seats. If the screen is hung too high and too close to the first row, appropriate class
attention is unlikely. If it is hung too low, the individuals in the rear rows may
have their vision obscured by the heads of those seated in front of them. As a gen-
eral rule, in small classrooms it is desirable to hang the screen so that the bottom
is about on the eye level of the seated class. In this way it is a simple matter to
project over the heads of the class without having the picture too high for comfort.
Here again it is worth the time invested for the teacher to try out every seat in the
class when setup arrangements are being made, so that she can be sure that no
student will have any excuse for not seeing the picture.

When room-darkening arrangements and screen location have been established,
the audience should be arranged in the best possible seating plan for comfort and
clear, unobstructed visibility. One simple step in seating arrangements is to be
sure that desirable vacant seats left by absentees be used to improve the vision of
students ordinarily in less favorable viewing positions. If the chairs are movable,
it is generally desirable to move the audience away from the front corners of
the room, concentrating the class as much as possible in the center of the room.
The best way to select those seats which will not be used during a screening is
for the teacher to try out every seat in the room in order to select those, particularly
in the front corners, that are undesirable because of the distortion in the projected
picture viewed from too oblique an angle. The students themselves can be counted
upon to look out for their own best interests if they are given an opportunity to
do so, since anyone who has sat in the front corner of a movie theater will make
every effort to avoid repeating the experience. The undesirable seating areas in the
front corners will usually be found outside a line extended from the screen center
at an angle of 30 degrees to either side of the projector light-beam axis.

Electric-current supply is taken for granted in many situations where this prob-
lem is much more difficult to solve than room darkening and provision of screen
surface. Fortunately silent filmstrip projectors operate on either alternating or
direct current (unless a cooling fan in the projector is activated by a motor or
some accessory is employed). Sound filmstrip projectors must always be individ-
ually checked to be sure that the type of current available is correct for the equip-
ment or that appropriate converters or adapters are used. The only problem of
current selection for silent projectors is that the voltage be suited to the projection
lamp. This factor has little or nothing to do with the design of the equipment and
can easily be checked by looking at the top of the projection lamp and checking
the voltage indicated by a figure, most frequently no, followed by a "v," and then
looking for the same figure on any lamp used on the same circuit. If there is any
doubt as to the voltage of a particular circuit, in buildings where more than one

PROJECTION 85

type of electric current is used, it is wise to experiment with a desk lamp or test
lamp rather than with the projector since the projection lamps are considerably
more expensive than ordinary light bulbs.

The selection of appropriate lamp wattage depends on the circuit in which the
projector will be used. In most household and school circuits there is no chance of
an overload when not more than 3oo-watt projection lamps are used. However,
whenever greater wattages are employed, it is desirable to have the circuit checked
to be sure that an overload will not result. Since the artificial lights are usually
extinguished while a projected show is in progress, the chances of an overload are
remote when the projection lamp is fed from the same circuit. Many modern
schools have base plugs in the rear of each classroom specifically designed for the
use of projectors. However, the lack of such a conveniently located base plug
should not be a deterent to the use of filmstrip projectors. The simplest expedient
to arrange for filmstrip projection is to run an extension cord from the teacher's
desk-lamp outlet to the back of the room. If no extra electrical oudet is available
in the room and all electric current used in overhead lights is controlled by a
single switch, it will be necessary either to run an extension cord in from outside
the classroom or to make an arrangement so that one of the overhead light sockets
will be separated from the switch that turns off the others. It is usually a simple
matter to have an electrician change the wiring so that one overhead light in the
rear of the room is left "hot" all the time and made independent from the remain-
ing artificial illumination. Then this light can be equipped with a special switch
of its own and an outlet that takes the plug of the filmstrip projector. It is usually

F desirable to have this light arranged so that it can be switched on or off without
affecting the current supply for the projector, which is itself equipped with a
separate switch. This solution of the problem is less expensive and less desirable
than having a special electric outlet installed in the baseboard of each classroom
where projected aids are to be used. Serious consideration should be given to the
permanent installation of appropriate electric circuits and outlets for the use of
projected materials, since the use of extension cords is at best an annoyance as well
as providing an invitation to falls due to tripping and short circuits due to frayed
insulation. No matter how carefully one stores an extension cord it is impossible
to keep it clean since it must be run on the floor, and the handling of it imme-
diately before a screening usually makes the operator's hands so dirty that the soil-
ing of the filmstrip is much more likely than if setting up the projector is a clean
and efficient process.

In those schools which have no electric current, inexpensive small wattage gen-
erators can be used effectively. Since such lack of electric current usually occurs in
rural areas, the teacher can expect to have a number of students who are familiar

86 PROJECTION

with the operation of gasoline-driven generators. The only important point to
remember is that the generator should be located far enough away from the class-
room (in an outbuilding if the school itself offers no other location) so that the
noise is not distracting. In many cases the teacher will find members of the com-
munity willing to loan generator equipment that is not in use during school hours.

In other communities, even though electric power is available, it is "off stand-
ard" voltage. In other words it may be so much more than no to 120 volts that
the use of a projector in the system without a resistor will burn out the projection
lamp. This is particularly true in electrical systems of 220 volts, which are still
common in some sections of the country. If no resistor is available, to be used in
series with the projector, it is always possible to improvise one by wiring an ordi-
nary house lamp or lamps of equal voltage to the projector lamp in series with the
projector. These lamps can either be on an extension cord outside the darkened
room or can be put in a metal box with ventilation louvers to keep the light from
distracting the audience. A simple expedient in a situation where the voltage is in
doubt is to look at the voltage reading on a lamp in any ordinary source of illumi-
nation, such as a desk lamp, and compare it with the voltage of the projector lamp
before turning on the projector. If a lamp rated at no volts is used on a 120-volt
circuit no serious damage will result except that the lamp will burn out much
more quickly than if operated only at its rated voltage.

Screen brilliance throughout the whole picture is the most important factor to
look for in filmstrip projection. Many teachers will automatically conclude that
the projector with the greatest wattage lamp will provide the brightest picture.
This is generally true with older equipment but does not necessarily follow in the
case of equipment with improved optical design. The only sure test of screen
brightness is a competitive projection of the same filmstrip, preferably in color,
under uniform conditions on the various makes and models of projectors being
considered. The objective of course is an undistorted picture, clearly visible from
every seat in the room where the projector will be used with the anticipated stray
light present. Your local visual education dealer will be able to arrange such com-
parative demonstrations . with projectors of several makes set up side by side for
simultaneous projection in the location where the projector will be used.

Filmstrip projectors are usually equipped, in wattages of 150 or less, with a
single-contact bayonet base very similar to that found in simple one-filament auto-
mobile headlights. Projectors of larger wattages generally employ a medium pre-
focus base. Some of the older slide projectors with filmstrip attachments have
medium screw-base sockets similar to those used in ordinary house lamps, but the
screw bases are no longer used in precision projection equipment because the fila-
ment cannot be positioned accurately enough in the lens system without a pre-

PROJECTION 87

cision base. The different types of bases employed in filmstrip projectors mean
that a larger wattage lamp cannot be used in a projector designed for less than 300
watts unless the socket is changed, and it is usually wise for equipment to be
selected with the view to running it only with replacement lamps of the wattage
for which the projector was designed. The objective of any projector engineering
is the greatest lumen output per watt, but the teacher does not need to be con-

Screen brightness decreases in proportion to the square of the distance from the projection die
smaller the picture, die brighter. (Da-Lite Screen Company , Inc. Drawing by Yort( Studios.)

cerned with the relative efficiency of optical systems as long as the desired pro-
jector performs satisfactorily in the place where it will be used most frequently.
The brighter the screen picture, the simpler the room-darkening problem, and
the easier it is for the teacher to guide class discussion while the showing is in
progress.

It should be noted that most filmstrip projector manufacturers make available
more than one lens size so that the size of the projected image can be established
in accordance with the needs of the individual situation. A table showing the pro-
jected picture dimensions at stated distances from the projector for the lens sizes
commonly available is reproduced below. It will be apparent from this table that
one lens is generally sufficient for a filmstrip projector to be used in a classroom or
before those groups of a size for which the picture from any given projector will be

88 PROJECTION

bright enough. Even though some lenses will provide for a smaller picture and
thus a greater distance from the projection screen, such a small picture may be
highly undesirable since by moving the projector away from the screen picture
brightness is sacrificed (the brightness diminishes in proportion to the square of
the distance from the screen). Furthermore, it is usually unwise to change the
projection lens unless the condenser lens is also changed, and consequently the

The size of the projected picture varies directly with the distance of the projector from the
screen. (Da-Lite Screen Company, Inc. Drawing by Yor^ Studios.)

filmstrip user will probably use the screen chart only once that is, when selecting
a projector. After that, in each projector setup the projector will be located at a
distance from the screen which gives the desired picture size. Since there is little
or no noise from filmstrip projection, it makes little difference if the projector is
set up in the middle of the class or group and it is not necessary to go to special
lengths to have projection from the back of room. In many situations it will be
found that the acquisition of a few extra filmstrip prints will be more valuable to
the filmstrip user than an extra lens.

The size of the screen image is governed by the focal length of the lens and the
distance from the projector to the screen. The following table indicates the size of
horizontal pictures obtained on the screen with lenses of different focal lengths at
stated distances from the screen. If vertical pictures are projected, the proportions
are reversed.

PROJECTION

SCREEN TABLE FOR FILMSTRIP PROJECTORS 1

Distance
from
machine
to screen,
feet

Size of
picture

Single frame
Focal length of lens, inches

Double frame
Focal length of lens, inches

Height

2.3

1.7

1.3

1.1

3.0

2.3

1.8

1.5

1.3

1 c

Width

W^i erVi t

3.0

7 4

2.3
2 :

1.8

1.5

4.6

3.4

2.6

2.2

1.9

1 J

n.clglll'

Width

J "

4.5

*- j
3.4

/. . u
2.7

2.3

6.8

5.0

4.0

3.4

1.9

2.9

Height

4.5

3.4

2.7

2.3

6.0

4.5

3.6

3.0

2.6

Width

6.0

4.5

3.6

3.0

9.0

6.8

5.4

4.6

3.9

Height

5.7

4.4

3.5

2.9

7.6

5.8

4.6

3.8

3.3

Width

7.6

5.8

4.6

3.8

11.4

8.8

7.0

5.8

4.9

Height

6.8

5.1

4.0

3.4

9.1

6.8

5.4

4.5

3.9

Width

9.1

6.8

5.4

4.5

13.6

10.2

8.0

6.8

5.9

Height

7.9

5.9

4.8

4.0

10.5

7.9

6.4

5.3

4.5

Width

10.5

7.9

6.4

5.3

15.8

11.8

9.6

8.0

6.8

Height

9.1

6.8

5-5

4.6

12.1

9.1

7.3

6.1

5.2

Width

12.1

9.1

7.3

6.1

18.2

13.6

11.0

9.2

7.8

Height

10.2

7.6

6.2

5.1

13.6

10.2

8.2

6.8

5.8

Width

13.6

10.2

8.2

6.8

20 .,4

15.2

12.4

10.2

8.7

Height

11.2

8.4

6.8

5.6

14.9

11.2

9.0

7.5

6.4

Width

14.9

11.2

9.0

7.5

22.4

16.8

13.6

11.5

9.6

1 Screen manufacturers will supply detailed information on precise screen sizes. For example,
the Da-Lite Screen Company, Inc. (2711 North Crawford Ave., Chicago 39, Illinois) has pub-
lished the following formula which they will apply to any given situation on request:

"For any movie or slide, at any projection distance, with any lens, multiply the size of the
picture aperture by the projection distance and divide by the focal length of the lens. Size of
aperture and focal length of lens must be in the unit, such as inches. Then if projection distance
is in feet, inches, or meters, the screen size will be in the same unit of measurement.

Five-inch lens is standard with most 35-mm single- and double-frame filmslide projectors.

Standard Apertures:

35-mm Single-frame slides 0.9" wide 0.68" high

35-mm Double-frame slides 1.3" wide 0.9" high

90 PROJECTION

Pictures of some filmstrip projectors are reproduced here to show the general
appearance of the equipment. All filmstrip projectors have the basic elements in
common. These include the following: a lamp house consisting of a metal box
with appropriate openings for ventilation, with louvers to prevent the light from
escaping; a lamp socket, either medium prefocus or bayonet base, designed to take
standard projection lamps in such a manner that the filament is centered behind
the optical system without any special adjustment; the lamp base, usually wired
to a switch with asbestos-covered wire as a precaution against overheating; 8 to 10

The standard model Illustravox, sound -films trip projector. (The Magnavox Co.)

feet of ordinary lamp cord, usually provided to give a sufficient range of operation
for most rooms equipped with adequate electric outlets. Immediately in front of
the lamp house there is a condensing lens system behind a heat-resisting glass
water cell, or fan-cooled surface. The filmstrip passes directly in front of the heat-
reducing device from a holder on top, through the aperture over a set of sprockets,
and out of the bottom of the projector. In front of the film gate a projection-lens
barrel is mounted. The projection lens usually moves in the barrel for focusing
and is generally interchangeable with other lenses of varying focal lengths. In
addition to the projector elements, most filmstrip projectors are supplied with a
carrying case and many with a 2-by-2 slide adapter. It is always wise to have one
or two spare projection lamps handy in case of emergency, and these may be gen-
erally stored in the carrying case with the projector.

As noted in the first chapter, sound filmstrip projectors inherently consist of a
silent projector plus a playback for the record, either 78 or 33% rpm. If a turntable

PROJECTION 9!

is acquired separately from the filmstrip projector there are no other special con-
siderations to look for than when a combined unit is acquired. Any radio dealer will
be able to give good advice on the relative merits of playback equipment. Here
again a simple empirical test of the output should be sufficient for most teachers.
Setting up a projector for use is a simple operation and should be done before
class time if possible. Manufacturer's instruction booklets are supplied with pro-
jectors and should be consulted by inexperienced projectionists. However, the pro-
cedure usually includes the following steps:

The Model 30 D Dual Slide Projector. (Ampro Corp.)

1. Remove the projector from its case and place it on a table or stand. Take the
lens from the case and insert it in the lens barrel if it is not already in place.

2. Threading Unwind a few inches of filmstrip and insert the free end in the
film gate. If the sprocket-hole positioning is not automatic, place the sprocket
holes of the free end of the film over the sprocket teeth and hold them in position
while closing the film gate if the film gate is movable. Turn the knob carefully to
test the threading. If any binding is noticed, don't force the knob to turn or the
sprocket holes of the film may be enlarged, thus damaging the film. Instead, cor-
rect the threading.

3. Focusing Plug in the connecting cord and turn on the projector switch. The
cord can be looped around a leg of the stand to guard against pulling the projector
off the stand if anyone happens to jerk the cord. Pull out the lens a little and turn
the knob that moves the filmstrip until a frame appears on the screen. The first
part of the strip is generally leader, or blank film, to be used while threading and
to hold the strip in the film channel. Most filmstrips have a "focusing frame," con-

92 PROJECTION

sisting of a line or circle design often with the word "focus." If the strip being
used does not have such a frame, any frame can be used for focusing purposes
the title frame or one of the pictorial frames. Rotate the lens, pulling it out of the
barrel or pushing it in a little at a time, until the screen image is sharply clear.

4. Framing The entire frame image should appear on the screen and the sides
should not show light streaks of the sprocket holes. There is usually a framing de-
vice to center the strip vertically. Horizontal framing, to eliminate light streaks or

The All-purpose Argus Projector. (Argus, Inc.)

sprocket holes showing at the side of the frame, is usually accomplished by adjust-
able masking elements in or near the film gate, used to convert the projector from
double- to single-frame projection. If the image is too low on the screen, the pro-
jector can be tilted. Most projectors have tilting devices on the machine base. If
the image needs to be higher than the device allows, a higher table should be used.
If one is not available, the projector can be placed on a pile of books. In this case,
be sure that the books are stacked neatly, so that they will not topple, and that
they provide a surface broad enough to hold the projector.

5. Move the filmstrip to the first frame desired for the showing and turn off the
projector switch. The filmstrip is now ready and nothing needs to be done at the
time of the actual screening except to turn on the switch again. If the connecting
cord passes over an area where students are likely to pass, remove the plug, and
place the cord on the table with the projector, plugging in again just before the
screening.

PROJECTION 93

To set up for double-frame filmstrip projection, the procedure is the same ex-
cept for two extra steps. Projectors designed to take such strips generally have a
small metal mask over the aperture. This is removed by simply sliding it out of
its holder when a double-frame strip is to be shown. Since most double-frame film-
strips use horizontal pictures, the projector head should be turned 90 degrees so
that the film channel runs at right angles to the lamp house. If the strip contains
some vertical frames, the head is turned back when necessary.

The Triple-purpose Slide Film Projector. (De Vry Corp.)

Generally filmstrips are properly rolled when they are received so that they are
ready for projection. However, if the end frame appears instead of the tide frame,
simply remove the strip from the projector and reroll it. This can be done very
quickly, but care should be taken while doing it to prevent any marring of the
strip. Start by hqlding the end of the filmstrip by the edges near the sprocket holes
and wind the strip into a tight roll with the fingers. Rolling the strip loosely and
then pulling on the end to tighten the roll causes scratches on the film. Holding the
strip near the edges prevents finger marking of the frames. The leader at the
beginning and end of most filmstrips allows for ease in threading or rewinding
without marking the film. If the image on the screen is reversed, the strip has
been rolled with the emulsion (dull) side of the film to the inside of the roll in-
stead of to the outside. It is not necessary to worry about which is the emulsion
side and which is not; simply reroll the film in the other direction and the emul-
sion side will be toward the lamp as it should be when the strip is again threaded
into the machine. Such rerolling takes a little more time than the simple rewind-
ing described above, even though it is done in the same manner, since the winding

94 PROJECTION

goes against the curve in the film, which naturally tends to curl in the direction in
which it was previously wound.

For sound-filmstrip projection, the projector itself is set up in the same way as
for silent projection. The record player, however, must also be set up. Place the
speaker near the screen. See that the player is set at the proper speed. Some play-
backs operate at only one speed and don't need to be checked. In this case, how-
ever, check the recording to be used to be sure that it has been cut at the same
speed. Plug in the connecting cord and turn on the switch to warm up the tubes.
Use a new needle and test the setup by playing part of the record. Notice on the

The Model AAA Tri-purpose Projector. (Society for Visual Education.)

record label whether it should be started on the inside or the outside. While test-
ing, set the volume control and tone control. The player is now ready and all that
needs to be done at screening time is to warm up the tubes and start the motor.
Be sure to allow time for warming up the tubes; otherwise the students will not
be able to hear the first part of the iccord. To synchronize recording and projected
picture during the actual showing, turn the strip to the next frame whenever the
gong, bell, cricket, or other device on the recording is heard.

The projector requires little maintenance other than cleaning. The aperture
glasses, lens, and mirrors should be cleaned with lens paper or some other very
soft paper. A soft lintless cloth may also be used. Be certain that it is lintless,
however, or the fuzzy lint left on the lens will appear in the projected image,
clouding the picture more than the dirty lens. Nothing harsh or rough should be
used for this cleaning; otherwise the glass may be scratched. Just clean these sur-
faces as carefully as spectacles or eyeglasses are cleaned. The rest of the machine

PROJECTION 95

should also be kept free of dust and dirt. Storing the projector and lens in the case
generally provided with it protects the glass surfaces from breakage, cuts down
the amount of dirt, and protects the cord from fraying. Both the projector's con-
nection cord and any extension cords used should be checked periodically to be
sure that the insulation is not frayed or worn.

Filmstrips require little care to keep them in good condition. The major point
is to prevent marking, scratching, and soiling. If the film is rerolled properly after

The Model AP 2C Combination All-purpose Projector. (View Lex, Inc.)

each showing and replaced in its container, the strip will be protected. A rubber
band can be placed around the strip before putting it in the can to prevent the roll
from expanding and becoming scratched on the sides of its own container. How-
ever, the outside of a rolled filmstrip is generally leader film so any such scratches
do not mar the strip itself. It is better to rewind a filmstrip in the fingers as de-
scribed above than by turning it back through the projector. In going back
through the projector, the film passes the hot glass again which drys the strip
more than necessary. Also, scratching may result. A little care in handling the
strip itself will prevent finger marking.

To summarize, preparation for a filmstrip showing includes the following:
i. Check the room arrangements, previously worked out, for

a. Darkening.

b. Ventilation.

c. Screen placement.

d. Seating arrangement.

e. Electric connections.

PROJECTION

2. Set up projector

a. Thread.

b. Focus.

c. Frame.

d. Be sure lens and glass surfaces are clean.

e. Set on first frame and turn off switch.

The Model D Delineascope, primarily designed for projecting 3^ by 4 inch glass slides, with
filmstrip attachment. (American Optical Co., Scientific Instrument Div.}

For sound filmstrips, also

a. Set up speaker.

b. Set up record player.

c. Adjust tone and volume controls.
3. At time of filmstrip showing

a. Quickly darken room, adjust ventilation, set up screen and rearrange seat-
ing if these arrangements could not be completed prior to class time.

b. Turn on projector switch and start the showing. (If it has been necessary
to unplug the connection cord prior to screening time, replace the plug
before turning on the switch.)

PROJECTION

If a sound filmstrip is used, also

a. Warm up the tubes and start the motor.

b. Turn on the projector light.

c. Start showing the strip and playing the recording.

4. After the screening (usually after the class is dismissed)

a. Rewind the filmstrip and place in its container.

b. Put projector away in its case.

Student projection requires attention to proper focusing. (Filmstrips, Inc. Drawing by Fran\

Pagan.)

While the above outline procedure seems long, its actual performance takes
very little time, particularly after some experience has been acquired. Whenever
possible, the actual mechanics of room arrangements, setup, and projection should
be delegated to a member of the class, This frees the instructor for teaching pur-
poses during the filmstrip showing. He can stand near the screen to point out
important parts of the picture as needed, can face the class while making com-
ments, and can lead discussion during the showing more easily than if he is in
back of the room by the projector. Furthermore, such a procedure allows for one
form of class participation. Even elementary school pupils can handle such respon-
sibility well if properly trained. The use of filmstrips does not require the teacher
to become a technician, since the equipment is so simple that any student able to
operate a radio at home can be a successful filmstrip projectionist, and equipment
selection, maintenance, and technical details described in this chapter are usually
delegated to some member of the staff who has mechanical interests or a technical
background.

Agriculture and Forestry

Most of the filmstrips in this classification were produced by the U. S. De-
partment of Agriculture and are designed specifically for vocational agriculture-
instruction in high schools, colleges, and with adult groups. In general, these strips
tend to contain considerable text material with numerous text frames. In some cases

Tenant farmer and wife discussing with the county agent plans for financial aid toward the
purchase of a farm. From filmstrip "The County Agent." (USD A Extension Service. Photo by
G. W. Ackerman.}

long shots are used where close-ups would have been more helpful, particularly for
the more inexperienced groups. No additional evaluation comments are made on
the strips in these groups, except where differences occur as in those suitable only
for elementary grades or general surveys, since these strips are similar in scope and
treatment to other materials released by the Department of Agriculture.

Some aspects of agricultural work have been treated in filmstrips quite thor-
oughly; however, other aspects have been touched only lightly or not at all. Farm

ANIMAL HUSBANDRY 99

machinery, buildings, and equipment could well be more adequately covered. Mar-
keting, although an important phase, has been handled in only a few specific cases
such as the marketing of wool.

Very little filmstrip material of value to classes interested in other phases of agri-
culture than the vocational is now available, particularly on high school or college
levels. For these classes, new filmstrip production might indicate such topics as the
economic problems involved, the relationship of our agriculture to foreign trade,
comparisons of our agricultural methods and production with those of other lead-
ing producer countries.

The available material on forestry includes very little that is directly applicable
to vocational training in the field. The approach in most films is either related to
farm woodland management or is general in nature.

In vocational agriculture, the filmstrip has a number of uses, the major ones in-
cluding:

1 . To demonstrate techniques

a. Before field demonstration or practice to allow for emphasis of specific
points.

b. After field demonstration or practice as review or discussion guide.

c. At times when or in places where actual practice or demonstration is not
feasible or is not desired.

2. To present diseases or insect pests where these cannot be closely observed in
crops or animals, particularly when the complete life cycle cannot be other-
wise followed. When actual observation is possible, the filmstrips provide
means for introduction or review.

3. To illustrate and to provide comparisons of poultry and stock breeds; types of
buildings, machinery, and equipment; and of practices employed in various
parts of the country.

In general study of agriculture, without vocational training, the filmstrip provides
an easy method of illustrating farm topics and agricultural problems being studied,
particularly in city and town schools.

ANIMAL HUSBANDRY

BEE CULTURE

Bee Culture Series (USDA, 4 films, si, lecture notes).

Anatomy of the Honeybee (No. 151, 33 frames). Drawings and photographs
showing in oxtail structures of the parts of worker, queen, and drone.
Diagnosis of Bee Diseases in the Apiary (No. 171, 58 frames). Symptoms
of different diseases of bees distinguished in apiary and methods of control.

100 AGRICULTURE AND FORESTRY

Laboratory experiments of disease cultures and healthy bee broods; American
foul brood, European foul brood, para-foul brood, sacbrood, fungus diseases,
acarine disease, the bee louse. Designed for extension workers, state apiary in-
spectors, and instructors in apiculture.

From filmstrip "Feeding and Care of the Dairy Calf." (Bureau of Dairy Industry, USDA.}

First Lessons in Bee Keeping (No. 346, 41 frames). Standard equipment and
practical methods of handling bees for production of honey for home use. Un-
profitable and modern hives compared.

-Transferring Bees to Movable-frame Hives (No. 616, 36 frames). Step-by-
step method, in detail, of transferring bees from box hives and log "gums" to
modern movable-frame hives. Indicates increase in honey production if bees are
handled by modern methods.

DAIRYING AND CATTLE PRODUCTION

Artificial Breeding of Dairy Cattle in Vermont (USDA, No. 12^7, si, 51 frames).
How a good artificial-breeding program produces better cows and improved herds;
makes the service of good bulls more widely available; eliminates the care, danger,

ANIMAL HUSBANDRY

101

and cost of the herd sires; produces more salable stock; and increases milk produc-
tion and profits.

Cattle and Beef Industry (Stillfilm, si, 30 frames). A general survey of the
industry indicating type of land used for grazing, comparison of United States and
Argentine ranches in production, dairy-type cattle, dairy stations, important dairy
breeds, beef-type cattle, beef breeds, fattening for market, raising calves, market-
ing baby beeves, the stockyards. Suitable for upper elementary or junior high
school classes.

Dairy Herd Improvement Association: Identification and Permanent Record
Program (USDA, No. 554, si, 37 frames, lecture notes). Identification markings
employed by the association; methods of eartagging; records of identification and
production. Tabulation of records with U. S. Bureau of Dairy Industry.
Dairying (Stillfilm, si, 30 frames). Survey of dairying industry, including impor-
tance of stock selection, various breeds and their purposes, dairy records, proper
barns, pasturage and silage, equipment required for transport of milk. Rank of
United States in dairy industry. General information suitable for upper ele-
mentary or junior high school classes.

Farm Dairy Houses (USDA, No. 140, si, 48 frames, lecture notes). Floor plans
and equipment for different types of dairy houses made of wood, brick, tile, or
concrete. Location for milkhouses. Necessity for cleaning all equipment. Types of
water-supply pumping plants.

Feeding and Care of the Dairy Calf (USDA, No. 623, si, 47 frames, lecture
notes). Housing, health, feeding, training, earmarking of the dairy calf from birth
to full development. Also suitable for upper elementary or junior high school
groups interested in dairy calf projects.

Handling Livestock for Market (Castle, made by USOE, No. OE-459, si, man-
ual). Designed for use with motion picture of same title, but may be used sepa-
rately for review purposes or as discussion guide. Information in question form
on causes of losses in marketing livestock, on how to prevent injuries to livestock
on the farm, on preparing the truck to haul livestock, on handling of stock before
shipment, on preventing injuries when loading and during shipment.
Improvement of Plants and Animals Through Breeding (Nasco, No. SF 81,
si, 102 frames). Part I (23 frames) presents the cell as the basis of livestock
improvement and outlines the fundamentals of cell structure, relation of cells to
growth, cell division, sexual reproduction, the maturation process, chromosomes,
egg, sperm, and fertilization. Part II explains how characteristics are transmitted.
Explains the following: genes and their relationship to inherited characteristics;
dominant and recessive traits; homozygous and heterozygous individuals; incom-
plete dominance and its results; inhibiting genes and their effects; sex-linked traits;

102 AGRICULTURE AND FORESTRY

crossing over of chromosomes; mutation. Examples of actual crosses given. A num-
ber of incomplete inheritance checkerboards included for students to complete.
Discusses selection and its importance to breeding. Ends with a glossary. Very
long with considerable text, but presents inheritance of traits simply and clearly.
Designed specifically for agricultural courses, but may also interest biology classes
as supplementary material.

Making American Cheese on the Farm for Home Consumption (USDA,
No. 352, si, 25 frames, lecture notes). Preparation of milk for making curd, fol-
lowed by detailed steps in making the cheese. Necessary equipment and supplies
indicated. Also suitable for classes in home economics.

Making Butter on the Farm (USDA, No. 380, si, 32 frames, lecture notes).
Equipment and its care, with emphasis on recommended practices in preparing
cream for the churn. Steps in making butter demonstrated. Also suitable for home
economics classes.

Making Cows Pay (Allied Mills, sd, about 1,250 frames, 25 min, loan). Informa-
tion concerning importance of culling the herd, keeping records, and developing a
good feeding program. Major portion of strip concerned with feeding-program
requirements. Advertising of Wayne brand feeds contained in information on
feeding program. Good material on feeding-program planning.
Marketing Feeds through Dairy Cows (USDA, No. 379, si, 28 frames, lecture
notes). Various types of dairy cows; methods of determining their value; kinds
and values of feeds presented.

Milk Quality Improvement in 4-H Dairy Clubs (USDA, No. 182, si, 39 frames,
lecture notes). Designed to aid in creating interest in improvement of milk qual-
ity. Demonstrates care of dairy utensils, grooming of cows, proper milking
practices, care of milk, tests of milk samples. Includes 4-H Club meetings;
achievement rewards; essay contests; health champions. Stresses importance of
quality milk for health. Also useful with upper elementary groups interested in
4-H Club work.

Modern Herd Managment (Ralston-Purina, si, 36 frames, color, loan). Scenes
of experimental farm and dairy herd of the Ralston-Purina Company, indicating
various practices, such as vaccination, weaning, culling of herd, drying of cow,
keeping individual records, feeding program. Some advertising.
Producing and Handling Clean Milk (Nasco, No. SF. 51, si, 78 frames).
Opens with explanation of clean milk. Producing clean milk: the essentials clean
healthy cows, clean barn and dairymen, sterilized utensils. Other good management
practices presented in some detail with indications of how each may be achieved.

ANIMAL HUSBANDRY 103

Handling clean milk: methods of cooling milk and keeping it cool until delivered;
reasons for proper cooling. Examples of good dairy barns, milkhouses, and equip-
ment. Pictorial material consists of photographs. Uses superimposed captions and
some text frames. Well-organized and visualized strip on milk production meth-
ods, suitable for agricultural courses and adult groups.

Production of High Quality Cream for Butter Making (USDA, No. 429, si^
28 frames, lecture notes). Practices recommended, including clean milking, clean
farm surroundings, prompt cooling, frequent delivery. Stresses importance of
cleanliness.

Some Methods of Estimating Milk Quality by Bacterial Tests (USDA, No.
170, si, 51 frames, lecture notes). Requirements for the production of good milk,
with emphasis on cleanliness of utensils and surroundings. Steps in three tests of
estimating bacteria in milk plate method, estimating with microscope, methylene
blue test.

Some Principles of Breeding Demonstrated with the Herediscope (USDA,
No. 278, si, 39 frames, lecture notes). Some basic information concerning funda-
mental laws of heredity. Use of the herediscope. Charts of proved sires, their
daughters' production and chart, succession of proved sires. Designed particularly
for extension workers. Should be used only in connection with demonstrations of
the herediscope.

Tables, Graphs, and Charts Relating to Dairy Production (Nasco, No. SF. 53,
si, 47 frames). Forty charts, graphs, or tables presenting information on various
phases of dairying. Some of the subjects included are comparative costs of produc-
ing 100 pounds of milk; relation of milk production to cost and profit; relation of
production and proportion of cows milked to returns; quantities of feed and labor
required to produce milk; income over cost of feed at various stages of produc-
tion; comparative production of purebred and grade cows; production of milk
and butter fat of different breeds; estimated value of good proved sires; milk
required to bring calves up to 150 pounds, nutritive value and digestibility of
various feeds; effects of fertilized pastures; normal growth in weight of dairy
cattle. Excellent source material for vocational agriculture instructors.
Winter Feeding of Dairy Cattle (Nasco, No. SF. 52, si, 96 frames). Nutrient
requirements, sources of nutrients, methods of estimating amounts of feed, meth-
ods of balancing the ration, supplying minerals and vitamins, water supply, prepa-
ration of feed. Stresses importance of proper feeding for high production at lower
feed cost per unit. Purposes for which cow uses feeds. Graphs showing increased
returns from better feeding. A complete and detailed story of proper feeding of
dairy cattle.

104 AGRICULTURE AND FORESTRY

HORSES

Care of Horse's Feet (USDA, No. 162, si, 37 frames, lecture notes). Importance
of correct care; effects of incorrect or improper care; details of proper care, includ-
ing correct trimming of hooves, removing uneven growths, rasping, proper
shoeing.

Horseshoeing (Castle, made by USOE, No. OE-458, si, manual). Designed for
use with motion picture of same title, but may be used separately for review pur-
poses or as discussion guide. Presents the following through questions and photo-
graphs: handling the horse; correct position for holding feet, preparing feet;
selecting, fitting, and nailing the shoes; taking off shoes; tightening old shoes.
Judging Draft Horses (USDA, No. 132, si, 58 frames, lecture notes). Breeds of
draft horses and how to observe main points in judging them. Typical score card
for judging illustrated. Methods of scoring on walk and trot. Includes drawing of
a horse with parts labeled, showing defects.

POULTRY PRODUCTION

Building Profit Pullets (Allied Mills, sd, about 30 min, loan). Describes steps in
poultry management to start and grow baby chicks into profitable pullets. Includes
data on importance of good stock, equipment needed for chicks, floor-space
requirements, estimating number of chicks to order on basis of laying-house
capacity; the brooder house sanitary measurements, location, temperature, feeds,
ventilation, feeding methods. Feeds for growing chicks and methods of feeding;
sanitation measures, use of outdoor feeding lots, housing pullets when first egg
is found; culling; preparing laying house for pullets. Major stress on feeding,
with some advertising for Wayne feeds since each feeding program recommended
indicates types of this brand. In addition to advertising, good general information
on poultry management.

Chicken Lice, Mites, and Other External Parasites (USDA, si, 49 frames, lec-
ture notes). Mites, their effect on chicken feathers and wings; dusting and dipping
control methods. Lice and other parasites, their effect on wings and feet; methods
of treatment and control.

Controlling Parasites of Chickens (USDA, si, 23 frames, lecture notes). The
following parasites and their location in chickens: roundworms, gapeworms, crop
worms, gizzard worms, common roundworm, tapeworm. Life cycle of round-
worm and tapeworm. Methods by which chickens become infested. Control pro-
cedures, with emphasis on sanitary equipment and surroundings.
Farm Poultry Raising (USDA, si, 41 frames). General survey of poultry raising,
including some standard breeds, factors affecting fertility and hatchability, equip-
ment and housing, feeding and sanitation.

ANIMAL HUSBANDRY

I0 5

Feeding for Egg Production (Nasco, No. SF. 71, si, 71 frames). Charts and
graphs indicating nutrient requirements, methods of estimating amount of feed
needed per bird, estimating amount needed for egg production, part of total
intake used for egg production. Sources of various nutrients indicated. Hen's

From filmstrip "Full Egg Baskets." (Allied Mills, Inc.)

needs for each type of food indicated. Methods of providing balanced ration.
Several sample rations included. Methods of feeding. Each section followed by
summary.

From Chicks to $$$ (Ralston-Purina, si, 99 frames, loan). Importance of select-
ing the right chicks, providing proper feed, and having a sanitation plan. Poultry-
management points, including brooder-house equipment and sanitation, proper
heating and ventilation, proper feeding. Types of feed and care in proper growing
plans. Considerable advertising, but some good general information on care of
poultry, particularly of chicks.

Full Egg Baskets (Allied Mills, sd, about 100 frames, 25 min, loan). Correct
layer management and the Wayne feeding program for layers and for hatching
eggs. Discusses laying house arrangement, sanitation, equipment, floor space,
and lighting. Indicates care of layers culling, ventilation, outdoor range, causes

IO6 AGRICULTURE AND FORESTRY

of fall mots. Feeding program in detail with reasons for use of different types of
feed. Considerable advertising for Wayne feeds, but good information on care of
laying flocks.

Grading and Packing Turkeys According to U. S. Standards (USDA, No.
574, si, 49 frames, lecture notes). Classification of turkeys by age and sex into
four classes; application of the four U. S. standard grades to each class. Informa-
tion concerning proper packing methods to retain grade value during shipment,
with examples of good and poor packs. "Preparing Turkeys for Market" and
"Turkey Marketing Today," described below, may be used with this strip for
more complete unit on turkey marketing.

Marketing of Eggs in the United States (USDA, No. 271, si, 52 frames,
lecture notes). Discusses eggs as half-billion dollar industry with New York as
leading egg market. Methods of transportation used; candling, weighing, grading,
packing, and storing methods. Explains four principal U. S. grades of eggs.
National Poultry Improvement Plan (USDA, No. 413, si, 4 frames, lecture
notes). Explanation of objectives of the plan; to improve breeding; to reduce
mortality; to develop uniform terminology. Methods by which flock owners can
participate in the plan; how flocks niay meet requirements of the three pullorum-
control classes, and the five progressive breeding stages.

Preparing Turkeys for Market (USDA, No. 571, si, 44 frames, lecture notes).
Information on preparation of turkeys, including inspection of live birds, handling
of live birds, proper dressing and equipment needed, steps in wrapping, cooling,
picking, packing, and shipping.

Production and Marketing of Quality Eggs (USDA, si, 45 frames, lecture
notes). Procedures in proper production and marketing eggs, including correct
gathering and cooling, packing, keeping eggs clean, packing methods, frequency
of delivery, necessity of confining rooster, handling by dealer, candling, grading,
selling in retail stores, care of eggs in the home. U. S. standard grades indicated.
Raising Baby Chicks (Ralston-Purina, si, 47 frames, loan). Points to consider
in buying good chicks, in getting ready for care of chicks, in planning feeding
program, in growing pullets to layers by either range or confinement method.
Stresses importance of proper feed. Considerable advertising of Purina products.
Information similar to that in "From Chicks to $$$" described above.
Selecting Hens for Egg Production (USDA, No. 126, si, 50 frames, lecture
notes). Examples of good and poor layers of various breeds. Methods of deter-
mining whether a hen is a layer or nonlayer. Points out how molting and
bleaching index egg production. Information on improvement of flock by
selecting and breeding.

ANIMAL HUSBANDRY 107

Standard Breeds of Poultry (USDA, No. 133, si, 47 frames, lecture notes).
Standard breeds, showing both male and female. Diagrams naming parts of
fowls. Ends with a few specimens of breeds of geese, ducks, and turkeys.
Successful Turkey Raising (Ralston-Purina, si, 49 frames, loan). Information
on price spread between grades of turkeys and the four important marketing
times for turkeys. Points in selecting poults, in selecting breeder, and in getting
disease control. Discusses equipment, housing, sanitation, and feeding. Adver-
tising for Purina products, but good general information on turkey-raising
methods.

Tables, Graphs, and Charts Relating to Poultry Production (Nasco, No.
SF. 70, si, 57 frames). More than fifty charts, graphs, and tables presenting
information on various phases of poultry raising. Some of the topics included
are equipment requirements; exterior and interior qualities of eggs; U. S. egg
standards; effects of temperature; relation of production to costs and profits;
calculation of cost of eggs and necessary selling price; characteristics of layers and
nonlayers; selection calendar; dressing percentages for different classes of poultry;
feed consumption; nutrient tables; rations. Excellent source material for
instructors in vocational agriculture.

Turkey Marketing Today (USDA, No. 575, si, 47 frames, lecture notes).
Contrasts old and modern marketing methods. Work done at government
grading schools, procedures in inspection, and various types of packing. Scenes
of New York markets and wholesale houses. Examples of advertisements for
graded turkeys. May be used with "Preparing Turkeys for Market" and "Grad-
ing and Packing Turkeys," described above, for more complete unit on turkey
marketing.

Waste Weasels (Allied Mills, sd, 15 min, loan). Discussion of methods of
eliminating wasteful practices in producing eggs, milk, and meat on the farm.
Radio lecturer steps from farmer's radio to survey his farm and locate wasteful
practices, called "waste weasels" in the strip. Types of waste: in feed-storage
shed; in dairy barn; in poultry feeding and watering; in hog feeding. Emphasis
on having good, properly bred animals and birds to begin with. Growth goals
indicated. Stresses need to reduce mortality and indicates methods. Only adver-
tising is one feed trough labeled "Wayne Feeds."

Retail Marketing of Live Poultry in New York City (USDA, No. 250, si,
39 frames, lecture notes). Information concerning amount of poultry sold daily
and annually, methods of transportation to city, care in transit, inspection,
weighing, and kosher-slaughtering methods. Scenes of several markets; work
of poultry pullers; retail markets. Very general data; photographs tend to be
dark and show little detail.

108 AGRICULTURE AND FORESTRY

SHEEP AND WOOL

Breeds of Sheep (USD A, No. 141, si, 56 frames, lecture notes). Photographs
of typical examples of several breeds of sheep and their classification on basis of
fine, medium, coarse, and Karakul wool.

Preparation of Wool for Market (USDA, No. 275, si, 43 frames, lecture
notes). Methods of shearing according to size of flock; approved twines and how
fleeces should be tied. Government forms of wool-grade standards. Stresses
importance of keeping wool clean and attractive, using clean sacks for shipment.
Shearing Sheep (Univ. 111., si, 65 frames). Complete outline of shearing
methods. Preparing to shear details of arrangement of equipment and shearing
area. Preparation of the sheep; proper position of sheep. Shearing procedures
spacing, sequence of strokes, position of shearer's feet, order in which sections
should be sheared, appearance of properly shorn sheep. Step-by-step procedure
for tying the fleece. Review and emphasis of important points. Very good factual
presentation of shearing methods for agricultural courses or adult groups. To be
of greatest value might be used with a demonstration or with practice shearing.
Sheep and Wool (Stillfilm, si, 30 frames). General survey of industry, includ-
ing the following: uses of sheep products; wild sheep and their habitat; mutton
and wool types of domestic breeds and characteristics of each; need for cleanliness
in care of sheep; dipping; types of wool breeds; shearing; sorting of wool; ship-
ment to factories. Mainly concerned with the wool breeds and wool production.
Suitable for upper elementary or junior high school classes.
Sheep Shearing (Castle, made by USOE, No. OE-456, si, manual). Designed
for use with motion picture of same title, but may be used separately for review
purposes or as discussion guide. The following are presented through photographs
and questions: handling sheep for shearing; positions of shearer and sheep
during shearing; step-by-step procedure; method of rolling and tying fleece;
types of shearing equipment.

SWINE PRODUCTION

Breeds of Swine (USDA, No. 44, si, 34 frames, lecture notes). Several types
and breeds of swine commonly used in market hog production in the United
States. Lard and bacon types compared.

Hog Houses and Equipment (USDA, No. 53, si, 28 frames, lecture notes).
Illustrations of farrowing houses; arrangements of A-type and box-type houses;
general hog shelter. Examples of equipment, including loading chutes, feeders,
dipping vat, waterer, breeding crate, concrete wallow and hurdle. Some informa-
tion on construction.

ANIMAL HUSBANDRY

I0 9

Pig Can't Shoot (USDA, No. 627, si, 61 frames, lecture notes). General outline
of swine production, stressing certain points to be observed for increased produc-
tion. Covers breeding, sanitation, feed, pasturage, shelter, and marketing
information. Aimed at increased production to meet wartime needs. Much infor-
mation of value to classes studying swine production in spite of its definite
emphasis on wartime production.

Selecting and Judging Breeding Hogs (USDA, No. 142, si, 29 frames, lecture
notes). Points to be observed in scoring various parts of the two types of hogs
(lard and bacon types). Illustrates both good and bad points of each type.
Sow to Pig to Packer (Ralston-Purina, si, 63 frames, loan). Summary of
important points in swine management, emphasizing need of planning, common
sense, hard work, proper care, and good program. Outlines the Purina program
of swine management from breeding to fattening for market, including data on
housing, equipment, proper sanitation, keeping of records, vaccination, worming,
and feeding requirements. Contains advertising, but good information on swine
management.

Tables, Graphs, and Charts Relating to Swine Production (Nasco, No.
SF. 62, si, 36 frames). More than thirty charts, graphs, and tables on various
phases of swine production. Some of the topics included are causes of pig losses
from farrowing to weaning; nutrient requirements; feeding methods and rations;
pasture; crossbreeding; survival ability of purebred and crossbred pigs; weaning
weights; average daily gains. Good reference material for instructors in voca-
tional agriculture.

DISEASES AND INSECT PESTS

Brucellosis of Cattle (Bang's Disease) (USDA, No. 632, si, 47 frames). History
of the spread of this disease; beginnings of Federal and state control; discovery
of organism by Bang. Symptoms and causes of the disease outlined and illus-
trated. Methods of testing and control methods indicated.
Cattle Grubs or Heel Flies (USDA, No. 637, si, 32 frames, lecture notes).
Seasonal and life cycles; methods of attack on cattle and their defenses. Maps
showing distribution of cattle grubs in United States. Control methods for
farm and range herds.

Control External Parasites of Swine (Nasco, No. SF. 61, si, 43 frames).
Definition of external parasites and how they lower hog profits. Damage caused
by lice and mange mites. Life cycles, appearance, prevention methods, treatment,
and precautions. Practical information for agriculture classes and adult groups.

110 AGRICULTURE AND FORESTRY

Control Mastitis of Dairy Cattle (Nasco, No. SF, 50, si, 51 frames). Explana-
tion of mastitis, milk losses caused, effect on human health. Prevention by good
management practices presented in detail. Diagnosis of mastitis; barn tests and
laboratory tests; treatment. Detailed information including technical data on
mastitis. Suitable for advanced agricultural courses and veterinary training.
Control Round worms of Hogs (Nasco, No. SF. 60, si, 63 frames). Reasons
for practicing swine sanitation. Life cycle of roundworm shown in detail. Control
methods. How roundworms cause damage. Results of swine sanitation programs.
Control Stomach and Nodular Worms of Sheep (Nasco, No. SF. 130, si, 49
frames). Reasons for control; effects of worm infestation. Life cycle and sources
of infestation. Control methods and treatments. Use of phenothiazine. Details of
control program; importance of good pasture management. Effects of proper
treatment on infested sheep.

Eradicating Tuberculosis from Livestock and Poultry (USDA, No. 515,
si, 35 frames, lecture notes). Types of tubercle bacilli that cause disease in
farm animals; examples of animals that are tuberculin tested; effects of the
disease and prevention methods.

Hog Cholera Control (USDA, si, 38 frames, lecture notes). Losses due to
cholera; chart of cholera symptoms; effects on animal's internal organs. Equip-
ment and methods for inoculation and serum treatments. Prevention methods
with emphasis on clean surroundings and proper sanitation.
Horse Bots and How to Fight Them (USDA, No. 405, si, 37 frames, lecture
notes). Life cycles of the three types of bots common, throat, and nose. Attack
on horses and animals' methods of defense. Illustrations of effect of bots. Devices
for protecting horses from the flies and methods of hot control through com-
munity action.

Mineral Hunger in Livestock (Nat'l Fertilizer Assoc., si, 55 frames, Pamphlet
129 available, loan). Needs of livestock for minerals; causes of mineral deficiency.
Photographs of animals with marked deficiency. Symptoms, disease, and effects
of deficiency. Experiments in supplying minerals through fertilized pastures and
feeds. Importance of salt.

Roundworms and Swine Sanitation (USDA, si, 31 frames, lecture notes).
Unsanitary lots as breeding places for roundworms. Route of worm through
hog's body illustrated. Symptoms and effects. Sanitary measures for roundworm
control.

Trichinosis, a Disease Easily Prevented (USDA, No. 573, si, 30 frames,
lecture notes). Stages of the parasite; causes of the disease; its spread and
methods of prevention. Stresses importance of understanding of trichinosis for
human health and necessity for proper cooking of pork and pork products.

CROPS HI

CROPS
Field, Garden, and Orchard

FIELD CROPS

Cane Sugar (Stillfilm, No. A-4, si, 24 framed). General information on raising

of sugar cane, mainly in Cuba and Java; processes in sugar mills. Very general

survey suitable for upper elementary grades.

Conditioning and Cleaning Seed Cotton (USDA, No. 512, si, 61 frames,

lecture notes). Drawings and photographs showing methods of drying and

types of cleaning equipment. Stresses importance of proper picking and drying

to maintain value.

Corn (Stillfilm, No. A-8, si, 32 frames). General survey of corn industry in the

United States. Includes type of plant, climate requirements, varieties, seed-corn

testing methods, soil preparation and harvesting, uses as fodder and in silage.

Suitable for elementary grades; provides general information.

Cotton (Stillfilm, si, 30 frames). General survey of cotton industry; map of

world producing areas. Includes soil preparation, growth of plant, cultivation,

picking, baling and ginning, varieties raised in the United States, use of cotton

seed. Suitable for upper elementary grades, general information only.

Cotton Classing and Market News Services (USDA, No. 610, si, 42 frames,

lecture notes). Brief summary of marketing methods prior to standard cotton

classification. Explains values of modern classing and market services. Outlines

proper method of sampling bales and packing samples for shipment, followed

by views of expert classers grading samples. Use of cotton-classing report by

farmer. Market news available from gins and its assistance to farmers.

Determining Fertilizer Needs from Soil Tests (Nasco, No. SF. 101, si, 95

frames, double-frame). Indicates in detail reading of soil tests and interpretation

of test results determining amount of limestone, rock, phosphate, nitrate of

potash, potassium, and time of application. Estimating amount of increase when

applications are made, indicating estimates of percentage yields in terms of crop

yields. Many field maps and tables; practical problems for student solution.

Excellent source material for laboratory test application.

Equipment and Practices that Reduce Hay Costs on Hay Farms (USDA,

No. 60 1, si, 64 frames, lecture notes). Stresses need to cut production costs,

indicating efficient practices and equipment to bring down costs and maintain

high quality of hay where a large crop is grown. Recommendations made for

each step in hay production.

Equipment and Practices that Reduce Hay Making Costs on Small Farms

112

AGRICULTURE AND FORESTRY

(USD A, No. 602, si, 46 frames, lecture notes). Improved practices and equip-
ment recommended for use in hay production on small farms. Suggests use of
horsepower rather than tractors or power equipment.

Gins and Ginning (USD A, No. 513, si, 55 frames, lecture notes). Outline of
progressive improvements in ginning devices from primitive to modern. Indi-
cates methods used in modern ginning and how these methods affect value of the
lint.

From filmstrip "Putting Plant Food to Work." (National Fertilizer Association.}

Green Acres (Nat'l Fertilizer Assoc., si, 49 frames, Pamphlet 118 available,
loan). Stresses importance of pasture in stock feeding and needs for pasture
improvement. Experiments in pasture improvement and their results, comparing
fertilized and unfertilized pastures. Indicates increase of milk and meat produc-
tion, more feeds, surplus for hay or silage and prevention of soil erosion as
results of improved pastures. Shows procedures for fertilizing. Discusses sup-
plementary pastures, dangers of over- or undergrazing. Good information con-
cerning fertilizing methods and needs for adult groups or agricultural courses.
Captioned photographs with some text frames.

Hay Quality: Relation to Production Practices and Feed Value (USDA,
No. 498, si, 56 frames, lecture notes). Stresses importance of hay quality in
economical production of livestock and livestock products. Shows various steps

CROPS 113

in proper production, handling, and storage of hay. Chart indicates amount of
hay required for feeding purposes.

Methods of Selfing and Crossing Corn (Nasco, No. SF. 90, si, 51 frames,
double-frame). Reproduction habits of corn explained. Cross-pollination and
self-pollination explained. Flowering parts and order of blooming. Controlling
pollination; procedures in bagging and pollination. Definition and procedures
for selfing, interplant pollination, composite pollination, large-scale crossing,
making single and double crosses. Excellent factual material on pollination
control methods, suitable for advanced agricultural courses. May interest botany
courses as supplementary material. Considerable text.

Oregon Flax (Stillfilm, No. G-I09, si, 30 frames). Flax-raising industry of
Willamette Valley; map of area. Includes type of flax, fieldworkers, use of
machines, the fields, harvesting processes, extent of crop raised, threshing, retting,
fiber-processing plant, linen mill, uses of seed. General survey suitable for use
in elementary grades as supplementary material.

Pasture Improvement (Nasco, No. SF. 80, si, 57 frames, double-frame). Opens
with reasons for pasture-improvement programs. Five steps in pasture improve-
ment presented in detail; testing and treating the soil; preparation of seedbed;
reseeding; controlling grazing; clipping weeds. Purposes of each step. Types of
test; material used in treatment of soil; types of seed and methods of seeding.
Considerable text, but good, practical data on improvement methods and needs.
Production of Alfalfa East of the 95th Meridian (USDA, No. 20, si, 56
frames, lecture notes). Procedures in production of alfalfa hay and alfalfa seed,
indicating also effect of lime, phosphate, and manure; methods of inoculation
and formula for neutralizing soil acidity. Discusses values of alfalfa both as feed
and as replacement crop.

Putting Plantfood to Work (Nat'l Fertilizer Assoc., si, 50 frames, Pamphlet
131 available, loan). Development of fertilizer application methods, including
hand application and several types of machines. Study and experiments conducted
in proper application methods. Results of experiments. Effect of contact of
fertilizer and plant seed; proper placement in relation to seed for several types
of crops. Available in two editions one for Northern states or areas and one
for Southern.

Red-Clover Production (USDA, No. 383, si, 30 frames, lecture notes). The
main causes of clover failures, indicating remedy through proper rotation, suitable
soil, proper seedbed, control of fungus disease, control of insects, proper cutting
and drying of hay, adapted seed, several standard varieties.
Testing Soils for Acidity, Phosphorus and Potassium (Nasco, No. SF. 100,
si, 60 frames, double-frame). Shows methods of collecting and preparing soil

114 AGRICULTURE AND FORESTRY

samples for testing and of testing for acidity, for phosphorus, and for potassium
according to approved Illinois method. Step-by-step procedures and equipment
required for each type of testing. Each section ends with brief test review.
Designed for use in conjunction with laboratory exercises; recommends that
students perform tests as film is shown or immediately following pertinent
sequence. Presents procedure clearly and indicates methods of reading the tests.
May be followed by filmstrip "Determining Fertilizer Needs From Soil Tests,"
described above.

Treat Seed Grain (USD A, No. 459, si, 55 frames, lecture notes). Diseases of
cereal seeds and how they are spread, indicating methods of prevention by
cleaning and treating of seed grain. Includes diseases that affect wheat, oats,
barley, sorghum, and corn.

Using Superphosphate with Manure (Nat'l Fertilizer Assoc., si, 44 frames,
Pamphlet 132 available, loan). Importance of saving and utilizing farm manures;
methods of adding superphosphate to manure; increased fertilizing value for
crops and pastures. Includes charts showing plant-food content of manures,
pointing out that manure is not always a balanced fertilizer. Although this strip
urges use of superphosphate and commercial fertilizers, it contains good material
for agricultural classes.

Wheat (Stillfilm, No. A-j, si, 28 frames). General survey of wheat raising in
United States, including climate requirements, areas where raised, varieties and
cross-breeding; planting, harvesting, and threshing. Some data on primitive
methods mentioned in text frames. Indicates uses of wheat. Suitable for ele-
mentary grades.

FRUITS AND VEGETABLES

Apples (Stillfilm, No. A-I3, si, 30 frames). General survey of apple industry:
economic value in temperate regions; data re trees, appearance and type; grafting
methods; starting an apple orchard; pruning; cover crops; thinning; tree diseases;
worm prevention; popular market varieties. Some good material on apple-orchard
production. Suitable for use in upper elementary grades or junior high school.
Back-yard Vegetable Garden (USDA, No. 657, si, 60 frames, lecture notes).
Processes in growing vegtables in small plot, including selecting site, planning gar-
den, preparation of ground, planting, thinning, staking, cultivating, irrigating,
and succession cropping. Information on making compost.

Citrus Fruits (Stillfilm, No. A-io, si, 32 frames). Survey of citrus industry,
including origin of citrus trees; most commonly marketed fruits; description
and photographs of fruits, groves, and blossoms; climate and soil requirements;

CROPS

frost and insect protection; packing houses. Suitable for use in elementary
grades.

The Farm Garden (USDA, si, 68 frames). Activities required in gardening
from soil preparation and cold frames to harvesting, storage, and preservation.
Gardening Cartoons (USDA, No. 633, si, 16 double frames, copy of Con-
sumer's Guide). A series of 12 cartoons from the Mar. i, 1942, issue of

From filmstrip "Backyard Vegetable Garden." (Agricultural Research Administration, USDA.

Photo by W. ]. Mead.}

Consumer s Guide, presents the following "don'ts" for gardeners: Don't start
what you can't finish; don't waste good seed on bad soil; don't work ground
too soon; don't run rows up and down hill; don't use too much seed; don't plant
too much of anything; don't let pole beans black out the beets; don't wield too
heavy a hoe; don't spare the water; don't let the weed crop win; don't let the
bugs beat you to it; don't let anything go to waste. Also suitable for elementary
or junior high school classes interested in gardening projects. Frames must be
projected horizontally, instead of usual vertical position.

Gardening for Victory (USDA, No. 634 and 635, si, Part I, 42 frames, Part
II, 56 frames, lecture notes). Part I, "Planning and Planting the Farm Garden,"
shows a farm family working on a Victory garden. Work involved in planning,
preparing potatoes for seed, plowing, use of cold frames, planting, and trans-

Il6 AGRICULTURE AND FORESTRY

planting. Part II, "The Farm Garden Brings Results," shows the children of
the family tending the garden, using hand cultivator, treating for insect pests,
and weeding. Last sequences show scenes of harvesting, canning and storage,
with close-ups of various vegetables with food content of each indicated. Designed
specifically for the wartime gardening program, but includes material applicable
to all gardening. More suitable for elementary and junior high school classes
than for advanced agricultural courses.

Grafting and Budding Fruit Trees (USDA, No. 197, si, 34 frames, lecture
notes). Photographs and drawings of the whip graft, cleft graft, and budding
methods. Shows tools used for grafting and budding. Should be followed by
actual demonstration or practice.

Grapes and Raisins (Stillfilm, No. A-I4, si, 30 frames). General information
concerning raising of grapes and preparation of raisins. Includes climate and
soil requirements, average crop yields, and uses of grapes. Suitable for elementary
grades.

Home-grown Plants for Transplanting (USDA, No. 656, si, 37 frames,
lecture notes). Step-by-step operations and tricks of process of growing plants
for setting out. Indicates advantages of growing own plants. Designed for
Victory garden program but usable in any classes interested in this process.
Making a Vegetable Garden (Stillfilm, No. N-3i, si, 30 frames). Views of
children preparing and working in a school garden. Includes planning, clearing
the plot, preparing soil, planting, and weeding. Lengthy text frames. May interest
primary and lower elementary grades planning to start a school garden. No
technical information included.

The New Gardener (USDA, No. 641, si, 48 frames, lecture notes). Outline
for beginners of the main steps in gardening, including soil preparation, planting
methods, transplanting, weeding, staking, and harvesting. Examples of good
vegetable varieties. More suitable for school groups interested in gardening proj-
ects than for advanced agricultural courses.

Pedigreed Potatoes (Eye Gate, si, 45 frames). Scenes of activities and opera-
tions in raising potatoes on a ranch near Carbondale, Colorado. Includes
inspection and treatment of seed potatoes, planting, cultivation, irrigation,
harvesting with machines and by hand, sacking, and storage. Stresses importance
of proper seed selection. Photographs include many long shots that do not show
the operation clearly.

Propagation of Trees and Shrubs by Vegetative Means (USDA, No. 600,
si, 47 frames, lecture notes). Indicates need of vegetative propagation to ensure
true perpetuation. Proper use of stolons, layers, cuttings, grafts, buds, sprouts,

CROP DISEASES AND INSECT PESTS 117

and rootstocks demonstrated. Equipment used and step-by-step processes in
whip and tongue graft, cleft graft, and budding.

Soil Erosion and Its Control in Orchards (USDA, No. 611, si, 37 frames,
lecture notes). Indicates causes of orchard erosion by gullying and by drifting
soil. Methods of controlling such erosion by gully treatment, terracing, strip
cropping, straw mulching, contour planting, use of cover crops, and shelter belt.
Stone Fruits (Stillfilm, No. A-I2, si, 30 frames). Part I deals with peach
growing, including soil and climate, varieties, spraying, frost dangers, drying
methods. Part II shows views of trees, orchards, and work with other fruits
such as apricot, cherries, plums. Some data on marketing. Suitable for elementary
grades as supplementary material only.

See also the following titles in the Economic and Industrial Geography section
for supplementary, illustrative, and related material:

Desert Harvest

Growing and Marketing Fruit

Vegetable Growing for City Markets

Production of Tomatoes and Tomato Products

CROP DISEASES AND INSECT PESTS

Barberries in Grain Areas; Their Spread, Damage, and Eradication
(USDA, No. 564, si, 40 frames, lecture notes). Charts of spread of black stem
rust from 1876 to present. Evidences of the rust; the life cycle, effects on yield
and quality of grain. Eradication methods employed by trained crews demon-
strated.

Chinch Bugs and How They Are Controlled (USDA, No. 551, si, 34 frames,
lecture notes). Photographs and drawings showing life stages of the insect, its
yearly cycle, indications of where bug may be found in different seasons, plants
on which it feeds, damage done to crops. Control methods and equipment
demonstrated.

Cotton Flea Hopper and Its Control (USDA, No. 584, si, 43 frames, lecture
notes). Life stages of flea hopper, native plants on which it feeds, damage done
to cotton crop, methods of control, and types of dusting equipment in use.
Diseases of Cabbage and Related Crops (USDA, No. 406, si, 51 frames,
lecture notes). Indicates diseases that injure cabbage and related crops, showing
causes and effects of these diseases and methods of control. Includes blackleg,

Il8 AGRICULTURE AND FORESTRY

black rot, alternaria leaf spot, clubroot, wire stem, bottom rot, sclerotinia rot,
downy mildew, bacterial leaf spot, tipburn, oedema.

European Corn Borer and Its Control (USDA, No. 589, si, 50 frames, lecture
notes). Map of corn-borer infestation in United States. Life stages of insect;
damages it causes. Demonstrations of control by natural enemies, by spraying
and dusting, by clean harvesting and disposal of field refuse.

From filmstrip "European Corn Borer and Its Control." (Bureau of Entomology and Plant

Quarantine, USD A.)

The Farmers 7 Allies and Pests (Eye Gate, si, 70 frames). Photographs of
various insects: ladybird, life cycle and effect on green fly pest; the Pieris
grassicae; wasps, mason bees, and mud-dauber bees. More suitable for ele-
mentary nature study than for agricultural courses.

Grasshoppers and Their Control (USDA, No. 360, si, 39 frames, lecture
notes). Examples of different varieties including migratory, clear-winged, two-
striped, red-legged, and Carolina grasshoppers. Indicates stages of their incom-
plete life cycle and damage done. Control by natural enemies and prepared bait
discussed.

The Hessian Fly and Its Control (USDA, No. 407, si, 35 frames, lecture
notes). Distribution of the fly in the United States, its life cycle, location during
each month of the year, habits, and damages caused. Indicates control methods.

CROP DISEASES AND INSECT PESTS

Insect Pests of Garden Vegetables and Their Control (USDA, No. 503,
si, 6 1 frames, lecture notes). Life stages and plant injury of common insects of
two general types as classified by mouth parts (biting-mouth and sucking-mouth
types). Control methods by burning refuse; spraying and dusting demonstrated.
Larger Barley Profits through Scab and Blight Control (USDA, No. 355,
si, 65 frames, lecture notes). Charts indicating barley production and use in the
United States. Damage caused by blights. Effect of feeding blighted grain to
livestock. Life history of causative fungi and methods of control.
Nature of Plant Diseases (USDA, No. 165, si, 46 frames, lecture notes).
Structure and development of fungi; how fungus plants cause diseases of various
parts of cultivated plants. Methods for control of fungi.

The Pea Aphid: Its Importance, Habits, Enemies, and Control (USDA,
No. 521, si, 44 frames, lecture notes). Maps showing acreage of canning,
dry and market peas, indicating extent of pea aphid as hazard in this industry.
Life cycle of pea aphid and damage done to plants. Control by natural enemies,
dusting, spraying, and fumigation.

FARM BUILDINGS AND EQUIPMENT

Bringing an Old Wisconsin Farmhouse Up to Date (USDA, No. 354, si,
42 frames, lecture notes). Remodeling of an old timber house as done by its
owners using lumber from their own woods. Inconveniences of original building;
plans for remodeling; work done, including addition of three rooms and cellar,
new front entrance, roof repair, finishing outside walls, interior remodeling.
Outline of costs given. Strip produced in 1935.

Convenient Storage Spaces, a Joy to the Farm Family (USDA, No. 408,
si, 60 frames, lecture notes). Needs of farm family for adequate storage space.
Diagrams of various storage spaces such as closets portable, chore clothes, linen,
bathroom, sewing room, and cleaning. Kitchen-equipment storage, food storage,
dining and living-room storage, bookcases, outdoor storage. Ends with floor
plan of house well equipped with storage space. May also interest manual
training classes.

Electric Power Serves the Farm (USDA, No. REA-2, si, 53 frames, lecture
notes). Illustrates some of the uses of electricity on the farm: running water;
irrigation; cattle watering; fire precaution and fighting; lighting, ironing, refrig-
eration, cooking, laundering, cleaning; uses for lighting barn and other structures,
running various machines, and in farm repair work. General survey of uses of
electricity with no technical information on methods.

Farm Water Supply (USDA, No. 104, si, 46 frames, lecture notes). Opens
with diagrams of water cycle and list of sources o farm water. Methods by

120 AGRICULTURE AND FORESTRY

which wells and surface water sources may become polluted. Information on
proper well protection and location; construction of springhouses; methods of
getting running water. Lists conveniences of running water on the farm. Cutaway
diagram shows entire water system for the farmhouse.

Highlights on Farm Lighting (USDA, No. REA-8, si, 51 frames, lecture
notes). Examples of good lighting in farm homes and buildings compared with
inadequate or improper lighting, stressing necessity for having enough convenient
outlets and switches. No technical information on wiring or installations.
Repainting a Frame Building (Castle, made by USOE, No. OE 460, si,
manual). Designed for use with motion picture of same title, but may be used
separately for review purposes or as discussion guide. Questions on important
points in repainting of frame buildings: determining repairs needed before
painting; estimating amount of paint; preparing building; setting up staging;
preparing paints; applying prime and second coats; care of brushes, paint, and
equipment.

Running Water for the Farm (USDA, No. REA-6, si, 41 frames, lecture
notes). Inconveniences on farms without running water. Electrification as means
of providing running water. Benefits and conveniences of runing water: fire
protection; home conveniences; economic benefits such as cooling of dairy prod-
ucts, watering and cleaning cattle, irrigation; use of running water in such com-
munity activities as school, lunchroom, or poultry plant.

Rural Electrification (ACE, No. 29, si, 44 frames, lecture notes). The needs
for electricity on farms; provision of electrification; many uses and advantages.
Sources of inexpensive electricity, such as windmills and dam projects.
Use of Logs in Farm Buildings (USDA, No. 648, si, 50 frames, lecture notes).
Use of logs in building construction on the farm; need for careful chinking;
photographs of structures built of logs to illustrate helpful suggestions on use
of logs.

Wired Hands for the Farm (GE, sd, 60 frames, loan). Old inconveniences of
farm compared with conveniences of modern, electrified farm, showing many
types of electric equipment for use in home, in dairying, in truck or fruit growing.
Merely indicates advantages of rural electrification and electric equipment; no
technical information on installations.

Wiring for the Farm (GE, sd, 65 frames, loan). Farmer talking with contractor
gets information on wiring. Indicates where the wires go from source and
generating station to farm transformer. Compares wire with water pipe. Shows
types of fuses, surface breakers, circuit breakers, fuse panels, switches, meter,
fixtures, outlets, types of wires, conduits, and cables. Stresses need to select

FARM MACHINERY 121

reliable contractor, get good quality materials, and do complete wiring job at
the start. .

Wiring Wisdom (USD A, No. REA-7, si, 55 frames, lecture notes). Designed to
show the need for adequate wiring of the right kind for farmhouses and build-
ings. Wiring diagrams compare adequate and inadequate wiring. Some locations
for switches and outlets for convenience. Points out need for special wiring for
heavy-duty purposes.

See also

Electrical Wiring
Use of the Square

FARM MACHINERY

The Blade of Fame (Case, sd, about 40 min). A history of the development of
the steel plow. Begins with Leonard Andrus's search for a place in which to
settle and develop a prosperous community selection of Grand Detour. Prob-
lems of settlement; development of community associations for improvement.
Need for better plows. Work of Andrus and John Deere in developing steel
moldboard plow. History of development of this plow, its improvements, and
development of factory making the plows up to Centennial plow of 1937, ending
with sequence giving advantages of this particular plow model. Although this
strip is somewhat outdated, the history of plow development remains constant
and may be of interest as supplementary material.

Care and Repair of Farm Machinery (USDA, No. 628, si, 48 frames).
Series of illustrated charts concerning machinery care and repair including
adjustment of guard parts, knife holders, wiring plates, lifting springs, bevel
gears, wheels, hitch, tractor drawbar, alignment of mower bar and bar lead, re-
moval of knife sections, wristpin replacement, flywheel replacement, and preven-
tive maintenance. Each frame contains considerable information. Useful for ref-
erence but too much material for use as a whole in one class session.
Ed Harvey and His Tractor (Case, sd, 41 min, loan). The story of Ed Harvey,
a farmer, who has just purchased a J. I. Case tractor, and the instructions given
him by the tractor dealer. Information on use of instruction book; daily, weekly, and
monthly checkup procedures; 2-year checkup in detail showing disassembly, adjust-
ment, and assembly of parts. Although this strip deals with a J. I. Case tractor
model not now manufactured, it may be of interest in discussions of methods of
tractor maintenance. The film is very long and contains considerable advertising.

122

AGRICULTURE AND FORESTRY

Farm Work Equipment Maintenance Series (Castle, made by USOE, 6
films, si, manuals). Designed for use with the motion pictures of the same
titles, but they may he used separately for review purposes or as discussion
guides. Views of various operations with questions for class participation or

From filmstrip "The Blade of Fame." (/. 7. Case Co.)

testing. Individual titles, with brief description of work covered by photographs

and questions, follow.

Reconditioning a Mower, Part I, Cutter Bar (No. OE 194). Checking,
reconditioning, and repairing cutter-bar mechanism; removing, replacing worn
sections in sickle; sharpening sickle sections; repairing, sharpening, replacing,
and straightening guard unit; replacing and adjusting knife clips and wearing
plates; aligning ledger plates, cutter bar, and sickle.

Reconditioning a Mower, Part II, Drive System (No. OE 195). Remov-
ing wheel assembly; cleaning and lubricating parts; replacing worn pawls
and springs; removing worn drive-shaft bearings and installing new bearings;
removing, cleaning, and inspecting gear parts; replacing worn parts and
reassembly of gears; lubrication.

FARM MACHINERY 123

Reconditioning a Two-Bottom Tractor Plow (No. OE 196). Checking,
repairing, and maintaining two-bottom tractor plow, including wheel assem-
blies, power-lift assembly, plowshares, coulter, painting, checking, and adjust-
ing furrow wheels in the field.

Reconditioning a Grain Drill (No. OE 197). Inspecting and cleaning grain
drill; cleaning and lubricating fertilizer and seeding mechanism; inspection
of seeding tubes, clutch, and driving mechanism; adjusting pressure springs;
repair of disk-furrower openers, drive chains, and pawl assembly; calibrating
the seeding mechanism.

Reconditioning a Cultivator (No. OE 453). Checking and replacing worn
wheel boxing; lubrication; inspection and adjustment of yoke; checking and
replacing evener parts and shovels; checking and lubricating gang expansion
and steering assemblies.

Care of a Tractor (No. OE 454). Day-by-day operating care; importance of
periodic inspections; operations in checkups; proper care of tires; adequate
lubrication.

Farm Work Forging Series (Castle, made by USOE, 3 filmstrips, si, manuals).
Designed for use in conjunction with motion pictures of the same titles, but may
be used independently, particularly for review purposes or as discussion guides.
The filmstrips review information presented in the motion pictures, using photo-
graphs with question captions and some summary of important points. Individual
titles are listed below with brief indication of subject matter reviewed.

Forging with a Hand Forge (No. OE 191). Cleaning tuyere and building
an open fire in a forge; maintaining fire and coking the coal; layout and
marking of stock; heating mild steel for forging; forging an eye.
Forge Welding (No. OE 192). Maintaining clean, deep, hot fire; heating
mild steel for forging; how to upset and scarf round stock; making a lap weld;
shaping and hammer refining the weld.

Forge Hardening and Tempering Farm Tools (No. OE 193). Heat-
ing carbon-steel tools for forge sharpening; sharpening procedures; harden-
ing and tempering plowshare and cultivator shovel; identifying tempering
colors.

History and Development of Agricultural Implements and Machines
(USD A, No. 335, si, 54 frames, lecture notes). History and development of agricul-
tural machinery from before 1850 to early 1900'$, indicating three eras of human
power, animal power, and mechanical power. Changes and developments in
plows, planters, seeders, cultivators, harvesting, and threshing machinery.
More from Your Mower (Case, sd, about 20 min, 91 frames). Information on
mowers, mower maintenance, use, and trouble shooting. Opens with statement of

124 AGRICULTURE AND FORESTRY

importance of mowers in farming and factors in a good mowing job. Parts of a
Case mower discussed in detail, showing how each contributes to proper mowing.
Complete procedures for slack season checkup indicating methods of checking,
aligning, tightening, and lubricating, and recognizing replacements required. Pre-
sents points for haying time: need to begin early, as soon as dew is dry; amount
to cut daily; cutting for ease in raking; field checking and maintenance; tractor-
engine speeds; safety precautions. Trouble-shooting section indicates possible
causes of pulling too hard, ragged cutting, excessive vibration, uneven swathes,
excessive side draft. Special equipment for special mowing jobs indicated. One
sequence stresses selling points of the Case mower, although the name of the com-
pany is not mentioned. Machine parts are well shown with many close-ups; views
of actual haying operations employ many medium shots where close-ups might
have been more clear. Maintenance procedures may be helpful in vocational agri-
culture shop classes or for adult groups.

See also the Farm Machinery group (Salesmanship) and Common Types of
Fractional Horsepower Motors for supplementary or related material.

FORESTRY

Arbor Day (SVE, 31 frames, si, manual). Photographs with brief captions show
the following: individual trees, trees on streets, around homes, in parks; the three
major parts of a tree; cross section of trunk showing rings; effect of growth in
forest or individually; uses of lumber; proper logging; fire precautions; nurseries
for reseeding. Stress on trees for beauty, comfort, and protection. Title misleading
as strip gives no information about Arbor Day itself. Very general information
about trees. May interest elementary grades for use prior to Arbor Day ob-
servances.

Chestnut Blight (USDA, No. 199, si, 47 frames, lecture notes). Outlines the his-
tory of chestnut blight from its introduction into the United States until 1940,
describing symptoms and causal fungus and extent of damage. Work of the U. S.
Bureau of Plant Industry in its attempts to establish blight-resistant chestnut trees.
Some indication of control methods.

Community Forests, a Local Asset (USDA, No. 604, si, 78 frames, lecture
notes). Summarizes the values of a community forest, including profit, employ-
ment, and recreation.

European Timber Trees: Selected Types and Their Characteristics (Filmette,
No. 55, si, 55 frames, guide). Photographs of forests and individual trees, with
close-ups of foliage, trunks, and some cross sections of typical European timber

FORESTRY 125

trees. Strip contains no captions nor text; the one-page guide provides information
and identification. Suitable for use in upper elementary or high school forestry or
botany classes. May interest college classes as supplementary material. Since the
strip carries no text material, the information can be adjusted to class levels or
requirements easily; also the uncaptioned photographs can be utilized for identifi-
cation test material.

From filmstrip "Community Forests A Local Asset." (U. S. Forest Service.)

Facts about Our Forests (SVE, 3 parts, si, manuals). General information con-
cerning the forests of the United States, location of different types, forest prod-
ucts, and conservation. Suitable for elementary or junior high school classes.
Individual titles listed below. No descriptions are included since the titles are
self-explanatory.

Part I Forest Types of Eastern United States

Part II Forest Types of Western United States

Part III Products and Conservation

Famous Trees in the United States (USD A, No. 507, si, 79 frames, lecture
notes). Photographs of trees that commemorate events in history and life, includ-
ing those notable for size, age, or unusual form and trees planted by early national
leaders. Supplementary material for elementary grades.

The Farm and the Farm Woods (USD A, No. 662, si, 47 frames, lectures notes).
Survey of values of farm woodlands, including home use for fence posts, heating,

126 AGRICULTURE AND FORESTRY

and lumber; crops such as logs, turpentine, and lumber products. Some points of
proper care and management.

Farm Forestry Extension in the United States (USDA, No. 393, si, 69 frames,
lecture notes). Survey of work by state extension foresters and county agents in
promoting proper care of farm woodlands. Illustrates benefits* of such woodlands,
including erosion control, shelter belts, windbreaks, wood for home use and for
cash crops.

Farm Forestry in the South (USDA, No. 447, si, 69 frames, lecture notes). Out-
line of kinds of trees found in Southern stands, indicating uses of each. Informa-
tion on home use, cash crops, and proper management.

Farm Shelterbelts in the Plains Region (USDA, No. 387, si, 48 frames, lecture
notes). Examples of shelter belts and windbreaks indicating reasons for their
placement. Methods by which shelter belts are established, proper care and main-
tenance, and benefits to be derived.

Forest Botany (SVE, si, 48 frames, manual). Photographs of various kinds of
trees, natural environment of various types, identification of leaves and seed types.
Information on protection methods and erosion control. Suitable for elementary
or junior high school classes in nature study.

Forest Conservation (SVE, si, 48 frames, manual). Scenes of values and benefits
of forests including various forest products. Effects of fires, floods, and erosion,
overcutting and overgrazing. Work of forest rangers in conservation. Supple-
mentary material for elementary grades.

Forest Conservation (USDA, No. 349, si, 75 frames, lecture notes). Value of
forest products, protective value of forest cover, and recreation offered by forests.
Outline ways in which the valuable resources of the forests have been used and
abused. Stresses wise management for forest maintenance, illustrating main points
in conservation methods. More specific information than strip of same title de-
scribed immediately above.

Forestry in Geography (SVE, si, 49 frames, manual). Map of forest regions in
the United States, followed by photographs of forests of different regions, empha-
sizing the various types of trees in each. Some of the values of forests, including
lumbering, maple products, and erosion control. May be of interest in elementary
geography as supplementary material. Requires information of type supplied in
manual.

Forestry and Human Welfare (USDA, No. 506, si, 56 frames, lecture notes).
Contributions of forests to grazing of livestock and game, water supply, and
recreation. Graphs and mosaics of national forest assets, forest uses and abuses,
conservation factors. Suitable for elementary and junior high school classes.

FORESTRY 127

Forestry and Nature Study (SVE, si, 41 frames, manual). Photographs of vari-
ous kinds of trees, flowers, branches, and leaves. Manual provides identification.
Suitable for elementary grades.

Forest Ranger (ACE, No. 9, si, 49 frames, lecture notes). Summary of the work
of the Forest Rangers, including such activities as planting trees, marking trees
for lumbering, testing tree growth, scaling cut logs, making roads and trails,
replanting eroded areas, assisting wildlife, locating and fighting fire. Lecture notes
include information on how to become a forest ranger. Good summary of the
work of rangers and the qualifications for becoming rangers. May also be of inter-
est to vocational guidance groups.

Forests of the United States (ACE, No. 8, si, 48 frames, lecture notes). Survey
of forests and their uses, from pioneer and colonial days to the present. Their
many values to the first settlers, the ways in which forests were abused, and the
effects of such abuse. Stresses need for forest conservation. Information on many
modern uses for wood. Suitable also for high school classes in history and eco-
nomic problems, as well as courses dealing with forestry problems. One of the
better conservation filmstrips.

Friends of the Trees (SVE, si, 15 frames, manual). Photographs of Calosoma
beetle, Thalessa Lunator, various woodpeckers, chickadee, nuthatch, vireo,
cuckoo, and other birds. Manual contains information concerning ways in which
each is a friend of trees. Supplementary material only. Very general unrelated
information.

The Life of a Tree (SVE, si, 52 frames, manual). Uncaptioned photographs:
trees in various locations; seeds, seedlings; tree rings indicating age; transplanted
seedlings, young trees and trees of full growth; roots, bark types; effect of wind,
storms, and fires. Organization follows no logical sequence in presenting informa-
tion on "life" of a tree. Stresses conservation instead of botanical information,
which the title seems to indicate.

Manual Training and Forestry (SVE, si, 48 frames, manual). Map of large
forest areas in western United States, followed by scenes of various forest areas.
Some lumbering activities and logging-mill work shown. Information very
limited; does not supply data suggested by title.

Our Forests and What They Mean to Us (SVE, si, 51 frames, manual). Forest
regions of the United States; photographs of various forests. Lumbering opera-
tions; various forest products; irrigation; water power; recreational facilities. Some
scenes of denuded areas and effect on erosion. Need to maintain the forests. A
very general survey of forest values, with major information in manual only. Strip
not meaningful without information of type supplied by manual.

128 AGRICULTURE AND FORESTRY

Propagation of Plants (SVE, si, 29 frames, maual). Drawings indicating repro-
duction by means of stolons and from bulb, seed, fern spore, shoots, grafting,
nodes, tip layering, vine layering, rootstock mound. General information on
propagation methods. Methods indicated, but processes not shown. May be of
some interest as supplementary material in botany classes.

Pruning Southern Pines (USDA, No. 596, si, 63 frames, lecture notes). Reasons
for pruning; illustrations of trees needing pruning. Information on time for prun-
ing, methods, types of trees to prune. Results, pointing out improved value of logs
from properly pruned trees.

Saving Our White Pines from Blister Rust (USDA, No. 370, si, 48 frames,
lecture notes). Lists many uses of white pines. Causative fungus and its life cycle
shown. Control methods outlined, stressing need to eliminate currant and goose-
berry plants, which act as host to the fungus.

Southern Pines Pay (USDA, No. 595, si, 49 frames, lecture notes). Lists and
illustrates uses of various types of pines adapted to Southern areas. Information on
seeding by nature and by man, requirements of good timber farming, and values
to farmer.

Tree Planting on the Prairie Plains by Prairie States Forestry Project
(USDA, No. 508, si, 63 frames, lecture notes). Survey of shelter-belt planting in
the prairie states and its values in soil protection, crop protection, values to game
and livestock. Arrangement of shelter belt and requirements of successful tree
planting and proper care.

Various Damages Done to Wood and Wood Sicknesses (Filmette, No. 53,
si, 33 frames, guide provided). Photographs of various insects injurious to trees
and of various tree diseases, showing resulting damage. Includes several types of
beetle, moths, ants, rots, and fungi. One-page guide provides identification and
information. Good for botany or forestry classes in senior high school or college.

See also the following series or individual titles for supplementary, illustrative,
or related material.

Lumbering and Wood Products
Budding and Grafting
Forest Conservation

SOIL CONSERVATION AND IRRIGATION

Contoured Acres Fight (USDA, No. 639, si, 29 frames). Stresses importance of
farming on the level by means of contouring, to save water, fertilizer, and soil.
Aimed at improved farm production for the war effort.

SOIL CONSERVATION AND IRRIGATION

129

Contour Furrows (USDA, si, 31 frames, lecture notes). Soil protection on over-
grazed and eroded pastures by use of white clover, grama grass, buffalo grass, and
contour furrowing. Detailed explanation of methods used in furrowing, equip-
ment used, and effects.

Corn Belt Farmers Fight Erosion (USDA, No. 572, si, 43 frames, lecture notes).
Erosion-control methods used in the corn belt, including contour farming, terrac-
ing, rotation, planting, diversion drainage, and check dams.

From filmstrip "Soil Erosion in the United States." (Soil Conservation Service, USDA.)

Diversion Terraces and Contour Strip Cropping (USDA, No. 165, si, 48
frames, lecture notes). Methods of laying out and building diversion terraces,
showing equipment to be used. Method of laying out and making contour strips.
Erosion Control on the Northern Great Plains (USDA, si, 42 frames, lecture
notes). Effects of plowing and overgrazing. Methods of erosion control including
strip cropping, use of crop trash, terracing, revegetation of gullies, contour fur-
rowing, windbreaks, strip fallowing, cover crops.

Erosion Control in the North Atlantic States (USDA, No. 426, si, 35 frames,
lecture notes). Farming practices used in the North Atlantic states to control ero-
sion, with emphasis on value of forests.

Erosion Control in the Southeast (USDA, si, 38 frames, lecture notes). Effects
of erosion making land useless, choking channels and reservoirs. Farming meth-
ods applicable to Southeast for erosion control.

130 AGRICULTURE AND FORESTRY

Establishment and Maintenance of Grassed Waterways (USDA, No. 559,
si, 29 frames, lecture notes). Destruction caused by gullies. Methods of sloping
and seeding gullies to serve as waterways.

Farm Woods, a Safe Crop for Steep Land: Upper Mississippi Valley
(USDA, No. 570, si, 31 frames, lecture notes). Practices to be avoided to prevent
erosion. Practices to be employed to check erosion on farm woodlands.
First Things First (USDA, No. 640, si, 24 frames, lecture notes). Companion to
"Contoured Acres Fight," described above. Shows how grassing of waterways
controls erosion, directing runoff on lands of greater slope, compared with use of
contouring to direct runoff on lands of gentle slope.

Frontiers of Grass Story of the Western Range (USDA, No. 585, si, 69
frames, lecture notes). History of the development and decline of the Western
range, showing the effects of railroads, market routes, increase in livestock
industry. Work of the AAA in urging, promoting, and assisting in restoration
and protection of grazing and watering places.

Irrigation (Stillfilm, No. A-5, si, 30 frames). General information concerning
irrigation: definition, uses in producing vegetables on arid lands; methods
including underground wells, use of dams and reservoirs, ditches and canals;
preparation of soil for irrigation; irrigation by flooding fields, furrow method,
overhead sprinkling; results of overirrigation or poor drainage; views of irrigated
areas. Suitable for upper elementary classes in agriculture or social studies; may
also interest classes in economic problems.

Irrigation (ACE, No. 31, si, 41 frames, lecture notes). The need for irrigation
in the Great Plains; development of irrigation projects; construction of dams;
use of irrigation and its results. Includes diagram of typical irrigation plan;
methods employed by farmers. More advanced than strip described above.
Suitable for high school classes in economic problems, agriculture, government,
or civics.

Reclamation A Vital Industry (SVE, si, 34 frames, manual). Scenes of
various dams and irrigation projects and effects of irrigation on farms affected.
Indicates areas still in need of irrigation. More suitable for elementary and junior
high school classes than for advanced courses in agriculture. A very general
survey of reclamation projects and needs.

Soil Conservation (ACE, No. 30, si, 51 frames, lecture notes). Products
produced by soil, results of erosion, methods of erosion control, and soil conserva-
tion. Opening sequence discusses development of top soil and its importance in
supplying foods, clothing, wood, etc. Top soil is perishable possession; its
variations in depth and what is found beneath it. Lecture notes stress part
played by government services. Suitable for high school agriculture, government

GENERAL 131

or civics, social studies, and economic problems classes. Also may interest

vocational agriculture groups.

Soil Conservation Benefits Wildlife (USDA, No. 558, si, lecture notes). How

nature reclaims areas saved by soil conservation, providing cover for game, fish,

and other wildlife. For supplementary use.

Soil and Water Conservation by the Beaver (USDA, No. 502, si, 48 frames,

lecture notes). History, habits, and economic relations of the beaver, with

emphasis on reference to farm and forest lands. Methods of establishing new

beaver colonies.

Soil Erosion and Its Control in the Upper Mississippi Valley (USDA, No.

463, si, 48 frames, lecture notes). Causes and extent of erosion in this area.

Engineering and farming practices to hold rain water where it falls and to

save soil.

Soil Erosion in the United States (USDA, No. 467, si, 47 frames, lecture

notes). Discussion of erosion conditions in the United States in 1937, showing

effects of man-made and natural erosion. Farming practices that cause erosion,

showing effects. Map of erosion areas, graph of erosion extent, and statement of

yearly destruction and effects upon crop yields. Outline of control methods.

Story of Topsoil in the Northeast (USDA, No. 520, si, 47 frames, lecture

notes). Importance of topsoil. Practices that destroy topsoil, including unwise

lumbering, grazing, and farming. Extent of erosion and topsoil loss in the

Northeast. Erosion prevention methods outlined.

Tree Planting and Land Use (USDA, No. 620, si, 54 frames, lecture notes).

Mistakes in land use that result in loss of yields and soil. Reclaiming ruined

land with plantings adapted to sites. Proper care of such plantings.

Wind Erosion Its Control on the Southern Great Plains (USDA, No. 456,

si, 44 frames, lecture notes). Causes of wind erosion and its effects. Practices to

prevent and control wind erosion, saving rainfall and soil.

GENERAL

Basketry, Another Home Industry (USDA, No. 292, si, 48 frames, lecture
notes). Illustrates how farm women and girls utilize native raw materials for
making basketry articles for sale. May interest handicrafts groups also.
The County Agent (USDA, No. 654, si, 64 frames, lecture notes). Designed
to acquaint those unfamiliar with the educational program of the U. S- Depart-
ment of Agriculture with the county agent and his work. Describes agent's
agricultural background and illustrates his activities in aiding farmers solve
their problems.

132

AGRICULTURE AND FORESTRY

County Home Demonstration Agent (USD A, No. 655, si, 64 frames).
Designed to acquaint those unfamiliar with the educational program in home-
making of the Department of Agriculture with the demonstration agent and
her work. Describes her home economics background and characteristics and
her activities in aiding farm women and girls to solve homemaking problems.
Similar to "The County Agent" described above.

From filmstrip "Roadside Marketing." (USDA Extension Service. Photo by G. W. Acfertnan.)

Dust-Explosion Hazards in Fire Fighting (USDA, No. 514, si, 48 frames,
lecture notes). Conditions that cause dust explosions. How to avoid hazards
and explosions in fire fighting.

Finding Minutes (USDA, No. 638, si, 43 frames, lecture notes). Drawings
indicating ways in which time is wasted in farm homemaking; methods of
planning work both indoors and out to provide for leisure time.
Flower Gardens (USDA, No. 500, si, 64 frames, lecture notes). Series of
photographs of informal, formal, and special gardens. Designed to increase
interest in farm flower gardens. No information on procedures.
How to Get Rid of Rats (USDA, No. 150, si, 51 frames, lecture notes). Infor-
mation concerning losses in field and garden crops and in merchandise caused
by rats. Control methods, including sanitary practices, screening, trapping,
poisoning, gassing, ratproofing.

Labor Efficiency on the Farm (USDA, No. 630, si, 48 frames, lecture notes).
Hints on methods of making best use of worktime by planning work. Indicates
benefits: making work lighter, saving time and waste motion, handling of
hired labor.

GENERAL

133

Learning About Farm Jobs from Pictures (USDA, No. 652, si, 50 frames,
lecture notes). How pictures may be used with job instruction, suggesting the
following: emphasize key points; discuss principal steps; show whole process;
contrast right and wrong ways; compare two different methods; use pictures
in connection with job instruction. May also interest vocational instructors,
classes in foremanship and personnel management, or teacher training groups.
Meat Cutting Series (Castle, made by USOE, 2 filmstrips, si, manuals).
Designed for use in conjunction with motion pictures of the same titles, but
may be used independently, particularly for review purposes or as discussion
guides. The filmstrips review information presented in the motion pictures,
using photographs with question captions and some summary of important
points. Titles are listed below with brief indication of subject matter reviewed.

Cutting and Boning a Forequarter of Beef (No. OE 456). Chilling

beef; quartering; preparing for cutting; trimming the forequarter, cut wing,

crosscut check, brisket, and chuck; preparing for freezing or canning.

Cutting and Boning a Hindquarter of Beef (No. OE 457). Chilling;

removing hanging tender and kidney, cutting out flank; separating round;

removing tenderloin, separating sirloin and rump from shell loin; preparing

for freezing or canning.

Pioneering a Permanent Country (USDA, No. 567, si, 130 frames, lecture
notes). Survey of main events that affected the welfare of farmers in the past
30 years; includes effect of erosion-control measures; dam projects and the
First World War; decline following First World War; Work of the AAA;
decline after AAA is declared unconstitutional; new policy for permanent
farming country to adjust the farming to changed conditions. May also interest
classes studying economic problems.

Planning Our Family Life (USDA, No. 587, si, 59 frames, lecture notes).
Solving everyday family problems cooperatively through sharing of all family
members in planning for the farm and the home and its members.
Prevent Farm Fires (USDA, No. 642, si, 38 frames, lecture notes). Common
fire hazards in farm homes and buildings; methods of eliminating them. Stresses
carelessness as major cause of fires.

Profitable Use of Farm Credit (USDA, No. FCA-3, si, 56 frames, lecture
notes). Indicates modern farmers' needs for more capital than needed by pioneer
or homesteader. Outlines factors that influence farming and profitable production.
Factors to be considered in determining amount of credit and the period of
its wise use.

Protecting Farm Manpower (Univ. 111., si, 56 frames, single frame or double
frame). Opens with statistics on farm accidents, deaths, and injuries. Graphs

134 AGRICULTURE AND FORESTRY

show percentages of accident causes. Presents examples of accidents caused by
carelessness, such as carrying gun, standing under load of hay, having electric
devices near water outlets. Causes of machinery accidents and preventive
measures. Examples and preventive measures for animal accidents, falls, hand-
tool accidents, fires, and explosions. Good general film on farm safety for
agricultural courses dealing with farm management or for adult groups.
Roadside Marketing (USD A, No. 273, si, 58 frames, lecture notes). Photo-
graphs of various types of roadside markets from small units such as a simple
bench to large stands. Proper position in relation to road; attractive display,
signs, and advertising. Graphs showing the distribution of a day's sales, of
a week's business, and of a year's business.

Rugmaking, a Fireside Industry (USDA, No. 264, si, 50 frames, lecture
notes. History of how farm women and girls through influence of home-
demonstration agents have become interested in reviving old art of rugmaking
by utilizing home-dyed discarded materials. Development of home-industry
shops and markets.

Subterranean Termites and Their Control (USDA, No. 420, si, 48 frames,
lecture notes). Forms of the termites their life cycle, and damages caused.
Control measures by poisoning and by proper building construction.

See also the following series and individual titles for supplementary, illustrative,
or related materials:

General Farming, Parts I and II

Cost of Poor Roads

Country Roadside Restored

Safe Water

Malaria

Food Preservation Series

Home Economics Group

Business

Although courses dealing with subjects pertinent to the field of business have
become increasingly popular in school curriculums, very few filmstrips have
been produced for use in such courses, particularly in that area designated
herein as "clerical." The wider selection of filmstrips available on salesmanship
is due largely to their use by commercial companies for the training of sales
personnel.

The available filmstrips on this subject have been grouped as (i) clerical
typewriting, bookkeeping, and similar subjects; (2) advertising; and (3) sales-
manship. Specific contributions of the filmstrip in each of these areas include
Clerical To show parts of machines, techniques, and forms to a large group

at one time.
Advertising To present sample advertisements to entire groups at one time

for discussion and analysis.

Salesmanship To present reenactments of actual sales situations; to demon-
strate application of sales principles, and to illustrate the use of the voice.

CLERICAL

Projected illustrations could aid the instructor of typewriting, shorthand,
filing, bookkeeping, office management, and similar subjects; however, very
little material is available for such use at present. The filmstrips which can be
obtained are useful in demonstrations of the location, appearance, and operation
of various parts of machines, particularly of those parts which are small and
therefore cannot be readily seen on the actual machine by more than one or
two students at the same time. Various business forms, methods of filling out
these forms, and the appearance of business letters can also be shown rapidly
and clearly in filmstrips.

Accounting Series (BEVA, 7 films, si). A detailed step-by-step approach to
various phases of elementary accounting. Each strip includes motivation, reasons
for the various steps, and problems for student solution. While the number of
frames in each strip indicate great length, the strips are well organized for
presentation by separate sequences if desired for class needs. Presentation of
parts of forms used and of entries is well visualized high lighting, arrows,

135

136 BUSINESS

and similar devices being employed to concentrate attention upon the particular
point under consideration. Four filmstrips of the series are described below. The
other three strips, "Introduction to Accounting," "Accounting Cycle Year-end
Closing," and "Controlling Accounts," should be ready for release soon.

From filmstrip "Taking Dictation and Transcribing." (Gregg Publishing Co.)

The Accounting Cycle Direct Ledger Entry Routine Each Month (68
frames). Two familiar cycles seasonal and business cycles. Definition of
cycle. The accounting cycle outlined and analyzed: daily analysis of trans-
actions and entry in books; monthly preparation of profit-and-loss statement
and of balance sheet; yearly reports. Analysis of simple accounting cycle.
Analysis of trial balance; rules on determining where trial balance and addi-
tional information belong; major parts of profit-and-loss statement. Method
of preparing profit-and-loss statement. Preparation of balance sheet. Summary
of cycle. Indications of accounting information needed.
How to Balance Accounts (106 frames). Reasons for balancing accounts.
When accounts should be balanced examples of daily, weekly, monthly, and
yearly balancing requirements of specific businesses. Explanation of the
meanings of "balance" in accounting. Method of balancing accounts. Prin-

CLERICAL 137

ciple of balancing. Examples: balancing asset accounts, capital account, liability
accounts; procedures and differences. Brief explanation of machine balancing
and balancing of Boston ledger accounts.

The Journal First Lesson (95 frames). Introduction diaries and logs as
methods of recording daily activities, and journal as recording of daily business
transactions. Review of direct ledger entry: opening balance sheet; recording
of cash, furniture, fixtures, notes payable, truck, capital. Disadvantages of
direct ledger entry. Overcoming disadvantages by using journal; advantages
of recording transactions in journal; explanation of journal form and of
journalizing; sample entries and problems for students. Compound entry
definition and examples. Opening entry definition, samples, differences from
other entries, steps in making, problems. Summary.

Posting First Lesson (One Journal One Ledger) (76 frames). Definition
and explanation of posting. Procedure in posting one journal entry. How to
locate account page in alphabetical index of ledger. Difference in journal and
ledger entries. Posting debit and credit accounts. Post-marking; method and
reasons for doing. Order of posting. Importance of keeping all posting up
to date. Summary. Problem in posting.

Do You Know Your Typewriter (SVE, si, 35 frames, manual). A study of
various devices found on modern typewriters, such as variable line spacers, card
attachments, bail rolls, tab set, tab clear keys, ribbon indicators, pressure regu-
lators, tension lever, margin scale. Procedures for inserting paper, inserting
stamped forms, labels and cards, use of knob for ruled lines, centering headings,
ribbon changes. Shows Royal, L. C. Smith, and Remington machines. Well
organized and clearly presented. Various sequences might be shown as needed
either for presentation of a new procedure or for review, rather than showing
entire strip at one time.

Frailey Letter Clinic (Dartnell, sd, 6 filmstrips, about 15 min each). The entire
series shows Mr. Frailey, who conducts clinic on better business letter techniques,
talking with Mr. Bates, a businessman whom he met on a train. Mr. Frailey
discusses the fundamentals of good business letters, one fundamental being
presented in each strip. Most of the pictorial material shows the two men
talking or other businessmen at their desks, adding little to the instructive
quality of the series. Several sequences show the two men in the club car with
bottles of beer or in Mr. Bates' home with glasses of cordial. The end of each
strip introduces the next in the series. Each strip opens with a summary of the
preceding strips.

Information contained in the recordings is good, suitable for classes in business
English either in high school or college. May also interest some typewriting

138 BUSINESS

classes, to show contents and form of good letters, and business administration
classes. Titles and brief descriptions follow.

Relax Be Natural Just Talk (No. i). Importance of good letters to good
will for entire firm; letters to be natural, friendly, and reveal personality of
writer, acting as a personal representative talking to the reader. Suggests
that executives read carbons of letters written by employees as basis for
constructive criticism. Several poorly written letters shown with their results
indicated.

Shave Off the Whiskers (No. 2). Need for eliminating stilted, old-fash-
ioned phrases and using modern natural and friendly language. Examples
of letters using outdated phrases and their effect on readers. Importance of
simplicity, sincerity, and brevity.

Don't Be a Goozler (No. 3). "Goozling" as the use of long, flowery words,
windy sentences, and redundancy. Effect of such letters on readers, stressing
possibility of misunderstanding. Importance of simple words in concise
sentences. Examples of both types given.

Think Before You Write (No. 4). The five steps in planning a letter: know
your purpose in writing the letter; know the facts; visualize the reader and
talk directly to him; find the arguments that will appeal most to the reader;
use letter "carpentry" putting selected points together in best possible
sequence.

The Star The Chain and the Hook (No. 5). A formula for good letters:
"Star" good beginning to get attention. "Chain" building desire and
holding attention. "Hook" getting action from the reader. Examples of
methods of getting attention given.

Things the Masters Know (No. 6). Methods for writing better letters,

such as collecting and studying best business letters received. Pointers for

good sales letters: (i) Don't try to hammer too many points in one letter;

(2) emphasize the point of difference; (3) beware of generalities; (4) avoid

deception; (5) never humiliate or belittle. Ways in which letters may irritate

or antagonize readers. Ends with review, emphasizing need to be friendly.

History of the Typewriter (Visual Sciences, No. S-2, si, 35 frames). Line

drawings giving a resume of the history of the typewriter, including the

eighteenth-century attempts, first typing device, Hurt's family letter press, and

Progin's machine, nineteenth-century models, first commercial machines, shift-key

machine, visible writing machine, early twentieth-century models, first type-bar

machine, front-stroke visible writing machine, modern machines. Considerable

text, which reduces legibility. Material may interest beginning typewriting classes

as supplementary material.

ADVERTISING 139

Taking Dictation and Transcribing (Gregg, sd, 57 frames, 10 min, manual).
Divided into two parts. Part I, "Taking Dictation" proper procedures in taking
dictation illustrated by Ruth Barrows, a new secretary to Mr. Hobbs, who has
the reputation of being inconsiderate and cross. Includes taking materials into
office, proper entry, position; use of pen instead of pencil; marking starting
place for transcribing; interrupting dictator when necessary; dating of notebook,
numbering letters, indicating changes and corrections. Part II, "Transcribing"
Advantages of proper type of desk, arrangement of transcribing materials and
supplies; speeding up rush work; proper carbon insertion; file of often-used
names and addresses; use of copyholder, proper typing position; proofreading
letters in machine; arrangement of letters to be signed; making notes of reminders
of things to do or to call to attention of employer.

Many useful hints and information suitable for shorthand or secretarial courses
in high school or college. Pictorial material somewhat static, showing mainly
Ruth and her employer seated at desks or talking, but includes close-ups of
notebook, materials, etc. Manual includes entire script of recording so that
filmstrip may be used silently with teacher commentary if desired.

ADVERTISING

An important problem in teaching the subject of advertising is the presentation
of appropriately chosen samples. Frequently, textbooks contain samples of
advertising campaigns so out of date that the students will not have seen the
campaign or know about the products advertised. In order to make the study
of advertising more meaningful, it is highly desirable to use references to current
advertisements as well as the illustrations that may be available in the text.

It is theoretically possible that such current advertisements could be made
available in filmstrip form more quickly than they could be as a part of a
printed book or pamphlet. Although tear sheets are used by many instructors,
these sheets become dog-eared quickly and, frequently, are not large enough for
the entire class to view during discussion. Consequently a means of projecting
them is welcome. Sometimes tear sheets are projected on a screen with opaque
projectors, but the material is much easier to handle if photographed as part
of a filmstrip. The value of such material can be enhanced if close-ups of
sections of an individual advertisement follow its presentation in entirety.

In spite of the obvious advantages of the filmstrip medium for the presentation
of advertising samples, there are surprisingly few suitable strips available for
teaching. However, this particular subject matter field is one suited to local
improvisation of filmstrips. The strips listed below demonstrate several methods

140 BUSINESS

of approach that the instructor may utilize in preparing materials for his own
classes.

The improvised filmstrip is also applicable to projects in which students can
be asked to assist in their production as a part of the course, providing an
opportunity to meet several objectives in addition to the actual production itself.
For example, a student asked to photograph the important points in a given
advertising campaign automatically is required to familiarize himself with the
information that he will later present to the class in filmstrip form. Furthermore,

Sample frame from "Four Years of Guest Reviewing." ("Electrical World.")

the selection of advertisements to be photographed will assist the student by
forcing him to evaluate critically many possible samples, which perhaps might
be gathered by the entire class.

Additional information in such filmstrips could include references to adver-
tising campaigns which had been tested to determine which of two or more
approaches had been best suited for the consumer group to be reached. Or such
strips could be merely simple illustrations for specific lectures or class assign-
ments. It is also possible to make filmstrips that are devoted to the technical
requirements of advertisements, including samples of type faces, types of
illustrations, use of headlines, layouts, and the use of color.

Instructors may also wish to use filmstrips listed under Salesmanship to demon-
strate the interrelationship of advertising and selling. Those strips which deal
with the selling of particular products will probably be most helpful as supple-
mentary aids in the teaching of advertising.

Four Years of Guest Reviewing (Electrical World, sd, 30 min, color). A
summary of readers' reviews of advertisements appearing in The Electrical
World, explaining what readers like and dislike in technical advertisements.
Presents the following four points as summary of what readers want: (i) Have

ADVERTISING I4 1

something to say; (2) keep it simple; (3) tell the story with pictures; (4) keep
it professional. Indicates methods of surveying the field to learn what readers
want to know, how to get the information, and methods of presenting the
information. An excellent presentation of one type of advertising. Sample adver-
tisments shown can also be utilized for fuller discussion of make-up, content, etc.
Fundamentals of Rotogravure (SVE, si, 22 frames, manual). Uncaptioned
diagrams and photographs showing principles of rotogravure methods; pro-
cedures in photographing material to be reproduced; preparation of plates;
printing. Information is supplied in the manual. Unless the instructor is familiar
with the rotogravure processes, the strip cannot be used without the information
supplied in the manual. The strip may be of interest to advertising and
journalism classes as supplementary material indicating one reproduction method.
The Magazine as an Advertising Medium (SVE, si, 60 frames, manual).
Examples of types of advertisements shown in such magazines as Capper's Farmer,
Field and Stream, Popular Mechanics, Collier's, Saturday Evening Post, and others.
Presents chart of fields covered by special-interest, vocational, and avocational pub-
lications. Some information concerning rates and buying circle of various media.
Some of the sample advertisements shown are not legible. Title is misleading as
the filmstrip does not present all the material necessary for a full survey of the
magazine as an advertising medium.

Marketing of Men's Shirts a Case History (SVE, si, 60 frames, manual).
A history of the development of the advertising and distribution of Arrow
shirts, showing the evolution of the product and of the advertising copy and
layout. May be of interest to students of advertising to point out how styles
in advertising copy and use of appeals change.

The Newspaper as an Advertising Medium (SVE, si, 50 frames). Opens
with a study of values of newspapers to individuals, charts of newspaper distribu-
tion, and regional distribution maps. Latter half discusses values of newspaper
advertising, illustrated with sample advertisements. Points out uses of newspaper
advertising by department and retail stores, national advertisers, and classified
advertisements. Many of the sample advertisements shown are difficult to read.
Some information of interest to advertising classes, but does not give the complete
story on newspaper advertising. May also interest classes in journalism.
The Radio as an Advertising Medium (SVE, si, 50 frames, manual). Mainly
charts and graphs giving data on Fortune survey of favorite recreations; growth
of population in United States; growth of telephone and radio use; number of
radio sets in use; comparison of advertising versus editorial space in magazines,
newspapers, and radio; analysis of network-program contents; expenditures of
national advertisers in the five major media; contents of daytime and nighttime

142 BUSINESS

radio programs; number of sets in use by half-hours; national ratings; station
listening patterns; rate chart and network maps. Some of the material presented
would be of interest in a study of radio advertising; however, it should be kept
in mind that information of this type should be kept up to date to be of value
to advertisers. Much of the graphic material is difficult to read.
Seven Reasons Why Advertising Campaigns Fail (Nat'l Industrial Adver-
tisers Assoc., sd). Projected series to include 8 filmstrips of which 2 are available
at this time. First strip in series introduces the "seven reasons." Subsequent
filmstrips to discuss each of the seven reasons separately. Aimed at national
advertising campaigns, but excellent material that could be adapted through
discussion to other forms of advertising. Suitable for high school and college
classes.

Seven Reasons Why Advertising Campaigns Fail (sd, 102 frames, 15
min, No. i). Seven reasons for campaign failures, with brief discussion of
main points: (i) Started campaign before getting data from manufacturing
departments; (2) market determination not thorough; (3) didn't correlate
with existing distribution channels; (4) inadequate appropriation; (5) budget
loaded with items not really advertising; (6) didn't create kind of adver-
tising that helped customers solve their problems; (7) failed to precede
campaign by thorough training of sales force. Includes balloting device for
audience to evaluate the reasons for failure in the light of some campaign
which they had conducted. Designed for use by advertisers rather than
students, but can be used in classes, particularly in college.
Basic Procedures of Successful Market Determination (No. 2, sd, 75
frames, 15 min). Brief resume of film No. i. Failure to make thorough
market determination stressed as a major reason for campaign failures. Five
fundamental procedures in good market determination, indicating methods
of accomplishing each procedure, sources of information, and use of such
information.

SALESMANSHIP

The possibilities of the use of filmstrips as a teaching device in salesmanship
classes have been forecast by their utilization by commercial companies to train
salesmen and dealers Most of the filmstrips available on this subject were
produced specifically for such companies, rather than for school or college use;
but a considerable percentage of these strips is readily adaptable to classroom
needs.

Materials designed for the in-service training and improvement of sales-

SALESMANSHIP

personnel methods can assist the instructor in high school, college, and
commercial school to bring to his students an understanding of successful selling
principles and of their application to actual selling in the business world. It is
often desirable that students (i) see and hear procedures in actual sales situations,
and (2) observe demonstrations of the actual application of sales principles

From filmstrip "Tommy Fork and His Fountaineers." (Syndicate Store Merchandiser, Inc.)

studied. Both of these objectives can be obtained through the use of filmstrips
that present examples of selling techniques in practice.

Since the use of the voice is an essential in selling, the sound filmstrip is more
suitable for salesmanship classes than for courses such as mathematics. The
sound filmstrips provide an opportunity to study the effect of voice tone, speed
of delivery, inflection, enunciation, and methods of vocal emphasis, which would
be impossible with a silent strip. Selection of words, organization of the sales
talk, methods of meeting objections, and convincing presentation of selling points
cannot be shown by pictures alone. However, pictures together with sound
present the selling situation as a unit, indicating to the student the importance
of the voice in selling while reminding him that the seller's manner, personality,
and appearance must also be considered.

Salesmanship filmstrips may be divided into two groups, based on their

144 BUSINESS

subject matter content. The first group includes filmstrips presenting general
principles of salesmanship that are applicable to the selling of any product or
service. These are closely allied to the classroom approach to merchandising,
since the underlying principles are taught as a basis for selling in any field.
The second group presents methods of selling specific products, having been
produced explicitly for a company's sales forces or dealers. These films have
value as supplementary aids, illustrating application of the principles of sales-
manship to particular products. The available filmstrips described in this chapter
are listed in these two groups.

GENERAL PRINCIPLES OF SALESMANSHIP

Behind the Counter (Jam Handy, 5 films, sd, 10 min each, instructor's
manual). Although designed for sales training in department stores and specialty
shops, this series is suitable for any salesmanship courses that include the study
of retail-selling methods. The individual strips deal with specific personality
qualities desirable for sales personnel, indicating how each may be developed and
applied in sales situations. The strips open with statements of the importance
of the quality to both salesperson and to the store and end with a summary of
points discussed and illustrated in the strip. Merchandise and departments shown
in examples of techniques include only those which would be found in any
department stores and most smaller retail stores, such as hosiery, gloves, men's
and women's ready-to-wear, etc. The strips provide general information on
retail-store selling techniques; however, some stores may have different policies
on some points (such as the policy of selling a cheaper product because it better
suits customer needs). These possibly controversial points may be pointed out
and used as basis for detailed class discussion. Individual titles and brief descrip-
tions follow, listed in order; however, the strips can be used in any order suited
to class needs.

Friendliness Behind the Counter (No. i). Presents, discusses, and gives
examples of the following five points: Welcome the customer; make the
customer comfortable mentally and physically; have a friendly smile; mix
respect with friendliness; show that you appreciate the business. Includes tests
of friendliness and how to meet them. Both good and poor methods given.
Attentiveness Behind the Counter (No. 2). Importance of getting atten-
tion and methods used in both ancient and modern times. Importance of
giving attention. Following points presented, discussed, and illustrated with
good and poor techniques: Look attentive; be attentive to all customers;
be attentive for selling clues; be attentive throughout the sale.

SALESMANSHIP 145

Helpfulness Behind the Counter (No. 3). Ways of helping discussed and
examples given of each, showing both good and poor methods and effect on
sales: meeting customers' needs; trading up merchandise by suggestion selling
and by advising before they're ready to buy; giving services after the sale.
Suggestion selling includes selling two of a kind, substitute selling, and selling
related items. Importance of merchandise facts, where to get them, and how
to use them.

Sincerity Behind the Counter (No. 4). Effect of insincere sales talks
on customers. Methods of proving sincerity discussed, illustrated with good
and poor examples with effect on sales: Put the customer satisfaction first;
be thorough in your sales talk; be accurate in your sales talk; keep your
promises.

Enthusiasm Behind the Counter (No. 5). Warning against high-pressure
sales tactics. Following points with good and poor examples of each: Use
knowledge of merchandise; talk and act enthusiastically; be enthusiastic from
the customer's viewpoint; enthusiasm helping customers buy. Where to get
merchandise facts and how to use them; importance of voice; letting customer
handle the merchandise; displaying merchandise properly is also covered.
Dale Carnegie Series (Audivision, sd, 6 films, 15 min each, printed guide).
The series is based on Dale Carnegie's book "How to Win Friends and Influence
People," covering the principles of courtesy and tact in any situation that involves
dealing with people. The films are applicable to the teaching of salesmanship
although they are not designed specifically for selling. Each principle is illustrated
by several examples from everyday life. Titles and brief descriptions follow.
How to Gather Honey Instead of Stings. Problem of criticism, indicating
desirability of omitting criticism unless it is absolutely necessary.
How to Get People to Like You. Demonstrates effect of genuine, active
interest in other people on their reactions to you.

How to Make People Appreciate You. Illustrates method of making people
appreciate you by appreciating them.

How to Make People Want to Cooperate. How to influence cooperation
by talking about what the other person wants, indicating how he can achieve
his purposes by doing what you want.

How to Win Your Arguments. If an argument cannot be avoided, it can
be handled tactfully and courteously, preventing unpleasant disagreement.
How to Correct People's Mistakes without Making Them Sore. Methods
of praising before condemning, and of correcting mistakes indirectly. Em-
phasizes importance of correcting errors in private.

146 BUSINESS

Firing Line Series (Audivision, sd, 12 films, 15 to 20 min each, manual). This
series presents one sales principle in each strip, illustrating both correct and
incorrect methods of application. The importance of each principle is stressed
at the beginning of the strip. Various points pertinent to the principle under
consideration are listed and illustrated by several examples. A testing device for
self-analysis is incorporated in the strips for use in follow-up discussion. Humor-
ous incidents and cartoons enliven the series and enhance the teaching values.
Titles of the individual filmstrips follow with brief description of the principle
covered in each.

How to Lasso Your Prospect's Ear. Successful methods of getting the

prospect to listen with interest, and methods of capturing attention.

How to Make Your Voice Help You Sell. Recognizing and correcting the

nine common weaknesses in the way people talk.

How to Make a Demonstration Sell. Methods of making more effective

demonstrations.

How to Make a Theme Song Help You Sell. Concentrating on the one

strongest appeal.

How to Make Your Prospect Say "I See." Methods of making the product's

selling features clear to the prospect.

How to Make Your Selling Points Add Up. Combining the right sales

points for the prospect.

How to Make Your Reputation Help You Sell. Seven ways of building

up the kind of a reputation that helps a salesman sell.

How to Take the "Ice" Out of "Price." Methods of offsetting price resist-
ances.

How to Make a Question Clinch a Close. One simple, but successful

closing technique.

How to Make a Lost Sale Pay a Profit. Determining the principal reasons

for one's lost sales, focusing attention on points to be reinforced.

How to Make a Sale Stay Sold. After-sale selling techniques.

How to Sales Manage Your Selling Time. Methods for effective utiliza-
tion of salesman's time.

Merchandising Training Films (Syndicate Store Merchandiser, sd, 10 strips, 10
min each). Designed for sales training for retail-sales personnel, particularly in
variety stores, but applicable to classroom use in any salesmanship courses that
include a study of retail salesmanship. Suitable for high school and college classes
or with adult groups. Some of the strips are also suitable for use in other courses
as indicated in the individual descriptions.

SALESMANSHIP 147

How to Teach a Job (training handbook). Proper methods of instructing
new employees, stressing the importance of taking time to teach the job
properly. Four-step method demonstrated: (i) Preparation need to prepare
the trainee for learning. (2) Presentation showing what to do, how to do
it, and explaining why. (3) Application letting trainee do the job while
trainer watches, later making corrections and suggestions. (4) Examination
follow-up by checking back on learner. Suitable also for classes in personnel
management. May interest groups in teacher training also.
The Knack of Easy Wrapping (wrapping handbook). Proper methods of
using the three basic types of variety-store wrapping the bag, the sheet wrap,
and the sheet wrap with inner protection. Types of merchandise for which
each wrap is best suited. Stresses keeping materials orderly and accessible and
need to wrap neatly and securely without wasting supplies. Details on selec-
tion of size, wrapping oddly shaped items, and methods of using string and
tape. Uses three cartoon characters, Billy the Bag, Sammy Sheet Wrap, and
Inner Wrap Eddie. May interest home economics classes as supplementary
material, since the same methods are applicable to wrapping of gifts or
other packages in the home.

Cash Registering Made Easy. Correct operation of a cash register is told
by an animated dollar bill. Includes proper step-by-step procedure in ringing
up a sale; importance of ringing up the purchase before wrapping; handling
sales of more than one item; use of tally sheet; refunds and exchanges; keeping
enough change in the register; situations in which to call manager or floor
supervisor; identifying counterfeit bills and coins. Ends with photo quiz
presenting photographs in which errors are to be identified by the audience.
The cash-registering methods shown are specifically those used by most
variety stores, but the rules given may not apply in other situations.
What It Takes. Fundamentals of retail-selling jobs, particularly in variety
stores, as taught to a new salesgirl. Includes introduction to store arrangement;
importance of merchandise knowledge; keeping counter and understock
orderly; good grooming; use of cash register and wrapping of packages;
listening carefully to customer needs and serving them correctly; making
suggestion sales; situation in which to call floor supervisor; importance of
proper attitude toward job and customers. May also interest classes in per-
sonnel supervision.

Fire Is Your Responsibility (fire prevention check list). Rules for fire
prevention in stores, stressing salesperson's responsibility. Opens with meaning
of store fire to both owners and sales force; statistics on prevalence of various

148 BUSINESS

causes of fires. Following causes listed with methods of prevention indicated:
smoking; electric wiring; store housekeeping. Carelessness as major cause of
fires. Ends with photo quiz in which viewers indicate possible fire causes
shown in the photograph. May also interest other classes interested in safety
education.

Step into the Customer's Shoes. Six basic rules of "friendly service" taught
by a cash register to a salesgirl by forcing her to trade places with her
customers and experience the effects of improper and unfriendly service.
Includes prompt and courteous service; know what merchandise you have
and display it; using merchandise facts and answering customer's questions;
methods of making suggestions for related sales.

Tommy Fork and His Fountaineers. The fundamentals of food and
fountain service presented by cartoon characters of silverware and dishes.
Includes proper grooming; mechanics of good service; proper use of cash
register; accident prevention, proper customer approach; methods of giving
"extra" attentions; importance of cleanliness; proper handling of silverware
and glasses; proper table setting; accuracy in taking orders and in making
change; methods for saving steps. Ends with photo quiz in which serving
errors are to be located by audience. Excellent information presented in
interesting fashion. May also interest some home economics classes. Appro-
priate for personnel working in school lunchrooms also.
The Case against Shrinkage. A few of the common causes of "shrinkage"
or merchandise shortages are pointed out to salesgirls by cartoon character
Detective Ketchum. Includes shoplifting; care of understock and counter
displays; handling of fragile. merchandise; use of cash register; marking and
checking prices; measuring and weighing; throwing away stock in nearly
empty boxes, etc. Indicates amount of money lost annually through shrinkage
and effect of loss of even one lo-cent item. Includes cartoon character of
villain I. M. Shrinkage. Ends with review and a photo quiz in which viewers
identify shrinkage causes. Although designed specifically for variety stores,
can be adapted through discussion to other retail-sales situations.
Handling Difficult Customers. Some common types of difficult customers
and methods which sales personnel should use to handle such customers. In-
cludes customer who always finds something wrong, the impatient customer,
the talkative customer, the "just-looking" type, the rude or angry customer,
and methods of selling when two customers are shopping together. Emphasis
on point that no customer is difficult if handled properly. Ends with photo
quiz. Although designed specifically for variety stores, can be adapted to

SALESMANSHIP 149

other types of retail selling. May also be of interest to home economics classes,
girls' or women's clubs to promote discussion of their own shopping habits.
TheSaleand How to Make It. Designed to give the new salesgirl the "feel'*
of the sales floor before she begins selling. Told in story form: Mrs. Kelly,
an irate customer, storms out of the store because of indifferent treatment
received from salesgirl. This salesgirl is then guided through proper tech-
niques of greeting customers, building a selling vocabulary, demonstrating,
suggesting, dealing with undecided customers, substitute selling, and closing
the sale so that the customer will want to return again. Ends with photo
quiz. Although designed specifically for variety stores, it is suitable for use
in any retail sales training.

Modern Retail Salesmanship (Dartnell, sd, 7 films, 7 to 10 min each, Meeting
Guide). This series is designed specifically for retail-sales training. The funda-
mental principles are presented in story form as Mary helps her fiance Tom, a
salesman, to develop and improve his sales abilities. The series contains many
references to their courtship and future marriage, but this does not interfere
with the teaching values of the series for high school and college classes. Settings
of the strips are in Mary's home, at cafes, on the street, and similar places. Titles
and brief descriptions of the individual strips follow.

The Record Breaker (No. i, 9 min). Discussion and illustration of the
knack of meeting customers, stressing the importance of making every
customer feel at home in the store, and illustrating methods of greeting, such
as the merchandise approach and the acknowledgment technique of greeting
waiting customers. Stresses importance of friendliness and display of courteous
interest.

How Do You Do? (No. 2, 7 min). Stresses the need for making customers
like you and getting them to return. Discussion of good sales personality,
giving examples of proper and improper methods of handling various situa-
tions. Indicates need for politeness, cooperation with fellow workers,
concealing your own feelings and irritations, and the use of tact.
I'll Tell the World (No. 3, 7 min). The importance of merchandise knowl-
edge, stressing the need for the right answer to any customer question about
merchandise. Sources of merchandise information and methods of using such
information to dramatize selling points. Need to know where merchandise is
located in the store.

One Thing Leads to Another (No. 4, 8 min). Methods of suggestion selling
of related items with warnings against indiscriminate high-pressure "sugges-
tions." Proper techniques illustrated: suggestions to increase value of purchase;

150 BUSINESS

suggestions as a customer service; selling more expensive merchandise by
"trading up"; getting customers to be value buyers instead of price buyers.
Objection Overruled (No. 5, 14 min). The six principal customer objections
and methods by which each may be handled are demonstrated. Device uses
a dream sequence in which Tom is being tried for improper handling of
customer objection cases. The customer as witness presents the objection and
Tom's method of meeting it; the judge indicates the rule Tom should have
followed.

The Close-Line (No. 6, 8 min). How to get customers to decide and how
to guide them to the close of a sale. Following points discussed and demon-
strated: using winning arguments, narrowing down the selection, watching
for buying signals, questioning on a closing detail, knowing when to stop
selling. Warns against pushing the close too hard as the merchandise may
be returned.

Wake Up and Give (No. 7, 8 min). Uses device of a Mr. Get and a Mr.

Give at work in salesperson's mind, demonstrating why Mr. Give gets sales

results. What customers are entitled to expect; how to get them to come back;

methods of giving active assistance; giving interest and friendliness. A theme

song "Wake Up and Give," which is also presented at the close of the strip

in "community sing" arrangement for audience participation.

Sales Training Series (Modern Talking, sd, 3 films). The first two filmstrips

in this series present basic principles in selling; the third discusses supervision of

salesmen, but .is included here as it may be of interest in advanced courses.

Demonstrations of selling techniques apply the principles to various fields and

varied merchandise. Tides with brief descriptions follow.

How to Deliver a Sales Presentation (30 min). Illustrates principles which
make for successful public speaking and sales presentations, pointing out facts
concerning presentations which salesmen should know and use.
How to Make a Sales Point Hit (30 min). Presents and demonstrates six
fundamental methods of giving a selling point its greatest value.
How to Supervise Salesman (15 min). Eight methods for handling sales-
men, indicating how the sales supervisor may lead, instead of drive, his men.
Selling in America (Jam Handy, 5 filmstrips, sd, 15 to 20 min each, manual).
The series is based on Benjamin Franklin's principles of human association as
applied to salesmanship. In each strip, Benjamin Franklin discusses one of his
rules with a modern salesman, indicating both right and wrong applications of
the rule. The series may also be used with the motion picture of the same tide
available from the same source. Individual titles and brief descriptions follow.

,ESMANSHIP 151

Getting Them Talking (No. i, 60 frames). Illustrates methods of getting
customers to talk by discussing their needs, asking leading questions, finding
their interests.

Being Agreeable (No. 2, 80 frames). Discusses ways of being pleasant and
helpful, suggesting instead of telling, selling at the right place, avoid argu-
ments.

Getting Together (No. 3, 69 frames). Methods of handling objections by
welcoming all objections and discovering the real objection. Emphasizes value
of the "Yes, but " answer.

Keeping Your Neck In (No. 4, 69 frames). Demonstrates principles of mak-
ing suggestions tactfully, of showing merchandise asked for, of avoiding
being too positive.

Telling the Whole Story (No. 5, 70 frames). How complete selling story
aids in combating competition, reveals selling points, makes good use of time,
bridges from point to point, and builds up the purchase.

Strategy in Selling (Dartnell, 7 films, sd or si, 10 to 25 min each, instructor's

lanual, sample set of training manuals). The series is organized in story form

resenting the rise of Ed Thomas, salesman, from a failure to top man in his

rganization through study and application of selling principles as outlined in the

irtnell sales-training manuals. This device makes necessary introductory

[uences in each strip, which do not add to the teaching value of the series.

[owever, the story aids in maintaining the interest of the viewers. Each strip dis-

isses one aspect of selling, presenting applicable principles through demonstra-

ion. Both right and wrong methods are illustrated. In each strip, Ed Thomas is

icwn studying the pertinent Dartnell manual, after which he applies the prin-

iples learned. Titles and a brief resume of principles covered by each follow.

Doubting Ed Thomas (Planning Your Sales) (No. i). Importance of getting

background information before the initial call; methods of collecting such

information; planning the sales visit to offer the customer something that is

profitable to him.

The Turning Point (Getting Better Interviews) (No. 2). Methods of getting
better results from interviews by giving the customer something when asking
for the interview, prospecting for leads, holding attention, using questions
properly, knowing the prospective buyer's problems.

Let Him Smell the Coffee (Making the Presentation) (No. 3). Emphasizes
the need for the salesman to create desire. Stresses importance of showing actual
product whenever possible, of presenting statistical material in chart form, and
of pacing the presentation properly.

152 BUSINESS

A Thousand Times No (Disposing of Objections) (No. 4). Methods of meet-
ing objections, such as price too high, "things too unsettled at present," "I'll
think it over," desire to buy from a company that uses the buyer's product.
Ways of turning objections into selling points.

In the Stretch (Closing the Sale) (No. 5). Methods for bringing a sale to a
successful close: closing on objections, suggesting items, using minor selling
points, getting a third party to help close, giving the prospect a choice.
A Price-Tag on Your Hours (Managing Your Time) (No. 6). Methods of
planning by the salesman to manage his time. Stresses routing, control records
of time, watching size of territory, staying long enough but not too long,
arranging appointments, using travel time.

The Jack-pot and How! (The Way to Leadership) (No. 7). Ed Thomas at
sales dinner wins bonus as top man in his organization. He is quizzed by
other members of the sales force as to his methods. During this verbal quiz
most of the important points covered in the preceding filmstrips are sum-
marized and restated.

SELLING SPECIFIC PRODUCTS

Methods for using filmstrips as supplementary aids are discussed in the chapter
on filmstrip uses. Individual reports on filmstrips of the nature listed below may
analyze the suggested selling methods or may present a comparison of selling
methods shown in two filmstrips that deal with the same type of product.

Some of the available filmstrips in this group are listed and described here to
indicate to the instructor their nature. It is usually also possible to secure other
filmstrips showing sales methods from dealers in the community, particularly
from those who handle such merchandise as refrigerators, automobiles, or agri-
cultural machinery.

Farm Machinery (Case, 3 filmstrips). Methods used by ). I. Case Company
dealers in selling various kinds of farm machinery. They may be used in high
school or college classes to demonstrate use of selling points, effective presenta-
tions, handling of objections, and similar sales principles.

Bill Barnes Buys a Mower (32 frames, sd, 8 min). Two farmers during hay-
ing time discuss values, features, and advantages of the Case mower, stressing
advantages in permitting cutting of hays such as alfalfa at proper time, thus
increasing yield and profit. In this strip one farmer "sells" another, rather than
a dealer making the presentation.

Planting Corn for Profit (sd, 15 min). Two farmers discussing the difference
in their corn yield provide an opportunity for one to present values and advan-

SALESMANSHIP 153

tages of the Case corn planter. Includes information on proper use and care
of the machine. Ends with brief sequence on Case drill planter, tractor two-
row and four-row planters.

Your Furrow Is Your Fortune (sd, 15 min). A Case dealer takes a prospect
on a tour to speak with various farmers using the Case Centennial plow. Each
farmer indicates and demonstrates a number of the features and advantages of
this plow. Includes information on needs for a good plow and the importance
of proper plowing. Contains a thread of love-story interest between the pros-
pect and a widow who runs two farms successfully.

Where Furrows Begin (about 20 min). Designed for dealer instruction, ex-
plaining in detail how dealer should (i) assemble and adjust the plow
properly, (2) start it properly in the field, (3) instruct the owner in its care
and operation, and (4) make follow-up call. Is concerned with the J. I. Case
Centennial plow and its features. The sequence on proper care and mainte-
nance by owner may interest vocational agriculture shop courses also.
How to Drive a Woman Crazy (Premier sd, 20 min, loan). A dealer demon-
strates and explains advantages of the Premier vacuum cleaner to two women
customers. Stresses desirability of purchasing from dealer instead of from an
itinerant salesman. Designed for training of Premier salesmen but is usable in
salesmanship classes to demonstrate selling techniques.

Trailer-Tractor Series (Fruehauf, 8 filmstrips, sd, loan). Designed either for
showing to Fruehauf dealers to supply them with selling points and to demon-
strate selling techniques or for dealers to show to prospects. These strips present
good supplementary material for high school and college classes as they demon-
strate various sales methods and uses of selling points.

Wheel-marks on the Trails of Time (sd, 8 min). First part discusses devel-
opment of transportation from cave man's methods to present day, indicating
that the "trailer principle" was applied throughout; stresses importance of this
principle to civilization and development of commerce. Second part indicates
the values of trailers. First part may also interest high school history classes or
social studies groups. Suitable also for advertising classes to demonstrate one
method of presenting selling points.

Rationed Rubber (sd, 10 min). Importance of planned conservation of rub-
ber during the war. Sales story of differential dual wheels based on the prob-
lem of tire rationing, pointing out how these wheels increase tire mileage and
"ration rubber." Although tire rationing is now an outdated problem, this
strip provides a good example of "timely" salesmanship and advertising.
Proof on Wheels (sd, 18 min). Sales presentation for differential dual wheels
used on Fruehauf trailers, indicating and demonstrating all selling points,

154 BUSINESS

stressing the possibility of more profits through greater savings. Good example
of how one feature of a product can be played up in the presentation.
Cards on the Table (sd, 25 min). Discussion of value of Fruehauf trailers
to dealers, providing increased income for the dealer. Many aspects of the
company's services to dealers; the wide market for trailers, features of the
trailers; types available for many kinds of customer needs. An example of
dealer-selling techniques. May also be useful in demonstrating to class the role
of the dealer in modern sales.

In the Van of Progress (sd, 28 min). Two Fruehauf dealers on train, after
visit to trailer factory, discuss need to give their prospects all the facts. Outline
a four-point construction story and present the sales talk to each other. Good
device for presenting method of planning a sales talk to utilize the product
facts to best advantage.

They Speak for Themselves (sd, 20 min). Sales presentation for Fruehauf
tractor-trailers, indicating that these units "speak for themselves" in efficiency
on the road. Discussion in detail of special features of trailer construction
which provide for economy, efficiency, and bigger pay loads at less cost.
From an Idea an Industry (sd, 10 min). History of the development of the
tractor-trailer industry from a lumberman's request for a custom-built trailer
in 1914. Includes sequence showing manufacturing processes, research, quality
controls, and testing. Ends with photographs of various uses of trailer-tractor
units indicating their values to product consumers. Suitable also for advertising
classes and may interest elementary grade classes in economic geography or
social studies.

Follow the Leader (sd, 20 min). Indicates Fruehauf as the "leader" in pro-
duction of tank trailers for transportation of gasoline, milk, etc. Advantages
and selling points in detail. Stresses importance of Fruehauf experience in the
field and their ability to design special tanks for any purpose. Good material
on presentation of sales points for specific selling problem.

English

English composition is a subject in which diagraming was abandoned by many
*achers some time ago. The investment of funds for the introduction of any

icr visual device in this field can be questioned. The two series produced this
fear provide material with which the individual teacher can form her own

&<\ '
i I'm going to the market, i

From color filmstrip "Quotation Marks." (Popular Science Publishing Co.)

opinion as to whether this type of material is helpful. Many English instructors,
like their colleagues in mathematics, will feel that the inherent difficulties of vis-
ualizing the problems in their field make the use of filmstrips unnecessary. Others
may feel that the use of filmstrips like those described below is highly desirable
in the lower grades to stimulate interest and as a means of motivation.

The cost of color prints may be prohibitive in some situations. Even though the
color devices now used in the available filmstrips in this area might be referred to
as functional, it can be hoped that black-and-white strips will be developed
expressly to stimulate interest.

One of the great problems with many students is their inability to understand
why they need to learn correct grammar, punctuation, and spelling. Perhaps

155

156 ENGLISH

future filmstrip productions can provide logical reasons, acceptable to students,
and present vividly the need for acquiring proper habits that will be used auto-
matically in the many everyday situations requiring an ability to express thoughts
in writing.

All Aboard the Punctuation Express (Popular Science, 6 films, si, color,
teacher's guide). Direct teaching material on punctuation, using and explaining
several examples of the proper placement of each type of mark. A number of
visualization devices are used, the major one being a comparison of sentences,
phrases, and clauses with railroad trains and tracks, with the punctuation marks
as signals. Another device is the use of cartoon figures personifying the punctua-
tion marks. Color emphasizes the placement of the marks and is utilized for
emphasis of sentence "patterns" to provide a visual mental image that can be
easily retained. Practice frames, followed by answer frames with reasons for the
correct punctuation, accompany each major teaching sequence. Most of the strips
also include text frames to be copied by students in notebooks. Summary sequences
end each filmstrip. Some of the parts contain too much information for direct
teaching in one class session, but are organized so that sequences dealing with one
type of punctuation can be shown separately if required by class needs. If this is
done, the entire strip provides an excellent review. The series is designed in treat-
ment, examples, and visualization for upper elementary grades or junior high
school. Individual titles with descriptions follow:

The Comma (Part I, 45 frames). Opens with story of comma left out of a
tariff law and resultant loss of revenue. Definition of punctuation as way of
conveying meaning of sentence. Use of commas in punctuation of series: plain
series, addresses, and dates. Emphasis on using comma to cut addresses or
dates from rest of sentence, and not using one to cut plain series from rest of
sentence. Practice in using commas in phrase series and in series of pairs.
The Comma (Part II, 32 frames). Explanation of "loose" and "tight" parts of
sentence; definition. Use of commas in "loose" parts of sentence. Indicates that
sensing loose parts of sentences should become as automatic as writing "a" or
breathing and walking. Loose parts of sentences compared with cars of a train,
which are run off onto a siding. Sample sentences drawn on railroad tracks
with loose parts punctuated and written on siding. Types of loose parts shown
include "yes" and "no," adverbs such as "however," names of persons addressed,
and words in apposition.

The Comma (Part III, 40 frames). Review of "loose" parts of sentences.
Examples of other types of loose parts: clause following name of person, place,
or thing. Indicates when such clauses are loose and when they are tight. Using
commas to set off introductory phrases and clauses that are out of the normal

ENGLISH 157

order. Commas in compound sentences having a conjunction. Setting off loose
"ing" and "ed" phrases.

Quotation Marks (58 frames). Quotation marks as stop and go signs in
written conversation, use in showing beginning and end of words of the
speaker and sidetracking words not necessary to main line of conversation.
Four patterns for writing conversation shown. Use of capital to begin quota-
tion; punctuating end of quotation. The broken quotation. Other uses of quo-
tation marks: titles, excerpts .copied from writings of others (plagiarism
explained), quoting paragraphs, quotation within a quotation.
Apostrophe (34 frames). Cartoon figure of apostrophe compares himself
with comma in shape, indicates his uses, gives definition, and states his two
jobs to indicate ownership and to show omission of letters. Examples of both
uses. Methods of forming possessive of singular and plural nouns. Examples of
use in showing omission of letters. Use in showing possession in abbreviations,
in proper nouns ending in "s," in two names such as those of two owners of
one store.

Colon, Semicolon, and Dash (44 frames). Cartoon figures of each introduce
themselves and state uses. Colon: a sign of introduction used in letter head-
ing, statements, long series, topic, and with figures. Semicolon: treatments for
related sentences; use with conjunctive adverbs. Dash: emphasis on use only
for special occasions, several examples given; visualized as a plank bridging a

g a P-
English (Curriculum, 10 filmstrips, si, color, teacher's guides). This series is

divided into three subseries: Spelling (4 filmstrips). Grammar (3 filmstrips).
Vocabulary (3 filmstrips). Necessarily, each strip contains considerable text and
depends heavily upon the textual content. The spelling group utilizes cartoon
figures to enliven the pictorial content, but most of the teaching material is to be
found in the -captions and text frames. The grammar series presents each topic
through a story device, which, while interesting and stimulating to the imagina-
tion, depends heavily upon the dialogue of the cartoon figures. The vocabulary
group also uses story devices with dialogue of great importance to the teaching
value of the strips. In the spelling strips, the visual devices are suitable for ele-
mentary grades, while subject matter and treatment may be better suited to upper
elementary or junior high school classes. The grammar strips are suitable in
stories, treatment, and subject matter for the intermediate grades. The first and
second vocabulary strips are of intermediate and upper elementary level, while the
third uses a story device better suited to high school students. Each strip in the
series contains too much information for presentation in one class session, in many
situations, except for introduction or review. It may be desirable to present them

158 ENGLISH

a sequence at a time for direct teaching purposes. Individual tides with descrip-
tions follow:

Spelling I Some Problems (No. E-i, 43 frames). Designed for motivation
and to stress importance of correct spelling. Following problems presented and
answered: Why is it spelled that way? Origins of words and examples of
several. Are words spelled the way they sound? Examples of many that are
spelled the way they sound; need to pronounce correctly in order to spell
correctly. Do reading habits affect spelling? Effects of careless reading on spell-
ing. Does spelling really matter? Importance of spelling in getting and keep-
ing jobs, and its effect on opinion others form of the writer.
Spelling II Seeing-Hearing (No. E-2, 56 frames). Points out errors in spell-
ing caused by faulty pronunciation and methods of counteracting them. Open-
ing sequence stresses seeing, hearing, and saying worols correctly as aids to
spelling. Cartoon figures of Snaffer, Take, Put, and Mix-Up to personify error
types. Snaffer controlled by photographing words mentally; Take and Put cor-
rected by correct pronunciation without taking away or putting in syllables
or letters; Mix-Up corrected by hearing and saying words correctly and not
reversing order of letters or syllables. Stresses need to look at words carefully,
say them properly, and exaggerate the sounds.

Spelling III Memory Aids (No. -3. 53 frames). Designed to illustrate use
of mnemonics as aid to remembering correct spelling. Imagination pictured as
a light bulb that can aid memory. Examples of pictorial memory aids: dome
for "capitol"; pie for "piece"; standing for "stationary" and paper for "sta-
tionery"; cemetery with "E" on all tombstones for aid in remembering "ceme-
tery"; accident for "careless" if you're careless you will be earless; mental
picture of "aw-wa" for "awkward," etc.

Spelling IV Use of Dictionary (No. -4, 54 frames). Gnilleps Stibah, car-
toon figure, suggests helps to student who has spelling difficulties. Review of
things student should know: origins of words; need for careful reading and
proper pronunciation; listening carefully; sounding carefully; use of memory
aids. Need to know meaning, pronunciation, and how word changes. Word
"separate" as example: pronunciation and spelling as found in dictionary; ori-
gin, meaning, and forms it takes; development of "pa" picture as memory aid.
Student follows steps with word "generally."

Grammar I Subject and Predicate (No. -5, 53 frames). To indicate that
every sentence has a subject and a predicate, the function of each and recog-
nition of each in simple sentences. Presented in a story of Subject and Predicate
appearing before judge in courtroom and each insisting that he is more impor-
tant than the other. Judge shows them that they are wrong; sentences and

ENGLISH

159

instances in a circus used for examples. "The circus has come to town"
sentences communicate thoughts to others. Subject and Predicate each juggle
words while defining own functions, and do double juggling act to show
that they make complete thought only when they work together. Review of
what subject is and what predicate is. Basic elements of sentence shown as two
parts of a clown horse, Subject in front of horse, Predicate in hindquarters of
horse, together making a complete horse. Also shown in trapeze act and tight-
rope act. Summary as cartoon figures leave court agreeing that they are both
of equal importance.

Grammar II Modifiers (Adjectives and Adverbs) (No. E-6, 49 frames).
Adjective and Adverb presented as cartoon figures of employees of Grammar,
Inc., a factory that manufactures the "world's best sentences." The two fight
constantly because they envy each other's jobs. Employer tells them to ex-
change jobs and try to do each other's work. During experiment Adverb and
Adjective define themselves and explain their functions, and also define noun,
pronoun, verb. Examples of the proper and improper use of adjectives and of
adverbs. Ends with figures returning to the factory content to do their own
jobs.

Grammar III Nouns (No. -7, 52 frames). A. Noun personified as versa-
tile actor applying for job at Colossal Studios. President of company refuses
employment, but A. Noun proves his versatility in playing parts of people,
things, ideas, etc., and also of plurals and of masculine and feminine forms.
In proving his case, A. Noun impersonates old man, village of Tottenville,
chair, happiness, two boys, lamps, etc. Includes explanation of formation of
plurals by adding "s" and exceptions such as men, oxen, geese, deer, and
foreign words. Defines feminine, masculine, and neuter gender, giving ex-
amples of each. Ending sequence: director calls cast for early morning re-
hearsal; A. Noun is only person who appears. In explaining this to director
A. Noun reviews information given in strip.

Vocabulary I Communication (No. E-8, 56 frames). Importance of lan-
guage, how media of communication develop, functions of words, ways in
which vocabularies grow shown through story of Pierre Marcel, French orphan
age eleven, who is lost in New York upon his arrival in the United States.
He meets Susie who teaches him enough English so that he can make clear
the fact that he is lost. Includes information on learning words by hearing
others use them, by using gestures to learn words, by associating words and
objects, by reading, and from different kinds of jobs each of which has its
own vocabulary, etc. Pierre and his uncle are reunited and Pierre reviews
ways in which he learned English.

l6o ENGLISH

Vocabulary II Word Backgrounds (No. -9, 52 frames). Opens with view
of room containing many familiar things; each object labeled with name.
Roots of various words shown: story of origin of word "sandwich"; brief
indications of origins of sofa, paper, library, book, alarm, bus, school, alphabet,
cab, soup, and others. Stresses fact that origins of words can be found in dic-
tionary. Indicates that some men have spent their lifetimes untangling word
roots. Sample word stories well illustrated and may stimulate student search
for word origins. No indication of how such knowledge can be of assistance to
student.

Vocabulary III Development (No. E-io, 48 frames). Joe, a likable high
school student, loses respect of his girl Sally as he has a habit of misusing
words and not making his meaning clear. He sets out to improve his vocab-
ulary; he later meets Sally and wins back her respect by his knowledge of
words and ability to use them properly. Includes a rival, Jackson, who uses
words correctly and has good vocabulary. Processes followed by Joe in develop-
ing his vocabulary include study of dictionary, and four-step method of adding
new words (i) finds a new word, (2) looks it up in dictionary, (3) puts word
and definition in notebook, (4) uses word in conversation with friends and in
school. Sources of new words: reading, motion pictures, radio, conversations.

Fine Arts

The filmstrip material in this subject has been grouped as (i) The Visual Arts
and (2) Music. As Helen Gardner said in her preface to "Art Through the
Ages," 1 the visual arts cannot be classified dogmatically since they are too closely
interrelated "for example, a statue or relief may be so integral a part of a build-
ing that its form can be understood only as a part of the design of the building."
Another reason for the visual arts classification is that the arts of one age or of one
area often show in their development the influence of one upon the other, particu-
larly during the early periods when one artist frequently worked in several media.
Some of the filmstrip series in this group have taken this approach, while others
are restricted to one art form.

Ironically enough this is one much neglected area although it has the greatest
potentiality. One would think that the challenge of education would have at-
tracted the great contemporary creative artists, as the challenge of religion stimu-
lated some of the finest works of art in earlier times. To be sure, the requirements
of art in the teaching of mundane classroom subjects has never been clearly
expressed, even in the teaching of the fine arts themselves, but contemporary art
of past centuries has been frequently used as a teaching aid in present-day class-
rooms. The writer knows of only one instance in which a first-rate contemporary
artist, Jack Levine, has devoted himself to creative expression through the filmstrip
medium. Some well-known cartoonists and commercial artists work in this field
occasionally, but filmstrip assignments are frequently subordinated to creative
efforts that reach a larger audience. It can only be hoped that the future mass pro-
duction of nonmoving illustrative sequences will make it practical for the great
creative talents of our times to give serious consideration to expressing themselves
in a form suitable for reproduction by filmstrips in addition to the more conven-
tional media.

Even though there is a fairly large group of filmstrips available in the visual
arts, the majority are related to the history of the arts with very little attempt to
touch other aspects of the field. Possibilities for future production are many and
could provide, among others, more of contemporary art, including industrial
applications, examples, and elements of commercial art. The large slide collections

1 GARDNER, HELEN, "Art through the Ages," Harcourt, Brace and Company, New York,
1936, p. 3-

161

162

FINE ARTS

of colleges, universities, and some museums could be distributed economically
via filmstrips to those institutions unable to gather such large collections.

In history of art and art appreciation classes, it is especially desirable to have
available a fund of illustrative material, since students cannot study the arts in the

Reproductions of paintings, prints, and other contemporary art can contribute effectively in other
fields of study. Example from filmstrip "Declaration of Independence." (Slillfilm Co.)

abstract, but must see many examples. Filmstrips provide such material and may
be used to

1. Present examples of various arts for illustration, discussion, analysis, and
comparison.

2. Supplement available slide collections.

3. Augment museum or gallery visits, particularly in areas where art exhibits
are difficult to reach.

4. Assist in showing the arts against a background of civilization in their rela-
tionship to social, political, and religious conditions.

Visualization of the auditory arts is difficult and very little has been done in the
field of music. There are a few of the song-slide type, which may be of some
interest for group singing, and one sound-slide series. It is in the sound filmstrip
that the future of materials for music classes probably lies, for it is necessary to

THE VISUAL ARTS IO3

hear music rather than to talk about it. One treatment might comprise recordings
of musical selections, accompanied by a film showing appropriate scenes of the
orchestra. Other pictorial material, to accompany recordings, might include land-
scapes for pastorales or drawings depicting the story of selections that are musical
narratives, if the instructor wishes to present the class with tentative interpretive
material. Of course, many prefer to present music as an auditory art without any
visualization as an accompaniment. In such situations filmstrips can only be used
to show instruments, orchestra diagrams, and projected scores for class discussion.
The silent filmstrip may also have a future in biographies or in such subjects as
the history and mechanics of instruments.

THE VISUAL ARTS

Art Series (SVE, 8 films, si, 50 to 60 frames each, manuals). A series of repro-
ductions, in black and white, of famous paintings of the period indicated in the
individual titles. The paintings are not identified in the film, nor are the names of
the artists indicated. This information is in the manuals only; therefore this series
is not meaningful without data of the type supplied in the manuals. Individual
titles are listed below.

Development of Architecture in Europe

Italian Art, I to XVI Centuries

Italian Art, XIII Century to Early XVI

Italian Painting, High Renaissance XVI Century Florentine, Umbrian,
Venetian

Italian Sculpture, III to XVI Centuries

Italian Art, Michelangelo-1 475-1 564

Northern Painting Flemish, Dutch

Painting, France and England XVIII and XIX Centuries
Artists of the Renaissance (SVE, 2 films, si). Suitable for study of history of
art in upper elementary or high school classes. Reproductions, in black and white,
of famous paintings with information concerning artist, dates, and type of paint-
ings. The text material appears either on separate frames or on the reproduction
of the painting. In the latter case, the text detracts from the study of the painting
and necessitates a smaller reproduction. Individual tides with descriptions appear
below.

Artists of the Renaissance (Italian) 1266-1576 (44 frames). Work of the

following artists: di Bondone, Fra Angelico, da San Giovanni, Fra Filippo

164 FINE ARTS

Lippi, della Robbia, Mantegna, Botticelli, II Ghirlandajo, da Vinci, Luini,
Michelangelo, Raphael, del Sarto, Titian.

Artists of the Renaissance 1366-1675 (German, Flemish, Dutch, Spanish)
(49 frames). Work of the following artists: Diirer, Holbein, Van Eyck, Mem-
ling, Van Dyck, Rubens, Hals, Rembrandt, Vermeer, Velasquez. Some in-
formation on difference of Dutch paintings in character from that of other
countries after the Reformation.

The Development of Greek Vase Painting (SVE, made by the University
Museum, si, 54 frames). Discussion and examples of Greek vase paintings begin-
ning with those of early Crete and bottle from Cyprus dating about 1400 B.C.
Indicates development from naturalistic decoration to stylized and linear paint-
ings, of grandly composed complete scenes, use of humorous figures, the "re-
served" technique. Ends with bowl dating about 420 B.C. just before vase painting
ceased to be an art. Suitable for students of art history and as supplementary
material for archaeology classes. Vocabulary advanced. A great deal of text.
History of Arts Series (Filmette, 27 films, si). Reproductions and photographs
of paintings, architectural types and details, ornaments, buildings, sculpture,
metalwork, pottery, etc., of each period, indicating development of art of each
period or place. Each item is identified, dates are given, and artists' names pro-
vided where known. Captions are in German, French, and English. The material
is arranged in chronological order, beginning with the earliest artifacts of each
period. Buildings and other structures are shown by photographs of existing
remains, sketches, models, or reproductions. Excellent illustrative material for art
history classes and may also interest ancient or medieval history classes as supple-
mentary material. Individual titles are listed below.

Egypt (Sculpture and Plastic I) (No. 186, 83 frames).

Egypt (Sculpture and Plastic II) (No. 187, 68 frames).

Egypt (Burial Methods, Worship, Tutankhamen) (No. 188, 95 frames).

Babylonia, Assyria, and Persia (No. 189, 72 frames).

Pre-Hellenic Art (No. 190, 82 frames).

Greek Architecture (No. 191, 117 frames).

Important Greek Sculptures (No. 192, 63 frames).

Athens (No. 193, 85 frames).

Ancient Greek Towns and Landscapes (No. 194, 79 frames).

The Ancient Theater (No. 195, 75 frames).

Ancient Rome (No. 196, 127 frames).

Roman Emperors (No. 197, 42 frames).

Pompeii (No. 198, 79 frames).

Bronzes from Pompeii (No. 199, 38 frames).

THE VISUAL ARTS 165

Ancient Roman Residences (No. 200, 45 frames).

Ancient Greek and Roman Portraits (No. 201, 65 frames).

Ancient Roman Funerals and Tombs (No. 202, 51 frames).

German Architecture (Carolingian Epoch to Late Gothic) (No. 203, 100
frames).

Roman to Gothic Architecture (No. 204, 42 frames).

Gothic Brick Architecture (No. 205, 78 frames).

German Plastic Art (Thirteenth Century) (No. 206, 87 frames).

Italian Architecture (Roman Epoch to High Renaissance) (No. 207, 102
frames).

Italian Plastic Art (Thirteenth to Fifteenth Century) (No. 208, 99 frames).

French Architecture (Archaic-Christian, Archaic-Primitive, Roman) (No.
209, 80 frames).

Medieval Spanish Architecture (No. 210, 67 frames).

English Cathedrals (North) (No. 211, 58 frames).

English Cathedrals (South) (No. 212, 69 frames).

Indian Art (SVE, 2 filmstrips, si, about 32 frames each, manuals). Uncaptioned
photographs are offered in these two filmstrips, making it necessary to accompany
their use with information of the type supplied in the manuals. The subject
material is suitable for elementary classes studying Indian art. Individual titles
with descriptions follow.

Navajo Silversmiths (32 frames). Examples of Navajo silversmith's work;

methods of work in producing silver ornaments and objects; Navajos wearing

silver ornaments.

Pueblo Pottery (31 frames). Methods of making pottery from gathering of

clay and preparing of materials to completed product. Shows several types of

pottery.

Indian Pottery Making (Stillfilm, si, 30 frames). Steps in the making of Pueblo
pottery: mixing clay, sand, and water; kneading; forming a bowl, application of
red-clay slip; decorating methods; materials used; firing; sun or oven drying.
Good factual survey suitable for elementary grades or junior high school. May
also interest hobby groups.

Landseer, Painter of Dogs and Deer (SVE, si, 36 frames). Text frames pro-
vide information on birthplace and date, family talents, and some biographical
data pertaining to Landseer's paintings. Reproductions of a number of paintings
including the early ones and those done in Scotland. Emphasizes eminence as
painter of dogs, showing human sentiments, understanding, and love of animals.
May interest upper elementary and junior high school art classes as supplementary
material.

1 66 FINE ARTS

Masterpieces of Painting (McClure, 2 parts, sd, 40 min each, color). These two.
filmstrips utilize an approach which differs from others in this field in that they
are designed for general adult and club use rather than for direct teaching in
schools. The films consist of full-color reproductions of famous paintings, either
the entire canvas or details. Part I presents paintings in the permanent collection
of the Art Institute of Chicago; Part II, paintings in the permanent collection of
the National Gallery of Art. Both open with some data concerning the gallery,
types of exhibits, and, in the case of Part II, donors. The accompanying recorded
lecture gives information concerning the artist and characteristics of his work,
with some general remarks about the painting itself. The comments are general
in nature and are not designed to present detailed study of either artist or paint-
ing. While the presentation is interesting material for clubs and similar groups,
each part presents too many paintings for specific teaching use in art or art appre-
ciation classes although some classes at the higher levels may find them of interest
as supplementary, introductory, or review materials. Paintings included in each
of the two parts are indicated below:
Part I (40 frames).

Cezanne "Basket of Apples"

Carlsen "The Miraculous Draught"

Degas "The Millinery Shop"

Delacroix "Combat of the Giaour and the Pasha"

Derain "Stag Hunt"

El Greco "Assumption of the Virgin"

Greuze "Little Girl Pouting"

Hals "Portrait of an Artist"

Henri "Himself" and "Herself"

Higgins "Spring Rain"

Hobbema "Watermill with the Great Red Roof"

Homer "The Herring Net"

Inness "Sunset in the Valley" and "In the Valley"

Kandinsky "Improvisation No. 30"

Lee "Thanksgiving Dinner"

Marc "The Bewitched Mill"

Memling "Madonna and Child"

Millet "Bringing Home the Newborn Calf"

Monet "Beach at Sainte Adresse" and "Westminster, London"

Pietro "Madonna, Saints Jerome and Bernardine"

Rembrandt "Girl at an Open Half Door"

Renoir "On the Terrace"

THE VISUAL ARTS

i6 7

Sargent "The Honorable Mrs. Swinton" and "Mrs. Dyer"
Savage "George Washington in 1790"
Sorolla "The Two Sisters"
Stuart "Major General Henry Dearborn"
Sully "Mrs. George Lingen"
Ter Borch "The Music Lesson"
Titian "Education of Cupid"
Toscano "Madonna"
Turner "Dutch Fishing Boats"
Ufer "The Solemn Pledge"
Van Gogh "Sunny Midi"
Wood "American Gothic"
Zurbaran "Saint Romanus, Martyr"
Part II (48 frames).

Bellini "Madonna and Child in a Landscape"

Botticelli "The Adoration of the Magi"

Cassatt "Boating Party"

Cimabue "Christ Between Saint Petro and Saint James Major"

Copley "The Copley Family"

de Landi "The Battle of Actium"

Dossi "Scene from a Legend"

El Greco "Saint Martin and the Beggar" and "The Virgin with Santa

Ines and Santa Tecla"

Gaddi "Madonna and Child with Saints and Angels"
Giorgione "The Adoration of the Shepherds"
Hals "Portrait of an Officer" and "Young Man in a Large Hat"
Hobbema "The View on a High Road"
Lancret "La Camargo Dancing"
Lawrence "Lady Templeton and Her Son"
Lotto "Allegory"

Maes "An Old Woman Dozing Over a Book"
Manet "The Old Musician"
Monet "Rouen Cathedral"

Moroni "A Gentleman in Adoration before the Madonna"
Panini "The Interior of the Pantheon"
Peale "George Washington"
Perugino "Madonna and Child"
Raeburn "The Binning Children"
Raphael "The Alba Madonna"

i68

FINE ARTS

Rembrandt "A Polish Nobleman," "Self Portait," "The Philosopher," and

"The Mill"

Ricci "The Last Supper"
Savage "The Washington Family"
Stuart "Andrew Jackson"
Tintoretto "The Worship of the Golden Calf"
Titian "Andrea dei Franceschi"
Turner "Approach to Venice"
Van Dyck "Susanna Fourment and Her Daughter," "William II of

Nassau and Orange," and "Lady D'Aubigny"
Velasquez "Portrait of a Young Man"
West "The Red Cross Knight"

Museum Art Series (SVE, made by University Museum, 10 films, si). Examples
and discussion of art development of the peoples indicated in the individual titles.
Pictorial material consists of photographs of various artifacts, existing structures,
and reproductions. The text material is long with advanced vocabulary. The series
is suitable for high school or college classes in the history of art or archaeology.
Individual strips described below.

African Sculpture (63 frames). Development of African arts; influence of
foreign elements; importance of religious influence; uses of wood carvings;
ceremonial fetishes. Examples include Benin bronze castings; wooden images
and masks from various areas and tribes including those of the Congo.
The Art and Civilization of the Maya (61 frames). Text describes the great
cities of the Old Empire, of the New Empire in Yucatan, clothing, agriculture
as basis of life, methods of stone construction, work in astronomy, and religious
ceremonies. Examples of art shown include temples, vase pictures, weapons,
city plans, stone carvings; minor arts such as pottery, terra-cotta figurines,
marble cups, ornaments, and books. Some views of the modern Mayans.
Arts and Crafts of the American Indians (63 frames). Text describes im-
portance of arts and crafts to daily life of American Indian and discusses the
examples shown. Examples include pottery, canoes, implements, house decora-
tions, pipes, stone carving, basketry, weaving, etc. Tribes included are those of
Northwest coast, Southeastern, Southwestern, and the Mound Builders.
Arts and Crafts of Negro Africa (60 frames). Text indicates areas occupied
by various groups and relates art objects to daily life of the people. Examples
include wood carvings, implements and utensils, textiles, pottery, ivory objects,
mats, basketry, musical instruments, iron knives and spears, scarifying as an art.
Arts and Crafts of the Pennsylvania Germans (48 frames). Text indicates
how German immigrants brought their arts and crafts with them and devel-

THE VISUAL ARTS 169

oped them in isolated communities here. Examples of various arts and discus-
sion of each: home interiors and exteriors; ironware, glassware, slip-decorated
pottery, handwoven textiles; Stiegel and his glasswork discussed.
Art in the South Seas (80 frames). Types of peoples in South Sea Islands
and maps showing where each is located. Text describes characteristics, uses,
and development of arts. Examples include Papua houses, figures, religious
masks, memorial panels. New Caledonia masks, implements, weapons. Mel-
anesia masks, memorial panels. Fiji wood carving, pottery. Polynesia
wood carvings, war canoes, tattooing, ornaments, textiles, clubs, amulets.
Easter Island stone figures. Micronesian ornaments and mats.
Chinese Buddhist Art (53 frames). Text and maps indicate the development
and spread of Buddhism. The following examples of art given with discussion
of characteristics: sculpture of A.D. 150, temples along pilgrim's routes;
Caves of Thousand Buddhas at Tun Huang; Yun Kang cave temple carvings
and images; Lun Men temples; sixth-century realistic figurines, paintings,
and ornaments; vitality of art fading by end of ninth century.
Development of Greek Sculpture (57 frames). Text discusses development,
characteristics, and improvements of sculpture examples, which include rigid
statues of period about 650 B.C.; those of 550 B.C.; relief panels and friezes
before 500 B.C.; carvings and sculpture of 480 B.C., period of the Parthenon
at zenith of Greek sculpture; work of Myron, Polycletus, and Praxiteles.
Egyptian Art (59 frames). Text discusses characteristics of art shown and
its relation to civilization and manner of life. Includes art of the fourth
millennium B.C., development during the Old Kingdom, the Middle Kingdom,
and the Empire. Includes artifacts from tomb of Tutankhamen.
Value of Chinese Painting in Art Instruction (65 frames). Discussion of
Chinese and Japanese painting to be used by art instructors to illustrate
basic elements of art used in a simple way. The following is discussed and
examples given: use of line, light and shade, and color; rhythmic vitality,
dramatic power from few simple lines, repetition of line and rhythm to
express speed; composition, lightness, and grace; methods of expressing
various emotions; impressionistic work, realism; elimination of everything
except those features which contribute directly to the main feeling.
Oberammergau and the Passion Plays (Filmette, No. 272, si, 56 frames,
Part I, black and white, Part II, hand colored, guide). Part I shows various
scenes in and around Oberammergau and close-ups of peasant actors in the
passion play. Part II consists of scenes from the play. Although somewhat long,
this strip may be of interest in dramatics classes, in history of the drama, and
as supplementary material in history classes.

170 FINE ARTS

Painting Series (Filmette, 19 films, si). Reproductions of paintings by famous
artists of the period indicated. Each painting and artist is identified, and dates
are given; in many cases the location of the painting (as prior to the Second
World War) is also indicated. In the few strips dealing with one artist, bio-
graphical material is also included in addition to reproduction of many of the
artist's paintings, drawings, and sketches. The brief captions appear in German,
French, and English. Excellent illustrative material for art history or appreciation
classes in senior high school or college. Individual titles are listed below.
German Painting (3 filmstrips).

XVth and XVIth Century (No. 213, 107 frames). Lochner, Pacher,
Diker, Cranach, Griinewald, Baldung-Griien, Holbein, etc.
XVIIIth and XlXth Century (No. 214, 97 frames). Chodowiecki, Graff,
Rethel, Schwind, Richter, Feuerbach, von Marees, etc.
XlXth and XXth Century (No. 215, 85 frames). Menzel, Bocklin,
Thoma, Leibl, Liebermann, etc.
Durer (No. 216, 76 frames).

Michael Pacher (No. 217, 87 frames). Painting and Plastic.
Bohemian School (No. 218, 88 frames). Paintings.
Italian Painting (3 filmstrips).

Early Renaissance (No. 219, 66 frames).
Leonardo da Vinci and Michelangelo (No. 220, 70 frames).
Raphael (No. 221, 91 frames).

Dutch Painting: Rubens and Rembrandt (No. 222, 79 frames).
French Painting (3 filmstrips).

Beauneveu, Poussin, Lebrun, Clouet, etc. (No. 223, 55 frames).
Watteau, Pater, Boucher, Chardin, etc. (No. 224, 63 frames).
David, Millet, Rousseau, Courbet, Manet, Moreau, etc. (No. 225,
67 frames).

English Painting (Reynolds, Gainsborough, Romney, etc.) (No. 226, 59
frames).

Spanish Painting (Velasquez, Murillo, Goya, etc.) (No. 227, 51 frames).
Constant! n Meunier (Painting and Plastic) (No. 228, 54 frames).
Applied Arts (3 filmstrips).

Smith's Art Work (No. 229, 59 frames).

Furniture Styles (Antiques up to Mediaeval Epoch) (No. 230, 105

frames).

Furniture Styles (Renaissance, Baroque, Rococo, Empire-, Biedermeier)

(No. 231, 102 frames).

MUSIC

171

Rosa Bonheur, the Greatest Woman Painter (SVE, si, 31 frames). Text
provides some biographical data pertaining to the development of Bonheur's
paintings and indicating early talents, exhibitions, honors, study, work in Scot-
land, and in the Forest of Fontainebleau. A number of reproductions of her
paintings presented in chronological order. The emphasis is on her paintings
as "a hymn to labor." Tends to eulogize the artist as a person as well as an
artist. May interest some art classes as supplementary material.

See also the section on Archaeology and Anthropology and the following
series and individual titles for supplementary, illustrative, or related materials:
Historic Rural Homes
Homemaking in Colonial Days

Rural Colonial and Early American Homes and Gardens
Ancient Egypt
European Background Series

Old London

Famous Cathedrals of Europe
European History Series

The German Town

Monastic Life and Ecclesiastical Art
Characteristic Landscape Views (The individual filmstrips concerned with

various European cities.)

Monuments of Ancient Greece (Greece Series)
Water Pictures
Bridges, History and Types
Optical Illusions
Arabian Nights
Gulliver's Travels

Latin Series (Photographs of Roman architecture and art)
Geometry in Art

MUSIC

Carmen (SVE, si, 20 frames). Text frames give synopsis of each act of this
opera by Georges Bizet. Pictorial material consists of reproductions of paintings
by Joseph Boggs Beale illustrating various scenes in each act. Includes following
scenes: Carmen with Don Jose; Carmen escaping the soldiers; the Toreador's
song; Carmen dancing for Don Jose; Carmen seeing death in the cards; the

172 FINE ARTS

rivals quarrel; Jose leaving Carmen; lovers at the arena; death of Carmen. May
interest music appreciation classes as supplementary material.
Instruments of the Orchestra Series (SVE, 4 films, sd, about 10 min each).
Each filmstrip in this series contains a few frames showing the instruments
discussed; the recording gives a description of each instrument, examples of
its sound, and an identification test. The last half of the recordings are to be
played without using the filmstrip. The musical examples are played by high
school students. While the pictorial material is of some interest, it could be

From filmstrip "The Brass," Part 3 of "Instruments of the Orchestra" series, produced by the
Visual Education Section, Los Angeles City Schools. (Society for Visual Education.)

supplemented by real instruments in the classroom if these are available. Descrip-
tions of the individual strips follow.

The Strings (Part I, 15 frames). Violin played with bow, played pizzicato
and muted; viola, cello, bass.

The Woodwinds (Part II, 15 frames). Flute, piccolo, oboe, English horn,
clarinet, bass clarinet, bassoon.

The Brass (Part III, 10 frames). A symphony orchestra, trumpet, muted
trumpet, trombone, French horn, tuba each held in playing position. Record-
ing includes a brass quartet selection to show blending of tone.
The Percussion (Part IV, 10 frames). Kettledrums, bass drum, snare drum,
gong, cymbals, orchestra bells, triangle, castanets. Recording ends with full
orchestra playing selection from Dvorak's "Fifth Symphony," narrator point-
ing out that the various instruments and groups can be identified by sound.
Patriotic Song Series (SVE, 4 films, si, about 15 frames each, manuals). Each
filmstrip presents the words of the song indicated by the individual titles, two
lines at a time. Each two lines are illustrated with a photograph or reproduction
of a drawing or painting. These strips may be of interest for group singing,

MUSIC 173

particularly in elementary classes which are learning the words of these songs.
Titles follow.
America

America the Beautiful
Columbia the Gem of the Ocean
The Star Spangled Banner

Song Series (SVE, 4 films, si), Filmstrips present the words of 30 songs,
which were selected by the National Music Week Committee. Each strip
contains the words of several songs, giving stanzas and choruses on separate
frames. The songs within each strip are divided by blank frames. This series
may be of use in group singing especially where songbooks are not available.
Individual titles with description of contents follow.

Believe Me if All Those Endearing Young Charms (43 frames). Also
the following: "In the Gloaming," "Juanita," "Last Rose of Summer," "Long
Long Ago," "Love's Old Sweet Song," "Stars of the Summer Night," "Sweet
Genevieve."

A Merry Life (37 frames). Also the following: "A Warrior Bold," "Sailing,"
"Soldier's Chorus," "Loch Lomond," "Old Dog Tray," "Over the Summer
Sea," "Sweet and Low."

America (40 frames). Also the following: "Columbia the Gem of the
Ocean," "Keller's American Hymn," "Star Spangled Banner," "Tramp!
Tramp! Tramp!" "When Johnny Comes- Marching Home," "Yankee Doodle,"
"Anvil Chorus."

Carry Me Back to Old Virginia (54 frames). Also the following: "My
Bonnie," "My Old Kentucky Home," "Old Folks at Home," "Swing Low
Sweet Chariot," "Nancy Lee," "Annie Laurie," "Boola-Boola."
The Story of the Star Spangled Banner (SVE, si, 34 frames). Reproduc-
tions by paintings by Joseph Boggs Beale and text frames tell the story of how
Francis Scott Key wrote the words of this song. Includes also portraits of Francis
Scott Key, of John Stafford Smith, and of Joseph Boggs Beale. The second
sequence presents the words of the song, two lines at a time illustrated with
Beale paintings, for the class to recite. The last sequence contains both words
and music with small reproductions of the paintings. The opening sequence
contains good supplementary material for elementary history classes also. The
recitation sequence is legible, but the last sequence is difficult to read since each
frame contains music, words, and an illustration.

Foremanship and Personnel >v '\
; :; v ; " Supervision ^Jlw3S.' 1

Only a few filmstrips have been produced for this area, and most of these
were designed for use in industry rather than in school situations. The informa-
tion presented, therefore, is concerned chiefly with actual personnel problems
and application of theory in handling such problems. This provides the student
with a useful substitute for observation or actual practice. Unfortunately, while
the information is of a helpful nature, the treatment tends to be static pictorially
and often lengthened by extraneous story devices.

It will be noticed that all the strips now available in this field for school use
are accompanied by recordings. Sound can be very helpful in this subject,
since proper handling of personnel problems involves the correct use of words
and of the voice what is said and how it is said has a direct bearing on
successful handling. Also, the available materials deal mainly with foremanship
activities, although the principles outlined or demonstrated are applicable to
the handling of other personnel.

There is opportunity for considerable new production in this field to present
other phases of foremanship and to provide materials for other personnel
supervision. A good example of a positive approach to this field is found in the
series produced for the Army Education Program which has not yet been
released to the public.

The major contributions of existing and possible future filmstrips to fore-
manship and personnel supervision classes include the following:

1. To demonstrate applications of principles of personnel management and
foremanship.

2. To present reenactments of methods of handling actual situations.

3. To illustrate how problems arise and how they may be recognized before
they become serious problems.

Double Horseshoes (Dartnell, sd, 15 min, guide). Designed to make employees
"courtesy conscious" and to promote better customer-employee relations. The
story of a young man, returned veteran, employed in railway freight office, who
is taught the principles of friendly service by Irene and Sally. Principles include
cooperation do more for people than they expect and approach problems from
their point of view and consideration friendliness, being a good listener, doing

174

FOREMANSHIP AND PERSONNEL SUPERVISION 175

something about customer's problems. At end of demonstrations of these two
principles the young man wins a promotion, marries Sally, and leaves town
for his new job. Excellent information for all types of employees who have
contact directly with customers. Suitable for sales training and personnel man-
agement; may interest psychology classes also. Story device lengthens film and
adds little to teaching value. Pictorial material often static.
Personnel Supervision (Photo & Sound Prod., 3 films, sd). Three different
aspects of the personnel supervision problem, suitable for classes in personnel
management or foremanship training. The subject matter is good, but the
pictorial material tends to be static, showing groups talking rather than illus-
trating principles discussed. Individual titles with brief descriptions follow.
Reprimanding Effectively (20 min). Proper methods of reprimanding.
Opens with poorly handled reprimand during which foreman loses his
temper and worker requests transfer. Foreman worried about personnel
problems talks it over with wife and daughter, and later with daughter's
employer. Following rules formulated, each illustrated: Cool down and stay
that way; make certain he deserves it; talk to him in private; be firm but
explain why; show confidence in him. Ends with demonstration of proper
reprimand following above rules, indicating results.

Handling Grievances (15 min). Proper method of handling complaints
or grievances. Opens with example of foreman who handles a transfer
grievance poorly and as result loses four men, and is reprimanded by his
own supervisor for delay in an important shipment. Discusses problem with
personnel manager and following rules are formulated: Show interest in
the problem; get the whole story; decide on a course of action; act on the
decision; sell him the decision if necessary. Ends with foreman handling
another grievance properly.

Inducting the New Worker (15 min). Opens with demonstration of very
poor induction of new worker which leaves the new man insufficient work,
no knowledge of duties, unfamiliar with surroundings, and almost ready to
quit. Foreman discusses problem with other foreman while on fishing trip.
Rules for induction are formulated and ending sequence shows them applied
in a reinduction of dissatisfied new worker in opening sequence.
Supervisory and Foreman Conference Topics (Jam Handy, 5 films, sd,
about 15 min each, manual). Designed for the Carnegie-Illinois Steel Corpora-
tion for use in their foremanship training. However, the fundamental principles
presented are applicable to all foremanship training courses. The pictorial material
in some frames tends to be static, showing groups sitting or standing and
talking. Individual titles with brief descriptions follow.

176 FOREMANSHIP AND PERSONNEL SUPERVISION

Preparing for the Future (No. i, 15 min, 65 frames). Importance of
developing qualified understudies to put foreman or supervisor in line for
promotion. Suggestions for selection of understudies and for their development
and training. Methods of training include developmental assignments; "send
him-upstairs" method (allowing understudy to handle problems with other
foremen and to hold meetings); "get-the-facts" method; "man-management"
method.

Safety for Sale (No. 2, 15 min, 74 frames). Responsibility for and
importance of a continued safety program. Suggests methods of conducting
such a program.

Fair and Cool (No. 3, 15 min, 67 frames). Supervisor's or foreman's
responsibility for and obligations to his men. Suggestions for handling men
tactfully, making men feel good about their jobs, developing proper attitude
among workers, showing an interest in every man and his work. Stresses
avoiding arguments, being fair, and keeping the temper controlled.
Big Little Things (No. 4, 15 min, 78 frames). General principles of handling
ideas, suggestions, complaints, and grievances. Stresses importance of satis-
fying the worker and doing something about his opinions. Indicates that
little things may pile up into large grievances and should be handled properly
before they grow.

New Men at Home (No. 5, 15 min, 72 frames). Opens with sequence on
loneliness in strange city and effect of meeting a friend there. Foreman's or
supervisor's obligations to new employee, with suggestions on how to make
him feel at home on the job and take pride in his work. Demonstration of
proper induction and its results.

See also the section on Industrial Safety and the following individual titles
for supplementary, illustrative, or related materials:
Eyes on the Job
Oh Say Can You See
Healthy, Wealthy, and Wise
Dale Carnegie Series
Merchandise Training Series

What It Takes

Fire Is Your Responsibility
Sales Training Series

How to Supervise Salesmen
Fire
Use of Fire Extinguishers

Home Economics

Much of the material listed in this section was designed for use with rural
jroups, such as farm women and the 4-H clubs; however, it may be adaptable
for school use, particularly in high schools that draw students from agricultural
areas. Very little has been produced for more advanced students or for domestic
science courses, although this field offers some highly pictorial subject matter.
For example, the study of fabrics, of fashion or textile design, and of interior
decoration are subjects that would be handled in the filmstrip medium advan-
tageously. The high school courses in home economics also offer a number of
areas for future production.

The few filmstrips now available in this field can contribute in

1. Demonstrating techniques and procedures (as in cooking or in sewing)
to large groups prior to or after actual practice.

2. Illustrating details otherwise difficult to see, such as fabric weaves.
Fibers, Threads, and Textile Fabrics (Filmette, No. 17, si, no frames). Micro-
photographs of various types of fibers, threads, and fabrics: linen, flax, cotton,
and silk fibers and threads; damask, satin, cheviot, serge, mohair, crepe, twill,
tribot, pique, toweling, velvet, gauze, brocade, tulle, lace, taffeta moire, and
artificial silk weaves. Identifying captions in German, French, and English.
Excellent illustrative material for study of fabrics in home economics or domestic
science courses in senior high school or college.

Food Preservation Series (Castle, made by USOE, 2 films, si, manuals).
Designed for use with motion pictures of the same titles, but may be used
separately for review purposes or as discussion guides. Photographs with question
or review captions. Prepared specifically for farmwork instruction, but applicable
in subject matter to school classes also. Titles with brief descriptions follow.
Canning Beef (No. OE 455). Questions and reviews of the following:
preparation of soup stock; preheating beef for canning; packing in cans;
using exhaust box; maintaining proper temperature in filled cans; sealing;
processing; cooling and drying before packing.

Community Canning (No. OE 198). Questions and review of the follow-
ing: picking snap beans; preparing for canning; inspecting and preparing
cans; packing and exhausting cans; labeling and sealing; using pressure
cooker; cooling, drying, and storing cans.

177

178 HOME ECONOMICS

Home Economics Group (USD A, 12 strips, si, lecture notes). Prepared
specifically for rural educational purposes, but applicable to classes in either high
school or college. Individual titles with descriptions follow:

Canning Chicken (No. 658, 45 frames). Step-by-step demonstration of
poultry canning with a quick and simple method of cutting up the bird.
Canning Fruits and Tomatoes (No. 660, 49 frames, double frame only).
Introductory frames show equipment needed. Part I provides a step-by-step
demonstration of canning peaches. Part II demonstrates tomato canning.
Canning Meat (No. 659, 40 frames). Step-by-step demonstration of meat-
canning process.

Canning Vegetables the Steam Pressure Way (No. 661, 32 frames,
double frame only). Step-by-step demonstration of steam-pressure canning
of snap beans. Leaflet AWI-93 "Home Canning of Fruits and Vegetables"
available gives timetables and other printed directions for ready reference.
Cooking Meat According to the Cut (No. 314, 51 frames.). Methods for
cooking different cuts of meat to retain food value and bring out the flavor.
Cooking Poultry, Older Birds (No. 561, 38 frames). Steps in braising,
casseroling, steaming, and stewing older birds. Suggestions for typical dishes.
Cooking Poultry, Young Birds (No. 560, 51 frames). Steps in broiling,
pan-frying, French frying, roasting chickens. Suggestions on how to cook
other young birds.

Poster Slides (No. 625, 38 frames, double frame only). Four sets of posters
on (i) buying boys' suits, (2) buying bath towels, (3) slip covers, and (4)
new cotton hosiery. Designed to assist homemaker in conserving money and
materials.

Simple Way to Iron a Shirt (No. 649, 44 frames). Demonstration of quick,
simple method of ironing men's shirts, which requires less time than usual
methods. Also proper washing method, convenient ironing equipment, and
proper folding of shirts to conserve drawer space.

Slip Covers for Straight Chairs (No. 592, 64 frames). Details on measuring
for amount of material needed, choosing the fabric, and cutting, fitting,
and finishing.

Slip Covers for Upholstered Chairs (No. 591, 65 frames). Step-by-step
procedure: measuring two types of chairs for amount of material needed;
selecting fabrics; cutting, fitting, trimming, finishing; making and using
patterns.

Step by Step in Everyday Tasks (No. 643, 60 frames). Suggests short
and easy methods of doing everyday tasks, stressing need to eliminate

ftOME ECONOMICS 179

unnecessary motions and steps. Points out that good homemaking manager
works quickly and easily, gets the job done, and has time left for other things.
How to Cook Eggs (SVE, Poultry and Egg Nat'l Board, si, 51 frames, color,
manual, loan). Opens with statement of healthful qualities of eggs as food,
parts of egg, varying sizes, color of yolk, and grades of eggs. Indicates proper
method of keeping eggs. Proper procedures in cooking eggs shown in detail:
soft-boiled, hard-cooked; fried, broiled, poached, shirred, scrambled, French
omelet. Stresses importance of cooking slowly, using moderate heat. Ends with
photographs of assorted egg dishes. Directions for cooking clear and precise.
Can be shown either in entirety or in sequences as desired by class needs.
How to Cook Meat by Dry Heat (SVE, Nat'l Livestock and Meat Board,
si, 52 frames, color, manual, loan). Detailed explanations of proper procedures
in cooking meat by dry heat roasting, broiling, and pan-broiling. Step-by-step
directions include preparation of meat, type of pan, use of meat thermometer,
proper temperatures and cooking time. Stresses importance of cooking slowly
with low temperatures. Compares properly and improperly cooked meats.
Directions for cooking clear and precise. Can be shown in entirety or in separate
sequences.

Proper Care Means Longer Wear (Westinghouse, sd, 15 min, supplementary
booklet, loan). Demonstrations of care and home repair of electric household
appliances, opening with sequence on values of electric appliances and importance
of their maintenance. Indicates improper usage practices. Detailed instruction
on changing fuses, repairing worn cord, changing a plug, checking common
causes of trouble before calling repair man; equipment needed for proper care
and simple repairs. Rules for proper care listed. In spite of reference to wartime
needs, contains excellent material for classes in home economics and electrical
shopwork. May also interest general science classes.

See also the following series and individual titles for supplementary, illustrative,
or related materials:

Textiles and Clothing Group

Inspection of Food Products

Nutrition

Our Health Is in Your Hands

See for Yourself

Furniture Styles

Knack of Easy Wrapping

Tommy Fork and His Fountaineers

l8o HOME ECONOMICS

Basketry

Finding Minutes
Meat Cutting Series
Rug Making

Making American Cheese
Making Butter
Trichinosis

Consumer Problems in Nutrition

NOTE: For child care classes see the sections on Physiology and Hygiene, and
Diseases.

Languages

Only two languages, Spanish and Latin, have received filmstrip treatment.
In these, the approach for one is illustration of environment, history, and mode
of life; and for the other, a specific attempt at teaching a language through
pictures.

It may be desirable for students of a language to learn something of the
peoples who speak that language, and as supplementary material, such illus-
trative films may find some uses, especially in Latin classes for which this type
of material is now available.

Pictorial material can assist in building vocabularies
through association of words with objects or situations.
However, the silent strip cannot be of as much assistance
as the sound strip, particularly in development of speak-
ing facility. Possible future productions utilizing pictorial
material, text, and an accompanying recording may be of

real assistance to the instructor. Such language materials From filmstrip "Marzo

could ( i ) present the sound of the language and correct X el pastor," Unit VI of
. '. f >. j / .... Introduction to Spanish,

pronunciations, (2) provide tor group participation in

(Society for Visual Educa-
pronunciation (usually done with an appropriate pa,use on ^

the record, allowing for class repetition of the previously

pronounced phrases), (3) present text material for practice reading after the
recording has been heard, and (4) visualize the idiom, phrases, and new words,
thus providing a memory association for the student. Such materials should be
closely keyed to texts and courses in use so that the vocabularies presented could
supplement the instructor's work properly. Experiments in Army and Navy
language instruction have pointed the way to use of the filmstrip in this area.
Introduction to Spanish (SVE, 10 filmstrips, si). Organized in 10 units in
beginning Spanish, presenting the language in story situations. Designed for
active class participation, the captions are to be read by the students. The first
four units deal with words, phrases, idiom, and constructions. The other strips
provide story material and songs to be read and sung by the class. The pictorial
frames consist of drawings illustrating the words, phrases, or sentences used as
captions. The opening frames in some strips offer suggestions as to the method
of determining meanings of Spanish sentences or words. Individual titles with
descriptions follow.

181

1 82 LANGUAGES

How to Understand Complete Thoughts (Unit I, 26 frames). Indicates
similarity to English words. Major part of strip consists of pictures with brief
Spanish sentences to be read by method suggested in opening frame. The
ending frames present interrogatives and Spanish questions for the class to
answer in Spanish.

How to Discover the Meanings of New Words (Unit II, 28 frames).
Methods suggested: relationship to words and phrases already known; com-
parison with words of opposite meaning; learning "keys" such as endings
that indicate definite meanings. Pictures with Spanish sentences to be read
by suggested methods. Ending "ero" explained; endings "a" and "ita"
compared.

Some Rudiments of Elementary Constructions (Unit III, 35 frames).
Simple constructions explained; compared to English. Pictures with Spanish
sentences illustrating constructions and giving practice in reading.
Idioms and Expressions of Courtesy (Unit IV, 34 frames). Explanation
of "idiom"; indication of importance of learning idiomatic expressions as
thoughts, not as individual words. Examples of English idioms. Series of
Spanish idioms with illustration from which class is to determine meaning.
Expressions of courtesy given, illustrated by the social situation to which
they apply.

Two Simple Narratives (Unit V, 39 frames). Two stones presented in
drawings and Spanish sentences, with suggestion that students watch for
words and expressions from preceding film strips and note their use in the
stories: "La Hormiga y la Langosta" and "Una Leccion de Cortesia."
Marzo y el pastor (Unit VI, 30 frames). Story based on old Italian folk
tale, explaining why March has 31 days. Line drawings illustrate the story.
A Comedy in Three Acts (Unit VII, 39 frames). Story of a young man who
lost the opportunity to make an impression on "the girl" "Fabula del Joven
Que No Estudiaba Nunca o No Se Sabe Cuanto Valdran los Estudios."
Presented in play form, acts indicated in Spanish, list of characters given in.
Spanish, dialogue in Spanish. The story involves high school boys and a girl.
Mexico Points of Interest and Bull Fight (Unit VIII, 42 frames). Draw-
ings, with Spanish phrases and text frames of places such as Palace of Cortes,
Xochimilco, Chapultepec, Popocatepetl, Taxco. Bull-fight sequence shows
various events, and the participants.

A Mexican Farm Family (Unit IX, 26 frames). Members of the family,
their homes, and various activities, such as going to market, school, washing
clothing, making tortillas, siesta, sewing class, meeting tourists.

LANGUAGES 183

Dances and Music (Unit X, 48 frames). Several dances explained in Spanish

text frames; illustrations of various figures in each dance; dances include

among others: "Los Viejitos," "Las Canacuas," "El Jarabe," "Danza de las

Plumas." The song sequence presents two-part arrangements of music, with

lyrics in Spanish. Songs include: "Las Mananitas," "La Casita," "La

Golondrina," "El Tortillero," "Charrada," "San Sereni," "Vibora de la

Mar," "Duerme Pronto," "Himno Nacional de Mejico."

Latin (SVE, 15 films, si, manuals). Each filmstrip consists of a series of uncap-
tioned photographs of paintings, drawings, sketches, reliefs, and statues with
some photographs of existing remains depicting Roman life in terms of the
individual titles. The strips cannot be used without the information of the type
supplied in the manuals that identify the illustrations. The series may interest
some Latin classes as supplementary material and may also be of use in ancient
history, history of art, and architecture classes. Individual titles are listed below.

The Family (46 frames).

Children (37 frames).

Costumes (50 frames).

Houses (45 frames).

Furniture (41 frames).

Food and Meals (48 frames).

Ceremonies (43 frames).

City Life (41 frames).

Mythology (46 frames).

Moments of History (40 frames).

Country Life (50 frames).

Games and the Theater (48 frames).

Amphitheater (38 frames).

Circus (33 frames).

Water Supply (37 frames).

Business Life (57 frames).

Roman History (35 frames).

How the Romans Traveled (47 frames).

The Arts (39 frames).

Ancient Stories in Painting and Sculpture (36 frames).
The Story of the Aeneid (SVE, 2 filmstrips, si, 38 frames each, manuals).
Photographs of friezes, paintings, drawings, sketches, and sculpture showing the
adventures of Aeneas. No text or captions in the filmstrip. The use of informa-
tion of type supplied in manuals is necessary, since the events or scenes are not

LANGUAGES

identified otherwise. Part I includes the wanderings of Aeneas from his home
in Troy; Part II, Aeneas' wanderings on way to Italy.

See also the following series and individual titles for supplementary, illustrative,
or related materials:
Ancient Roman Life
Ancient Rome
Life in Ancient Rome
Roman Forum
Rome Series
The Odyssey

Literature

Two general types of subject matter in literature are approached in filmstrip
the biographical and the illustrative. In general, those concerned with biographical
data consist of a few scattered details and the pictorial material does not assist

From color filmstrip "Ivanhoe." (Pictorial Films.)

as much as it could either in presenting the authors as real people or in visual-
izing their mode of life or the customs and problems of their era.

Of the illustrative type, the older productions often provide illustrations for
a few major events or characters, usually either through reproductions of
available paintings or by photographs of dramatizations. Such treatment lacks
continuity, or has the disadvantage (since readily available materials were often
utilized) that scenes were selected other than those which the instructor might
wish shown. Some of the newer materials illustrate the entire story in drawings,
making it possible for the instructor to select scenes or to show the entire story
as desired. Even though some teachers may feel that filmstrips showing the

185

1 86 LITERATURE

entire story may prematurely reveal the plot and thus lessen reader interest,
others may prefer students to have a visual synopsis before reading. In any case,
this type of material can be helpful in review.

The recently produced filmstrips on Dickens's "Tale of Two Cities," based
on the Metro-Goldwyn-Mayer motion picture of the same name, open an entirely
new field of filmstrip treatment of the classics. These strips are designed as
definite direct teaching material, to stimulate thinking and interpretation, and
present study questions on plot, . character, and historical background instead of
the usual straight plot-summary treatment.

Another interesting treatment, found in a very few strips, is the reproduction
of contemporary illustrations from early editions. These aid in approaching more
closely the contemporary concept of the author's characters and plot, often
throwing light on the relationship of the work to the problems or conditions
of the period.

Although there are a number of strips in this field, there is a need for a wider
scope of materials and a variety in treatment.

The filmstrip can contribute to the literature class by

1. Showing dress, customs, and manner of life of the age portrayed in the
work being studied.

2. Illustrating the setting and characteristics of the region, tracing journeys,
or explaining related material, such as discoveries or explorations or historical
events.

3. Assisting the student in understanding the material read and giving him
a feeling that it has a basis of reality.

4. Providing a method for rapid review.

5. Presenting a basis for discussion of relationships between the work studied
and the era it portrays, or the period in which it was written.

American Authors (Eye Gate, 12 strips, si). Each strip in the series presents
some biographical data concerning the author mentioned in the individual title,
followed by illustrated quotations from the works of that author. Mainly photo-
graphs, with brief text frames. The films present more of the author's works
than of biographical data, which is in most cases adequate except in the strips
on Lowell and on Whittier. Close-ups of enacted scenes from books tend to be
outmoded in acting techniques, costume, and make-up. These strips may be of
interest as supplementary material in high school classes. Individual tides with
brief descriptions follow.

Washington Irving (72 frames). Biography: birthplace, home at Irvington,
death, and burial place. Scenes from "Sketch Book," "Rip Van Winkle,"
and "Legend of Sleepy Hollow."

LITERATURE 1 87

Henry Wadsworth Longfellow (64 frames). Biography: birthplace, interior
of childhood home, Bowdoin College, Craigie House, burial place. Quotes
from "Village Blacksmith" and "Psalm of Life."

John Greenleaf Whittier (72 frames). Biography: birthplace, Haverhill
Academy, home in Amesbury, burial place. Quotes from "Barefoot Boy"
and "Maud Muller."

James Russell Lowell (75 frames). Biography: birthplace. Quotes from
"First Snowfall," "Biglow Papers," and "The Courtin'."

Oliver Wendell Holmes (72 frames). Biography: birthplace, Cambridge,
education, work at Harvard. Quotes from several poems.
Nathaniel Hawthorne (68 frames). Biography: birthplace, Salem, relation
of Salem to his works. Scenes from "House of Seven Gables."
William Cullen Bryant (75 frames). Biography: birthplace, childhood
home, Williams College, house at Roslyn, Long Island, burial place. Quotes
from "The Skies" and "The Crowded Street."

James Fenimore Cooper (74 frames). Biography: residence in Coopers-
town, estate, memorial, the Cooper Lily, grave and church, Otsego Lake
and relation to his stories various scenes that figure in Cooper's tales, illus-
trating quotations from his books.

Edgar Allen Poe (66 frames). Biography: birthplace, education, West Point,
marriage, home near Fordham, death of wife, suffering and misunderstanding
of Poe. Quotes "Annabel Lee."

Mark Twain (81 frames). Biography: home in Hannibal, scenes near
Hannibal that are locale of "Tom Sawyer" stories, as pilot on Mississippi, New
York City home, death. Quotes from "The Jumping Frog."
Walt Whitman (74 frames). Biography: birthplace, education, work in
printer's trade, home in Camden, service in Civil War hospitals, grave.
Sequence of portraits alternating with famous sayings of Whitman. Quotes
from "Leaves of Grass."

Ralph Waldo Emerson (78 frames). Biography: birthplace, education,
minister and farewell sermon, visit to Europe and his reactions to travel, the
Old Manse. Quotes "Mosses from an Old Manse" and "Music."
American Literature Series (SVE, si, 9 filmstrips). The first 6 filmstrips, titles
listed below, consist of photographs of paintings by Joseph Boggs Beale illus-
trating major events in the stories indicated by the titles. Each illustration carries
a brief quotation from the book or poem. While these strips do not illustrate the
entire story, they do provide pictorial material showing the costumes and
manner of life.

Ben Hur (33 frames).

1 88 LITERATURE

Courtship of Miles Standish (22 frames).
Evangeline (24 frames).
Hiawatha (26 frames).

The Village Blacksmith: Paul Revere's Ride (34 frames). This strip also
includes some biographical material on Longfellow.

The Other Wise Man (62 frames). Lengthy text frames alternating with
pictorial material. The other 3 filmstrips in this group are described individ-
ually below.

Uncle Tom's Cabin (68 frames). Text and illustrations (drawings, paint-
ings, sketches, maps) alternate, portraying major events and characters.
Uncle Tom's Cabin (Background of Story) (40 frames, manual). Uncap-
tioned photographs and maps providing historical information concerning
slavery, slavery disputes of the times, Harriet Beecher Stowe, the "abolition-
ists," Underground Railroad, plantations and homes, various localities of the
story such as Canada, Louisiana, the Mississippi. Requires information of
type supplied in manual.

Tales of the White Hills (31 frames, manual). Uncaptioned photographs of
localities in the White Mountains that furnish the locale for Nathaniel
Hawthorne's tales. Cannot be used without information of the type supplied
in the manual, since the photographs cannot otherwise be identified or
related to the stories. Supplementary material.

Arabian Nights (Filmette, 2 filmstrips, si). Reproductions of Edmund Dulac's
illustrations of the Arabian Nights. Each story has about 15 frames of illustration.
Identifying captions in French, German, and English. Contents of the two
parts listed below.

Part I (No. 279, 78 frames). "Tale of the Fisherman and the Ghost"; "Tale
of the Prince Changed into Stone"; "Tale of the Three Calendars"; "Princess
Badura."

Part II (No. 280, 81 frames). "Ali Baba and the Forty Thieves"; "Aladdin and
the Lamp"; "Sinbad the Sailor"; "Tale of the Enchanted Horse."
British Authors (Eye Gate, 10 films, si). Similar to the American Authors'
Series described above, these films are composed of photographs and text frames
providing some biographical data and illustrated quotations from one or more
works of the authors indicated in the individual titles. The illustrations of
quotations often are enacted scenes with acting technique, mode of hairdress,
and costuming somewhat outmoded, particularly in close-ups of the women
actors. The biographical material is brief, particularly in the case of the strips
on Stevenson, George Eliot, and the Brownings. May interest high school classes

LITERATURE 189

in literature as supplementary material, if student reaction to outmoded scenes
is not undesirable. Individual titles with brief descriptions follow.

Charles Dickens (57 frames). Biography: birthplace, boyhood hardships,
burial place, success factors. Illustrations of locale and characters in "Old
Curiosity Shop," "Tale of Two Cities," "Oliver Twist," "Martin Chuzzle-
wit," "David Copperfield," "Pickwick Papers," and "A Christmas Carol."
Robert Louis Stevenson (40 frames). Biography: birthplace, life at cottage
in Edinburgh. Quotations from various works, mainly poems.
Alfred, Lord Tennyson (70 frames). Biography: birthplace, education, home
on Isle of Wight, estate in Sussex, burial place. Quotations from "Break,
Break, Break," "Home They Brought Her Warrior Dead," and "Crossing
the Bar."

Sir Walter Scott (65 frames). Biography: birthplace, education, Abbotsford,
baronetcy, failure of publishers, Scott's attempts to pay off all claims, trip
to Italy, burial place, memorials, importance of his writing. Locale, quota-
tions, and scenes from "Lady of the Lake."

Robert Burns (49 frames). Biography: birthplace, love affairs mentioned
briefly, death, memorials. Quotations from "Auld Lang Syne" and several
pastoral lines from various poems.

Oliver Goldsmith (76 frames). Biography: birthplace, education, poverty and
death, personal characteristics, and style of writing. Quotations from "The
Hermit."

Percy Bysshe Shelley (65 frames). Biography: birthplace, education, ex-
pelled from university, love of the sea, death, dislike by contemporaries. Quo-
tations from "The Cloud" and "Ode to the West Wind."
The Brownings (80 frames). Biography: life in Italy, memorials, death of
Robert Browning. Quotations from Elizabeth Browning's "Romance of the
Swan's Nest" and a few other lines. Some data on characteristics of Robert
Browning's work.

William Shakespeare (49 frames). Biography: birthplace, grammar school,
Ann Hathaway, their home, scenes of present-day Stratford upon Avon, me-
morials, Memorial Theater. Poem about Shakespeare illustrated with views of
the town and the river.

English Literature Group (SVE, 18 films, si). The first 10 filmstrips, titles listed
below, consist of photographs of Joseph Boggs Beale's paintings illustrating vari-
ous events and scenes in the stories or plays indicated by the individual tides. Each
illustration carries a brief quotation from the work being illustrated. While these
films do not illustrate the entire work, they do provide pictorial material showing
costumes, manner of life, and settings.

190 LITERATURE

A Christmas Carol (22 frames).
Elegy Written in a Country Churchyard (32 frames).
John Gilpin's Ride (20 frames).
Lady of the Lake (28 frames).
Pilgrim's Progress (24 frames).
Merchant of Venice; As You Like It (24 frames).
Hamlet (17 frames).
Merry Wives of Windsor (14 frames).
Othello (14 frames).
Romeo and Juliet (17 frames).

The following 7 filmstrips, described briefly below, consist of uncaptioned photo-
graphs of paintings, woodcuts, locales, and similar material. Information of the
type supplied in the manuals is required to identify the pictorial material.

Gray's Elegy and Byron's Prisoner of Chillon (16 frames, manual). Locale
of each of these selections. "Prisoner of Chillon" mainly interiors and ex-
teriors of the castle. "Gray's Elegy" the chapel and the graveyard.
Idylls of the King (40 frames, manual). Reproductions of woodcuts, draw-
ings, and paintings illustrating these poems at random, also photographs of
locale such as the castle and the rocky seacoast.

Kenilworth (31 frames, manual). Photographs of paintings and woodcuts
illustrating this story and also of locale as it now appears.
Life of Robert Burns (30 frames, manual). Various biographical data such as
portraits, interiors and exteriors of home, travels, statues, and monuments.
Life of Dr. Samuel Johnson (32 frames, manual). Portraits, paintings of
events of life of Johnson, locale in which he lived, some contemporaries, furni-
ture, buildings, customs and manners of period.

Merchant of Venice (38 frames, manual). Opens with a few scenes of local-
ity in which he lived and some portraits of author. Major portion shows vari-
ous scenes from play, as enacted on a stage, and some famous paintings based
on this play.

Tom Brown's School Days (26 frames, manual). Locale of this famous story

Rugby School, campus, buildings. Statue and portrait of author included.

The last strip in this group, described below, consists of paintings, drawings,

and sketches with no captions or text. The manual supplies required identifying

information. The organization is not clearly defined as data concerning the period

and biographical material are intermingled.

Life and Times of Shakespeare (47 frames, manual). Various localities and
events in life of Shakespeare and of time during which he lived: Shakespeare's

,ITERATURE

191

home, interior and exterior; cathedrals and churches of era; people of the era;
fencing, bullbaiting; inns; the Globe Theater, handbills, title pages; the mod-
ern Memorial Theater in Stratford upon Avon.
: iction Films (Pictorial, 10 films, si, color). These filmstrips, announced also as
itertainment, present the basic plots of a number of familiar books often
mtained in school reading lists or studied in class. Color drawings with super-
iposed captions present the story of each of the tales indicated by the individual
:itles. All major events and characters are included, only minor deletions being
lade from the entire plot. Settings and costumes are well depicted. The captions,
in general, are brief (one to three lines) and are either direct quotations from the
original story or condensations that preserve to considerable extent the style of the
original. The color used tends toward vivid hues and the pictures are mainly
medium shots with little variety in distance. Both color and drawing technique are
more suitable for the adventure tales than for other types. Although each strip,
necessarily, is very long, showing by selected sequences can be utilized if desired.
The films are suitable for use with classes studying or reading the tales visualized
and particularly for review purposes. The series may also be of interest for audi-
torium purposes. Individual titles follow. Descriptions are not included since the
titles are self-explanatory, but additional information is supplied where necessary.
Ivanhoe (105 frames). Based on Sir Walter Scott's novel.
Treasure Island (102 frames). Based on Robert Louis Stevenson's novel.
The Three Musketeers (105 frames). Based on Alexander Dumas's novel.
Rip Van Winkle (115 frames). Based on Washington Irving's story. Color
softer and drawing technique adapted to mood of this tale.
Robinson Crusoe (100 frames). Based on Daniel Defoe's story. Some very
long captions.

Alice in Wonderland (97 frames). Based on Lewis Carroll's fantasy. A num-
ber of close-ups.

A Christmas Carol (106 frames). Based on Charles Dickens's tale. Some very
long texts. Scrooge and the Spirits heavily caricatured.

King Arthur (96 frames). Adapted from old legend. Includes raising of
Arthur and childhood, drawing the sword from the anvil, marriage of Uther
and Ingraine, Merlin's story of Arthur's birth, knighting and crowning of
Arthur, Griflet's and Arthur's battles with Knight of the. Spring, the Lady
of the Lake and the sword Excalibur, meeting and marriage with Guinevere,
formation of the Table Round, Seat Perilous. May be of interest for use as
introduction to Tennyson's "Idylls of the King."

Moby Dick (98 frames). Based on Herman Melville's novel. Storm and whale
sequences particularly well visualized.

Ip2 LITERATURE

The Odyssey (97 frames). Adapted from the Odyssey of Homer. Following
events in some detail, with others mentioned briefly: Cyclops, the bag of
winds, Circe, passing the sirens, Charybdis and Scylla, Calypso. Color and
drawings among best in series.

Goethe (Filmette, No. 274, si, 129 frames). Biographical material including por-
traits of Goethe and of his parents, birthplace, drawings made by Goethe at vari-
ous times, his study in Frankfort, garden house, the old Weimar court theater, his
friends. Reproductions of several pages of manuscript and title pages including
those of "Faust," followed by contemporary paintings based on scenes from
"Faust." Identifying captions in German, French, and English. Good biographical
material, suitable for high school or college classes studying this writer.
Gulliver's Travels (Filmette, No. 278, si, 73 frames). Reproductions of illus-
trations made by T. Morton for the edition published in 1875 in London. Shows
the high lights of Gulliver's journey to Lilliput and to Brobdingnag. Brief identi-
fying captions in French, German, and English. Excellent reproductions of these
old drawings. Good illustrative material for any classes studying this work.
Robin Hood (Stillfilm, films No. H-i8 and H-I9, si, about 30 frames each). Part
I contains the following tales of Robin Hood: in Sherwood Forest, Richard the
Lionheart on Crusade; plotting of Prince John; how Robin Hood became an
outlaw; Lady Marian; Friar Tuck; recapturing stolen goods; help to needy. Part II
continues with return of Richard the Lionheart; outwitting of Sheriff of Notting-
ham; capture of Nottingham for Richard; rescue of Lady Marian from Prince
John; Richard saving Robin Hood from execution; the wedding. Text and pic-
torial material alternate to provide summaries of these tales. Major part of pic-
torial material from early motion picture. Suitable for classes reading these tales,
and may also interest history classes as supplementary material.
Tale of Two Cities (Popular Science, 3 parts, si, teacher's guide). This three-part
filmstrip presents a new filmstrip approach to subjects in the field of literature.
Each part is designed for active student participation and for actual study of the
novel and is not intended to retell the story as most other strips in this field do.
The pictorial material consists of well-selected stills from the MGM feature-length
motion picture of the same title. Each picture carries a brief caption either sum-
marizing what is being shown or presenting a question for student discussion.
The strips may be used before the class reads the novel to stimulate interest and
point out phases to be noted or for study while the novel is being read or as a
review of the novel. This material is suitable for any group studying this particu-
lar novel, from junior or senior high school to adult groups. Individual parts with
brief descriptions are listed below.

LITERATURE 193

Part I Plot Study (50 frames). Outlines the plot of the story, emphasizing
importance to plot of document concerning Dr. Manette's imprisonment.
Questions concerning the plot and its development. May be used to provide
practice in narration, and arouse appreciation of story construction. Stresses
significant events in plot and explains various themes and conflicts involved.
Part II Character Study (46 frames). A number of the important characters
shown and identified. Captions present statements or questions concerning
qualities, characteristics, relationship to other characters and to plot, back-
grounds, details that reveal character, reasons why certain characters are ad-
mired. In addition, provides practice in evaluation of conduct, personalities,
and motives.

Part III Historical Background (42 frames). Captions present questions
concerning the historical background of the tale: similarities to present; atti-
tude of English toward French; the French Revolution. Emphasis on conflict
between French aristocracy and. the common people; nature of the French
Revolution. Leads to discussion of conflicts between democracy and despotism,
discussion of novel in terms of current world conflicts, relation of understand-
ing of history to understanding of present events.

For supplementary, illustrative, or related material, see also Land of Evangeline
and Story of the Aeneid.

Reading

A considerable number of available filmstrips have been designed for use at the
primary and lower elementary level. Of these a large percentage are concerned
with fairy tales and nursery rhymes. However, other material, including the
newer strips, present in story form such subjects as transportation, safety, health

From color filmstrip "The Three Bears." (Young America Films, Inc.)

rules, and life in other lands. These latter films are applicable for use as cores of
units that correlate reading, language, and the social studies or hygiene. A num-
ber of these new series will be found under the appropriate subject matter head-
ings, i.e., safety, physiology and hygiene, social studies.

The grade level of vocabulary, particularly in some of the older series, varies
considerably; however, an attempt is being made in more recent materials to cor-
rect this. One of the newest developments in this area is the designing of filmstrips
for use with specific readers. Row, Peterson and Company have just begun pro-

194

READING 195

duction of strips for the "Alice and Jerry Readers." 1 Three, for use with the read-
ing readiness books of this series, have been completed and are now available.
These, while closely correlated with the books themselves, can be used in other
reading readiness programs. However, films being planned for the Alice and Jerry
preprimers are designed for use with those texts only. This entire project takes an
entirely new approach to the problem of book and visual material correlation.
Only a few frames of each strip are to be used in any one lesson; each whole strip
is designed to constitute complete visualization for the reader with which it is to
be used.

The new Young America Films series for lower elementary reading, "Primary
Grade Stories," also considers effectively the problem of appropriate vocabulary.
This group of filmstrips has been rated in reading "levels," rather than according
to age or grade, so that the selection of specific strips can be governed by the
progress of individual classes and individual pupils.

As the descriptions indicate, many of the films in this group consist of alternat-
ing text frames and pictures. In this case, it may be desirable for some uses to set
the projector for double-frame projection (if this can be done on the projector in
use) so that the photograph or drawing and its accompanying text may be seen
simultaneously.

In primary and lower elementary teaching, pictorial material on charts, in
books, and on flat pictures has been utilized successfully. The filmstrips provide
the teacher in these grades with readily accessible illustration, which can assist in
many ways, including the following:

1. Broaden the pupils' experience through illustration of situations, people, ani-
mals, etc., outside their everyday life.

2. Provide stimulus for imagination and a focus for class discussion.

3. Assist in the development of meaningful vocabulary.

4. Encourage good group attitudes by obtaining group attention, which is
developed into group activity.

Christmas in Many Lands (Informative, si, 21 frames, manual). Reproductions
of line drawings, each with brief identifying caption, showing scenes of Christmas
customs in other lands, including ancient Rome, the Druids, customs of Middle
Ages, England, Denmark, Sweden, Netherlands, Czechoslovakia, Italy, France,
Hungary, Spain, Germany, Austria, Poland, Mexico, Bagdad. Map shows locations
of countries. Suitable for elementary grades' reading, language, or social studies.
Each drawing contains much detail, reducing legibility.- Manual provides addi-
tional information on customs of each land.

, MABLE, and ALICE CAREY, "The Alice and Jerry Books," Row, Peterson and
Company, Evanston, 111., 1936-1947.

196

READING

Fairy Tales Series (Filmette, 8 films, si, hand-colored). A series of untitled hand-
colored drawings illustrating the story or stories indicated by the individual titles.
A few of the major events in each story are shown. The teacher would need to
know the story as the pictures do not present the entire tale. Individual titles
follow.

Red Riding Hood, Hansel and Gretel, The Seven Ravens (No. 281, 28
frames).

Cinderella, Sleeping Beauty (No. 282, 27 frames).

Snow White Princess, Mother Carey, King of the Frogs (No. 283, 28
frames).

The Wolf and the Seven Kids, Snow White and Rose Red (No. 284, 27
frames).

Little Brother and Little Sister, Mary's Child (No. 285, 27 frames).
Lucky Jack, Puss in Boots (No. 286, 27 frames).

Hobgoblins, Musicians of Bremen, Brave Little Tailor (No. 287, 28
frames).

Cross Pig, Pilfering Little Mouse (No. 288, 27 frames).

Kindergarten Series (Stillfilm, n films, si). Uncaptioned photographs present-
ing pictorial material on the individual title subjects for kindergarten and first-
grade language or social studies activities. Individual titles follow with brief
descriptions:

City Fire Department (No. P-I3, about 20 frames). Various activities and
equipment of a city fire department including firehouse, fire engine, hook-and-
ladder equipment, and clothing worn by firemen.

Community Helpers (No. P-i4, 14 frames). Various kinds of community
helpers including policeman, fireman, mailman, ambulance driver, nurse in
clinic, milk inspector, train conductor, bus driver, street cleaner, man clearing
streetcar tracks, sanitation department gathering refuse. Each worker is shown
in typical activity.

Farm Animals (No. P-I5, 20 frames). Includes the following animals in their
natural setting: cows, horses, mules, pigs, goats, sheep, and others.
Home Activities (No. P-i6, 20 frames). Includes reading, setting table, eat-
ing, washing dishes, running vacuum cleaner, dusting, making beds, mowing
lawn, raking, watering, wheeling baby carriage, playing with blocks, washing
the porch, helping father wash car, helping mother with the sewing and iron-
ing, children helping to cook.

Ships (No. P-I7, 20 frames). Various kinds of ocean liners and their decks
and interiors; ship in launching ways; freighters, Navy vessels, ferryboat,
freight-car barge, river stern wheeler. Shows several types of wartime vessels.

READING 197

Trains (No. P-i8, 20 frames). Exteriors and interiors of engine, observation

car, day coaches, diner, Pullman, rear platform, streamliners, parlor cars, club

car, railroad stations, bridges.

Postoffice (No. P-ip, 20 frames). Various activities in a city post office, includ-
ing receiving of letters and parcel post, mailing letters, buying stamps, etc.

Farms (No. P-20, 20 frames). Views of buildings, equipment, animals, fowl,

fields, and activities.

Foreign Animals (No. P-2i, 20 frames). Includes hippopotamus, rhinoceros,

elephant, water buffalo, musk ox, kangaroo, anteater, tiger, lion, leopard,

giraffe, zebra, camel, llama, monkey, alligator, polar bear, and deer.

Air Travel (No. P-22, 20 frames). Various kinds of airplanes, exteriors and

interiors including daytime seating, pilot's cockpit, sleeping arrangements,

lunch, airport.

Pictorial Alphabet (No. P-23, 26 frames). Each frame consists of a letter of

the alphabet, one word beginning with that letter and a picture illustrating the

word; as, "A," airplane, and picture of an airplane. Uses photographs and

drawings.

Kindergarten Fairy Tale Series (Stillfilm, 13 films, about 30 frames each).
Each strip presents the story of the fairy tale with alternating text frames and
drawings that illustrate the major points. The text frames may either be read by
the teacher or used in second or third grade for reading practice. The text is very
legible. "Mother Hubbard" and "The Gingham Dog and The Calico Cat" use
the poem as text. Individual titles follow.

Jack and the Beanstalk

Robinson Crusoe

Cinderella

Puss in Boots

Peter Rabbit

Mother Hubbard

Red Riding Hood

Little Red Hen

The Three Bears

The Three Little Pigs

Little Black Sambo

Ugly Duckling

Gingham Dog and the Calico Cat

The Lost Dog (Popular Science, si, 40 frames, color, teacher's guide). Drawings
with brief captions tell the story of Inky, a small dog, who was lost by his master
Tommy. Jimmy finds the dog, takes it home, and cares for it, showing proper

198 READING

feeding, bathing, visit to veterinary. Tommy finds where his dog is and goes to
get him. Filmstrip ends with question "What will Inky do?" indicating that he
likes both boys and must decide whether to stay with Jimmy or go with Tommy.
Caption vocabulary simple; suitable for lower elementary grades reading or for
reading to primary groups. Can be used to motivate proper care of pets.
Nursery Rhyme Series (Stillfilm, 6 films, si). Line drawings illustrating the
rhymes alternate with text frames, which give from one to four lines of the rhyme.
Each rhyme is given in entirety; longer ones presented with more than one illus-
tration. Text is uncrowded and legible. Contents of each filmstrip are indicated
below.

Nursery Rhymes (No. i, 32 frames). "King in the Counting House"; "Ding,
Dong Bell"; "Little Miss Muffet"; "Hark! Hark!"; "Three Blind Mice";
"Mary, Mary, Quite Contrary"; "Hushabye Baby"; "Sing a Song of Sixpence."
Nursery Rhymes (No. 2, 40 frames). "Ride a Cockhorse"; "Humpty
Dumpty"; "Hey diddle diddle"; "Little Jack Horner"; "Pat-a-cake"; "Baa,
baa, Black Sheep"; "Old Woman Who Lived in a Shoe"; "Jack and Jill"; "To
Market, to Market"; Pussy Cat, Pussy Cat."

Nursery Rhymes (No. 3, 35 frames). "This Little Pig Went to Market";
"One,, Two, Buckle My Shoe"; "Eenie, meenie, minie, mo"; "Rub-a-dub dub";
"Bell Horses"; "Two Little Indian Boys"; "Three Minus One"; "Thirty Days
Hath September"; "Tit, tat, toe."

Nursery Rhymes (No. 4, 30 frames). "Queen of Hearts"; "If I Were an
Apple"; "How Many Miles to Boston"; "One Two, Three, Four, Five";
"Little Tommy Tucker"; "Handy Andy"; "Mary Had a Little Lamb"; "Tom
the Piper's Son"; "Dickery, dickery, dock"; "Hickety Pickety"; "Speak When
You're Spoken To"; "Two Little Dogs."

Nursery Rhymes (No. 5, 38 frames). "I'll Sing You a Song"; "I Like Pussy";
"Hippety Hop"; "There Was an Old Woman of Leeds"; "The Cock Crows
Early"; "Little Jenny Wren"; "Two Blackbirds"; "My Son John"; "Molly My
Sister and I Fell Out"; "Old Woman Lived under a Hill"; "Daffydowndilly";
"Bring the Carriage"; "Rain, Rain Go Away"; "Blow Wind Blow"; "Where
Has My Little Dog Gone"; "My Little Nut Tree"; "Jack Sprat"; "Cock-a-
doodle-doo."

Nursery Rhymes (No. 6, 36 frames). "Goosey, Goosey Gander"; "Rockaby
Baby"; "Polly Flanders"; "Hot Cross Buns"; "Yankee Doodle"; "Poor Old
Robinson Crusoe"; "Twinkle, Twinkle"; "Bowwow-wow"; "Farmer Went a
Trotting"; "Little Boy Blue"; "I'm a Poor Little Donkey"; "Man in the
Moon"; "Tommy Snooks and Betty Brooks"; "Where Are You Going, My
Pretty Maid."

READING 199

Original Stories Series (SVE, 9 films, si). Alternating text frames and drawings
present original children's stories by Esther Bjoland. The vocabulary is suitable for
lower elementary grades, but the text frames tend to be lengthy. Individual tides
with descriptions follow.

Billy Saves the Day (28 frames). Billy, a baby coon, and his adventures:
playing a trick on Johnny Otter; finds an umbrella and takes it home, and is
scolded for this; rain begins to fall and comes into coon's house; they spread
umbrella over the hole in the tree and keep dry.

Bingo the Dog (29 frames). Bingo chasing a chicken, rabbit, smaller dog,
goose, kitten. Kitten and Bingo fight and Bingo is scratched. Emphasis on dog
liking to chase anything that runs from him.

Brave Lass of Belfry Lane (32 frames). During seige of Leyden by the
Spaniards, Dutch children raise carrier pigeons. Boy messenger through enemy
lines, and his adventures taking message and pigeon to William of Orange.
Return of pigeon telling William's plans to pierce dikes and drown Spanish
army. Interesting story, but title is misleading. Story requires considerable his-
torical background and explanation of a number of terms.
The First Straw Hat (30 frames). The story of little Betsy Metcalf, a Puritan
girl, who makes herself a plaited-straw bonnet because she cannot buy the ones
in the shops. Demand for these hats and establishment of prosperous hat fac-
tory by Betsy, America's first straw-hat maker. A well-told historical tale.
For the Love of Michael (30 frames). Peggie and Timmie visit Aunt and
cousins during Easter vacation. Cousin Michael isn't nice to Peggie. He be-
comes ill and the doctor orders Peggie and Timmie to leave, but Peggie wants
to stay and is told to think of the visit as "for the love of Michael." She
watches a 4-H club play rehearsal and the leading girl forgets her lines. Peggie
pretends she is acting "Lady Spring," is seen by the play director, and later is
given the part since the original Lady Spring is ill. Combines many elements
and is therefore somewhat difficult to follow. Stresses "moral" very heavily
reward to Peggie because she loved her cousin in spite of his unkindness.
Friendship Village (30 frames). Location and description of the village, the
school, and children who attend it. Children giving playets about Indian Chief
Decorah, his friendliness for the white people and his escape from Chippewas.
Interesting story but title is misleading, since most of the story is about the
Indian chief.

Just Make Believe (32 frames). Little girl at home alone because her brothers
do not want her with them all the time. Pretends she is running away to the
wharf, to the park, toward the dark cave. She finds something wrong with each
and decides to hide. Brothers return looking for her to play ball with them.

200 READING

Puff and Buff (32 frames). Rabbit family painting Easter eggs; twins Puff
and Buff left to finish painting alone but decide to go out to play instead. Meet
Big Black Rabbit who tells them he was painted black by his bad deeds, and
makes them play with the other black rabbits in the black forest. When the
family find Puff he is all black. While the rest of the family attend an Easter
party, Puff paints a basketful of beautiful eggs with beautiful thoughts. Moral
very obviously stressed.

Silver Knee Buckles (28 frames). Cynthia, a girl of Revolutionary days,
wants to be a boy like her brothers so she can be in the army and show how
brave the rebels are. The English come to the farm, take food and the cow
Brindle, which is Cynthia's pet. She goes after them; tells General Cornwallis
about her cow and about her brothers. He returns the cow and gives her silver
knee buckles because she is a brave girl.

Primary and Primary Stories Series (Stillfilm, 26 films, si, about 30 frames
each). Alternating text frames and photographs present stories suitable for .lan-
guage, reading, and social studies classes in the lower elementary grades. Individ-
ual titles with brief descriptions follow.

Ahmed, the Desert Boy (No. S-i). Various activities of Ahmed, including
riding camels, picking dates, the evening meal, the caravan, sandstorm, visits
to market place, the water sellers, bazaar, and cobbler.

Chang and the Jungle Children (No. 8-22). Life in the jungles of Siam:
houses, banana, trees, pounding rice, trapping tiger, playing with monkey
and elephant; baby elephant's mother comes for him and charges the village,
ruining it.

Chinese Children (No. 8-29). Views of houseboat children, village children,
wealthy children, middle-class villagers, groups at mission schools, work done
by poor children, Chinese Boy Scouts.

The Eagle Dance (No. 8-14). Various phases of the dance as performed by
the Pueblo Indians; text explains its meaning.

English Children (No. 8-30). Activities and homes of English children: cloth-
ing and homes; fishing towns; playing in the water; at puppet show; city
children playing in stone courtyard, hiking, playing cricket; schools, outdoor
classes, honoring their King.

Neewak and Neewah, the Eskimo Boys (No. 8-9). Activities including
clothing, igloos, fishing, spearing seals, food, bed, dogsled, boats, taking skins
to trader, midnight sun, play and work of the two boys.
German Children (No. 8-36). Village houses; national costumes; school;
Maypole dance, play 'with medicine ball, learning to swim, music class, week-

READING 201

end hike, Boy Scouts and Girl Scouts, bicycling, helping farmer with hay,
skiing.

Hilda, the Dutch Girl (Part I, No. 8-7). Hilda and her sister; the wind-
mills; canals; need for drainage, dikes; map of Holland; washing clothes at
dike; lighthouse, canalboat houses, barges; dairy farm; stork's nest.
Hilda, the Dutch Girl (Part II, No. S-8). Fog bell, fishing boats; city, fish
market, buying candy, butter stalls at market; costumes of other regions; dog-
cart milkman; village homes.

Homes, Present Day (No. 8-32). Various types of homes in use today: hotels
and apartment houses; small suburban homes; native village homes in Greece,
England, Italy, Holland, Japan, Iraq, Pueblos, China, Abyssinia, Bulgaria.
Siam, and the Philippines.

Italian Children (No. 8-38). Village homes, play, clothing, schoolwork, sur-
rounding vineyards.

Japanese Children (No. 8-28). Japanese family: home in mountain village,
cherry blossoms, taking care of the babies, clothing, Sunday School, games,
working in rice field, gathering leaves for fuel, bringing home load of bam-
boo. Depends heavily on text. Idealizes activities and life of these children.
Jock and the Piper of Scotland (No. 8-26). Jock, the shepherd's son, and
his work with the sheep; school; wearing of kilts. Jock's conversation with
gypsy piper about Scottish soldiers, the kiltie uniforms, cricket, Edinburgh,
Loch Lomond, and Boy Scouts.

Little Bear, the Indian Girl (No. 8-13). Caring for papoose, living in hogan,
playing with lamb as a live doll, talking to little white boy in sign language,
making fire, making bread, weaving.

Little Jeanne of France (No. 8-25). Story of Jeanne living in Paris with
wealthy relative, unhappy and homesick. Shows aspects of her former life in
country and of her life in Paris. Ends with her return to the country. Tells
little about French life, but good views of Paris and of countryside.
Maria, the Potter (Part I, No. S-i). Maria, Pueblo pottery maker, and
Julian, her husband, who paints designs on her finished pottery. Children
sent to get clay and the plants needed for making pottery. Preparation of
paints from plants; equipment used. Kneading the clay, shaping bowls,
applying slip, polishing, and sun drying.

Maria, the Potter (Part II, No. 8-19). Julian painting the sun-dried bowls.
Types of designs used. Preparation for firing; firing the pottery; cooling;
visitors and tourists select those they wish to purchase; use of money from
pottery sales for a new home.

202 READING

Mexican Children (No. 8-31). General information about life and activities
of peon children: clothing, pets, homes, making tortillas, bathing in stream,
doing laundry, scarcity of water, water sellers, village well, market day,
school, vaccination by government doctor, dancing.

Pueblo Village Children (No. S-u). Houses and village, clothing, carrying
of water jars, the "kiva," pottery, grinding meal, baking bread, drying meat,
gathering firewood, corn-harvest festival, costumes for dances.
Pueblo Indian Dances (No. 8-12). The Pueblo dances: costumes worn;
explanation of why such dances are held, including rain dances and harvest
dances.

Safety First (No. 8-44). Safety precautions: obeying school safety committee
rules; policeman as helper in crossing streets; children causing accidents by
carelessness or disobedience; need to obey traffic signals.
Story of Milk (No. 8-42). Begins with information about Holstein cows in
pasture and barn and farmer's work in milking and keeping cows and milk
clean. Delivery of milk to milk train; city dairy; pasteurizing and bottling;
delivery to homes.

Swiss Children (No. 8-37). Mountain home, village, clothing, play, helping
with animals and with haying, winter activities, school.
Tunyo, the Little Drummer of Taos (Part I, No. 8-16). General data about
Taos Indians: village, clothing, making mocassins and vests; mothers' work
in winnowing wheat, baking in outdoor ovens; Tunyo as a lazy boy playing,
climbing ladders, hiding with goats.

Tunyo, the Little Drummer of Taos (Part II, No. 8-17). Tunyo learning
how to play drums; runs away and hides; village drummer calls people to
dance, but Tunyo not permitted to watch since he was too lazy to learn the
dances with other children. Tunyo later tries to learn by himself. Decides to
learn how to play drum well, and works hard. Now drums for visitors to vil-
lage and is little drummer of Taos.

Young Kelleys of Ireland (No. 8-24). Village house, clothing, going to
school, town market, Dublin, signs in Gaelic, donkey carts, working on farms.
Primary Grade Stories (Young America, 24 filmstrips, si, 35-50 frames each,
color, teacher's guide). This new series on familiar fairy tales and children's
stories was designed for use as supplementary reading material in the lower
elementary grades. Color drawings with brief superimposed captions present
each of the stories indicated by the individual titles. The drawings are clear and
present an easily assimilated visual image since unnecessary detail is omitted.
Long shots, medium shots, and close-ups are employed as indicated by the needs

READING

20 3

of the story, providing pleasing variety and emphasizing the incidents of the
story as they are presented. The captions are simple in vocabulary and in sentence
structure. Each strip is rated according to reading level rather than age or grade
since reading levels in specific primary grades differ in different schools. Indi-
vidual titles are listed below alphabetically with indications of reading level for
which the vocabulary of each is suited. Descriptions are not provided, since the
treatment of all subjects is consistent.

The Boy and His Goat (last of the second level or beginning of the third).

The Boy Who Went to the North Wind (third level).

The Cat Who Lost His Tail (third level).

Chicken Little (last of the first level or beginning of the second).

Cinderella (last of the second level or beginning of the third).

Dee Dee Chou (last of the third level or beginning of the fourth).

The Dog and the Cat (last of the second level or beginning of the third).

Drakestail (last of the second level or beginning of the third).

The Four Musicians (third level).

The Gingerbread Boy (last of the first level or beginning of the second).

Hansel and Gretel (last of the second level or beginning of the third).

Jack and the Beanstalk (last of the second level or beginning of the third).

Kofi (last of the second level or beginning of the third).

The Lion and the Mouse (last of the second level or beginning of the third).

Little Black Sambo (last of the second level or beginning of the third).

Little Red Hen (last of the first level or beginning of the second).

Little Red Riding Hood (last of the first level or beginning of the second).

Noah and the Ark (last of the second level or beginning of the third).

Puss in Boots (third level).

The Rabbits and the Frogs (last of the second level or beginning of the

third).

Rumpelstiltskin (third level).

The Straw Ox (third level).

The Three Bears (last of the first level or beginning of the second).

The Three Little Bears (last of the first level or beginning of the second).

The Three Little Pigs (last of the first level or beginning of the second).
Primary Reading Series (SVE, 31 films, si, from 40 to 70 frames each). Text
frames and drawings present the following well-known fairy tales and other
children's stories. In general, the text frames tend to be lengthy and in many
strips outnumber the pictorial frames. The block letters used are very legible.
Vocabulary suitable for lower elementary grades, varying in difficulty from third

204 READING

grade to fifth grade. In a few strips the drawings and text appear on the same
frame, reducing legibility of both. Individual titles are listed below.

Adventures of a Brownie

Beauty and the Beast

Brother and Sister

Cinderella

Brakestail

East of the Sun and West of the Moon

Flapsy Flopper of the Farmyard

The Flying Ship

The Fox and the Little Red Hen

The Frog Prince

Hootie Toots of Hollow Tree

Indian Child Life

Jack and the Beanstalk

King Thrushbeard

Lad Who Went to the North Wind

Little Black Bear

Little Black Sambo

Little Red Riding Hood

Night Before Christmas

Peter Rabbit

Peter Rabbit's Easter

Puss in Boots

Rapunzel

Rumpelstiltskin

Scrapefoot and the Three Bears

Sleeping Beauty

Three Pigs

The Tin Soldier

Tom Thumb

Water Babies

Wynken, Blynken, and Nod

Primary Reading Set (Stillfilm, 6 films, si, about 30 frames each). Each strip
opens with a series of about 10 drawings showing activities of Jimmy and Nancy.
This is followed by the same drawings with each preceded by a brief caption in
vocabulary suitable for first-grade reading. The first uncaptioned series of draw-
ings may be used for class discussion and for development of vocabulary prior

READING 2O5

to reading of the captions in the second sequences. Individual titles with brief
descriptions follow.

The Little Housekeeper (Primary Reader No. i, Nancy Unit). Nancy's
home; Nancy playing with dolls, having tea, sewing, washing, going to bed.
The Homeworker (Primary Reader No. 2, Jimmie Unit). Jimmie at play
with his dog, gathering eggs, with organ grinder, playing with kitten, getting
ready for bed.

Starting Right (No. 3). Morning activities: getting up, dressing, breakfast,
brushing hair, feeding pet.

Children at Work (No. 4). Children working: at school, repairing toys,
caring for goat, in garden, drying dishes, listening to story.
Community in Action (No. 5). Parade, band, policeman, picnic in park,
monkey in zoo, giraffe, fruit stand, buying white rat as pet, driving home
in car.

Indian Life (No. 6). Indian village, wigwams, dances; children playing
Indian, Indian suits, book about Indians "Hiawatha" pictures of Hiawatha.
Indian village sand table.

Reading Readiness Series (Row, Peterson, 3 films, si, manuals). Designed
specifically for use with the reading readiness books of the Alice and Jerry
series "Here We Go" and "Over the Wall." However, these strips can be
incorporated into other reading readiness programs if desired. The beginning
of each strip consists of a few text frames for the teacher, indicating purpose
and use of the strip, stressing the fact that these materials were not designed
for showing in entirety. All three should be useful, in the development of
experience backgrounds and environmental vocabularies. The pictorial material
in general is good, using many close-ups and avoiding confusing detail both
in the drawings used in the first strip and in the photographs used in strips
two and three. Individual titles with brief descriptions follow:

Tell Another Story (52 frames). Opening frames indicate that teacher should
tell the old folk tales to the children prior to showing the strip. As the strip
is shown, one story at a time, the children are to retell the story from the
pictured clues of the story's events. Each of the following tales is presented
in a few uncaptioned drawings showing the major incidents: The Pancake
(10 frames), Three Billy Goats Gruff (6 frames), The Three Little Pigs (n
frames), Old Woman and Her Pig (14 frames), The Elves and the Shoe-
maker (n frames).

I Live in the Country (50 frames). Opening frames indicate that the teacher
should read the captions as the strip is being shown and that only a few

206

READING

frames should be used at any one time. Photographs of farm life, with brief
captions, include farmer and wife, buildings, cattle, barn, sheep, hen, chicks,
chicken house, ducks, ducklings, goose, goslings, turkeys, dogs, donkey,
pony, horses, hay wagon, silo, husking corn, tractor, mailbox, country school,
small town, swimming hole, fishing in small brook, orchard, gardens, winter
on the farm.

I Live in the City (50 frames). Opening frames indicate that the teacher

should read the captions as the strip is shown and that only a few frames

should be used at any one time. Photographs of various aspects of city life,

with brief captions, include apartment houses, individual houses, traffic police,

going to school by bus, playground, street cars, newsstand, parking lots,

fathers working at different types of jobs, milkmen, mailmen, markets and

stores, mailboxes, garbage collectors, street sprinklers, firemen, movie theater,

elevators, view from high building, park, church, ambulance and hospital,

beach, amusement park, airport, zoo, aerial views of large city.

Story of Heidi (Popular Science, si, 44 frames, color, teacher's guide). This

strip presents an entirely new filmstrip approach to treatment of stories and is

designed to stimulate interest in reading. Instead of presenting the entire tale,

as most other story strips do, only two incidents are presented Heidi's day with

Peter and the sheep on the mountain, and her visit to Peter's grandmother. The

opening frames permit Heidi to introduce herself. The end frame asks whether

the viewers wouldn't like to go on more adventures with Heidi and her friends,

and suggests reading the book. The two incidents shown in the strip are

presented in detail, using color drawings with brief superimposed captions

and a few text frames. A solid black background appears under both captions

and text, which aids legibility but in some cases overpowers the delicate tints

of the drawings. This is particularly true of the text blocks that are centered

over a color drawing background. The color tones used are admirably suited

to the mood of the story itself, and the drawing technique is good.

Story-time Picture Tales (Curriculum, 15 films, si, 25 frames each, color). This

recent series was apparently designed to provide pictorial retelling of familiar

children's stories. Color drawings with superimposed captions present the major

incidents in each tale. While the vocabulary of the captions is simple, the captions

are long, from two to four lines. The color stresses vivid hues and the darker

values; the color treatment is suited to adventure tales but less suitable for the

delicate mood of many fairy tales. The drawings often contain considerable

detail and lack distance variety, since medium shots are used almost exclusively

with a few close-ups in some of the strips. Individual titles are listed below.

Descriptions are not included since the treatment of the entire series is constant.

READING

207

The Animal Musicians (No. i).

Change About (No. 2).

Cinderella (No. 3).

The Fisherman's Wife (No. 4).

The Gingerbread Boy (No. 5).

Jack and the Beanstalk (No. 6).

Lazy Jack (No. 7).

Mr. Vinegar (No. 8).

Peter Rabbit (No. 9).

The Pied Piper (No. 10).

Puss in Boots (No. n).

Rumpelstiltskin (No. 12).

Three Billy Goats Gruff (No. 13). .

Thumbelina (No. 14).

The Ugly Duckling (No. 15).
Three Billy Goats Gruff (Photo & Sound Prod., si, 26 frames, color). Twenty-six
drawings in color illustrate this well-known fairy tale. No captions or text used.
The teacher may tell the story as the strip is shown or pupils may relate the
story. Drawings are lively and spirited, illustrating the story almost completely.
Good material for kindergarten and primary reading and language.
Thrift Education (Stillfilm, No. 8-20, si, 30 frames 1 ). Line drawings and brief
text frames explain how the following animals work and gather and store food:
bees, squirrel, woodpecker, ant. How Uncle Ned works storing food for animals
of farm and storing fruits and vegetables for winter use. Aunt Mary making
jellies and pickles; Cousin Nell raising chickens, putting money in bank; Cousin
Bob raising vegetables and selling them. City child saving old papers to sell to
junkman, sister sewing and saving scraps from dressmaking, saving time by
never being late, using book covers, putting errand money in school savings
bank. Suitable for primary or lower elementary grades. Part I presents general
examples of thrift; sequence beginning with city child (called "I" in the strip)
presents definite thrift examples for children, using a direct approach and
suggesting good thrift habits directly.

Transportation Series (Long, 3 films, si). The story of Mary, a little girl,
traveling. The strips show various activities and the things that Mary sees.
Each strip ends with a list of words to remember and a list of related reading
material. Very good material for lower elementary reading classes, particularly
third and fourth grades. Individual titles with brief descriptions follow.

Mary and the Indians (28 frames). What Mary sees on her visit to Uncle

Tom at the Grand Canyon: the hotel, the Old Watchtower; the Indian

2O8 READING

village; Hopi and Navajo Indians; pottery, dances, grinding of corn, silver-
smith, weaving; relief map of Grand Canyon; views of the Canyon.
Mary's Trip by Air (33 frames). Story of Mary's trip in a plane with her
mother: the airport, getting tickets, checking bags, exterior of plane, fueling,
food preparation in airport kitchen, the take-off, pilot's instrument board,
lunch on the plane, air view of city, writing letters, sleeping, control tower,
and landing.

Mary's Trip by Train (29 frames). Story of Mary's train ride to visit her
Uncle Tom: going to the station, buying ticket, checking baggage, exterior
and interior of train, views en route, signals, club car, eating in diner, the
berth, sleeping, arrival at destination.

For supplementary, illustrative, or 'related material see also the section on
Literature, the Lower Elementary and Primary Social Studies section, the Living
in Other Lands Series, and Arbor Day.

Safety

The filmstrips dealing specifically with safety are here grouped under one
classification, even though most curriculums do not treat safety as a separate
subject, because they often are pertinent to more than one course or may be
desired for other uses such as in clubs or for assembly programs. An example of
the multiple use is the way in which industrial safety material can be applied to
various high school shop courses and hobby groups in addition to vocational
shop classes such as machine shop or foremanship.

In spite of the fact that a large proportion of the available strips includes much
negative instruction, these pictures can be easily incorporated into a positive
program. Possibly a greater point of criticism than the negative instruction is
the excessive length of many of the available strips. This occurs generally in
those accompanied by recordings and employing a story device, which, while in
some cases adding interest, adds little to teaching value.

Perhaps the greatest contribution of the filmstrip in safety instruction is that
it can visualize results of carelessness or of unsafe practices, motivating a desire
for safety and presenting indisputable evidence of the 'desirability of proper
precautions. It is difficult to impress verbally upon the* student's mind the results
of unheeded hazards, and a well-selected picture can dramatize such results
unforgettably.

Other filmstrip uses in safety instruction include

1. Reenactment of situations involving violations of safety principles.

2. Demonstration of safety procedures with equipment that cannot be con-
veniently shown to large groups.

INDUSTRIAL SAFETY

The Eyes Have It (Nat'l Soc. for Prevention of Blindness, sd, 122 frames, 20
min, loan). Prevention of eye accidents in industry. Opens with sequence showing
things that blind can do, with question "Do you want to do these things?" Series
of unexpected and unusual eye accidents, emphasizing fact that eye accidents
can happen anywhere and no job provides absolute safety, stressing need for
goggles. Employee's objections to goggles answered. Reviews eye safety program
of Pullman Company. Outlines proper goggles, proper fitting to individuals,
and care of goggles. Reviews cases of accidents prevented by wearing goggles.

20 9 .

210 SAFETY

Includes list of "don'ts" for those who wish to protect their eyes. Good film on
preventive measures for industrial workers, although a little long. May also
interest senior high school or college shop and vocational courses, foremanship
classes, and vocational schools.

From filmstrip "Safe in Hand." (National Safety Council, Inc.)

The Fall Guy (Nat'l Conservation, also Employers' Mutual, sd, 30 min, loan).
Prevention of industrial accidents due to falls. Factory worker falls and a
skeleton talks to him concerning causes of such accidents, pointing out the "fall
spots" in the factory. Ends with summary. Includes following items: use proper
ladders, keeping aisles clear, place of good housekeeping, carrying objects
properly, dangers of horseplay. Good material although somewhat long. Device
of "skeleton" adds little to value of strip.

Grime Doesn't Pay (Nat'l Conservation, Nat'l Safety Council, or Employers'
Mutual, sd, 25 min, loan). Discussion of housekeeping. Cartoon character "Poor
Housekeeping" is indicated as a dangerous criminal; he discusses housekeeping
with a member of a cartoon group "Clean Up Squad." The discussion covers
examples of poor housekeeping, their consequences in accidents, sickness, fire,
loss of money and time. Effects and examples of good housekeeping. Safety

INDUSTRIAL SAFETY 211

material presented is good, although the strip is long and narration inclines to
use of wisecracks.

Handle with Care (Nat'l Conservation, Nat'l Safety Council, or Employers'
Mutual, sd, 25 min, loan). Treats the subject of handling and lifting heavy
objects. Cartoon character on safety poster speaks to "muscle-brained" worker
concerning importance of handling problem, costs to workers and to company,
results of improper handling or lifting of heavy objects. Indicates methods of
avoiding injury through correct lifting, correct carrying, and use of equipment
to lift or carry. Subject matter and information good; however, strip is somewhat
long, the narration inclines to use of many wisecracks, and pictorial material
is often static, showing men simply talking to each other instead of visualizing
the information.

Invisible Red Ink (Nat'l Conservation, Nat'l Safety Council, or Employers'
Mutual, sd, 25 min, loan). Two men on train discuss problem of accidents in
factories. "Invisible red ink" as indirect costs of accidents. Discussion covers
locating of accident causes, using industrial s