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Kansas  City  PuHk  Library 


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he  Magazine  Devoted  Exclusively 
0  the  Visual  Idea  in  Education 


JANUARY,  1937 


VOLUME  XVI.  NUMBER  I 


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Kansis  City,  Mo. 
Taachtrt  Llbfs/y 


(George  E.  Stone  Photo) 

A  Canyon  of  the  High  Sierra 


25c    A    copy    *     $2.00    PER    YEAR 


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Within   the    Reach    of   Every   School 


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The  Inlernational  Library  of  Visual  Aids  offers  every  school  a  Student  Membership  Plan  with 
a  complete  two-year  educational  program  of  the  world's  finest  general  education  films.  Equip- 
ment  includes  the  Victor  Sound-on-Film  Projector — which  remains  in  the  permanent  possession 
of  the  school  and  can  be  used  for  other  films  (silent  and  sound),  or  for  public  address  work, 
phonograph-record  reproduction,  etc.  The  Victor-Ilva  Plan  is  Self-Supporting  —  no  down  pay- 
ments required,  no  necessity  for  benefit  picture  shows  or  expenditures  of  regular  school  funds. 
Every  program  specially  planned  for  both  child  and  adult  education. 


Wide  Scope  of  Film  Subjects  Interests  All  Ages 


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Especially  produced  to  fit  general  school  curriculums  with  the  proper  balance  of  education, 
human  interest  material,  adventure,  drama  and  the  grandeurs  of  nature.  One  full  assembly- 
period  program  a  month  is  supplied  for  each  of  nine  school  months  for  two  years.  Some  of  the 
films  featured  will  be  —  "The  Oldest  Civilization,"  "Conquest  of  Fear,"  "The  Celtic  People," 
"Volcanoes,"  "Jungle  Life,"  "Monsters  of  the  Deep,"  "Windows  of  the  Pacific,"  "Lumbering," 
"Landing  of  the  Pilgrims,"  "Story  of  Transportation   and   Travel,"   etc. 


Available   only   to   Victor   ILVA   Memberships 


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Never  before  have  schools  received  such  special  consideration  in  the  preparation  of  suitable 
films  that  will  give  students  the  intelligent  background  generalization  so  necessary  for  later 
specialization.  Only  through  the  Victor-Ilva  Membership  Plan  is  this  complete  Visual  Educa- 
tional Program  available.  Write  today  for  full  information  on  how  Your  School  can  become 
a  Victor-Ilva  Member. 


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AlVIMATO  GRAPH 
CORPORATION 

lavenport  Jowa,  Chicago 
New  York  Cit^,los  Angele  s 


yecetnber,  1937 


K  A  A^-:;^  ^^:       f'  i  'V\:  Page  539 


Index  to  Volume  XVI  (1931^1 


FORMAL    ARTICLES 

{A-Vvanged    A-lihabeticidly    by    Authors) 


Xo. 


Anderson,    O.    S.,    Complete    Learning    Through    Visual    Aids 

in      Physics      Oct.     249 

liuMhy,    11.    S.,    The    Role    of    Visual    Materials    in    the    COC 

Kducntionjil    Pro-rnim    Mar.       88 

Clark,  Ella  CaUinta,  The  Open-House  Exhibit  as  a  Stimulus  to 

Interest    in    Visual    Instruction    87 

Dale,    Euijur,    Progress    in    Teaclier    Training    in    the    l-'se    of 

Visual     Aids -  81 

Dieffenbacit,    Charles    T.,    Student    Activity    in    a    Visual    Aid 

Program      Jan.        11 

Emmert,   tt'ilber.  Standards  for  Selecting  and  Evaluating  Still 

Pictures      Dec.    317 

Evans,    Hmjmond,    The    Motion    Pic  ure    Policy    of    the    United 

States"    Deparlini-nl     of     Au-rirulturc      Nov.       283 

Freeman,    G.     L.,     Visual     Aids     in     Adult     E-lucation Jan.  9 

Oehr,  Frank  S.,  The  Teaching  of  Wild  Life  Near  Home ....  Oct.  254 
Gierinff,  E.  J.,  Jr.,  Motion  Pictures  as  an  Aid  in  Agricultural 

i'Aiension     Work      Mar.       90 

Gramrf,    Charles    A.,     Ttachir     Partici.nation     in     Educational 

Film      Production      Sept.    216 

4freene,  Nelson   L.   Ten   Years  of  "Film  Estimates'*    Feb.        46 

Gregory,     William    M.,    The     Motion    Picture     as    an    Aid    to 

L-arning      Oct.      252 

Gutzeit,   O.    L.,   Teaching   an    Abstract    Concept   in    Science   by 

Means  of  the  Motion  Picture May      147 

Uoban,   Charles  F.,  Jr.,   Services  of  the  American  Council  on 

Education      Apr.     117 

Hoek,    F.    Gerrit,   Enriching   Child   Learning    Dtc.    319 

Irwin,  Manley  E.,  Over-View  of  the  Detroit  Visual  Program  Sept.  211 
Kntz,  Eltns,  Alaking  Movies  in  the  -hinior  High  School  .  .Feb.  41 
KruKc,     William     F.,     Vi>ual     Education     Program    of    Chicago 

Public  Schools — An  Interview  with  Dr.  W.  H.  Johnson.  Mar.  84 
Levelle,   J .   M.,    A    Vi)-ual    Instruction    Project    in    Laboratory 

Chemistry    Feb.        39 

Levine,  Harold,  A  Critique  of  the  Educational  Film Jan.        13 

MacIIarg,  John  B.,  A  New  Era  in  Visual  Methods    June    182 

JUrClifJiky,  F.  Dean,  The  Immediate  Nieds  in  Visual  Education.  Sept.  213 
Mclmac,    John    S.,    What    the    Supervisor    Wants    in    Visual 

Education    May      151 

Merton.  Minefn,  Vitalizing  Teaching  Through  the  Correct  Use 

of   the   Still    Picture    Apr.     115 

Moore.  11,  A'.,  Test  Questions  of  the  "Thought"  Type  in  Visual 

Education     113 

Persing,  Ellis  C,  Natural  Color  Lantern  Slides  for  School  and 

Home    Nov.   286 

Pov'-lU  Mary  Belle,  Use  of  "Film  Estimates"  by  Civic  Organi- 
zations       Drc.    320 

Ramseyer,    Lloyd    L.,    Training    in    the    Operation    of    Sound 

Projectors    Oct.      256 

Roberts,    AIvi7i    B.,     Problems    in    Introducing    a    Visual    Aid 

Program     June    179 

Smith,  Villa  B.,  Lantern  Slide  Technique  in  Geography  In- 
struction     ".  .  .  .Oct.      247 

Spires,  Loren  C,  The  Prtparation  of  Educational  Film  Strips.  May      149 

The   Movie   Club  as  a  Visual   Education  Project Nov.    285 

Starnes,  W.  Gayle.  The  Present  Status  of  Teacher  Training  in 

the    Use    of    Visual    Aids     Dec.    315 

Stenius,  Arfhnr,  The  School  Newsreel  Needs  a  Sponsor June    184 

White,  James  Tlenry,  China's  Life  and  Culture  Visualized.  .  .  .Apr.  118 
Worrell,    F     Marshall,    Establishing   a    Program   of    Supervised 

Audio- Visual     Education     Jan.      6,   Feb.        43 

Wright,  George  W..  Eliminating  Static  in  Education Feb.        52 

FOREIGN   FILMS   FOR  EDUCATIONAL   INSTITUTIONS 

(Conducted  by  We.sli;y  Greenk  and  Marik  Zoe  Mkrcier) 

A  Review  of  some  Foreign  Films Jan.      15,      Feb.  60 

Film    League  of   Nashville    (bv   Frances   Neel   Cheney)     May  158 

French  Talking  Filnit^.  at  Harvard  (by  Belle  P.  Rand)    June  187 

The  Use  of  Film  Dialogue  in  Language  Teaching    Nov.  289 

Factual    Films    for    History    and    Social    Study     Dec.  321 

THE    DEPARTMENT    OF    VISUAL    INSTRUCTION 

(Conducted  by  Nelsov  Jj.  Grkkxe) 

A  Request  for  Renewals,  and  The  New  Orleans  Program   .  .  .  .Jan.  17 

Second   Official   Roster    Feb.  56 

New   Orleans   Program    57 

Papers   from   New   Orleans    Meeting   Reprinted  in   March    and 

April    Issues  .  . 

Program    of    Detroit    Meeting    May  157 

Third    Official    Roster    June  188 

Final    Detroit    Program     189 

Papers  from  Detroit  Program  Reprinted  in  September  and 
October    Issues 

Panel  Discussion  at  the  Detroit  Meeting Oct.  251 

Report  of  the  Detroit  Meeting  and  Resolutions Nov.  292 

Fourth  Official  Roster    293 

Presidential    Letter     (by    Edgar    Dale)     Dec.  324 

The  First  Educational  Film  of  the  Visual  Instruction  De- 
partment       325 

NEWS    AND    NOTES 

(Conducted  by  Josephine  Hoffm.\n) 

Conference  on  Teachrr  Training  in  Visual  Methods Jan.        16 

New    York    Groups    Meet    Jointly     16 

Industrial    Firm    Tests    "Talkies'    16 

News   from    Abroad    16 

Visual  Education  in  CCC  Camps .  .  .  28 

Museum  Foreign  Film  Series 29 

Visual  Courses  for  Indiana   Teachers    29 

Theatre  Releases  Now  in  2000  Foot  Reels    29 

New   Visual   Aids   Departments    Feb.        58 

Educational    Film    Lists     58 

College   Listens   in   on   Inauguration    58 

A   Local   Survey  of  Visual   Aids    58 

Teaclier  Training  Conferences    70 


No.  Page 

A    Course    in    School    Photography     Feb.       71 

Pictures    with   a    History    Mar.      92 

Film   Strips   Available    92 

Teaching  Aids  from  Indiana   University    93 

A    Teachers    Manual    on    Safety    Instruction    93 

WPA    Movie    Bibliography    Mar.     93 

DeVry    Announces    Summer    Conference     94 

A  Report  on  Visual  Education  in  Minnesota    Apr.     122 

New  York  School  PTA  Motion  Picture  Course 122 

Film  Societies  Exchange  Pictures 122 

Free     Source     Material     .  . May  155 

Bureau  of  Mines  Films  Shown  to  7,000,000 155 

Highlights   of  Visual   Conftrence    155 

School    Reports   on    Peace    Film    155 

School  Gives   Photography  Course    156 

Visual    Education    in    the    South    June    191 

Ohio   Film  Clinic    191 

National  Cinema  Appreciation  Convention    191 

Minnesota    Organizes    Audio-Visual    Society     191 

Pavilion    of    Motion    Picture    Photography    and    Recording    at 

Parts    Exposition     191 

S.   M.    P.    E.   Spring  Convention 203 

More  Summer  Courses 203 

Producers   and   Educators  Cooperate   on   Film   Project    Sept.  221 

Berkeley  Summer  Film  Exhibit    221 

Summer   Conference   Held   in   Missouri    221 

Audio-Vipiial    Education    Conference    in    Atlanta     221 

Micro-Photography   to    Preserve   Valuable   Material 222 

Annual    DeVry   Conference    Report    222 

Films  and   International  Understanding    222 

French    Film    Contest    Oct.  258 

Motion    Picture    Study    Courses     258 

WPA   Uses  Visual   Aids   in   Safety  Education    258 

Classroom    Moves    to    Rails     269 

Minnesota   Institute  in   Visual  Education    .Nov.    296 

The    Motion    Picture    on    Williamstown    Program     296 

Atlanta   Audio-Visual   Conference    296 

Noted   English  Producer  Visits  U.  S 297 

College    Inaugurates   Film    Course    297 

New  University  Visual  Services    D,^c.    328 

Survey    Reveol's    Growth    in    16mm.    Field     328 

Notes    from    Abroad     328 

AMONG   THE  MAGAZINES   AND   BOOKS 

(Conducted   by    Stella    Evelyn    Myers) 

Vitalized    Teaching    of    Geography    (by    Mary    Kieran    in    The 

Catholic   School   Journal)  Jan.      30 

The  Museum  DoflTs  Its  High  Hat  (by  R,  L.  Duffus  in  The  North 

American    Review)      30 

Educational  Films    (by  Lou  Kendrick  in  New   Theatre)    ?*0 

Movies   for    Minors    (in    Literary    Digest)     81 

Our    Constitution,    and    Safetv     (units    in    Building    America 

Series)      31 

An  Experiment  in  Individual  Versus  Group  Study  of  Pictures 

in   Geography    (by  Elizabeth  Stadtlander   in   The  Journal 

of  Geography)    Mar.       98 

Getting     the     Jump     on     Hollywood     (by     Delia     Farmer     in 

Scholastic)      98 

The    Micro    Projector     (by    Everett    W.    Nelson    in    Health   and 

Physical    Education)     98 

Adventures  Through  Maps   (by  Mildred  E.  Price  in  Childhood 

Education)       98 

Visualizing     Health     Education    Through     Art     (by    Jane    B. 

Welling  and  L.  B.  Collins  in  Progressive  Education)..  98 
The  Teaching  Film:   An   International   Survey    (by  Charles  A. 

(iramet  in  Educational  Forum)    100 

Social  Security  (Unit  in  Building  America  Series) 100 

After  School— Then  What  (by  Mary  J.  Clancy  and  Grace  Line 

in    New    York    State    Education)     100 

The  Use  of  the  Motion  Picture  as  a  Technique  of  Instruction 

(by  Grace   Hotchkiss   in   The   Social  Studies) 101 

Sins  of"the  Cinema  and  Its  Virtues  (by  Margaret  B.  Goodall  in 

The    Nation's    Schools) Apr.     120 

Vitual   Aids   and   the   Librarian    (by   Ward   C.   Boiven  in  Neiv 

York    Libraries)      120 

Picture   Teaching    (bv   Eric   Clayton   Jones   in    The   Education 

Outlook)       '. 120 

Yes,   We    Read   from    Pictures    (by  Lina    A.    Rauschenberg   in 

International  Journal  of   Religious   Education) 120 

Films  for  Africans   (by  G.  C.  Latham),  Classroom  Methods   (by 

Johii  L.  Haride),  The  Dimensions  of  the  Problem  of  Films 

for  Children  (by  Simon  Rowson)  and  What  Children  Like 

(by    Dr.    Emanual    Miller)     (in    Sight    and    Sound) 121 

Movie  and  Radio — Friend  and  Foe   (by  Richard  James  Hurley 

in    The    English    Journal)     121 

Large  Scale  Use  of  Visual  Aids   (by  J.  Ralph  Schaffer  in  The 

School  Executive)     May  154 

The   School   Film.   What   Is   and  What   Should   Be    (by  Bruce 

Beddow  in  Film  Progress)    154 

The   Outlook   for   Films  in   Education    (by   Charles  F.    Hoban, 

Jr.  in  Journal  of  the  National  Education  Association)  .  .  154 
Microfilm    Hailed    as   New   Way   to   Duplicate   Books,    Pictures 

(by   Watson   Davis  in  Science  News  Letter)    156 

Dissemination  of  Scientific  Literature  by  Means  of  Microfilms 

(in   Science)     156 

Cinema  Report-Card  (by  Raymond  Gruner  in  Sierra  Educa- 
tional    News)      156 

Steel   (Unit  in  Building  America  Series)    156 

Visual  Vitalization    (bv  Laurence  B.   Campbell  in   School  and 

Society)      June    192 

Administering     Visual-Audio     Aids     in     a     High     School     (by 

Elmer   W.   Snyder   and   Clarence   B.  Eraul  in   New    York 

State    Education )     192 

Los   Angeles   County's   Now   Film    Library    (by   Mary   C.   Irion 

in   California  Journal  of  Secondary  Education)    192 

Why    Not    Make    Your    Own    Films?    (by    Ian    L.    Serratllier   in 

Christian  Science  Monitor) 200 

More  Teacher  Training  in   Audio-Visual   Field    (by  Harold  C. 

Bauer  in  Minnesota  Journal  of  Education) 201 


Page  340  ..    ;    :*   .        ♦••//,*••?/:•..    't 

•  ••  5*  .;                             No.  Page 
For  Usera  of  The  Sound  Film    (by  Slnt^  J5>Tlt"'''  "'"^   .l/fl/'i/ 

C.    /Hon   in   Thf   Srhool   A'x^Tutir*).^.*.  3  >.  ^ Sept.   224 

A  Cooperative  Film  Library  for  Schools   (by  Paul  O.  Chandler 

in  Seeondart/   Ettiication )    22-t 

The  Value  of  the   Vis-nal    (by   Dorothy   Latia    in   Edueatinn)  .  .  224 
Educational   Sound    Pictures    in    Public    Education    (by   .V.    L. 
EngeUiardt)    Sound    Systems    for    Schools    (by    William    L. 

Moore  and  L.   K.  Meolo)    (in  School  Management)    224 

Amateur   Camera   Vagabonds    (by   Irene   Reindel   in   Michigan 

Education  Journal)    224 

Teaching  Phvsics  with  Films   (by  K  A.   Watson   Watt  in  Sight 

and     Sound)      226 

Conservation   (Unit  in  Building  America  Sfnes)    226 

Use  of   Motion    Picturts   tn    Instruction    (by   A.   M.   Jordan   in 

The   High   School  Journal)     227 

India-Made  Movies    (t)y  F.  M,  deMello  in  Ania)    Oct.  260 

A  New  Type  of  Relief  Map  (by  Edward  L.  Troxell  in  Science)  260 
The  Movies  in  High  School   (by  Clifford  Bragdon  in  The  Eng- 
lish   Journal)     260 

Movies   (Unit  in  Building  America  Series)    260 

Hitch  Your  Wagon  to  the  Stars!  How  the  Library  May  Profit 
from  thv  Movies   (by  Maiine  Block  in  Wilnon  Bulletin  for 

LihrariFH )       262 

A  Superintendent's  Keport    (by  Frank  ('odg,  Detroit  Schools)  262 

Young   Stars    (by   Edith    Winter   McOinniM    in    St.    Xicholas)  .  .  262 
San   Antonio   Scliools   Supplement    and   Correct   Poor  Teaching 
Films  by   Demonstration    (by  C.  L.  Gutzeit),  Comic  Strips 
Sell  School   Library  Books    (by  Elmer  R.  Smith),  Hamp- 
den's  Course   in    Appreciation   of   Movies   and   Radio    (by 

Kent   Pease)     (in    The    Clearing   House)     Nov.  291 

Financing    the    Audio-Visual    Program    (by    Harold    C.    Bauer 

in  The  School  Executire)    291 

Visual  Aids  as  an   Economy  in  Teaching   (by  O,  S.  Anderson 

in  The  North  Dakota  Teacher)    291 

Children's  Standards  in  Judging  Films  (by  Mary  Allen  Abbott 

in  Teachers  College  Record)    306 

Radio  Guidance  for  Geography  Instruction  in  the  Cleveland 
Elenu'ntary  Schools  (by  Tl*.  M.  Gregory)  Surmounting 
Barriers    to    Human     Learning     (by    Howard    A.    Gray) 

(in     Edvcatinnal     Method)       Dec.  322 

How  Moral  are  the  Movies?   (by  Edwin  D.  Starhuck  in  Cinema 

Progress)      322 

Let    the    Movies    be    Natural     (by    Mark    Van    Doren    in    The 

A  merican    Scholar)      322 

New   Understanding  through   Visual   Aids    (by  Edgar  Dale    in 

Education )       323 

Puppetry   in   Schools    (by   J.    W.    Marriott    in    The    Educational 

Outlook)          323 

BOOK    REVIEWS 

How  to  Write  a   Movie    (by   Arthur  L.   Gale)     Jan.  31 

'"New   Plan'   Textbooks   from    the    Univtrsity   of   Chicago.  ...  Feb.  74 

New    Home    Library    Publications    74 

How   to    Use   the    Educational    Sound   Film    (by   M,  R.   Brun- 

fitetter)     75 

A  Parade  of  Ancient  Animals  (by  Harold  O.  Whit  nail)  .  .  75 
Visualizing   the   Curriculum    (by   <7.    F.    Hoban,   C.   F.    Uoban, 

Jr.,    S.    B.    Zi-^man )     June  192 

The  Audio-Visual  Handbook    (by  Ellsworth   C.  Dent)    Sept.  227 

Teaching  with  Motion  Pictures:  A  Handbook  of  Administrative 

Practice    (by  Edgar  Dale  and  Lloyd  Ramseyer)    234 

On  the   Road  to  Civilization    (by  Dr.   Albert  Kerr  Heckel  and 

Dr.  James  G.   Sigman)    Oct.  270 

Our  Country  from   the   Air    (by   Edna    E.   Eiseu)    Dec.  323 

HAND-MADE    LANTERN    SLIDES 

(Conducted  by  Ann  Galk) 

Moments    in    Washington's    Life    (by    Emma    Golden)     Feb.  62 

Pueblo    Indians    Apr.  126 

How  Nature  Protects  Young  Plants  and  Animals May  160 

Rural    Mexico     June  194 

Getting  Ready  for  Winter Sept.  223 

Costume    Design     Oct.  259 

Christmas    in    Other   Conntri.s    Dec.  326 

FILM  RELEASES 

Prize   University   Film    Released    Jan.  26 

Shenandoah    National    Park    in    New    Film     26 

Film    on    Juvenile    Delinquency     26 

Resettlement    Movie    Available    to    Schools    26 

An    Announcement    from    Ideal    Pictures    27 

A  Film  Review — The  Beneficient  Reprobate 27 

Paramount's    New    Educational    Film    Feb  68 

Seeing    Salem     Apr.  123 

A    Valuable    Astronomy    Film     Oct.  264 

Pan  American   Union  Produces    264 

Ernest    Hemingway    Spanish    Film    Released .  264 

An    Important    Historical    Short     264 

New    Series    of    Films 265 

WPA     Film    Productions 265 

New    Service    from    Gutlohn     \  .  .  Nov.  302 

Garrison    Films    on    China    302 

Foreign  Films  in  16mm !!].*!!!!  302 

Timely   Subj*  ets 302 

.Another    Film    on    China     Dec.  334 

Releases    from     Nu-Art     !..!..  334 

Primary    School    Film    Programs 334 

.\ffditions   to    Filmo    Lii)rary .  334 

SCHOOL  DEPARTMENT 

(Conducted    by    Wilbkr    Em.mert) 

Some  Projection  Problems  Simplified  for  Classroom  Teachers.  .Jan.  22 
Guidance  in  the  Use  of  Visual   Education   Material    (bv  Flora 

Torrence )     *.  .  .  .  ''4 

The   Laboratory  Sheet   as  an   Aid   !o  the   School  Journey  ..'.'.Feb  64 

Plaster    Casts    Further    Nature    Interests     Mar  95 

A    Living    Picture    Book    (by    Alma    M.    Gasslander) \nr  128 

"The  Mighty  Treve"— A  Film  Review    ; *  I30 

The  Chicago-Erpi  Films  on  Astronomy I33 

How  to  Construct  and  Use  Star  Maps May  16'' 

Postage   Stamps   and   School   Work    *.  *.  '.June  196 

"We    the    People' — A    Film    Review     '  oqo 

School-Produced    Film    Strips    (by   Gustave    H.    Marx)     Sept  228 

Newark   Visual    Deoartmen*    228 

Bicycle   Club   Produces   Safety   Film    (hy  H,'  M.   Kucknk)  .  '.  i  ^  230 

ttouro 


The  Educational  Screen 


No.  Page 

Students   Learn   Technique  of   Projection    232 

Aids  for  the  Photographer    Oct.  266 

A    Sundial    Project     266 

Spatt.  r    W(trk    in    Color    268 

The   Camera    Serves   the    Schools    Nov.  298 

The   Place  of  the  Motion  Picture  in   an  Arts  Exhibit    (by   F.   M. 

Worrell )        Dec.  330 

Junior   Walton   League   Film    331 

FILM   ESTIMATES    (full  page  or  more  in  tach  issue! 

AMONG    THE    PRODUCERS 

Eastman    .\niioum-i's    Kodaslide    Projector     Feb.  72 

Double     Frame     Stilltilms     72 

Leica    Offers    New   Camera    "72 

Gutlohn    Company    Loses    President     72 

San    Francisco    Bridge    in    16mm    Sound    Miir.  102 

Victor    Enlarges    Plant     102 

ILVA     Fihn-Proiector     Plan     102 

California    Wild    Life    Films    102 

New    Hygiene    Subject    102 

Schwartz    Apoointed    Manager    of    Central    Camera's    Chicago 

Store     .  .' 103 

New   Film   from   Spain    Released    104 

More  Evidence  on  Classroom  Film 104 

"Ten     Best"     for     1936     104 

Recent  Gutlohn   Releases    Apr.  136 

A  New  Source  for  16mm  Films 137 

Da-Lite  Screen  Prices  Reduced 137 

Sealtite  Film  Cabinet    137 

The  New  Leitz  VIII-S  Projector May  170 

Coronation     Pictures    in     16mm     170 

Central    Doubles    Size    of    Catalog     170 

Ray-Bell     Film- Ad     Productions     170 

New    S.V.E.    F'lnislid*'    Series    Announced     .June  202 

Kodachrome     Price     Reduction     202 

Bausch   &    Lomb   Microfilm    Reader    202 

Focusing  Device  for  Cine-Kodak  Special    202 

Bell    &    Howell    "Streamline    8"     203 

New    Film    Service    for    Schools    203 

New    Mex'can    f^ilm     203 

Novel   Travel    Material   Available    Sept.  236 

Uniqup    Film    Tearhes    Use   of    B3f>ks    236 

New    Historical    Sound    Subject     236 

New  Photographic  Items 236 

.Additions  to  Erpi  Film  Librarv    238 

An    Instructive   Short    Subject    238 

An     Eflfectivp    Safety    Subject     23« 

New    Da-Lite    Screens    Oct.  272 

Fourth   Annual  Leica  Exhibit    272 

News    from    Ampro    272 

DeVry    Acquires    Another    Factory    Building    272 

New    Ampro    Sound    Propector    .  .' Nov.  304 

New    Products   from    Central   Camera    304 

RCA  Victor  Sound  Catalogue    305 

Stereotrranhs    and    SIi'le«    on    <^hina     306 

Helpful  Source  List  of  Vis-ual  Materials    306 

DeVry    Adds    New    Service'     Dec.  337 

Leica   Def ern  d   Payment   Plan    337 

Screen    Bargain     337 

MISCELLANEOUS 

V'snaJ  Education  Simplified   (by  //.  B.  Gray)    Jan.  10 

Film   Production   in  the   Educational  Field 

Storage  and  Preservation  of  Film   (by  F.   W.  Daris) 20 

Who   Should    Make   Instructional   Films?    (by  Elias   Katz)  21 

In  M^-moriam — William  F.  Barr   (by  //.  L.  Kooser)    Mar.  96 

Summ  r  Courses  in  Visual  Instruction    May  152 

To    0    Great    Teacher,    a    Genial    Scholar,    an    Ideal    Friend — 

Herbert     E.     Slaught     June  186 

Visual    Aids    in    the   Service   of   the   Church    Nov.  287 

Foreign  Films 

(Concluded  Irani    piu/c   321) 

roen  caterpillar  trucks  from  Beirut  to  Shanghai  over 
the  Himalayas  through  the  Khyber  pass  and  Kash- 
gar.  It  is  a  more  than  ordinary'  travel  film  not  only 
•  because  of  excellent  photography,  hut  because  the 
route  of  travel  is  one  of  great  and  legendary  interest. 
If  there  is  no  immediate  possibility  of  our  crashing 
tourist-proof  Afghanistan,  most  of  us  have  done  it 
long  ago  with  Marco  Polo.  This  film  should  be  of 
absorbing  interest  to  geography  classes.  We  have  no 
real  quarrel  with  it  but  in  the  light  of  the  critical 
comments  ventured  above,  it  is  our  wish  to  en- 
courage more  in  a  travel  film  than  the  progress  of 
mudded  wheels  hub  deep  in  lireaking  ice,  and  a  few 
freak  shots  of  detached  and  doe-eyed  natives.  There 
are  a  few  passages  which  have  a  definite  value  to 
anyone  more  than  idly  curious,  notably  that  of  a  fes- 
tival and  theatre  production  in  a  western  Chinese 
town  and  that  in  which  the  young  princess  of  a  re- 
mote Himalayan  village  singing  at  her  doorstep  on 
a  native  instrument  turns  and  speaks  impeccablv 
to^he  ^'jiti'iff  e-xjilorer  in  his  own  language. 


Q? 


£  EDUCATIONAL  SCREEN 


JANUARY,   1937                                                      VOLUME  XVI 

NUMBER  ONE 

Contents 

Establishing  a  Program  of  Supervised  Audio-Visual 
Education.    F.  Marshall  Worrell... 

....    6 

Visual  Aids  in  Adult  Education. 

Professor  G.  L.  Freeman.. 

....    9 

Student  Activity  in  a  Visual  Aid  Program. 

Charles  T.  Dieffenbach 

....II 

A  Critique  of  the  Educational  Film.    Harold  Levine.. 

....13 

Foreign  Films  for  Educational  Institutions. 

Conducted  by  Wesley  Greene 

....15 

News  and  Notes. 

Conducted  by  Josephine  Hoffman 

....16 

Department  of  Visual  Instruction. 

....17 

Film  Estimates r.z. 

....18 

Film  Production  in  the  Educational  Field. 

Conducted  by  F.  W.  Davis 

....20 

School  Department. 

Conducted  by  Dr.  F.  Dean  McCluskv    .  . 

...22 
...26 

New  Film  Releases 

Among  the  Magazines  and  Books. 

Conducted  by  Stella  Evelyn  Myers 

...30 

Here  They  Are!    A  Trade  Directory  for  the  Visual  Fie 

Id.. 

....32 

General    and    Editorial    Offices,    64    East    Lake    St.,    Chicago,    Illinois.      Office 
Publication,    Morton,    Illinois.      Entered   at  the    Post   Office   at   Morton,    Illinois. 

of 
as 

en, 

cts. 

THE  EDUCATIONAL  SCREEN,  Inc. 
Directorate  and  StafF 
Herbert  E.  Slaught.  Prei.                    Stanley  R.  Greene 
Nelson  L.  Greene,  Editor                    Josephine  Hoffman 
Evelyn  J.  Baker                                     F.  Dean  McClusky 
Mary  Beattie  Brady                             Stella    Evelyn    Myers 
F.  W.  Davis                                           E.  C.  Waggoner 

Second    Class    Matter.      Copyright,    January,     1937    by    the    Educational 

Inc.      Published   every   month   except  July   and   August. 
$2.00  a  Year                (Canada,  $2.25;  Foreign,  $3.00)                Single  Copies 

Sere 
,  25 

Page  4 


The  Educational  Screen 


^;i  /,"».  ji'  '.V  ^'!«.   ,*:. 
^ey*  >R9ji£tfYoi(^  -'brsYrtiiBUTEo  by  national  theatre  supply  company 

iViXHE    FATHER    HUBBARD   LECTURES 

Alaskan   Explorations   of  the   "Glacier   Priest" 
415   Lexington  Avenue 

New  Yor>  City  Dec«iib«r  2nd,  1936. 


Mr*  Herbert 
Internatl 
96  Gold  St 
New  York/?yty 


Dear  Mr.  Griffin 


L^l'.^0«ng  the  past  five  years  of  lecttirlng  throughout  the 
Vnited f&i^a  I  have  specifically  and  strongly  recommended  35  WM  Simplex 
Portacle^ Sound  Projectors.       Current  trade  periodicals  rate  me  ageln  this 
seasoir  as  Ko  1  lecturer  in  North  America,  from  an  analysis  of  number  of 
engagements,  total  audiences  and  fees  received.       Since  the  beginning  of 
October  I  have  already  lectured  to  over  68,000  people. 

I  believe  that   the  meclianlcal  perfection  of  the  motion 
picture  equipment  made  use  of  in  lecture  engagements  is  responsible  for 
905{  of   the  success  of  the  appearance  even  taking  into  consideration  the 
popularity  or  publicity  value  of  the  lectxirer.       I  use  ten  thousand  feet 
of  motion  pictures  in  a  lecture  and   insist  upon  a  smooth,   continuous 
running  of  the  film  and  this   is  why  I  specify  Simplex  Sound  Projectors 
whenever  possible.        In  one  season  I  gave  £58  lectures  in  237  consecutive 
days  and  my  first  original  cutting  of  the  film  stood  up  for  the  entire 
season.     I  believe   that   this  was  due  almost  entirely  to  the   fact  that 
Simplex  equipment  was  used   in  the  majority  of   the  showings. 

Simplex  Projectors  are  very  easy  on  the   film.       Nothing  is 
harder  on  a  lecturer  or  on  an  audience  than  inadequate  projection  equipment 
or   the  occasional  breaking  of  the  film  during  projection.       I  have  never  had 
a  film  break  in  any  public  lecture  where  Simplex  machines  were  used.     In- 
dividuals or  institutions  wishing  to  get  tlie  best  possible  picture  as  well 
as  sovind,  who  desire  to  give   their  audiences  the  greatest  possible  satis- 
faction end  pleasure,  and  to  secure  dependable  results  at  all  times  cannot 
do  better  than  purchase  your  excellent  product. 


Very  sincerely  yours, 
Bernard  R.  Hubbard,   S.J. 


Simplex  Semi- 
Professional 


Simplex  Portable 


INTERNATIONAL  PROJECTOR  CORPORATION 


88  -  96    GOLD     ST. 


NEW     YO  R  K  ,  N  Y. 


January,  1937 


Page  5 


-ir*^%ic.  AVI 


NEW^^^^MODEL 


Complete  Line  Of  16mm.  Projectors 

FOR  SOUND-ON-FILM:  Ampro  sound  projectors  have  brought 
new  standards  of  tone  quality,  illumination  and  simplicity  of  opera- 
tion to  16  mm.  sound-on-film.  Prices:  Junior  Model  $375  complete. 
Senior  Model  $415  complete. 

FOR  SILENT  PROJECTION:  Professional  brilliance  of  Illumination, 
built-in-quality  and  ease  of  operation  have  made  Ampro  silent 
projectors  a  standard  of  performance  all  over  the  world.  Prices: 
Model  J  (BOO  watt)  $l35  complete.  Model  K  (750  watt)  $150 
complete. 


SEE  THE  COMPLETE  AMPRO   DISPLAY 

BOOTH  D-25,  NEA  CONVENTION 

NEW  ORLEANS,  FEB.  20th  to  25th 


A  QUALITY  SILENT  PROJECTOR 

THAT  CAN  BE  Converted  INTO 

SOUND  PROJECTOR  °L  OPTION 

If  your  budget  will  cover  a  silent  projector  only,  you 
can  purchase  one  of  these  two  new  Ampro  Convertible 
models  knowing  that  you  will  not  have  to  discard  it 
when  you  switch  to  sound.  Both  Models  have  all  the 
quality  and  precision  features  of  the  regular  Ampro 
16  mm.  Silent  Projectors,  plus  such  additions  as  will 
permit  conversion  into  latest  type  sound  projectors  by 
the  addition  of  sound  parts  for  sound  film. 
MODEL  MC,  convertible  into  standard  500  watt 
Amprosound  Junior  Model  ....  $160.00 
MODEL  NO,  convertible  into  standard  750  watt 
Amprosound  Senior  Model      ....      $180.00 


AMPRO    CORP.,    2839    N. 


Western    Ave. 
Chicago,  III. 


A3I[  IP  IRJD 


PRECISION    PROJECTORS   FOR    PERFECT  PERFORMANCE 


Page  6 


The  Educational  Screen 


Establishing  a  Program  of 
Supervised  Audio-Visual  Education 


By     F.      MARSHALL     WORRELL 

Junior  High  School,  Englewood,  New  Jersey 

WE,  AS  educators,  cannot  afford  to  ignore  the 
value  of  those  modern  teaching  devices — the 
slide,  film  and  radio  which,  by  presenting  facts 
concretely  and  vividly,  enable  us  to  teach  quickly, 
thoroughly  and  economically  the  ever  growing  cur- 
ricula with  which  modern  youth  must  become  acquaint- 
ed. 

Just  as  Industry  has  adopted  machines  to  expedite 
the  production  and  development  of  those  commodities 
which  make  possible  our  economic  growth,  so  must 
we  adapt  to  our  use  such  mechanical  aids  as  will  enable 
us  to  maintain  a  parallel  social  advancement  through 
education. 

Naturally,  to  be  effective,  these  teaching  tools  must 
play  an  active  part  in  the  classroom.  Their  use  must 
be  carefully  planned  and  the  mechanical  operations  in- 
volved should  be  so  routinized  as  to  reduce  to  a  mini- 
mum the  cost  and  complexity  of  handling.  As  their 
cost  is  inversely  proportional  to  tlie  number  of  pupils 
using  them,  every  effort  should  be  made  to  correlate 
the  work  of  various  departments,  whenever  possible, 
through  the  joint  use  of  the  same  materials.  In  a  de- 
centralized organization  this  desirable  co-ordination  and 
correlation  is  frequently  lost  and  the  cost  arising  from 
duplication  of  materials,  combined  with  difficulties  en- 
countered in  scheduling  and  handling,  often  result  in 
the  limiting  of  the  usefulness  of  these  aids  to  a  small 
sphere. 

In  a  school  system  where  such  devices  play  an  im- 
portant part  in  the  teaching  procedure,  I  believe  best 
results  may  be  obtained  by  appointing  a  Director  of 
Visual  Education  who  would  be  responsible  for  the 
organization  and  execution  of  a  co-ordinated  visual 
aids  program.  His  work  would  be  two  fold — ^to  place 
at  the  disposal  of  the  teacher  such  materials  as  may  be 
most  useful  in  the  teaching  of  her  problem  and, 
through  suggestion  and  example,  aid  her  to  achieve 
perfection  in  its  use. 

To  accomplish  these  objectives,  I  have  outlined, 
somewhat  in  detail,  a  number  of  preliminary  activities 
which,  I  believe,  should  be  performed.  These  have 
been  planned  to  meet  our  own  situation  but  some,  at 
least,  should  be  generally  applicable. 

Departmental  Organization 

1 — Personnel 

A — Administration 

(a)  A  Director  of  Audio-Visual  Education 
shall  be  appointed  who  will  be  directly  re- 
sponsible to  the  Superintendent  of  Schools 


A  report  on  the  organization  of 
a  Department  of  Visual  Education 
for     a     small     school     system. 


for  the  successful  execution  of  a  visual 
education  program.  To  be  assisted  by : — 
(b)  A  Visual  Education  Committee  made  up 
of  one  teacher  appointed  fmm  each  school. 
Each  member  will  represent  his  school  in 
the  departmental  meetings  and  will  be  di- 
rectly responsible  to  his  Principal  and  the 
Director  f<;r  the  successful  execution  of 
the  program  in  his  school. 
(The  functioning  of  the  administrative 
body  will  be  elaborated  upon  later.) 
B — Technical  Assistants 

(a)  Such  special  teachers  as  the  Art  Super- 
visor, Music  Su]iervisor  and  Industrial 
Arts  Supervisor  will  furnish  technical  in- 
formation and  assistance  in  their  particular 
fields.  Heads  of  Departments  will  assist 
in  such  work  as  the  correlation  of  visual 
materials  with  the  courses  of  study  or 
syllabi. 

(b)  Some  teacher,  particularly  interested  in 
photography,  shall  be  designed  as  School 
Photographer.  He  will  photograph  school 
groups  and  curricular  and  extra-curricular 
activities ;  make  such  photographic  slides, 
film  rolls  and  motion  pictures  as  may  be 
required  from  time  to  time.  This  work  may 
be  done  by  him,  personally,  or  by  members 
of  a  photography  club. 

(c)  A  Motion  Picture  Operators  Club,  made 
up   of   interested   students   of   Junior   and 


Activity  at  Visual  Education  Headquarters 


January,  1937 


Page  7 


Senior  High  School  age,  shall  be  formed, 
under  the  guidance  of  the  Director,  the 
members  of  which  will  operate  the  projec- 
tion equipment  in  tlieir  respective  schools 
or  in  such  schools  as  may  need  their  serv- 
ices. (Certain  scholastic  credits  should  be 
given  for  this  work.)  Their  duties  and 
training  will  be  elaborated  upon  later, 
fd)  A  Member  of  the  clerical  staff  will  be 
placed  in  charge  of  repairing  such  visual 
materials  as  may  require  it,  mounting  flat 
pictures,  assembling  slides,  oiling  projec- 
tors, repairing  extension  cords,  etc. 
(e)  Teachers,  having  hobbies  in  some  specific 
branch  of  visual  education,  i.  e. — collecting 
pictures,  making  or  assembling  exhibits, 
making  models,  puppet  shows,  supervising 
a  school  museum  or  art  gallery,  etc.,  will 
be  invited  to  broaden  the  scope  of  their  ac- 
tivities by  co-operating  with  the  Director 
in  the  expansion  of  such  services. 

(Whenever  these  duties  involve  the  con- 
stant attention  of  the  teacher  the  Prin- 
cipal should  recognize  the  fact  and  make 
suitable  allowance  in  her  teaching  pro- 
gram for  the  time  spent  in  this  work.) 
C—Clerical  Staff 

(a)  A  clerical  staff,  made  up  of  members  of  the 
High  School  Commercial  Department,  will 
assist  the  Director  in  the  clerical  work  in- 
volved in : — 

1 — Maintaining  the  files  of  visual  mater- 
ials held  by  the  department. 
2 — Making    and    repairing    visual    ma- 
terials  or   related   equipment. 
3 — Compiling     records,     statistics,     ac- 
counts, etc. 
4 — Making   stencils,    duplicating   forms, 

notices,  etc. 
5 — Typing  correspondence. 
6 — Such  related  work  as  will  be  of  value 
to  the  department  and  a  definite  train- 
ing for  themselves. 
D — Messenger  Service 

(a)  Messenger  service  shall  be  established  be- 
tween the  various  schools  and  the  Visual 
Education  Center  whereby  those  teachers 
requiring  materials,  held  by  the  department, 
may  receive  them  after  two  days  notice 
has  been  given  through  their  committee 
representative.  (The  janitor  who  custom- 
arily carries  supplies  from  one  building  to 
another  may  be  assigned  this  work.) 
2 — Visual  Aid  Centers 

A — A  room  shall  be  set  aside  in  a  school  building, 
centrally  located,  which  shall  serve  as  head- 
quarters for  the  Department.  It  should  be  suit- 
ably equipped  as  a  : — 

(a)  Meeting  place  for  the  Visual  Education 
Committee. 

(b)  Office  for  the  clerical  force. 

(c)  Library  for  visual  education  magazines, 
references,  catalogs,  etc. 


Cataloguing  and  Describing  Identification  Prints 

(d)  Repository  for  such  records  and  accounts 
as  may  be  held  by  the  department. 

(e)  Repository  for  such  visual  materials  and 
projection  equipment  as  may  be  held  by  the 
department  for  distribution. 

(f)  Workshop  for  making  or  repairing  visual 

material. 

(g)  Projection  room  for  previewing  materials, 
(h)  May    include   a    school    museum    and    art 

gallery  or  such  may  be  attached. 
B — Smaller    centers    shall    be    developed    in    each 
building   under   the   immediate   supervision   of 
the     committee     representative.     These     will 
contain : — 

(a)  Such  raw  and  unfinished  materials  as  are 
specifically  related  to  the  work  of  the  indi- 
vidual school. 

(b)  Projection  equipment  held  by  the   school. 

(c)  Copies  of  slide  and  film  records,  tests, 
catalogs  and  other  written  data  relevant  to 
the  materials  used. 

(d)  Such  facilities  as  will  fit  it  as  a  meeting 
place  for  the  departmental  representa- 
tives in  planning  their  use  of  visual  ma- 
terials. 

(e)  Projection  facilities  for  giving  previews  of 
materials. 
Preliminary  Activities  of  the  Department 
A — Acquainting  the  School  Administrator  with  the 
Department's  Program 

After  the  official  creation  of  the  Visual  Ed- 
ucation Department  the  Superintendent  of 
Schools  may  call  a  Principals'  meeting  in  which 
he  will  explain  his  reasons  for  establishing  the 
new  organization  and  request  their  co-operation. 
With  such  an  introduction,  the  way  is  paved 
for  the  Director  to  describe,  in  detail,  the 
functioning  of  the  Department,  its  value  to 
Principals  and  teachers,  and  ways  in  which  the 
Principals  may  assist  in  carrying  on  the  work. 
The  Director  must  impress  the  Principals  with 
the  fact  that  his  is  a  service  organization,  set  up 
primarily  to  assist  both  teachers  and  Principals 
in  carrying  on  the  work  of  their  schools  in  so 
far  as  it  is  concerned  with  visual  materials. 


Page  8 


The  Educational  Screen 


B — Acquainting   the    Visual  Education    Committee 
zi'ith  Its  Duties. 

The  Princi])als  will  subsequently  select  those 
teachers  who  will  represent  their  respective 
schools  on  the  Visual  Education  Committee. 
Naturally  only  those  will  be  selected  whose  in- 
terest, initiative  and  willingness  to  co-operate 
will  assure  the  successful  execution  of  the  pro- 
ject. 

These  will  confer  with  the  Director  in  a 
series  of  meetings  in  whfch  he  will  explain 
the  entire  program.  Each  will  be  made  acquaint- 
ed with  his  duties  and  will  take  steps  to  carry 
out  the  details  allotted  to  him.  (These  are 
elaborated  upon  later.) 
C — Acquainting  the  Teacher  with  the  Facilities 
Offered  by  the  Department. 

The  Committee  Representatives  or  the  Di- 
rector will  then  meet  with  the  teachers  in  their 
regular  monthly  Teachers'  meetings  and  "sell" 
the  idea  to  them — describing  how  the  Depart- 
ment hopes  to  assist  them  in  their  work  and  ex- 
plaining the  routines  involved  in  selecting,  or- 
dering and  reporting  on  the  materials  used. 

In  so  far  as  is  possible  at  the  time  he  shall 
acquaint  them  with  the  available  materials  on 
hand  and  inform  them  as  to  the  quantity  and 
quality  of  material  procurable  from  outside 
sources. 

At  the  conclusion  of  his  talk,  teachers  should 
be  conscious  of  an  aroused  interest  In  this  field 
and  desirous  of  investigating  its  possibilities 
further. 

The    Director    will   subsequently    meet    with 
smaller   groups    in   their    department   meetings 
and  aid  them  in  planning  the  use  of  materials 
and    correlating    them    with    their    syllabi    or 
course  of  study. 
D^Organising  and  Classifying  of  All  Visual  Ma- 
terials Owned  by  the  School  System. 
(a)  A  survey  of  all  visual-auditory  aids,  now 
in   the  possession   of   teachers   or   schools, 
shall    be   made   by   the    Visual    Education 
Committee  and  the  materials  shall  be  clas- 
sified according  to : — 
Type- 
Flat  pictures,  (mounted  or  unmounted), 
Stereographs,  Objects  or  models.  Speci- 
mens,  Exhibits.   Charts,   Graphs,   Maps, 
Globes,  Slides  (standard  or  microscopic), 
Film  slides  or    rolls.     Motion    Pictures 
(silent  or  sound),  Victrola  records. 
Condition — 

New  or  old ;  usable  ( free  from  mechan- 
ical blemishes,  stains,  smears,  scratches, 
etc)  or  damaged. 
Value — - 

Are  the  facts  pictured  or  recorded 
truthfully  and  free  from  distortion  or 
illusion  (proportion,  color,  historical 
setting,  characterization,  etc)  ? 
Do  the  main  facts  stand  out  clearly  in 
the  midst  of  other  details? 


Does    the    material    include    an    element 

known  to  the  observer  which  will  enable 

him  to  infer  the  correct   dimensions  of 

the  unknown  elements  ? 

Is  the  material  antiquated  or  modern  in 

its    picturization    of     facts     (refers    to 

slides,    films,    etc.    which    are    used    to 

picture  current  conditions). 
Usability — 

Is  its  use  limited  to  s])ecific  grades,  i.  e. 

— elementary    school,    junior    or    senior 

high  school,  or,  is  it  suitable  for  use  at 

various  levels? 

Is  its  use  limited  to  certain  subject  fields, 

i.  e. — science,  geography,  literature,  etc. 

or,   may   it   be  used  in  teaching  various 

subjects  ? 

Rased  on  the  results  of  this  survey,  cata- 
logs should  be  compiled  for  the  Elementary 
Grades,  Junior  and  Senior  High  Schools 
listing  the  worth  while  materials  according 
to— 

1 — Type,  i.  e. : — models,  pictures,  films, 
slides,  records,  etc. 

2 — Subject,      i.      c. : — history,      science, 
geography,  etc.  ( To  be  determined  by 
])'eviews    made    before    the    Visual 
Education    Committe;    or    comments 
of  previous  users.) 
(b)  Those  aids  collected  by  individual  teachers 
as  a  private  enterprise  or  of  a  type   fre- 
quently used  by  the  teacher  or  her  school 
may  be  left  in  her  possession  or  stored  in 
the  Visual  Education  centers,    if    such    is 
desired,  as  it  is  desirable  to  encourage 
individual    initiative    in    the    collecting 
or    making    of    visual    aids    and    their 
ready  availability  will  contribute  much 
to  their  usefulness.  However,  the  teach- 
er should  be  willing  to  co-operate  with 
the  Department  by  loaning  such  materials 
to  others,  thus  limiting  the  need  (jf  dupli- 
cation. The  name  of  the  teacher  and  school 
responsible  for  such  items  will  be  indicated 
in  the  catalog  to  facilitate  scheduling  and 
handling. 

Those  items  of  a  general  nature  or  of  a 
type  infrequently  used  should  be  made 
available  for  general  distribution  and  may 
be  stored  at  the  Visual  Aid  Center.  Such 
articles  shall  be  given  a  number  (to  be 
indicated  in  the  catalogs)  and  subsequently 
filed  in  numerical  order  in  suitable  cabinets. 
The  addition  of  new  materials,  thereafter, 
will  not  require  a  continual  re-arrange- 
ment of  the  files.  The  titles  of  such  new 
material  will  be  added  to  the  catalogs, 
from  time  to  time,  under  the  pro])er  head- 
ings. 

(To  be  concluded  in  February) 


Editor's  Note — The  two  illustrations,  furnished  through  the 
courtesy  of  the  Visual  Education  Section,  Los  Angeles,  are  typ- 
ical of  the  activities  discussed  in  Mr.  Worrell's  article. 


January,  1937 


Page  9 


Visual  Aids  in  Adult  Education 


* 


What  films  can  mean  to  grown-up  minds 
and  the  kind  of  films  needed  for  them. 

By   PROFESSOR   G.   L   FREEMAN 

Northwestern  University 


WITH IX  the  last  few  years  an  ever  increasing 
nunilier  of  adults  has  come  to  participate  as 
students  in  organized  instructional  situations. 
This  has  created  a  series  of  problems  for  those  edu- 
cational agencies  to  which  adults  have  turned.  We 
shall  discuss  how  some  of  these  problems  are  be- 
ing solved  at  Northwestern's  University  College  by 
the  use  of  visual  aids. 

The  University  College  is  a  night  school  and  its 
classes  are  open  to  people  of  all  ages  and  degrees 
of  educational  maturity.  An  instructor  is  immedi- 
ately impressed  by  the  diversity  of  his  group.  For 
instance,  registered  in  the  same  course  last  fall  was 
a  member  of  the  editorial  stafif  of  a  national  maga- 
zine, the  senior  partner  of  a  large  law  firm,  a  grand- 
mother of  foreign  extraction  and  a  young  shipping 
clerk  with  an  incomplete  high  school  record.  A 
highly  technical  approach  to  a  subject  is  likely  to 
discourage  many  who  by  persistence  can  eventually 
make  up  for  an  initial  lack  of  background.  On  the 
other  hand,  an  over-popularized  version  of  the  sub- 
ject will  be  considered  trivial  by  the  intellectually 
mature. 

Another  problem  facing  the  instructor  is  the  dif- 
ficulty of  sustaining  the  critical  attention  of  adults. 
Most  of  the  students  of  the  University  College  work 
during  the  day  and  reach  the  class  in  a  state  of 
boredom  or  fatigue.  Those  who  are  bored  with 
their  regular  work  expect  the  class  period  to  pro- 
vide them  with  attractive  new  thoughts  and  in- 
terests. Those  who  are  tired  expect  to  be  kept 
awake.  Both  require  a  more  dramatic  presenta- 
tion of  the  subject  than  the  regular  undergraduate. 
It  is  not  that  these  students  come  mainly  for  amuse- 
ment, but  the  class  is  a  substitution  for  games  of 
sport,  and  theatre,  and  other  uses  of  leisure  time, — 
and  the}'  expect  it  to  be  an  interesting  as  well  as 
profitable  substitution. 

\\'hile  the  organization  of  our  psychology  in- 
struction along  the  lines  here  suggested  is  far  from 
complete,  student  achievement  already  indicates 
that  we  shall  wish  to  extend  our  use  of  visual  aids 
in  the  University  College.  It  is  only  the  problem 
of  obtaining  the  appropriate  aids  that  holds  us 
back,  and  these  must  be  built  up  carefully  and 
thoughtfully  over  a  period  of  time. 

The  adult  educator  stands  between  the  layman, 
who  has  an  indefinite  knowledge  of  all  things,  and 
the  specialist,  who  has  an  authoritative  knowledge 


♦Read  before  the  DeVry  Summer  Conference  on  Visual  Edu- 
cation, June  26,  1936. 


of  a  single  thing.  With  progress  dependent  on 
the  efficiency  with  which  the  thought  of  the  spe- 
cialist is  translated  into  the  language  of  the  lay- 
man, the  need  for  increased  use  of  visual  aids  is 
both  apparent  and  real. 

Finally,  the  adult  student  is  likely  to  demand  a 
very  high  standard  of  instructional  efficiency.  In 
his  work-a-day  world,  he  is  used  to  seeing  things 
done  with  clarity  and  dispatch.  He  brings  these 
criteria  into  the  classroom  and  will  be  frankly  an- 
noyed with  re])etition,  ambiguity  and  lack  of  con- 
ciseness. The  time  which  the  adult  can  devote  to 
class  attendance  and  study  is  necessarily  limited, 
and  he  must  get  at  the  essential  points  of  a  subject 
by  any  appropriate  shortcuts  which  are  available. 

Visual  aids,  such  as  the  motion  picture  and  slide 
film,  seemed  a  natural  solution  of  these  problems. 
The  diversity  of  our  groups  could  be  met  by  an 
instructional  medium  whose  appeal  is  universal ; 
regardless  of  age  or  degree  of  intellectual  sophis- 
tication, people  understand  and  appreciate  visual 
modes  of  presentation.  And  the  fact  that  visual 
aids  require  the  exposition  of  ideas  in  a  relatively 
short  time-span  would  make  them  a  most  efficient 
teaching  device. 

Our  first  experience  in  the  use  of  motion  pictures 
was  disappointing.  A  contract  with  a  commercial 
distributor  had  to  be  cancelled  because  the  available 
material  turned  out  to  be  ill-timed  and  ill-suited 
to  the  classes  in  which  it  was  used.  Films  which 
were  of  sufficient  technical  perfection  to  gain  the 
approval  of  the  critical  audience  were  likely  to  be 
of  little  educational  value.  Particularly,  there  was 
need  for  film  which  could  be  integrated  with  the 
regular  class  lecture  instead  of  having  to  be  in- 
troduced merely  as  an  interesting  side-line.  For 
the  past  year,  therefore,  our  psychology  classes  have 
become  a  kind  of  laboratory  wherein  we  have  tried 
to  build  a  unified  visual-aids  program.  These  de- 
velopments look  very  promising  and  our  experi- 
ence may  be  valuable  to  teachers,  administrators 
and  others  faced  with  the  education  of  the  adult 
mind. 

As  a  preliminary  we  found  it  necessary  to  review 
the  whole  field  of  psychology  from  the  standpoint 
of  its  fundamental  needs.  With  each  lecture  topic 
such  as  personality,  intelligence  and  memory,  we 
asked  the  question,  "What  is  the  most  essential 
idea  which  we  wish  to  get  across  and  how  may  it 
be  effectively  visualized?"  We  explained  our  needs 
in  class  and  organized  small  study  groups  to  work 
with   the   instructor    in    laying   out   the   program    for 


Page  10 


The  Educational  Screen 


different  topics.  By  a  careful  shifting-  and  sifting 
of  perSiOnnel,  each  study  group  contained  students 
of  sufficient  ability  and  motivation  to  make  a  real 
contribution  to  the  program's  development.  In- 
telligent opinions  demanded  a  thorough  knowledge 
of  both  the  subject  matter  and  methods  of  visual 
presentation.  Books  were  read,  visits  made  to  com- 
mercial studios,  and  available  educational  films  cri- 
ticised. A  surprising  amount  of  information  was 
brought  into  the  discussion  groups,  and  upon  such 
a  basis  we  worked  out  many  of  the  actual  scenarios 
and  planned  exactly  how  the  film  would  be  used 
in  the  class  session. 

Our  biggest  step,  of  course,  was  to  get  the  actual 
filming  of  the  material  under  way.  As  commercial 
production  was  entirely  out  of  the  question  two  al- 
ternative means  were  found.  In  the  first  place,  we 
discovered  in  our  classes  several  advanced  amateur 
photographers,  who  offered  their  services  and 
equipment  in  the  filming  of  certain  topics.  With 
other  students  as  actors  very  creditable  perform- 
ances were  recorded  on  sixteen  millimeter  silent 
film.  By  having  actors  read  their  lines  and  by  ac- 
curate timing,  it  was  possible  to  run  a  sound-track 
at  a  commercial  studio  at  small  cost.  In  several 
instances,  we  even  succeeded  in  lip-synchronization 
after,  the  approved  Hollywood  manner. 

In  the  second  method  the  costs  of  certain  films 
are  underwritten  by  selected  industrial  concerns. 
Because  of  its  future  possibilities,  it  is  worthwhile 
to  point  out  the  merits  of  this  arrangement  in 
detail. 

Today  we  recognize  that  the  forcing  of  products, 
trade  names  and  services  upon  the  public  by  the 
shotgun  method  eventually  defeats  its  own  ends. 
Alert  advertisers  are  looking  about  for  subtle  and 
dignified  means  of  bringing  their  products  before  a 
thinking  audience.  To  this  end,  many  industrial 
films  have  been  distributed  freely  to  schools  and 
other  educational  organizations.    Much  of  this  well 


intentioned  effort  goes  wide  of  the  mark.  It  does 
not  perform  effectively  the  educational  service  it' is 
supposed  to  render  and  it  frequent! v  annoys  the 
audience  with  an  over-repetitious  "plugging '  for 
the  company  product.  Better  results  from  both  the 
educational  and  commercial  standpoint  come  with 
the  help  of  trained  workers  in  the  field  of  adult 
education.  Advertisers  having  products  to  place 
before  a  certain  type  of  audience,  or  services  re- 
lated to  a  certain  subject,  are  now  beginning  to 
ask  about  the  exact  type  of  film  most  needed  in  that 
field.  This  is  a  hopeful  sign.  Some  concerns  are 
even  ready  to  film  an  educator's  scenario  with  no 
further  reference  to  themselves  than  a  credit  line. 
Curiously  enough,  human  beings  are  so  constituted 
that  this  unobtrusive  appeal  may  make  more  of 
a  lasting  impression  than  a  brass-band  campaign. 
Furthermore,  because  the  film  is  not  ctnnbered  with 
unnecessary  and  irrelevant  propaganda,  its  educa- 
tional usefulness  is  enhanced  and  its  circulation  is 
correspondingly  increased.  Already  our  great  phar- 
macitical  companies  are  recognizing  the  value  of 
this  type  of  program  and  are  co-operating  with  the 
schools  in  making  medical  and  psychological  film 
of  outstanding  merit. 

Wherever  feasible,  our  new  scenarios  feature  dia- 
logue, and  practically  all  call  for  a  brief  musical 
introduction.  The  films  are  designed  to  run  about 
fifteen  minutes,  one  for  each  weekly  class  meeting. 
They  are  generally  shown  early  in  the  lecture  hour 
for  their  interest  value  and  because  of  questions 
which  they  will  raise  in  the  minds  of  the  audience. 
The  instructor  then  clarifies  some  of  the  questions 
and  proposes  new  ones.  Often  the  film  is  re-run 
near  the  end  of  the  hour,  the  class  having  been 
told  to  look  for  certain  special  items.  When  the 
film  presents  an  actual  experiment,  the  data  are 
copied  from  the  screen  upon  mimeographed  forms 
and  detailed  results  worked  out  for  later  presenta- 
tion. 


Visual  Education  Simplified 

This  is  the  title  of  a  concise  account  on  the  mak- 
ing of  film  strips  and  lantern  slides  from  pictures, 
by  H.  B.  Gray  of  Long  Beach,  California,  which 
appeared  in  the  October  issue  of  Leica  Photography. 
As  we  believe  many  teachers  will  be  interested  in 
this  example  of  vital  teaching,  we  are  glad  to  make 
the  following  partial  reprint  of  the  article. 

'T'  HE  FIRST  subject  worked  up  in  this  manner  was 
a  talk  on  "Butterflies".  For  two  years  my  biology 
classes  had  used  a  series  of  several  dozen  5x7  in. 
enlargements  of  Leica  pictures  on  this  subject. 
Out  of  those  pictures  which  proved  most  useful  in 
teaching,  twenty-five  were  selected  for  the  strip. 
The  first  step  was  the  making  of  a  set  of  enlarge- 
ments from  the  negatives,  or  portions  thereof,  to 
the  uniform  size  of  5x7  in.     This  size  enables  the 


necessary  dodging  and  local  control  to  be  used  in 
order  that  the  entire  set  of  prints  will  be  uniform 
in  tone  quality  and  contrast. 

The  prints  were  arranged  in  the  desired  sequence, 
and  then  placed  on  the  copying  table.  The  Leica 
was  loaded  with  positive  film,  and  attached  to  the 
Sliding  Focusing  Copy  Attachment.  With  this  de- 
vice it  was  a  simple  matter  to  place  each  print  prop- 
erly under  the  camera,  put  the  identifying  number 
in  the  lower  corner,  and  make  the  copy.  A  calendar 
pad  furnished  the  small  numbers  used.  Since  the 
prints  were  a  uniform  set,  there  was  no  variation  in 
exposure,  and  a  uniform  set  of  copy  negatives  was 
obtained. 

Thus  was  secured  what  is  termed  the  "Master 
Negative".  Rather  than  do  the  routine  printing  of 
this  master  negative,  I   sent  it  to  one  of  the  film 

{Concluded  on  page  12) 


January,  1937 


Page  11 


Student  Activity  in  a  Visual  Aid  Program 


How  students  participate  in  the  technical  and 
mechanical  work  of  visual  instruction  in  the 
J.  Hull  Browning  School  at  Tenafly,  I\ew  Jersey. 

By  PRIN.  CHARLES  T.  DIEFFENBACH 


A  COMPREHENSIVE    program    of    visual    in- 
struction requires  machines  for  projection  and 

reception,  operators  for  said  machines,  and 
various  administrative  measures  to  fit  this  type  of 
work  usefully  into  the  school  organization.  Since 
a  large  percentage  of  our  materials  is  borrowed 
from  the  State  Museum  and  from  other  sources, 
the  control  of  this  steady  stream  of  visual  aids  is 
no  small  part  of  the  problem.  In  addition,  the  use- 
fulness of  the  administration  may  be  measured  by 
the  added  \alues  that  accrue  to  the  children  through 
its  measures. 

Believing  that  the  boys  and  girls  would  gain  in 
self-reliance,  sportsmanship,  and  initiative,  as  well 
as  in  resourcefulness  and  valuable  manipulatory 
skills  if  they  controlled  the  distribution  and  projec- 
tion of  the  visual  materials,  we  last  year  inaugu- 
rated a  projection  force.  To  this  organization  boys 
and  girls  of  the  fifth  and  sixth  grades  are  eligible, 
the  only  condition  being  that  they  be  approved  by 
their  class  room  teacher.  This  approval  is  not  con- 
tingent on  a  high  standard  of  classroom  achieve- 
ment since  we  believe  that  many  who  need  the 
socializing  and  success-insuring  activity  most, 
would  be  shut  out  of  it  by  rigid  scholastic  require- 
ments. Teachers'  approval,  then,  is  dependent  upon 
the  judgment  of  the  individual  teacher,  who  is  ex- 
pected to  decide  whether  the  individual  approved 
would  be  useful  to  the  club  and  whether  it  would  be 
valuable  to  him.  Along  with  the  power  of  appoint- 
ment goes  the  power  of  dismissal;  and  teachers  may 
withdraw  the  privilege  of  membership  after  con- 
sultation with  the  principal.  The  possibility  of  the 
plan  being  used  as  a  football  for  disciplinary  pur- 
poses is  appreciated  and  therefore  the  principal 
finds  a  place  in  the  set-up  at  this  point. 

The  projection  force  meets  after  school  every 
Friday.  In  this  school  of  400,  it  has  a  membership 
of  forty.  It  is  guided  by  a  committee  of  three 
teachers.  Its  officers  are  the  usual  four,  but  their 
positions  were  created  by  the  children  when  the  need 
for  them  arose.  A  treasurer  was  the  most  recent 
addition,  the  post  being  decided  on  after  a  one- 
cent-a-week   dues  proposition  was  approved. 

The  meetings  are  planned  a  semester  in  advance; 
an  example  of  the  program   for  one  season   follows : 
Projection   Force    Program 

March  20      Trip    to    Movie    House 
27      Trip    to    Movie    House 

April        3       Lesson   on   the   16mm   machine 

17      How    Cartoon    Comedies    are    made 
24      Lessons  in  Radio  Reception 


May         1  Taking  Pictures 

8  Taking  Pictures 

IS  How   Pictures  are  developed 

22  Our  Own  Show 

29  Reports 

June        5  Election  of  Officers 

12  Plans  for  next  year 

Beside  the  feature  planned  for  each  meeting,  the 
assignments  for  the  ensuing  week  are  read  by  the 
president. 

This  leads  to  the  introduction  of  two  forms  that 
have  been  found  useful  in  the  plan.  The  first 
(Fig.  1)  is  sent  to  all  teachers  Thursday  mornings 
and  is  back  in  the  hands  of  the  projection  force 
committee  at  the  close  of  the  day.  The  accumu- 
lated record  is  turned  over  to  the  president  of  the 
force,  who,  with  the  secretary,  determines  on  the 
boys  and  girls  who  will  be  used  for  each  particular 
job.  This  form  indicates  the  date,  time  of  day,  type 
of  visual  aid,  and  teacher  who  will  use  it.  It  also 
affords    the    teacher   the    opportunity   of   declining 

Incoming  Visual  Education  Material 

Week  of 

For  use  by 


Type  of  Material 
(name) 


Projection  force 
needed? 


At  what  time 
and  day? 


Figure  1 

Projection  Force  service.  Many  kinds  of  material 
need  no  outside  assistance  and  some  teachers  may 
prefer  not  to  avail  themselves  of  the  trained  helpers, 
for  varied  reasons.  These  forms  serve  the  addi- 
tional purpose  of  informing  the  staff  of  the  com- 
plete collection  of  visual  material  available  through- 
out the  building  each  week. 

The  companion  form  (Fig.  II)  finds  usefulness  as 
a  reminder  and  as  a  check.  It  also  furnishes  the 
principal  with  a  list  of  visual  aids  that  have  met  the 
test  of  use. 

Our  projection  force  soon  outgrew  its  original 
intent.  Each  week  now,  the  president  appoints 
radio  operators,  backstage  experts  for  assembly 
plays,  bulletin  board  assistants,  stock-room  helpers, 
and  special  agents  to  the  principal.  These  many 
added  duties  make  use  of  the  members  of  the  club 


Page  12 


The  Educational  Screen 


who  have  not  qualified  as  first  class  operators. 

To  obtain  the  grade  of  first  class  operator,  a  sys- 
tem of  tests,  borrowed  from  the  merit  badge  idea 
of  the  scouting  bodies,  is  in  operation.  Every  mem- 
ber of  the  club  possesses  a  list  of  the  essentials  for 
each  test ;  and  on  Fridays,  after  the  regular  meet- 
ings, those  who  have  prepared  for  the  examination 
and  who  have  signed  up  for  it  beforehand  may  have 
their  chance  to  qualify  for  one  or  more  of  them. 
These  exatninations  deserve  a  further  word.  They 
are  not  written  nor  are  they  given  orally.  They 
are   acted.      Machines   are   run.      Duties   are   done. 

Outgoing  Visual  Education  Material 

Week  of 


Type  of 
Material 
(Name) 


Date 
Received 

Date 

Due 

Trenton 

Date 
Returned 
to  office 
(card?) 

Used  by 

Value 
(Shall 
we  use 

next yr? 


Figure  2 

Return  post-cards  are  filled  out.  Since  the  reputa- 
tion of  the  force  depends  on  the  boy  or  girl  who 
enters  a  class,  these  representatives  have  to  meet 
strict  scrutiny.  If  shades  are  lowered  in  the  course 
of  the  visit,  they  must  be  returned  to  place  before 
the  job  is  considered  done;  if  a  slide  is  projected 
upside  down,  the  test  is  a  failure ;  if  a  radio  broad- 
cast is  fuzzy  or  low  or  in  any  way  unsatisfactory, 
that  receptionist  will  not  gain  the  coveted  honor 
of  rating  "first  class".  The  specific  requirements 
are  given  below,  although  no  single  test  would  in- 
clude all  of  the  items  mentioned. 

Projection  Force  Standards  1936 

1st  Class  Operator 

1.  Knows  how  to  load  projector.  2.  Knows  how  to 
start  projector.  3.  Knows  how  to  focus  projector. 
4.  Knows  how  to  change  speed.  5.  Knows  how  to  re- 
wind. 6.  Knows  how  to  frame.  7.  Knows  how  to 
get  projector.  8.  Knows  how  to  repair  film.  9.  Knows 
how  to  return  to  owner.  10.  Knows  how  to  use  best 
available  material 

1st  Class  Radio  Operator 

1.  Knows  how  to  make  good  aerial  connection.  2. 
Knows  where  to  find  the  five  commonest  stations.  3. 
Knows  how  to  regulate  volume.  4.  Appreciates  the 
care  required  when  carrying  the  set.  5  Can  check 
connections  if  trouble  develops. 

1st  Class  Stage  Manager 

1.  Knows  how  to  close  curtains  in  auditorium.  2. 
Knows  how  to  open  and  close  main  curtain  on  stage. 

3.  Knows  how  to  raise  and  lower  curtain  for  movies. 

4.  Knows  how  to  control  house  lights.  5.  Knows  how 
to  light  foot-lights.  6.  Knows  how  to  test  foot-lights. 
7.  Knows  something  about  the  other  lights  on  stage. 


(flood,  spot,  overhead).  8.  Knows  how  to  signal 
movie  booth.  9.  (Special)  Can  operate  slide  machine 
in  balcony. 

1st  Class  Lantern  Slide  Operator 

1.  Knows  how  to  connect  and  check  connections. 
2.  Knows  how  to  load  machine  properly.  3.  Knows 
how  to  focus.  4.  Knows  how  to  frame  neatly.  5. 
Knows  where  to  find  lantern.  6.  Knows  best  method 
of  projection,  (screen,  shades,  etc).  7.  Knows  how  to 
reship  slides  to  owner. 

To  obtain  the  title  expert,  an  operator  must  also 
know  something  about  the  reasons  why  the  various 
machines  operate.  Another  bulletin  is  to  be  issued 
soon  covering  this  point. 

If  there  is  a  feeling  of  disapproval  on  the  part  of 
the  teachers  because  the  children  involved  in  duties 
about  the  building,  leave  their  regular  classes  to  at- 
tend to  these  jobs,  it  has  not  reached  the  ears  of  the 
committee  in  charge.  The  children  have  taken  to 
their  assignments  with  a  workmanlike  attitude  both 
as  to  the  use  of  time  and  the  handling  of  materials ; 
and  general  improvement  in  school  morale  has 
grown  out  of  the  club.  Of  course,  teachers  may  al- 
ways withdraw  privileges  which  they  have  granted 
and  this  has  been  done  when  it  seems  that  the 
grantee  was  trading  on  his  own  good  fortune  or  the 
teacher's  good  nature.  In  two  years  of  service  only 
three  cases  of  this  kind  have  occurred. 

The  plan  fits  my  philosophy  of  education  in  that 
intrinsic  values  in  situations  motivate  the  learning; 
a  self-controlled  plan  results  rather  than  a  super- 
imposed scheme ;  and  character-inoulding  ideals 
find  a  natural  practice-period  rather  than  a  formal 
drill-period.  In  addition,  the  constant  movement  of 
visual  aids  from  Trenton  and  elsewhere  and  back  is 
facilitated,  all  of  the  staff  knows  all  of  the  material 
available  weekly,  and  a  record  of  values  is  perman- 
ently obtained. 

Visual  Education  Simplified 

(^Concluded  from  page  10) 

laboratories  in  Hollywood,  obtaining  a  hundred 
prints  made  on  a  continuous  roll  of  positive  film. 
These  prints  are  positive,  ready  to  put  into  the  dou- 
ble frame  projector. 

Next  a  booklet  to  tell  the  story  of  each  picture 
was  mimeographed,  and  the  strips  were  ready  for 
distribution.  Since  each  picture  bears  its  serial 
number,  these  strips  may  be  cut  up  to  allow  the 
mounting  of  the  individual  pictures  between  the 
two-inch  glass  plates,  thus  making  a  set  of  twenty- 
five  lantern  slides  of  that  size.  In  this  manner  the 
transparencies  inay  be  protected  from  scratches  and 
other  marks  of  wear,  and  will  last  for  years. 

The  first  film  strip  has  been  followed  by  others 
entitled  "Wild  Flowers",  "Common  Reptiles",  and 
the  first  one  of  a  pair  on  "Insects'.  Others  are  in 
the  cotirse  of  production. 


January,  1937 


Page  13 


A  Critique  of  the  Educational  Film 


By  HAROLD  LEVINE 


Some  results  of  research  experiments  in  Elementary 
and  High  Schools  made  in  connection  with  work  for 
a  Doctorate  at  Teachers'  College,  Columbia  University. 


DESPITE  THE  favorable  results  achieved  by 
many  researchers  into  the  value  of  the  motion 
picture  film  to  education,  the  fact  remains  that 
comparatively  few  institutions  utilize  even  a  small  frac- 
tion of  its  possibilities.  This  may  be  due  either  to  an  in- 
sufficient knowledge  of  its  multiple  uses  or  to  an  ignor- 
ance as  to  the  best  methods  of  procedure  to  be  used  with 
the  film  to  obtain  optimum  efifects.  Regardless  of  the 
why  or  wherefore  of  such  failure,  school  children 
throughout  the  nation  are  being  deprived  of  one  of  the 
finest  of  educational  aids,  an  aid  which,  when  properly 
utilized,  may  well-nigh  revolutionize  teaching  pro- 
cedure. This  is  not  an  extravagant  statement  clutched 
from  thin  air,  as  were  those  of  Edison  and  H.  G.  Wells 
made  shortly  after  the  cinematograph  became  a  prac- 
tical instrument^,  but  is  a  conclusion  based  on  an  em- 
pirical study  of  numerous  experiments  embodying  the 
latest  elements  of  scientific  research,  experiments  un- 
dertaken to  determine  the  relative  value  of  the  motion 
picture  film  as  compared  to  any  other  teaching  medium, 
both  visual  and  non-visual. 

In  an  eflfort  to  determine  how  the  educational  film 
is  usable  in  the  average  classroom  by  an  average  teach- 
er teaching  an  average  lesson  to  an  average  class, 
seventy  four  (74)  experiments  were  analyzed.  The  re- 
sults of  these  experiments  were  dissected  for  specific 
and  definite  contributions  of  the  film  to  various  elements 
of  the  educational  continuum.  Individually  the  prob- 
lems attempted  were  tb.ese : 

1.  What  are  the  specific  contributions  of  the  motion 
picture  film  to  the  various  subjects  of  the  elemen- 
tary, junior  high,  and  senior  high  school  curricula? 

2.  What  methodology  should  be  used  with  the  film 
to  render  its  service  a  maximum? 

3.  What  are  the  characteristics  of  the  film  which  make 
for  educability? 

4.  What  are  the  contributions  of  the  film  at  the 
various  educative  levels? 

5.  What  are  the  relative  values  of  the  sound  and 
silent  film  ? 

6.  What  should  the  content  of  films  be  to  capitalize 
best  on  its  peculiar  advantages? 

7.  What,  as  a  result  of  the  findings  to  the  above,  are 
the  problems  concerning  the  educational  film  with 
which  future  research  should  deal? 

The  number  of  experiments  in  each  subject  matter 
field  are  given  in  the  following  Table : 

Subject  No. 

Art 1 

Music    1 

Cooking 1 


Penmanship    1 

Shop    1 

Reading 1 

Literature    1 

Nature    Study 10 

Gen.    Science 9 

Geography    26 

History    IS 

Hygiene 7 

Total    74 

From  this  Table  it  is  at  once  evident  that  no  gener- 
alization is  possible  in  Art,  Music,  Cooking,  Penman- 
ship, Shop,  Reading,  or  Literature,  while  Mathematics 
and  Languages  are  not  represented  at  all.  The  empir- 
ical conclusions  will,  therefore,  be  valid,  as  far  as  sub- 
jects are  concerned,  only  to  Nature  Study,  General 
Science,  Geography,  History,  and  Hygiene. 

The  number^  of  experiments  conducted  on  each 
school  level  is  given  in  the  Table  below : 

Elementary  Junior  High  Senior  High 

34  44  13 

The  sources  included : 
Doctor's      Dissertations,      as      Arnspiger's,      Rulon's 

Weber's,  and  Westfall's. 
Master's    Theses ;   Books   devoted  to  the    educational 
film    such    as    Freeman's    "Visual     Education", 
Devereux's   "The   Educational   Talking   Picture," 
Wood  and  Freeman — ^"Motion    Pictures    in    the 
Classroom",    Ellis    and    Thornborough — "Motion 
Pictures  in  Education",  Marchant's  "The  Cinema 
in  Education"  etc. 
Periodicals  as,  The  International  Revue  of  Education- 
al Cinematography,  Visual  Education,  Educational 
Screen,  Sight  and  Sound,  Teachers  College  Rec- 
ord, Educational  Administration  and  Supervision, 
School  and  Society,  Education,  British  Journal  of 
Psychology,  Journal  of  School  Psychology,  etc. 
All  told,  thirty  six  (36)  sources  containing  the  or- 
iginal references  to  experiments  conducted  were  con- 
sulted. 

An  integrated  study  of  the  results  of  the  various  ex- 
periments taking  into  consideration  the  number  of  sub- 
jects involved,  the  method  of  equating  groups,  the 
types  of  tests  used,  and  the  statistical  treatment  allowed 
the  following  conclusions  to  be  formulated : 

Contribution  of  Educational  Film  to  Subjects 
1.    The  educational  film  appears  to  be  of  value  to 


ID.  C.  Ellis  and  L.  Thornborough,  Motion  Pictures  in  Educa- 
tion, Thomas  Y.  Crovvell  Co.,  New  York;  1923,  page  12. 


2The  total,  91,  is  greater  than  the  total  number  of  experi- 
ments performed,  (74),  because  some  of  the  experiments 
included  more  than  one  school  level. 


Page  14 


The  Educational  Screen 


esthetic  subjects  as  Art  and  Music,  but  sufficient 
experimentation  has  not  been  conducted  in  this 
field. 

2.  The  educational  film  does  not  appear  to  be  a  good 
medium  for  instruction  in  such  constructive  sub- 
jects as  Cooking,  Penmanship,  and  Shop,  when  a 
teacher  is  available  for  demonstrating  and  com- 
menting on  each  phase  of  construction. 

3.  The  educational  film  appears  to  be  of  value  in  the 
teaching  of  literature  and  reading,  but  sufficient 
experimentation  has  not  been  done  in  this  field. 

4.  The  educational  film  is  of  particular  value  in  the 
field  of  science,  especially  when  its  content  cannot 
be  duplicated  by  the  teacher. 

5.  The  educational  film  is  of  distinct  and  extensive 
aid  to  the  subjects  of  Geography,  History,  and 
Hygiene. 

Methodology 

6.  The  educational  film  should  be  used  in  conjunc- 
tion with  all  other  visual  aids  wherever  possible. 

7.  The  educational  film  is  more  eflfective  when  used 
as  an  introduction  than  when  used  either  in  the 
body  of  the  particular  phase  of  the  subject  studied, 
or  in  conclusion. 

8.  It  is  still  uncertain  as  to  whether  the  film,  when 
interrupted,  partakes  of  the  nature  of  a  stere- 
opticon. 

9.  An  increased  number  of  showings  enhances  the 
eiTectiveness  of  the  film,  provided  ample  time  is 
given  for  discussion. 

10.    Comment  during  the  showing  of  the  film,  followed 


directory  available  of  educational  films  and 
their  sources  —  the  new 

12th  EDITION  of 

"1000  and  One  Blue  Book  of  Films" 

152  pp.,  4500  films 

carefully  classified  according  to  subject,  and  listed  in  144  numbered 
subject  groups.  Information  given  on  each  film — whether  16  mm.  or 
35  mm.,  silent  or  sound,  number  of  reels,  description  of  contents, 
distributors  from  which  films  are  available  (220  such  distributors 
included)  and  range  of  prices  charged  by  them. 

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EDUCATIONAL  SCREEN 

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zine and  the  annual  editions  of  "1000  and  One  Film  Directory"  (the 
standard  film  reference  source)  an  invaluable  combination  of  service 
and  information  on  the  field  of  visual  instruction. 

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by  classroom  work,  increases  the  effectiveness  of 
the  educational  film. 

1 1 .  The  sound  film  can  be  used  with  profit,  but  the 
tendency,  which  appears  to  be  in  its  favor  with 
respect  to  either  the  silent  film  with  captions  or 
comment  or  both,  has  yet  to  be  thoroughly  es- 
tablished. 

Characteristics  of  the  Educational  Film 
That  Make  for  Educability 

12.  The  use  of  the  educational  film  allows  more  time 
to  be  spent  in  other  methods  or  subject  matter 
fields  without  any  loss  in  learning  effects. 

13.  Memory  and  recall  are  materially  aided  bv  the  use 
of  the  film. 

14.  The  educational  film  enhances  interest  in  immediate 
learning,  in  future  learning,  and  in  extra-curricular 
activity,  when  a  necessary  and  sufficient  method- 
ology is  pursued  in  connection  with  it. 

15.  The  educational  film  is  particularly  effective  in 
coping  with  the  problem  of  those  of  subnormal 
I.  Q.,  reducing  significantly  the  diff^erence  between 
them  and  those  of  normal  I.  Q. 

Contributions  of  the  Educational  Film 
at  the  Various  Educative  Levels 

16.  In  the  elementary  grades,  the  film  has  a  definite 
place  at  the  ages  of  10-11,  but  the  extent  of  its 
value  at  lower  age  levels  is  uncertain. 

17.  The  educational  film  can  be  utilized  to  a  great  e.x- 
tent  in  both  the  junior  and  senior  high  schools. 

Content  of  Educational  Film 

18.  Motion  and  action  should  be  included  in  the  film 
wherever  possible. 

19.  Any  phase  of  a  subject  not  involving  motion  should 
not  be  depicted  by  the  film. 

20.  The  educational  film  should  consist  largely  of 
close  vips,  and  should  contain  speech  where 
possible. 

21.  The  captions  should  be  short  and  concise. 
Research 

22.  Research  in  the  field  of  the  educational  film  must 
be  specific  and  minute,  involving  particular  and 
definite  elements  of  subject  matter,  methodology, 
film  characteristics,  educative  levels,  content,  and 
the  interrelation  of  each  with  the  other  and  in  com- 
bination. 

These  conclusions,  all  empirically  founded,  show 
the  immense  possibilities  of  the  educational  films.  If 
a  correct  methodology  is  used,  the  beneficial  results 
far  transcend  any  initial  expenditures  or  effort  in- 
volved. It  can  be  said  with  definite  assuredness,  backed 
by  past  research,  that  the  value  of  the  educational  film 
seems  to  have  been  objectively  conceded.  Concerning 
its  possibilities  in  specific  subjects,  at  definite  educa- 
tive levels,  and  for  the  subnormal  I.  Q.  the  surface 
has  barely  been  scratched.  From  all  indications  the 
film  will  prove  to  be  a  potent  influence.  It  may,  indeed, 
rank  with  the  introduction  of  the  laboratory  method 
in  its  influence  on  educational  procedure.  In  order  to 
determine  the  nature  of  this  eflfect,  and  its  extent,  fu- 
ture research  should  concern  itself  with  the  definite 
and  specialized  uses  of  the  educational  film  at  the 
various  phases  of  the  educational  continuum. 


January,  1937 


Page  15 


FOREIGN    FILMS    FOR 
EDUCATIONAL    INSTITUTIONS 


Conducted  by  Wesley  Greene 

Director,  University  Film  Society,  The  University  of  Chicago 


I 


IN  CHOOSING  a  foreign  film  for  showing  in  the 
United  States  two  principles  should  be  applied.  The 
film  selected  should  meet  the  approval  of  educated 
citizens  of  the  country  of  production  and  it  should 
be  worthwhile  for  American  audiences.  On  the  one 
hand  it  should  be  a  fair  picture  of  the  manners  and 
arts  in  the  country  of  its  origin,  and  on  the  other 
hand  it  should  be  a  film  which  comes  within  the  range 
of  appreciation  of  American  groups  which  will  see  it. 
Last  summer  both  principles  were  rigorously  applied 
in  selecting  a  Japanese  feature  picture  to  be  shown  in 
the  United  States,  and  the  result  is  gratifying  indeed 
if  we  judge  from  the  recent  reception  of  the  picture  at 
International  House  (Chicago).  Only  after  a  number 
of  previews  was  Kimiko  chosen,  and  equipped  with 
English  titles  for  release  in  the  United  States. 

Kimiko  is  the  film  name  of  a  young  Japanese  girl 
through  whom  able  Director  Naruse  of  the  P.  C.  L. 
producing  company  of  Tokyo  chose  to  tell  the  story  of 
two  Japanese  women  and  their  families.  One  of  the 
women  lives  in  Tokyo,  the  other  in  the  mountains  of 
the  Nagano  Prefecture.  As  the  story  unfolds  the  film 
takes  its  audience  to  a  middle-class  city  home,  to  a 
modest  home  in  a  mountain  village,  through  the  streets 
of  Tokyo,  and  to  a  theatre  in  that  city.  The  film 
gathers  up  the  audience  and  takes  them  on  a  magic 
screen  for  an  eighty-minute  journey  to  the  Japan  that 
we  should  know,  to  the  Japan  that  is  so  seldom  pre- 
sented to  those  of  us  who  are  not  able  to  travel  to  the 
Far  East. 

Kimiko  is  the  most  forceful  portrayal  we  know  of 
the  westernization  of  the  Orient.  At  times  the  dress  is 
Japanese  in  style,  at  other  times  it  is  current  .\merican ; 
at  times  the  music  is  oriental,  at  other  times  western. 
But  both  the  "costumes"  and  the  music  are  typically  Jap- 
anese throughout  the  picture.  The  film  affords  excellent 
visual-aural  material  for  social  science  and  music 
classes,  and  at  the  same  time  should  be  first  class  en- 
tertainment for  intelligent  Americans. 

So  far  this  year  two  entertaining  French  films  have 
been  released  in  the  United  States :  La  Kermesse 
Heroique  and  Les  Miserables.  Both  are  films  for  col- 
leges rather  than  secondary  schools,  both  are  for  "cine- 
ma-goers" rather  than  "movie-goers."  La  Kermesse 
Heroique,  however,  is  not  now  available  to  non-the- 
atrical exhibitors. 

The  original  five-hour  French  production  of  Les 
Miserables,  which   was   shown   in   three   parts   at   the 


University  of  Chicago  and  at  Harvard  University  last 
year,  has  been  skillfully  cut  in  half  so  that  the  picture 
can  now  be  seen  at  one  sitting.  In  comparing  the. 
French  and  American  productions  of  the  picture  critics 
are  pointing  out  that  the  French  version  is  more  accu- 
rate in  details,  more  realistic  of  the  Paris  which  Hugo 
depicted  in  his  much  read  novel.  The  acting  of  Harry 
Baur  as  Valjean,  the  direction  of  Raymond  Bernard, 
and  the  musical  score  of  Arthur  Honneger  stand  out. 
The  French  Les  Miserables,  with  English  titles,  should 
be  exhibited  at  every  college  and  university  which  can 
arrange  35mm  foreign  film  programs. 

A  third  French  film  merits  our  attention  even  though 
it  is  not  entertainment  in  the  usual  sense  of  the  word. 
Une  Soiree  a  La  Comedie  Francaise,  a  two-hour  film 
acted  by  casts  from  the  Comedie  Francaise,  includes 
Moliere's  "Precieuses  Ridicules";  a  documentaire  on 
the  history  of  the  Comedie  Francaise;  and  "Deux  Cou- 
verts",  a  short  modern  play  by  Sacha  Guitry.  All  three 
parts  of  the  picture  are  photographed  drama  and  not 
cinema.  All  three  will  please  teachers  more  than  any 
film  in  French  to  be  released  in  the  United  States  dur- 
ing 1936-'37,  but  will  be  regarded  as  classroom  material 
by  students.  Une  Soiree  a  La  Comedie  Francaise  is 
a  valuable  adjunct  to  other  methods  of  instruction  em- 
ployed in  advanced  literature  classes.  The  film  is  rec- 
ommended for  its  proper  niche  in  the  college  curricu- 
lum, but  will  prove  valueless  on  the  high  school  level 
unless  a  program  of  classroom  preparation  for  it  is 
carried  out. 

The  Russian  language  version  of  the  New  Gulliver, 
which  has  been  in  great  demand  during  the  past  year, 
has  been  withdrawn  from  the  market  to  make  way  for 
the  commercial  release  of  an  edition  of  the  same  photo- 
graphed film  with  English  dialog. 

The  writer  of  this  column  would  be  pleased  to  hear 
from  educators  who  have  found  particular  films  of 
value  for  school  use.  Though  French,  German,  and 
Russian  films  seem  to  monopolize  college  and  second- 
ary school  foreign  film  programs,  there  is  educational 
demand  for  pictures  in  Spanish,  Czech,  Italian,  Polish, 
and  Slovak.  The  problem  is  not  merely  to  find  films 
in  these  languages,  but  to  find  films  which  we  can  rec- 
ommend to  educational  institutions.  Readers  of  the 
Educational  Screen  are  invited  to  use  this  depart- 
ment as  a  clearing  house  for  information  on  these  and 
ether  foreign  language  pictures. 


Page  1  6  The  Educational  Screen 

NEWS  AND   NOTES   />'-./  /-/  -/../-.  - 

AcanLTiLunl  Jiaiua^   uaJi   cvcnti   ui    tltc    viMtal   riciii. 

Conducted  by  Josephine  Hoflfnian 


Conference  on  Teacher  Training 
in  Visual  Methods 

A  group  of  midwestern  school  men  and  women. 
keenly  interested  in  furthering  the  use  of  visual  aids 
in  teaching,  met  at  Milwaukee  on  Ncivember  5th  to 
discuss  the  status  and  needs  of  teacher  training  in  the 
audio-visual  method.  John  E.  Hansen,  Chief,  Bureau 
of  Visual  Instruction,  University  of  Wisconsin,  pre- 
sided. The  general  consensus  of  opinion  of  those  in 
attendance  seemed  to  be  that  training  in  the  use  of  such 
aids  should  not  be  made  compulsory  for  public  school 
teachers,  although  it  was  conceded  that  such  a  regula- 
tion might  offer  some  advantage  until  teachers  in  gen- 
eral became  more  conscious  of  the  possibilities  in  this 
field. 

The  group  agreed  that  a  separate  course  should 
be  offered  rather  than  an  attempt  to  offer  special  units 
of  work  in  methods  courses.  As  to  the  content  of  a 
course  in  visual  instruction,  the  consensus  of  opinion 
was  that  it  should  be  largely  technical  and  should  stress 
classroom  techniques,  operation  and  care  of  equipment, 
sources  and  production  of  materials,  administration, 
etc.  The  value  of  summer  courses  was  recognized  by 
all. 

A  similar  conference  is  to  be  held  in  June  to  which 
a  number  of  persons  from  the  Middlewest  who  are 
interested  in  teacher  training  will  be  invited. 

New  York  Groups  Meet  Jointly 

A  joint  meeting  of  the  Visual  Instruction  Section  of 
the  New  York  Society  for  the  experimental  study  of 
education  and  the  New  York  Branch  of  the  Visual 
Instruction  Department  of  the  N.  E.  A.  was  held  on 
Thursday  evening,  December  10,  at  the  Museum  of 
Science  and  Industry,  New  York.  Dr.  Morton  C.  Kahn, 
Associate  Professor  at  Cornell  University  Medical 
College,  spoke  on  "The  Bush  Negroes  of  Dutch  Guiana," 
and  showed  the  motion  pictures  made  on  recent  ex- 
peditions to  South  America,  portraying  typical  Congo 
Civilization. 

Industrial  Firm  Tests  "Talkies" 

To  make  their  sales  meetings  more  effective,  the 
Shell  Petroleum  Corporation  conducted  a  series  of 
tests  to  determine  the  relative  effectiveness  of  the  lec- 
ture, the  silent  film  and  the  talking  motion  picture  in 
increasing  attentiveness  and  learning  of  their  sales 
personnel.  The  audience  filled  out  questionnaires  of 
the  "true-false"  type  before  and  after  the  lecture  or 
film  showings.  The  papers  were  carefully  graded  and 
grades  compared.  In  the  case  where  a  lecture  was 
used,  it  was  found  that  the  students  were  able  to  in- 


crease their  grades  only  87c.  In  the  case  of  the  silent 
film,  they  improved  their  grades  177c-  And  in  the  case 
of  the  talking  film,  an  improvement  of  38%  was  made. 
Further  studies  were  then  made  to  determine  the  re- 
membrance value  of  sound  films  as  compared  with  si- 
lent films  and  it  was  found  that  all  of  the  students 
remembered  more  of  the  talking  pictures  than  they  did 
of  the  silent. 

This  report,  furnished  by  Mr.  A.  E.  Holleman  of 
Shell  Petroleum,  appears  in  the  September-October 
issue  of  "DeVry  Movie  News." 

News  from  Abroad 

China.  Great  strides  are  being  made  in  the  educa- 
tional film  field  in  China.  In  November  the  Ministry  of 
Education  inaugurated  a  nationwide  movement  where- 
by 160  educational  films,  chiefly  16mm.  sound  and 
silent,  will  be  used  to  supplement  teaching  in  the  pri- 
mary ard  secondary  schools,  to  import  common  knowl- 
edge to  the  masses,  and  to  provide  suitable  recreation 
for  the  public.  The  whole  country  has  been  divided 
into  120  districts  to  facilitate  film  distribution,  with 
one  trained  operator  assigned  to  each  district.  The 
operators  training  class  was  opened  September  10th 
at  the  University  of  Nanking.  Domestic  pictures  will 
be -made  by  the  Central  Studio  at  Nanking,  a  Govern- 
ment institution,  and  by  the  College  of  Science  of  the 
University  of  Nanking. 

A  school  of  cinematography  is  also  planned  by  the 
officials  of  the  Great  China  University,  Shanghai, 
which  will  be  directed  by  Dr.  S.  C.  Tai,  dean  of  the 
University's  School  of  Education.  This  "movie 
school"  will  give  courses  in  directing,  scenario  writing, 
stage  set-up,  acting  and  photography  and  will  produce 
its  own  films. 

South  Australia.  The  Education  Department  of 
South  Australia  has  formed  a  Circulating  Film 
Library  for  schools,  which  is  reported  in  the  July 
issue  of  Fihn  Progress.  All  but  8  of  the  59  films  pur- 
chased are  for  primary  schools,  but  many  are  also  suit- 
able for  use  in  secondary  schools.  Booklets  are  also 
issued  with  the  films,  describing  each  film  in  detail. 

Japqii.  A  plan  has  been  initiated  by  the  Educational 
Office  of  Japan  to  promote  education  by  film  in  every 
elementary  school  of  the  country.  Films  on  geograph- 
ical, historical,  scientific,  and  social  subjects  will  be 
produced  by  domestic  companies,  which  will  be 
financed  by  the  Educational  Office.     Such  pictures  will 

(Continued  on  page  28) 


January,  1937 


Page  17 


THE    DEPARTMENT    OF 
VISUAL    INSTRUCTION 


T^HI^  official  "'roster"  of  Department  members, 
-"-  printed  in  the  November  issue,  will  appear 
again  in  the  February  issue  with  all  necessary 
changes  duly  made.  As  in  the  November  list,  only 
those  will  be  included  whose  little  two-dollar  duty 
is  done,  not  merely  promised  or  planned. 

We  suggest,  therefore,  another  careful  glance  at 
page  281  of  the  November  issue.  The  daggers  tell 
it.  All  members  there  shown  as  expiring  in  No- 
vember, December,  or  January,  will  be  omitted 
from  the  February  list,  unless  .  .  .  !  Send  your 
$2.00  now. 

'T^Hl*;  Department  will  be  glad  to  know  that  re- 
-*-  newals  have  come  in  at  a  most  gratifying  rate 
since  publication  of  the  "roster".  The  column  of 
asterisks  was  apparently  just  another  visual  aid  of 
value.  The  alphabetical  listing,  as  had  been  hoped, 
also  startled  many  a  veteran  in  the  field  when  he 
found  his  own  name  missing.  Many  have  prompt- 
ly reinstated  themselves.  More  will.  New  mem- 
bers are  coming  in  with  agreeable  frequency.  All 
these  —  renewals,  resurrections,  and  new  member- 
ships— together  with  those  that  will  still  come  in 
before  the  February  issue  goes  to  press,  seem  assur- 
ance that  the  February  roster  will  exceed  Novem- 
ber's by  a  comfortable  margin.  Evidently  the  De- 
partment can  grow ! 

A  UGHINBAUGH  of  Ohio  has  made  his  deft  and 
■^^  characteristic  contribution  to  the  above  pic- 
ture. A  few  words  from  his  trenchant  pen,  to  edu- 
cators in  his  territory,  brought  in  a  dozen  new 
members  from  Ohio  in  ten  days — up  to  this  writing. 
We  earnestly  commend  the  Aughinbaugh  method 
of  "doing  the  trick".  Here  are  his  words:  "Atten- 
tion please !  The  National  Education  Association 
has  a  Department  of  Visual  Instruction.  If  this 
Department  can  be  properly  supported  it  will  di- 
rectly benefit  every  user  of  educational  slides  and 
films.  It  requires  such  a  department  around  which 
we  can  rally  to  forward  the  interests  of  visual  in- 
struction. 

"Membership  in  this  Department  automatically 
makes  one  a  subscriber  to  The  Educational  Screen 
• — the  only  publication  devoted  to  the  field  of  visual 
education.    It  is  very  useful  to  all  teachers. 

"The  membership  fee  is  only  $2.00.  Send  your 
letter  of  enrollment  and  the  $2.00  to  Department  of 
Visual  Instruction,  64  East  Lake  St.,  Chicago,  Il- 
linois. It  is  our  earnest  hope  that  Ohio  can  have 
a  good  representation  in  this  organization.  Let  us 
show  the  rest  of  the  United  States  the  way  for- 
ward." (Signed)  B.  A.  Aughinbaugh,  Director  of 
Visual  Instruction. 


The  New  Orleans  Program,  February  22  and  23 

Monday — Registration  Luncheon  ($L00) 

Evangeline  Room,  Hotel  DeSoto 
Address :    "Significant    Developments   in  Visual 
Instruction" 

Dr.  William  H.  Johnson,  Superintendent  of  Chicago 
Schools.  The  speaker  will  be  introduced  by  Principal 
Lionel  J.  Bourgeois  of  the  McDonough  School,  New 
Orleans.  (Twelve  minutes  by  trolley,  seven  minutes 
by  taxi,  to  The  Peters  School  of  Commerce.) 

Monday,  2:30  to  4:30  P.  M. 

Auditorium  of  Peters  School  of  Commerce 
Visual  Presentation :   "The  Open  House  Exhibit 
as  a  Stimulus  to  Interest  in  Visual  Instruction" 
Ella  Callista  Clark,  State  Teachers  College,  Winona, 
Minn. 

Address:  "Progress  in  Teacher  Training  in  Use 
of  Visual  Aids" 

Dr.  Edgar  Dale,  Ohio  State  University. 

Illustrated  Address:   "Motion  Pictures  as  an  Aid 
in  Agricultural  Extension  Work  in  Louisiana" 
E.  J.  Giering,  Jr.,  Visual  Education  Specialist,  Baton 
Rouge,  La. 

Address :  "Plans  for  Cooperation  between  the 
American  Council  on  Education  and  the  De- 
partment of  Visual  Instruction" 

Charles  F.  Hoban,  Jr.,  Associate  in  Motion  Picture 
Education,  The  American  Council  on  Education. 
(Tentative  plans  are  afoot  for  an  informal  dinner 
Monday  evening  for  interested  members  at  a  famous 
restaurant  in  the  Vieux  Carre,  the  old  French  Quar- 
ter of  New  Orleans.) 

Tuesday — Demonstration  Luncheon  ($L00) 

Evangeline  Room,  Hotel  DeSoto 
Visual  presentation :   "Movie  Record  of  a  Rocky 
Mountain  School" 
Showing  and  discussion  of  a  film  made  by  the  school. 
Lloyd   Shaw,   Superintendent  of   Cheyenne  Mountain 
Schools. 

Additional  showings  of  recent  educational  films  as 
time  permits. 

Tuesday,  2:00  to  4:30  P.  M. 

Visual  Presentation :  "Visualizing  the  Correct  Use 
of  Still  Pictures  in  Teaching" 

Mineta  Merton,  Public  Schools,  Waukesha,  Wis. 

Address:    "Recent  Observations  of  Motion  Pic- 
ture Production  in  Hollywood  and  Moscow" 
Dr.  Fred  Eastman,  Professor  of  Dramatic  Literature, 
Chicago  Theological  Seminary. 

Lecture    and    Visual    Presentation:    "China's    Life 
and  Culture  Visualized' 
(Illustrated    with     White    Brothers'    famous    "camera 
paintings." 
J.  Henry  White,  Lake  Ariel,  Pennsylvania. 
(An   extensive   collection   of  White   Brothers   photo- 
graphs and  hand-colored  prints  will  be  on  exhibition 
in  the  Peters  School  Auditorium  throughout  the  two 
days.) 
Note : — Reservations  for  the  Luncheons   may  be  sent  to 
Department  Headquarters  or  to  Caroline  S.  Pfaff,  District 
Superintendent,  703  Carondelet  St.,  New  Orleans,  La. 


Page  18 


The  Educational  Screen 


THE    FILM    ESTIMATES 


After    the    Thin    Man    (Powell,    Loy,    Landi, 
Stewart)  (MGM I    Successful    "box-office"   imita- 
tion   of   Thin    Man — happy   married   couple   al- 
ways  tanerled   in   crime,   and  furnishing  fairly 
human  comedy  as  they  go.     But  hero's  almost 
continuous    drunken    daze    mattes    his    deft    de- 
tective  work   hardly   convincing.  1-5-37 
(A)  Good  of  kind            (Y-C)  Amus.  but  doubtful 
Along    Came    Love    (Irene   Hervey,    C.    Star- 
rett)    (Para.)      Pleasant,    whimsical   little    love 
Btory    about    a    nice    little    sales-girl    heroine's 
struggle    for    the   notice    of   her    ideal    hero,    a 
doorman   also  studying  medicine  and  absorbed 
in    babies.      Marred,    as    often,    by    one    cheap 
touch  of  crudity.                                             12-16-36 
(A)Perhaps       (Y)  Fairly  good      (C)  No  interest 
Banjo  on  My  Knee  (Stanwyck,  McCrea,  Wal- 
ter   Brennan)  (Fox)    Colorful    story   of   shanty- 
boat  life  on  lower  Mississippi,  with  picturesque 
characters    of    elementary     morals,     rollicking 
slapstick    and    melodramatic    villainy.      "Land 
girl"  heroine  and  river  siren  of  shady  past  fight 
over  crude  hero.     Ethical  value  low.     12-16-36 
(A)  Dep.  on  taste         (Y)  Not  the  best         (C)  No 
Brggar  Student    (Ufa)    (English   Titles)    Hi- 
larious  character  comedy   accurately   laid   dur- 
ing   Saxony-Poland    struggle    in    1704.      Hero, 
future  king  incognito,  and  his  pal  have  boister- 
ous   good    time    as    prisoners    at    Polish    court, 
till    thay    win    freedom    and    high-born    brides. 
Elaborate.                                                          12-22-36 
(A)  Rather  interesting           (Y-C)  Little  interest 
Camille    (Garbo,    Taylor.    Crews)  (MGM)    An 
outstanding   masterpiece.    Notable    achievement 
in    intelligent   direction,    restrained    treatment. 
fine  acting,  pictorial  beauty,  with  background, 
aets,  costumes  true  to  time.     Garbo  superb  as 
Dumas*  tragic  heroine  who  finds  real  love  too 
late.                                                                          1-5-37 
(A)  Excellent                 (Y)  Mature                 (C)  No 
College  Holiday   (Jack  Benny,  Gracie  Allen) 
(Para.)   Inane  yarn  of  pair  of  burlesque  luna- 
tics   gathering    picked    college    boys    and    girls 
for   ideal    "mating"   at  bankrupt   hotel   turned 
into  eugenic  headquarters.  Much  horseplay  and 
would-be  "comedy"  not  always  comic.  Riotous 
laughs  for  the  masses.                                  12-29-36 
(A)  Hardly                                       (Y)  (C)  Perhaps 
Easy  to  Take  (John  Howard,  Marsha  Hunt) 
(Para.)    Radio   "Uncle  Roddy"    is   left  fortune 
by    old,     mid-Victorian     listener,     and    also    a 
family    including    heroine    and    an    impossibly 
disagreeable  little  brother.     Story  then  padded 
out  with   endless   acting  and  singing   by   child 
performers.                                                        12-22-36 
(A)  Mediocre     (Y)  Perhaps     (C)  Doubtful  value 
Ecstasy  (Heda  Kiesler)  (Foreign  English  dia- 
log)   Simple,   elementary  story   told   in  exceed- 
ingly  slow    tempo,    endless    close-up    and    with 
almost  no  dialog.  Incredibly  indifferent  groom, 
utterly  lonely  bride,  other  man,  constant  sym- 
bolism— some  vague,  some  labored,  some  beau- 
tiful.     Decidedly    "different".                         1-6-37 
(A)  Novel                                                        (Y-C)  No 
General  Spanky  (Spanky  McFarland  and  Gang) 
(MGM)    Artificial    .story    of    Civil    War    South 
along  Mississippi.   Two  kids,  white  and  black, 
manage  to  be  quite  engaging  through  improb- 
able   adventures — off    riverboat,    to    Southern 
mansion,  boy  army,  comic  "battle",  etc.    Grown- 
ups of  minor  interest.                                  12-29-36 
(A)  Perhaps                            (Y)  (C)  Entertaining 
Gold   Diggers   of   1937    (D.    Powell,    Blondell, 
Farrell,  V.   Moore)    (1st  Nat)   A  musical  with 
capable    cast,    more    story,    less    dancing    than 
usual.   Crooked  associates  work   for  producer's 
death  to  get  insurance,  but  agent-hero  thwarts 
them    and    saves    show.      Motives    mercenary. 
Striking  ensemble  finale.                            12-29-36 
(A)  Depends  on  taste        (Y)  Doubtful        (C)  No 
Hearts    in   Bondage    (J.    Dunn,    D.    Manners. 
Mae  Clarke)    (Republic)  Well-meant  attempt  at 
Monitor-Merrimac  history  with  romantic,  tragic 
North-South    complications.     Careful    sets    and 
costumes,  but  cluttered  narrative  and  elementary 
direction  rob  it  of  needed  tempo,  emphasis  and 
conviction.                                                        12-8-36 
(A)  Hardly          (Y)  Fair          (C)  Little  interest 
Hideaway    Girl    (Robert    Cummings,    Martha 
RayeKPara.)    Starts   as   lively  adventure  stuff, 
with   fleeing  heroine  meeting  rich  young  hero. 
Then  crooks,   po'ice.  clubs,   yachts,  staterooms, 
pretended  "man  and  wife"  situation  make  rois- 
tering stuff  of  dubious  value,  till  hero's  fiancee 
proves  to  be  famous  crook  !                        12-22-36 
(A)  Mediocre              (Y)  Better  not              (C)  No 
House  of  Secrets  (Leslie  Fenton.  Sidney  Black- 
mer)    (Capitol)  Stupid  mystery  thriller,  naively 
told,     that     involves     high     minister,     honored 
lawyer,  and  Chief  of  Scotland  Yard  with  seem- 
ingly   criminal    gang.      Stock    devices,    creepy 


Being  the  Combined  Judgments  of  a    National  Committee  on   Current  Theatrical  Films 

(A)  Discriminating  Adults  (Y)  Youth  (C)  Children 

Date    of    mailing    on    weekly    service    is    shown    on    each    film. 

(The  Film  Estimates,  in  whole  or  in  part,  may  be  reprinted 

only   by   special   arrangement  with   The   Educational   Screen) 


shadows,  crazy  yells,  and  finding  of  treasure  as 
finale  is  merely  ridiculous.  12-8-36 

(A)  Stupid  (Y)  Poor  (C)  No 

In  His  Steps  (Eric  Linden,  fine  cast)  (Grand 
Nat)  Only  title  and  serious  purpose  relate  to 
famous  book.  Under-age  pair,  genuinely  in 
love,  defy  rich  parents,  eiope,  marry.  learn 
new  ideals  in  poverty.  Boy  bravely  returns  to 
face  kidnap  charge  and  clear  old  friend — and 
all  is   forgiven  !    Well  acted.  12-29-36 

(A)  Goodof  k.nd  (Y)  Mature  (C)  No 

Jungle  Princes8( Dorothy  Lamour,  Ray  Milland) 
(Para)  Absurd,  artificial  thriller  a  la  Tarzan. 
faked  throughout.  Native  heroine,  chum  of 
tiger,  is  helped  by  whole  jungle  to  win  hero 
from  white  girl.  Elephants  rampage,  apes  crush 
a  village,  traps,  tortures,  etc.  Preposterous  stuff 
for  children.  12-8-36 

(A)  Futile  (Y)  Hardly  (C)  No 

Legion  of  Terror  (Bruce  Cabot.  M.  Churchill) 
(Columbia)  Another  Class  B  product  built  on 
recent  headlines,  sternly  arraigns  organized 
terrorism.  Ruthless  secret  society  bullies  com- 
munity with  threats  and  killings  till  govern- 
ment-agent hero,  disguised  as  laborer,  brings 
all  to  justice.  12-8-36 

(A)  Hardly  (Y)  Possible  (C)  No 

Love  Letters  of  a  Star  (Henry  Hunter,  Polly 
Rowles)  (Univ)  Cheaply  "promotional"  title  for 
mild  little  murder  mystery  built  on  a  scandal 
suicide  and  several  murders.  Chief  merits, 
notable  detective  role  by  C.  Henry  Gordon, 
decent  English  throughout,  no  gangsters,  nothing 
gruesome.  Quite  puzzling.  12-8-36 

(A)  Hardly  (Y)  Perhaps  (C)  No 

Love  on  the  Run  (Gable.  Tone,  Crawford) 
(MGM)  Hilarious,  preposterous  fun  over  two 
newspaper  pals  chasing  runaway  heroine  from 
London  to  Paris.  Breezy,  wisecrack  dialog  but 
not  sexy.  Hero  wins  always  by  double-crossing 
pal.  Some  crudities  of  act  and  speech,  but 
mostly  non-stop  amusement.  12-22-36 

(A)  Very  good  of  kind  (Y)  Amus.  (C)  Doubtful 
Make  Way  for  a  Lady  IH.  Marshall,  ,\nn 
Shirley)  (RKO)  Mostly  a  charming  little  story 
of  grown-up  love,  with  Gertrude  Michael  ador- 
able in  teacher  role.  But  Ann  Shirley  does 
not  quite  convince  in  naive,  school-girl  med- 
dling with  her  father's  romance  and  certain 
bits  do  not  ring  true.  12-16-36 

(A-Y)  Rather  good  (C)  Little  interest 

Man  Who  Lived  Twice  (Ralph  Bellamy) 
(Columbia)  Clinical  thriller  about  dangerous 
criminal,  operated  upon  by  great  surgeon  with 
fantastic  results.  Becomes  outstanding  scientist 
without  memory  of  past.  Blackmail,  disclosure, 
elaborate  trial.  Bad  anti-climax  of  "guilty" 
verdict  solved  by  reprieve.  12-29-36 

(A)  Hardly  (Y)  No  (C)  No 

Mummy's  Boys  (Wheeler  and  Woosley) 
(RKO)  Crazy  mystery  farce  about  Tut's  curse, 
burlesque  archaeological  expedition,  and  brain- 
less chase  through  Egyptian  tombs.  Achieves 
a  few  scary  moments,  but  the  Wheeler  and 
Woolsey  bag  of  tricks  sadly  needs  refilling. 
Feeble  stuff.  12-15-36 

(A)  Stupid  (Y)  Hardly  (C)  No 

Night  Waitress  (Margot  Grahame)  (RKO) 
Sailor  hero  struggles  long  to  "pick  up"  water- 
front cafe  waitress  till  complications  with 
racketeering,  smuggling  and  gangsterism  bring 
her  to  him  for  rescue.  Seamy  side  of  life  made 
thoroughly  seamy,  with  wholesome  happy  end- 
ing for  anodyne.  Some  absurdities.  12-15-36 
(A)  Hardly  (Y)  Unwholesome  (C)  No 

One  Way  Passage  (Warner  re-release)  (Film 
Estimate  of  October.  1932)  Powell  and  Francis 
excellent  as  smooth  crook-hero  and  sensuous 
heroine.  Sensational  voyage,  ardent  love,  deftly 
directed  and  acted,  good  comedy  and  suspense, 
logical  tragic  ending.  Glamorous  crooks  domi- 
nate film.  12-8-36 
(A)  Very  good  of  kind  (Y)  Doubtful  (C)  No 
Pennies  from  Heaven  (Bing  Crosby.  Madge 
Evans)  (Para.)  Humble-life  story  of  good-na- 
tured, mutually  helpful  ne'er-do-wells,  living 
hand  to  mouth  through  highly  improbable  ad- 
ventures to  success.  Bing  sings  as  usual,  and 
acts  human  role  better  than  usual.  Orchestra 
accompanies  songs,  even  in  a  solitude.  12-15-36 
(A)  Depends  on  taste  (Y)  Good  (C)  Fair 
Plainsman.  The  (Gary  Cooper.  Jean  Arthur) 
(l-ara.)    Powerful   picture  of  heroism   and   vil- 


lainies  in  the  '60's.  when  America  was  "mak- 
ing its  frontiers  safe".  High  historical  value, 
vivid  character  interest,  but  DeMille  must 
have  his  moments  of  torturing  drama  and 
agonizing,    incredible    heroics.  1-6-37 

(A-Y)  Fine  of  kind  (C)  Too  strong 

Rainbow  on  the  River  (Bobby  Breen)  (RKO) 
Little  northern  orphan  of  Civil  War  lost  in 
New  Orleans  till  found  by  rich  New  York  grand- 
mother. Features  Bobby's  extraordinary  nasal 
singing  and  ultra-seraphic  acting.  Much  human 
appeal,  but  weakened  by  harsh  and  exaggerated 
characterization  and  sentimentality.  12-29-36 
(A)  Depends  on  taste  (Y)  (C)  Good  of  kind 

Rembrandt  (Charles  Laughton)  (UA)  Su- 
preme y  careful  English  production,  wonderful 
in  backgrounds,  sets,  costumes,  vivid  in  char- 
acters, slight  in  action.  More  a  study  than 
entertainment.  Overemphasizes  failure.  Only 
picture  shown  is  mocked.  Laughton  fine  in  un- 
dramatic  role.  Speeches  overdone.  12-29-36 

(A)  Impressive  (Y)  (C)  Not  recommendable 

Sinner  Take  All  (Bruce  Cabot,  M.  Lindsay) 
(M(iMj  Another  super-clever  newspaper  man 
soives  a  murder  epidemic  after  managing  to 
point  suspicion  at  practically  every  one  in  the 
cast  "Narcopbine"  did  it  -administered  by 
least  suspicious  character.  A  romance  drags 
along  through  it  all  to  happy  ending.  1-5-37 
(A)  Ordinary  (Y)  Perhaps  (C)  No 

Smart  Blonde  (Glenda  Farrell.  Barton  Mac- 
Lane  I  (Warner )  Brisk-moving,  midly  suspense- 
ful  murder  story,  with  undistinguished  but 
fairly  believable  characterizations  of  hero  as 
a  not-too-dumb  detective  and  wise-cracking 
heroine  who  proves  chief  brains  in  solving 
murder  of  night-club  owner.  1-6-37 

(A)  Perhaps  (Y)  Passable  (C)  No  interest 
Smartest  Girl  in  Town  (Gene  Raymond.  Ann 
Sothern)  (RKO)  Rollicking,  merrily  improbable 
farce.  Heroine  out  to  marry  money  and  im- 
mensely rich  hero  gives  himself  endless  trouble 
in  winning  her  by  not  revealing  his  wealth. 
Broderick's  hilarious  slang  and  Blore's  master- 
ful "valet"  are  the  high  comedy.  12-8-36 
(A)  Goodof  kind  (Y)  Amusing  (C)  Prob.  good 
Son  of  Mongolia  (Russian)  (English  Titles) 
Unusual  film  about  elemental,  wandering  hero. 
Eerie  in  song,  music,  language  and  sounds. 
Story  naive,  direction  rambling,  narrative  con- 
fused, but  gripping  portrait  of  lowly  life  in 
dreary  land,  with  most  primitive  means  and 
methods  for  existence.  12-22-36 
(A)  Unusual  (Y-C)  Doubtful  interest 
Stowaway  (Shirley  Temple)  (Fox)  After  ex- 
otic start,  becomes  engaging  adventure  story 
ideal  for  Shirley's  talents.  Child's  influence 
over  the  grown-ups  very  appealing  and  con- 
vincing. No  misadventure  carried  far  enough 
to  be  painful.  No  tap  dancing.  Songs  belong 
in  action.  Shirley's  best  in  years.  12-29-36 
(A)  (Y)  (C)  Excellent 

That  Girl  from  Paris  (Lily  Pons.  Gene  Ray- 
mond, Jack  Oakie)  (RKO)  Lily's  beautiful 
singing  is  hopelessly  buried  under  crude.  low 
comedy  of  the  obese  Oakie  et  al.,  in  cheap 
yarn  lacking  good  taste  and  even  common 
sense.  Story  logic  simply  ridiculous.  Pitiful 
waste  of  Lily   Pons.  1-6-37 

(A)   Poor  (Y)   No  (C)  No 

Theodora  Goes  Wild  (Irene  Dunne.  Melvyn 
Douglas)  (Columbia)  Crazy,  sophisticated,  well- 
acted  farce  with  some  genuine  human  comedy. 
Hilarious  situations  when  demure  village  heroine, 
revealed  as  author  of  "sexy"  best  seller,  pre- 
tends to  be  scandalous  character  readers  think 
she  is.   Irene  clever  comedienne.  12-8-36 

(A)  Very  amnsing  (Y)  Not  suitable  (C)  No 
Wanted,  Jane  Turner  (Lee  Tracy.  Gloria  Stu- 
art) (RKO)  Exciting,  lively  gangster  picture 
with  breezy  postal-inspector  hero  and  heroine- 
assistant  on  trail  of  mailtruck  robbers.  They 
get  their  men  and  each  other,  after  much  flip- 
pant wise-cracking.  Rather  interesting  despite 
many  irrelevant  incidents.  12-15-36 

(A)  Fair  of  kind  (Y)  Fair  (C)  No 

Week  End  Millionaire  (Buddy  Rogers.  Mary 
Brian)  (Alliance)  Grinning  hero,  mistaken  for 
multi-millionaire,  and  heroine  masquerading 
as  "countess",  have  a  floundering  love  affair 
amid  de  luxe  surroundings,  with  pseudo  crooks 
and  a  fashion  show  for  complications.  Acting 
pitifully  poor.  12-22-36 

(A)  Hopeless  (Y)  Stupid  (C)  No 


January,  1937 


Page  19 


There's  nothing  so  convincing  as  proof.  And  we  give 
you  proof — in  the  panel  at  right — that  America's  fore- 
most schools  subscribe  to  the  point  we've  been  making 
for  some  time: 

"LESSONS  THAT  LIVE  ARE  EASY  TO  LEARN!" 

This  proof  comes  from  the  National  Visual  Education 
Directory  of  the  American  Council  on  Education,  and 
the  United  States  Office  of  Education.  The  figures 
shown  are  eloquent  testimony  to  the  fact  that  modern 
education  requires  modern  methods  of  teaching  — 
methods  that  fire  every  lesson  with  vibrant  life! 

RCA  makes  the  various  types  of  educational  material 
and  instruments  mentioned  in  the  panel.  Products  of 
radio's  greatest  sound  organization . . .  products  bene- 
fiting by  the  wealth  of  research  and  manufacturing 
experience  which  RCA  has  gathered  through  the  years 
— these  are  the  products  you  can  depend  on  for  maxi- 
mum performance  at  minimum  cost.  We  will  gladly 
send  you  complete  information,  without  obligation, 
concerning  any  of  these  RCA  products.  Or  ask  us  for 
your  free  copy  of  the  valuable  booklet,  "Sound 
Service  For  Schools". 

RCA  presents  the  Metropolitan  Opera  every  Saturday 
afternoon.  And  "Magic  Key  of  RCA"  every  Sunday 
2  to  i  P.  M.,  E.  S.  T.  Both  on  NBC  Blue  Network. 


HERE'S  THE 

PROOF! 

I     Schools  own  38,116  phonographs. 

O   Schools  own  732,948  phonograph 
records. 

Q   Schoolsown  11,501  radioreceiving 
sets,  used  to  bring  classroom  and 
auditorium  students  world's  finest 
educational  broadcasts. 

A  Schools  own  841  centralized  sound 
units,  used  for  school-wide  distri- 
bution of  radio  programs,  announce- 
ments.Victor  record  programs,  student 
programs,  current  event  discussions 
and  other  desirable  subjects. 

5  Schools  own  793  sound  motion 
picture  projectors  and  1315  reels  of 
sound  films  for  regular  use.  Thousands 
of  additional  reels  are  borrowed  from 
distributors  for  occasional  use. 

As  you  know,  many  leading  school 
systems  are  organizing  the  sound  pro- 
gram as  a  part  of  the  work  of  the  visual 
instruction  director.  Modern  education 
marches  forward!  Are  you  marching 
with  it? 


^^aU^^e^CWe  FOR  SCHOOLS 

EDUCATIONAL  DEPARTMENT  ^^ 

RCA  Manufacturing  Co.,  Inc.,  Camden,  N.J.    •    A  Service  of  Radio  Corporation  of  America 


Page  20 


The  Educational  Screen 


FILM    PRODUCTION    IN 
EDUCATIONAL    FIELD 


THE 


Conducted  by  F.  W.  Davis 

Department  of  Photography 
Ohio  State  University,  Columbus 


Storage  and  Preservation  of  Film 

/~kNE  PHASE  of  the  motion  picture  activity  which 
^-^  has  been  neglected  by  the  average  amateur  is  that 
of  storage  and  preservation  of  iihn  material.  It  so 
often  happens  that  a  school  will  procure  a  fine  film,  en- 
tailing considerable  time  and  expense,  only  to  find  that 
a  few  years  later  the  film  is  in  such  condition  that  it 
cannot  be  shown  and  is  worthless. 

All  motion  picture  films  and  film  strips  are  produced 
on  either  cellulose  acetate  (slow  burning,  safety  film) 
or  cellulose  nitrate  (inflammable)  stock.  All  16  mm. 
films  in  this  country  are  produced  on  acetate  base,  while 
the  35  mm.  is  produced  on  both.  Almost  all  of  the 
Hollywood  professional  films  are  made  on  the  inflam- 
mable nitrate  stock  although  many  of  the  present  day 
35  mm.  teaching  films  are  coated  on  the  safety  base. 

This  means  that,  first  of  all,  one  should  ascertain 
which  type  of  film  is  being  used  and  especially  which 
type  of  film  is  being  stored  in  the  film  vaults  or  cabi- 
nets. Nitrate  film  should  be  used  as  little  as  possible 
as  the  danger  with  this  type  of  film  is  due  mainly  to 
its  rapid  burning  rate,  its  ability  to  burn  in  a  limited 
supply  of  air  and  its  low  temperature  of  ignition  and 
combustion.  Most  substances,  such  as  wood  and  paper, 
do  not  ignite  until  a  temperature  of  around  600°  or 
700°  F  is  reached,  while  nitrate  film  will  decompose  at 
230°  F  or  at  the  temperature  of  an  ordinary  incandes- 
cent bulb  or  steam  pipe.  *^) 

There  is  very  little  danger  in  free  burning 
nitrate  film  is  the  open  air,  but  on  confining  the  com- 
bustion to  a  vault  or  film  storage  cabinet  in  a  limited 
supply  of  air  this  burning  film  gives  off  carbon  monox- 
ide, nitrogen  dioxide  and  nitrogen  tetroxide,  all  very 
dangerous  gases. 

The  fire  hazard  on  acetate  film  is  somewhat  less  than 
that  of  ordinary  paper.  The  ignition  temperature  of 
this  type  of  film  is  about  700°  or  800°  F.  so  that  it  is 
readily  apparent  that  where  films  are  shown  to  school 
children  the  safest  type  of  film  to  use  is  cellulose 
acetate. 

It  is  hoped  that  no  school  will  have  the  fire  situation 
arise  but  if  it  does  we  should  know  what  to  do.  Many 
of  the  present-day  fire  extinguishers  are  useless  on  a 
film  fire  and  pails  of  sand  to  throw  on  the  fire  are 
likewise  worthless.  Water  seems  to  be  the  cheapest 
and  most  eiTective  method  of  combating  a  film  fire 
especially   when    it    is    in   the    form    of    an   automatic 


<1)  Journal  Society  of  Motion  Picture  Engineers  Vol.  XXVII 
No.  6,  p.  657,  A.  H.  Nuckolls  and  A.  F.  Matson. 


sprinkler.  <^'      It  is  much  easier  however,  to  practice 
fire  prevention  than  fire  extinction. 

Aside  from  destruction  by  fire  a  film  may  be  de- 
stroyed just  as  "effectively"  (although  not  so  rapidly) 
as  far  as  projection  is  concerned  by  storing  it  at  an 
improper  temperature  or  humidity.  The  present  day 
"safety"  film  tends  to  curl  and  become  very  brittle 
when  dry,  whereas  the  nitrate  film  has  less  tendency 
towards  these  conditions.  Everyone  who  has  used  16 
mm.  films  has  noticed  at  some  time  or  other  that  they 
become  extremely  brittle  with  Icng  periods  of  storage. 

It  has  been  found  *'*  that  at  a  relative  humidity  of 
15%  or  the  condition  in  an  average  home  during  the 
winter  months,  the  films  are  extremely  brittle  and  will 
either  not  project  at  all  or  trouble  will  be  encountered 
during  projection. 

A  relative  humidity  of  50%  is  found  to  be  ideal  for 
storage  of  films.  This,  incidentally,  is  the  condition 
that  has  been  found  best  for  books  in  libraries.  One 
must  not  go  to  the  other  extreme,  however,  and  keep 
films  in  an  atmosphere  which  contains  too  much  water 
vapor,  otherwise  condensation  will  take  place  and  be 
just  as  detrimental  as  a  dry  condition. 

How  then  are  we  to  keep  films  at  the  right  humid- 
ity? In  the  majority  of  cases  an  individual  would  be 
unable  to  maintain  the  50%  condition  but,  by  all  means, 
try  to  approach  as  nearly  as  possible  to  this  ideal. 
Very  little  trouble  will  be  experienced  in  the  summer 
months  as  the  humidity  is  normally  satisfactory  at  that 
time.  Films  should  be  placed  in  individual  metal  con- 
tainers which  contain  an  absorptive  pad,  which  if  kept 
continuously  moist  will  retain  the  films  in  good  condi- 
tion. If  many  such  cans  are  to  be  stored  for  any  period 
of  time  it  is  desirable  to  place  them  all  in  a  large  con- 
tainer which  also  contains  a  large  humidifying  device. 

Safety  film  which  has  become  brittle  may  be  re- 
stored to  its  original  condition  by  replacing  the  mois- 
ture content,  although  this  is  sometimes  a  long  pro- 
cess and  may  require  several  weeks.  However,  by 
running  the  film  through  special  chambers  or  pads 
made  for  the  purpose  of  rehumidification,  films  may  be 
brought  back  to  their  original  condition  in  10  to  30 
minutes  depending  upon  their  dryness. 

Temperature  is  also  a  factor  in  film  storage  although 
not  so  important  as  humidity.  Possibly  the  ideal  tem- 
(2)  Journal  Society  of  Motion  Picture  Engineers  Vol.  XXVII 

No.  6,  p.  662,  Henry  Anderson. 
W  Journal  Society  of  Motion  Picture  Engineers  Vol.  XXVII 
No.  6,  p.  694,  Weber  and  Hill. 


January,  1937 


Page  21 


16nim«    Entertainment    Films 

I — Our  library  contains  hundreds  of  sound  and  silent  subjects.  The  selection  is 
unsurpassed.    Scores  of  new  titles  are  being  added  every  month. 

2 — Our  prices  are  substantially  lower  than  most, 

3 — Our  prints  are  consistently  maintained  in  first  class  condition.  No  inconveni- 
ence because  of  imperfect  film. 

4 — Every  film  is  insured  against  the  hazards  of  fire,  theft,  transportation,  etc. 
An  important  protection  to  everyone  renting  film. 

A  neiv  catalogue,  corrected  to  January  first,  is  noiv  available. 
If  you  are  not  on  our  list,  -write  today  for  a  copy. 

Eastin  16nim.  Pictures 

DAVENPORT,      IOWA 


perature  would  be  50°  F.  however  70°  F.  is  satisfac- 
tory providing  the  moisture  content  of  the  air  is 
checked. 

In  spite  of  all  precautions  that  are  taken  the  films 
will  eventually  wear  out,  although  a  properly  processed 
16  mm.  film  carefully  cared  for  should  last  a  lifetime. 
Of  course  the  frequency  of  projection  will  definitely 
affect  its  life. 


The  safest  insurance  on  a  film  is  to  have  a  duplicate 
print  made  from  the  original  before  the  original  is 
shown  (other  than  for  editing  purposes).  If  much 
editing  is  required  the  duplicate  should  be  made  im- 
mediately. By  intelligent  duplication  of  films,  (not 
projecting  the  duplicates)  and  by  proper  care  of  the  cir- 
culating film  an  almost  permanent  record  of  the  film 
material  may  be  secured. 


Who  Should  Make  Instructional  Films? 


By  ELIAS  KATZ 

Teachers   College,   Columbia    University 


'T'HE  LOGICAL  person  to  be  making  teaching  films 
is  the  teacher.  Not  Hollywood,  not  commercial 
companies  "interested  in  the  educational  film  field," 
not  those  who  have  only  a  cursory  interest  in  the 
growth  of  children  in  school.  Only  the  classroom 
teacher  knows  what  her  pupils  need  at  any  particular 
point  in  the  learning  process.  Only  she  knows  when  a 
film  can  be  most  effective  during  a  given  lesson.  Only 
she  is  able  to  sense  the  necessary  materials  which 
should  be  included  in  a  motion  picture.  All  the  years 
of  research  and  experimentation  in  educational  films 
have  yielded  very  little  more  than  what  a  good  teacher 
knows  from  practical  experience. 

Most  teachers  believe  that  instructional  films  are 
difficult  and  expensive  to  produce.  This  is  not  at  all 
true.  Excellent  teaching  films  can  be  made  for  as  low 
as  twenty-five  dollars  per  film.  As  for  the  actual 
photographing  of  the  material,  that  is  no  more  difficult 
than  making  a  kodak  snapshot ! 

To  be  specific,  the  steps  and  costs  involved  in  mak- 
ing a  film  for  art  teaching  by  an  art  teacher,  will  be 
briefly  described. 

The  subject  was  a  demonstration  of  the  organiza- 
tion of  lines  within  a  rectangle,  which  is  the  founda- 
tion of  all  fine  design.  The  illustration  of  the  use 
of  these  design  principles  was  then  carried  over  into 


the  painting  of  a  landscape  in  water  color. 

A  Professor  of  Fine  Arts  at  a  Teachers  College 
wished  to  make  this  film.  Such  a  subject  could  be 
used  for  clarifying  concepts  of  design  for  lay  audi- 
ences, for  demonstration  to  art  teachers,  and  in  art 
classes  in  the  junior  and  senior  high  schools. 

The  actual  production  of  the  film  was  done  in  one 
afternoon.  The  Professor  was  the  only  actor;  the 
filming  took  place  in  a  5'xlO'  office;  lighting  was  taken 
care  of  by  25c  Photofiood  bulbs ;  the  cost  of  the  East- 
man film  was  about  fifteen  dollars.  The  camera,  tri- 
pod, and  lights  are  the  permanent  equipment  of  the 
Fine  Arts  Department.  The  entire  cost  of  the  pro- 
duction was  well  within  twenty-five  dollars,  including 
introductory  and  explanatory  titles.  Furthermore,  by 
making  duplicate  prints  which  can  be  sold  or  rented, 
funds  are  being  obtained  for  making  more  films  of  a 
similar  type. 

Naturally,  the  countless  subjects  which  teachers  may 
wish  to  film  do  not  all  lend  themselves  to  an  inexpen- 
sive treatment.  Certain  topics  require  the  collabora- 
tion of  experts,  or  more  costly  equipment.  Neverthe- 
less it  is  quite  clear  that  simple  films  can  be  easily  and 
inexpensively  made  by  the  teachers  who  are  going  to 
use  them. 


Page  22 


The  Educational  Screen 


SCHOOL   DEPARTMENT 


Conducted  by  Wilber  Emniert 

Director  Visual  Education,  State  Teachers  College,  Indiana,  Pa, 


Some  Projection  Problems  Simplified  for  Classroom  Teachers 


IN  READING  the  literature  dealing  with  the  mechan- 
ical problems  of  projection,  one  often  comes  across 
such  expressions  as :  objective  lens,  condenser  lens, 
focal  length  of  lenses,  aperture,  aperture  plate,  inter- 
mittent sprocket,  intermittent  movement,  gate,  alter- 
nating current,  direct  current,  rotary  shutter,  fuse, 
acetate  film,  nitrate  film,  safety  film,  inflammable  film, 
non-inflammable  film,  screen  picture  size,  and  many 
others.  Many  of  these  terms  are  not  clearly  understood 
by  most  teachers. 

The  purpose  of  this  article  is  to  explain  and  clarify 
some  of  the  problems  incident  to  projection  work  in 
the  classroom,  which  are  so  puzzling  and  which  seem 
so  mysterious  to  the  average  classroom  teacher. 

The  first  problem  to  be  discussed  is  that  dealing  with 
the  screen  picture  size.  This  is  a  very  practical  problem 
which  presents  itself  to  the  teacher  often  and  in  either 
of  the  following  two  forms :  ( 1 )  How  far  from  the 
screen  must  the  projector  be  placed  in  order  to  fill  the 
screen  with  the  picture?  (2)  How  large  will  the  screen 
picture  be  if  the  projector  must  be  placed  at  a  certain 
distance  from  the  screen?  Most  articles  dealing  with 
this  subject  submit  a  page  of  "conversion  tables"  by 
means  of  which  the  teacher,  or  other  person,  can 
readily  cross-check  to  get  the  answer  to  the  particular 
problem.  One  serious  drawback  to  this  scheme  is  that 
when  needed,  the  "conversion  table"  cannot  be  located. 

The  method  proposed  in  this  article  is  one  by  means 
of  which  the  teacher  can  readily  calculate  the  answer 
for  a  given  situation  by  "formula,"  thus  being  self- 
dependent  rather  than  being  harnessed  to  a  "conversion 
table"  which  is  usually  inaccessible.  The  problem  is  a 
simple  one,  and  readily  understood.  The  factors  in- 
volved are :  ( 1 )  focal  length  of  the  objective  lens 
(this  is  stamped  on  the  lens  housing),  (2)  the  aperture 
dimensions,  (3)  the  throw  (distance  from  the  projec- 
tor to  the  screen),  and  (4)  tlie  length  or  width  of  the 
picture  desired. 

The  focal  length  of  the  objective  lens  determines 
the  picture  size.  Each  lens  has  a  fixed  focal  length.  To 
change  tiie  picture  size,  it  is  necessary  to  change  the 
projection  distance  (throw).  Where  this  is  impractical, 
a  diflferent  focal  length  lens  must  be  used.  The  shorter 
the  focal  length,  the  greater  the  magnification,  and 
hence  the  larger  the  screen  picture.  For  a  given  lens 
the  picture  size  increases  proportionally  with  the  pro- 
jection distance.  \\\t\\  the  width  of  the  picture  selected, 
the  required  focal  length  objective  lens  is  given  with 


sufficient 
formula : 


accuracy     by     the     following    approximate 


Throw    (feet)   X  Aperture 
Width  (inches) 


Equivalent    Focal 
Length  (E.  F.)  = 

(in   inches)  Picture   Width    (feet) 

in   which   E.   F.  =  the   equivalent   focal   length   of   objective 

lens  measured  in  inches 
T  =  the   throw   measured   in   feet 
W  =:  the  width  of  the  screen  picture  measured 
in  feet 

This  is  an  approximate  formula  and  gives  the  di- 
mensions within  a  few  inches  from  the  exact  size.  This 
formula  can  be  used  in  calculations  for  all  jjrojectors, 
lantern  slide  projectors,  motion  picture  machines, 
opaque  projectors,  and  the  film  slide  projectors.  It  is 
merely  a  matter  of  substituting  the  values  given  below. 

As  stated  below,  the  focal  length  of  the  objective 
lens  (E.  F.)  will  be  found  stamped  in  the  metal  housing 
of  the  lens.  The  throw  and  width  can  be  accurately 
measured  with  a  tape  measure  or  yardstick.  The  aper- 
ture widths  and  heights  will  have  to  be  written  down 
for  ready  reference  or  memorized  with  little  effort. 

The  aperture  dimensions  for  the  various  projectors 
are :  The  standard  35-mm  aperture  is  a  rectangular 
opening,  .906  inches  wide  and  .6795  inches  high  for  the 
silent  projector,  and  .825  inches  wide  and  .600  inches 
high  for  the  sound  projector.  The  standard  l6-nmi 
aperture  is  .38  inches  wide  and  .28  inches  high  for  both 
silent  and  sound  projectors. 

The  standard  lantern  slide  projector  has  a  matte 
opening  2^4"  x  3'. 

The  opaque  projector  has  an  aperture  opening  six 
inches  square. 

The  film  slide  projector  and  attachments  have  the 
same  aperture  opening  as  the  35-mm  silent  projectors, 
.906"x  .6795". 

To  find  the  screen  picture  size  for  the  projector,, 
it  is  simply  a  matter  of  substituting  the  proper  values 
in  the  formula  given  above.  After  the  formula  is 
once  learned,  it  is  possible  to  use  it  in  determining 
the  screen  picture  size.  In  making  the  calculations, 
it  simplifies  matters  to  use  the  abstract  numbers  and 
then  afifix  the  proper  names  (feet  or  inches)  after 
the  calculations  have  been  made.  This  saves  multi- 
plying by  12  and  later  dividing  by  12. 

This  problem  will  serve  as  an  illustration :  What 
will  be  the  size  of  the  screen  picture  using  a  16-mm 
motion    picture    projector    having    a    2-inch    objective 

{Concluded  on  page  24) 


January,  1937 


Page  23 


Round  Out  Your 
Classroom  Film  Library 

.  .  .  bring  your  film  material  up  to  date 
before  the  fall  semester  gets  under  way 


pheric  Pressure — Compressed  Air — Elec- 
tricity (3  reels) — The  Green  Plant — 
Illumination — Behavior  of  Light — Mi- 
croscopic Animal  Life — Life  History  of 
the  Yellow  Fever  Mosquito — Refining 
Crude  Oil — Optical  Instruments — Re- 
frigeration— Sand  and  Clay — Formation 
of  Soil — Steam  Power — Termites — 
Volcanoes — The  Water  Cycle — Water 
Power  —  Purifying  Water  —  Weather 
Forecasting. 


HEALTH 

No  classification  of  Eastman  Classroom 
Films  has  proved  more  valuable  than 
the  38  reels  on  health  topics.  Check  the 
following  titles  with  your  present  list. 
Bacteria— The  Blood— Body  Framework 
— Breathing — The  Living  Cell — Circu- 
lation— Circulatory  Control — Cleanli- 
ness (4  reels) — Digestion — Diphtheria 
— The  Feet — First  Aid  (4  reels) — Food 
and  Growth — Good  Foods  (4  reels) — 
Home  Nursing  (3  reels) — The  House 
Fly — Mold  and  Yeast — Muscles — Pos- 
ture— Sewage  Disposal — The  Skin — 
Street  Safety  (for  primary  and  advanced 
grades) — Care  of  the  Teeth — How 
Teeth  Grow — Tuberculosis  and  How  It 
May  Be  Avoided. 


SPORT 

Under  this  heading  Eastman  offers  two 
outstandingly  successful  pictures,  each  in 
two  reels.  Modern  Football  Fundamentals 
was  prepared  under  the  direction  of 
Coach  Harry  Kipke  of  the  University  of 
Michigan.  Modern  Basketball  Fundamen- 
tals was  directed  by  Coach  F.  C.  Allen 
of  the  University  of  Kansas. 


SCIENCE 

The  following  is  a  partial  list  of  the 
widely  used  Eastman  films  on  science 
subjects.  All  of  the  42  available  reels  are 
omMneimrheDescriptive  List  of  Eastman 
Classroom  Films  (see  coupon).   Atmos- 


GEOGRAPHY 

Eastman  Classroom  Films  on  geography 
total  86.  Here  are  some  of  them:  Alaska 
— Argentina — Automobile — From  Ba- 
hamas to  Jamaica — Bolivia — Brazil  (2 
reels)  —  Cattle  —  Central  America  — 
Chesapeake  Bay  —  Chile  —  Anthracite 
Coal — Bituminous  Coal — Coffee — Corn 
— Cotton  Goods — Cotton  Growing — 
Denmark — Dutch  East  Indies — Finland 
— Flax  to  Linen — Gold — Golden  Gate 
— Haiti  to  Trinidad — Hawaiian  Islands 
— Hungary — Iron  Ore  to  Pig  Iron — 
Lead — Leather — London — Market  Gar- 
dening— Meat  Packing — Mexico — Mo- 
hawk Valley — New  England  Fisheries 
(2  reels) — New  Orleans — Producing 
Crude  Oil — Pacific  Coast  Salmon — Pan- 
ama Canal — Peru — Philippine  Islands — 
Pig  Iron  to  Steel — Pueblo  Dwellers — 
Puerto  Rico — Railroad  Safety — Salt 
—  Silk  —  Continent 
of  South  America — 
Sweden  —  Tin  — 
Virginia — Wheat — 
Wheat  to  Bread — 
Woolen  Goods. 


NATURE 

29  effective  films  on  nature-study  sub- 
jects. Among  them  are:  Adventures  of 
Peter — Bears — Beavers — Birds  (6  reels) 
— Luther  Burbank — Animals  of  the  Cat 
Tribe — Flower  to  Fruit — Wild  Flowers 
— Water  Insects — Mammals  (2  reels) — 
Monkeys  and  Apes  —  Oysters  —  The 
Raccoon — Reptiles — Seals  and  Walruses 
— Spiders — Under-Sea  Life. 


Eastman 
Classroom  Films 


for  this  booklet  If  you  have 

not  received  your  copy 


The  Descriptive  List  of  Eastman  Classroom  Films 
will  help  you  bring  youf  film  library  up  to  date. 
If  you  do  not  have  a  copy  In  your  files,  mail  this 
coupon  today  . . .  Eastman  Kodak  Co.,  Teaching 
Films  Division^  Rochester,  N.  Y. 


Name_ 


School  Addre%s_ 
City  ar\4  State_ 


Page  24 


The  Educational  Screen 


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physics  on  3J  mm.  lilni  slides  fur  chemistry  especially  adapted  for 
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Descriptive  literature  and  sample  strip  of 
typical  frames  sent  on  request.     Address : 

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with  directions  for  making :  Etched  Glass  Slides,  using  Colored  Pencils  : 
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Ceramic  Lantern  Slides:  India  Ink  Lantern  Slides;  Stillfilms ;  Cello- 
phane Lantern  Slides :  Photographic  Lantern  Slides ;  Film  Slides :  The 
Electric  Map  :  Spatter  Work ;  Pencil  Outlines  of  Leaves  :  Carbon  Copies 
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lens    (the   size   usually   supplied    with    such    projectors 
for  class  use)   placed  20  feet  from  the  screen? 
Substituting  in  the  formula 
E.  F.     =     Throw   (feet)   x  Aperture  Width   (inches) 


(in.) 
2 


=     20 


Picture  Width  (feet) 
.38 


2W 
W 
W 


W 

X 


=  20  X  .38 
=  10  X  .38 
=     3.8  feet,  picture  width. 

The  ])icture  height  will  be  found  by  substituting  .28 

for  aperture  height  and  H  in  place  of  A\'  for  the  16-mm 

projector.  -^y    ^ 

Guidance  in  the  Use  of 
Visual  Education  Material 

From  the  Supervisor's  JSotehook 

SUPERVISORS  in  their  direction  of  teachers  find 
the  following  types  in  varying  degrees  ;  the  alert, 
interested,  efficient  ones,  and  those  who  have  be- 
come inefficient  by  reason  of  ill  health  or  from  a 
lack  of  interest.  Both  types  need  stimulation  and 
direction,  the  application  of  such  help  varying  with 
the  relat'onship  that  exists  l)ctwecn  supervisor  and 
teacher,  the  teacher's  general  attitude  toward  her 
work,  and  her  skill  and  technique.  The  supervisor 
should  strive  to  keep  alive  a  keen  sensitiveness  to 
these  conditions  so  that  his  or  her  methods  may 
hasten,  not  deter,  desired  goals. 

Sometimes  the  first  step  in  the  supervisor's  pro- 
cedure must  be  to  convince  a  teacher  that  a  method 
in  departure  from  the  one  being  used  is  necessary. 
This  may  be  accomplished  in  various  ways. 

1.  Visiting  the  teacher  in  question  for  an  appro- 
priate length  of  time,  discussion  of  the  work  fol- 
lowing, during  which  the  supervisor  broaches  tact- 
fully the  subject  of  the  change  which  he  or  she 
deems  necessary.  In  this  case  let  us,  for  the  sake 
of  specific  illustration,  presume  to  be  the  scientific 
use  of  Visual  Aids.  In  his  or  her  enthusiasm  the 
supervisor  should  not  give  the  impression  that  this 
is  a  separate  subject  nor  even  a  new  procedure. 
The  best  justification  of  visual  aids  should  be  that 
of  enrichment  of  subject  matter. 

2.  Follow  your  visit  and  its  attending  discussion 
with  an  invitation  to  the  teacher  to  visit  a  teacher 
who  is  using  visual  aids  as  a  means  of  training 
the  powers  of  observation,  of  developing  the  abil- 
ity to  interpret  correctly,  and  in  stimulating  curi- 
osity. Ask  the  teacher  to  visit  with  this  question  in 
mind;  How  do  visual  aids  effect  worthwhile  learn- 
ing? Tell  her  that  you  will  be  glad  to  accompany 
her  on  the  visit  in  order  that  you  may  be  in  a  posi- 
tion to  discuss  the  subject  further.  Before  the  date 
set  for  the  visit  make  arrangements  with  the  demon- 
strating teacher  for  the  type  of  work  you  wish  the 
teacher  to  see. 

A  conference  composed  of  demonstrating  teacher, 
visiting   teacher,    principal    and    supervisor    should 


January,  19 }7 


Page  25 


prefera1)ly  take  place  immediately  following;  the 
demonstration.  After  a  demonstration  followed  by 
such  a  conference,  a  certain  teacher  of  her  own 
accord  remarked  to  the  supervisor:  "I  had  no  idea 
of  the  meagreness  and  inefficiency  in  mv  work  until 
I  saw  Miss  W's.  Further  I  did  not  realize  the  ad- 
vance in  methods  brought  about  by  systematic  use 
of  visual  aids." 

3.  Ask  the  teacher  in  (|uestion  to  invite  you  to 
visit  her  again  at  some  future  time  after  she  ha'^< 
had  time  to  reorganzc  her  methods  in  accordance 
with  modern  interpretation  of  fundamental  princi- 
ples. On  an  advisory  capacity  the  supervisor  may 
then  offer  guidance  in  such  matters  as  further  ex- 
perimentation and  use  of  materials,  interpretation 
of  courses  of  study  and  curriculum  records  as  re- 
lated to  visual  education,  research  reading,  where 
and  how  to  obtain  visual  a'd  material,  and  its  care. 

Often  in  the  case  of  teachers  unaccustomed  to 
the  use  of  visual  education  materials,  a  supervisor 
finds  it  necessary  to  break  down  such  inhibitions  as 
not  knowing  how  to  mani])ulate  projectors,  fear  of 
an  initial  start  in  their  use.  not  knowing  how  to 
ap])ly  such  aids  in  connect. on  with  subjects  taught, 
a  fear  of  not  continu.ng  in  accustomed  ways  of  pre- 
senting knowledge. 

These  inhibitions  conspire  to  make  difficult  the 
introduction  and  use  of  the  "seeing  experience"  in 


ANNOUNCEMENT! 


PATHE  NEWS,  inc..  has  made 
available  in  16  mm.  Sound-on-Film 

a      new     series     of      Educational 
Subjects   suitable   for   school   use. 

FOR   DETAILED   INFORMATION 
ADDRESS 

WALTER  O.  GUTLOHN,  Inc. 

35  W.  45+h  Street  New  York,  N.  Y. 

PATHE  NEWS,  inc.,  35  w.  45th  st.,  n.y.c. 


classrooms.  Recommendations  to  take  a  course  in 
Visual  Instruction  will  often  solve  difficulties  for 
teachers  when  other  measures  offered  by  super- 
visors and  principals  fail. 

The  supervisor's  opportunities  are  many  and  di- 
verse in  character.    In  short  her  excuse  for  being  is 
"to  help  teachers  to  help  children  grow". 
By  FLORO  TORRENCE 

Genoral  Suporvisor   Indianapolis  Public  Schools 


TABLE  MODEL 
SCREENS 


The  Da-Lite  glass-beaded 
screen  fabric,  famous  for 
many  years  for  its  su- 
perior  light   reflective 
qualities  ...   is  avail- 
able    in     many     convenient 
mountings  for  use  on  desk 
or  table.     Each  is  compact, 
light    in    weight    and    easily 
erected.     Sizes    for    all    re- 
quirements.    See    at    your 
tlealers  or  write  for 
catalog! 


MODEL 


MoHnted  in  tubular  metal  case,  with  pivoting, 
rubber-tipped    feet.     Automatic-locking,    col- 
lapsible   rear    support   tor    screen.     Six    sizes, 
22"  X  30"  to  52"  X  72"  Inclusive. 


The 

Mounted    In 

Collapsible 
place.     Ten 

inclusive. 


Da-Lite  NEW  DEAL 

sturdy  leatherette-covered  box. 
support  locks  automatically  in 
sizes,    22"    x    30"    to    72"    x    96" 


DA-LITE   SCREEN   CO.,   INC. 

2723  N.  Crawford  Ave.  Chicago,  III. 


Da-Lite  Screens 


AND    MOVIE 
ACCESSORIES 


Page  26 


The  Educational  Screen 


Keystone 
Map  Slides 

Add  a  Great  Deal  to  the  Teaching 

Value  of  Units  of  Lantern  Slides  in 

the  Social  Studies. 


It  is  very  important  that  students  visualize 
the  location  of  the  situations  pictured. 

And  there  is  no  more  effective  ■way  of 
teaching  map  facts  than  to  use  map  slides 
in  connection  'w^ith  a  pictorial  unit  on  the 
region  being  studied. 

For  example,  w^ith  Keystone  Geography  Unit 
No.  22,  Our  Mexican  Neighbors,  -we  recom- 
mend the  use  of 


Keystone  Map  Slide  No.  75 
in  Appropriate  Colors 


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"      '            .^Siaa  '.^ 

'              .                                                _.     .              ^^^ 

We   shall    be   glad    to    make   a    survey   of  your 

lantern-slide   units   and    recommend   appropriate 

Keystone  Map  Slides. 


Keystone  View  Co. 

Meadvllle,  Penna. 


New  Film  Releases 


Prize  University  Film  Released 

Garrison  Film  Distributors,  Inc.,  of  New  York  City, 
announce  that  they  have  added  The  Oval  Portrait, 
prize-winning  two-reeler.  to  their  "Blue  List  of  Ex- 
ceptional 16nini  Sound  Films."  The  Oval  Portrait  was 
produced  by  students  at  the  University  of  Southern 
California  and  was  awarded  the  Paul  Muni  Prize  as 
being  the  best  amateur  film  of  the  year.  It  was  adapted 
from  the  Edgar  Allan  Poe  story  and  is  synchronized 
with  a  musical  score  played  by  the  organ.  Other  recent 
additions  to  the  Blue  List  are :  High  School  of  Ski- 
ing, an  authentic  instructional  film  made  in  the  Swiss 
Alps,  Corpns  Chrisli  Day,  showing  the  ceremony  in  an 
Austrian  village,  and  Einc  Kleine  Nachl  Mitsik  based 
on  the  Mozart  music,  making  use  of  "cutouts"  created 
by  Lotte  Reininger. 

Shenandoah  National  Park  in  New  Film 

The  Shenandoah  National  Park  is  the  subject  of  a 
new  one-reel  silent  motion  picture  film  prepared  under 
the  supervision  of  the  Department  of  the  Interior  by 
the  National  Park  Service  and  the  Bureau  of  Mines 
in  cooperation  with  a  large  industrial  concern.  Animat- 
ed photography  is  used  to  show  in  the  opening  scenes 
the  geographic  location  of  the  newest  of  our  National 
Parks,  its  proximity  to  nearby  cities  of  Virginia  and  the 
Nation's  capital,  the  route  of  the  scenic  Skyline  Drive 
over  the  mountain  tops,  and  other  routes  within  the 
Park.  Picturesque  CCC  camps,  picnic  grounds,  camp- 
ing sites,  and  other  facilities  for  recreation  are  por- 
trayed. 

Copies  of  this  film  in  both  the  16mm  and  35mm  may 
be  obtained  for  non-theatrical  exhibition  from  the 
Pittsburgh  Experiment  Station  of  the  United  States  Bu- 
reau of  Mines,  Pittsburgh.  Pa.,  or  the  National  Park 
Service,  Department  of  the  Interior,  Washington,  D. 
C. 

Film  on  Juvenile  Delinquency 

Juvenile  Delinquency,  the  one  reel  March  of  Time 
productions  recently  shown  in  the  theatres,  is  now 
available  for  non-theatrical  use  by  purchase  from  the 
National  Probation  Association,  50  W.  50th  St.,  New 
York  City.  The  film  deals  with  the  prevention  of 
juvenile  delinquency,  portraying  the  conditions  that 
breed  criminals,  and  should  be  of  particular  interest  to 
social  workers,  teachers,  women's  clubs  and  parent- 
teacher  groups. 

Resettlement  Movie  Available  to  Schools 

In  response  to  the  extensive  demand  by  schools.  The 
Plow  that  Broke  the  Plains,  the  three-reel  government 
motion  picture,  has  been  made  available  for  such  ex- 
hibitions, in  both  16  mm  and  35mm  sound  prints.  All 
who  have  seen  the  film  are  unanimous  in  praise  of  it 
as  entertainment,  of  technical  excellence  and  dramatic 
power,  and  as  a  masterful  example  of  the  docuinentary 
picture.  It  presents  the  history  and  land  problems  of 
the   Great   Plains   from  the  time  buflfalo   roamed  the 


January,  1937 


Page  27 


16MM  UniversaLsOUND  projector 

ALWAYS    NATION-WIDE    ACCEPTANCE 
NOW    NATION-WIDE    SALES! 


The  advanced  Universal  has 
won  the  approval  of  leaders  in 
every  field.  This  ruggedly  con- 
structed, precision  built  pro- 
jector embodies  all  the  latest 
features.  Throws  a  clear,  bril- 
liant image  to  any  desired 
screen  size  and  reproduces 
sound    in    life-like,    true -tone 


quality.  A  finger-tip  control 
instantly  adjusts  amplification 
for  large  or  small  audiences. 
Compactly  portable  in  two 
carrying  cases,  it  is  ready  for 
quick  set-up.  Complete,  ready 
to  plug  in.  Universal  is  low  in 
first  cost,  extremely  economical 
in  upkeep  .  .  .  and  easy  on  films. 


Nationwide  sales  and  service  now  available. 
Approved  by  National  Board  of  Fire  Underwriters. 
Detailed  information  on  request  from  dealers. 
Note  to  dealers:  Desirable  territory  still  available. 

Sentry   Safety   Control   Corp. 
UNIVERSAL    SOUND    PROJECTOR    DIV. 

Manufacturers  of  I6MM-35MM  Sound  Projectors 


May  be  purchased  on 

the  Universal  Budget 

Payment   Plan 


Factory  &  General  Offices 
Allegheny  Ave.  at  9th  St., 
Philadelphia,  Pa. 


Paramount      Buildingr, 
New  York  City. 
New   York 


On  Sale  By 

Ideal     Pictures     Corporation, 

28  E.    8th    Street, 
Chicago,    III. 

Craig    Movie    Supply    Co., 

1063     S.     Olive     Street, 

Los    Angeles,    Cal. 
Pacific     Coast     Theatre     Supply 
Company, 

260    Golden   Gate  Avenue, 

San    Francisco,    Cal. 
Haanstad's    Camera    Shop, 

404-40S    Sixteenth    Street, 

Denver,   Colo. 
National    Camera    Exchange. 

5    South   Fifth    Street, 

Minneapolis,     Minn. 
Eastman  Kodak  Stores,   Inc. 

1020     Chesnut    Street, 

Philadelphia,    Pa. 
Eastman   Kodak   Stores.   Inc., 

606    Wood    Street, 

Pittsburgh,   Pa. 
Eastman   Kodak  Stores,   Inc.. 

1009   Olive   Street, 

St.    Louis,    Mo. 
Visual   Instruction   Supply  Corp. 

1757  Broadway, 

Brooklyn,  N.  Y. 
Mogull  Bros.. 

1944    Boston   Road, 

New  York  City 
Alan  B.  Twyman, 

29  Central    Avenue, 
Dayton,  Ohio 

Western    Sound   Service,   Inc. 
Skinner   Building, 
Seattle,    Wash. 


range  down  thnnigh  the  era.s  of  cattle  raising,  home- 
steading,  large  scale  wheat  farming,  dust  and  drought. 
The  Plow  flmt  Broke  the  Plains  may  be  obtained 
from  the  Resettlement  Administration,  Washington, 
D.  C,  upon  the  payment  of  transportation  charges. 

An  Announcement  fronn  Ideal  Pictures 

We  are  pleased  to  pass  on  to  our  readers  the  inter- 
esting news  that  Mr.  H.  A.  Spanuth  is  now  associated 
with  Ideal  Pictures  Company,  Chicago,  as  Vice-Pres- 
ident of  the  Company.  As  many  doubtless  know,  Mr. 
Spanuth  had  been  associated  for  the  past  nine  years 
with  the  Bell  &  Howell  Company  as  Manager  of  their 
Film  Library  Division.  In  his  new  connection  he  will 
continue  to  render  to  those  interested  in  motion  pic- 
ture films  and  equipment  the  same  kind  of  courteous 
and  efficient  service  as  heretofore. 

Ideal  Pictures  Company,  which  has  been  serving  the 
16mm  and  35mm  field  for  many  years,  is  establishing 
an  8mm  rental  library,  and  a  list  of  these  subjects 
is  available  upon  request.  This  Company  is  now  pre- 
pared also  for  the  distribution  of  16mm  and  35mm  in- 
dustrial films  everywhere  in  the  United  States.  Two 
such  films  recently  acquired  are  The  Art  of  Selling 
and  Making  a  Sales  Presentation  Stick,  both  available 
•"T  four  reels,  16mm  sound. 

A  Filnn  Review 

The  new  Woman's  Christian  Temperance  Union 
motion  picture,  The  Beneficent  Reprobate,  presents  in 
four  reels  an  eflfective  and  instructive  lesson  on  the 
characteristics  of  alcohol  and  its  harmful  effects  on  the 
human  body,  as  indicated  by  its  subtitle,  Ethyl  Alcohol, 


Its  Nature  and  Properties.  It  is  a  scientifically  accurate 
treatise  commendable  particularly  for  its  restrained 
treatment  and  absence  of  any  preaching  or  emotional 
appeal.  Although  it  is  educational  in  character  and 
made  in  accordance  with  the  principles  of  modern 
pedagogical  practices,  the  theme  is  presented  in  interest- 
ing, popular  fashion. 

An  introductory  scene  shows  a  medieval  al- 
chemist's laboratory  and  his  accidental  discovery  of 
the  distillation  of  alcohol  from  wine  while  search- 
ing for  a  universal  solvent.  The  film  then  summar- 
izes the  uses  of  alcohol  in  industry,  and  demon- 
strates by  laboratory  experiments  its  qualities  as  a 
solvent,  dehydrant,  and  so  on.  Much  footage  is  de- 
voted to  tests  given  to  a  group  of  medical  students 
at  the  Northwestern  University  Medical  School, 
which  showed  that  even  a  small  amount  of  alcohol 
resulted  in  definite  temporary  impairment  to  the 
central  nervous  system  and  to  muscular  control. 
The  subjects  were  given  forty-five  cubic  centime- 
ters of  alcohol,  the  equivalent  to  three  bottles  of 
4  per  cent  beer. 

Made  by  the  Burton  Holmes  Studio,  the  picture 
is  also  very  satisfactory  technically.  It  is  available 
in  16mm  and  35mm,  silent  or  sound,  from  the  Mo- 
tion Picture  Bureau  of  the  Y.  M.  C.  A.  through  its 
offices  in  New  York  City,  Chicago,  and  Portland. 
Ore.  We  predict  a  great  demand  for  The  Beneficent 
Reprobate  from  schools,  churches,  professional  groups, 
and  other  educational  and  welfare  groups.  It  is  free 
except  for  shipping  expenses. 


Page  28 


The  Educational  Screen 


. 


The  Chinese  Had 
a  Word" 

We  Have  the 
Pictures  for  it! 


"One  picture  is  worth  ten 
thousand  words,"  wrote 
the  sage  of  old  Cathay. 
He  had  the  right  idea 
about  education  and  en- 
tertainment. It  is  our  idea 
too,  with  these  pictures  to 
back  it  up   .   .   . 

STRANGER  THAN  FICTION;  GOING 
PLACES;  YOU  CAN'T  GET  AWAY 
WITH  IT;  OSWALD  CARTOONS; 
MEANY  Ml  NY  MOE  CARTOONS; 
MENTONE  SHORTS;  SERIALS; 
UNIVERSAL  NEWSREELS 

And  These  Features 
With  Many  Others, 

SHOW  BOAT;  MY  MAN  GODFREY; 
THREE  KIDS  AND  A  QUEEN 

Let  Us  Tell  You  More! 
Write    .    .    .    Phone 

NON-THEATRICAL  DEPARTMENT 

UNIVERSAL  PICTURES 
COMPANY,  INC. 

Rockefeller  Center  New  York,  N.  Y. 

CIRCLE  7-7100 


News  and  Notes 

(Continued  frniii  page  16) 

be  distributed  through  prefectural  distributing  leagues, 
free  of  charge  if  possible. 

India.  The  Motion  Picture  Society  of  India  has 
been  carrying  on  intensive  propaganda  for  educational 
films  for  some  time,  arranging  for  the  exhibition  of 
such  films  in  diflferent  centers.  It  has  been  endeavoring 
to  impress  upon  the  Universities  of  the  country  the 
desirability  of  introducing  courses  in  film  education 
and  considering  the  production  of  educational  motion 
pictures.  The  Society  cooperated  with  the  Madras 
Film  League  in  the  Second  All  India  Motion  Picture 
Convention  at  Madras  on  26th  and  27th  of  December, 
when  an  interesting  exhibition  of  educational  films  will 
be  held. 

Germany.  For  the  first  time  this  year  many  German 
universities  are  including  in  their  courses  of  instruc- 
tion matters  pertaining  to  motion  pictures,  a  report  to 
the  U.  S.  Commerce  Department  from  its  Berlin  office 
states.  Questions  concerning  the  films  are  discussed  in 
lectures  on  current  affairs,  the  theater,  national  econ- 
omy, music,  and  the  history  of  art.  Universities  which 
are  giving  instruction  on  film  matters  during  the  current 
collegiate  year  include  Munich,  Fleidclberg,  Cologne, 
Leipzig,  Freiburg  and  Hamburg,  the  report  states. 
The  purpose  of  these  courses  is  to  give  a  general 
acquaintance  with  film  art  and  technique. 

It  wa?  announced  by  the  official  German  bureau  for 
educational  films  that  by  the  end  of  August  1936, 
10,000  projectors  had  been  supplied  to  schools.  This 
was  planned  to  be  accomplished  after  five  years,  but 
the  figure  was  reached  after  two  years.  No  less  than 
44,000  films  have  been  supplied  for  educational  pur- 
poses. 

Visual  Education  in  CCC  Camps 

A  recent  survey  of  motion  picture  equipment  avail- 
able in  CCC  camps  reveals  an  extensive  use  of  films  in 
the  Corps  throughout  the  country.  Some  1500  camps 
reported  that  movies  were  being  shown  in  their  camps, 
with  356  of  them  owning  their  own  equipment,  bought 
generally  with  company  funds.  A  definite  trend  toward 
16mm  sound  projectors  was  indicated  by  the  survey, 
although  there  were  many  35mm  projectors  in  the 
camps.  There  were  also  some  camps  still  using  silent 
projectors.  In  type  of  films  shown,  47.3  per  cent  was 
entertainment  material  and  41.8  per  cent  was  educa- 
tional. 

The  set-up  of  the  Fourth  Corps  Area  is  particularly 
outstanding  for  its  extensive  film  service.  In  general, 
the  major  job  of  the  service  is  to  support  vocational 
educational  activity,  of  which  it  is  an  effective  part.  A 
wide  variety  of  vocational  and  related  films  is  main- 
tained in  the  central  supply,  and  close  contact  is  ef- 
fected with  the  local  offices  of  the  using  services  by 
making  up  adaptable  programs  for  their  traveling  field 
operators. 


January,  1937 


Page  29 


for   administrators 
for  superintendents 
for   teachers 


a  practical  handbook  on  audio-visual 
instruction,  a  record  of  teachers' 
experiences,    and    film    information. 


HOW  TO  USE 

THE  EDUCATIONAL 

SOUND  FILM 


/*//  M.  R.  Brunstetter 

Director  of  Publications,  Teachers  College,  Columhia   University ; 
formerly  research  associate,  Erpi  Picture   Consultants,  Inc. 


Discusses  the  ntilization  of  the  educational  sound  film  and  illus- 
trates the  best  techniques  by  which  to  secure  its  effective  service 
in  the  classroom. 

Illustrated,    ISO   pa'jes,   $2.00;   postiiaid,   $2.10 


THE   UNIVERSITY   OF   CHICAGO   PRESS 


Museum  Foreign  Film  Series 

The  Museum  of  Modern  Art  Film  Library  an- 
nounces the  release  of  a  new  series  of  foreign  film 
programs,  for  circulation  to  museums,  colleges  and 
film  study  groups  throughout  the  country.  This  series 
consisting  of  three  German  and  two  French  film  pro- 
grams, covers  the  development  of  the  motion  picture 
in  those  countries  from  1895  on  and  includes  such  well 
known  productions  as  The  Cabinet  of  Dr.  Caligari, 
The  Last  Laugh,  The  Love  of  Jeanne  Ney,  The  Fall  of 
the  House  of  Usher. 

Visual  Courses  for  Indiana  Teachers 

Mr.  II.  A.  Henderson  of  Indianapolis  has  conducted 
over  fifty  visual  education  courses  fn  many  cities  and 
teachers  colleges  throughout  Indiana,  instructing  some 
3,000  teachers  in  visual  methods,  and  is  now  in  his  fifth 
year  at  Butler  University.  Besides  giving  extension 
classes  in  Visual  Education  for  Butler  he  is  ofifering  a 
course  to  Hammond  teachers  every  Monday  at  4 
o'clock,  beginning  January  25,  in  the  School  Adminis- 
tration building.  Another  is  to  meet  in  the  High  School 
building  in  Michigan  City  Tuesday  evening,  January 
26,  at  6  o'clock. 

Theatre  Releases  Now  in  2000  Foot  Reels 

Schools  and  other  non-theatrical  organizations 
that  use  theatre  features  as  part  of  their  service,  for 
auditorium  or  community  showings,  should  take 
notice  that  these  reels  now  come  from  the  ex- 
changes, wound  on  2000  ft.  reels  —  in  accord  with 
the  adoption  of  the  S.  M.  P.  E,  standard  2000  ft. 
reel  for  the  industry. 

35mm.  sound  projectors  must  now  be  able  to 
handle  the  2000  ft.  reels.  Theatre  projectors  can 
do  this,  but  35mm.  Portables  and  semi-portables 
may  have  to  make  some  changes  to  accommodate 
the  new  size  reel. 

Our  attention  has  been  called  to  this  matter  by 
a  notice  from  Herman  A.  DeVry,  Inc.  that  all  mod- 
els of  their  35mm.  sound  projectors  are  designed 
to  accommodate  the  new  size  reel. 


New  Instructional  Films 

In  76  mm.  Sound 

recently  added  to  our  library  include  Physical 
Science,  Natural  Science,  Geography  and  Travel, 
Sports  and  Athletics,  Literature,  Music  Appreciation. 

Send  for  descriptive  list  and  rental  prices.  Our  48-page 
catalog  Is  tree  for  the  asking  and  contains  hundreds  of  care- 
fully-selected feature  films  for  entertainment,  as  well  as 
comedy  and  cartoons,  and  fine  educational  short  subjects  In 
16  mm.  sound-on-fllm  and  silent  form. 


Our  special  service  plan  provides  you  with  a 
fine  $495.00  sound  projector  for  an  investment 
of  only  $1,001    Ask  for  detallsl 


Ideal    Pictures    Corporation 

28  E.  EIGHTH  ST.  CHICAGO,  ILL. 


Special 
Offer 

•  PICTUROLS* 


S.V.E. 

PROJECTOR 

and  Case 


One  Model  "F"   Projector 

with  Carrying  Case $  48.00 

3'  X  4'  Beaded  Roller  Screen 12.50 

PICTUROLS,  your  own  selection,  up  to 50.00 

Two  i5-roll  Deluxe  Holders 3.00 

TOTAL  VALUE  $113.50 

Postpaid  ij^li^O      2%  ^'^<=°""^ 

Anywhere        <W_B.^^^_F  For  Cash 

in  U.  S.  With  Order 


KEEP   A   CATALOG  ALWAYS   AVAILABLE! 

SOCIETY  FOR  VISUAL  EDUCATION.  Inc. 

y}7    SoutK  LaSolk  St.  ChiM^o.  Illinois. 


Page  30 


The  Educational  Screen 


AMONG   THE    MAGAZINES 
AND    BOOKS 


Conducted  by  Stella  Evelyn  Myers 


The  Catholic  School  Journal  (36:289-295,  Nov. 
'36)  "Vitalized  Teaching  of  Geography",  h}-  Mary 
Kieran. 

This  comprehensive  contribution  on  modern 
methods  in  geography  teaching  contains  a  helpful 
section  on  visual  aids.  "There  are  those  who  be- 
lieve that  visual  instruction  is  passive.  This  is  a 
fallacy.  As  it  was  necessary  for  the  plate  in  the 
picture  to  go  through  the  developing  process,  just 
so  is  it  necessary  for  the  child,  after  the  presenta- 
tion, to  have  perception  followed  by  a  mental  re- 
action." As  to  teaching  pupils  a  scientific  proced 
ure,  the  author  quotes  from  the  thirty-second  Year- 
book of  the  National  Society  for  the  Study  of  Edu- 
cation, "To  tell  children  at  the  outset  of  their  study 
of  a  region  facts  that  could  be  discovered  from  pic- 
tures or  maps,  is  to  deprive  them  of  an  opportunit}- 
to  make  use  of  source  materials  and  achieve  the 
gain  in  skills  and  independence  that  comes  through 
much  use." 

Scholastic  (29:Nov.  21,  '36). 

This  number  is  a  motion  picture  issue  filled  with 
information  most  appealing  to  those  of  High  School 
age  and  continuing  youth.  Sarah  McLean  Mullen 
shows  just  how  the  camera  is  made  to  produce  its 
magic  on  the  screen  in  more  than  three  pages  of 
fully  illustrated  material.  A  symposium  of  leaders 
in  the  film  world  presents,  "How  Shall  the  Films 
Be  Safeguarded?"  "Produce  Your  Own  Movies" 
gives  a  plan  for  a  High  School  Photoplay  Club, 
suggesting  correlation  of  certain  problems  with 
physics  and  chemistry.  Dr.  Edgar  Dale  discusses 
the  art  of  reviewing  films,  and  suggests  that  critics 
have  been  altogether  too  much  occupied  with  the 
technique  of  story-telling,  and  too  slightly  occupied 
with  the  character  of  the  content.  The  contribution 
from  the  foreign  field,  he  thinks,  is  largely  disre- 
garded. Four  illustrated  pages  are  devoted  to  the 
late  release  on  the  life  of  Rembrandt,  considerable 
of  the  script  being  included. 

The  North  American  Review  (242:30-44,  Autumn 
'36)  "The  Museum  DoflFs  Its  High  Hat",  by  R.  L. 
Duflfus. 

Notwithstanding  the  rather  forbidding  exterior 
of  the  Metropolitan  Museum  of  Art,  New  York 
City,  within  it  is  as  dynamic  as  a  Ford  factory. 
Almost  any  article  in  your  home,  from  packages 
on  the  kitchen  shelves,  to  the  paper  on  the  walls 
and  clothing  in  your  closet,  may  reflect  the  influ- 
ence of  the  Met  ("I  call  it  that  because  those  who 


make  most  use  of  it  do  and  because  it  i^^  human 
enough  to  deserve  a  nickname")  since  it  maintains 
a  close  cooperation  between  the  museum  of  art  and 
the  newly-fledged  American  designer.  Art  as  viewed 
by  the  Met  is  -an  illustrated  history  of  human  cul- 
ture. Human  life  flows  by  us  and  we  see  its  con- 
tinuity. We  are  calling  upon  the  past  to  help  us 
solve  our  present-day  problems.  Mr.  Kent,  the  sec- 
retary of  the  museum,  considers  that  the  functions 
of  a  museum  are  three,  of  which  acquisition  is  the 
first;  the  second,  exhibition.  The  third  function  is 
exposition — trying  to  get  people  to  see  what  the 
exhibits  mean,  giving  them  a  chance  to  use  them, 
apply  them  in  their  businesses  or  professions,  work 
them  into  their  daily  lives. 

Lantern  slides  are  circulated  free  to  the  New 
York  City  schools ;  but  for  a  fee,  38.000  were  circu- 
lated in  1934-'35  outside  the  state.  The  museum  has 
produced  films  dealing  with  the  temples  and  tombs 
of  Egypt,  with  the  uses  of  armor,  with  the  making 
of  pottery,  tapestry,  wTf)ught  iron  and  stained  glass 
windows,  as  well  as  artists  and  sculptors  at  work. 
Last  year,  there  were  146  motion  picture  showings 
in  other  parts  of  the  U.  S.  and  in  the  Canal  Zone. 

The  significance  of  the  art  museum,  in  coopera- 
tion with  designers,  producers  and  distributors,  is 
that  it  is  doing  something  to  make  our  civilization 
less  ugly,  which  is  almost  an  essential  and  making 
it  less  corrupt,  less  unjust  and  less  militaristic.  The 
very  practical  educational  work  of  the  museum  is 
fully  described  in  the  article,  and  should  be  sug- 
gestive to  all  museum  staffs. 

New  Theatre  (3:20-21,  Oct.  '36)  "Educational 
Films,"  by  Lou  Kendrick. 

The  extensive  showing  in  schools  of  industrial  films, 
financed  bi  large  business  concerns,  is  deplored  by  the 
author.  Such  films  "do  their  work  well,"  he  says,  one 
such  film  reaching  from  one  to  three  million  people 
a  year.  Although  they  are  known  as  commercial  films 
by  the  producers  of  them,  "it  is  as  educational  films 
that  they  reach  the  spectators,  and  their  content  is  ac- 
cepted as  education,  not  as  propaganda." 

He  contends,  further,  that  working  conditions  are 
grossly  misrepresented  by  advertising  films,  and  com- 
pares the  films  which  are  reaching  our  children  with 
the  splendid  ones  produced  and  distributed  in  Europe. 
"We  insist  upon  textbooks  being  written  by  authori- 
ties, and  would  not  think  of  placing  in  the  hands  of 
children  advertising  pamphlets  simply   for  the  reason 


January,  1937 


Page  31 


that  they  are  free.  Hut  we  are  limiting  their  visual 
education,  the  most  vivid  and  effective  lorm  of  edu- 
cation in  the  world,  to  advertising  films,  which  distort 
facts  and  prejudice  children  against  all  working  class 
struggles." 

Literary  Digest  (122:24-5,  Oct.  24.  '36)  "Movies 
for  Minors." 

A  tabulation  is  given  of  guides  for  parents  in 
rating  movies  for  their  children,  also  study  guides 
for  High  .School  pu]5ils  are  included. 

Building  America  (2,  No.  1,  Oct.  '36)  "Our  Con- 
stitution" and  "Safety".  The  first  two  units  in  the 
second  volume  of  this  series,  published  by  the  So- 
ciety for  Curriculum  Study. 

An  excellent,  unbiased  study  of  the  formation  of 
our  constitution,  and  how  it  has  functioned  to  the 
present  time.  How  by  new  interpretations  it  has 
met,  in  strength  or  weakness,  the  many  clashes  that 
have  arisen  in  our  Republic  is  developed  at  length. 
Changes  in  our  ways  of  living,  particularly  during 
the  period  1870  to  1920,  have  necessitated  new  laws 
to  regulate  agriculture,  business,  and  labor,  and 
such  laws  meant  new  interpretations  of  our  con- 
stitution. "The  historj-  of  Supreme  Court  decisions 
has  caused  Americans  to  disagree  as  to  whether 
the  Court  should  have  as  much  power  as  it  has. 
Some  think  the  Court  is  not  democratic  enough 
and  that  its  decisions  favor  property  rather  than 
human  rights.  Others  think  the  Court  is  the  main 
])rotection  of  the  American  people  against  a  gov- 
ernment which  might  threaten  their  property 
right."  Recent  laws  and  Supreme  Court  decisions 
as  to  their  constitutionality  are  causing  the  people 
to  give  more  attention  to  the  Constitution  than  they 
have  for  many  years.  Before  deciding  upon  these 
cjuestions  the  citizens  must  understand  their  gov- 
ernment better  than  they  now  do. 

The  "Safety"  number  deals  pictoriall)',  as  well  as 
verbally,  with  avoiding  accidents  in  industry  ;  trans- 
portation by  land,  water,  and  air;  in  the  home;  the 
school ;  and  by  means  of  fire. 

The  first  volume  of  Building  America  consists  of 
nine  issues,  which  are  available  in  pamphlet  form 
or  in  one  single  cloth-covered  volume  of  275  pages. 
It  is  planned  that  eight  lessons  will  be  published 
continuously  each  year  on  significant  phases  of 
American  life. 


Back  Issues  Wanted 

Frequently  we  receive  orders  for  back  issues  of  the 
Educational  Screen  which  -we  cannot  fill  because  our 
supply  is  exhausted.  We  are  particularly  in  need  of  the 
following  copies:  March,  May  (1925);  April,  October 
(1928);  March  (1930);  March,  September  (1931);  Jan- 
uary, October,  December  (1932);  June,  September 
(1934)  ;  April,  May,  June  (1935). 

//  any  of  our  readers  can  supply  these  numbers,  a  fair 
price  will  be  paid  for  them,  if  received  in  good  condition. 


Better    Films    and    Better    Service 
The  Clearing  House  Way 


Sp.,nc-..^,7,S-»«,                                                       1 

Motion  Pictures  ok  the  World           1 

FUmS.t^ 

^^K^^^^H 

™T^— • 

mi^m 



^H/^^^'^l^l 

'^"Zt. 

^v  r    S.  ''I^^l 

^^V^  i  m.  '''■'          '•s.^^^^H 

SOcXTSi 

F'/'^.iifc  i^'n'^^^H 

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Order  films  of  60  distribu- 
tors through  one  office  from 
one  directory. 

APPROVED   FILMS 

RELIABLE 

DISTRIBUTORS 

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MORE  CONVENIENT 

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Annual  subscription  to  service  and  2  issues  of  MOTION 
PICTURES  OF  THE  WORLD,  one  of  the  largest  and 
most  selective  educational  film  directories,  is  50c  a  year. 
Further  details  on  this  service  or  on  equipment  gratis 
on  request. 

INTERNATIONAL    EDUCATIONAL    PICTURES,    INC. 

Mount  Vernon  &  Walnut  St.        —        Boston.  Mass. 


Book  Review 

How  TO  Write  a  Movie,  by  Arthur  L.  Gale:  186 
pp.  Price,  $2.00.  Publisher,  Edmond  Byrne  Hack- 
ett,  The  Brick  Row  Book  Shop,  Inc.,  New  York. 

This  fascinating  work  covers  the  whole  subject 
of  motion  picture  production  in  so  clear  and  entic- 
ing a  manner  that  amateurs  can  readily  follow  the 
directions.  The  fundamental  structure  of  work  for 
the  screen  is  constantly  kept  in  mind  as  it  is  differ- 
entiated from  verbal  narrative.  Plot  and  scenario 
writing  for  amateur  photoplays  are  discussed  and 
illustrated.  Many  simple  subjects  are  presented  in 
a  model  scenario  form,  the  form  varying  with  the 
type  of  subject.  The  use  of  sound,  if  it  is  added,  is 
treated  in  a  perfectly  sane  manner.  Some  titling, 
even  with  sound,  often  makes  a  smoother  render- 
ing. Excerpting  music  from  records,  the  use  of  a 
double  turntable,  and  post  synchronization  are 
fully  treated.  The  difficult  art  of  synchronizing  on 
location,  and  the  more  deliberate  art  of  editing 
sound  on  film  receive  attention.  The  use  of  sound 
in  industrials,  as  distinguished  from  the  narrative, 
is  clearly  seen  by  the  writer. 

The  chapter  on  "Filming  in  Colors"  should  ap- 
peal to  students  of  art.  particularly,  but  it  is  a  treat- 
ment of  broad  culture  for  any  reader.  There  are 
psychological  and  esthetic  advantages  in  bringing 
living,  glowing  color  to  the  screen  that  scarcely  Can 
be  overestimated.  It  gives  depth,  both  stereoscopic 
and  intellectual,  to  scenes.  Color  has  a  great  emo- 
tional effect,  which  when  combined  with  the  rich- 
ness of  the  human  voice,  or  other  harmony,  and 
with  the  subtle  influence  of  movement  produces  a 
powerful  effect.  Much  is  made  of  overall  tones  and 
shades  to  enhance  the  emotional  content  of  a  given 
scene.  "Color  gives  an  additional  scale  of  variation 
to  the  elements  of  the  picture,"  hence  there  is  more 
to  see  than  in  monochromatic  film.  For  this  rea- 
son, the  color  scene  should  run  a  trifle  longer  than 
the  black  and  white  film. 


Page  32 


The  Educational  Screen 


HERE  THEY  ARE 


FILMS 

Bray  Pictures  Corporation  (3,  6) 

729  Seventh  Ave.,   New  York  City 

Eastin  16  nun.  Pictures  (6) 

(Rental  Library)   Davenport.  la. 
(See  advertisement  on  page  21) 

Eastman  Kodak  Co.  (4) 

Rochester,  N.  Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Co.  (1,  4) 

Teaching  Films  Division 

Rochester,  N.  Y. 

(See  advertisement  on  page  23) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St.,  PittsburRh,  Pa. 
Edited  Pictures  System,  Inc.         (i,  4) 

330  W.  42nd  St.,  New  York  City 
Films,  Inc.  (5) 

330  W.  42nd  St.,  New   York  City 

19  S.  LaSalle  St.,  Chicago 

925  N.  W.  19th  St.,  Portland,  Ore. 
Garrison  Film  Distributors  Inc.     (3,6) 

729  Seventh  Avenue,  New  York  City 

(See  advertisement  on  page  24) 

Walter   O.    Gutlohn,   Inc.  (5) 

35  W.  4Sth  St.,  New  York  City 

(See  advertisement  on  page  25) 

Harvard  Film  Service  (3,  6) 

Biological   Laboratories, 

Harvard  University,  Cambridge  Mass. 
Guy  D.  Haselton's  TRAVELETTES 

7901  Santa  Monica  Blvd.,  Hollywood, 
Cal.  (1,  4) 

Ideal  Pictures  Corp.  (3,  6) 

30  E.  Eighth  St.,  Chicago,   111. 

(See  advertisement  on  page  29) 

Institutional  Cinema  Service,  Inc.  (3,  6) 

130  W.  46th  St.,  New  York  City 
The  Manse  Library  (4,  5) 

2439  Auburn   Ave..   Cincinnati.   O. 
(See  advertisement  on  page  24) 

Pinkney  Film  Service  Co.  (1,  4) 

1028    Forbes    St.,    Pittsburgh,    Pa. 
Ray  Bell  Films,  Inc.  (3,  6) 

2269  Ford  Rd.,  St.  Paul,  Minn. 
United  Projector  and  Films  Corp.  (1,  4) 

228  Franklin  St.,  Buffalo,  N.  Y. 
Universal   Pictures   Corp.  (3) 

Rockefeller   Center,   New   York   City 

(See  advertisement  on  page  28) 
Visual  Education  Service  (6) 

470    Stuart    St.,    Boston,    Mass. 
Wholesome  Films  Service,  Inc.      (3,  4) 

48  Melrose   St.,  Boston,   Mass. 
Williams,  Brown  and  Earle,  Inc.  (3,  6) 

918  Chestnut  St.,  Philadelphia,  Pa. 

MOTION  PICTURE 
MACHINES  and  SUPPLIES 

The  Ampro  Corporation  (6) 

2839  N.  Western  Avenue,  Chicago 

(See  advertisement  on  page  6) 

Bell  &  Howell  Co.  (6) 

1815    Larchmont    Ave.,    Chicago,    111. 

(See  advertisement  on  inside  back  cover) 

Central  Camera  Co.  (6) 

230  S.  Wabash  Ave..  Chicago 
(See  advertisement  on  page  24) 


Eastman    Kodak    Co.  (4) 

Rochester,    N.   Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St.,  Pittsburgh,  Pa. 
Edited   Pictures  System,  Inc.  (1) 

330   W.   42nd    St.,    New   York   City 
General   Films   Ltd.  (3,   6) 

1924   Rose   St.,   Regina,    Sask. 
Herman   A.   DeVry,   Inc.  (3,   6) 

1111    Center    St.,   Chicago 

(See  advertisement  on  page  2) 

The  Holmes  Projector  Co.  (3) 

1813  Orchard  St.,  Chicago,  111. 

Ideal  Pictures  Corp.  (3,  6) 

30  E.  Eighth  St.,  New  York  City 

(See  advertisement  on  page  29) 

International   Projector   Corp.        (3,   6) 
90  Gold  St.,  New  York  City 

(See  advertisement  on  page  4) 

Motion  Picture  Screen  & 
Accessories  Co.  (3,  6) 

524  W.  26th  St.,  New  York  City 

National  Camera  Exchange  (6) 

5  South  Fifth  St.,  Minneapolis,  Minn. 
RCA  Manufacturing  Co.,  Inc.  (5) 

Camden,   N.  J. 

(See  advertisement  on  page  19) 

S.  O.  S.  Corporation  (3,  6) 

1600  Broadway,  New  York  City 

Sunny  Schick,  National  Brokers    (3.  6) 
407  W.  Wash.  Blvd.,  Ft.  Wayne,  Ind. 

United  Projector  and  Film  Corp.  (3,  4) 

228  Franklin  St.,  Buffalo,  N.  Y. 

Universal  Sound  System,  Inc.         (2,  5) 
Allegheny   Ave.   at   Ninth   St. 
Philadelphia.  Pa. 

(See  advertisement  on  page  27) 

Victor  Animatograph  Corp.  (6) 

Davenport,   Iowa 

(See  advertisement  on   inside  front  cover) 

Visual  Education  Service  (6) 

470  Stuart  St.,  Boston.  Mass. 

Williams,  Brown  and  Earle,  Inc.  (3,  6) 
918  Chestnut  St.,  Philadelphia,  Pa. 

SCREENS 

Da-Lite  Screen  Co. 

2721    N.    Crawford   Ave.,   Chicago 

(See  advertiseemnt  on  page  25) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut  St.,  Philadelphia,  Pa. 
605  Wood  St.,  Pittsburgh,  Pa. 

Motion  Picture  Screen  &  Accessories  Co. 

524  W.  26th  St.,  New  York  City 

Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 

SLIDES  and  FILM  SLIDES 

Conrad  Slide  and  Projection  Co. 

510  Twenty-second  Ave.,   East 
Superior,  Wis. 

Eastman  Educational  Slides 

John.son  Co.  Bank  Bldg., 
Iowa  City,  la. 

Edited    Pictures   System,   Inc. 
330  W.  42nd   St.,  New  York  City 


A    Trade     Directory 
for  the  Visual   Field 


Ideal  Pictures  Corp. 
30  E.   Eighth   St.,   Chicago,   111. 

(See  advertisement  on  page  29) 

Keystone  View  Co. 
Meadville,    Pa. 

(.See  advertisement  on  page  26) 

Radio-Mat  Slide  Co.,  Inc. 
1819  Broadway,   New  York  City 

(See  advertisement  on  page  24) 

Society  for  Visual  Education 

327  S.  LaSalle  St.,  Chicago.  111. 

(See  advertisement  on   page  29) 

Spencer   Lens   Co. 

19  Doat  St.,  Buffalo,  N.  Y. 
Visual  Education  Service 

470  Stuart  St.,  Boston,  Mass. 
Visual   Sciences 

Suffern,  New  York 

(See  advertisement  on  page  24) 

Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 

STEREOGRAPHS  and 
STEREOSCOPES 

Herman  A.  DeVry,  Inc. 
1111   Center   St.,   Chicago 

(See  advertisement  on  page  2) 

Keystone  View  Co. 
Meadville,  Pa. 

(See  advertisement  on  page  26) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 
Rochester,  N.  Y. 

(See  advertisement  on  page  1) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut  St.,  Philadelphia,  Pa 

606  Wood  St.,  Pittsburgh,  Pa. 
General  Films  Ltd. 

1924  Rose  St.,  Regina,  Sask. 
E.  Leitz,  Inc. 

60  E.  10th  St.,  New  York  City 

Society  for  Visual  Education 
327  S.  La  Salle  St.,  Chicago.  111. 

(See  advertisement  on  page  29) 

Spencer  Lens   Co. 

19  Doat  St.,  Buffalo,  N.  Y. 

Williams,  Brown  and  Earle,  Inc 

918  Chestnut  St.,  Philadelphia,  Pa. 


REFERENCE   NUMBERS 

(1)   indicates    firm   supplies 

35   mm. 

silent. 

(2)   indicates   firm   supplies 

35   mm. 

sound. 

(3)   indicates   firm   supplies 

35    mm. 

sound  and  silent. 

(4)   indicates    firm   supplies 

16   mm. 

silent. 

(5)   indicates   firm   supplies 

16   mm. 

sound-on-film. 

(6)   indicates    firm    supplies 

16   mm. 

sound   and  silent. 

ConHnuous  inserfions  under  one  heading,  $1.50  per  issue;  additional  listings  under  other  headings,  75c  each. 


1  M  C  ATadl  I^AL 


I  he  Magazine  Devoted  Exclusively 
lo  the  Visual  Idea  in  Education! 


FEBRUARY,  1937 

VOLUME  XVI,  NUMBER  2 


CONVENTION 
NUMBER 


'^  *i 


??,, 


wm 


FSI 


r^ 


(Courtesy  of 

Illinois  Central 

Railroad) 


25c    A    COPY    *     $2.00    PER    YEAR 


PROJECTORS 

D    Used  in  Thousands  oF  Theatres 
Throughoub  hhe  World    •    • 


Simplex  Seini-Professional 
Arc  Lamp 


PROJECTORS 


FOR  SCHOOIS.  COLLEGES,  CHURCHES,  ETC. 


We  realize  that  the  installaiion  oi  motion  picture 
equipment  requires  long  and  serious  consideration 
and  are  therefore  pleased  to  receive  inquiries  and 
supply  answers  with  the  full  understanding  that  in 
many  instances  decisions  cannot  be  quickly  made. 
Our  wide  experience  also  enables  us  to  understand 
the  needs  oi  Schools,  Colleges,  Churches,  Hotels, 
Hospitals,  Private  and  Public  Institutions,  etc.,  and 
where  there  is  no  technical  adviser  to  guide  in  the 
selection  oi  equipment,  the  complete  line  oi  35  mm. 
Simplex  Projectors  we  manufacture  places  us  in  a 
position  to  impartially  advise  regarding  the  kind  of 
equipment  best  suited  to  meet  the  specific  require- 
ments  of   any   proposed  installation. 


Tfimjiie^  PROJECTORS 

In  addition  to  basic  mechanical 
excellence.  Simplex  Projectors  have 
many  exclusive  patented  features 
which  secure  ease  and  saiety  in 
operation  and  reduce  maintenance 
cost.  Supplementing  the  many  de- 
sirable features  of  Simplex  Projectors 
is  our  wide  sales  and  service  organ- 
ization. Our  representatives  are  also 
able  to  help  users  of  Simplex  Projec- 
tors by  solving  their  technical  prob- 
lems and  by  prompt,  adequate  serv- 
ice in  supplying  parts  for  emergen- 
cies. Packing,  shipping  and  servic- 
ing of  Simplex  Projectors  also  involve 
many  problems  and  here  again  oiu 
great  experience  and  vast  resources 
enable  us  to  maintain  our  outstand- 
ing international  leadership  in  this 
field. 


Simplex  Semi-professional 
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ae-96    COLD     ST.  NEW     YORK,  NY. 


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£  EDUCATIONAL  SCREEN 


FEBRUARY.  1937                                                      VOLUME  XVI 

NUMBEl^  TWO 

Contents 

A  Visual  Instruction  Project  in  Laboratory  Chemistry. 
J.  M.  Levelle 

...39 

Making  Movies  in  the  Junior  hiigh  School.    Elias  Katz 

...41 

Establishing  a  Program  of  Supervised  Audio-Visual 

Education.   F.  Marshall  WorrelL_ : 

...43 

Ten  Years  of  The  Film  Estimates.    Nelson  L.  Greene 

...46 

Film   Estimates 

....5! 

Eliminating  Static  in  Education.    George  W.  V/right 

...52 

Department  of  Visual  Instruction 

...56 

News  and  Notes 

...58 

Foreign  Films  for  Educational  Institutions. 

Conducted  by  V\/esley  Greene 

...60 

Moments  in  Washington's  Life — In  hIand-Made 

Lantern  Slides.    Emma  Golden_ 

...62 

Conducted  by  Wilber  Emmert 

...64 

Among  the  Producers 

...72 

Among  the  Magazines  and  Books. 

Conducted  by  Stella  Evelyn  Myers.. 

...74 

Here  They  Are!    A  Trade  Directory  for  the  Visual  Field.. 

...76 

General    and    Editorial    OfRces,    64    East    Lake    St.,    Chicago,    Illinois.      Office    of 
Publication,    Morton,    Illinois.      Entered   at  the    Post   Office   at   Morton,   Illinois,   as 
Second    Class    Matter.     Copyright,    February,     1937    by    the    Educational    Screen, 

Inc.      Published   every   nnonth   except  July  and   August. 
$2.00  a  Year                (Canada,  $2.25:  Foreign,  $3.00)                Single  Copies,  25  cts. 

THE  EDUCATIONAL  SCREEN,  Inc. 
Directorate  and  Staff 
Herbert  E.  Slaught  Pre».                    Stanley  R.  Greene 
Nelson  L.  Greene,  Editor                    Josephine  Hoffman 
Evelyn  J.  Baker                                     F.  Dean  McCluslcy 
Mary  Beattle  Brady                             Stella    Evelyn    Myers 
F.  W.  Davll                                           E.  C.  Waggoner 

Page  36 


The  Educational  Screen 


t^4^(ll)ALITYir^m£ 


PROJECTORS  for  visual  education  should  incorporate  the 
quality  ideal.  They  ought  to  be  rugged,  capable  of  stand- 
ing the  abuse  of  inexperienced  operators  if  necessary. 
They  should  be  well-designed,  with  simplified  centralized 
controls  and  brilliant  illumination.  They  should  be  quiet,  easy 
on  the  films.  It  is  easy  to  say  that  Ampro  Projectors  meet 
these  requirements.  But  you  who  are  confronted  with  the 
problem  of  selecting  visual  education  equipment,  should  con- 
sider these  facts : 

Ampro  Projectors  are  standard  equipment  in  the  Schools 
of  Chicago,  Kansas  City,  New  York,  Pittsburgh,  Atlanta, 
Philadelphia,  Los  Angeles,  Washington,  Brooklyn,  San  Fran- 
cisco— in  thousands  of  schools,  universities  and  museums  all 
over  the  world. 

For  a  number  of  years  a  group  of  Ampro  Projectors  has 
been  making  the  circuit  of  600  schools  in  the  midwest.  That 
has  meant  daily  packing  and  unpacking,  transportation  by 
auto  and  express,  use  by  600  different  operators.  Ampros 
have  successfully  passed  this — the  most  severe  test  ever  given 
to  any  16mm.  projectors  anywhere ! 

Find  out  how  Ampro  Projectors  can  serve  your  needs. 
Write  today  for  Free  Circulars  on  any  of  the  units  in  the 
complete  Ampro  line. 


SEE  COMPLETE 

AMPRO  DISPLAY 

Booth  D-25 

N  E  A  CONVENTION 

Feb.  20-25 

New  Orleans 

Ampro   Corporation,   2839   N.   Western   Avenue,   Chicago,    ill. 

A31L  IP  IRJD 


PRECISION    PROJECTORS   FOR    PERFECT  PERFORMANCE 


Ampro  Sound- 
on -Fil-m 


projectors  have  brought  ac- 
tual new  standards  of  tone 
quality,  illumination. simplici- 
ty of  operation  to  the  field  of 
1 6mm.  Sound-on-film.  There 
are  numerous  features  of  de- 
sifrn  and  construction  that  ex- 
plain this. 

Get  the  full  story  of  Ampro 
sound  before  making  any  de- 
cision. Prices  complete:  Junior 
Model  $375 ;  Senior  Model 
$415. 


Ampro  Silent 
Projectors 

The  complete  line  of  Ampro 
Silent  Projectors  is  character- 
ized by  brilliance  of  illumina- 
tion and  convenience  of  opera- 
tion. Many  thousands  of  these 
projectors  have  proven  their 
rusrgedness  and  efficiency  in 
universities,  schools,  auditori- 
ums and  homes  all  over  the 
world.  Prices  complete:  Model 
J  (500  watt)  $135:  Model  K 
(750  watt)    1150. 


Ampro  Convert- 
ible Models 

Two  regular  16mm.  Ampro 
Projectors  plus  such  additions 
as  will  permit  conversion  into 
latest  type  sound  projectors  by 
the  addition  of  sound  parts 
for  sound  film. 

Prices  complete:  Model  MC 
(convertible  into  Ampro- 
sound  Junior)  $160;  Model 
NC  (Convertible  into  Ampro- 
sound  Senior)  $180. 


february,  19)7 


Page  39 


A  Visual  Instruction  Project  In 
Laboratory  Chemistry 


Some  valuable  suggestions  on  making  lantern  slides  show 
students  the  right  and  wrong  way  in  laboratory  procedure. 

By      J.      M.      LEVELLE 

John   Marshall  High  School,  Cleveland,  Ohio 


THE  conscientious  teacher  in  high  school  chem- 
istry wishing  to  make  the  most  of  his  many 
opportunities  in  the  teaching  of  the  subject  is 
confronted  with  a  variety  of  problems.  In  schools 
which  still  have  a  laboratory  as  an  integral  part  of 
the  course,  and  its  value  still  appreciated,  some  of 
these  prol^lems  arise  in  attempting  to  successfully 
instruct  pupils  in  laboratory  technique. 

]\Iany  of  them  take  the  form  of  dangers  encoun- 
tered by  pupils  from  day  to  day,  and  these  dangers 
are  particularly  pertinent  to  those  students  average 
or  below  in  mental  ability.  To  illustrate :  One  of 
my  boys  was  about  to  generate  oxygen  by  decom- 
position of  potassium  chlorate  and  using  maganese 
dioxide  as  a  catalyst.  He  did  read  the  first  portion 
of  the  experiment  in  which  was  specified  the  ap- 
paratus and  materials  necessary  to  carry  out  the 
work,  but  apparently  decided  the  rest  of  the  in- 
structions were  superfluous.  Assembling  his  ap- 
paratus, he  placed  in  the  test  tube  his  potassium 
chlorate,  maganese  dioxide,  suphur  and  a  small 
piece  of  cotton.  Probably  the  chief  reason  that  he 
didn't  include  wood  splints,  iron  wire,  magnesium 
ribbon  and  several  other  things,  was  lack  of  space 
in  the  tube.  The  result  of  applying  heat  to  such  a 
mixture  needs  no  description.  We  never  found 
more  than  two  or  three  small  pieces  of  the  tube, 
and  the  report  produced  when  it  let  go  must  have 
been  heard  some  distance  down  the  corridor.  For- 
tunately no  one  was  hurt,  although  several  pupils 
were  working  within  range  of  the  flying  glass. 
This  does  constitute  an  extreme  case.  Nevertheless, 
every  chemistry  teacher  realizes  full  well  that  in  every 
class,  he  has  at  least  one  or  two  students  who  should 
be  labeled  "handle  with  care".  It  is  absolutely  neces- 
sary to  instruct  classes  efficiently  in  laboratory  tech- 
nique, and  constantly  watch  every  person  working  in 
the  laboratory. 

Certainly  it  is  true  that  problems  involving  possi- 
ble dangers  to  students  do  not  make  up  all  which 
must  be  met  by  a  teacher  in  laboratory  chemistry. 
Many  others  are  equally  aggravating  and  time  con- 
suming. It  seems  practically  impossible  to  make 
pupils  realize  that  paper,  matches,  zinc,  etc.,  are  in- 
soluble in  water  and  should  not  be  thrown  into  a 
sink.  Stoppers  of  reagent  bottles  are  always  being 
laid  on  table  tops  or  books  rather  than  held  between 
the  fingers.  There  is  an  ever-present  tendency  for 
most  pupils  to  visit,  or  be  anywhere    else    in    the 


"Lab"  than  at  the  desk  to  which  he  was  assigned. 
Periodical  inspection  of  lockers  is  necessary;  re- 
agents needed  for  present  and  future  experiments 
should  be  available;  experiments  must  be  checked 
and  questions  answered.  Only  a  few  of  a  long  list 
which  could  be  made  up  by  any  teacher  of  the  sub- 
ject. 

Chemistry  as  taught  in  this  school  consists  of  three 
lecture  periods  and  two  double  periods  of  laboratory 
work,  each  week.  Each  period  is  45  minutes  long.  We 
consider  ourselves  very  fortunate  in  not  being  forced 
to  subject  pupils  to  a  continuous  sequence  of  lectures 
and  demonstrations  carried  on  solely  by  the  instructors. 
Our  pupils  still  have  the  opportunity  of  carrying  on 
their  own  work  and  enjoying  that  fundamental  basis 
of  any  science,  experimentation.  Our  laboratory  is 
modern  in  every  respect.  A  well-  equipped  stockroom ; 
a  type  of  laboratory  desk  which  is  unadorned  with 
reagent  shelves,  thus  enabling  the  instructor  to  see  any 
pupil  in  the  room,  at  any  time.  Six  hoods,  two  glass 
display  cases,  balance  tables  and  two  groups  of  reagent 
shelves,  are  standard  equipment.  In  addition  to  this,  we 
have  transformed  a  small  room  originally  designed  as 
a  balance  room,  into  a  chemical  library.  The  books  it 
contains  are  in  constant  demand  as  pupils  leave  the 
laboratory  and  go  into  the  library  to  write  up  experi- 
ments. We  are  trying  in  every  way  possible,  to  make 
our  laboratory  a  vital  part  of  our  course  in  chemistry. 

John  Marshall  has  been  designated  as  an  experimental 
high  school,  and  many  innovations  in  teaching  technique 
are  being  tried  out.  A  considerable  amount  of  this 
work  is  being  done  in  science,  history  and  English. 

Attempting  to  secure  maximum  results  from  each  lab- 
oratory experiment  performed  by  each  student,  we  are 
confronted  particularly  with  selection  of  the  best  meth- 
ods of  dispensing  information  regarding  proper  handling 
of  chemical  apparatus.  As  part  of  the  procedure  entered 
upon  in  making  the  laboratory  a  vital  factor  in  the 
chemistry  course  of  our  students,  photography  and 
visual  instruction  are  playing  a  leading  role.  We  firmly 
believe  that  telling  pupils  how  to  do  something,  sup- 
plemented with  pictures  and  demonstrations  which 
shoiv  them  how  to  do  it,  is  the  ideal  combination.  It  is 
impossible  to  describe  in  words  the  proper  method  of 
using  a  platform  balance ;  a  bunsen  burner ;  or  the 
insertion  of  a  thistle  tube  through  a  stopper.  These 
laboratory  instructions  are  most  valuable  and  last  longest 
in  the  mind  of  the  student,  when  they  are  followed  by 
actual  photographs  of  the  apparatus  in  use,  and  these 


Page  40 


The  Educational  Screen 


photographs  thrown  on  a  screen  in  the  form  of  lantern 
sHdes.  Of  course  there  are  diagrams  which  accompany 
each  experiment,  and  these  are  very  useful.  When 
scenes  of  actual  students,  assembling  and  operating  this 
apparatus  are  used,  results  are  much  more  satisfactory. 

As  part  of  our  efforts  to  illustrate  a  lecture  titled 
"Making  the  Most  of  Your  Laboratory,"  given  several 
times  to  classes  in  the  first  semester  work,  we  have  tried 
to  pick  out  common  mistakes  made  in  general  laboratory 
practice,  have  photographed  the  mistake  being  made  and 
followed  it  with  an  illustration  of  the  proper  procedure. 
These  have  been  changed  to  lantern  slides  and  are 
proving  quite  effective.  Contrary  to  first  thought,  we 
have  found  that  such  pictures  can  be  used  not  once  or 
twice,  but  repeatedly  throughout  the  first  semester. 
They  are  particularly  helpful  during  the  first  few  weeks 
of  the  beginner's  laboratory  work. 

Subject  matter  for  each  of  these  pictures  was  easily 
chosen.  It  was  only  necessary  for  the  instructor  to  watch 
experiments  being  performed  by  students.  As  mistakes 
occurred,  a  notation  was  made  as  to  what  it  was,  in 


"No,  John,  not  that  way" 


ElLLd 


"Much  b€tter,  Frances,  but  not  yet  correct" 


"Evelyn  does  it  correctljf" 


what  experiment  it  was  being  made,  and  the  name  of 
the  student  making  it. 

The  photographs  were  made  with  a  Zeiss  Maximar 
camera,  equipped  with  a  Tessar  f :  4.5  lens  and  compur 
shutter.  The  film  was  Eastman  Supersensitive  Pan- 
chromatic cut  film.  33^4  by  4^4  inches.  The  camera  was 
placed  about  six  feet  from  the  subject  and  the  picture 
first  composed  on  the  ground  glass  focusing  screen.  A 
set  of  reagent  shelves,  formed  the  background.  The  il- 
lumination was  artificial  and  consisted  of  six  photoflood 
lamps  rated  at  from  750  to  1,000  watts  each,  in  assort- 
ed reflectors.  The  stop  opening  used  was  f.ll  and  the 
time  of  exposure  1  second. 

The  writer  is  fortunate  in  sponsoring  as  an  extra- 
curricular activity,  a  Photography-Projection  club  of 
boys.  We  have  a  well-equipped  darkroom,  and  as  some 
of  the  boys  have  worked  in  the  club  for  a  period  of  two 
years  or  more,  they  have  become  quite  efificient  in 
darkroom  procedure.  These  boys  assisted  in  no  small 
measure  with  the  arrangement  of  lights  ;  development  of 
the  negatives  and  the  making  of  the  slides. 

No  amateur  photographer  could  enter  upon  such  a 
project  as  this  without  learning  something  new  in 
technique.  \\'e  'soon  found  that  in  order  to  show  up 
various  articles  of  glassware  to  best  advantage  it  was 
necessary  to  experiment  considerably  with  our  Hghts, 
stop  opening,  exposure,  etc.  A  few  pictures  had  to  be 
retaken  because  we  failed  to  sufificiently  evaluate  the 
background  of  clothing  worn  by  the  student  being 
photographed.  Erlenmeyer  flasks,  wide-mouth  bottles, 
thistle  tubes  and  such  do  not  show  very  well  against  a 
gray  or  white  shirt ;  neither  do  ring-stands,  burette 
clamps  and  bunsen  burners  contrast  well  when  placed 
against  a  dark  coat  or  sweater.  Many  other  things 
which  will  spoil  a  slide  have  to  be  watched.  Unfor- 
tunately some  of  these  defects  do  not  appear  to  one 
on  the  focusing  screen,  but  strike  you  forcefully  upon 
examination  of  the  finished  negative.  In  one  instance 
upon  development  of  a  negative,  we  found  that  to  all 
appearances  we  had  stuck  the  end  of  a  burette  clamp 
directly  into  one  eye  of  the  pupil  being  photographed. 

Any  teacher  in  this  fascinating  subject  will  realize 
that  for  such  a  visual  project  as  herein  outlined,  the 
possible  range  of  subjects  for  pictures  is  very  great. 
Those  which  are  mentioned  below  compose  only  a  par- 
tial list  of  the  ones  we  already  have  finished,  and  are  not 
meant  to  be  comprehensive.  On  my  desk  at  the  present 
time  is  a  list  of  eleven  subjects  to  be  photographed  as 
soon  as  time  will  jiermit.  Perhaps  the  following  descrip- 
tions of  some  of  our  slides  will  serve  to  illustrate  just 
\\  hat  we  are  doing. 

( 1 )  A  view  of  the  entire  laboratory,  showing  pupils 
at  work  in  their  proper  places. 

(2)  A  photograph  of  the  school  dispensary  showing 
examination  of  a  pupil  by  the  school  nurse.  Used  to 
emphasize  possible  dangers  in  a  laboratory,  due  to 
careless  work. 

(3)  A  student  is  pointing  to  the  number  on  a  reagent 
bottle. 

(4)  The  same  student  points  to  the  same  number  on 
the  reagent  shelf. 

(5)  The  same  pupil  replaces  this  bottle  on  its  proper 

(Concluded  on  page  53) 


February,  1937 


Page  41 


Making  Movies  In  The  Junior 
High  School 


THE  following  is  a  brief  report  o\  iiiotion  pic- 
ture making  at  Junior  High  School  No.  45, 
Bronx,  Angelo  Patri,  principal. 
The  writer  was  assigned  to  this  school  from  the 
WPA  Federal  Art  Project  in  October  1936,  as  an 
Art  Teacher,  to  carry  on  motion  picture  making  as 
a  creative  activity  by  students.  On  November  25, 
the  two  one-reel  films  were  shown  to  the  school 
auditorium  periods.  The  first  "Three  Friends,  or. 
The  Helping  Hand,"  was  a  story  of  three  school 
chums  who  help  one  another  to  success  in  school 
work  and  in  sports.  The  second,  "A  Bad  Boy's 
Story,"  told  how  a  'bad  boy'  in  the  school  changes 
for  the  better  under  the  influence  of  the  school,  his 
friends,  a  teacher,  and  his  mother's  visit  to  school 
during  Open  School  Week. 

Public  School  No.  45  is  organized  on  the  Gary 
Plan,  the  whole  school  plant  being  in  constant  use 
through  rotation  of  classes  between  the  many 
"shops",  and  academic  classes.  There  are  some 
twenty-seven  different  shop  activities,  in  addition 
to  the  regular  curriculum  subjects.  Among  these 
activities,  which  in  the  average  school  are  carried 
on  as  extra-curricular  clubs  (or  not  at  all),  are 
found  printing,  carpentry,  book  binding,  millinery, 
art  weaving,  pottery,  clay  modeling,  home  making, 
as  well  as  science,  drawing,  mechanical  drawing, 
etc. 

All  students  have  a  shop,  auditorium,  or  physical 
training  period  daily.  These  activities  are  taken  up 
for  ten-week  periods.  During  their  two  or  three 
years  at  the  school  (rapid  advance  classes  can  make 
the  7th,  8th  and  9th  years  in  two  years  of  study), 
pupils  may  attend  as  many  as  eight  or  ten  different 
shops. 

The  various  shops  attempt  to  provide  an  oppor- 
tunity for  self-expression  in  terms  of  some  medium, 
to  develop  character  and  good  manners,  to  explore 
students'  interests,  and  to  help  them  to  begin  to 
find  themselves  vocationally.  The  guiding  spirit  of 
the  school  is  Angelo  Patrr,  whose  deep  educational 
vision  and  loving  understanding  of  children  has 
greatly  influenced  American  education. 

In  order  to  start  the  project,  two  groups  of  eight 
boys  each  were  selected  for  the  motion  picture  class. 
Both  groups  came  daily  for  two  consecutive  periods 
each,  one  and  one-half  hours  daily.  The  first  week 
or  so  of  the  project  was  the  most  difficult,  since  it 
involved   the   exercise   of  pure   imagination   in   the 


How  the  students  themselves  carry  through 
the  whole  production  of  a  movie,  from 
the  original  concept  to  the  completed  film. 

By      ELIAS       KATZ 

Graduate  Student  Teachers  College,  Columbia  University 

developing  of  ideas  and  themes.  Students  were  en- 
couraged to  submit  ideas  and  suggestions  for  stor- 
ies, with  such  results  as  follows : 

"A  boy  is  not  good  in  baseball  and  other  boys  tease  him. 
He  grows  up  and  decides  to  become  a  big  leaguer,  and  does 
so.    At  the  finish  he  is  a  great  baseball  player." 

"While  two  friends  are  listening  to  the  radio,  they  hear  that 
their  old  friend  has  hit  a  home  run  in  the  World  Series.  They 
say,  'I  wouldn't  think  he  could  do  that'." 

"The  first  inning,  the  poor  player  is  up  with  loaded  bases, 
and  he  pops  out." 

(Since  the  baseball  season  ended  about  this  time,  the  group 
turned  its  interest  to  football,  with  the  following  results.) 

"Two  boys  meet  in  the  street  and  one  boy  has  a  football. 
He  says,  'How  about  a  game  of  football?'  And  the  other  boy 
says,  'All  right.'    So  they  go  get  some  more  hoys  to  play." 

"The  Hero  owns  the  ball." 

"He  meets  a  coach  one  day  and  the  coach  asks  him  why  he 
is  sad.  And  Savino  tells  him  how  he  does  not  know  how  to 
play  football.  And  the  coach  tells  him  that  he  can  come  to 
the  football  field  and  he  will  teach  him  how  to  play  every  day." 

"Savino  is  always  cutting  P.  T.  (Physical  Training — E.  K.) 
period  because  he  does  not  like  to  play  football.  His  friends 
get  together  and  plan  to  bring  him  in  the  field." 

"In  Savino's  home,  James  and  Jerome  are  studying  Arith- 
metic,  and   Savino  helps  them  out  because  he's   smart." 

"Savino  gets  a  football  book  from  James  and  Jerome." 

"In  shop,  James  calls  Savino  to  help  him  with  his  boat." 

"We  can  show  in  the  class  room,  the  teacher  telling  Savino 
to  help  James  and  Jerome  with  their  home  work."  _ 

"The  scene  at  home  can  be  taken  in  the  Home  Making  Room 
(of  the  School— E.  K.)." 

"The  teaching  is  marking  papers  and  James  and  Jerome  get 
very  poor  marks." 

"In  a  class  room.  A  test  is  taking  place.  Savino  smiling 
and  writing  rapidly.  James  and  Jerome  have  a  very  sad  face 
and  are  scratching  heads  because  they  don't  know  the  answer." 

Using  the  above  suggestions  and  ideas,  plus  many  others,  a 
rough  scenario  was  drawn  up.  The  following  are  the  two 
scenarios  of  the  films. 

Three  Friends,  Or  The  Helping  Hand 

Scene    1.    A  football  sails  through  the  air. 
A  boy  catches  the  ball. 

The  boy  runs  to  the  captains,  who  are  choosing  sides. 
Three    friends,    Savino,    Jerome,    and    James    come 

over. 
Jerome  and  James  are  chosen  immediately. 
Savino  is  the  last  to  be  chosen. 

Scene   2.    Savino  is  a  poor  player. 

He  receives  a  pass  and  misses  it. 
While  the  captains  are  choosing,  he  tries  to  kick  the 
ball,  but  falls  in  the  effort. 

Scene    3.   Jim  throws  off  to  the  other  team.     Savino  gets  the 
ball. 
Savino  runs  a  few  yards,  but  he  is  soon  caught. 

Scene   4.    Savino  tries  to  tag  a  man.    The  man  dodges. 

Scene   5.    The  last  play.     Savino  misses  a  pass,  and  loses  the 
game. 


Page  42 


The  Educational  Screen 


A  Scene  from  "The  Helping  Hand" 

Scene    6.    In   the   regular   class   room,  Jerome   and  James  are 
not  good  students. 
The  teacher  tells  Savino  to  help  Jerome  and  James 

with  their  home  work. 
Savino  helps  his  friends  with  their  home  work. 
Scene    7.    After   school,  Jerome  and  James  help   Savino   with 

sports. 
Scene  8 .    The  game  in  which  Savino  is  successful. 
Throwoff. 

A  play  during  the  game,  a  pass  to  Savino. 
An   intercepted   pass   by   Savino,    which   scores   a 

touchdown. 
The  final  play,  Savino  scores  a  touchdown. 
Scene     9.    The  three  friends  walk  oflf  towards  P.  S.  45. 
THE  END. 

A  Bad  Boy's  Story 

Introduction :  This  film  shows  how  a  bad  boy  changes  his 
character.  He's  an  intelligent  boy  but  is  too  lazy  to  work.  He 
likes  to  make  trouble.     Under  the  influence  of  his  teacher  and 
the  school  he  changes  for  the  better. 
Scene    1.   View  of  class  at  work. 

A  boy  throws  a  paper  plane  at  the  teacher.    Every- 
body looks  back  at  boy. 
Th;  teacher  sees  it.     He   says,   "I'll   speak  to  you 

after  school." 
The  boy  is  not  good  in  class  work. 
Scene   2.    View  of  a  work  shop. 

The   teacher   demonstrates   how  to   chisel   a  certain 

piece  of  wood. 
The  boy  breaks  the  piece  of  wood  because  he  wants 

to  be  a  wise  guy. 
The  boy  gets  a  poor  mark  in  shop. 

Scene   3.    The  boy  gets  into  some  more  trouble. 
Scene    4.    The   teacher   speaks   to   the   boy  after   class   in  the 
room. 
The  boy  walks  out  on  the  teacher. 
Scene    S.    The  teacher  meets  the  boy  after  school. 
The  boy  is  going  to  some  bad  friends. 
The  boy  runs  away   from  the  teacher,  and  goes  to 
a  crap  game. 
Scene   6.    The  teacher  speaks  to  the  bad  boy's  shop  teacher. 
Scene    7.   Finally,  the  teacher  speaks  to  the  Assistant  Principal. 
Scene   8.    The    Assistant    Principal   calls   down   the   boy,   and 
tries  to  help  him  reform. 

Scene    9.    Open  School  Week.  John's  mother  visits  school. 

The  teacher  tells  her  about  her  son's  conduct. 

She  cannot  believe  this  news,  and  bursts  into  tears. 
Scene  10.    John  is  now  thoroughly  ashamed  of  himself. 

He  decides  to  reform. 
Scene  11.    The  bad  boy  goes  up  to  the  teacher  and  apologizes 
for  his  bad  conduct. 


Scene  12.    The  student  imjjroves  in  shop  activities,  and  in  school 

work. 
Scene  13.    The  teacher  meets  the  boy  after  school. 

The  teacher  walks  ofif  with  him  to  somewliero  else, 
instead  of  going  to  his  bad  friends. 
THE  END. 

These  scenarios  were  very  useful  for  checking 
the  actual  photography  of  scenes.  Thus,  it  was 
possible  to  avoid  what  often  happens  in  amateur 
film  making,  namely,  repeating  a  scene  which  has 
already  been  taken. 

After  the  filming,  much  discussion  was  given  to 
the  whole  proljlem  of  editing.  This  problem  was 
especially  acute  in  "A  Bad  Boy's  Story,"  owing  to 
the  fact  that  the  story  was  one  with  a  definite 
'moral'  to  it,  and  therefore  needed  a  strong  punch 
to  convey  the  idea. 

As  can  be  seen  from  the  scenario  above,  Scene 
9  is  the  turning  point  in  the  film.  Where  everything 
else  has  failed,  his  mother's  tears  are  the  influence 
which  changes  the  bad  boy.  However,  in  early 
versions  of  the  scenario,  this  strong  scene  was  not 
present.  The  need  for  a  vivid  determining  force 
was  only  brought  out  by  roughly  editing  the  film, 
and  discovering  that  it  would  be  woefully  weak 
without  just  such  an  episode. 


Shooting  "The  Three  Friends" 

The  cost  of  the  entire  project,  including  Super- 
sensitive Panchromatic  film  and  film  titles  was  $60.00. 
By  putting  on  a  gala  performance  on  the  day  before 
Thanksgiving,  it  was  possible  to  obtain  enough  funds 
to  cover  the  cost  of  the  project,  and  to  leave  an  appreci- 
able amount  for  the  School  Fimd.  even  though  only 
five  cents  admission  was  charged. 

From  this  experience,  we  have  an  indication  that 
under  favorable  conditions  motion  picture  making  is  an 
activity  which  may  be  undertaken  and  successfully 
carried  on  in  a  public  junior  high  schcol.  Recognizing 
the  richness  of  the  educational  experience,  and  the 
satisfaction  to  be  derived  from  seeing  pictures  pro- 
duced by  boys  and  girls  on  the  same  level,  it  would  seem 
worthwhile  to  pursue  the  problem  further  along  several 
directions.  These  may  be  stated  in  terms  of  the  follow- 
ing questions : 


February,  1937 


Page  43 


To  what  extent  and  under  what  conditions  can 
motion  picture  making  be  introduced  as  a  regular  part 
of  the  junior  high  school  curriculum?  How  can  motion 
picture  making  be  instrumental  in  effecting  some  degree 
of  integration  of  academic  subjects  and  students'  inter- 
est? For  example,  how  can  English  or  History  teaching 


be  enriched  by  a  ])roject  in  motion  picture  making?' 
What  materials  are  minimum  requirements  for  carrying 
on  a  film  ])r()ject?  How  can  motion  picture  making 
stimulate  children's  creative  imagination,  and  develop 
independence  in  executing  a  difficult  enterprise? 


Establishing  a  Program  of 
Supervised  Audio- Visual  Education 


A  report  on  the  organization  of 
a  Department  of  Visual  Education 
for     a     small     school     system. 

(Concluded  from  January  Issue) 
Preliminary  Activities  of  the  Department  (Cont.) 

E — Acquiring  Commercial  Exhibits 

Many  n.anufacturing  concerns  will  furnish 
valuable  educational  exhibits  to  schools  either 
free  or  at  a  slight  cost.  Such  as  are  worth 
while  should  be  procured  and  held  for  distri- 
bution by  the  Visual  Aid  Center. 

F — Compiling  and  Distributing  Catalogs  of  Avail- 
able Materials  Ozvned  by  the  School  System  or 
Procurable  from  Outside  Sources 

(a)  To  those  catalogs  of  visual  aids  owned  by 
the  school  system  shall  be  added  subsidiary 
lists  of  valuable  materials,  procurable  from 
outside  sources,  previously  used  by  our 
teachers  and  reported  by  them  as  "Good" 
or  "Fair". 

(b)  Copies  of  the  combined  catalog  shall  be 
distributed  to  all  Visual  Aid  Centers  from 
which  they  may  be  borrowed  by  teachers 
desiring  to  schedule  materials. 

(c)  Copies  of  the  film  catalogs  of  leading  film 
distributors  will  be  placed  on  file  in  the 
Visual  Aid  Centers.  These  may  be  used 
in  selecting  materials  not  included  in  the 
Department's  catalog.  It  should  be  the 
general  policy,  however,  to  select  materials 
from  the  catalogs  compiled  and  distributed 
by  the  Department  as  these  will  include 
items  for  which  there  is  some  record  of 
contents  and  value.  As  previously  men- 
tioned, when  new  materials  are  used  and 
found  of  value  they  will  be  added  to  the 
Department's  catalogs. 

G — Furnishing    Synopsis    of   Factual    Content    of 
Visual  Aids  Used  by  the  Department 
(a)   A  card  record,  filed  in  the  Visual  Aid  Cen- 
ter, for  each  item  listed  in  the  catalog,  shall 
include,  whenever  possible,  the   following 
data : — 

1 — Type  of  material. 
2 — Sources    from    which    material    may 
be  procured. 


By     F.     MARSHALL     WORRELL 

Junior  High  School,  Englewood,  New  Jersey 

3 — Outline    of    the    factual    content    of 
the   material,   as   reported   by   users, 
or,  if  possible,  a  teacher's  guide,  at- 
tached. 
4 — Grade    in    which    material    has   been 

used. 
5 — Subject  field  in  which  material  has 

been  used. 
6 — Problems  the  material  has  been  used 

to  illustrate. 
7 — How  the  material  was  used,  i.e.  as 
an  introduction,  direct  teaching  tool, 
summary,  review,  etc. 
8 — Teacher's  opinion  as  to  its  value. 
9 — Criticism. 

10 — Sample  lesson  plans  followed  in  us- 
ing material. 
11 — Tests  used  in  conjunction   with  the 
material, 
(b)   Duplicate   copies  of  this   record   shall   be 
filed   in   the   Visual   Aid   Centers   in   each 
school.    Teachers  should  be  encouraged  to 
consult  these  records  before  scheduling  or 
using  material. 
H — Determining    the    Projection    Equipment    Re- 
quired 

(a)  The  Director  or  Committee  Representa- 
tive shall  inspect  the  projection  equipment 
held  by  each  school. 

(b)  He  shall  list  according  to  type  (slide,  still 
film,  motion  picture  projectors,  etc.)  all 
projection  equipment,  noting :  —  name  of 
manufacturer,  model  and  number,  condi- 
tion and  any  necessary  repairs  required. 

(c)  He  shall  list  any  auxiliary  equipment  held 
by  the  schools,  such  as : — adapters,  spare 
lamps,  lenses,  portable  or  permanent 
screens,  projector  tables  or  stands,  exten- 
sion cords,  film  splicers,  mending  fluid,  re- 
winders,  cleaning  materials,  etc. 

(d)  Damaged  projectors  or  auxiliary  equip- 
ment shall  be  repaired. 

(e)  The  Director  shall  recommend  the  trading 


Page  44 


in  of  any  obsolete  equipment  as  part 
payment  for  new. 
(f)  The  Director  shall  recommend  the  pur- 
chase of  such  new  equipment  as  may  be 
required  to  meet  the  following  minimum 
requirements : — 

1 — A  slide   projector   shall  be   assigned 

to  each  building. 
2 — A  still  film  projector  shall  be  assigned 
to    the    Junior    and     Senior     High 
Schools  and  such  Elementary  Schools 
as  use  film  rolls  regularly. 
3 — A    16mm   silent   film   projector  shall 
be  assigned  to  the  Junior  and  Senior 
High   Schools  and  such  Elementary 
Schools  as  use  motion  pictures  regu- 
larly. 
4 — The   several   35mm   projectors,   now 
located  in  various  buildings,  shall  re- 
main there. 
5 — As  far  as  possible,  each  building  shall 
be  equipped  with  a  table  radio  set.  to 
be  used  in  classroom  or  auditorium. 
6 — The  Junior  and  Senior  High  Schools 
shall  be  assigned  Victrolas  for  use  in 
the  teaching  of  Music  Appreciation. 
7 — Those    buildings    equipped    with    an 
auditorium  shall  be  supplied  with  a 
suitable  roller  type  screen. 
8 — A  portable  screen  will  be  assigned  to 
all  buildings  for  use  in  the  classroom. 
9 — All   buildings   will  be   supplied  with 
a    suitable    projection    table,    spare 
lamps,  extension  cords  and  such  aux- 
iliary equipment  as  may  be  required 
to   take   care   of   minor   repairs   and 
maintenance,   i.e. : — oil,   cleaning  tis- 
sue,   tape,     tools,     splicer,    mending 
fluid,  etc. 
10 — The  Visual  Aid  Center  will  hold  in 
reserve  for  distribution  :• — 
Two  combination  slide  and  opaque 

picture  projectors. 
One  16mm  silent  film  projector. 
One  16mm  sound-on-film  projector. 
One  35mm  silent  film  projector. 
Two  still-film  projectors. 
Two  or  more  stereoscopes  for  each 

Elementary  school. 
One    spare    lamp    for    each    type 
16mm  and  35mm  film  projector. 
One  spare  lamp  for  each  type  slide 

and  still  film  projector. 
One  Victrola. 
One    Victrola    attachment    for   the 

sound  projector. 
One  microphone  for  the  sound  pro- 
jector. 
Two  portable  screens,  one  of  which 

must  be  a  "daylight"  screen. 
Such    lesser    facilities    as    are    re- 
quired   in     the     operation     and 
maintainance    of    the    machines. 


The  Educational  Screen 

such  as : — extension  cords,  wire, 
plugs,  tape,  oil,   cleaning  tissue, 
mending  fluid,  splicer,  rewinder, 
soldering  equipment,   camel   hair 
brush,     and     extra    35mm     and 
16mm  reels, 
(g)   All  equipment,  allocated  to  schools,  shall 
be  in  the  school's  Visual  Aid  Center.    In 
case  the  demand  made  on  the  Department's 
reserve  equipment  exceeds  the  supply,  the 
Department  may  transfer  equipment  from 
one  building  to  another  provided  such  a 
change  does  not  conflict  with  the  program 
of  the  school  originally  holding  the  equip- 
ment.    It  shall  be  understood  that  the  De- 
partment has  direct  control  over  all  visual- 
auditory   facilities  whether   such  are  held 
in  reserve  or  allocated  to  school  Centers. 
I — Making  a  Survey  of  All  Buildings  to  Determine 
the  Rooms  Suitable  for  Projection  Purposes 

(a)  All  classrooms  should  be  equipped  with 
dark  shades  and  electrical  wall  outlets  in 
the  front  and  rear  of  the  rooms.  Until  this 
can  be  done,  at  least  one  room  on  each 
floor  of  each  building  should  be  so  equip- 
ped, including  shops. 

(b)  If  possible,  one  or  more  rooms  should  be 
set  aside  in  each  building  as  projection 
rooms.  Rooms  capable  of  seating  several 
classes  should  be  selected.  In  those  build- 
ings having  auditoriums,  these  may  be 
equipped  and  used  almost  entirely. 

(c)  Those  rooms  set  aside  for  projection  pur- 
poses should  be  equipped  with  dark  shades, 
roller  type  screen,  projection  table,  loud 
speaker  table,  desks  and  seats,  metal  pro- 
jection booth  (if  inflammable  films  are 
used)  and  suitable  front  and  rear  wall  out- 
lets. Such  rooms  may  also  be  equipped 
with  permanent  radio  antenna  and  ground 
wiring  for  use  when  radio  programs  of  an 
educational  nature  are  correlated  with  class 
work. 

J — Purchasing  Supplementary  Material 

(a)  The  Director  shall  requisition  such  office 
supplies  as  may  be  needed  for : — 

1 — Records 

5"x8"  filing  cards.  Files  for  cards, 
Manilla  folders,  Filing  cabinets. 

2 — Reports  and  forms 

Mimeograph  paper.  Stencils,  Du- 
plicating equipment. 

3 — Correspondence 

Post  cards.  Letter  paper.  Enve- 
lopes, Carbon  paper,  Filing  folder 
(day  file). 

4 — General  Supplies 

Desks  and  chairs,  Work  table. 
Typewriter  and  suitable  table  and 
chair,  Blotters,  Erasers,  Pens  and 
pen  points,  Rulers,  Library  paste, 
Rubber  bands',  Paper  clips.  Paper 
punch.    Labels,    Hotchkiss   stapel- 


February,  1937 

ing    materials,    Pencil    sharpener. 
Paper  cutter,   Scissors,   Graph  pa- 
per,    Wrapping    paper.     Cord     or 
heavy  twine,  Suitable  supply  cabi- 
nets or  closets.  Cardboard  (assort- 
ed sizes  and  colors),  Scratch  pads, 
(crayon  and  water  colors  and  oth- 
er material  to  be  handled  through 
the  Art  Department). 
(b)   The  Director  shall  requisition  such  mate- 
rials as  may  be  required  for : — 
1 — Making  Slides 

Plain  cover  glass  3>4"x4" 
Ground  glass  3j4"x4" 
Powdered  carborundum 

(grade  FF) 
Slide  carbons 
Slide  cellophane 
Binding  tape 
Slide  vise 

Slide  crayon  (Keystone) 
Slide   ink    (Black    India    ink   and 

Keystone  colored  ink) 
Ink  solvent 
Thumb  labels 
Cardboard  slide  boxes 
Slide  filing  cabinets 
2 — Making  slides   (photographic) 

Double  extension  camera  (suitable 

for  copy  work) 
Processed  film  negatives 
Photographic  glass  slides  3j4"x4" 
Developing  materials 

Eastman  developer  and  fixing 
solutions,    Trays,    Printing 
frames,    Drying    frames,    Silk 
viscose  sponge,  Ruby  and  am- 
ber lamps,   Photoflood   lamps, 
McCormick     self    adjustable 
mats. 
3 — Mounting  Pictures 
Picture  press 
Chocolate  and  gray  colored  double 

thickness  cover  paper 
Suitable  cabinets — capable  of  hold- 
ing pictures  H"xl4" 
Paperoid    expanding    wallets    for 

carrying  pictures 
Clips  for  hanging  pictures 
Picture  wire 
4 — Exhibits 

Such  boxes  and  cabinets  as  may  be 

needed  for  mounting  exhibits. 
Suitable  storage  shelves  or  cabinets 
for  housing  exhibits. 
Slide  making  and  picture  mounting  ma- 
terials shall  be  distributed  to  the  various 
schools  thru  their  Visual  Aid  Centers. 

Such  materials  as  may  be  required  for 
making    exhibits,    posters,    puppets,     etc. 
shall  be  ordered  as  needed. 
K — Training  of  Teacher  and  Student  Operators 
(a)   All  teachers  of  the  Elementary  Grades,  de- 


Page  45 

siring  to  use  projectors,  must  be  instructed 
in  their  care  and  use.  It  is  not  desirable 
to  have  very  young  pupils  operate  any- 
thing more  difficult  than  a  slide  projector. 

(b)  All  teachers  of  the  Junior  and  Senior  High 
Schools,  desiring  to  use  projectors,  must 
be  instructed  in  their  care  and  use,  altho 
the  actual  operating  of  the  machines  may 
be  done  by  qualified  pupils  under  the  super- 
vision of  teachers.  (These  instructions  will 
be  given  teachers  as  part  of  their  in-service 
training). 

(c)  All  pupils  of  the  Junior  and  Senior  High 
Schools,  desiring  to  operate  projectors, 
must  be  fully  instructed  in  their  care  and 
use.  Instructions  will  be  given  to  the  Jun- 
ior High  School  pupils  during  their  club 
period,  by  the  Director.  They  must  then 
serve  a  period  of  apprenticeship  under  the 
supervision  of  a  qualified  operator  before 
they  may  operate  the  machine  alone.  Those 
pupils  who  have  qualified  for  this  work  in 
the  Junior  High  School  will,  upon  gradua- 
tion, act  as  operators  in  Senior  High 
School.  Pupils  must  maintain  an  average 
of  "B"  in  those  subjects  from  which  they 
may  be  excused,  from  time  to  time,  when 
their  services  are  needed  elsewhere. 

L — Training  of  Teachers  in  Service 

(a)  As  few  of  our  teachers  have  had  special 
training  or  experience  in  the  selection  and 
use  of  visual  aids,  a  three  month  course 
will  be  offered  by  the  Director,  assisted  by 
the  experienced  teachers.  All  teachers  us- 
ing facilities  of  the  Visual  Education  De- 
partment will  be  expected  to  participate. 
The  following  units  will  be  offered: — 
1 — Historical  Background  of  the  Visual 

Education  Movement. 
2 — Psychological  considerations  in  using 

visual  aids. 
3 — Types  of  visual  aids  and  the  uses  of 

each.     Limitations  of  each. 
4 — Some    typical    classroom    techniques 
involving  the  use  of  visual  materials. 
5 — Selecting  material  and  correlating  it 
with   the   course   of   study.       (Each 
teacher  will  be  expected  to  select  and 
correlate  suitable   material   with  her 
course  of  study). 
6 — Methods  used   in  planning  the  pro- 
gram and  scheduling  materials. 
7 — Reports    and    Department    routines 
involved  in  handling  materials    (see 
description    of    reports    and   depart- 
mental routines  described  later.) 
8 — Training  in  care  and  use  of  projec- 
tors. 
9 — Training    in    making   of    slides,    ex- 
hibits, mounting  pictures. 
This  preliminary  training  period  should 
precede  the  actual  planning  and  execution 
of  the  various  visual  education  programs. 


Page  46 


The  Educational  Screen 


Ten  Years  of  Film  Estimates 


A  brief  summary  and  analysis  of  nearly  4000  theatrical 
features   as   evaluated   from    1927   to    1936   inclusive. 

By    NELSON    L.    GREENE 

Editor  of  The  Educational  Screen 


IN  September,  1926,  was  devised  and  begun  in  The 
Educational  Screen  the  unique  service  of  evaluat- 
ing theatrical  fihns  expressly  for  the  "intelligent  pub- 
lic," guessed  to  be  about  10%  of  our  population.  Joseph 
Jastrow  has  recently  declared  this  proportion  to  be 
about  6%,  which  means  there  are  scarcely  a  million  in 
the  country  to  whom  such  a  service  can  a])peal.  The 
name,  "Film  Estimates",  was  also  invented  at  the  start 
to  distinguish  and  define  definitely  this  service.  The 
name  was  evidently  good,  for  it  has  been  blandly  adopt- 
ed by  others  and  even  the  exact  form  of  the  Film  Es- 
timates has  been  appropriated  in  various  quarters. 

The  tenth  birthday  of  the  Film  Estimates  last  Sep- 
tember invited  some  summary  of  the  films  of  a  decade. 
As  each  Estimate  is  threefold  (for  Discriminating 
Adult,  for  Youth,  for  Child)  there  were  some  12,000 
separate  evaluations  to  be  collated,  classified,  and  an- 
alyzed for  their  implications.  Before  the  task  was  done, 
1936  was  ended.  It  was  then  possible  to  omit  films  from 
September  to  December,  1926,  include  films  for  the 
same  months  of  1936,  and  thus  make  the  ten-year  sum- 
mary coincide  with  the  calendar  years  of  1927  to  1936 
inclusive.  Included  here,  therefore,  are  the  3,930  films 
estimated  within  that  period. 

Why  the  Film  Estimates  Were  Started 

The  theatrical  movie  is  one  product  that  the  public 
must  buy  without  seeing  it.  The  industry  does  little  to 
aid  the  public's  choice.  Delirious  publicity  pronounces 
practically  every  production  a  masterpiece.  This  naive 
practice  is  doubtless  fairly  effective  with  the  general 
public.  For  the  intelligent  public  it  is  absurd,  but  it 
does  serve  to  make  difficult  any  accurate  selection  of 
worthwhile  pictures.  Indeed  the  monotonovis  superla- 
tives, maudlin  praise  and  silly  rhapsody  often  cut  down 
the  maximum  attendance  that  a  good  picture  de- 
serves. The  general  public  comes  anyway,  but  the  other 
public  may  easily  miss  a  good  film  as  all  publicity 
sounds  the  same.  Still  today,  for  example,  when  the 
industry  achieves  a  masterful  screening  of  a  classic  like 
the  current  "Camille."  it  can  think,  pitifully  enough,  of 
no  better  publicity  line  than  "Garbo  Loves  Taylor"  to 
sell  it  to  the  world.  (Doubtless  we  should  be  thankful 
that  the  line  was  not  made  the  title  of  the  picture). 

With  such  publicity  as  a  guide — with  newspaper 
critics  aiming  to  pick  and  praise  the  films  that  are 
going  to  pay  best,  whether  best  or  not,  in  order  to  be 
ranked  as  "champion  critics"  for  the  year — with  other 
review  services  recommending  from  30%  to  70%  of 
the  total  output — it  is  small  wonder  that  the  intelligent 
public  grew  indifferent  and  stayed  away  in  droves. 
Worse    still,    many   parents   have    kept    their   children 


away  entirely,  depriving  the  youngsters  of  a  share  in 
a  normal,  fascinating  and  important  experience  of  these 
modern  days.  The  Film  Estimates  were  begun,  then,  to 
give  these  parents  an  unprejudiced  and  discriminating 
estimate  of  the  degree  of  worth  or  worthlessness  of  each 
film  coming  to  their  theatres,  made  by  adult  minds  of 
their  own  kind,  from  the  point  of  view  of  the  cultured 
home,  and  thereby  serve  as  a  consistent  and  trust- 
worthy basis  for  selection  of  films  for  their  own  and 
their  childrens'  viewing.  The  Film  Estimates  recom- 
mend for  adults  and  youth  about  25%  of  the  films ;  for 
children  about  11%. 

How  Are  Film  Estimates  Made? 

A  volunteer  Committee,  fluctuating  much  through  the 
ten  years  in  number,  personnel  and  individual  service, 
living  in  various  city-centers  of  the  country,  seeing  the 
films  in  the  theatre  with  audience  reaction  to  aid  their 
judgments,  including  at  diflferent  times  teachers,  college 
professors,  ministers,  priests,  rabbis,  welfare  workers, 
club  leaders  and  non-professional  parents  and  laymen, 
all  interested  and  experienced  in  viewing  pictures  for 
this  purpose,  and  never  connected  directly  or  indirectly 
with  the  industry — these  have  made  the  Film  Estimates 
possible.  A  3x5  library  card  carries  each  opinion  on  each 
film.  The  Chairman,  who  him.self  sees  practically  every 
picture,  collates  the  cards,  checks  with  other  services, 
with  press  reviews,  often  consults  with  another  Com- 
mittee member,  and  then  personally  writes  or  edits  the 
Film  Estimate  for  publication.  The  Chairman  and  three 
of  the  judges  have  served  continuously  through  the  ten 
years. 

We  are  often  asked,  "Who  are  the  judges?"  Since  the 
first  year,  names  have  not  beeen  printed,  nor  will  be. 
When  a  judge  gives  time  and  effort  to  the  highly  unre- 
munerative  task  of  viewing  and  estimating,  he  should 
at  least  be  spared  argumentative  correspondence  with 
the  industry,  such  as  blossomed  promptly  when  names 
were  mentioned  at  the  start.  A  moment's  reflection  will 
make  clear,  however,  that  it  is  not  of  the  slightest  im- 
portance who  the  judges  are.  The  resultant  Film  Es- 
timate is  the  sole  test.  No  intelligent  parent  or  adult 
would  trust  any  service  for  an  instant,  whoever  the 
judges,  unless  the  estimates  agreed  consistently  with  his 
own  opinion.  Every  user  must  prove  the  case  for  him- 
self, by  checking  few  or  many  Estimates  on  films  he  him- 
self has  seen.  This  is  as  it  should  be,  for  the  parent  is 
the  only  proper  judge  of  pictures  for  his  own  child. 
The  Estimates  are  so  designed  that  all  parents,  liberal 
or  conservative,  seem  able  to  select  from  them  in 
exact  accordance  with  their  personal  standards.  The 
service  wishes  merely  to  make  the  parent  independent  of 


February,  1937 


Page  47 


B 


YZ 


Table  I  TEN- YEAR  SUMMARY  of  FILM  ESTIMATES  for  ADULTS 

A — Excellent        B — Good        C — Perhaps        X— Mediocre        Y— Very  Poor        Z — Useless 

l^nL        '^^^  '^^^  '^•^''  '^^'  '^^2  1933  l3iH  I93H  1955  1935  ]93G  I9J6        TEN  YEAR 


%  rafis 


9    45 

'/o 


IS  92 

% 


l£  ?i 


22 

2VS; 


G    22 


13 
59% 


16    64 


18      13    54 15 
22%   I__l__l2r% 


7   2i 


16   63 


19  .74i7 

37)6 


1^     I0( 


39  201 


23   93 


TOTAL     519 


42  169 
iiil 


9    36 


I?    71 


19    76 


It   i,7,s 

22% 


402 


40  156 
iiii 


22 


itt 


V 


32  125 

ii 


ii5 


10  a 


i>    19 


21  72 


\%    57 


34  10? 


319 


15   52 


W  34 


13 
MX 


22    77 


9   31 


13   4S 


22.ir0z3 


/JT  WMf  ZnHULF  ItTHMF  ImmiF  IsrHltLF  ZkeHALF  TOTAL 


16    5? 


37  129 
ii 


r 


16   57 


350 


40  m6 

i 


362 


2J% 


2     (5 


16    29 


6 


23   43 


9     17 


15    27 


26  HS 


12    24 


17  33 


25  50 


II   24 


9 


12    21 


41   74 
il 


10    If 


ItZ 


40  72 
Liiii 


\tl 


TT 

17   ^V 


29  5f 
iiJ 


199 


19  HI 


8 

3J» 


2?  60 


15  32 


14    2S 


It  5i 


14  29 


10    20 


ii  70 


12    26 


30  65 


I?    37 


216 


25  52 
iU 


25  5Z 


ZOi 


ly  37 

iiilL 
20? 


9      353 

% 

A 


weitl 
BP 


B 


635 


c 

22      ?H3 


21% 
BP 


25% 


47% 


53X. 


14% 
WCRC 
flP 


L2__Zfl2 


YZ 

35    1392 


Mtnt 

BP 


3930 


irresponsible  opinion,  hearsay,  guesswork  and  distorted 
publicity  in  selecting  pictures  for  his  own  or  his  chil- 
drens'  viewing.  It  is  evident  from  subscription  and  syn- 
dication of  the  Estimates  year  after  year,  that  there  are 
still  parents  who  care  what  their  children  shall  see,  prev- 
alent "modern''  conversation  to  the  contrary  notwith- 
standing. 

Use  of  the  Service 

It  is  convenient  for  adults  who  care  to  see  only  the 
best  product  of  the  industry,  or  such  portion  thereof  as 
their  time  and  inclination  permit,  without  risk  of  wast- 
ing a  single  evening  on  a  stupid  picture.  For  ten  years 
the  Estimates  have  listed  about  35  films  a  year  in  the 
A-group  for  Adults.  Some  select  only  from  these.  For 
others  with  a  sturdy  cinematic  appetite — and  there  are 
such  among  the  intelligentsia  whether  they  care  to  have 
it  known  or  not — there  is  available  the  B-group  also  of 
63  more  films  per  year,  usually  enough  to  satisfy  the 
most  voracious.  The  Estimates  are  no  less  enthusias- 
tically frank  about  the  films  in  lower  groups,  X,  Y,  and 
Z.  The  aim  is  merely  to  give  the  thinking  public  a  thumb- 
nail minimum  of  what  it  wants  to  know  about  each 


film,  so  that  it  can  read,  consider,  and  do  exactly  as  it 
pleases. 

By  far  the  most  important  service  is  to  the  parents 
who  care  what  their  children  are  seeing,  and  hence  in 
greater  or  less  degree  thinking  and  doing.  The  one 
perfect  method  is  for  the  parents  to  see  every  picture 
produced  and  select  exactly  those  that  meet  their 
standards.  This  being  usually  beyond  all  bounds  of 
possibility,  The  Film  Estimates  aim  to  supply  the  sec- 
ond-best method.  Many  parents  limit  choice  mainly  to 
the  A  and  B  groups  for  Youth  and  Child,  about  44  films 
per  year,  but  many  approve  also  the  C  films  for  young- 
sters, which  makes  available  over  100  films  a  year — 
two  per  week — which  would  seem  ample.  Occasional 
films  of  the  X  and  Y  group  may  be  possible — those 
called  "mature,"  "beyond  them,"  "very  exciting" — for 
child  temperament  and  maturity  vary  greatly  and  only 
the  parent  can  adequately  know  the  child.  The  Film  Es- 
timate describes,  the  parent  decides. 

The  supreme  criterion  in  judging,  of  course,  is  the 
rational  and  wholesome  entertainment  value  of  the  film. 
For  adults,  technical,  dramatic  and  artistic  consideration 
are  paramount.  For  youth  and  child,  ethical  and  moral 


Page  48 


The  Educational  Screen 


Table  11 


TEN-YEAR  SUMMARY  of  FILM  ESTIMATES  for  YOUTH 


1927 


?    HO 


1\  110 


Z2  I19M'< 


19   9? 


-  ^ 


If*    7 


5   ?l 


5 
7% 


A — Excellent        B — Good        C — Perhaps        X — Doubtful         Y — Unsuitable         Z — Unwholesome 

1928"  1929  1930         I9JI  19J2  1933         1934  1934         1935         19,35         )93e 

ItrMALF  2/*oH/KLF  hr  HALF 


% 


20  n 


23    SZ 


51% 


OTAL    519 


Ife    65 


5  .59 


ZO  n 


s 


402 


20   7? 


?    iZ 


21    ?0 


12  .4? 


17  06 


11  ?W 


3?y 


II  45 
% 


17  66 


\S  70 


13      19   76 

9        l£    £3 

/9% 

II       19   75 

;v»; 

?    26 
% 


13  M2 


If. 5? 


27  ?M 


M 


24  y6 


5IJ 


0  35 
% 


15  55 


19  65 


6    23 


17  62 


16.59 


1934 

irhALF 

11 

?     \H 

H»% 

"r. 

23X 

10    I? 

6 

\L. 

^ 

1934 

2  wfl  H^LF 


19  66 


ii!i 


/3 

20% 


9   67 


iL£Z 


^ 


350 


3£2 


75 


m 


25  T7  a      |26  g-y  13      30  55  lo      22  4/6       /O  2/  ,< 
21  y. 


L 
?% 


10    I? 


II    20 


9 


19.34 


24   43 


IJ2 


M 

14   26 


lU 


\H  n 
% 


14   27 


25  50 


16,  33 


21   41 


199 


14   30 
% 


20  42 


30  a 


26  56 


14.   31 


7 
23% 


I?      41 


13   27 


19  40 


Hi, 


9 
23* 


31  .65 


7    \(,  5       7    14 

31* 


n 

15   32 


rrr 

15  30 


2  ox 


1936 

ZmoHMF 


7    14 


14  29 


29  60 


6       22  56 

19  K, 

1  1  1 

o  17  36 
o 

2        6    13 

20? 

TEN  YEAR 
TOTAL 


9    ,  353 

'-i  A 


B 

17      671 


c 

22     ywo  1 


4?% 
52% 


I?      ?,?■< 


Y 

HL_5^ 


19     749 


iSid 


values  also  are  a  primary  consideration.  Thus  the  Y  and 
Z  groups  are  kept  separate  for  the  latter,  combined  for 
the  former.  As  a  general  division  of  the  whole  output, 
the  ABC  films  are  acceptable,  the  X  Y  Z  films  unac- 
ceptable. Only  the  A  and  B  groups  are  definitely  recom- 
mended, the  Y  and  Z  groups  definitely  condemned. 
Borderline  pictures  are  the  C  and  X  groups  for  occa- 
sional use  or  habitual  avoidance  as  the  individual  pre- 
fers. 

The  Classifiied  Tabulations  for  Adult, 
Youth,  Child 

Each  vertical  column  classifies  the  films  of  one  year. 
The  break  in  the  column  is  the  division  between  the  de- 
sirable ABC  groups  and  the  undesirable  XYZ  groups. 
Within  each  vertical  column  are  two  numbers  for  each 
group,  the  right-hand,  the  number  of  films  in  that  group, 
the  left-hand,  the  percentage  of  that  number  of  films  to 
the  total  output  of  the  year.  The  year's  total  of  films 
estimated  appears  at  the  bottom  of  the  column.  The 
percentages,  adding  always  to  100%,  are  not  totaled. 

The  figures  outside  each  column  at  the  right,  two  for 
each  group,  are  significant.  They  are  the  "Best  Payers" 
(BP)  of  that  group.    The  upper  figure  is  the  number  of 


BP  films  in  that  group,  the  lower  figure  the  percentage 
of  tho"e  to  the  total  films  in  the  group.  (These  percent- 
ages, of  course,  do  not  add  to  100%).  BP  figures  are 
missing  for  the  years  1930,  1931,  and  second  half  of 
1936,  as  our  source  of  information  was  unable  to  supply 
them.  The  BP  percentages  beside  the  Ten-Year  Total 
columns,  therefore,  are  exact  for  the  7j/2  years  report- 
ed, and  probably  approximately  correct  for  the  ten 
years.  The  BP  figures  will  be  discussed  further  below. 

Fluctuations  in  the  size  of  groups  through  the  ten 
years  would  i)ermit  of  unlimited  analysis,  explanation 
and  interpretation  from  the  complete  Film  Estimate 
records  on  over  4,000  films,  but  space  and  patience  for- 
bid. We  touch  here  only  the  more  conspicuous  varia- 
tions. 

The  years  1927  and  ]928  were  the  final  years  of  si- 
lent films.  Note  the  quantity  of  YZ  films  in  all  thrpe 
Tables.  The  Valentino  sex  tradition  was  being  carried 
valiantly  to  new  heights.  Garbo  and  Gilbert,  for  ex- 
ample, were  in  their  hey-day.  But  then  came  the 
Talkies,  in  1929  and  1930!  Words  have  more  positive 
and  stubborn  meaning  than  pantomime.  They  are  bald, 
incisive,  definite  things.  The  public  could  not  yet  ac- 


February,  19i7 


Page  49 


Table  III  TEN- YEAR  SUMMARY  of  FILM  ESTIMATES  for  CHILD 

A — Excellent        B — Good        C — Perhaps        X — Doubtful         Y — Unsuitable         Z — Unwholesome 


1927 
%  FILMS 


i    II 


9   SO 


\t  9I^» 
% 


r-T 
22  112 


30  156 


5S 


25 
22% 


/S' 


OTAL     5(9 


192? 


1929 


i_ia. 


11    W3 


n  CO 


II  41 


1~ 

It  56 


20  ro 


27  107 


2£.  [Oi 


20 
2J% 


ZV  91 


11 

13% 


li  \oz 


IH    9'* 


2i, 
2S% 


13 


101 


1930 


2J-K 

H     15 

% 

10 
15 

10 
1^1 

TT 

25  90 


af  93 


2H   9i 


J95 


1931 


3      9 


X-    26 


13  fl 


20  65 


1-5 .?? 


31 


5/9 


1932 


1533 


1934 

IsTHAlF 


3       10 


10    JJ 


15     Jl 


3 

30* 

2      7 

li 

9 

7    26 

Z6?j 

i3 

13  47 

25% 

TT 

If  64 


2'/.?^ 


30  105 


T 

16  59/0 
n 

33  llpg 

29  105  (5 

f^ 

550 


362 


193H 

2x0  HALF 


b     10 


9    16 


33% 

2 
20% 


V 

25% 


iia 


m 


32  59 


nt 


7     13 


10    If 

I 


5 

39% 


r 


5         1? 

f. 

s      W/ 

3?4 

74  1 

0       23 

12 

irz 


1935         1935 

liT  HALF  2«oHALF 

Z 
50% 


1936         1936 

I. T  HALF  2«bHA-F 


/o 


?   15 


II    21 


52^3 


35  7J 


12    25 


/( 

l7'/a 


i     7 

N 

9    19 


ir  i% 


3 

3     7 

•Vi* 

^ 

5 

10  10 

26% 

9 

15  32 

2vr<. 

5 
7(-fh 

'■'o       ' 

S 

7    IS 

2J* 

6 

15  31 

/3% 

25  5''' 


35  76 


10  zi 


s 

23% 


!99 


33  £f 


2r  «  =r 


II    II 


■2I& 


20? 


35  £6 


33  ii 


13   26 


20? 


TEN  YEAH 
TOTAL 

2  A  ?7 

■/*.% 

9      353 

% 

BP 
BP 

C 
IS     563 

% 

25  »c 
SP 

26% 


X 

22      777 
% 


MtKt 

6P 


BP 


29 


1151 


23      ?99 
% 


|5«. 
BP 


5950 


cept  the  risque  in  spoken  form  (but  the  screen  had  no 
trouble  in  training  the  public  rapidly).  So  strong  was 
the  ban  on  verbal  improprieties  at  the  start  of  the  talkies 
that  even  Lowe  and  McLaglen  as  tough,  tough  soldiers 
in  "The  Cockeyed  World"  could  not  utter  a  single 
"damn."  The  first  result  of  the  talkies,  then,  was  to  re- 
duce the  objectionable  films,  as  is  evident  in  the  Tables. 
A  marked  increase  in  Y  and  Z  films  for  Youth  and 
Children  appears  in  1931,  the  last  year  of  prohibition. 
The  films  had  been  growing  wetter  for  years,  and  by 
1931  were  featuring  drunken  high-school  boys  and 
girls  as  leading  characters.  When  repeal  came  the 
novelty  of  drink  was  gone  and  films  grew  dryer.  The 
movies  are  the  great  national  nursery  for  novelties  and 
sensations  while  they  are  nezv.  When  the  country  has 
become  used  to  them,  newer  ones  are  sought.  Interest- 
ing research  could  be  done  on  the  screen's  role  in  vari- 
ous matters  of  social  significance,  such  as  "smoking  by 
women",  "drinking  by  everybody",  "sock-in-the-jaw  by 
a  gentleman  to  a  lady",  "gangster  and  moll",  "loving 
fiances  fighting  until  the  last  reel",  "marriage  as  a 
joke",  "marriage  as  an  absurdity",  "wrangling  mar- 
riage", etc.  etc. 


On  all  three  Tables  may  be  noted  a  fairly  consistent 
rise  in  Y  Z  films  from  1930  through  the  first  half  of 
1934.  Sophistication  in  the  films  waxed  merrily,  and 
familiarity  with  the  product  was  breeding  indifference 
at  a  like  rate.  Seemingly  the  screen  can  teach  anything, 
in  either  direction.  Even  the  intelligent  public  was  skill- 
fully kept  somnolent  by  "promises  from  Will  Hays" 
which  dotted  movie  history  up  to  1934,  assuring  the 
dear  public  that  they  need  not  worry,  that  the  industry 
was  busily  cleaning  up  its  product  to  a  point  of  practical 
spotlessness.  At  each  of  these  magic  utterances  a  sur- 
prisingly large  part  of  the  intelligent  public  would 
rouse,  listen,  take  comfort,  and  go  back  to  sleep.  But 
there  was  one  part  of  that  public  that  refused  to  be 
chloroformed.  The  Catholic  Church  was  not  sleeping. 
It  was  thinking,  had  been  thinking  for  some  time,  and 
in  the  spring  of  1934  it  had  reached  a  decision.  The 
Legion  of  Decency  spoke !  The  blow  fell ;  the  first  blow, 
the  only  blow  that  ever  panicked  Hollywood  1 

Then  Came  the  Legion  of  Decency 

In  the  June  issue  for  1934  The  Educational  Screen, 
commenting  editorially  on  the  Legion  of  Decency's  out- 


Page  50 


The  Educational  Screen 


standing  action,  said:  "B3'  this  vigorous  move  the 
Catholic  Church  has  done  more  in  twenty  days  than  all 
other  efforts  have  accomplished  in  twenty  years  to  make 
the  magnates  of  Moviedom  stop  and  think.  And  why? 
Because  the  Catholic  action  hits  straight  and  hard  at 
the  box-office,  the  one  and  only  vulnerable  spot  in  the 
mighty  movie  business.  The  Legion  of  Decency  has 
scored  a  definite  hit  in  the  heel  of  Achilles  and,  if  the 
arrow  sticks,  our  Achilles  is  going  to  be  greatly 
changed.  .  .  .  The  threat  alone  may  suffice  to  start  a 

rapid  clean-up  in  Hollywood  production For  the 

first  signs  we  need  wait  only  for  the  first  films  conceived 
written  and  produced  after  the  master  minds  of  the 
movies  were  seized,  not  by  the  fear  of  God,  but  by 
fear  for  their  box-office." 

The  arrow  stuck,  the  clean-up  began  and  continued 
through  the  most  hectic  summer  and  fall  that  Holly- 
wood ever  knew.  A  glance  at  the  three  Tables  show 
how  greatly  and  how  swiftly  poor  old  Achilles  changed. 
(The  tabulation  by  half-years  after  1933  shows  this 
more  clearly.)  Note  the  tumble  taken  by  the  XYZ 
films,  the  splendid  increase  in  the  A  B  C's.  Only 
slight  change  appears  in  the  second  half  of  1934.  For 
it  must  be  borne  in  mind  that  a  picture  is  many  months 
in  process  of  production,  from  story-purchase  to  final 
release.  Producers  spent  that  summer  and  fall  feverish- 
ly tinkering,  trimming  and  twisting  the  scores  of  pic- 
tures then  in  making  to  meet  the  L.  D.  ultimatum.  They 
managed  to  reduce  markedly  the  Z  pictures  for  Youth 
and  Child  that  fall,  but  many  productions  were  not 
susceptible  of  complete  cure  and  one  of  May  West's 
ebullitions  practically  died  on  the  operating  table.  The 
L  D  results  were  fully  manifest  through  1935,  and  the 
first  half  of  1936.   Achilles  was  unmistakably  changed. 

Some  evidence  of  "slipping"  appears  in  the  second 
half  of  1936,  noticeably  in  the  Adult  B  group  and 
markedly  throughout  the  Youth  and  Child  columns. 
This  was  due  in  part  to  the  regrettable  practice  of 
turning  out  Class  B  films  in  quantity  to  take  care  of  the 
equally  regrettable  practice  of  double- feature  programs. 
Again  the  Legion  of  Decency  was  on  the  alert  and 
promptly  announced  in  the  press  that,  although  movie- 
dom had  done  considerable  cleaning-up,  still  more  was 
needed  and  expected.  On  the  whole  it  would  seem  that, 
whatever  our  creed,  (and  the  writer  is  a  Baptist),  we 
can  be  devoutly  glad  that  the  Catholic  Legion  of 
Decency  is  keeping  its  efficient  eye  on  theatrical  motion 
pictures. 

And  Now  for  Moviedom's  Favorite  Argument 

Among  the  varied  arguments  and  sophistries  put 
forth  by  the  industry  through  its  eminent  spokesmen  in 
defense  of  its  product,  none  is  worked  so  continuously 
as  this :  "We  Must  Give  the  Public  What  it  Wants". 
It  is  thereby  implied,  sometimes  with  an  unctuous  air 
of  reluctance  and  regret,  "that  human  nature  is  to 
blame,  that  the  public  likes  best  the  suggestive  and  the 
risque,  and  hence,  in  order  to  survive,  the  industry  has 
to  surrender  its  ideals,  yield  to  the  low  taste  of  the 
country,  and  make  a  mass  of  objectionable  films  to  pay 
the  deficits  on  the  good  ones.  Too  bad  human  nature 
is  that  way,  but  so  it  is." 


As  a  matter  of  fact  the  public  prefers  the  best 
films  and  the  industry's  own  box-office  records 
prove  it !  The  Film  Estimates  are  ver)-  severe  on 
these  "bad"  films.  They  consign  more  films  to  the 
Y  and  Z  classes  than  any  other  reviewing  service  in  the 
country.  If  then,  the  industry  is  really  "giving  the 
public  what  it  wants",  we  should  find  the  great  major- 
ity of  best  paying  films  in  the  XYZ  groups,  and  the 
minority  among  the  A  B  C's.  The  exaet  opposite  is  the 
case. 

Note  first  the  Ten  Year  Totals  for  Child.  Very 
properly  the  industry  cannot  produce  films  for  children 
primarily,  for  they  are  a  decided  minority  of  the  natioij- 
al  audience  which  supports  the  movies,  and  unquestion- 
ably the  industry  must  make  money.  There  can  be  no 
argument  on  that  score.  Hence  we  find  many  more 
XYZ  films  for  Children  than  for  Youth  and  Adult. 
The  ten  year  average  for  the  Child  is  26%  ABC  films 
and  74%  X  Y  Z  films. 

Now  notice  the  distribution  of  the  "Best  Payers"  * 
in  the  six  Child  groups.  Of  the  A  films.  46%  were  best 
payers;  of  the  B  films,  27%;  of  the  C  films,  25%. 
Corresponding  percentages  for  the  X,  Y,  and  Z  groups 
are  18%,  14%,  15%.  Obviously  the  better  the  film, 
the  better  its  chance  of  being  a  Best  Payer !  Nearly 
half  the  A  films  for  children  are  BP's,  but  less  than  one 
sixth  of  the  Z  films  do  as  well.  In  otherwords.when 
they  make  a  film  that  the  Film  Estimates  can  recom- 
mend for  a  Child  as  an  A  film,  it  has  three  times  the 
chance  of  an  X,  Y,  or  Z  film  of  becoming  a  Best  Payer! 
Yet  the  industry  is  not  supposed  to  produce  for  Child- 
ren !  The  situation  is  almost  identical  in  the  Ten  Year 
Column  for  Youth. 

Finally,  let  us  look  at  the  Ten  Year  Column  of  Adult 
films.  As  the  industry  produces  primarily,  and  justi- 
fiably, for  Adults,  its  majority  audience,  surely  the 
Adult  columns  must  prove  that  the  industry  "gives  the 
public  what  it  wants".  But  notice! 
Of     269     A-films     45%    (one  out  of  two) 

proved  Best  Payers. . .  (120  BP) 
Of     481      B-films     26%  (one  out  of  four) 

proved  Best  Payers. . .  (127  BP) 
Of     625      C-films     25%   (one  out  of  four) 

proved  Best  Payers. . .  (156  BP) 
Of     511     X-films     14%    (one  out   of   six) 

proved  Best  Pavers. .  .  (  70  BP) 
Of  1122  YZ-films      8%  (one  out  of  twelve) 

proved  Best  Payers. . .  (  85  BP) 


3008  (558  BP) 

Summary  of  the  Three  Tables 

Thus  when  the  industry  makes  a  film  in  the  ABC 
groups,  it  has  one  chance  in  three  of  being  a  BP.  In 
the  XYZ  groups,  one  chance  in  ten !  ABC  groups  fur- 
nish 403  BP;  XYZ  groups,  153  BP.  Why  doesn't  the 
industry  give  the  public  what  it  shows  it  ivants?  Our 
readers  can  devise  their  own  answers.    We  have  ours. 


♦The  list  of  best  paying  films  for  the  ten  years  were 
available  by  courtesy  of  The  Exhibitors  Herald,  the 
magazine  that  covers  authoritatively  and  efficiently  the 
great  field  of  motion-picture  production,  distribution 
and  exhibition. 


I 


February,  1937 

THE    FILM    ESTIMATES 


Page  51 


Anna  and  Elizabeth  (Dorothea  Wieck.  Hertha 
Thiele)  (German)  (Good  English  titles)  The  two 
stars  of  Maedchen  in  Uniform  do  memorable 
roles  in  interesting  story  of  humble  country 
girl  magnified  into  "saint"  through  accidental 
"miracles".  Notable  atmosphere.  Compelling 
character  portrayal.  1-26-37 

(A)  Fine  of  kind  (Y)  (C)  Doubtful  interest 

April  Romance  (Richard  Tauber,  Jane  Bax- 
ter) (MGM)  The  pathetically  unsuccessful  love 
story  of  Schubert,  charmingly  told,  serves  ns 
background  for  hLs  famous  songs,  beautifully 
sung  by  Richard  Tauber.  Refreshing  simpli- 
city of  well-acted  story  emphasized  by  Vien- 
nese bnliroom  splendors.  1-5-37 
(A)  Delightful     (Y)  Mostly  good     (C)  Little  int. 

Beware  of  Ladies  (Donald  Cook.  Judith  Allen) 
(Republic)  Sordid  crook  drama  with  mostly  un- 
savory characters  hired  to  frame  hero  who  Is 
running  for  office.  Thev  fail  but  achieve  mur- 
der of  reporter-heroine's  weak  husband,  thus 
freeing  her  for  hero.  A  grisly  climax  kills  the 
villain.  1-19-37 

(A)  "Unpleasant  (Y)  No  (C)  No 

Career  Woman  (Claire  Trevor.  Michael  Whal- 
en)  (Fox)  Clever  criminal  lawyer  wins  cases 
by  brazen  trickery,  outraging  the  ideals  of  the 
lawyer-heroine — but  last  reel  finds  them  hap- 
pily in  love.  Travesties  court  procedure,  bur- 
lesques smalltown  life.  Dubious  value  for  the 
young.  1-12-37 

<A)  Fair  (Y-C)  Decidedly  doubtful 

Champagne  Waltz  (Gladys  Swarthout.  F. 
MacMurray )  ( Para. )  Delightful,  distinctive  mu- 
sical comedy  with  Swarthoufs  charming  songs. 
Shows  that  lovely  old  world  music  and  modern 
jazz  band  music  need  not  exclude  each  other. 
Action  now  brisk,  now  dreamy.  Fritz  Leiber's 
role  as  Strauss  notable.  2-2-37 

(A)  Entertain'g    (Y)  Very  good    (C)  Prob.  good 

Charlie  Chan  at  the  Opera  (Warner  Oland, 
Boris  KarlofT)(Fox)  Famous  Chinese  detective 
deftly  solves  multiple  murder  mystery,  this 
time  backstage  at  the  Opera,  involving  jeal- 
ousy, vengeance  and  insanity  among  the  stars. 
Usual  elements  of  suspense  and  interest  but 
plot  is  over-complex  at  times.  1-12-37 

(A)  Good  of  kind  (Y)  Good  (C)  Perhaps 

Children  of  Fortune  (Glueckskinder)  (Lillian 
Harvey.  German  cast)  (Ufa)  Laid  in  New  York, 
characters  American,  all  dialog  German,  full 
English  titles.  Fine  character  comedy,  inti- 
mate, subtle,  amusing,  boisterous.  Poet-report- 
er saves  unlucky  heroine,  with  extraordinary 
complications.  2-2-37 

(A)  Fine  of  kind  (Y-C)  Mature  &  doubt,  int. 

Counterfeit  Lady  (Ralph  Bellamy,  Joan  Perry) 
(Columbia)  Diamond  robbery  by  crooks  and 
pseudo -crooks,  solved  by  detective  hero  of 
pseudo  -  shady  character,  who  wins  pseudo- 
crooked  heroine.  Pleasant,  lively  little  story. 
naively  told.  Hero's  blunders  correct  themselves. 
Fists  and  autos  fly  as  usual.  1-26-37 

(A)  Hardly  (Y)  (C)  Good  of  kind 

Country  Gentlemen  (Olsen  and  Johnson)  (Re- 
public) Feeble  concoction  about  Olsen  and  John- 
son as  two  incurably  crooked  promoters  trying 
to  swindle  simple  souls  by  simple  schemes. 
Largely  mere  rehearsal  of  stunts  and  jokes 
resurrected  from  previous  vaudeville  perform- 
ances by  this  pair.  1-26-37 
(A)  Futile                 (Y)  Worthless  (C)  No 

Doctor's  Diary  (John  Trent,  Geo.  Bancroft. 
Helen  Burgess)  (Para.)  Strong  picture  of  mod- 
ern hospital,  its  great  work  but  also  its  in- 
trigue, politics,  jealousy,  and  professional  eti- 
quette that  lets  patients,  not  its  traditions,  suf- 
fer. Pitifully  marred  by  hero's  attempt  to  be 
a  comic  drunk.  2-2-37 

(A-Y)  Fairly  good  (C)  Little  value 

Flying  Hostess  (W.  Gargan.  Judith  Barrett) 
(Univ)  More  sensational  "air-transport"  stuff 
making  little  sense.  Young,  giddy,  wisecracking 
girls,  supposedly  "registered  nurses",  are  sup- 
posedly "trained"  into  heroines  for  any  air 
emergency.  Thickly  romantic.  Same  impossible 
climax  as  "Without  Orders".  1-26-37 

(A)  Mediocre  (Y)  Thrilling  (C)  No 

God's  Country  and  the  Woman  (George  Brent, 
Beverly  Roberts)  (Warner)  Gay  younger  brother 
prefers^  money-fiinging  and  woman-chasing  but, 
tossed  into  thick  of  lumber-camp  rivalry,  makes 
good  all  around  —  in  fig-ht,  business,  and 
wrangling  romance  with  harsh  heroine.  All 
color.    Striking  lumber  scenes.  1-26-37 

(A)  (Y)  Good  of  kind  (C)  Doubtless  value 

Great  Guy  (James  Cagney,  Mae  Clarke)  (Gr. 
Nat.)  Ex-pugilist  hero,  as  deputy,  wages  zealous 
fight  against  short -weights-and -measures  swin- 
dle. Many  socks  to  the  jaw  in  Cagney  style. 
Knds  corrupt  city  official-racketeer  alliance. 
Fast.  Buspenseful,  amusing,  and  sometimes  in- 
credible and  illogical.  1-19-37 
(A)  Good  of  kind     (Y)  Mostly  good     (C)  Hardly 


Being   the  Combined  Judgments  of  a   National  Committee  on  Current  Theatrical  Films 

(A)  Discriminating  Adults  (Y)  Youth  (C)  Children 

Date    of    mailing    on    weekly    service    is    shown    on    each    film, 

(The  Film  Estimates,   in  whole  or  in   part,   may  be  reprinted 

only   by   special   arrangement  with   The   Educational   Screen) 


Hats  Off  (Mae  Clarke,  John  Payne)  (Grand 
Natl)  Hero  and  heroine,  rival  press-agents  for 
rival  Expositions  a  la  Texas,  seek  same  stage 
feature.  Heroine  wins  temporarily  by  brazen 
double-crossing,  but  reverses  all  when  she  falls 
for  hero.  Role  of  impresario  by  Alberni  only 
notable  bit.  1-26-37 

(A)  Mediocre  (Y)  Perhaps  (C)  Hardly 

Holy  Terror  (Jane  Withers)  (Fox)  Hilarious, 
farcical  army  air-post  life.  Jane,  as  officer's 
over-precocious  daughter  and  darling  of  the 
post,  starts  all  trouble,  solves  all  problems, 
and  runs  constant  songs,  dances,  and  slapstick 
antics.  Pleasant  change  from  "disagreeable 
brat"  roles,  at  least.  2-2-37 

(A)  Depends  on  taste      (Y-C)  Probably  amusing 

Hopalong  Cassidy  Returns  (Bill  Boyd,  Evelyn 
Brent)  (Para.)  Good  "Hopalong"  western  for 
action  and  acting,  but  thrills  a  bit  overdone. 
Main  villain  now  a  salojn-owning,  gang-lead- 
ing woman,  very  tough  and  brave  but  finally 
dying  by  a  bullet,  and  a  wheel-chair  invalid  is 
dragged  to  death.  1-12-87 

(A)  Hardly  (Y)  Doubtful  (C)  No 

Join  the  Marines  (Paul  Kelly,  June  Travis) 
(Republic)  Commander  of  Marines  wants  his 
daughter  to  marry  one.  She  won't  —  but 
does,  after  crazy  adventures  in  the  South 
Seas.  I^ively  little  romance,  with  rather  good 
possibilities,  but  ruined  by  crudity  and  stupid 
absurdities.  2-2-37 

(A)  Crude  (Y)  Perhaps  (C)  Perhaps 

Lady  from  Nowhere  (Mary  Astor,  Charles 
Quigleyt  (Columbia)  Feeble  jumble  of  adven- 
ture, gang  murder,  faked  identity,  rural  rube 
comedy  and  romance,  centered  on  cheap  mani- 
curist-heroine who  seeks  money-marriage  but 
compromises  on  marriage.  The  "star"  shows 
little  spark,  charm  or  talent.  2-2-37 

(A)  Mediocre  (Y)  Perhaps  (C)  Hardly 

Let's  Make  a  Million  (E.  E.  Horton)  (Para.) 
Rural  store-keeper  hero  plans  to  marry  on  his 
soldier  bonus,  but  his  two  home-making  old 
aunts  oppose.  Oil-promotion  crooks  get  the 
money,  and  his  friends's  money  too,  but  live- 
ly developments  bring  happy  ending  for  all 
concerned.  2-2-37 

(A)  Fair  (Y)  Good  (C)  Good 

Lloyd's  of  London  (Bartholomew,  Tyrone 
Power,  Madeleine  Carroll)  (Fox)  Masterpiece 
of  high  historical  and  dramatic  value.  Por- 
trays the  famous  "Lloyd's"  as  intimately  in- 
volved in  stirring  times  of  English  history  in 
days  of  Lord  Nelson.  Splendidly  staged  and 
directed.     Vivid,  vital,  convincing.  1-12-37 

(A-Y)  Excellent  (C)  Largely  beyond  them 

Man  of  Affairs  (George  Arliss)  (G-B)  En- 
joyable picture  of  English  politics  with  Arliss 
in  dual  role — as  pompous  Prime  Minister  stu- 
pidly bungling  a  delicate  situation,  and  his 
twin  brother,  a  gay  adventurer,  who  saves  his 
twin  by  heroic  measures  and  gives  him  the 
glory.  1-19-37 

(A)  (Y)  Very  good  (C)  Mature  but  good 

Mandarin  Mystery  (Eddie  Quillan,  Charlotte 
Henry)  (Republic)  Great  jewel  robbery  occurs, 
and  smart-aleck  hero  breezes  around  among 
cloud  of  suspects  in  Chinese  hotel.  Manager 
faints,  and  other  funny  things  happen.  Stilted 
dialog  and  clumsy  action  brings  conclusion  of 
slight  interest.  1-12-37 

(A)  Mediocre  (Y)  Hardly  (C)  No 

Mind  Your  Own  Business  (Charles  Ruggles, 
Alice  Brady)  (Para)  Hilarious,  amusing  farce. 
Circumstances  turn  shy  nature  editor's  column 
into  sensationally  successful  expose'  of  crooked 
politicians.  Scout  troop  thwarts  kidnappers  as 
climax.  Boy  Scouts  interesting  but  Talbot's 
bellowing  annoys.  1-19-37 

(A)  Amusing  (Y)  Amusing         (C)  Amusing 

Missing  Girls  (Roger  Pryor,  Muriel  Evans) 
(Chesterfield)  Lives  up  to  title  briefly,  then 
turns  into  mediocre  gang  melodrama,  with 
super  newspaper-man  running  down  swarming 
criminals.  Tough  "mugs"  looking  sinister  and 
talking  gutter  English  out  of  corner  of  mouth 
become  monotonous.     Crude.  1-12-37 

(A)  Stupid  (Y)  No  (C)  No 

More  Than  a  Secretary  (George  Brent,  Jean 
Arthur)  (Columbia)  Editor  of  health  magazine, 
with  highly  exaggerated  hygiene  complex,  final* 
ly  learns  common  sense  from  sane  little  hero- 


ine who  takes  job  as  his  Secretary.  Artificial 
story  about  caricatures  rather  than  characters. 
Some  risque  lines  built  in.  1-12-37 

(A)  Mediocre  (Y)  Hardly  (C)  No 

North  of  Nome  (Jack  Holt,  Evalyn  Venable) 
(Colum)  More  Holt  adventure  stuff.  Holt  as 
big,  brave  seal-poacher,  marooned  on  Alaskan 
island.  Complications  start  when  he  rescues 
shipwrecked  group  who  are  owners  of  the 
island.  Dilemma  solved  by  Holt  heroics  and 
drab  romance  tops  it  off.  1-19-37 

(A)  Mediocre  (Y)  No  (C)  No 

One  in  a  Million  (Adolphe  Menjou,  Sonja 
Hen ie)  (Fox)  Largely  vaudeville  slapstick.  Ar- 
line  Judge  wisecracks.  Menjou,  head  of  cheap 
troupe  playing  Switzerland,  bawls  his  lines  to 
be  funnier.  But  Sonja  and  her  kindly  father, 
seeking  Olympic  honors,  her  charm  and  match- 
less skating  redeem  the  film.  1-12-37 
(A)  Fairly  good                                         (Y-C)  Good 

The  Plot  Thickens  (James  Gleaaon,  Zasu 
Pitts)  (RKO)  Agreeable  little  murder  mystery 
with  adequate  thrills,  plentiful  suspects,  too 
much  complication  at  times,  and  lightened  by 
humorous  activities  of  two  detectives,  the 
cocksure  Jimmy  and  adroitly  dumb  Zasu,  who 
share  success.  2-2-37 

(A)  Fair  (Y)  Good  (C)  Fair 

Plough  and  the  Stars  (Stanwyck,  Foster) 
(RKO)  Strong,  vivid  picture  of  tragic  misery 
of  1916  Irish  Rebellion.  Impressive  for  authen- 
tic scenes  and  action,  for  striking  characters 
and  realistic  violence,  but  whole  weakened  by 
lack  of  dramatic  unity  and  Stanwyck's  com- 
plete inadequacy.  1-26-37 
(A)  Notable                    (Y)  Grim  (C)  No 

Sing  Me  A  Love  Song  (J.  Melton,  Patricia 
Ellis)  (Warner)  Light,  wholesome  comedy.  Trite 
plot,  colorless  heroine,  but  redeemed  by  Melton's 
singing,  by  settings  of  huge  department  store 
inherited  by  hero,  and  genuinely  amusing  rolea 
by  Herbert  Catlett,  Jenkins  and  Pitts  as  em- 
ployees. 1-19-37 
(A)  Fair                     (Y)  Good                     (C)  Good 

Three  Smart  Girls  (Deanna  Durbin)  (Univ) 
Very  human  comedy,  told  with  taste,  with  bits 
of  Deanna's  notable  singing.  Three  sisters,  en- 
gaging youngsters,  thwart  a  fortune-huntress 
after  their  rich  father,  bring  him  back  to 
mother  after  10  years  separation,  and  find 
worthwhile  romance  besides.  1-26-37 

(A)  Amusing    (Y)  Excellent    (C)  Little  interest 

We  Who  Are  About  to  Die  (John  Heal.  Pres- 
ton Foster,  Ann  Dvorak)  (RKO)  Harrowing 
portrayal  of  innocent  man  in  "Death  row". 
Grim  humor  by  tough  convicts,  gruesome  gal- 
lows stuff,  agonizing  suspense,  weak  ending. 
Called  anti-capital  punishment.  Rather  belit- 
tles trial  methods.  Beal  inadequate.  12-22-36 
(A)  Grim  (Y-C)  By  no  means 

White  Hunter  (Warner  Baxter)  (Fox)  Afri- 
can thrills  and  December-June  romance  feebly 
combined.  Travel  film  clippings  for  African 
effects,  heroine  inadequate  for  role,  and  ven- 
geance motif  peters  out  into  schoolgirl  love 
affair  for  grizzled  hero.  Superfluous  roles 
absurd  episodes.  12-22-36 

(A)  Mediocre  (Y)  Poor  (C)  No 

Wild  Brian  Kent  (Ralph  Bellamy,  Mae  Clarke) 
(RKO)  Innocuous  Harold  Bell  Wright  story 
passably  screened.  Once  wealthy  spendthrift 
drops  city  life  for  country,  joins  rural  family 
about  to  lose  their  farm  to  land-mortgage  shark, 
foils  villain,  wins  girl.  Pleasant,  elementary 
amusement.  1-19-37 

(A)  Hardly  (Y)  Fair  (C)  Perhaps 

Woman  Alone  (Sylvia  Sidney,  Oscar  Homolka, 
John  Loder)  (G-B)  Unusual,  skillfully  told, 
gripping  version  of  Conrad  story  of  Sabotage 
in  London's  industry.  Sinister  atmosphere, 
tense  situations,  grim  deaths.  Fine  individual 
acting  and  pantomime,  but  ill-fitted  roles  make 
situation  a  bit  unreal.  1-19-37 

(A)  Good  of  kind       (Y)  Doubtful  value      (C)  No 

Yellow  Cargo  (Conrad  Nagel,  Eleanor  Hunt) 
(Grand  Natl.)  Far-fetched,  clumsily  told  thrill- 
er about  government  agents,  hero  and  heroine 
incognito,  running  down  Chinese-smuggling 
gang  using  motion  picture  production  plant  as 
blind.  When  agents  learn  each  other's  identi- 
ty, romance !  Mostly  second  rate.  12-15-36 
(A)  Dull                (Y)  Perhaps                (C)  Hardly 


Page  52 


The  Educational  Screen 


Eliminating  Static  In  Education 


A  few  possibilities  of  the  radio  still  largely 
unrealized  in  our  educational  procedure. 


By      GEORGE      W.      WRIGHT 

Supervising  Principal,  Public  Schools,  New  Providence,  New  Jersey 


iirWlHIS  broadcast  comes  to  you  through  the  Amer- 

M.  ican  School  of  the  Air.  This  is  the  Columbia 
Broadcasting  System."  The  exclamations  of 
"Oh,  Boy !,  Gee,  that's  Great !,"  and  other  like  phrases 
forthcoming  from  listening  pupils  in  the  classroom, 
may  not  be  rhetorically  elegant  but  they  do  indicate 
the  expressed  appreciation  of  the  children.  The  faces 
flushed  with  excitement,  the  group  constantly  edging 
nearer  the  radio  speaker,  and  the  spontaneous  comment 
of  appreciation  as  the  broadcast  draws  to  a  close,  are 
ample  evidences  of  a  type  of  educational  program  that 
motivates  interest. 

Comenius,  Rousseau  and  Pestalozzi  advocated  taking 
children  out  into  the  world  for  educational  experiences. 
The  radio,  with  its  wide  range  of  selectivity  of  stations 
and  programs,  brings  the  world  into  the  classroom.  In 
these  days  of  international  trouble  and  turmoil,  of  war 
and  conflicting  controversies  through  lack  of  under- 
standing, the  medium  of  the  radio  should  be  used  to  de- 
velop world  friendship,  understanding,  and  appreciation 
of  other  countries,  customs,  cultures,  and  contributions. 
Within  the  limitations  of  our  own  vast  republic  there 
must  be  a  country  consciousness  more  firmly  fixed 
through  radio  reception. 

In  eliminating  static  in  education  through  the  use  of 
the  radio  in  school,  one  must  carefully  consider  the 
tenable  techniques  necessary  for  successful  audition  and 
articulation.  An  extensive  inquiry  into  radio  reception 
in  the  public  schools  brings  forth  the  facts  and  figures 
that  there  are  three  distinct  types  in  useful  operation. 
Some  school  buildings  of  recent  erection,  are  outfitted 
with  a  broadcasting  tmit  from  the  central  office.  Each 
room  is  wired  with  a  loud  speaker  for  reception.  From 
the  central  unit  the  principal  may  make  announcements 
or  talk  with  teachers  or  pupils  via  the  two  way  circuit 
feature ;  the  student  council  project  its  program ;  pupils 
broadcast  dramatized  events ;  visitors  talk  with  the 
student  body ;  radio  programs  from  our  own  or  foreign 
countries  received.  Since  these  types  of  central  radio 
units  are  usually  arranged  for  phonographic  records 
also,  the  added  articulation  advantage  with  phonographic 
records  is  available.  Limitations  formally  existing  in  the 
selection  of  only  one  program,  at  a  time,  are  now  over- 
come by  the  purchase  or  addition  of  extra  units. Cost  lim- 
itations are  being  minimized  by  reducing  the  price  of  this 
type  of  equipment.  With  financial  entrenchment  in  ed- 
ucation, with  decreased  state  aid  and  increased  local 
tax,  the  cost  limitation  will  continue  to  be  a  factor  in 
many  schools. 

Some  school  systems  are  purchasing  a  radio  that  is 
used  in  the  auditorium.  Usually  the  radio  set  is  built 
into  a  more  or  less  elaborate  cabinet  which  may  or  may 


not  match  other  pieces  of  furniture  on  tiie  ])latform. 
While  the  auditorium  radio  affords  the  advantage  of 
allowing  large  groups  to  listen  in  mass  instruction  at 
a  central  point,  it  narrows  the  possibilities  of  direct 
classroom  correlation  with  the  radio  program. 

The  individual  classroom  radio  affords  closer  correl- 
ation with  methods  and  materials,  wider  range  of  selec- 
tivity, a  classroom  atmosphere.  The  low  cost  of  small 
individual  radio  sets  makes  the  jnirchase  problem  one 
that  is  rather  easily  solved.  Other  visual-sensory  aids  in 
the  form  of  a  play,  hand  puppets  or  marionette  produc- 
tion at  a  small  admission  charge  will  provide  sufficient 
funds  for  financing  this  cost.  This  same  procedure  may 
be  effectively  utilized  on  a  larger  scale  to  purchase  the 
first  two  types  of  radios  mentioned. 

Regardless  of  the  type  of  radio  receptor  used,  there 
are  a  few  particular  pointers  that  needs  must  be  ob- 
served to  insure  genuinely  educational  accomplishment. 

Mention  has  been  made  of  the  cost.  The  wise  tyjMcal 
school  will  start  with  that  which  can  be  afforded,  per- 
haps a  borrowed  one  at  first,  and  proceed  to  other  types 
as  rapidly  as  fancy  and  finance  permit.  Care  must  be 
exercised  that  borrowed  types  or  gifts  of  old  radio  sets 
insure  good  reception  in  the  form  of  clearness  of  tone 
and  enunciation.  Acoustics  present  a  problem  in  some 
classrooms  and  in  many  aviditoriums.  A  deft  touch  of 
monks  cloth,  or  an  arrangement  of  tuned  wires  to  the 
room's  vibration  will  satisfactorily  solve  room  reechoes. 

The  placement  of  the  radio  should  be  wherever  pos- 
sible, preferably  where  the  pupils  may  face  it.  As  chil- 
dren look  in  the  direction  from  which  a  voice  issues, 
the  radio  speaker  should  be  approximately  even  with 
the  eyp  and  ear  level  of  the  seated  pupils.  Making  a 
radio  program  a  classroom  procedure,  similar  policies  to 
that  used  in  the  classroom  should  be  followed.  To  have 
a  speaker  high  on  the  wall  forces  a  cramming  of  necks 
with  its  accompanying  irritation. 

Let  there  be  the  same  informality  in  grouping  about 
the  radio  as  there  is  li.stening  to  the  teacher  read  or  tell 
a  story.  The  radio  should  be  regulated  so  that  the  voice 
the  pupils  hear  is  tuned  to  the  approximate  loudness  of 
tone  the  teacher  naturally  uses.  This  creates  a  more  nor- 
mal classroom  atmosphere.  In  this  feature  the  individual 
room  radio  has  an  advantage  over  a  central  unit. 

Sometimes  the  shades  will  be  drawn  to  create,  by 
shutting  off  the  light,  the  desired  mood  to  appreciate 
the  broadcast.  At  other  times  pupils  will  be  grouped  to 
facilitate  work  with  maps,  charts,  globes,  flat  or  black- 
board pictures,  stereopticon  slides,  rhythms,  dances,  and 
exercises,  to  supplement  the  broadcast. 

Guided  listening  is  an  important  factor  to  the  suc- 
cess of  radio  in  the  classroom.  Aimless  entertainment 


February,  19 }7 


Page  53 


with  absence  of  aim  and  objectives  is  educational  waste. 
Purposeful  planning  on  the  part  of  teacher  and  pupils 
will  make  for  effective  educational  intejjration.  The 
teacher  must  he  patient  but  persistent.  Guided  listening 
will  enable  a  pupil  to  have  a  richer  vicarious  experience 
as  he  concentrates  on  the  jirogram.  disregarding  ex- 
traneous noise. 

Guided  listening  embraces  the  promoting  of  the  prop- 
er mental  attitudes — desire  and  ability  to  listen.  Under- 
standing and  a]ipreciation  of  any  program  will  depend 
upon  the  thoroughness  of  advance  pre])aration,  the 
program  itself,  and  the  other  subsequent  follow-up 
work.  Care  nuist  be  exercised  on  the  part  of  the 
teacher  that  pre])aration  for.  listening  to.  and  follow-up 
activities  of  a  broadcasted  program  are  not  duplications. 
While  repetition  is  essential  to  the  learning  process,  it 
nntst  be  remembered  that  sustained  interest  can  be 
kindled  by  variety  and  killed  by  monotony.  Guided 
listening  will  also  touch  the  choice  of  program  selection 
within  and  without  the  school.  Slowly  but  surely  chil- 
dren can  build  up  a  radio  culture  for  enjoying  the  finer 
types  of  broadcasted  programs.  This  means  teacher 
planning  over  several  school  semesters.  It  means  work- 
ing with  pupils,  parents,  the  P.  T.  A.,  Women's  Clubs, 
and  other  social  agencies. 

The  Columbia  P)roadcasting  System  with  its  Amer- 
ican School  of  the  Air  Programs,  sends  gratis  to  teach- 
ers a  complete  manual  containing  a  list  of  radio  pro- 
grams, and  a  well  chosen  bibliography. 

The  wise  teacher  with  a  wide  knowledge  of  many 
visual-sensory  aids  in  education  will  artistically  ar- 
ticulate radio  lessons  with  regular  work  enabling  pupils 
to  grow  in  understanding,  stimulating  their  thinking, 
and  leading  to  further  educational  activity. 

A  Visual  Instruction  Project  in 
Laboratory  Chemistry 

{Continued  from  page  40) 

number  on  the  reagent  shelf.  These  are  to  illustrate  the 
method  by  means  of  which  reagent  bottles  are  kept 
alphabetized. 

(6)  A  pupil  calls  attention  to  the  pointer  arm  on  a 
platform  balance. 

(7)  He  points  to  the  1  and  the  1/10  gram  weight  on 
the  platform  balance. 

(8)  He  indicates  the  10  gram  weight  on  the  balance. 

(9)  Shows  a  student  pouring  a  solid  onto  a  piece  of 
filter  paper.  The  glass  stopper  from  this  bottle  is  prom- 
inently displayed  as  having  been  carelessly  dropped  on 
the  desk  top. 

(lOj  The  same  picture,  but  this  time  the  student 
holds  the  stopper  between  his  fingers.  He  also  holds 
the  bottle  in  a  manner  giving  the  impression  that  he  is 
rolling  the  bottle  as  the  material  is  withdrawn. 

(11)  A  pupil  is  pouring  acid  into  a  beaker  contain- 
ing some  water.  He  holds  the  bottle  stopper  in  the 
proper  position  between  his  fingers.  This  does  well  in 
illustrating  two  things :  the  correct  place  for  a  stopper 
or  cork  while  it  is  out  of  the  bottle,  and  the  fact  that! 
acid  should  always  be  poured  into  water. 


( 12)  A  pupil  is  attempting  to  insert  a  thistle  tube 
through  a  stopper.  His  hands  are  spread,  one  is  holding 
the  stopper  and  the  other  is  at  the  opposite  end  of  the 
tube.  Emphasizes  possibility  of  snapping  the  tube  and 
serious  injury  to  finger  or  hand. 

(13)  The  same  pupil  with  stopper  and  thistle  tube, 
but  this  time  the  hands  are  placed  well  together.  Any 
leverage  on  the  tube  is  brought  right  up  to  the  stopper. 

(14)  A  substance  is  being  heated  in  a  test  tube,  and 
the  mouth  of  the  tube  is  directed  toward  the  pupil. 

(15)  A  material  being  heated  in  a  test  tube  with 
the  mouth  of  the  tube  being  directed  away  from  the 
student. 

(16)  A  pupil  is  heating  a  piece  of  glass  tubing 
preparatory  to  bending  it  and  is  not  using  a  wingtop  to 
spread  the  flame. 

(17)  A  wingtop  is  being  used  this  time. 

(18)  Improper  method  of  reading  the  meniscus  in  a 
graduated  cylinder.  The  student  is  looking  down  on 
the  surface  of  the  liquid. 

(19)  Another  pupil  is  shown  trying  to  read  the  same 
graduate.  The  level  between  liquid,  or  meniscus,  and 
pupil  is  much  better  but  still  incorrect. 

(20)  The  pupil  now  has  her  eyes  on  an  exact  level 
with  the  meniscus  of  the  liquid  in  the  graduate. 

As  previously  mentioned,  these  are  but  a  few  of  the 
pictures  we  have  taken  and  made  into  slides.  Of  course 
they  do  not  all  deal  with  pupil  mistakes  in  laboratory 
technique.  Realizing  that  we  should  do  some  work  on 
the  other  side  of  the  question,  we  have  slides  showing 
complete  set-ups  for  various  experiments,  correctly  and 
neatly  put  together.  We  also  have  a  few  which  show 
some  of  our  better  pupils  running  certain  experiments 
which  are  given  as  rewards  for  exemplary  work.  These 
experiments  are  harder ;  take  more  apparatus ;  require 
more  time,  etc.,  than  the  average  one,  and  do  a  good  job 
of  stimulating  interest  and  a  desire  to  do  better  work. 

The  foregoing  resume  constitutes  an  experiment  in 
visual  instruction  which  is  exceeding  our  fondest  hopes  ; 
that  one  picture  is  worth  a  thousand  words  is  well 
proven.  After  having  given  this  lecture  (and  using  the 
slides  which  accompany  it)  to  a  class  upon  two  or 
three  occassions,  it  is  really  unusual  to  see  a  pupil 
using  improper  procedure  which  has  been  pointed  oiU 
to  him  by  means  of  the  slides.  Reflecting  upon  the 
success  of  our  efforts  thus  far,  enthusiasm  mounts, 
and  the  value  of  visual  aids  for  instruction  purposes 
has  once  more  been  emphasized. 

"A  few  books,  and  not  very  good  ones  at  that,  were 
the  tools  of  the  teacher  in  the  'little  red  schoolhouse'. 
Competing  with  popular  fiction,  current  magazines  and 
newspapers,  motion  pictures  and  radio,  the  teacher  of 
today  would  be  helpless  with  no  better  tools  than  the 
books  of  a  few  years  ago.  The  textbook  still  is  the  chief 
tool  of  teachers  in  directing  the  learning  of  students, 
but  more  and  more  the  book  is  being  supplemented  with 
other  tools — notably,  current  magazines  and  news- 
papers, radio,  and  a  wide  variety  of  visual  materials, 
including  motion  pictures." — From  a  Radio  Talk  by 
Einar  Jacobson.  Supt.  of  Schools,  Oakland,^  California. 


Page  54 


The  Educational  Screen 


Every  American  School  can 

RCA's  Complete 


Designed  especially  for  schools, 
RCA  equipment  shown  here  not 
only  aids  students  by  injecting 
vibrant  life  into  every  lesson,  but 
also  materially  helps  teachers  add 
a  new  spark  to  classroom  routine. 


RCA  offers  every  American  school  a  complete  sound 
system  developed  especially  to  modernize  teaching 
methods.  Many  schools  have  installed  this  equipment 
...  are  more  than  pleased  with  results. 

Made  by  the  only  organization  engaged  in  ever)'  phase 
of  radio,  this  equipment  is  moderately  priced,  stands 
alone  as  great  value!  Write  for  free  copy  of  valuable 
new  booklet,  "RCA  Sound  Service  for  Schools"! 


Victor  Records 

The  world's  most  complete  collection  from  which  to  choose.  For  ele- 
mentary grades,  for  intermediate  grades,  for  high  schools,  for  music 
schools,  colleges  and  universities. 

RCA  Victor  Instruments 

The  R-99  Electrola  (left)  provides  unequalled  reproduction  of  Victor 
Records.  Here  is  an  instrument  offering  thrilling,  life-like  performance 
at  economical  cost. 

The  R-95  Electrola  (right),  a  portable  instru- 
ment designed  for  classroom  use,  is  the  most 
inexpensive  quality  instrument  available. 

A  complete  line  of  high  quality  portable 
Victrolas,  designed  especially  for  smaller  schools 
which  do  not  have  electrical  current,  is  available. 

RCA  Sound  Motion  Picture  Projectors 

RCA  has  a  complete  line  of  35  mm.  sound  motion  picture 
projectors  to  cover  every  possible  requirement.  This  equipment 
profits  by  the  same  research  that  makes  RCA  Photophone  in- 
stallations throughout  the  country  so  successful.  Trouble-free 
performance  such  as  these  theatres  enjoy,  is  assured  to  you. 
Illustrated  is  RCA  Photophone  Portable  Projector,  Model 
PG-81  with  900  or  1000  watt  incandescent  lamp.  Ample 
illumination  for  average  room  or  auditorium. 


February,  1937 


Page  5  5 


have  Modern  Teaching  •••  with 
Sound  Service! 


^J# 

S*R-^'' 

RCA  Portable  Public  Address  Systems 

These  have  almost  an  infinite  number  of  appHcations  to 
school  work.  Portable  illustrated  is  primarily  designed  for 
interior  use,  but  special  weather-proofed  loud  speakers  may 
be  provided  for  a  permanent  installation  to  which  this  set 
can  be  conneaed  for  playgrounds,  football  and  baseball 
fields.  Wherever  a  school  gathering  is  held,  a  small  public 
address  system  is  of  great  aid  to  instructors,  particularly 
where  the  acoustics  of  the  meeting  room  are  not  satisfactory. 
Equipment  illustrated  includes  High  Fidelity  Velocity 
Microphone,  20  Watt  Amplifier,  two  Dynamic  Speakers, 
entirely  portable.  Plugs  into  any  110  volt,  60  cycle  outlet. 
Provides  enough  power  to  furnish  ample  volume  to  audi- 
ences up  to  2500  persons.  May  be  carried  from  room  to 
room  and  set  up  in  a  few  minutes. 

RCA  Centralized  Sound  System 

The  system  is  centrally  controlled.  Through  it  the  school  principal 
may  convey  radio  programs,  recorded  speech  and  music,  and  direct 
announcements  from  his  oifice  to  any  or  all  classrooms.  Is  of  great 
value  for  timely  educational  radio  programs,  music  appreciation 
broadcasts,  language  teaching.  Provides  new  clarity  of  speech  in  audi- 
torium, enabling  students  to  hear  stage  speakers  with  greater  ease 
from  every  seat.  Can  also  be  used  to  supply  music  or  instruct  groups 
in  gymnasium,  and  for  announcements  on  athletic  field.  Is  valuable 
for  use  in  fire-drills,  lectures,  standardized  aptitude  and  achievement 
tests,  and  has  unique  two-way  talk-back  feature  which  permits  principal 
to  speak  with  individual  teachers  without  interrupting  classroom  work. 

RCA  presents  the  Metropolitan  Opera  every  Saturday  afternoon.  And  '  'Magic  Key 
of  RCA  "  every  Sunday  2  to  3  P.M.,  E.  S.T.  Both  on  NBC  Blue  Network. 

^^UM^^^C^iox  Schools 

EDUCATIONAL  DEPARTMENT 

RCA  Manufacturing  Co.,  Inc.,  Camden,  N.J.         •         A  Service  of  the  Radio  Corporation  of  America 


Page  56 


The  Educational  Screen 


THE    DEPARTMENT    OF    VISUAL 
INSTRUCTION   OF  THE  N.  E.  A. 


SINCE  the  November  roster  of  317  paid  members  was 
printed,  over  43%  expired  within  the  three  months  inter- 
vening. Yet  this  abnormally  heavy  loss  has  been  counter- 
acted. More  than  half  the  expirations  are  already  renewed 
(and  many  who  "merely  forgot"  will  remember  when  their 
names  show  up  missing)  and  some  90  new  members  have 
come  in.  This  February  roster,  then,  stands  as  we  had  hoped, 


"larger  than  November".  And  the  14  double-daggers  (instead 
of  4)  are  comforting.  The  total  member  gain,  20,  is  slight  but 
in  the  right  direction.  We  need  merely  hold  the  direction  and 
increase  speed. 

AND  THE  New  Orleans  program  in  final  form — we  hope! 
See  you  there? 


Second    Official    Roster February    1937 Department    of    Visual    Instruction 


(Showing  expiraf 


Exp 
Feb. 
FM 


Allwein,    A    F 

Amson.    Emily    

Anderson,   C   Darsie 

Anderson,    Duane    P 

Anderson,    E    W 

Anderson,  John  A 

Andrew,    Paul    E 

Appenzellar,  J   L 

Arnold.    E    J  

Aaghinbaugh,   B   A 

Austin,    Scott    

Bacon,   Francis   L 

Bailey.    Floyd    P 

Baker,    Evelyn    J 

Balcom,    A   G 

Ballard,  C   R  

Ballou,    Ethel    

Bardy,  Joseph   

Bare,  Thurman   H 

Barnard.   Elizabeth    

Barrett,    Wilton    

Bashkowitz.    P 

Bedell,    Ralph   C 

Benham,   S  Mae  

Ber?,    E    L 

Bernays,   Ely   

Birch,   C   E 

Bittel.    William   H  

Bonwell,   W  A 

Boweh,   Ward  C 

Bowmar,   Stanley   

Brewer,    K    M 

Briner.  George  C  

Brodshaug:,   M    

Brown,   Carolyn   A  

Brown,    Oliver    E 
Buckingham.   Burdette 

Burns,    Suzette         

Butler,  Margaret  J 

Byers,  B  H 

Byers.   Elvin   G 

Caldwell.    L    H 

Canfield.    B   R  

Cannavan,   P  D   

Carter.   J    M  

Cawelti,   Donald   G 

Chapin.   Henry  S    

Chester,    Margaret    

Childs,  Henry  E 

Christiansen,    F    J   

Clark,    Ella    Callista 

Clifford.    William    

Cohen.    Frances     

Collier,   Robert  Jr 

Conger.   H   G 

Consilia.   Sister   M 

Cook.  Dorothea  

Cook.    Dorothy    

Cook,   G  S 

Crawford,    Edgar    M   

Crawford,    E   Winifred 

Crumbling.    C   S 

CummingR.   O  G 

Cushing.    Lena    

Dale,  Edgar 
Dalrymple,    Carl    W 
Darlington.     Evalina    H 
Daugherty.    AC 
Davenport,    Marjorfe   H 

Davis.    M   E    

Davis.    Rex    H    A 

Deer,    Irvin    F 

DeLand.    Glenn   A 

Dennis.  S  C 

Dent.    E    C    

Desmarais.    Laura   B  

Devereux,    F   L 

Doane,   Donald   C 

Doidge.    R   W 

Dolan.    John    J 

Dudley.    William    H 
Dngdale.    Lee    A 
Dunn.    Fannie   W 
Dwerlkotte,    Francis  D    . 
Dyar,    Elizabeth    J 


on  n^ionth  of  current  year  —  July  and  August  not  included  ^ — the  \  Indicates  two  years) 


ration    Dates 

to  Jan. 

.  M  J  S  O  N  D  J 


Expiration    Dales 
Feb.  to  Jan. 

FMAMJ  SOND  J 


Dyer,    J    Elizabeth 

Dyer,  W  C   

Eaton.    Ann    

Eby.    George     

Edwards.    C    E 

Edwards,   Thomas  A  t 

Elam.    L   H      t 

Ellis,  Don  Carlos 

Elwell,    J    H 

Emmert,    Wilber    

Erickson,    Carleton    W 
Farwell,  Martha 

Ferguson.   B   W    

Fisk,    Harrison   S     

Forden wa!t,    Fred    

Fortington,    H    A 

Fraine,    Harold   S   

Frances.   Carrie   B 

Frankel.    Louis    

Freeman,    Frank    N   

Freeman,    Philip    Q    ... 

Gallup,   Anna   B  

Gambach,  J  C 

Garrity.    Helen     

Gehan,    Claire    C 
Gemmill.   Charles   W    . 

Gillcn.    F   Gardner 

Gilliland,    J    F 

Gleckler,    Brvce    

Glenwright.   W  C   

Click.    Annette    

Gluck,   David    

Gray.   Rebecca  J  

Greene,   Nelson   L   

Greenwald,    Alma   J     - 
Gregory,    W    M 
Grote,    Benjamin 
Gunnell,    Frank    E 

Hall.   Arthur  C   

Hamilton,    George    

Hansen.   J   E  

Hardcastle.    Richard    .. 
Hayes,   D   P 
Healey,    Gertrude    M  .. 
Heinaman,  F  S  ... 
Helstern.    R    F    .. 
Hendrickson.    Ira 
Hessberg,    Lena 

Hill.    Ned    W  

Hillegass,    W    F, 

Hoban,   C   F   

Hoban,  C  F  Jr 

Hodgins,   George  W 
Hoefling.   C   E 
Hoffman.    Josephine 

Hollinger.   J    A 

Ingham.  A  B 

Jansen.  William   

Johnson,    F    R 

Jones.    A    H   

Jones.   Arthur  L 

Jones.    Augustas    F.. 

Jones,  Elmer  C 

Jordan,    A    L 

Katz,    Elias    

Kaufman,    Marie    E 
Kerstetter,   Newton 

KiHey,   Lorene       

Klein,  Joseph   K    

Klinger,   Landis  R 

Koon.  C  M    

Kooser,    H    L    

Kottman.   W  A  

Krasker,    Abraham 
Kraus,   Joseph   F 
Krohn.    H    W 
Kruse,    William    F  .. 

Kunce.   W  C   

Lain,    Dolph    

Lakey,    Frank    E 
Lannin,    Georgina 
Lawrence,    C    W 

Lease,    L   J  

Legro,   Edna   C 
Lesoord,   Homer  W 


Lewis,   Donald   K   

Lieberman,    Malvina 

Lindstrom,    C    A 

Linton,   Alma  V 

Lippold,    Paul    

Lloyde.    R    K 

Logsdon,   J    D   

Lyford,     Aimee    E   

Lyons.    John    H     

Machan,   W   T 

Mac  Harg.   John   B  

Mack,    Helen    A 

Mahaffey.  C  F 

Mann.    Paul   B 

Marble,    Arthur    L  

Matisko,    John    

Mayer,    Rachel    

McCIusky,   F  D 
McDaniel,    Nettie 

Mclntire,    George    

McKeown,    M    J    

McMahon.    T    J 
McMaster,   William   H 
McMullan.    D   S 

McSwyny,   Mary      

Meissner,     Amelia    

Miglautsch.    Frank 

Millar,    Laura   B   

Miller.   Raymond   E   

Miller,    W   C  

Morey,    F   R    

Mueller,    Julius   H 

Muerman,    J    C    

Mullen,    Sarah  McLean 

Nelson.    Paul   C        

Newman,  Helena  T  

Nichol.    R   J 
Nichols.    Preston 
Noble.    Lorraine 
Norman.   Margaret  A 
Northcott.    John    W 

O'Brien,   Warren   S 

O'Gorman,   D      

OInev.   Frank  D 

Osius.    W    F   

Palmer.    W    C 

Parizak,   Liel   

Parker,    G    Hapgood 

Pence.    A    C 

Peters,    Rupert      

Peterson.    Charles    W,.. 

Pointer.   P  Q 

Powell.  W  T 
Pratt,  M  W 
Purdon.    Alexander 

Rabenort,    William     

Rakestraw,    Boyd    B 

Ramsey,    Grace    F    

Ramseyer,    Lloyd    L 

Randolph,    Corliss    F 

Reilly,    Frederic    J   

Reitz.    W    L     

Reitze.    Arnold   W 

Renner.    G    I 

Rhodes.   H   K 

Ricklefs.    Robert   U   

Riordan.    Helen   M 
Ritter,   Karl 

Roberts,   Gilbert      

Robinson.    Roy   E   

Rogers,    M    A 

Rogers.    T    N 

Rooney,    M    C     

Root.    Oscar    M    

Roper.   A    E     

Routzahn.    Evart  G 
Ruch.  H  R 

Sargent.    Theodore    

Schneipp,    A    E 

Seltzer,  Jack   

Shedd,    H    P  

Sietler,   Thomas   H    

Simpson,   M    L    

Sissler.    Chas   T      

Smith,    Gerald    W 


Expiration  Dates 
Feb.  to  Jan. 

FMAMJ  SOND  J 

+ 

+ 


February,  1937 


Page  57 


Expiration    Dates 
Feb.  to  Jan. 

FMAMJ  SOND  J 

Smith.    Harvey    N + 

Smith.    Howard   A f 

SpafTord.    B   M    t  .    .    .    . 

Sprenlile.   W    H   .    .    t 

Stabler.    E    F      t 

States.   Earl  C t 

Steiner.    Frederick t  . 

Stinson.    J    E .    t 

Stoltz,    R   J    t 

Stork.    Nelson   N   .    t 

Sutfin.   Vernon   A   + 

Swarthout.   W   E t  . 

Sylvia.   Sister   M t  .    .    .    . 

TanKnev.    Homer t  • 

Taylor.    F    P      t 

Temple.   Edward   H t  .    . 

Thomas.    John    F t  .    .    ■     . 

TiminRs.    Claire    t  . 

Trachsel.  R  E t 

TrolinRer.    Leila      .    .    .    .    t 

Troxel.    RusseM    B  t 

Tuttle.    Earle   B     t  .    .    .     . 

Twichell.   L  M   t 

Twoffood.    A    P t   . 

Uhrlaub.   R  R  t  . 

Van    Aller.   Holger  H         t 


VanLoenen,    C    Addison 

Van  Voris.  W  T  

Vauehan.    H   B  . 

Vernor,    P  H 

Viar.    W    L  t 

Volk.  J     . 

WagKoner.  E  C    + 

Walker.    Darthula    t 

Walter.    Mary    Ethyl 


.    t  . 
+ 


t  . 


.    t  . 


Expiration    Dates 
Feb.  to  Jan. 

FMAMJ  SOND  J 

Watson,  N  E  

Wavrunek.   George  M  ... 

Weaver.    Paul    H  

Wells,   Bessie   F     

Werley,   Marvin   O  

White.   J    Henry 

White,    J    Kay 

White,    J    M 

Whittinghill,   W   W 

Williams,    Don    G   

Williams.    Edgar    

Williams.    Paul    T 

Williams.    Vida    A 

Wilson.   EH   

Wilson.  H   W      

Winchell.   Lawrence  R 

Wise.    H    A    

Wishnick.    F      

Witt.  Margaret  

Wood.   W   Wadsworth 

Wright,   George  W 

Yeager.    Wm    A  t 

Young,  A   R  t 

{Indirifixiat   mf-mhi'r    name    7iot   yet    fie- 
cured  ior  foUowhig  paid  mi-mhrrships) 

Administration   Library 
(Pittsburgh) 


t 

t 

t 

t 

.    .    .    .    t  .    . 
.    .    .    .    t  .    . 

; '.  . '. '.  ■  t 
.  .  . .  t .  . 

'.'.'.'.  w  '. 

.  t 

t 

t 

...+... 
.  .  .  t .  .  . 

■. '. '. '. '. '.  > 


Board  of  Education 
(Naperville,    III.) 

Brigham  Young  Uni- 
versity       

Columbus  Y.M.C.A. 
(Ohio)      

Community  Public 
SchooU   (Chardon,  O.) 


+  . 

.  t 

t  . 

.  t 


.    t 


Expiration    Dates 
Feb.  to  Jan. 

FMAMJ  SOND  J 

Fairview  High  School 

(Cleveland,    Ohio)  t  . 

General   Films  Ltd. t  .    .    . 

George    Peabody    College t  . 

International    Library   of 

Visual   Aids     t  .    • 

Iowa    State     University     .    .    .    .    t 

Kent   State   College  t  . 

Monticello    H.S.    (III.) 
Mount  Union  College 

(Alliance,  Ohio)    

Notre  Dame  H.  S. 

(Hamilton.    Ohio)     .... 
Pedagogical  Library 

(Philadelphia)    

Public   Library 

(Cleveland)        

Roosevelt  Jr.  H.  S. 

(Cleveland   Hts,    O.) 
State  Teachers  Colleges 

Chico.    Calif. 

Kearney.    Nebraska    .. 

San    Diego.    Ca!if. 

Terre    Haute,    Indiana f 

Summitville  Special 

School    (Ohio)     t 

Town  of  Barnstable 

(Mass.)      t  .    .    .    . 

Union  High  School 

(Holtville.    Calif.)  .    .    .    t 

University  of   Minnesota f  . 

Visual   Aids  Committee 

(Ridgewood.    N.   J.) t  .    . 

Visual  Education  Dept. 

(Fresno,   Calif.)    t  .    .    .    . 


.    t 


.    t 


.    t 


NEW  ORLEANS  PROGRAM 


MONDAY,  February  22nd 


12  o'clock  Noon 


Registration  Luncheon  ($1.00)  Evangeline  Room, 
DeSoto  Hotel. 

Speaker  of  the  day,  Dr.  William  H.  Johnson, 
Superintendent  of  Schools,  Chicago. 

Address:    "Significant  Developments  in  Visual  In- 
struction." 
Principal  Lionel  J.  Bourgeois,  of  the  McDon- 
ough    School,   New   Orleans,   will   introduce 
Dr.  Johnson. 

By  special  request  from  the  New  Orleans 
Schools,  Mr.  J.  Henry  White  will  comment 
briefly  on  the  content  and  purpose  of  his  vis- 
ual presentation  scheduled  for  Tuesday  aft- 
ernoon, showing  a  few  slides. 

{Ten  minutes  by  taxi  to  the  Peters  School) 

2:00  P.M.  to  4:00  P.M. 
Afternoon  Session  (Auditorium  of  Peters  School) 

Visual  Presentation :  "The  Open  House  Exhibit  as 
a  Stimulus  to  Interest  in  Visual  Instruction". 

Ella  Callista  Clark 
State  Teachers  College,  Winona,  Minn. 

Illustrated  Address:  "Motion  Pictures  as  an  Aid  in 
Agricultural  Extension  Work  in  Louisiana". 

E.  J.  Giering,  Jr. 
Visual  Education  Specialist,  Baton  Rouge,  La. 

Visual  Presentation:  "Vitalizing  Teaching  by  the 
Correct  Use  of  the  Still  Picture". 

Mineta  Merton 
Waukesha  Public  Schools,  Waukesha,  Wis. 

Address:  "Plans  for  Cooperation  between  The 
American  Council  on  Education  and  The  De- 
partment of  Visual  Instruction  of  the  N.E.A." 

Charles  F.  Hoban,  Jr. 

Associate  in  Motion  Picture  Education,  The  American 
Council  on  Education. 


TUESDAY,  February  23rd  12  o'clock  Noon 

Projection  Luncheon  ($1.00)   Evangeline  Room, 

DeSoto  Hotel. 
Visual  Presentation :      "Movie  Record  of  a  Rocky 
Mountain  School"  (Showing  and  discussion  of 
a  film  made  by  the  school) 
Lloyd  Shaw 
Superintendent  of  Cheyenne  Mountain  Schools,  Colo. 
Brief  talks,  and  showings  of  educational  films  as 
time  permits. 

2:00  P.M.  to  4:00  P,M. 
Afternoon  Session  (Auditorium  of  Peters  School) 
Address:    "A  New  Film  Service  in  the  South". 
J.  C.  Wardlaw 
Director  of  Extension,   University  System  of  Georgia, 
Atlanta. 

Address:  "Essential  Qualities  for  an  Educational 
Film". 

Mrs.  E.  L.  Berg 
Assistant  Principal,  Public  School  No.  91,  New  York 
Address:    "Progress  in  Teacher  Training  in  the  Use 
of  Visual  Aids". 

Edgar  Dale 

College  of  Education,  Ohio  State  University. 

Lecture  and  Visual  Presentation  :  "China's  Life  and 
Culture  Visualized'  (Illustrated  by  slides  of 
the  White  Brothers  "camera  paintings") 

J.  Henry  White 
Lake  Ariel,  Pa. 

This  presentation  by  the  White  Brothers  is  justly 
famous.  It  is  an  audio-visual  experience  of  rare  value 
and  delight.  Their  intimate  knowledge  of  China  is 
based  on  eight  years  of  exceedingly  active  life  there. 
Their  cameras  have  covered  countless  details  and 
aspects  of  that  vast  country,  known  to  most  Americans 
only  by  vague  generalities.  Their  invaluable  collection 
of  pictures  merit  the  name  of  "camera  paintings". 
Sixteen  of  these  appeared  in  full  color  in  the  National 
Geographic  Magazine  for  December  last.  More  are 
to  appear  in  later  issues.  The  originals  of  these,  in 
black-and-white,  sepia,  and  gorgeous  color  done  by 
Chinese  artists,  are  on  display  for  the  full  two  days 
at  the  Peters  School. 

Announcements  and  Adjournment 


Page  58  The  Educational  Screen 

NEWS  AND  NOTES   ^-#  /-/  w./,.,„  .„ 

ALanLTtcant  JLaina^   ditJL   events   in   tke   visual    Tiela,. 

Conducted  by  Josephine  Hoffman 


New  Visual  Aids  Departments 

Anticipating  a  steadily  increasing  use  of  educational 
films  for  classroom  instruction  in  southern  California 
the  University  of  California  will  establish  a  complete 
film  library  in  Los  Angeles,  it  was  announced  by  Boyd 
B.  Rakestraw,  assistant  director  of  the  Extension  Di- 
vision. 

An  initial  expenditure  of  $27,000  to  stock  the  library 
with  more  than  5,000  16  millimeter  educational  films 
has  been  approved  by  the  University ;  offices  for  the 
library  have  been  established  at  815  South  Hill  Street, 
Los  Angeles,  where  all  bookings  and  shippings  will  be 
handled.  The  library  will  be  as  large  as  the  one  now  on 
the  Berkeley  campus  of  the  University  of  California. 

♦  ♦ 

A  New  Distributing  Library  of  16  and  35  mm  sound 
and  silent  films  has  been  inaugurated  by  the  Visual 
Aids  Extension  Service,  Division  of  General  Extension, 
University  System  of  Georgia,  with  headquarters  in 
Room  10,  223  Walton  St.,  NW.,  Atlanta,  Ga.  Films  of 
this  division  are  available  for  rental  by  schools  and 
other  educational  organizations  of  the  Southeastern 
States.  A  special  club  plan  for  circulating  films  at  re- 
duced costs  has  been  devised.  This  distributing  center 
is  the  newest  and  most  complete  in  the  southeastern  area 
and  fills  a  long-felt  need  for  the  development  of  the 
use  of  films  in  education  in  the  South.    (School  Life) 

Educational  Filnn  Lists 

The  first  quarterly  Supplement  to  the  Educational 
Film  Catalog,  published  by  the  H.  W.  Wilson  Company, 
has  just  come  from  the  press.  It  lists  425  films  addition- 
al to  those  in  the  foundation  volume,  which  appeared 
last  year.  The  form  is  the  same  except  that  the  title  and 
subject  index  has  been  put  first  in  the  supplement, 
followed  by  the  classified  section  wherein  data  is  given 
on  each  film  concerning  the  nature  of  the  film,  length, 
stock,  whether  sound  or  silent,  16mm  or  35inm,  for 
sale  or  rent,  from  whom  it  may  be  obtained,  and  other 
features. 

This  January  1937  Supplement  is  the  first  quarterly 
issue  of  the  supplementary  service,  which  with  the 
main  catalog  is  $4.00.  Subscription  to  the  supplement- 
ary service,  or  the  catalog  alone,  is  $2.00. 

♦  ♦ 

One  of  the  five  projects  for  which  the  American 
Council  on  Education  received  a  grant  from  the  Gen- 
eral Education  Board  in  June  of  1935,  was  the  com- 
pilation and  maintenance  of  a  complete  inventory  of 
available  film  material  in  the  United  States.  Approxi- 
mately 6,000  films  were  reported  in  the  survey  made 


of  existing  educational  films.  The  Council  has  begun 
to  issue  mimeograph  film  lists  describing  by  name, 
content  and  source  the  films  located  in  this  national 
survey.  These  lists  are  divided  into  convenient  sections 
covering  related  subjects.  For  instance,  the  first  catalog 
covers  films  on  "Sports,  Games,  Amusements,"  the 
second  "Social  Sciences  and  Sociology,"  the  third 
"Physics."  These  lists  are  intended  primarily  for  study 
and  evaluating  groups  who  will  in  time  select  and 
evaluate  the  films  that  should  be  included  in  the  per- 
manent lists  which  may  be  compiled  later  from  this 
material. 

College  Listens  in  on  Inauguration 

As  a  partial  outgrowth  of  a  conference  on  Radio  and 
Movies  held  at  the  college  last  October,  the  State 
Teachers  College  at  Indiana,  Pennsylvania  provided  op- 
portunities for  all  the  students  to  listen  in  on  the  in- 
auguration of  President  F.  D.  Roosevelt  on  January 
20,  1937.  Seven  radio  sets  were  used  through  most  of 
the  broadcast.  They  were  used  by  the  History  and 
English  classes,  Science  students,  the  laboratory 
schools — both  elementary  and  high  school.  Additional 
sets  were  in  the  Auditorium,  Recreation  Parlor  and  in 
the  college  dining  room.  Various  sized  sets  were  used  to 
fit  in  with  the  rooms  in  which  they  were  used.  Small 
sets  were  used  in  the  classrooms,  larger  sets  in  the 
group  meeting  places,  and  the  public  address  system 
was  attached  to  the  set  in  the  dining  room  (about  a 
thousand  students  are  served  at  one  time  in  this  room). 

A  Local  Survey  of  Visual  Aids 

Mr.  H.  C.  Hurflf,  Chairman  of  the  Long  Island 
Science  Teachers  group,  circulated  a  Visual  Instruc- 
tion Questionnaire  in  the  spring  of  1936  to  sixty  Long 
Island  Schools,  twenty  schools  in  Westchester  County 
and  twenty  in  New  Jersey.  We  have  just  received  a 
copy  of  Mr.  HurfT's  summary  of  the  replies  to  his  sur- 
vey. 

The  questionnaire  consisted  of  25  general  questions 
on  Visual  Instruction  dealing  mainly  with  the  use  of 
films  and  the  type  of  equipment  used  by  the  various! 
schools.  Of  the  twenty  schools  that  reported,  thirteen 
owned  and  used  their  own  projectors,  the  newest 
equipment  being  mostly  16mm  sound-on-film.  Only 
four  schools  reported  having  their  own  film  library. 
About  an  equal  (number  of  free  and  rental  films  wer^ 
used  and  about  50%  of  the  showings  take  place  in  the 
classroom.  Mostly  all  schools  were  equipped  with 
screens.  Practically  every  school  had  a  lantern  slide 
projector   and   many   had   micro-projectors. 


February,  1937 


Page  59 


Publications  on  the  Visual  Field 


EDUCATIONAL  SCREEN 

Published  montlily  except  July  and  August.  Official  or- 
gan of  the  Department  o£  Visual  Instruction  of  the  N.  E  .A. 
The  only  magazine  devoted  to  extending  and  improving  the 
use  of  visual  and  audio-visual  teaching  aids  in  education. 
A  clearing-house  of  thought,  fact  and  experience  on  all 
phases  of  the  work. 

$2.00  one  year ;  $3.00  two  years 

"1000  AND  ONE"  BLUE  BOOK  OF  FILMS 

The  annual  film  directory,  widely  known  and  used  as  the 
standard  film  reference  source  for  educational  and  non-the- 
atrical users  of  films.  Lists  some  4500  films,  carefully 
classified  according  to  subject  (145  numbered  subject 
groups) — with  full  information  given  on  every  film — wheth- 
er 16mm  or  35mm,  silent  or  sound,  title,  number  of  reels, 
brief  synoposis  of  contents,  sources  distributing  the  films 
(more  than  200  such  distributors  indicated)  and  range  of 
prices  charged  by  them.  Contains  hundreds  of  "free"  films. 
152  pp.   Price  75c  (25c  to  subscribers  of  E.  S.) 

A  SYMPOSIUM  ON  SOUND  AND 
SILENT  FILMS  IN  TEACHING 

A  stenotype  report  of  the  entire  afternoon  session  of  the 
winter  meeting  of  the  Department  of  Visual  Instruction 
of  the  N.  E.  A.  at  St.  Louis,  February  26,  1936.  Includes 
able  presentation  of  the  advantages  of  sound  films,  the  latest 
addition  to  the  family  of  visual  aids. 

8  pp.    Net  Price  20c 

VISUAL  AIDS  IN  EDUCATION.     By  Joseph 
J.  Weber,  Ph.  D. 

The  author's  final  and  finest  work  in  this  field,  being  "a 
balanced  summary  of  the  available  scientific  evidence  on 
the  values  and  limitations  of  visual  aids  in  education  and 
an  elaboration  upon  this  evidence  by  way  of  generalization 
and  application  so  as  to  inspire  the  progressive  educator  in 
making  common  sense  adaptation  of  visual  materials  and 
methods  to  the  purposes  of  the  school." 
220  pp.  Price  $2.00  ($1.50  to  subscribers  of  E.  S.) 

PICTURE    VALUES    IN    EDUCATION.      By 
Joseph  J.  Weber,  Ph.  D. 

An  important  contribution  to  the  literature  of  the  visual 
field.  Presents  in  unusually  interesting  form  the  results 
of  extended  investigations  on  the  teaching  values  of  the 
lantern  slide  and  stereograph. 

156  pp.  illus.     Price  $1.00  (67c  to  subscribers) 


COMPARATIVE  EFFECTIVENESS  OF 
SOME  VISUAL  AIDS  IN  SEVENTH  GRADE 
INSTRUCTION.     By  Joseph  J.  Weber,  Ph.  D. 

The  first  published  work  of  authoritative  research  in  the 
visual  field,  foundational  to  all  research  work  following  it. 
Not  only  valuable  to  research  workers,  but  an  essential 
reference  work  for  all  libraries. 

131  pp.    Price  $1.00  (67c  to  subscribers  of  E.  S.) 


BIBLIOGRAPHY  ON  THE  USE  OF  VISUAL 
AIDS  IN  EDUCATION.  By  Joseph  J. 
Weber,  Ph.  D. 

A  complete  bibliography  on  the  field  to  June  1930.  Over 
1,000  references  to  books  and  magazine  articles.  (Addi- 
tional references  by  Mr.  Weber  through  September,  1932, 
appear  in  EDUCATIONAL  SCREEN  for  October  1932.) 

24  pp.    Net  Price  30c. 


SIMPLE  DIRECTIONS  FOR  MAKING 
VISUAL  AIDS.  By  Lillian  Heathershaw,  Drake 
University,  Des  Moines,  Iowa. 

Directions  for  making  Etched  Glass  Slides,  using  Colored 
Pencils ;  Etched  Glass  Slides,  using  Colored  Inks ;  Paper 
Cut-out  Lantern  Slides ;  Ceramic  Lantern  Slides ;  India  Ink 
Lantern  Slides ;  Still  Films ;  Cellophane  Lantern  Slides ; 
Photographic  Lantern  Slides ;  Film  Slides ;  The  Electric 
Map ;  Spatter  Work ;  Pencil  Outlines  of  Leaves ;  Carbon 
Copies  of  Leaves;  Leaf  Prints  from  Carbon  Paper;  Blue 
Prints ;  Sepia  Prints. 

24  pp.    Net  Price  25c. 


ACTIVITIES  OF  STATE  VISUAL  EDUCA- 
TION AGENCIES  IN  THE  UNITED 
STATES.  By  Fannie  W.  Dunn,  and  Etta 
Schneider,  Teachers  College,  Columbia 
University. 

A  concise  and  discriminating  summary  of  total  results 
from  a  comprehensive  survey  of  24  of  the  26  states  having 
Departments  of  Visual  Instruction.  A  companion  article 
to  this,  "Practices  in  City  Administration  of  Visual  Educa- 
tion," by  the  same  authors,  appeared  in  EDUCATIONAL 
SCREEN  for  November  and  December,  1936. 

8  pp.     Net  price,  20c. 


SUBSCRIPTION      AND      ORDER      BLANK 

(To  Order,  Check  Material  Desired  and  Fill  In  Blank  Below) 

Subscription  to  THE  EDUCATIONAL  SCREEN  1  Year,  $2.00  D  2  Years,  $3.00  U 


1000  and   One  Films 

Visual  Aids   in  Education 2.00 

Picture  Values  in   Education 1.00 

Comparative  Eflfectiveness  of  Some 
Visual  Aids  in  Seventh  Grade 
Instructions    1.00 

Bibliography  on  the  Use  of  Visual 

Aids    in    Education 30 

simple  Directions  for  Making 

Visual    Aids    26 

A  Symposium  on  Sound  and  Silent 

Films   in  Teaching 20 

Activities  of  State  Visual  Education 

Agencies  in  the  United  States 20 


To  sub- 
Price  scribers 
%  .76       %  .25  D 


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Net  D 
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Educational  Screen 

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I  have  indicated  items  desired  and  enclose  check  for  $. 


Name 

School  or  Street 


City. 


State. 


Page  60 


The  Educational  Screen 


FOREIGN    FILMS    FOR 
EDUCATIONAL    INSTITUTIONS 


Conducted  by  Wesley  Greene 

Director,  University  Film  Society,  The  University  of  Chicago 


AS  THIS  goes  to  press  a  hundred  or  more  edu- 
cational institutions  are  negotiating  for  for- 
eign films  to  be  shown  this  spring.  Most  of 
these  plan  to  exhibit  only  one  picture  and  must  be 
faced  with  considerable  responsibility  in  deciding 
what  film  to  choose.  Unfortunately  if  the  experi- 
ences of  past  years  are  repeated  again  this  season 
about  half  of  the  school  exhibitors  will  be  disap- 
pointed in  the  selections  made.  . 

Ideally,  pictures  should  be  chosen  only  after  pre- 
view by  a  committee  representing  faculty  and  stu- 
dents since  the  correlation  between  the  amount  of 
favorable  national  publicity  and  the  values  of  films 
to  educational  institutions  is  very  low.  It  is  nat- 
ural that  schools  should  desire  pictures  which  have 
been  praised  highly  in  the  public  prints  and  which 
have  had  long  runs  in  New  York  City,  and  if  for- 
eign films  are  to  be  presented  in  educational  insti- 
tutions primarily  as  entertainment,  reviews  and  box 
office  success  are  the  best  criteria  for  selection. 
However,  if  foreign  films  are  to  have  point  for 
language  study,  social  sciences,  and  literature,  re- 
views are  of  little  value  unless  meticulous  reading 
between  the  lines  is  done.  This  is  inevitable  inas- 
much as  reviews  are  written  from  the  entertain- 
ment angle  and  the  reviewers  are  not  interested  in 
the  educational  potentialities  of  the  pictures  they 
cover. 

As  a  matter  of  fact  very  little  has  been  done  to 
make  films  of  value  in  connection  with  classroom 
work.  It  has  been  next  to  impossible  to  secure 
copies  of  film  dialog  from  distributors,  and  hence 
study  of  film  dialog  before  the  showing  of  pictures 
has  been  out  of  the  question.  To  remedy  this  sit- 
uation and  to  harness  the  potentialities  of  a  foreign 
film  for  language  learning,  William  Kurath  of  the 
University  of  Chicago  has  prepared  a  film  dialog 
project  based  on  Kaestner's  Emil  und  Die  Detek- 
tive.  Six  scenes  from  the  film  were  selected,  short 
introductions  to  each  written  in  simple  German, 
vocabularies  and  notes  appended,  and  marginal 
references  to  chajiters  in  the  book  (Holt)  and  reels 
of  the  film  included.  A  short  scene  from  the  pro- 
ject follows : 

Wir  sehen  Emil  zuerst  init  einigen  seiner  Freunde  im  Stadt- 
park,  wo  sie  deiii  Dcnkmal  des  Grossherzogs  einen  Hut  auf- 
setzen  und  einen  schwarzen  Bart  anklcbcii,  sodass  es  aussieht 
wie  Wachtmcistcr  Jcschke.  Wachtmeister  Jesclike  konimt  und 
Emil  laueft  nach  Hause. 

das  Deiikmal — das  Monument ;  der  Hcrzog — duke  ;  kleben 
— paste  ;  der  IVachtincistcr — der  Polizist. 

Emil:     Warmes  Wasser,  Frau  Tischbein? 

Frau  Tischbein:  Danke.  Du,  ich  hab'  Dir  drinnen  schon 
alles  zurecht  gelegt. 

Frau :     So,  Frau  Tischbein. 


Emil :  Mutter,  kannst  Du  niir  nicht  sagen,  wer  die  guten 
Anzuege  erfunden  hat? 

Frau  Tischbein:     Warum  demi? 

Emil :     Der  Kerl,  den  muesste  man  umbringcn. 

Frau  Tischbein:  Bitte  schoen.  Oh.  Gott.  entschuldigen  Sie 
bitte  vielmals. 

Frau:  Na,  Sie  koennten  sich  auch  endlich  einen  Haartrock- 
ner  anschaffcn. 

Emil  :  Die  will  wohl  noch  Dauerwellen  fucr  ihre  fuenfzig 
Pfennige. 

umbrinycn — t<ieten  ;  sich  anschaffen — kaufen;  Dancrzi'cHeii — 
permanent  wave. 

The  dialog  project  from  Emil  und  Die  Dctektive 
has  been  used  by  a  number  of  first  and  second  vear 
German  students  before  seeing  the  film  with  the 
result  that  both  enjoyment  of  the  picture  and  com- 
prehension of  the  spoken  dialog  were  greatly  in- 
creased. Imagine  the  thrill  the  beginner  gets 
from  understanding  a  German  film  and  the  motiva- 
tion for  further  study  which  will  result! 

To  obtain  the  best  results  from  book,  film,  and 
dialog  project  the  following  series  of  activities  is 
suggested :  reading  of  the  text,  jierusal  of  the  dialog 
project,  viewing  the  film,  dramatizing  several 
scenes  from  the  project,  and  viewing  the  film  a  sec- 
ond time.  Many  a  foreign  film  showing  arranged 
almost  exclusively  as  a  language  project  fails  be- 
cause the  students  who  are  sent  to  see  the  picture 
are  not  prepared  to  understand  it.  The  best  combi- 
nation of  entertainment  and  language  study  avail- 
able in  the  film  field  consists  of  the  picture  Emil 
and  the  printed  materials  which  may  be  used 
with  it. 

Educational  institutions  in  position  to  use  several 
films  during  a  semester  will  be  interested  in  the 
idea  onto  which  International  House  (Chicago)  is 
hanging  its  film  series  for  February,  March.  April, 
and  May.  Six  films  from  six  different  countries 
constitute  the  program — The  Ski  Chase  (Austrian), 
Son  Of  Mongolia,  Song  Of  China.  Thunder  Over 
Mexico,  Kitniko   (Japanese),  and  Lac  Aiix  Dames. 

The  Ski  Chase  is  the  best  available  ski  picture,  but 
its  language  value  is  slight.  Son  Of  Mongolia  is  sug- 
gesUive  of  life  in  Mongolia  and  is  worth  showing  to 
some  audiences  in  spite  of  its  insignificant  theme  and 
weak  direction.  In  this  ])ictin"e  such  trap]iings  of  in- 
dustrial civilization  as  a  portable  victrola,  a  bicycle,  and 
an  automobile  appear  among  tents,  camels,  and  sheep. 
Song  Of  China  is  not  typical  of  Chinese  cinema  since 
the  film  is  an  old  silent  ])icture  from  Ch'na  cut  down 
and  synchronized  in  America.  However,  the  story  is 
fairly  interesting  and  all  the  cast  are  genuine  Chinese. 
Thunder  Over  Mexico  (available  in  16mm  .sound  as 
well  as  in  35mm)  is  a  dramatic  study  of  the  hard  lot 

(Concluded  oil  page  66) 


a  Complete 


Here  is         _ 
P  Self- Supporting 


i 


For  Ml  Sch»^ 


Vithin   the   Reach   of   Every   School 


\ 


The  International  Library  of  Visual  Aids  offers  every  school  a  Student  Membership  Plan  with 
a  complete  two-year  educational  program  of  the  world's  finest  general  education  films.  Equip- 
ment includes  the  Victor  Sound-on-Film  Projector — which  remains  in  the  permanent  possession 
of  the  school  and  can  be  used  for  other  films  (silent  and  sound),  or  for  public  address  work, 
phonograph-record  reproduction,  etc.  The  Victor-Ilva  Plan  is  Self-Supporting  —  no  down  pay- 
ments required,  no  necessity  for  benefit  picture  shows  or  expenditures  of  regular  school  funds. 
Every  program  specially  planned   for   both   child  and  adult  education. 


Vide  Scope  of  Film  Subjects  Interests  All  Ages 


1 


Especially  produced  to  fit  general  school  curriculums  with  the  proper  balance  of  education, 
human  interest  material,  adventure,  di'ama  and  the  grandeurs  of  nature.  One  full  assembly- 
period  program  a  month  is  supplied  for  each  of  nine  school  months  for  two  years.  Some  of  the 
films  featured  will  be  —  "The  Oldest  Civilization,"  "Conquest  of  Fear,"  "The  Celtic  People," 
"Volcanoes,"  "Jungle  Life,"  "Monsters  of  the  Deep,"  "Windows  of  the  Pacific,"  "Lumbering," 
"Landing  of  the  Pilgrims,"  "Story  of  Transportation   and   Travel,"   etc. 


vailable   only   to   Victor   ILVA   Memberships 


J 


Never  before  have  schools  received  such  special  consideration  in  the  preparation  of  suitable 
films  that  will  give  students  the  intelligent  background  generalization  so  necessary  for  later 
specialization.  Only  through  the  Victor-llva  Membership  Plan  is  this  complete  Visual  Educa- 
tional Program  available.  Write  today  for  full  information  on  how  Your  School  can  become 
a  Victor-Ilva  Member, 


n 


I. 
i 


ANIMATO  GRAPH 
CORPORATION 

Davenp  ort ,  Iowa ,  Chicago 
New  York  City^^los  Angeles 


Page  62 


The  Educational  Screen 


Moments  in   Washington's   Life  —  In  Hand-Made  Lantern  Slides 

By  EMMA  GOLDEN,  For+  Hays  Kansas  Stale  College 

RECAUSE  of  low  cost  and  high  educational  value,  line-drawing  lantern  slides  are  enjoying  wide  favor  in  schools. 
There  is  hardly  a  subject  in  the  curriculum  but  can  benefit  by  their  use.    Etched  glass  slides  can  be  made  b> 

pupils  as  well  as  teachers  by  means  of  special  crayons,  pencils,  and  color  washes  easily  available. 

The  six  pictures  on  this  page,  projected  on  the  screen  as  traced  slides,  will  prompt  live  discussion  by  the  class: 

(1)  The  neat  and  simple  house  where  Washington  was  born,  February  22,   1732     (2)   The  familiar  cherry-tree 

story  on  truth-telling  (3)   \\'ashington  appointed  a  surveyor   by    Lord    Fairfax     (4)    Dark   days   at    Valley    Forge 

(5)  Commander-in-Chief 
who  became  the  First  Presi- 
dent and  "Father  of  his 
Country".  (6)  Washing- 
ton's beautiful  home  life 
with  his  wife,  Martha  Cus- 
tis  Washington. 

The  simplest  type  of 
hand-made  slide  is  made  by 
drawing  or  tracing  on  finely 
finished  etched  glass  with 
ordinary  medium  lead  pen- 
cil. Color,  by  special  cray- 
ons or  inks,  enhance  the 
slides  greatly.  Fine  effects 
are  obtained  by  blending 
with  Keystone  crayons. 
About  one  third  inch  mar- 
gin should  be  left  all  around 
the  slide.  The  slide  is  read- 
ily cleaned  with  soap  or 
washing  powder  to  receive 
a  new  picture. 


[February,  1937 


Page  63 


"T  MAKES  TEACHING 
SO  EASY  AND  THOROUGH 


Above,  Model  B  Balopticon  for 
lantern  slide  projection. 
Below,  Model  BDT,  the  same 
as   model   B    but  with   a    con- 
venient tilting  base. 


THE  teacher  who  uses  a  Balopticon  appreciates  the  efficacy  of  modern 
still  projection  teaching. 
She  knows  that  it  is  remarkably  simple  to  arouse  the  students'  interest 
and  hold  their  attention  with  appropriate  pictures.  She  has  discovered 
how  readily  these  pictures  stimulate  the  imagination  and  how  perman- 
ently they  impress  facts  upon  the  students'  minds. 

And  at  the  end  of  the  year  the  standings  of  the  entire  class  have  been 
improved,  and  the  students  have  gained  more  knowledge  because  of 
their  work  with  the  Balopticon. 

Write  for  Catalog  E  ii  which  describes  Balopticons  for  every  lantern 
slide  or  opaque  object  projection  purpose. 
Bausch  &  Lomb Optical  Co.,  688  St.  Paul  Street,  Rochester,  N.  Y. 

Bausch  &  Lomb 


WE  MAKE  OUR  OWN  GLASS  TO 
INSURE    STANDARDIZED    PRODUCTION 


FOR  yOUR  GLASSES,   INSIST  ON  B  4  L 
ORTHOGON    LENSES    AND   B  4  L    FRAMES 


Page  64 


The  Educational  Screen 


SCHOOL    DEPARTMENT 


Conducted  by  Wilber  Emmert 

Director  Visual  Education,  State  Teachers  College,  Indiana,  Pa. 


The  Laboratory  Sheet  As  An  Aid  To  The  School  Journey 


'T'HE  SCHOOL  journey,  or  field  trip,  has  been  de- 
fined as  "a  school  exercise  designed  to  provide  com- 
plete sensory  experiences  relative  to  such  phenomena  as 
cannot  be  brought  into  the  classroom."  Since  the  school 
journey  is  a  school  exercise,  it  should  be  as  definitely 
planned  as  any  other  type  of  school  exercise;  and  since 
it  is  designed  to  provide  complete  sensory  experiences, 
it  must  be  looked  upon  as  a  laboratory  exercise.  There- 
fore, a  laboratory  sheet  should  be  provided  ( 1 )  to  give 
definite  directions  to  the  pupils  so  that  they  may  work 
independently,  (2)  to  give  opportunity  for  them  to 
make  specific  records,  and  (3)  to  permit  them  to  sub- 
mit a  written  report  of  the  laboratory  work  done. 

The  laboratory  sheet  which  follows,  entitled  "Field 
Trip  to  The  Newspaper  Office,"  is  submitted  as  an 
illustration  of  one  type  of  laboratory  record  which  has 
proved  very  satisfactory  in  actual  class  work.  While 
this  sheet  is  not  all-inclusive,  it  does  consider  the  major 
items  to  be  observed  while  on  the  trip  through  the 
plant.   It  is  designed  to  trace  step  by  step,  and  process 


Educational  Films 

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NATURAL  SCIENCE 

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Write  for  Film  Catalogue 

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SOLD      BY      DEALERS 


by  process,  the  course  of  a  news  item  from  the  time  it 
arrives  in  the  office  until  it  is  in  the  hands  of  the  reader 
on  the  street  or  in  the  home.  The  sensory  experiences 
thus  presented  in  orderly  fashion  will  result  in  a  coher- 
ent mental  picture  which  can  be  readily  recalled  when 
the  occasion  demands. 

It  will  be  noted  that  the  sheet  provides  for  the  re- 
cording of  actual  facts,  and  in  addition  calls  for  the 
study  of  certain  things  to  gain  understandings  and 
appreciations  of  the  printing  business. 

Field  Trip  to  the  Newspaper  Office 

Everyday  Science  Class.         Name 

Only  one  class  period  is  available  for  this  field  trip.  We 
must  be  back  on  the  campus  for  the  ne.xt  class.  Make  your 
observations  quickly,  accurately  and  purposefully.  Secure  the 
data  and  make  your  own  record  while  at  the  plant.  Deter- 
mine to  make  the  trip  a  worth-while  one  for  you. 

Make  the  following  observations  and  record  your  conclu- 
sions as  indicated. 

1.  The  name  of  the Daily  newspaper  is 

2.  The  editor  is 

3.  The  paper  is  published   (morning)    (evening)    (morning 
and  evening)  for  (6)   (7)  days  per  week 

4.  The  paper  employs persons.    It  has newsboys. 

5.  The  circulation  is  :  Total ;  Town ; 

Suburban ;  Mailing 

6.  Source  of  news  items  : 

Teletypewriter 

7.  What  purpose  is  served  by  the  Teletypewriter? 


8.  List  five  important  parts  of  the  Teletypewriter  1. 
2 3 ■ 4 5.... 

9.  How  operated  ? 

Study  the  Advertising  Mats 


Linotype  Machines 

10.  Number Why  called  "Linotype"? 

11.  Note  such  things  as:  Slugs,  keyboard,  metal  pot,  metal 
for  slugs,  gas  fires,  distributing  bars.  List  some  other 
parts  of  the  machine 


12.  How    does    the    Monotype    differ    from    the    Linotype? 

Type  Setting  Room 

13.  Note  such  things  as :  Make  up  of  the  page,  the  number 
of  columns  to  the  page,  how  the  ads,  cuts,  and  printed 
materials  are  put  into  the  page;  how  the  type  is  held 
in  place ;  size  of  type ;  kinds  of  materials  in  page.  Any 
other    items  ? 


Press  Room 

14.    State  the  composition  of  the  Matrix 

\S.    How  is  the  type  page  used  in  making  the  matrix?. 


February,  19} 7 


Page  65 


The  Chinese  Had 
a  Word" 

We  Have  the 
Pictures  for  it! 


"One  picture  is  worth  ten 
thousand  words/'  wrote 
the  sage  of  old  Cathay. 
He  had  the  right  idea 
about  education  and  en- 
tertainment. It  is  our  idea 
too,  with  these  pictures  to 
back  it  up   .   .   . 

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400  SUBJECTS 

— arranged  fo  coincide  with  the  average  course  of  study. 
GEOGRAPHY,     HISTORY,     NATURE, 
AGRICULTURE,    INDUSTRY,    PRIMARY 

Priced  from  $2.00  per  reel 

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STILLFILM,  Inc. 

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Page  66 


The  Educational  Screen 


A  Few  of  Our  Fine 

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Talking  Feature  Films 


Beyond  Bengal 
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Don  Quixote 
The  Healer 
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The  Keeper  ot  Bees 


The   Girl   of  the   Lim- 

berlost 
Last  Days  of  Pompeii 
Little  Men 
Matto  Grasso 
Silent  Enemy 
This  is  America 
The  Viking 
William  Tell 
Wandering  Jew 


Class  Room 

16  mm.  Talking  Films 


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Astronomy 

Physical  Science 

Art 

World  and  its  People 

Insects 

Reading  and  Poetry 


Marine  Life 

Birds 

Wild  Animals 

Architecture 

Microscopic  Creatures 

Botany 

Sports 


Travel  and  Customs 

Thousands    of   reels    to    choose   from. 

Send  for  complete   catalog  including 
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16.  Xote  the  metal  pot  and  pump.    Size  of  kettle 

Composition  of  type  metal 

Temperature  of  the  metal 

17.  What  is  done  with  scrap  metal,  line,  and  forms  after 
paper  is  printed  ? 

18.  Note  making  of  metal  forms  for  the  pres.s — trimming — 
leveling.    Other  items 

Press  Machines 

19.  Note  construction  of  the  machines — inkers — p'.ates — roll- 
ers— rolls  of  paper — how  paper  is  threaded  thru  machine 
— printing  of  paper — folding — counting, 

Graphotyl'c 

20.  Construction.    Its   use 


Addrcssograph 
21.    Construction.    How  operated?    Its  use. 


Summary 

22.  On  the  back  of  this  paper  write  a  summary  to  trace  news 
items  from  source  to  the  reader.  Bring  this  material  to 
class  and  hand  in  at  the  next  class  hour. 

This  laboratory  sheet  may  be  used  at  the  next  class 
meeting  period  while  a  discussion  of  the  trip  is  under 
consideration.  The  facts  recorded  will  make  it  possible 
to  clarify  many  points,  amplify  the  items  listed,  and 
serve  as  points  of  departure  for  further  readings  and 
research.  The  demand  for  a  written  summar\-  requires 
the  pupil  to  formulate  his  concepts  into  clear-cut.  ])re- 
cise  statements. 

With  this  sheet  as  a  pattern,  similar  sheets  may  easily 
be  constructed  by  teachers  for  trips  to  other  places. 
The  items  to  be  included  in  such  sheets  will  be 
determined  with  relation  to  the  particular  place  being 
studied.  The  teacher  will,  of  course,  survey  the  place, 
and  if  possible,  secure  the  services  of  some  one  entirely 
familiar  with  it  to  assist  in  listing  the  items  to  be  in- 
cluded in  the  laboratory  sheet.  Duplicate  copies  of  the 
laboratory  sheet  can  readily  be  made  at  little  cost  by 
means  of  the  hektograph  or  the  mimeograph. 

One  will  be  well  repaid  for  the  time  and  effort  spent 
in  constructing  the  laboratory  sheet  for  each  school 
journey  taken.  With  the  sheet  before  them,  the  pupils 
are  more  likely  to  look  upon  the  trip  as  a  serious  bit  of 
school  work  rather  than  to  consider  it  a  "lark"  and  a 
release  from  school  obligations.  They  will  see  that  a 
definite  task  has  been  set  before  them,  and  will  of  them- 
selves know  whether  they  have  really  completed  the 
assignment  made.  It  serves  as  a  guide  and  as  an  obliga- 
tion. After  having  worked  through  the  sheet,  the  pupils 
will  have  the  satisfaction  of  knowing  that  the  assigned 
work  has  been  accurately  and  thoroughly  done. 

Foreign  Films 

(Concluded  from  page  60) 

of  the  peons  of  Mexico,  which  reflects  in  some  parts  the 
cinematic  skill  of  its  director  Eisenstein.  Kimiko  was  re- 
viewed in  the  January  number  of  Education.'VL  Screen. 
Lac  Aii.r  Dames  is  a  typical  French  program  picture 
and  is  of  interest  as  a  sample  of  French  entertainment 
rather  than  as  a  prestige  picture  such  as  La  Maternelle. 
All  six  of  the  films  on  the  International  House  series 
have  English  subtitles. 

*Just  after  the  January  issue  of  Education.al  Scrfien  went  to 
press  an  arrangement  to  make  The  Neiv  GuHiver  available  t" 
schools  was  made. 


February,  1937 


Page  67 


Bring  The  Mountains 

to  Young  Mahomets 

with  PICTUROLS! 

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PICTUROLS  available.  Send  for 
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THE     AUDIO-VISUAL     HANDBOOK     by     Ellsworth     C.     Dent 

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Page  68 


The  Educational  Screen 


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The  one-reel  16  mm  sound  picture,  The  Spirit  of 
the  Plains,  is  the  first  "educational"  to  be  put  out  by 
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the  Plains. 

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in  twelve  minutes.  The  sensation  is  real  fun.  The 
youngsters  will  love  The  Spirit  of  the  Plains  and  many 
teachers  may  therefore  conclude  that  it  is  great  "educa- 
tion." 

In  using  the  film  as  a  serious  teaching  tool,  how- 
ever, the  problem  will  be  to  keep  the  youngster 
from  thinking  of  "The  West"  as  a  seething  mass  of 
raging  Indians,  cowboy  choruses,  singing  wagon 
trains,  roving  buffalo  (and  a  man  placidly  plowing 
beside  them),  stampeding  cattle,  plunging  horses, 
incessant  human  struggle,  crackling  guns,  hurri- 
cane winds  and  blinding  dust.  A  few  dozen  slides 
of  these  splendid  shots,  studied  with  reflection, — 
then  the  film,  with  the  students  needing  only  to 
watch  and  feel,  not  think  and  learn— would  accom- 
plish something  really  "educational". 

Now,  even  if  this  film  falls  a  bit  short  of  being 
an  ideal  "educational,"  it  is  vastly  important  as  a 
symptom  and  a  promise.  For  years,  teachers  and 
others  have  urged  the  producers  to  make  available 
the  lavish  sets  and  the  careful  research  work  on  cos- 
tumes and  other  detail  now  repeatedly  found  in 
every  major  feature,  for  short  topical  films  intended 
for  classroom,  school  auditorium  and  general  non- 
theatrical  use.  It  is  highly  significant  that  a  great 
theatrical  producer  has  actually  made  his  first 
"educational"  —  has  definitely  done  something  in- 
stead of  merely  threaten.  The  Spirit  of  the  Plains  may 
be  but  the  first  of  a  long  series.  And  they  will  be 
successively  better.  This  first  effort  will  be  exceedingly 
fruitful  in  suggestions  for  improvement.  The  writer  has 
already  seen,  with  immense  satisfaction,  Paramount's 
second  attempt,  of  which  it  will  be  a  pleasure  to  write 
when  the  proper  release-date  comes. 

N.  L.  G. 


February,  1937 


Page  69 


DEBICNED 

MACHINES  ARE 
ORICINRLRND 
INDEPENDENT 


Characterized  Always  by 

Advanced  Features  Exclusive  with  DeVry 

When  You  BUY  DeVry  you  may  rest  assured  your  Motion  Pic- 
ture Equipnnen+  has  incorporated  in  its  construction  Every 
Important  Improvement  known  to  the  industry  —  and  some 
hitherto  unknown  to  the  industry. 

We  distinguish  carefully  at  the  DeVry  factory  between 
Im^portant  Improvem^ents,  and  surface  changes,  such  as  fancy 
cases  and  tricky  gadgets  designed  for  "Talking  Points." 

This  explains  why  for  24  years  DeVry  is  the  favorite  of  the 
Educational  and  business  worlds  in  America,  and  why  it  is 
now  sold  in  66  countries. 

DeVry  is  happy  to  consult  with  you  on  your  talking  Motion 
Picture  and  Public  Address  problems.  DeVry  makes  the  most 
complete  line  for  every  purpose,  and  is  therefore  in  the  envi- 
able position  of  being  able  to  recommend  the  proper  equip- 
ment, without  bias. 

No  Trouble  to  Answer  Questions 


V         E         H 

I         D         E 

SUA 

U         C         D 

A        A         Q 

L         T         U 

] 

[          A 

O         R 

N         T 

E 

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^ps 


Two  New  Free  Booklets; 


For  Teachers: 

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For  Business  Men: 

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Make  Booths  F2  and  F3  your  Head- 
quarters at   NEA  in   New  Orleans. 


Join  The  National  Conference  on  Visual 
Education,   Chicago  June   21-24,    1937. 


HERMAN  fl.  DEVRY,  INC.  ^^^  INI  QrmitaqeQve.CHICRCO 


Page  70 


The  Educational  Screen 


FREEi 

New  1937  Silent 
and  Sound  Rental 
FILM   LIBRARY! 


(A 


Write  for  your  free  copy  of 
Central's  new  1937  Rental  Li- 
brary of  Up  -  to  -  Date  16mm 
Sound  and  Silent  Pictures.  Over 
5.000  reels  I  America's  finest 
rental  library.  Write  for  your 
Free  copy  now.  Also  free  copy 
of  our  great  new  February  sale 
book  offering  hundreds  of  cam- 
eras, projectors,  ftlms.  lenses  at 
bargain  prices.     Address: 

CENTRAL     Camera     Company 

230  South  Wabash  Avenue,  Dept.  52,  CHICAGO 


WANTED 

DISTRIBUTORS 

AND      AGENTS 

For    1.    STILLFILM 

2.    STILLFILM  JUNIOR 

3.    STILLFILM  STRIPS 

THREE   EDUCATIONAL   FILM    LEADERS 

Stillfilm,  Inc. 

4703-05  W.  Pico  Blvd. 

Los  Angeles,  Calif. 

Teacher  Training  Conferences 

The  Motion  Picture  Project  of  the  American  Council 
on  Education  has  been  promoting  a  series  of  teacher 
training  conferences  and  has  cooperated  in  the  prepara- 
tion of  outhnes  for  such  conferences  in  New  Yor$:, 
Florida  and  P>oston.  Tiirough  the  coojieration  of  Dr. 
Fannie  ^^  .  Dunn,  a  meeting  was  held  January  18  at 
Teachers  College,  Columbia  University,  for  the  dis- 
cussion of  such  topics  as :  How  shall  training  in  visual 
instruction  be  administered  ?,  What  should  be  the  con- 
tent of  such  courses?.  What  i^ersonnel  is  required  for 
training  in  visual  instruction?.  What  in-service  train- 
ing should  be  provided? 

♦  ♦ 

".\  Short  Course  on  the  Use  of  X'isual  Aids  in  the 
Classroom''  was  given  to  the  science  and  geography 
teachers  of  Florida  at  the  newly  established  School  of 
Adult  Education  of  the  General  Extension  Division  of 
the  University  of  Florida  at  Ocala,  the  week  of  Feb- 
ruary 6-14.  The  course  emphasized  these  two  sub- 
jects as  the}-  require  more  visual  material  than  many 
other  subjects  and  there  is  a  greater  amount  of  ma- 
terial available  in  these  fields  than  any  other.  Three 
Round  Table  Groups — Elementary  School  Science  and 
Geography,  High  School  Science,  Visual  Instruction 
in  School  Administration — met  every  morning  and  af- 
ternoon to  view  tiie  visual  material  collected  for  the 
course,  and  to  plan  actual  classroom  programs.  A  dis- 
play of  the  latest  equipment  was  supjilemented  by  in- 
struction in  their  operation  and  care. 

Lecturers   and   instructors   were :    Bernice   Ashburn, 


/# 


PLEASE  NOTE 


#/ 


"We  are  offering  for  the  first  time  an  attractive  RENTAL  and  LEASING  plan,  by  which  you  may 
have  the  use  of  more  than  100  EDUCATIONAL  subjects.  These  include  a  series  entitled  "OUR 
WORLD  IN  REVIEW",  produced  by  PATHE  News,  Inc.,  and  "SECRETS  OF  NATURE",  produced  by 
BRITISH  INSTRUCTIONAL  PICTURES  of  England." 


THE  WORLD  AND  ITS  PEOPLE 
MUSIC  APPRECIATION 
ART  AND  ARCHITECTURE 
ASTRONOMY 
PHYSICAL  SCIENCE 
HISTORY 


AMERICA'S  HALL  OF  FAME 

MARINE  LIFE 

MICROSCOPIC  STUDIES 

ORCHESTRAL  INSTRUMENTS 

SPORTS 

HISTORY  OF  AVIATION 


LITERATURE 


Write  for  our  catalogues,  listing  a  great  variety  of  16  mm.  sound-on-film  subjects  suitable  for  enter- 
tainment and  semi-educational  purposes.  Cartoons,  Travels,  Musicals,  Adventure  and  full-length  feature 
pictures.  Dramatized  versions  of  "The  Last  of  the  Mohicans,"  "Black  Beauty,"  "Little  Men,"  "Jane 
Eyre,"  "The  Healer,"  "Keeper  of  the  Bees,"  "The  Hoosier  Schoolmaster,"  "Harmony  Lane,"  and 
"The  Student's  Romance." 

RENTAL  AND  LEASING  RATES  ON  REQUEST 
WALTER  O.  GUTLOHN,  Inc.,         35  W.  45th   St..   New   York.   N.   Y. 


INSTRUCTION    IN    WELDING     ...     An    Educa- 
tional   Leicaphcto   by   Leon   A.    Kreger. 


Page  71 


The  Leica  Method  of  Visual  Education 

^^HETHER  you  are  in+eres+ed  in  power  development,  natural  his- 
tory, scientific,  mechanical  or  other  subject  matter  for  visual 
educational  purposes,  you  will  find  it  easy  and  economical  to 
use  the  Leica  camera  for  you  can  select  and  produce  your  own  ma- 
terial in  whatever  manner  you  desire.  The  camera  uses  35mm.  per- 
forated motion  picture  film,  making  "still"  pictures,  I  x  I '/2  inches 
in  size,  and  its  wide  range  of  accessories  enables  you  to  photograph 
Pike's  Peak  as  well  as  a  Paramecium,  or  other  microscopical  speci- 
men. You  can  make  enlarged  paper  prints  or  slides,  either  film  slides 
on  35mm.  film  or  2  x  2  inch  glass  slides. 
With  a  Udimo  or  Umino  projector  such 
slides  can  be  projected  to  large  propor- 
tions. The  Leica  method  is  simple,  com- 
pact and  precise. 

Write  for  illustrated  literature 
to  Dept.  C. 

E.      LEITZ, 

730  FIFTH  AVENUE 


INC. 

NEW  YORK,  N.  Y. 


President  of  the  Association  for  Visual  Instruction  in 
Florida ;  Donald  P.  Bean,  Manager,  the  University  of 
Chicago  Press ;  M.  L.  Carothers,  Office  of  the  State 
Sujierintendent  of  Public  Instruction;  Colin  English. 
State  Superintendent  of  Public  Instruction.  Tallahas- 
see ;  ^^'.  Y.  Goette,  P.  K.  "S'onge.  Laboratory  School, 
University  of  Florida :  Charles  F.  Hoban.  Jr.,  Amer- 
ican Council  on  Education :  Dean  B.  C.  Riley.  Gen- 
eral Extension  Division.  University  of  Florida. 
♦     ♦ 

The  Massachusetts  Branch  of  the  Department  of 
Visual  Instruction  held  its  seventh  annual  Visual  Ed- 
ucation Conference  in  co-oi)eration  with  the  American 
Council  on  Education  Saturday.  February  6,  at  the 
Boston  University  School  of  Education.  At  the  morn- 
ing session  Mr.  E.  C.  Dent.  Director.  Educational  De- 
partment, RCA  Manufacturing  Company,  spoke  on 
"Recent  Developments  in  Audio-Visual  Aids  to  Learn- 
ing." Dr.  Georg  Roemmert,  Founder  and  Director  of 
the  Micro-Vivarium  at  the  Chicago  World's  Fair, 
demonstrated  "Wonders  of  an  Unseen  World".  A  dis- 
cussion of  some  of  the  problems  arising  in  the  opera- 
tion of  a  Teaching  Aids  Department  in  a  school  sys- 
tem, by  directors  of  such  dei)artnicnts.  concluded  the 
morning  program.  The  afternoon  meeting  was  devoted 
to  an  exhibit  of  the  organization  and  services  rendered 
by  the  Local.  County.  State,  and  National  Government- 
al Departments,  and  Educational  Foundations  with  an 
exhibit  of  their  Teaching  Aids. 

A  Course  in  School  Photography 

A  University  of  California  Extension  class  in  School 
Photography  opened  in  San  Francisco  Thursday.  Jan- 
uary 28th.  P.  Douglas  Anderson.  Fellow  of  the  Royal 
Photographic  Society  of  Great  Britain,  is  conducting 
the  course.  It  consists  of  a  complete  outline  of  the 
use  of  cajneras,  study  of  the  practical  application  of 
the  camera  to  outdoor  work,  action  photography,  inter- 
ior photography,  landscape  and  field  photography,  the 
making  of  lantern  and  film  slides,  film  developing,  con- 
tact printing,  filters,  and  other  technical  features. 


FOR  SALE:  motion  picture  projector  — super 
DeVry  1000  watt,  silent,  Type  SE  No.  11999,  35  mm.  ALSO: 
metal  portable  booth  on  casters — 48'/2"  wide  by  61 '/j"  long, 
by  79"  high.    Good  condition.    Make  offer. 

NEWARK  MUSEUM,  Newark,  New  Jersey 


16  MM.  SOUND-ON-FILM  for  RENT 

Lists  are  free  —  either  sound  or  silent  films. 
Our    rates    (we    honestly    believe)    are    the   lowest   in    the    U.    S.    A. 

All  programs  unconditionally  guaranteed. 

All  postage  on   films  —  both   to  and  from  destination  —  paid   by  ua. 

We  are  organized  for  service — not  for  profit. 

May  we  save  you  money  on  your  equipment?     Try  us! 

THE      MANSE      LIBRARY        Cincinnati,    ohio 


For  Making  Home-Made  Slides 

GLASSIVE— an  abrasive  for  making  your  own  ground 
glass  slides  from  plain  cover  glass  for  a  fraction  of 
a  cent  each.     50c  a  package. 

CELLOSLIDE— Eliminates  the  necessity  of  writing  on 
glass.  Takes  ink  better  than  glass.  500  sheets  for  {1.00. 
(Dealers   Wanted   ~   Write  for  terms) 

TEACHING  AIDS  SERVICE,  Jamaica  plain. mass. 


16mm. 

Entertainment 

Films 

Hundreds  of  titles — both  sound  and  silent 

best  prints — lowest  prices. 
A  new  cafalogue  is  now  availabb.    If  you   are 
not  already  on  our  list,  be  sure  to  write  today 
for  your  free  copy. 

Eastin   1  6mm.  Pictures 

DAVENPORT,  IOWA 


Page  72 


The  Educational  Screen 


AMONG  THE  PRODUCERS  nd'UtL 


te  centntetciaL 


/'•' 


Ltm.^  attnouMce  new  nzo, 


ducLA  o-nA,  JLcvcioym.cuu  or  mtete^t  to  tke  TieiJi. 


Easfman  Announces  Kodaslide  Projector 

News  comes  from  Rochester  announcing  the 
Kodaslide  Projector,  a  new  product  of  the  Eastman 
Kodak  Company,  provided  for  owners  of  Kodak 
Retina,  Kodak  Bantam  Special,  and  other  minia- 
ture cameras.  Manufactured  to  precision  stand- 
ards, this  brilliant  new  Eastman  projector  will  show 
either  full-color  Kodachrome  transparencies,  or 
black-and-white  film  positives  from  No.  135  or  No. 
828  negatives.  For  projection,  each  individual  pic- 
ture, properly  masked,  is  mounted  in  a  2  x  2-inch 
glass  slide,  suitably  bound. 

The  Kodaslide  Projector  is  strong,  solid  and  ex- 
tremely easy  to  use.  It  has  an  attractive  baked 
black-enamel  wrinkle  finish  and  dull-nickel  operat- 
ing parts.  One  of  the  chief  features  is  the  so-called 
"douser"  method  of  shifting  from  picture  to  pic- 
ture. The  2  X  2-inch  glass  slides  are  inserted  in  the 
metal  gate  at  the  top  of  the  slide  holder  and  are 
gravity-fed  by  means  of  the  slide-shifting  lever  at 
the  side  of  the  projection  head. 

Illumination  is  provided  by  a  200- watt  115-volt 
lamp  with  concentrated  coil-coil  filaments.  A  cool 
outer  surface  is  accomplished  by  means  of  an  inner 
shell  which  permits  an  air  space  on  all  four  sides. 
In  addition,  natural  draft  ventilation  exhausts  the 
heat  from  the  top  of  the  lamp  house.  A  spherical 
aluminum- 
coated  glass 
reflector  is 
located  be- 
hind  the 
lamp.  The 
three-piece 
condenser 
lens  unit, 
ample  in 
size  to  give 
uni  f o  rm 
screen  il- 
lumination, 

has  in  ad-    ^^^v  m 

dition    a  The  Kudaslide  Projectur  in  Operation 

disc  of  heat-absorbing  glass  to  prevent  over-heating  of 
the  slides.  The  projector  comes  equipped  with  a  4%" 
projection  lens.  Its  focal  length  assures  plenty  of  room 
in  front  of  the  projector  for  spectators.  Two  knurled 
thumb  screws  at  the  front  of  the  projector  base  provide 
a  convenient  means  of  adjusting  the  height  of  the  light 
beam  to  the  position  of  the  screen. 


Double  Frame  Stillfilms 

The  rapid  progress  that  is  being  made  in  the  new 
35mm  double  frame,  horizontal,  film  strips  is  forcefully 
brought  to  the  attention  of  educators  by  the  new  catalog 
of  films,  just  published  by  Stillfilm,  Inc.  Stillfihn 
Junior,  the  name  by  which  the  new  films  are  known  in 
order  to  diflferentiate  from  the  well  known  Stillfilms, 
have  been  produced  for  the  purpose  of  giving  a  much 
larger  picture  on  the  screen,  under  the  same  conditions, 
than  the  ordinary  35mm  films.  Fully  explanatory  titles 
precede  each  picture  making  the  use  of  manuals  un- 
necessary. The  new  catalog  lists  more  than  400  reels 
of  Stillfilm  Junior,  the  prices  of  which  are  well  within 
the  range  of  the  smallest  school  system.  Stillfilm  Junior 
can  be  projected  in  a  fully  lighted  classroom  when  the 
new  'TranshriW  screen  is  used — a  blessing  to  those  who 
have  no  means  of  darkening  the  room.  A  sample  of  the 
new  film  and  a  catalog,  will  be  sent  upon  request  to! 
Stillfilm,  Inc.,  4703  West  Pico  Blvd.,  Los  Angeles,  Calif. 

Leica  Offers  New  Camera 

A  new  tool  for  the  maker  of  educational  photo- 
graphs, either  for  use  as  paper  prints,  glass  slides, 
or  film  slides  is  the  Leica  camera  Model  G  equipped 
with  the  new,  fast  Leitz  Xenon  f:1.5  lens.  With 
this  lens  and  camera  the  photographer  should  be 
master  of  practically  any  exposure  situation,  for 
whether  the  day  is  bright  or  dull,  the  action  fast 
or  slow,  this  lens  and  camera  combination  is  said  to 
be  equal  to  any  problem. 

The  Leica  camera  is  ideally  suited  for  making 
natural  color  pictures  by  means  of  Kodachrome 
film.  The  results  are  sparkling,  lifelike  and  faith- 
ful to  the  color  inherent  in  the  original  scene.  There 
are  so  many  times  when  the  average  black  and 
white  rendition  of  a  scene  fails  to  portray  its  true 
beauty  and  worth  that  the  use  of  color  for  visual 
educational  pictures  is  sometimes  made  mandatory 
by  the  subject  matter. 

Kodachrome  transparencies  bound  as  2x2  inch 
glass  slides  may  easily  be  projected  in  all  their 
brilliance  by  means  of  the  Leitz  Udimo  or  Umena  pro- 
jector. 

Gutlohn  Company  Loses  President 

It  is  with  sincere  regret  that  we  report  the  recent 
death  of  Walter  O.  Gutlohn,  President  of  Walter  O. 
Gutlohn,  Inc.,  of  New  York  City.  Wfe  share  with  his 
many  friends  a  genuine  sense  of  loss  at  the  passing  of 
this  genial  personality  from  the  16mm  sound  field. 

The  ideals  and  policies  of  Mr.  Gutlohn  will  be  carried 
forward  under  the  direction  of  Mr.  Harry  A.  Kapit, 
Vice-President,  associated  with  Mr.  Gutlohn  since  this 
well-known  organization  was  formed  in  1934. 


February,  1937 


Page  73 


|To  all  schools  equipped 
to  %\m  SO(/NP  F/IMS 


REGISTER  NOW  to  obtain 


industrial  educational  films 


MODERN  TALKING  PICTURE  SERVICE 
250  West  57th  Street,  New  York,  N.  Y. 

Gentlemen:  Please  register  us  as  interested  in 
receiving  announcements  of  your  selected  in- 
dustrial educational  sound  films.  Weareequi|>- 
ped  to  show  these  films  with  a 


.16 


ram.  niacliine 


chii 


(make) 


(MAKE) 


xhere  are  available  today  a  number  of  superior 
sound  films  portraying  the  stories  of  America's 
great  industries.  More  are  in  preparation.  They 
are  strictly  educational  films — and  by  selection, 
are  ideally  suited  for  school  use. 

Modern  Talking  Picture  Service — a  national 
organization  with  distributing  points  in  26  cities 
— will  keep  you  informed  of  available  subjects. 
You  select  the  pictures  you  wish  to  show.  There 
is  absolutely  no  obligation  to  accept  pictures  you 
don't  want.  And  the  only  cost  to  your  school  is 
for  transportation  of  the  films  one  way. 

Take  advantage  of  this  opportunity  to  round  out 
your  film  program  and  enrich  your  curriculum. 

REGISTER  your  school  by 
mailing  the  coupon  today! 


TALKING 
PICTURE 
SERVICE 


E-2-37 


NAME. 


.35  mm.  machine 


SCHOOL- ...- .:.. 

ADDRESS.. 

CITY STATE.. 


Page  74 


The  Educational  Screen 


AMONG   THE    MAGAZINES 
AND    BOOKS 


Conducted  by  Stella  Evelyn  Myers 


"New  Plan"  Textbooks  from 
The  Universify  of  Chicago 

Recent  years  have  seen  some  notable  educational 
history  in  the  making  at  The  University  of  Chicago. 
The  already  famous  "New  Plan,"  affecting  both 
curriculum  and  method  in  university  teaching,  has 
not  only  startled  but  stimulated  the  whole  uni- 
versity world.  Its  beginning  of  systematic  produc- 
tion of  educational  sound  films,  in  collaboration 
with  Erpi,  put  the  University  of  Chicago  conspicu- 
ously in  the  forefront  of  the  visual  education  move- 
ment. And  now  appear  the  first  five  of  a  series  of 
textbooks,  written  expressly  for  use  under  the  New- 
Plan,  which  make  elaborate  use  of  scientifically  se- 
lected visual  material  in  their  pages  and  which 
correlate  wholly  or  in  part  with  the  films  already 
produced.  A  significant  advance,  this,  toward  ac- 
tual integration  of  the  visual  idea  into  education 
where  it  belongs. 

The  five  new  texts,  written  by  members  of  the 
faculty,  are  published  by  The  University  of  Chi- 
cago Press,  with  titles,  authors  and  prices  as  fol- 
low: 

From  Galileo  to  Cosmic  Rays  (450  pages)  by  Har- 
vey B.  Lemon  ($3.00) — A  New  Look  at  Physics. 

Exploring  in  Physics  (150  pages)  by  Reginald  J. 
Stevenson  ($1.50) — A  New  Look  on  Problems 
in  Physics. 

Both  books  are  finely  illustrated  by  line  draw- 
ings, diagrams  and  photographs.  Eight  corre- 
lated sound  films  are  available  for  use  with  the 
above  texts. 

Down  to  Earth  (500  pages)  by  Carey  Croneis  and 
William  C.  Krumbein  ($3.75)  —  An  Introduc- 
tion to  Geology. 

Richly  illustrated  by  numerous  drawings,  re- 
productions of  models,  and  64  full  pages  of 
photogravures.  Six  correlated  sound  films  arc 
available. 

A  Mathematician  Explains  (189  pages)  by  Mayme 
L  Logsdon  ($1.75) — A  New  Type  of  Textbook 
for  Orientation  Courses  in  Mathematics. 
Illustrated    with    figures,    diagrams,    formulae, 
and  line  drawings. 

Highlights  of  Astronomy  (280  pages)  by  Walter 
Bartky  ($2.50)— A  Novel  Textbook  Designed 
to  Interest  the  Beginning  Student. 
Illustrated  with  drawings  and  Yerkes  Observa- 
tory photographs.  Available  also  are  four 
sound  films  (new),  four  silent  films,  and  eight 
hundred  lantern  slides  (Yerkes). 
The  size,  format  and  typography  of  these  Ijooks 

are  no  less  noteworthy  than  the  contents.     They 


suggest  happily  the  picture  books  of  our  younger 
days.  They  lie  open  invitingly  on  lap  or  desk. 
They  would  even  be  delightful  stuff  for  a  reader 
stretched  out  flat  on  a  living-room  rug.  The  type 
is  generously  large,  with  black  initials  marking 
main  divisions,  and  the  text  dotted  judiciously 
with  bold  face.  Such  type  was  once  reserved  for 
the  youngster's  reading  page.  But,  logically  enough, 
older  eyes  can  still  more  fully  appreciate  reading- 
ease  and  be  healthily  benefited  thereby. 

The  text  is  written  with  literary  consciousness  as 
well  as  scientific  intent,  with  an  understanding  of 
the  readers  as  well  as  of  the  subjects.  The  writers 
freed  their  pens  from  the  tradition  that  writing 
must  be  heavy  to  be  authoritative.  The  average 
student  mind  can  properly  enjoy  picturesque  pre- 
sentation nor  be  blamed  for  seizing  more  eagerly 
upon  vividness  than  upon  mere  stolid  truth.  Lit- 
erary skill  is  evident  also  in  the  ingenious  repeti- 
tion— that  all-important  aid  and  assurance  to  learn- 
ing— so  deftly  done  as  to  invigorate  and  not  annoy. 
Repetition  can  be  achieved,  and  hitherto  generally 
has  been,  by  "re-reading"  which  usually  is  healthily 
resented  by  normal  young  minds.  But  repetition 
gained  by  reading  straight  ahead,  each  repetition 
phrased  as  a  novel  and  welcome  reminder  instead 
of  a  deadly  "review",  will  win  studentdom  without 
a  struggle.  These  repetitions,  recognized  as  such 
by  the  reader,  merely  build  confidence  in  the  per- 
manence of  his  own  growing  knowledge.  Those 
not  recognized  were  needed. 

Wide  adoptions  of  these  texts,  already  made  in 
other  universities,  colleges  and  junior  colleges, 
show  clearh'  that  their  value  is  not  confined  to 
"New  Plan"  instruction.  Rather  they  both  point 
and  lead  the  waj-  toward  the  better  educational 
procedure  inevitably  coming.  Effective  teaciiing 
must  enhance  mental  appeal  by  every  means,  peda- 
gogical, psychological,  typographical  and  ])ictorial. 
These  new  Chicago  texts  look  definitely  in  that 
direction.  K.  L.  G. 

New  Home  Library  Publicafions 

The  National  Home  Library  Foundation,  W'ashing- 
ton,  D,  C,  has  announced  plans  for  the  distribution  of 
a  million  copies  of  new  books  of  special  interest  to  ed- 
ucators, to  be  made  available  at  25  cents  i^er  volume. 
Distribution  of  these  books,  published  on  a  non-profit 
basis,  will  begin  immediately  to  all  sections  of  the 
country.  Titles  have  been  approved  by  an  advisory 
board  of  sixty-six  of  the  most  distinguished  names  in 
the  arts  and  sciences.  The  Foundation  will  extend 
special  discounts  to  educators  on  all  quantity  orders. 


February,  19  }7 


I 

^B  List  of  titles  now  available  are :  Horace  Mann :  His 
^^Ideas  and  Ideals,  by  Joy  Elmer  Morgan,  which  in- 
cludes Horace  Mann's  famous  Lecture  on  Education, 
and  his  Letter  to  School  Children,  hitherto  inaccessible 
to  teachers ;  Tlie  Odyssey  of  Homer,  translated  by 
Samuel  Butler ;  Democracy  in  Denmark,  by  Josephine 
Goldmark  and  Mrs.  Louis  D.  Brandeis.  describing  the 
development  of  the  splendid  Folk  High  Schools  and 
the  spread  of  the  cooperative  movement  as  factors  in 
Denmark's  economic  recovery ;  The  Long  Road,  by 
Arthur  E.  Morgan,  with  an  introduction  by  Dorothy 
Canfield  Fisher;  Jefferson.  Corporations  and  the  Con- 
stitution, by  Dr.  Charles  A.  Beard, 
How  TO  Use  the  Educ.\tional  Sound  Film,  by  M. 
R.  Brunstetter.  175  pp.  Illustrated.  The  Uni- 
versity of  Chicago  Press  (1937).    $2.00. 

This  book  is  a  notable  contribution  to  a  relatively 
recent  problem  in  visual  instruction  that  greatly 
needs  clarifying — the  use  of  the  "sound  film"  in 
teaching.  At  the  outset  the  author  recognizes 
frankly  that  the  last  word  cannot  yet  be  said  on  so 
new  a  teaching  tool,  that  "the  efficient  use  of  the 
sound  film  .  .  .  must  necessarily  be  a  process  of 
experimentation  and  evolution". 

While  Dr.  Brunstetter  is  obviously  intent  upon 
proving  outstanding  values  in  the  sound  film,  he 
guards  carefully  against  the  absurd  supposition  that 
other  visual  aids  are  now  obsolete.  Likewise,  he 
emphasizes  properly  and  frequently  how  vitally  im- 
portant is  the  teacher.  "The  film  medium  needs  the 
teacher  quite  as  much  as  the  teacher  needs  the  film. 
,  .  .  and  by  the  time  a  teacher  has  properly  pre- 
pared a  film  lesson,  it  is  more  difficult  than  teach- 
ing from  the  book  but  makes  for  better  teaching." 

With  a  sense  of  balance  thus  assured,  the  author 
gives  in  a  half  dozen  chapters  pertinent  and  helpful 
information  on  the  unique  characteristics  of  sound 
films,  teaching  purposes  served  by  them,  the  neces- 
sity for  a  careful  integration  with  the  work  in 
hand,  for  introduction  of  the  film  at  its  exact  time 
and  place,  and  its  varying  functions  in  introducing, 
illuminating,  and  reviewing  a  subject.  Ample  warnings 
against  misuse  are  given.  Two  valuable  Appendices 
and  a  full  index  round  out  this  impressive  volume. 

Some  difficulties  may  still  remain  in  readers' 
minds,  and  naturally,  in  so  recent  a  phenomenon 
as  the  sound  film.  The  author's  proof  that  sound 
film  is  as  flexible  as  silent  for  adaptation  to  differ- 
ent grade  levels,  for  review  and  repetition,  for  in- 
terjected comment  by  teacher,  for  permitting  pupil 
concentration  on  special  points — is  not  wholly  con- 
vincing. He  admits  distraction  of  attention,  and  real 
values  in  running  the  film  without  the  sound.  He 
suggests  how  to  keep  the  sound  from  making  trouble. 

On  the  whole,  the  book  is  an  excellent  summary  and 
trenchant  discussion  of  the  art  of  teaching  with  "films", 
but  presented  as  if  it  applied  only  to  "sound  films". 
Most  of  its  dicta  were  determined  long  ago  by  silent 
films.  What  gives  an  air  of  newness  is  the  constant 
assertion  that  "sound  films"  do  all  these  things.  Perhaps 
better  add  "So  do  silent  films",  and  then  go  on  to  em- 
phasize at  greater  length  the  particular  things  for  which 
the  educational  sound  film  is  and  will  be  unquestionably 
unique  and  incomparable. 


Page  75 

A  Parade  of  Ancient  Animals,  by  Harold  O.  Whit- 
nall,  Professor  of  Geology,  Colgate  University. 
136  pages  (Illustrated).  Publisher,  Thomas  Y. 
Crowell  Company.     Price,  $2.00. 

A  delightful  little  book,  in  which  a  college  professor 
succeeds  in  presenting,  to  a  very  special  audience,  se- 
lected bits  of  real  science  in  a  form  beautifully  calcu- 
lated to  enthrall  and  instruct  that  audience.  Here  are 
136  pages  of  joyous  reading  for  the  youngsters.  If  the 
grown-ups  are  loath  to  admit  they  enjoy  it  equally, 
they  have  a  perfect  alibi.  They  want  it  "for  reading 
aloud  to  the  children,"  and  there  could  be  nothing  bet- 
ter for  the  purpose.  The  fundamentals  of  the  geologic 
Age  of  Reptiles  and  of  biologic  evolution  are  all  here, 
stripped  sufficiently  of  learned  technicalities  to  stand 
forth  as  elementary  concepts  easily  within  reach  of  the 
young  minds  and  inevitably  interesting  to  them. 

The  deft  appeal  to  youthful  thinking,  the  captivating 
simplicity  of  style,  the  engaging  manner  of  narration 
are  all  evident  from  the  very  start.  Even  the  heading 
of  the  first  chapter  is  magical — "Do  Not  Skip  This" — 
and  Professor  Whitnall  begins :  "In  this  book  we  are 
going  on  a  long  journey.  We  are  going  far  back  to  a 
time  when  the  world  was  young  and  strange  animals 
tramped  over  the  land  and  swam  the  sea  and  soared  in 
the  air  .  .  .  but  before  we  begin  our  stories  we  must 
have  a  short  talk  about  a  number  of  things."  Ingeniously 
simple  language  then  makes  clear  the  great  age  of  the 
earth,  the  meaning  of  evolution  as  "the  great  process 
of  growth  and  improvement,"  and  "as  we  read  about 
the  strange  animals  we  shall  see  pictures  of  them.  Of 
course,  such  pictures  could  not  have  been  made  while 
these  animals  lived,  since  there  were  no  men  at  the 
time.  .  .  .  How  then  do  we  know  what  the  animals 
looked  like?  I  shall  try  to  tell  you."  He  succeeds. 
Vividly  and  accurately  is  explained  how  all  our  knowl- 
edge of  these  animals  has  come  from  their  bones ;  how 
study  of  these  fossil  remains  can  give  nearly  all  the 
facts  the  artist  needs  for  drawing  a  true  picture ;  and 
how  these  animals  were  finally  replaced  by  those 
we  know  today.  "Now  let  us  go  back  in  fancy 
through  those  millions  of  years  and  see  what  some  of 
the  ancient  animals  looked  like."  And  so  ends  three- 
paee-long  chapter  I,  "Do  Not  Skip  This."  They  won't. 

Twenty-six  chapters  follow,  of  fascinating  descrip- 
tion of  a  score  of  ancient  animals  in  their  native 
environments,  done  in  felicitous  phrase  and  with 
a  vocabulary  over  90fo  pure  Anglo-Saxon.  Neces- 
sary difficulties  are  not  dodged.  "As  it  often  hap- 
pens in  life,  there  were  some  who  seemed  to  prosper 
beyond  all  others.  Such  were  the  big  amphibians 
called  Eryops  (Er'-y-ops).  Don't  be  afraid  of  this 
new  name.  We  shall  have  many  worse  ones.  After 
you  get  used  to  them,  they  are  just  as  easy  to  re- 
member as  rhinocerous,  hippopotamus,  alligator, 
and  others  that  you  already  know."  Twenty  full 
page  plates,  and  many  line  drawings,  beautifully 
executed  by  H.  C.  Millard,  a  former  student  in 
Whitnall  courses,  supply  the  vivid  visualization  in- 
timately blended  with  the  text  which  is  needed  to 
make  concepts  clear  and  unforgettable.  At  the 
close  of  the  book  there  is  a  hint  of  other  books  to 
come  in  a  similar  vein.    There  should  be.         N.  L.  G. 


Page  76 


The  Educational  Screen 


HERE  THEY  ARE 


FILMS 

Bell  &  Howell  Co.  (6) 

1815  Larchmont  Ave.,  Chicago 
(See  advertisement  on  inside  bacK  cover) 

Bray  Pictures  Corporation  (3,  6) 

729  Seventh  Ave.,  New  York  City 

Eastin  16  mm.  Pictures  (6) 

(Rental  Library)   Davenport.  la. 
(See  advertisement  on  page  71) 

Eastman  Kodak  Co.  (1,  4) 

Rochester,  N.  Y. 
(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 
606  Wood  St.,  Pittsburgh,  Pa. 

Edited  Pictures  System,  Inc.  (1,  4) 
330  W.  42nd  St.,  New  York  City 

Erpi  Picture  Consultants  Inc.  (2,  5) 

250  W.  SOth  St.,  New  York  City 

(See  advertisements  on  pages  28,  73) 

Films,  Inc.  (5) 

330  W.  42nd   St.,  New   York  City 

19  S.  LaSalle  St.,  Chicago 

925  N.  W.  19th  St.,  Portland,  Ore. 

Garrison  Film  Distributors  Inc.     (3,6) 

730  Seventh  .Avenue,  New  York  City 
(See  advertisement  on  page  68) 

Walter   O.    Gutlohn,   Inc.  (5) 

35  W.  45th  St.,  New  York  City 

(See  advertisement  on  page  70) 

Harvard  Film  Service  (3,  6) 

Biological   Laboratories, 
Harvard  University,  Cambridge  Mass. 

(See  advertisement  on  page  64) 

Guy  D.  Haselton's  TRAVELETTES 
7901  Santa  Monica  Blvd.,  Hollywood, 
Cal.  (1,  4) 

(See  advertisement  on  page  68) 

Ideal  Pictures  Corp.  (3,  6) 

30  E.  Eighth  St.,  Chicago,   111. 

(See  advertisement  on  page  66) 

Institutional  Cinema  Service,  Inc.  (3,  6) 
130  W.  46th  St.,  New  York  City 

The  Manse  Library  (4,  5) 

2439  Auburn   Ave.,   Cincinnati,   O. 

(See  advertisement  on  page  71) 

Pinkney  Film  Service   Co.  (1,  4) 

1(J28   Forbes    St.,    Pittsburgh,    Pa. 

United  Projector  and  Films  Corp.  (1,  4) 
228  Franklin  St.,  Buffalo,  N.  Y. 

Unirersal  Pictures  Corp.  (3) 

Rockefeller   Center,   New   York   City 

(See  advertisement  on  page  65) 

Visual  Education  Service  (6) 

470    Stuart    St.,    Boston,    Mass. 
Wholesome  Films  Service,  Inc.      (3,  4) 

48  Melrose   St.,  Boston,  Mass. 
Williams,  Brown  and  Earle,  Inc.  (3,  6) 

918  Chestnut  St.,  Philadelphia,  Pa. 
Y.M.C.A.  Motion  Picture  Bureau    (3,6) 

347  Madison  Ave.,  New  York  City 

(See  advertisement  on  page  65) 

MOTION  PICTURE 
MACHINES  and  SUPPLIES 

The  Ampro  Corporation  (6) 

2839  N.  Western  Avenue,  Chicago 

(See  advertisement  on  page  36) 


Bell  &  HoweU  Co.  (6) 

1815    Larchmont    Ave.,    Chicago,    111. 

(See  advertisement  on  inside  back  cover) 

Central  Camera  Co.  (6) 

230  S.  Wabash  Ave.,  Chicago 

(See  advertisement  on  page  70) 

Eastman    Kodak    Co.  (4) 

Rochester,    N.   Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St.,  Pittsburgh.  Pa. 
Edited  Pictures  System,  Inc.  (1) 

330   W.   42nd   St.,    New   York  City 

General   Films   Ltd.  (3,   6) 

1924   Rose    St.,    Rcgina,    Sask. 

Herman   A.   DeVry,   Inc.  (3,   6) 

1111    Center    St.,   Chicago 

(See  advertisement  on  page  69) 

Ideal  Pictures  Corp.  (3,  6) 

30  E.  Eighth  St.,  New  York  City 

(See  advertisement  on  page  66) 

International   Projector   Corp.        (3,  6) 
90  Gold  St.,  New  York  City 

(See  advertisement  on   inside  front  cover) 

Motion  Picture  Screen  & 
Accessories  Co.  (3,  6) 

524  W.  26th  St.,  New  York  City 
RCA  Manufacturing  Co.,  Inc.  (5) 

Camden,   N.  J. 

(See  advertisement  on  pages   54-55) 

S.  O.  S.  Corporation  (3,  6) 

636  Eleventh  Ave.,  New  York  City 

Sunny  Schick,  National  Brokers     (3.  6) 

407  W.  Wash.  Blvd.,  Ft.  Wayne,  Ind. 

United  Projector  and  Film  Corp.  (3,  4) 
228  Franklin  St.,  Buffalo,  N.  Y. 

Universal  Sound  System,  Inc.        (2,  S) 

Allegheny  Ave.   at  Ninth   St. 
Philadelphia,  Pa. 

(See  advertisement  on  page  67) 

Victor  Animatograph  Corp.  (6) 

Davenport,  Iowa 

(See  advertisement  on  page  61) 

Visual  Education  Service  (6) 

470  Stuart  St.,  Boston,  Mass. 

Williams,  Brown  and  Earle,  Inc.  (3,  6) 
918  Chestnut  St.,  Philadelphia,  Pa. 

SCREENS 

Da-Lite  Screen  Co. 

2721    N.    Crawford   Ave.,   Chicago 

(See  advertisement  on  page  33) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St.,  Pittsburgh,  Pa. 
Motion  Picture  Screen  &  Accessories  Co. 

524  W.  26th  St.,  New  York  City 
Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 

SLIDES  and  FILM  SLIDES 

Conrad  Slide  and  Projection  Co. 

510  Twenty-second  Ave.,   East 
Superior,  Wis. 
Eastman  Educational  Slides 

Johnson  Co.  Bank  Bldg., 

Iowa  City,  la. 
Edited   Pictures   System,   Inc. 

330  W.  42nd  St.,  New  York  City 


A    Trade     Directory 
for  the   Visual    Fiel<d 


Ideal  Pictures  Corp. 
30  E.   Eighth   St.,   Chicago,  111. 

(See  advertisement  on  page  66) 

Keystone  View  Co. 
Meadville,   Pa. 

(See  advertisement  on  page  34) 

Radio-Mat  Slide  Co.,  Inc. 
1819  Broadway,   New  York  City 

(See  advertisement  on  page  68) 

Society  for  Visual  Education 
327  S.  LaSalle  St.,  Chicago,  111. 

(See  adverti-jement  on   page   67) 

Spencer   Lens   Co. 

19  Doat  St.,  Buffalo,  N.  Y. 

( See  advertisement  on  page  37) 

Stillfilm,  Inc. 
4307  W.  Pico  Blvd.,  Los  Angeles,  Cal. 

(See  advertisements  on  pages   65,  70) 

Visual  Education  Service 
470  Stuart  St..  Boston,  Mass. 

Visual  Sciences 
Suffern,  New  York 

(See  advertisement  on  page  68) 

Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 

STEREOGRAPHS  and 
STEREOSCOPES 

Herman  A.  DeVry,  Inc. 
1111   Center   St.,   Chicago 

(See  advertisement  on  page  69) 

Keystone  View  Co. 
Meadville,  Pa. 

(See  advertisement  on  page  34) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 
Rochester,  N.  Y. 

(See  advertisement  on  page  63) 

Eastman  Kodak  Stores,  Inc. 
1020  Chestnut  St.,  Philadelphia,  Pa 
606  Wood  St.,  Pittsburgh,  Pa. 

General  Films  Ltd. 

1924  Rose  St.,  Regina,  Sask. 
£.  Leitz,  Inc. 

60  E.  10th  St.,  New  York  City 

(See  advertisement  on  page  71) 

Society  for  Visual  Education 
327  S.  La  Salle  St.,  Chicago,  111. 

(See  advertisement  on  page  67) 

Spencer  Lens  Co. 
19  Doat  St.,  Buffalo,  N.  Y. 

(See  advertisement  on  page  37) 

Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 


REFERENCE  NUMBERS 

(1)   indicates    firm   supplies 

35   mm. 

silent. 

(2)   indicates   firm  supplies 

36   mm. 

sound. 

(3)   indicates   firm   supplies 

35  mm. 

sound  and  silent. 

(4)   indicates   firm   supplies 

16  mm. 

silent. 

(5)   indicates   firm   supplies 

sound-on-film. 

(6)   indicates    firm   supplies 

16  mm. 

sound  and  silent. 

Continuous  Inseriions  under  one  heading,  $1.50  per  issue;  additional  listings  under  other  headings,  75c  each. 


5«i«td^M;    ^^J- 


'  Magazine  Devoted  Exclusively 
the  Visual  Idea  In  Education 


MARCH,    1937 


IN  THIS  ISSUE 
Proceedings  of  the  New 
Orleans  Meeting — to  be 
concluded  m  April  issue. 


Dunes 

in 
Death 
Valley 


VOLUME  XVI.  NUMBER  3 


(LeicB    Photograph    by    Anton    F.    Baumann) 


25c     A     COPY 


$2.00    PER    YEAP 


T+H  E     D  E  V  RV    LINE 


DeVry  Manufacturers  the  Most  Complete  Line  of  Motion  Picture  Equipment  in  the  Wc 

DeVRY     35mm.     SOUND     PROIECTOR 


Code  FMZRU 
The  Theatre  Projector 

Designed  for  Sound  from  the  Ground  upf 
Streamlined — Dust  Proof—Fewer  Parts — 
Lower  Costs-^Either  Low  or  High  In- 
tensity Arcs.  New  DeVry  "Brillante" 
Lens. 


Code  XNORA 
The   Semi-Portable 

Accommodates     2000     ft.     Reikis.      Full 
Mechanisms,    tOOO    Watt   Mazda    Lamps. 


Theatre 
Can    be 


set  on  table  or  stand.      DeVry  "Brillante"   Lens. 


Cn.l..    UiAJK 

The  Portable  With 

2000  Ft.  Magazine 

Identical  uilh  the  famous  DeVry 
"ESF"  Portable  except  larger 
case  and  magazine  to  accommo- 
date   the    2000    ft.    reel. 


DeVRY     16mm.    SOUND    PROJECTORS 


Code  SMKAW 

DeVry  16mm.  Socket  Intermit- 
tent    Sound     Projector 


The  Sprocket  Inter- 
mittent ( left) . 
Greatest  iidvanoe  in 
16mm.  projection 
in  a  decade.  Incor- 
porates the  rotary 
sprocket  intermit- 
tent used  in  all  the- 
atre machines,  for 
the  claw  movement 
used  in  all  other 
16mm.  projectors. 
Also  —  exclusive  — 
Double  Exciter 
Lamps.  Amplifier 
in  separate  case  for 
Public  Address,  750 
to  1000  Watt  lamp. 
Many  other  supe- 
rior innovations. 


Code  MKORA 

DeVry  I6mm.  "Challenge' 
Sound  Projector 


The  DeVry 

Challenger 

(left) 

The  claw  (mul- 
tiple)  inove- 
ment  at  its  best. 
Lower  in  cost, 
it  incorporates 
all  the  exclusive 
features  of  the 
Sprocket  Inter- 
mittent Projec- 
tor— except  the 
Sprocket  Inter- 
mittent. 


Code  ABAJO 
The  Portable  "ESF" 

The  original  DeV'ry  Sound  Projector — the  j 
ite  .ISmm.  Sound  units  in  the  Schools  and 
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MARCH.  1937                                                          VOLUME  XVI 

NUMBER  THREE 

Contents 

Progress  in  Teacher  Training  In  the  Use  of  Visual  Aids. 

Edgar  Dale 

...     8! 

Visual  Education   Program  of  Chicago  Public  Schools. 

William  F.  Kruse_ 

...     84 

Department  of  Visual  Instruction 

...  86 

The  Open-hlouse   Exhibit  as  a   Stimulus  to   Interest  in 

Visual  Instruction.    Ella  Callista  Clark 

..  87 

The  Role  of  Visual  Materials  In  the  CCC  Educational 

Program,    hi.  S.  Busby.. 

..  88 

Motion    Pictures   as   an   Aid    in   Agricultural    Extension 

Work.    E.  J.  Glerlng,  Jr. 

...  90 

News  and  Notes. 

Conducted  by  Josephine  Hoffman 

..  92 

School  Department. 

Conducted   by  Wilber  Emmert.. 

..  95 

Among  the  Books  and  Magazines. 

..  98 

Among  the  Producers 

..102 

Film    Estimates 

..106 

..108 

The    EDUCATIONAL    SCREEN,    published    monthly    by    The    Educational    Screen, 
Inc.      Publication    Office,    Morton,    Illinois;    Executive    Office,    64    East    Lake    St., 

THE  EDUCATIONAL  SCREEN,  Inc. 
Directorate  and  Staff 

Chicago,    Illinois.      Entered    at    the    Post    Office    at    Morton,    Illinois,    as    Second 
Class  Matter.    Copyright,  March,   1937,  by  The  Educational  Screen,  Inc.    Published 

every  month  except  July  and  August. 
$2.00  a  Year                (Canada,  $2.25;  Foreign,  $3.00)                Single  Copies,  25  cts. 

Herbert  E.  Slaught,  Prel.                    Stanley  R.  Grpeiie 
Nelson  L.  Greene.  Editor                    Joiephlne  Hoffman 
Evelyn  J.  Baker                                    F.  Dean  McClutky 
Mary  Beattle  Brady                             Stella    Evelyn    Myers 
Wilber  Emmert                                     E.  C.  Wajgoner 

Page  80 


The  Edticational  Screen 


A  BETTER  APPRECIATION  OF  SCHOOL  BOOKS 

Still  picture  projection  fits  the  student  for  better  appreciation  of  his 
school  books. 

Balopticon  pictures  sharpen  the  appetite  for  the  detailed  explanation 
that  books  contain.  Books  are  read  with  greater  interest.  More  benefits 
are  derived  from  them.  Proficiency  in  the  art  of  study  follows  natur- 
ally. That  which  was  formerly  considered  a  task  becomes  a  pleasure. 
There  are  several  models  of  B  &  L  Balopticons  for  every  still  projection 
purpose.  Booklet  E-ii  describes  all  of  them.  Write  for  it  to  Bausch  & 
Lomb Optical  Co.,  688  St.  Paul  Street,  Rochester,  N.  Y. 

BAUSCH  6-  LOMB 


.  .  .  .  WE  MAKE  OUR   OWN  GLASS  TO 
INSURE  STANDARDIZED  PRODUCTION 


FOR  yOUR  GLASSES  INSIST  ON   B  *  L 
ORTHOGON  LENSES  AND  B  *  L  FRAMES  . . . 


Above,  Model  B  Balopticon  for 
lantern  slide  projection. 
Below,  Model  BDT,  the  same 
as   model  B   but  with   a    con- 
venient tilting  base. 


March,  1957 


Page  81 


Progress  in  Teacher  Training  in  the  Use 
of  Visual  Aids 


ONCE  UPON  a  time  there  was  a  temperance  speaker  who 
was  making  a  demonstration  of  the  effect  of  alcohol 
upon  the  human  body  before  a  group  of  students.  In  one 
'glass  he  had  clear  water.  In  a  second  glass  he  had  pure 
alcohol.  First,  he  immersed  a  live,  wriggling  earthworm  in 
the  glass  of  water.  It  jumped  and  cavorted  gaily  around  in 
this  medium.  Then  he  dropped  a  second  live  earthworm  into 
the  glass  of  alcohol.  Unlike  its  more  favored  companion,  it 
turned  up  its  toes  and  quickly  died.  Then  the  speaker  turned 
to  the  class  and  asked  :  "Now,  children,  what  does  this  teach 
us  about  the  effect  of  alcohol  ?"  And  the  usual  bright  boy 
replied:  "Drink  whiskey  if  you  have  worms!" 

We  are  likely  to  be  in  somewhat  the  same  spot  in  regard 
to  teacher  education  in  visual  instruction.  Some  of  us  start 
out  with  agreed-upon  facts  but  make  totally  different  infer- 
ences from  these  facts.  So  in  my  presentation  today,  I  should 
like  to  emphasize  the  tentative  nature  of  my  inferences,  and 
to  make  clear  at  the  outset  that  the  solutions  to  these  problems 
of  teacher  education  are  many-sided.  Other  remedies  might 
work  as  well  as  the  ones  I  am  going  to  suggest. 

In  introducing  the  discussion  on  this  topic,  let  me  first 
ask  a  question:  Who  bears  the  responsibility  for  the  train- 
ing of  teachers?  Our  usual  and  hasty  answer  to  this  ques- 
tion is  "the  teacher-training  institutions."  Now  I  realize 
that  the  teacher-training  institution  does  bear  certain  import- 
ant responsibilities.  However,  one  of  our  chief  difficulties  in 
the  education  of  teachers  lies  in  the  fact  that  we  have 
assumed  that  it  is  done  primarily  by  such  institutions.  I 
sball  in  a  moment  discuss  their  specific  responsibilities. 
Before  I  do  that,  I  want  to  indicate  that  we  can  never  have 
adequate  teacher  education  if  we  are  to  assume  that  the 
whole  job  is  to  be  done  by  a  teacher-training  institution 
which  carries  on  its  work  in  a  period  of  two  or  four  years 
with  immature  teachers. 

There  is  a  series  of  responsibilities  for  teacher  education 
which  we  have  overlooked.  I  refer,  first  of  all,  to  the  teacher 
training  that  all  our  boys  and  girls  are  getting 
in  the  elementary,  junior,  and  senior  high  schools. 
Day  by  day  they  are  being  inoculated  with  certain  methods 
of  teaching.  Today,  of  course,  it  is  primarily  the  reading 
of  textbooks  and  the  reciting  upon  them.  This  statement  is 
based  on  evidence  from  studies  made  in  a  number  of  com- 
munities as  to  the  methods  that  teachers  are  using.  Dr. 
Thomas  Briggs,  for  example,  in  a  study  of  the  teaching 
activities  of  104  teachers  in  metropolitan  New  York  who 
were  rated  as  best  by  their  principals,  reported  that  ".  .  .  the 
methods  used  were  predominantly  the  conventional  ones  of 
questioning  on  assigned  lessons  and  giving  directions  for 
work  to  be  done  at  the  board  or  at  seats.  ...  As  judged  by 
the  procedures,  about  one  lesson  plan  in  five  can  be  said  to 
vary  from  the  mechanical  in  such  ways  as  to  deserve  com- 
mendation." 

We  tend  to  teach  as  we  were  taught.  If  we  are  not  taught 
with  visual  aids,  with  motion  pictures,  then  that  is  so  much 
dead  weight  when  we  come  to  teach  in  the  classrooms  our- 
selves.    We  tend  to  take  on  the  techniques  of  our  teachers. 

High-school    students,    some    of    whom    may    be    teaching 


A  comprehensive  presentation  of  the 
varied  problems  involved  in  preparing 
teachers  for  effective  visual  instruction. 

By      EDGAR      DALE 

Ohio  State  University,  Columbus,  Ohio 

within  two  years,  are  now  most  commonly  instructed  with- 
out visual  instruction  aids.  It  is  true  that  some  schools  deal 
pretty  effectively  with  slides,  fairly  effectively  with  pictorial 
materials,  but  in  the  country  at  large,  there  is  little  concerted, 
concentrated,  and  planned  use  of  films  in  education.  That, 
then,  is  a  handicap  with  which  all  prospective  teachers  are 
faced  when  they  come  to  the  teacher-training  institutions. 
They  have  not  had  day-by-day,  first-hand  contact  with  a 
wide  variety  of  visual  materials. 

Contrast,  for  example,  the  background  of  experience  of  a 
child  who  has  been  in  the  John  Hay  High  School,  in  Cleve- 
land, where  films  are  not  only  constantly  used  but  even  made, 
where  high-school  students  frequently  run  the  equipment, 
where  a  motion-picture  projector  is  a  very  common  class- 
room instrument,  with  the  background  of  a  child  who  has 
attended  a  high  school  where  almost  never  does  he  see  or 
have  actual  contact  with  motion-picture  films  in  the  class- 
room. I  make  the  point,  then,  that  since  we  tend  to  teach 
as  we  were  taught,  those  boys  and  girls  who  are  prospective 
teachers  will  tend  to  take  on  the  ways  by  means  of  which 
they  were  taught  in  the  grade  schools,  the  high  schools,  and 
the  teachers'  colleges. 

I  make  a  second  point  in  this  connection.  Sometimes  the 
experiences  of  boys  and  girls  in  the  high  school,  and  even 
in  college,  have  been  very  unfavorable  as  far  as  motion  pic- 
ture and  other  visual  aids  are  concerned.  A  young  woman 
who  at  the  present  time  is  making  a  very  important  investi- 
gation of  the  use  of  radio  and  movie  in  the  schools  in  one 
of  our  leading  states  pointed  out  to  me  the  boring  and  un- 
interesting experiences  which  she  had  in  college  when  these 
films  were  shown.  She  reported  that  most  of  the  girls  paid 
little  attention  to  what  was  shown  on  the  screen,  and  used 
this  period  as  a  device  for  getting  a  little  needed  rest  or  for 
thinking  about  other  things.  Now  it  is  evident  that  when 
such  people  go  out  to  teach,  they  not  only  have  no  experience 
in  this  field,  but  they  have  what  is  worse,  an  unfavorable 
opinion  of  the  use  of  films  in  the  school. 

It  seems  evident,  then,  that  a  number  of  schools  which  to- 
day are  crowding  a  great  many  children  into  a  single  class- 
room to  put  on  an  educational  movie,  which  are  showing 
movies  wholly  out  of  context  with  the  school  lessons,  which 
are  showing  third-rate  entertainment  films  and  charging 
children  for  them,  are  now  putting  on  a  kind  of  teacher- 
training  program  which  is  not  going  to  be  of  very  much 
benefit,  and  may  be  of  great  harm  to  the  whole  movement. 
We  must  remember  that  all  teachers,  whether  in  a  college, 
a  high  school,  or  an  elementary  school,  are  actively  develop- 
ing certain  attitudes  toward  the  use  of  visual  aids,  some- 
times favorable,  sometimes  unfavorable,  and  sometimes, 
through  an  absence  of  these  materials,  entirely  negative. 

There  isn't  any  one  single  way  in  which  we  give  teacher 
education.  As  one  examines  the  literature  on  teacher  train- 
ing, he  sees  that  quite  a  bit  of  it  deals  with  the  purported 
conflict  between  giving  instruction  in  the  use  of  visual  aids 
as  a  single  unitary  course  or  as  a  part  of  other  courses,  such 
as  a  unit  on  visual  instruction  in  the  teaching  of  science,  a 
similar  unit   in   the   teaching   of   geography,   and   so   on.     It 


Page  82 


The  Educational  Screen 


seems  to  me  that  some  of  this  discussion  is  beside  the  point. 
I  do  not  believe  that  in  any  teacher-training  problem  we  are 
faced  with  such  a  dilemma  as  this.  It  is  not  an  eithcr-or 
proposition. 

There  are  several  ways  in  which  we  can  give  some  kind 
of  training  in  the  use  of  visual  aids.  First,  we  can  have  a 
specific  course.  For  example,  the  State  of  Pennsylvania 
requires  that  every  teacher,  before  he  gets  his  permanent 
certificate,  must  take  a  certain  three-hour  semester  course, 
the  material  of  which  has  been  carefully  outlined.  This  is 
one  way  of  giving  the  training.  No  other  state  has  yet 
made  a  similar  prescription. 

A  second  way  in  which  the  material  can  be  given  is 
through  units  of  instruction  in  the  various  subject-matter 
fields  in  which  the  person  is  preparing  himself.  In  other 
W'ords,  the  person  who  is  training  science  teachers  includes 
a  unit  of  instruction  on  visual  aids. 

A  third  method,  one  which  is  exceedingly  important  and 
which  could  go  on  without  either  of  the  other  two.  although 
perhaps  not  so  successfully,  is  the  constant  use  of  visual 
aids  in  the  teacher's  college  itself.  Unless  we  have  this 
kind  of  interest  in  the  use  of  films,  we  are  not  making  much 
progress.  We  may  indeed  have  a  required  course,  or  we  may 
have  units  of  instruction,  but  if  all  the  other  subiect-matter 
teachers  fail  to  make  use  of  films  or  other  visual  aids,  then 
much  of  the  value  of  the  courses  may  he  lost.  We  tend  to 
teach  as  we  were  taught.  When  we  go  out  into  the  schools 
and  begin  the  teaching  of  geography,  if  our  geography 
teacher  in  the  elementary  school,  in  the  high  school,  and  in 
the  teacher-training  institution,  has  made  a  liberal  use  of 
visual  aids,  and  we  have  felt  during  that  training  period 
that  this  use  was  effective,  then  we  are  in  a  favorable  atti- 
tude toward  the   use  of  such   aids. 

I  make  the  further  point  that  we  shall  have  to  experiment 
with  all  of  the  methods.  Frankly,  I  believe  that  there  ought 
to  be  a  required  course  given  somewhere  in  the  teacher- 
training  institution  on  the  utilization  of  certain  mechanical 
devices,  not  only  the  motion  picture  and  still  projectors, 
but  radio  as  well.  We  have  come  in  modern  education  to 
utilize  a  number  of  these  mechanical  devices.  Somewhere 
in  the  training  period,  and  very  likely  as  a  separate  course, 
we  need  to  gather  up  the  techniques,  some  of  them  simple, 
some  of  them  difficult,  which  are  necessary  to  handle  this 
equipment  satisfactorily.  There  is  much  point,  then,  in  offer- 
ing a  course  of  this  sort. 

But  a  required  course  is  not  enough.  The  State  of  Penn- 
sylvania, which  has  such  a  required  course,  has  fewer  pro- 
jectors in  the  schools  in  relation  to  the  number  of  buildings 
than  does  the  State  of  Ohio.  Here  are  the  facts :  In  the 
Koon-Noble  survey,  Ohio  had  one  projector  for  every  6.3 
buildings  reported,  while  Pennsylvania  had  only  one  pro- 
jector for  every  8.3  buildings.  When  we  compare  lantern- 
slide  projectors  in  the  two  states,  we  see  that  there  is  one 
lantern-slide  projector  for  every  2.5  buildings  in  Ohio,  and 
one  lantern-slide  projector  for  every  3.6  buildings  in  Penn- 
sylvania. 

The  prononents  of  the  Pennsylvania  prescription  might 
well  make  the  point  that  their  equipment  is  much  better  and 
more  frequently  used.  I  don't  believe  that  any  one  has  as 
yet  gathered  data  on  this  point.  I  do  make  the  suggestion. 
however,  that  we  proceed  carefully.  I  would  say  emphatically 
that  there  is  a  responsibility  on  the  part  of  every  teacher- 
training  institution  to  see  that  some  kind  of  insruction  in 
visual  aids  is  given.  Too  frequently  the  argument  against 
a  required  course  is  used  to  cover  up  complete  neglect  of 
the  whole  problem  in  the  use  of  these  newer  aids  to  educa- 
tion. 

There  is  another  form  of  teacher  education  which  we  have 
neglected   too   much.     It    is    in-service    training.     We   have 


assumed  that  in  a  two-  <ir  four-year  training  program  we 
really  train  teachers.  Usually  these  persons,  at  the  end  of 
this  period,  are  20,  21,  or  22  years  of  age.  They  have  had 
no  teaching  experience  on  tlie  job.  Too  frequently  their 
training  has  been  carried  on  divorced  in  large  measure 
from  the  whole  question  of  community  life,  from  the  larger 
and  more  important  purposes  of  education.  It  seems  to  me 
that  we  must  proceed  in  our  teacher-training  program  on 
the  assumption  that  when  a  teacher  has  graduated  from  the 
teacher-training  institution,  she  has  then  received  only  the 
minimum  of  equipment  which  is  necessary  for  teaching  pur- 
poses. We  must  follow  up  this  initial  teacher  training  with 
a   great    deal    more   in-service   training. 

This  in-service  training  can  be  of  a  number  of  types.  Let 
me  give  you  some  examples.  In  the  State  of  Ohio  (and  this 
is  going  on  elsewhere)  we  have  felt  that  the  university  and 
the  State  Department  of  Education  had  a  very  direct  re- 
sponsibility for  some  in-service  training  of  teachers  and  ad- 
ministrators in  the  field  of  visual  instruction.  We  felt,  too, 
that  there  were  a  number  of  administrators  and  teachers 
throughout  the  state  who  could  aid  in  giving  such  a  pro- 
gram. We  have,  therefore,  set  up  during  the  past  year  a 
series  of  radio  and  motion-picture  institutes.  Up  to  now, 
they  have  been  held  chiefly  in  the  state  universities,  Kent, 
Bowling  Green,  Miami,  Ohio,  and  Ohio  State.  Our  usual 
program  has  been  to  have  teachers  and  administrators  present 
the  problems  which  they  face  in  the  field.  We  have  had 
panel  discussions  of  high-school  students  on  the  use  of 
visual  aids  in  the  schools,  and  on  the  question  of  the  motion 
picture  in  the  community. 

An  institute  was  held  at  Muskingum  College  in  the  early 
part  of  this  year,  and  more  than  150  teachers  and  admin- 
istrators were  present.  Another  institute  was  held  just 
recently  in  Coshocton  County,  at  which  the  county  super- 
intendent, the  superintendents,  principals,  and  teachers  were 
present.  A  similar  meeting  will  be  held  at  Heidelberg 
College  in  March.  Quite  likely  a  number  of  these  institutes 
will  be  repeated  this  coming  summer. 

.\  meeting  of  those  interested  in  producing  educational 
films  was  recently  held  on  our  campus  and  was  well 
attended. 

We  think  that  this  work  is  getting  down  to  the  grass  roots. 
We  are  learning  specifically,  and  right  on  the  job,  the 
problems  which  these  people  face  in  getting  their  visual 
materials  and  using  them.  This  means  a  great  many  meet- 
ings where  there  is  opportunity  for  participation  on  the  part 
of  the  teachers  and  the  administrators.  There  must  be  no 
program  which  is  handed  down  from  on  high.  These  coun- 
ties and  other  units  must  be  encouraged  similarly  to  carry 
on  their  own  teacher-training  work.  New  problems  will 
arise  for  which  they  will  have  to  find  the  solutions.  Through 
a  co-ordination,  then,  of  these  various  kinds  of  in-service 
training  work,  we  can  eventually  raise  the  level  of  teacher- 
training  instruction. 

Directors  of  visual  instruction,  of  course,  have  always 
been  carrying  on  this  kind  of  teacher  training.  I  know  of 
a  number  of  illustrations  in  Ohio  of  this  type  of  work.  It 
means  in  certain  cases  that  teachers  get  instruction  on 
Saturday  or  in  after-school  hours  on  how  to  handle  equip- 
ment, methods  of  teaching,  and  so  on. 

Another  important  method  of  teacher  training  is  through 
national,  state,  and  regional  meetings  devoted  to  the  use  of 
visual  aids  in  educaion.  As  I  have  attended  these  in  the 
past,  they  have  often  been  very  small  meetings  where  visual 
instruction  people  talked  to  themselves.  Now  soliloquies  may 
be  good  for  Hamlet  and  others,  they  may  be  good,  too,  for 
thinking  through  our  own  problems,  but  they  aren't  much 
good  in  reaching  all  teachers.  I  have  been  happy  to  see  a 
marked   change    in   this    w'hole   program.    We    are   having   a 


March,  1937 


Page  83 


number  of  movements  among  the  various  specialized  groups 
or  associations  of  teachers  to  correct  this  situation.  I  shall 
report  one. 

The  Women's  Physical  Education  Association  has  ap- 
pointed a  motion-picture  committee.  Gladys  Palmer,  head 
of  the  Women's  Department  of  Physical  Education  at  the 
Ohio  State  University,  is  chairman,  and  on  the  committee 
are  the  following  persons :  Helen  W.  Hazelton,  of  Purdue 
University;  Grace  Daviess,  of  the  University  of  Cincinnati; 
Margaret  Bell  of  the  University  of  Michigan;  Eline  von 
Borries,  of  Goucher  College;  Marjorie  Hillis.  of  Teachers 
College,  Columbia  University;  Grace  Jones,  of  the  Board  of 
Education  of  Summit,  New  Jersey ;  and  Louise  Schutz,  of  the 
Ohio  State  University. 

This  committee  has  canvassed,  through  co-operation  with 
the  American  Council  on  Education,  764  films  dealing  with 
physical  education.  Of  this  number  they  selected  45  for 
further  consideration.  The  next  t^sk  was  to  secure  these 
films,  review  them,  and  report  on  their  value  in  teaching 
physical  education.  This  is  being  done,  in  many  cases,  in 
co-operation  with  students  in  the  physical  education  classes. 
Finally,  fifteen  different  experts  in  the  various  fields  of 
women's  sports  will  draw  up  outlines  for  proposed  new  films. 

At  Ohio  State  we  had  approximately  fifty  students  of 
swimming  evaluate  a  swimming  film.  It  is  clear  that  the 
girls  who  receive  this  kind  of  training,  who  were  asked  not 
only  to  view  films  but  also  to  evaluate  them,  are  much  better 
fitted  to  teach  intelligently  when  they  go  out  into  the  class- 
room. Mr.  Aughinbaugh,  of  the  Ohio  state  film  library, 
reports  to  me  that  he  has  noted  a  close  correspondence  be- 
tween teachers  from  those  departments  at  the  university 
which  use  films  and  those  which  do  not,  in  the  later  requests 
which  he  gets  in  his  office.  In  other  words,  when  classes 
are  taught  by  means  of  films,  they  tend  to  become  users  of 
films  when  they  go  out  into  the  schools. 

Studies  similar  to  those  of  Miss  Gladys  Palmer  have  been 
carried  on  by  Dr.  Birkeland,  of  Ohio  State  University, 
among  the  bacteriology  teachers  of  the  country,  primarily 
those  in  the  colleges.  Similarly,  Dr.  Valentine,  of  Ohio 
State  University,  has  made  a  canvass  of  this  problem  among 
the  departments  of  psychology  in  the  country,  some  three 
hundred  of  them.  The  Modern  Language  Association  has 
a  committee  in  this  field  and  Mr.  Edward  Bernard  reports 
regularly  in  the  Modern  Laniiuaiic  Journal  on  films  and 
materials  that   are   available. 

I  make  the  point  in  this  connection,  however,  that  a  small 
committee  at  the  top  is  not  enough.  The  whole  work  of  the 
committee  must  be  generalized  and  the  responsibility  must 
not  rest  on  a  few  people.  Active  participation  in  a  problem 
is  the  only  way  that  we  learn  anything  about  it.  Ready- 
made  solutions  are  not   democratic  or  eventually  eflfective. 

May  I  emphasize  this  matter  of  evaluation  by  teachers  as 
a  device  for  teacher  training.  During  the  past  summer,  in 
the  course  which  I  gave,  I  had  a  number  of  films  shown  to 
the  class  and  asked  each  student  to  tell,  on  a  w'ritten  score 
sheet,  just  what  he  thought  about  each  picture.  He  didn't 
merely  react  with  a  check  mark ;  he  had  to  put  down  in 
connected  sentences  some  of  the  strong  and  weak  points  of 
the  picture.  I  was  really  amazed  at  the  critical  insight 
which  teachers,  given  this  responsibility,  are  able  to  dis- 
close. Nor  is  this  an  isolated  phenomenon.  When  I  talked 
about  the  matter  at  a  teacher-training  conference  of  persons 
who  had  given  similar  courses,  they  unanimously  pointed 
out  the  ability  of  teachers  to  do  a  good  job  of  evaluation 
when     given     the     opportunity       and      the       responsibility. 

Eventually,  this  kind  of  evaluation  by  teachers  ought  to 
lead  to  increased  responsibility  of  teachers  and  specialists 
in  the  production  of  films.  This  spring,  in  Germany  and 
also  in  France,  I  was  interested  to  note  that  a  great  deal 


of  use  was  made  of  teacher's  judgments  in  the  preparation 
of  films.  I  don't  imply  that  the  teacher  is  likely  to  know 
more  than  experts.  I  do  maintain,  however  that  teachers 
can  develop  expertness  to  a  greater  degree  than  we  have  yet 
realized. 

There  is  a  third  and  very  important  method  of  teacher 
training:  in-service  teaclier  training  through  printed 
materials.  Published  material  is  valuable  at  this  point.  The 
Educational  Screen  goes  to  only  a  limited  number  of  teachers 
throughout  the  country;  we  all  ought  to  do  everything  we 
can  to  expand  that  circulation.  There  are  other  types  of 
teacher  education,  through  various  magazine  materials,  that 
we  have  neglected.  Once  we  get  strong  committees  set  up 
within  the  various  subject-matter  fields,  the  journals  in  these 
fields  can  be  used  for  teacher  education  in  visual  instruc- 
tion. That  has  already  happened  with  the  Journal  of  Health 
and  Physical  Education.  This  publication  has  carried  several 
articles  on  the  use  of  the  motion  picture  in  teaching  physical 
education.  I  have  already  mentioned  the  Modern  Language 
Journal. 

Most  of  you  are  familiar,  perhaps,  with  the  Xezcs  Eettcr, 
which  we  send  out  from  Ohio  State  University  to  about  ten 
thousand  teachers  and  administrators.  This  news-letter  does 
not  deal  specifically  with  educational  films;  it  is  concerned 
more  generally  with  the  problems  relating  to  radio,  movies, 
and  the  press.  A  number  of  persons  have  asked  us  to  put 
out  a  monthly  news-letter  dealing  with  developments  in 
educational  films.  I  am  not  certain  that  this  would  be  a 
desirable  function.  I  am  sure,  however,  that  as  far  as  the 
State  of  Ohio  is  concerned,  we  could  easily  support  a 
monthly  news-letter  on  educational  film  developments  in 
our  state.  Many  of  you  are  familiar  with  the  work  of  the 
American  Council  in  the  preparation  of  the  series  of  digests 
of  the  literature  in  the  field.  We  are  hopeful  that  these 
will  be  published  shortly  and  that  annual  supplements  will 
be  made  available. 

There  is  still  another  method  of  teacher  training  which  is 
not  spectacular,  but  which  I  believe  offers  a  good  deal  of 
promise.  I  refer  to  giving  an  opportunity  to  abler  students, 
usually  in  the  junior  and  senior  years,  to  work  on  their  own 
individual  projects  in  this  field.  At  Ohio  State,  for  example, 
there  is  one  young  woman  doing  an  honor  job  in  this  field 
who  has  carried  out,  among  her  various  activities,  the 
following :  first,  the  production  of  a  motion  picture  on  eye 
movements ;  second,  the  screening  of  pictures  for  a  number 
of  University  departments ;  third,  participation  in  certain 
experimentation  which  is  going  on  in  the  Psychology  De- 
partment. 

Another  student,  who  is  studying  for  her  Master's  degree, 
has  made  a  study  of  the  utilization  of  motion  pictures  in  the 
Columbus  schools.  .Another  student  has  made  a  study  of 
the  utilization  of  motion  pictures  in  Crawford  County,  Ohio. 
The  Political  Science  Department  has  a  number  of  under- 
graduate students  carrying  on  studies  relating  to  the  motion 
picture  and  public  opinion. 

I  received  not  long  ago  from  a  senior  in  Princeton  a  very 
voluminous  report  on  the  newsreel.  I  see  no  reason  why  in 
every  teacher-training  institution  there  might  not  be  a  half 
dozen  or  even  as  many  as  ten,  honor  students  doing  special 
work  in  the  field  of  visual  instruction.  Eventually  they 
would  tend  to  become  heads  of  visual  instruction  depart- 
ments. It  is  clear  that  we  can  do  much  more  individualiza- 
tion of  this  sort  in  our  teacher-training  institutions. 

There  is  another  development  in  the  motion-picture  field 
which  has  close  relationship  to  the  teacher-training  problem. 
I  refer  to  the  introduction  of  motion-picture  appreciation 
into  classes  on  the  college  level.  Dr.  Cline  Koon,  of  the 
United  States  Office  of  Education,  found  recently  in  his 
study  that  14  teacher-training  institutions  are  already  oflfer- 


Page  84 


The  Educational  Screen 


ing  regular  courses  in  radio  or  motion-picture  appreciation, 
and  224  in  the  group  studied  signified  that  they  are  giving 
some  instruction  in  these  subjects.  Fifty-three  other  colleges 
reported  that  they  were  planning  to  offer  regular  courses, 
and  22  additional  colleges  are  definitely  planning  to  give 
some  instruction. 

I  know  that  at  a  number  of  institutions  in  this  country, 
informal  and  formal  teaching  activities  are  going  on  along 
this  line.  This  is  true  at  Ohio  State  University,  for  example, 
in  our  English  classes.  Most  of  you  know,  also,  that  motion- 
picture  appreciation  has  been  widely  introduced  into  the 
curricula  of  the  country.  At  the  present  time,  one  of  the 
pressing  needs  is  for  16-mm.  prints  of  motion-picture 
classics.  We  must  confidently  look  toward  a  future  when 
we  shall  screen  in  the  schoolroom,  as  well  as  read  in  the 
schoolroom,  such  classics  as  Tom  Satvyer,  Cimarrou,  A  Talc 
of  Two  Cities,  and  others. 


Nothing  will  hurt  our  movement  more  than  incorrect  and 
misguided  use  of  visual  aids  by  incompetent  and  untrained 
teachers.  I  have  had  too  many  reports  of  the  use  of  films 
merely  for  entertainment,  crowding  hordes  of  children  into 
a  single  classroom  with  inadequate  ventilation,  of  running 
films  without  tying  them  in  with  the  course  of  study  or  the 
problems  being  taught,  and  so  on.  It  is  a  problem,  then,  to 
which  all  of  us  must  give  our  best  energies  if  our  move- 
ment  is   to  expand   in   an   intelligent   and   informed   manner. 

May  I  reoeat :  teacher  education  is  a  manifold  problem. 
Its  focus  may  be  in  the  teacher-training  institutions;  never- 
theless there  are  other  facets  which  need  to  be  explored. 
Not  only  should  we  have  required  courses  in  this  field,  but 
we  should  have  specialized  units  in  various  subject-matter 
fields ;  we  should  have  in-service  training  courses,  an  abund- 
ance of  reading  material,  film  production  on  the  high-school 
and  college  levels,  and,  most  especially,  the  utilization  of 
visual  aids  throughout  the  entire  curriculum. 


Visual  Education  Program  of 
Chicago  Public  Schools 


An  Interview  With 

Dr.  William  H.  Johnson 


THE  Superintendent  of  Chicago's  Public  Schools  is  a 
busy  man,  yet  a  request  for  his  views  on  late  develop- 
ments in  visual  education  readily  brought  an  interview 
with  Dr.  William  H.  Johnson.  Dr.  Johnson  is  outstanding 
among  school  executives  of  the  larger  cities  for  the  rich- 
ness of  his  personal  background  in  visual  work.  For  many 
years  he  had  been  noted  among  elementary  school  principals 
as  an  ardent  devotee  of  visual  teaching  methods,  he  taught 
university  courses  in  visual  education  for  teachers  long  be- 
fore such  studies  were  at  all  common,  and  among  his  literary 
productions  is  an  excellent  work  on  the  subject,  "Funda- 
mentals of  Visual  Instruction,"  published  by  Educational 
Screen  in  1927.   The  book  is  now  regrettably  out  of  print. 

The  interviewer  recalled  that  many  years  ago  Dr.  John- 
son had  expressed  himself  tersely  in  answer  to  a  question 
on  why  visual  aids  should  be  used  in  the  classroom.  "You 
can't  help  teachers  by  blindfolding  their  pupils  —  so  as  long 
»s  eyes  are  open,  give  those  eyes  material  to  work  on  that 
will  contribute  to  the  teaching  process". 

With  this  background,  it  is  natural  that  one  of  the  first 
questions  dealt  with  a  comparison  of  the  opportunities  and 
responsibilities  of  a  city  superintendent  with  those  of  an 
elementary  or  high  school  principal.  We  knew  what  John- 
son, the  principal,  had  done.  What  could  the  superintendent 
hope  to  accomplish  in  the  same  field? 

"The  principal  concerns  himself  with  making  available 
proper  visual  materials  and  equipment,  and  getting  as  many 
as  possible  of  his  teachers  to  use  these  facilities  effectively. 
The  superintendent  has  exactly  the  same  job.  but  on  a  much 
broader  scale.  Basically,  however,  the  task  is  the  same,  to 
provide  the  materials,  to  show  the  teachers  how  and  why 
to  apply  those  materials,  and  to  get  them  to  do  it". 

Responsibility  for  securing  and  circulating  the  necessary 
materials,  and  for  coordinating  these  means  with  the  course 
of  study,  cannot  be  the  task  of  an  individual  in  a  city  the 
size  of  Chicago.  This  work  is  done  by  the  Department  of 
Visual  Instruction,  headed  by  Paul  G.  Edwards.  Consider- 
ing the  means  at  their  disposal  a  commendable  job  is  being 
done  —  they   have   accumulated   and   keep    in   constant   use 


An  elaboration  of  the  address  delivered  by  Super- 
intendent Johnson  at  the  New  Orleans  meeting. 

By     WILLIAM      F.      KRUSE 

150,000  stereopticon  slides,  and  3,500  reels  of  16  mm.  silent 
motion  picture,  to  serve  the  1000  stereopticons  and  400  silent 
16  mm.  motion  picture  projectors   used   in  the   schools. 

These  slides  and  films  are  by  no  means  dead  stock.  They 
are  being  constantly  circulated.  In  the  school  year  (1935-6) 
900,000  slides  were  used,  and  60,000  reels  of  16  mm.  film. 
This  year  the  total  will  be  far  greater  because  of  the  larger 
number  of  projectors  to  be  served  and  the  increased  interest 
among  teachers  and  principals  in  the  use  of  visual  aids. 
Teachers  now  make  up.  their  entire  year's  bookings  for  films 
and  slides  at  the  beginning  of  the  term,  and  where  neces- 
sary they  adjust  the  sequence  of  certain  units  of  study 
within  the  limits  of  prescribed  programs  to  assure  access 
to  the  visual  aids.  Another  factor  that  increases  the  use  of 
this  material  is  the  organization  of  a  delivery  service  by 
means  of  which  practically  all  this  material  is  distributed 
and  collected  on  a  weekly  loan  basis.  Hitherto  all  trans- 
portation of  this  material  was  effected  by  school  messenger 
or  teacher. 

The  work  of  the  department  is  carried  on  by  the  Director, 
one  Supervisor,  five  clerks,  three  film  and  slide  inspectors, 
and  as  work  demands,  artists  are  engaged  part  time  for  the 
production  of  additional  material.  In  addition  to  films  and 
slides,  wall  charts  are  also  being  distributed,  and  there  are 
proposals  pending  for  flat  prints,  both  for  classroom  walls 
and  individual  seat  work.  Object-specimen  collections  are 
circulated  to  the  schools  by  the  Field  Museum,  and  some 
schools  draw  directly  upon  outside  sources  for  additional 
materials.  We  encourage  the  use  of  pupil-made  slides  and 
are  accumulating  experience  with  teacher-made  motion 
pictures. 

Slides  are  used  beginning  with  the  kindergarten  and  low- 
est primary  grades.  Silent  motion  pictures  begin  to  be  effect- 
ive teaching  aids  from  the  fourth  grade  on,  and  sound 
pictures  at  present  available  seem  best  fitted  for  the  seventh 
and  up,  with  principal  accent  on  the  higher  levels. 

Sound  films?  Yes,  there  is  considerable  interest  in  this 
latest  development.  The  department  owns  four  sound  pro- 
jectors, in  constant  use  at  the  three  junior  colleges  and  one 


March,  1937 


Page  85 


at  visual  instruction  headquarters.  Half  a  dozen  additional 
sound  projectors  have  been  bought  by  high  schools  on  their 
own  account.  Since  modern  sound  projectors  are  but  little 
larger  and  costlier  than  silent  and  since  they  run 
silent  as  well  as  sound  film  it  is  probable  that 
future  equipment  buyers  will  tend  to  favor  the  com- 
bination unit.  There  is  a  small  library  of  about  forty  reels 
thus  far  to  serve  these  machines.  As  the  number  of  sound 
projectors  in  the  system  increases,  and  as  the  technique  of 
properly  using  the  talking  picture  becomes  better  established 
in  the  minds  and  daily  practice  of  the  teachers,  the  sound 
film  library  will  be  increased.  This  was  the  process  that  led 
to  our  present  extension  use  of  slides  and  silent  films. 

Visual  aids  should  be  viewed  just  as  we  view  books,  maps 
or  laboratory  and  shop  equipment  —  they  are  nothing  more 
than  tools  to  help  the  teachers  do  the  best  possible  job.  No 
film,  sound  or  silent,  can  be  a  substitute  for  the  teacher.  A 
film  in  which  the  sound  consists  solely  of  lecture  accompani- 
ment of  a  silent  film  may  have  less  teaching  value  than  a 
similar  silent  film  properly  presented  by  a  well-prepared 
teacher.  Where  the  sound  film  adds  audio-experience  to 
the  visual,  with  actual  characteristic  sound  efTects,  we  have 
a  different  story,  and  an  additional  teaching  tool  for  which 
there  is  no  substitute.  The  sound  film  should  prove  effective 
particularly  for  presenting  informative  collateral  back- 
ground material  to  large  groups,  leaving  more  time  for 
intensive   work  by  the  teacher. 

The  basis  of  any  teaching  program,  whether  by  visual 
methods  or  howsoever  it  may  be  conducted,  remains  the 
teacher.  The  finest  film  libraries  and  projection  equipment 
in  the  world  will  be  useless  unless  we  have  a  body  of 
teachers  willing  to  use  them,  and  trained  to  do  so  effectively. 
There  is  usually  no  lack  of  willingness  once  the  teachers 
have  acquired  the  necessary  understanding  and  skills  re- 
quisite to  a  proper  application  of  these  improved  teaching 
tools. 

Field  trainir>g  has  been  carried  on  for  years  by  our  Super- 
visor. Next  year  will  see  intense  action  both  for  teachers 
and  for  no'-maj-school  students.  At  Chicago  Normal  College 
next  term  a  formal  course  in  visual  education  will  be  given 
all   new  students,  and  more   stress   will  be  placed  on  visual 


will  be  in  science,  the  other  five  in  pupil-activization  class- 
room projects — all  will  emphasize  the  important  contribu- 
tions of  visual  aids  to  classroom  results.  Every  teacher  will 
gain  something  from  these  clinics — how  much  this  will 
benefit  classroom  teaching  generally  will  depend  upon  the 
individual  teacher  and   her  principal. 


Science  class  in  a  Chicago  High  School  using  16  mm.  sound 
film  projector. 

aids  in  the  teaching  of  other  subjects  as  the  students  pro- 
gress through  their  general  course.  Teachers  of  the  future 
will  have  as  part  of  their  background  a  thorough  training 
in  both  theory  and  practice  of  visual  education. 

The  present-day  teacher  is  doing  a  constantly  improving 
job  in  the  field  and  this  job  will  be  even  better  as  a  result 
of  wider  training.  For  the  .  benefit  of  the  teachers  inter- 
ested in  visual  instruction  our  next  school  term  will  provide 
ten  school  clinics,  under  the  direction  of  Dr.  Newkirk.    Five 


Paul  G.  Edwards,  Director,  Department  of  Visual  Instruc- 
tion, showing  school  messenger  how  to  run  16  mm.  projector. 
The  operator's  lesson  lasted  only  a  few  minutes,  yet  with 
five  projectors  circulating  among  247  unequipped  schools 
during  one  term,  "at  no  time  did  any  mechanical  trouble 
develop". 

The  initiative  and  self-reliance  of  principal  and  teacher 
is  finally  determinative  in  work  of  this  kind  The  Visual 
Instruction  Department  furnishes  what  facilities  it  can,  the 
individual  principal  devises  ways  and  means  to  make  best 
possible  use  of  them.  Principals  have  developed  need  for 
more  equipment  than  the  Department's  budgets  could  pro- 
vide, and  many  schools  now  have  additional  projectors  pro- 
cured out  of  local  funds.  Within  the  rules  laid  down  by 
the  Board  to  prevent  possible  abuses,  school  entertainments 
have  raised  much  of  the  money  needed  for  such  purchases, 
while  the  PTA  and  other  supporting  groups  have  contributed 
in  many  instances.  Such  activities  tend  to  draw  local  com- 
munity suppf^rt  more  closely  around  the  neighborhood  school 
house  and  help  emphasize  the  role  of  the  school  as  a  vital 
social  nerve  center.  Films  used  in  such  school  auditorium 
entertainments  are  and  should  be  of  educational  merit  in 
themselves.  Examples  of  pictures  used  include  Lcgetui  of 
Sleepy  Hollozv,  Covered  Wagon,  Grass,  and  similar  worth 
while  entertainment  films.  The  growing  availability  of  sim- 
ilar educative-entertainment  feature  films  in  sound  will 
broaden  the  usefulness  of  the  sound  picture  to  the  school, 
particularly  with  respect  to  adult  education  and  discussion 
groups.  Such  auditorium  programs  can  become  invaluable 
means  of  raising  the  standard  of  motion  picture  apprecia- 
tion and  thus  add  interest  in  and  support  for  the  worth  while 
products  of  the  motion  picture   industry. 

Visual  instruction  activities  in  the  Chicago  schools  did  not 
appear  over-night  or  ready-made.  The  present  status  was 
reached  as  a  result  a  gradual  process  of  adaption  of  re- 
sources to  needs,  and  certainly  we  have  reached  nothing  like 
an  end  to  further  devlopment.  Over  forty  years  ago,  in  189S 
to  be  exact,  the  initiative  in  this  field  was  taken  by  a  group 
of  Chicago  principals  and  their  neighbors  in  nearby  suburbs, 
who  pooled  their  resources  of  lantern  slides  so  that  each 
might  help  the  other  and  in  turn  be  helped  by  the  inter- 
change of  this  teaching  material.  These  principals  organ- 
ized   themselves     into    "The     Projection    Club"     eventually 


Page  86 


The  Educational  Screen 


accumulated  225  sets  of  slides,  in  addition  to  37  additional 
sets  loaned  them  by   industrial  organizations. 

In  1920  the  Board  of  Education  took  over  direct  respon- 
sibility for  this  work,  the  Department  of  Visual  Education 
was  established  under  the  direction  of  Dudley  Grant  Hays, 
and  the  property  of  the  "club"  became  the  nucleus  of  the 
Department's  collection.  At  this  time  35  mm.  silent  motion 
pictures  were  added  to  the  materials  circulated,  operators 
with  machines  travelling  from  school  to  school  to  put  on 
assembly  programs.  This  brought  to  the  attention  of  every 
principal,  teacher  and  P.  T.  A.  worker  the  possibilities  of 
the  motion  picture  as  a  teaching  tool,  and  as  soon  as  the 
new  16  mm.  film  eliminated  the  mechanical  obstacles  in- 
herent in  the  older  type,  the  silent  film  took  its  place  side 
by  side  with  the  stereopticon  slide.  In  1929  the  16  mm.  silent 
motion  picture  was  added,  and  the  following  year  35  mm. 
service  was  discontinued.  The  high  schools  at  once  em- 
braced the  medium,  and  to  make  known  the  efficiency  and 
ease  of  operation  of  modern  16  mm.  equipment,  the  elemen- 
tary schools  were  notified  in  1932  that  the  Department  of 
Visual  Instruction  had  set  aside  a  battery  of  machines  to  be 
loaned  to  schools  lacking  projectors  of  their  own.  In  the 
course  of  one  school  term  five  such  machines  were  sent  on 
missionary  work  among  247  separate  schools.  The  Director 
reported  that  "at  no  time  had  any  mechanical  difficulties 
developed,  although  in  each  case  the  operator  had  but  a 
few  minutes  instruction  in  our  Department  before  taking 
the  machine  into  the  school."  Today  practically  all  of  our 
schools  have  equipped  themselves  with  one  or  more  16  mm. 
projectors.  It  is  very  likely  that  the  more  general  intro- 
duction of  sound  projectors  will   follow  the   same  course. 

The  new  form  has  resulted  in  twenty  times  as  many  reels 
run,  with  the  added  advantage  of  having  these  films  used 
right  in  the  classroom  where  they  are  most  effective  in  their 
contribution  to  the  teaching  job.  In  the  last  five  years  the 
slide  circulation  has  doubled,  the  circulation  of  16  mm. 
silent  films   has   increased   six-fold,  yet  the   cost   of   runnin.g 


the    Department    has    been    reduced    to    one-third    the    peak 
budget  of  1927. 

We  have  tried  to  tackle  each  problem  as  it  arose,  and  to 
apply  the  best  solution  we  could  find  within  our  available 
means.  A  typical  example  is  the  introduction  of  sound  films. 
Since  most  of  the  better  teaching  films  available  in  sound 
seem  to  aim  at  the  junior  college  level,  a  three  mojntlis 
experiment  with  the  use  of  these  films  in  our  three  junior 
colleges,  with  rented  projectors  and  films,  gave  us  enough 
positive  findings  to  justify  the  purchase  of  our  present 
sound-film  library  and  equipment.  High  schools  are 
equipping  themselves  to  make  use  of  these  films,  now  that 
they  are  available,  and  this  will  result  in  the  growth  of  our 
sound  library.  When  the  elementary  schools  follow,  our 
sound  film  service  will  probably  develop  very  much  as  did 
our  16  mm.  silent  library.  But  the  tempo  will  not  be  forced 
upon  the  teachers  from  above,  instead,  the  demand  will  be 
encouraged  and  met  as  it  springs  from  healthy  roots  in  our 
teacher  body. 

What  has  been  done  in  Chicago  can  be  equalled  in  most 
urban  centers.  Because  of  initial  cost  and  obsolescence,  par- 
ticularly of  films,  the  independent  school,  unable  to  draw 
upon  a  city  or  county  source  of  visual  aid  materials,  probably 
has  no  other  recourse  than  to  rent  or  borrow  slides  and 
films  from  state  centers  and  other  sources.  Such  centralized 
resources  undoubtedly  will  be  further  improved  as  the  de- 
mand for  visual  material  inevitably  grows.  New  teachers 
and  old  are  being  trained  definitely  to  consider  such  materials 
as  integral  part  of  present-day  routine.  .A.t  all  national  and 
state  meetings  where  educators  gather,  increasing  stress  is 
placed  upon  these  visual  methods  and  materials.  The  motion 
picture  and  the  slide  are  as  much  at  home  in  our  present-day 
classroom  as  ever  was  the  felt-bound  slate  in  that  of  our 
grandfathers.  If  we  never  lose  sight  of  the  basic  fact  that 
these  are  tools  and  not  substitutes  for  the  teacher,  education 
cannot  but  profit  greatly  from  the  extension  of  the  use  of 
visual    instruction   materials   and   methods. 


THE  DEPARTMENT  OF  VISUAL  INSTRUCTION 


"DRINTED  Proceedings  of  the  New  Orleans  ineet- 
•■■  ing  begin  in  this  issue,  to  be  completed  in  April. 
Five  of  the  addresses  given — some  of  which  were  great- 
ly abbreviated  in  delivery  because  of  time  limitations 
— are  here  printed  in  full.  The  remaining  addresses 
will  appear  next  month. 

THE  Department  meeting  at  New  Orleans  may  be 
called  successful  when  we  consider  the  two  factors 
invariably  operating  against  such  success:  first,  the 
travel  distance,  which  prevented  the  presence  of  many 
who  had  definitely  stated  that  they  would  be  there ;  and 
second,  the  conflict  and  competition  with  twenty-odd 
other  departments  of  the  N.  E.  A.  attempting  to  con- 
fine their  sessions  to  the  few  afternoons  designated  by 
N.  E.  A.  authority,  and  with  the  overshadowing  pro- 
gram of  the  great  Department  of  Superintendence 
running  morning,  afternoon  and  evening  through  the 
week. 

Our  Registration  Luncheon  reached  the  record  at- 
tendance of  155.  Wholehearted  cooperation  by  Miss 
Caroline  S.  PfafF,  Assistant  Superintendent  of  New 
Orleans  Schools,  and  her  expert  assistants,  the  Misses 


Wilson  and  Moore,  made  it  a  colorful  occasion,  with 
favors,  flowers,  decorative  palms,  and  entertainment 
numbers  dotting  the  regular  program.  Unfortunately, 
very  few  of  the  New  Orleans  teachers  who  raised  the 
luncheon  attendance  to  record  heights  were  moved  to 
attend  the  more  significant  sessions. 

IIETROIT  next!  It  should  be  the  best  session  yet 
-*-'  lield  by  the  Department.  Meinbership  growth 
continues.  About  a  score  of  new  members  are  in  since 
the  February  roster  appeared  with  its  340,  and  there 
are  plans  afoot  that  should  .show  a  greater  member  in- 
crease of  the  June  roster  over  February  than  February 
showed  over  November.  The  business  session  at  De- 
troit should  prove  of  high  interest  and  importance. 
Not  only  will  the  long-delayed  election  of  officers  take 
place,  biit  plans  and  proposals  of  far-reaching  im- 
]3ortance  for  the  future  of  the  Department  will  be  pre- 
sented for  careful  consideration  and  discussion.  The 
Department's  future  possibilities  seem  to  be  such  that 
only  a  maximum  attendance  of  members  at  the  busi- 
ness meeting  can  do  justice  to  the  deliberations  in 
prospect. 


March,  1937 


Page  87 


The  Open-House  Exhibit  as  a  Stimulus 
to  Interest  in  Visual  Instruction 


TEACHING  a  new  course  is  one  of  the  most  challenging 
experiences  a  teacher  can  meet.  Surely  this  is  abun- 
dantly true  in  a  field  such  as  visual  education  where  the 
materials  themselves  command  unusually  high  interest. 
Coupled  with  the  dynamic  possibilities  of  such  materials, 
take  a  group  of  wide-awake  and  interested  teachers,  princi- 
pals, and  superintendents  who  bring  to  the  classroom  vital 
teaching  problems,  good  common  sense,  and  abundant  en- 
thusiasm. Such  a  combination  can  develop  considerable  out- 
side interest  in  that  new  course. 

"Just  vvhpt  does  that  new  course  in  Visual  Instruction 
include  ?"  That  was  a  very  common  question  on  our  campus 
last  summer  when  the  first  course  in  Visual  Education  was 
being  offered.  How  to  convey  this  information  clearly  be- 
came a  problem.  Tlien  too,  occasionally  an  interested  stud- 
ent would  approach  the  instructor  and  ask  permission  to 
visit  the  class  as  an  auditor  on  the  day  on  which  some 
special  Visual  .Aid  was  scheduled  for  discussion.  In  the 
first  place  the  large  enrollment  for  the  course  precluded  the 
possibility  of  accommodating  transient  auditors.  In  the 
second  place,  had  there  been  room,  the  discussion  for  one  or 
two  days  without  the  preceding  general  and  psychological 
background  would  not  have  been  entirely  satisfactory. 

Considerable  thought  on  the  part  of  several  people  finally 
resulted  in  onr  attempting  to  meet  the  situation  by  using, 
what  for  wint  of  a  better  name,  we  called  the  open-house 
exhibit.  This  occurred  toward  the  end  of  the  quarter  and  was 
organized  and  run  by  the  members  of  our  first  visual  in- 
struction class.  This  open-house  exhibit,  as  the  name  im- 
plies, first  of  all,  represents  an  exhibit  of  the  various  types 
of  visual  aids.  This  exhibit  is  as  complete  as  availability  of 
materials  will  permit.  In  the  room  set  aside  for  the  purpose 
there  is  a  table  for  each  visual  aid. 

For  instance,  in  the  motion  picture  section  a  16  mm.  silent 
projector  is  threaded  and  ready  to  run,  the  screen  being  set 
up  outside  an  adjacent  door  so  that  the  picture  is  projected 
into  a  dark  hall  thus  insuring  adequate  visibility.  Films 
representing  various  subjects  are  there  for  inspection,  as 
are  also  film  bibliographies,  reference  materials,  and  ad- 
vertising material  from  all  film  companies  which  have 
responded  to  the  request  for  information.  For  each  of  the 
other  visual  aids  there  is  a  similar  set-up,  with  everything 
carefully  arranged  and  well  labeled.  That  is  the  exhibit 
phase. 

Now,  to  make  that  exhibit  a  living,  vital,  informational 
source  it  must  be  endowed  with  a  living  personality.  In 
order  to  supply  this  necessary  quality,  each  member  of  the 
visual  education  class  chose  the  visual  aid  in  which  he  was 
especially  interested.  Then  instead  of  writing  a  term  paper 
for  the  course,  he  proceeded  to  prepare  himself  thoroughly 
in  the  field  of  his  choice.  Instead  of  preparing  and  memor- 
izing a  set  talk,  he  saturated  himself  in  information  concern- 
ing the  Visual  Aid  for  which  he  was  responsible  so  that  he 
became  a  highly  satisfactory  source  of  information.  Thus 
was  provided  the  second  characteristic  of  our  endeavor,  that 
of  the  open  house  feature  in  which  the  human  element 
vitalized  the  visual  materials. 

When  the  exhibit  room  was  made  in  readiness,  the  follow- 
ing visual  aids  were  on  display  attended  by  the  individuals 


An  ingenious  and  effective  use  of  visual  meth- 
ods  to   rouse  interest   in  visual   instruction. 

By    ELLA    CALLISTA    CLARK 

State  Teachers  College,  Winona,  Minn. 

who    had    prepared    themselves    accordingly : 

Motion  pictures.  Lantern  slides,  Film  slides,  Opaque  pro- 
jector. Puppets,  Flat  pictures.  Diagrams  and  charts.  Maps 
and  globes.  Free  materials.  Stereographs  and  orthographs, 
Bulletin  boards.  The  electric  map.  Exhibits,  models,  and 
collections. 

With  these  two  steps  completed,  the  class,  in  order  to 
test  the  efficiency  of  the  plan,  held  a  preliminary  open- 
house  in  which  each  member  had  an  opportunity  to  demon- 
strate his  visual  aid  to  a  trial  audience  consisting  of  the 
rest  of  the  class.  During  this  preliminary  experience,  mem- 
bers of  the  class  asked  any  questions  they  wished.  Thus 
the  plan  served  as  an  excellent  review  and  summary  of  the 
entire  course ;  and  since  the  class  objectively  evaluated  each 
unit  on  a  checklist  which  they  had  developed  for  the  pur- 
pose, it  often  gave  the  demonstrator  some  valuable  sug- 
gestions for  improving  his  presentation  In  this  checklist 
were  specific  items  referring  to  the  exhibit  such  as  :  Is  the 
exhibit  complete?  Is  it  well  arranged?  Concerning  the 
demonstrator  himself  such  question  as:  Is  he  well  informed? 
Is  he  convincing?  helped  to  analyze  individual  difficulties 
in  the  presentation. 

This  done,  the  open-house  exhibit  was  made  available  to 
the  college  in  general  and  the  public  at  certain  periods  for 
two  days.  During  that  time  any  visitor  was  welcome  to 
come  and  spend  his  time  as  he  chose.  When  the  visitors 
arrived,  they  were  met  by  a  courteous  host  or  hostess  who 
after  inviting  them  to  register,  directed  them  to  any  portion 
of  the  exhibit  in  which  they  evinced  interest. 

As  a  specific  illustration  of  the  type  of  activity  carried  on, 
these  slides  will  serve  as  an  example  of  the  material  avail- 
able at  the  lantern  slide  table.   (Slides  shown). 

Mounted  on  a  large  chart  were  the  various  type  of  pupil- 
made  lantern  slides  with  directions  for  making  each.  Among 
these  were  cellophane,  etched  glass,  plain  glass  with  inks, 
plain  glass  with  ceramic  pencil,  and  lumarith.  Besides, 
several  commercial  slides  were  available  including  two  com- 
plete geography  units.  If  a  visitor  happened  to  be  particul- 
arly interested  in  suggestions  concerning  the  use  of  slides 
in  any  particular  subject,  the  demonstrator  had  materials 
with  which  to  show  specific  ways  in  which  slides  may  be 
used  to  vitalize  teaching  in  that  subject.  For  instance,  if  an 
inquiry  were  made  concerning  the  use  of  slides  in  geography, 
some  of  the  following  was  given  accompanied  by  slides. 

Let  us  say  that  a  child  or  teacher  faces  the  task  of  ex- 
plaining how  the  cocoa  which  we  use  as  a  food  is  grown. 
A  picture  will  aid  materially  in  creating  in  the  child  minds 
a  clear  impression  of  the  cocoa  tree.  With  this  before  the 
class  the  subject  of  discussion  is  brought  right  to  the  child. 
He  can  show  how  the  pods  grow.  He  points  to  the  pods  as 
he  explains  that  a  pod  contains  from  40  to  60  beans  and  that 
inside  the  hull  of  each  bean  there  is  a  light  colored  kernel 
which  we  use  for  food.  At  the  same  time  another  child  may 
wish  to  show  where  cocoa  grows  and  what  climate  it  needs. 
He  may  project  a  world  map  on  the  board,  step  up  to  it 
with  a  piece  of  colored  chalk  and  mark  such  places  as 
Ecuador,  Venezuela,  Brazil,  Mexico,  West  Indies,  and  tropical 
.Africa.    With  these   marked   he   may   ask  the  class   to  state 


Page  88 


The  Educational  Screen 


something  about  the  climate  cocoa  requires.  It  is  quite  plain 
that  tropical  conditions   favored  its  growth. 

When  a  unit  of  work  has  been  finished  and  it  seems  de- 
sirable to  give  an  objective  test  covering  the  items  which 
our  course  of  study  includes  as  minimum  essentials,  such  a 
test  can  easily  be  presented  in  type-slide  form. 

Then  when  the  pupils  are  ready  to  check  their  papers, 
each  child  may  correct  his  own  paper  by  referring  to  an- 
other cellophane  slide  which  gives  the  answers.  As  he  finds 
errors,  he  may  stop  to  check  up  on  the  correct  answers  or 
ask  a  question. 

This  procedure  gives  the  child  an  immediate  opportunity 
to  realize  and  correct  any  errors  he  has  made.  This  is  a 
good  application  of  the  law  of  learning  readiness. 

When  a  class  is  studying  India,  they  discuss  its  buildings. 
The  beautiful  Taj  Mahal  is  mentioned  and  the  colored  slide 
of  it  at  that  time  gives  the  class  an  excellent  idea  of  why  it 
is  considered  one  of  the  most  beautiful  temples  of  the  world. 

Then,  too,  the  map  of  a  country  may  be  projected  on  the 
blackboard  and  developed  to  show  physical  features,  indus- 
trial districts  locations,  or  other  items.  Such  a  map  is  also 
usable  for  a  location  test.   Cities  may  be  located  by  numbers 


and  pupils  may  be  asked  to  match  the  numbers  with  the 
names. 

For  other  subjects  additional  slides  were  available.  Mater- 
ials for  making  slides  were  placed  on  the  table  so  that  those 
interested  in  experimenting  could  do  so.  Whenever  possible 
questions  concerning  operation  of  the  projectors  were 
answered  by  letting  the  inquirer  experiment. 

As  a  whole,  the  exhibit  seemed  to  be  a  successful  ven- 
ture from  many  angles.  The  enthusiasm  of  the  members  of 
the  class  was  contagious  and  unusual  interest  was  mani- 
fested in  the  open-house  exhibit.  Several  people  returned  a 
second  or  a  third  time  for  additional  information.  Further- 
more the  exhibit  brought  the  members  of  the  class  together 
in  a  spirit  of  good  fellowship  which  has  carried  over  and 
taken  the  form  of  a  round-robin  by  means  of  which  members 
of  the  class  during  the  school  year  share  their  experiences 
with  the  rest  of  the  group.  Besides  this,  the  open-house  ex- 
hibit seemed  to  clarify  general  thinking  on  visual  aids  more 
than  anything  else  we  have  been  able  to  do.  As  a  conse- 
quence, it  has  decidedly  increased  interest  in  Visual  Educa- 
tion. In  fact,  instead  of  one  course  in  it  as  we  had  last 
summer,  this   summer  our  ofTerings  are   doubled. 


The  Role  of  Visual  Materials  in  the 
CCC  Educational  Program 


A  detailed  account  of  the  service  rendered  by  visual 
aids  in  the  CCC  camps  and  the  future  prospect. 

By      H.      S.      BUSBY 

Assistant   Fourth   Corps  Area   Educational  Adviser,   Atlanta,   Ga. 


^¥^  HE  significant  thing  about  visual  education  in  the  Civil- 
-i-  ian  Conservation  Corps  is  not  what  has  been  done,  nor 
how  it  has  grown,  nor  the  contribution  it  has  made  to 
the  larger  problem  of  adult  education,  which  is  a  major  task 
of  the  CCC.  Transcending  all  of  these  is  the  unprecedented 
opportunity  the  CCC  has  afforded  to  prove,  on  a  large  scale, 
what  methods  of  use  and  what  types  and  combinations  of  visual 
material  may  be  employed  to  improve  the  job  of  building  up 
humanity,  thereby  increasing  the  ability  of  that  humanity  to 
solve  its  problems  and  to  arrive  by  shorter,  surer,  and  simpler 
routes,  at  safety  and  sanity  and  satisfaction.  If,  incidental  to 
that  accomplishment  in  the  CCC  work,  we  have  discovered 
sure-fire  types  of  interest-holding  programs  which  indicate  a 
reliable  new  technique  of  advertising,  and  have  brought  to  light 
hidden  tastes  which  it  is  taking  a  million  dollar  special  indus- 
try to  satisfy,  and  have  opened  the  door  to  an  entirely  new  field 
for  motion  picture  distribution — all  of  these  are  but  tools 
with  which  to  build  the  ultimate  structure  of  a  self-guided 
social  force  in  the  place  of  its  chaotic  predecessor  which  two 
decades  of  indiscriminate  picture  production  had  well-nigh 
saddled  upon  us. 

Such  accomplishments  as  have  been  achieved  are  the  re- 
sult of  early  adherence  to  reality,  of  willingness  to  test  each 
step  taken  and  to  be  guided  by  the  evidence  obtained,  and 
by  avoiding  reliance  upon  general  conclusions  that  are 
gleaned  from  theory.  Many  of  these  conclusions  are  all  too 
loosely  derived  and  without  the  strength  that  is  forged  on 
the  anvil  of  criticism. 

Basis  for  Programs  and  Policies 

All  of  the  decisions  affecting  policy  for  conduct  of  the 
Fourth  Corps  Area  Film  Service  are  based,  as  the  whole 
educational  program  is  based,  upon  the  needs  of  the  men. 
Supply  has  been  studied  constantly  (since  May  IS,  1935), 
with  regard  to  its  adaption  to  subject  demand,  as  shown  by 


the  content  of  the  teaching  program.  This  relation  between 
available  visual  material  and  its  use  is  the  key  to  successful  ex- 
hibiting, in  anv  class  of  motion  picture  exhibition ;  it  is 
packed  with  profit  for  anyone  who  will  explore  it  in  the 
light  of  the  evidence  which  has  been  accumulated  in  this 
new  mass-experience  of  the  CCC.  The  accomplishments 
made  with  visual  techniques  in  the  CCC,  up  to  now,  have 
been  the  result  of  previous  experience,  tests  and  careful 
planning.  They  are  a  product  of  oprortunit  only  in  so  far  as 
opportunity  does  come  to  expand  into  general  production  a 
project  that  has  passed  the  laboratory  stage. 

Five  years  prior  to  the  beginning  of  the  CCC,  the  princi- 
ple underlying  the  use  that  has  been  made  of  visual  tech- 
niques in  the  Fourth  Corps  Area  was  applied  to  expand  the 
opportunity  for  employment  of  graduates  in  a  specialized 
branch  of  engineering.  One  immediate  result  of  placing 
extended  information  regarding  employment  opportunity  in 
the  hands  of  the  under-graduates  in  this  course  was  to  ampli- 
fy their  field  of  post  graduation  employment  from  five  to 
twenty-one  lines  of  work.  .Another  result  was  to  provide 
information  regarding  the  nature  of  their  competition  and 
an  increased  knowledge  of  the  field  of  available  employment. 
This  resulted  in  a  marked  increase  in  the  salary  scale  offered 
to  this  group  of  graduates. 

During  the  period  of  early  development  of  the  educational 
program  in  the  CCC  (May  —  September,  1934)  it  was  ap- 
parent that  some  means  to  attract  and  hold  interest  of  the 
enrolled  men  in  the  program  might  well  become  the  nucleus 
around  which  the  principles  and  incentives  of  instruction 
could  be  formed.  It  was  already  evident  that  static  visual  aids 
such  as  maps,  diagrams,  lantern  slides  and  charts  were 
playing  a  very  successful  role  in  the  instruction  program  in 
many  of  the  units.  It  simply  awaited  organized  use  of  other 
means  at  hand  to  secure  for  and  apply  to  the  program  the 


March,  1957 


Page  89 


more  dynamic  aid  of  the  film  slide  and  the  motion  picture. 

That  educational  activity  which  began  in  March,  1934,  in 
the  section  of  the  CCC  comprising  the  eight  states  of  the 
Fourth  Corps  Area  was  something  of  which  any  worker  in 
the  organization  could  write  the  specification.  It  was  not 
until  the  program  took  organized  form,  under  zone  planning, 
that  is,  when  district  and  state  oversight  of  the  program 
began,  that  it  was  possible  to  apply,  in  any  large  degree,  to 
the  problems  encountered,  any  of  the  techniques  of  organ- 
ization and  development  learned  in  previous  educational  or 
industrial  experience. 

During  the  summer  of  1934,  three  of  the  sectional  heads  of 
the  program,  meeting  at  that  time  in  Atlanta  to  discuss 
means  of  further  improvement  of  the  work,  recognized  the 
growing  need  for  a  comprehensive  visual  program  and  de- 
cided to  pool  the  resources  available  in  their  several  regions, 
and  to  distribute  them  thru  a  central  service.  The  existence 
of  about  3S0  reels  of  films  in  Atlanta  (most  of  which  were 
35  mm.  industrial  subjects)  made  Atlanta  the  logical  base 
for  the  distribution.  Thru  the  use  of  projectors  it  was  pos- 
sible to  borrow,  part  time,  a  number  of  widely  separated 
camps  were  soon  being  serviced.  Ownership  of  the  pro- 
jectors used  varied  from  schools  and  state  departments  to 
individuals  connected  with  the  CCC  organization. 

However,  no  statement  of  chronology  can  be  as  important 
as  an  enumeration  of  the  lessons  learned  from  this  mass- 
laboratory  experience.  Bear  in  mind  that  the  audiences  in 
which  the  programs  have  been  tested  are  as  broad  and  as 
significant  as  any  ever  available  for  study,  and  that  the  range 
of  film  material  furnished  for  test  has  covered  all  but  the 
most  spectacular  late  features.  It  has  included  a  very  wide 
range  of  choice:  travel  topics,  sports  subjects,  musicals, 
industrials,  advertising,  governmental  department  interests, 
and  comedy,  as  well  as  a  considerable  range  of  entertain- 
ment features.  From  more  than  12,000  programs,  the  reactions 
of  the  group  and  of  individuals  have  been  drawn,  bringing 
to  light  many  fundamental  tastes  in  picture-viewing  not 
generally  previously  acknowledged. 

This  experience  has  been  applied  to  the  selection  of  sub- 
jects and  program  makeup  as  rapidly  as  it  has  been  accumul- 
ated. It  has  also  been  the  basis  of  policy  in  making  motion 
pictures  of  local  and  general  camp  interest  within  the  activi- 
ties of  the  Corps  itself.  It  has  been  important  for  our  head- 
quarters to  know  what  subjects,  under  what  circumstances, 
and  in  what  length  and  manner  of  treatment,  are  of  suffi- 
cient interest  and  general  value  to  warrant  investment  of 
time  and  money  in  their  procurement,  their  production  and 
their  distribution. 

An  interesting  feature  of  the  early  struggle  to  establish 
service  was  the  way  in  which  the  existence  of  one  borrowed 
projector  in  a  territory  became  the  incentive  to  neighboring 
units  to  buy  projectors.  By  the  end  of  December,  1934,  eight 
used  35  mm.  projectors  had  been  purchased,  for  a  nominal 
price,  and  these,  with  many  borrowed  projectors,  were  being 
served  regularly  from  the  office  of  the  Georgia  State  Edu- 
cational Adviser,  in  Atlanta.  Although  the  first  films  were 
distributed,  under  this  arrangement,  in  May,  1934,  and  a 
number  of  companies  had  been  served  intermittently  during 
July  and  August  of  that  year,  the  first  regular  weekly  service 
began  late  in  August.  By  January,  1935,  more  than  seventy- 
five  companies  were  being  served  on  a  regular  weekly  sched- 
ule and  the  service  had  been  expanded  to  include  both  35  mm. 
and  16  m.,  in  both  silent  and  sound  films,  also  a  few  35 
mm.  film  strips.    At  no  time  was  disc  equipment  used. 

Cost  has  been  a  constant  deterrent  to  extensive  operation. 
The  cost  of  entire  equipment  set-up  of  the  central  servicing 
unit  of  the  Corps  Area  Film  Service  is  $150.00.  The  cost  of 
the  entire  educational  budget,  of  which  the  Corps  Area  Film 
.Service  is  merely  a  part,  to  date  has  not  exceeded  50c  per 


man  per  year.  On  such  a  budget  it  is  not  possible  to  have 
any  facilities  unless  they  can  be  applied  economically  over 
a  wide  range  of  the  personnel  they  are  designed  to  serve. 
Central  purchasing  of  some  facilities  makes  it  possible  to 
secure  and  apply  these  things  over  a  wide  range.  In  this 
way  the  benefits  of  the  instruction  value  of  some  outstanding 
motion  picture  films  of  general  utility  may  be  gained  for  all 
the  companies,  and  provision  may  be  made  to  distribute  these 
films   in  the  most  effective  manner. 

Emphasis  on  Fundamentals 

The  entire  educational  program  of  instruction  has  settled 
down  to  constant  emphasis  and  reemphasis  of  a  few  funda- 
mentals. Health,  sanitation,  safety  and  first  aid  have  always 
been  and  will  continue  to  be  paramount.  Good  films  are 
available  in  all  of  these  fields.  The  removal  of  illiteracy, 
drafting  of  a  simple  business  letter  and  development  of 
ability  to  do  simple  arithmetical  calculations  are  also  em- 
phasized. Unfortunately,  little  material  is  available,  on  films 
for  the  solution  of  Jhese  problems.  The  need  for  rehabilita- 
tion, or  for  the  initial  launching  of  the  enrollee  on  a  job,  is 
a  daily  effort;  its  success  is  attested  by  the  increasing  per- 
centage of  men  who  leave  the  Corps  for  private  employment. 
Some  excellent  films  are  available  for  this  purpose  and  we 
have  augmented  them  with  some  films  of  local  interest  which 
we  have  made. 

Early  in  the  visual  planning  it  became  evident  that  an  ob- 
jective should  be  set  up  which  would  be  at  once  consistent 
with  the  needs  of  the  program  and  within  the  possibilities 
of  the  material  available.  Close  study  of  the  motion  picture 
subjects  which  could  be  secured  disclosed  that  two  objectives 
might  be  realized  in  the  material  available.  One  is  to  present 
a  wide  range  of  information  regarding  trades  practices,  and 
industries  in  which  men  might  reasonably  expect,  ultimately, 
to  become  employed.  This  would  point  out  increased  vo- 
cational opportunity  to  the  men.  Another  objective  is  a 
presentation  of  information  regarding  geographical,  social, 
political  and  historical  facts  about  the  world  at  large. 

Tourist  organizations  and  commercial  users  of  raw  mater- 
ials from  remote  lands  provided  the  latter  element ;  no  less 
than  nineteen  tourist  and  travel  organizations  have  supplied 
an  excellent  variety  of  such  information,  and  this  is  out- 
lined against  a  background  of  scenic  and  entertainment 
interest.  The  life,  customs  and  problems  of  Bali  and  Brazil 
have  been  brought  to  the  hinterland  of  Suches,  Georgia,  and 
Shuqualak,  Mississippi. 

A  great  range  of  material  was  and  is  available  for  the 
accomplishment  of  the  first  objective,  but  its  selection  is  a 
matter  for  constant  study  and  even  more  careful  applica- 
tion. Blatantly  advertising  propaganda  is  taboo,  but  not 
all  advertising  is  without  value.  One  of  the  most  useful 
films,  for  teaching  good  fundamentals  of  ambition  and  self- 
development,  is  a  reel  consisting  almost  entirely  of  an  ad- 
vertising talk,  given  by  a  well  known  national  industrialist 
to  his  dealers.  Those  nationally  known  corporations  which 
limit  their  film  advertising  to  a  signature  at  the  end  of 
each  reel  are  to  be  commended  for  their  contribution  of  an 
interesting  and  much  needed  range  of  industrial  subjcts. 

The  most  important  thing  to  realize,  in  the  selection  and 
use  of  films,  is  that  no  policy,  no  determination,  no  judg- 
ment of  any  class  of  material,  is  permanent.  Constantly  there 
is  the  necessity  for  adherence  to  the  principle  of  continual 
substitution  and  change  to  meet  transitory  circumstances  and 
trends.  Conditions  of  showing  and  of  utilization  vary,  as 
does  the  ability  of  any  group  to  assimilate  certain  material 
at  a  given  stage  of  its  development.  It  is  well,  in  program 
planning,  to  explore  constantly  in  any  and  all  fields  of  avail- 
able material,  and  to  take  statements  of  all  observers  only 
conditionally.  Otherwise  much  applicable  material  of  great 
value   may   be   lost. 


Page  90 


The  Educational  Screen 


The  use  of  35mm  filmslides  came  slowly  and  was  accom- 
plished, where  it  did  happen,  as  a  result  of  the  individual 
personal  effort  of  several  District  Advisers  who  became 
interested  in  its  possibilities.  This  part  of  the  activity  be- 
gan on  borrowed  equipment,  grew  on  purchases  of  second- 
hand units,  and  is.  at  present,  an  operation  covering  two 
Districts  rather  completely,  with  a  definite  schedule  of  rota- 
tion and  district-controlled  supply:  it  extends  partly  over 
two  other  districts  and  some  general  distribution  is  made 
of  a  few  special  slides  by  the  Corps  Area  personnel.  Alto- 
gether about  seventy  companies  receive  regular  service  and 
seventy-six  more  a  casual  service.  The  use  of  kodacolor 
pictures  of  outstanding  scenes  of  the  work  activity,  taken 
on  a  Leica  camera,  has  done  a  great  deal  to  enchance  in- 
terest in  this  element  of  the  program.  If  it  were  not  for  the 
relatively  high  price  of  film  slide  subjects  that  are  suitable 
for  teaching  and  the  high  cost  of  making  slides  which  would 
illustrate  local  activities,  it  is  believed  that  this  section  of 
visual  instruction  would  occupy  a  more  important  place  in 
the  program  than  it  now  does,  because  of  its  flexibility  as  a 
method   of   instruction. 

Present  Size  and  Objectives  of  the  Program 
It  is  better  to  have  a  sound  and  vigorous  program  that 
serves  its  objectives  and  continues  to  both  grow  and  fill  a 
need,  than  to  use  the  greatest  number  of  films  or  have  the 
largest  audience.  We  are  concerned  with  what  lasts  over 
long  periods  of  tiine  because  that  much  and  only  that  much 


is  the  yardstick  of  accomplishment.  At  present  we  require 
about  850  reels  constantly,  in  order  to  provide  approximately 
500  programs  per  month.  This  is  educational  material,  a 
constantly  growing  percentage  of  which  is  used  with  study 
manuals.  Combination  programs,  which  include  subjects  of 
dateline  interest,  are  increasing  both  the  volume  and  the 
scope  of  the  activity.  Despite  decreased  enrollments  of  the 
past  year,  the  actual  volume  of  use  (which  is  to  say  the 
man-use)   of  the  service  has  been  increased  considerably. 

What  is  the  future  outlook?  The  most  surprising  develop- 
ment appearing  in  visual  education  is  the  fear  expressed  by 
certain  of  the  teaching  profession  that  these  methods  will 
supersede  or  nullify  present  teaching  activity.  Specific  di- 
rectives, based  on  the  experience  of  th  U.  S.  Department  of 
Agriculture  have  been  issued  in  tliis  Corps,  covering  this 
point. 

"It  is  a  mistake  to  assume  that  any  subject  can  be  taught 
by  motion  pictures  alone.  On  the  other  hand,  motion  pic- 
tures and  other  visual  aids  may  be  invaluable  to  the  in- 
structor  who   uses   them   correctly." 

Rather  will  the  time  gained  and  the  increased  alertness 
fostered  by  visual  presentation  provide  more  opportunity  to 
increase  the  scope  of  present  instruction,  remove  many  of 
the  criticisms  of  our  present-day  curricula  which  inertia 
and  confusion  have  engendered,  and  open  the  way  for 
clearer  and  more  thorough  instruction  in  methods  to  cope 
with  our  prsent-day   social   and  economic  problems. 


Motion  Pictures  as  an  Aid  in  Agricultural 
Extension  Work 


WITH  adequate  portable  sound  equipment  we  of  Louisi- 
ana are  able  to  go  anywhere  in  the  state  and  put  on  a 
show.  And  wherever  we  stage  such  a  performance  we 
unfailingly  attract  large  crowds.  We  are  equipped  with  a 
power  plant  installed  within  a  large  truck  for  generating 
the  necessary  current  and  voltage.  On  several  occasions 
the  "theatre"  has  been  some  farmer's  pasture.  The  screen, 
a  chemically  treated  cloth,  was  tacked  to  the  side  of  the 
barn,  the  portable  power  plant  furnished  the  "juice"  and  the 
audience  found  their  own  seating  accommodations.  Many 
of  the  people  attending  walked  as  much  as  five  miles  or 
more. 

The  attraction  of  people  to  the  cinema  in  the  cities  is  very 
strong  and  the  rural  man,'  woman,  or  child  is  no  exception. 
The  mere  mention  of  the  words  "picture  show"  to  the  aver- 
age individual  creates  a  sensitive  emotion  of  curiosity.  The 
reaction  of  one  who  seldom  sees  a  motion  picture  is  certain- 
ly of  greater  intensity,  and  the  unique  appeal  of  the  com- 
paratively recent  sound  movie  brings  the  rural  people  out 
in  hordes.  At  a  meeting  in  one  of  our  southern  communities 
last  spring,  one  of  those  present  was  a  man  87  years  old, 
who  had  never  before  seen  a  picture  show,  much  less  one 
with  sound.  Even  those  who  attend  the  movies  regularly 
derive  a  certain  amount  of  entertainment  from  educational 
pictures.  With  this  in  mind  we  try  to  give  the  people  a 
cartoon  comedy,  or  scenic  reel,  along  with  the  educational 
films,  thereby  lightening  the  program,  as  well  as  making 
future  shows  more  acceptable. 

By  using  films  which   are  applicable  to  conditions   in   our 


Showing  notable  values  of  sound  motion  pictures 
for    educational    work    in     rural    communities. 

By      E.     J.      Gl  ERI  NG,      JR. 

Visual  Education  Specialist,   Baton   Rouge,   Louisiana 

f.tate,  it  is  possible  to  more  thoroughly  and  (|uickly  demon- 
strate to  a  group  the  agricultural  and  home  management 
practices  and  methods  advocated.  Usually  a  subject  is 
treated  by  comparison,  i.  e.,  by  actually  showing  the  con- 
demned way,  say  of  growing  cotton,  and  then  showing  the 
recommended  method.  A  silent  film  teaching  a  convincing 
lesson  may  be  used  with  good  results,  even  though  there 
are  some  who  are  unable  to  read.  In  the  southern  part  of 
the  state,  a  sound  film  oftentimes  is  not  entirely  understood, 
as  there  are  many  adults  who  speak  and  understand  very 
little  English.  They  have  been  brought  up  to  speak  French, 
or  rather  a  French  patois,  of  which  there  are  about  ten 
different  varieties.  Since  their  communities  as  a  whole 
speak  only  French,  there  is,  in  their  opinion,  no  need  to 
learn  much  English.  In  the  coastal  parishes,  one  of  the 
qualifications  of  a  field  agent  is  that  he  or  she  speak  French. 
After  these  obstacles  are  overcome,  it  is  necessary  to  give 
much  thTiught  to  the  preparation  of  a  picture.  Some  films 
made  in  other  parts  of  the  country  do  not  always  bear  out 
our  teachings.  They  are  frequently  made  under  conditions 
unlike  ours,  which  sometimes  tend  to  divert  the  attention  of 
the  audience  from  the  principal  thought.  It  is  our  experi- 
ence that  local  films  create  much  more  enthusiasm  among 
the  people.  For  example,  suppose  we  are  making  a  film  on 
Forestry,  and  our  Forestry  Specialist  knows  of  a  certain 
farmer  who  has  followed  the  practices  we  are  trying  to  leach. 
By  making  the  scenes  on  this  farmer's  land,  with  him  and 
members  of  his  family  assisting  an  intimate  aspect  is  lent 
which  is  appealing  to  their  friends  and  fellow  workers  over 


March,  1937 


Page  91 


the  state.  Besides,  when  tlic  film  is  shown  in  some  other  parish 
even  if  the  participants  are  not  recognized  by  name,  at  least 
their  appearance  and  the  background  will  be  immediately 
registered  in  the  minds  of  others  as  something  homefolks 
have  done  and  done  right. 

In  Loni.siana  the  spirit  of  competition  is  prevalent  among 
farmers  in  the  parishes.  While  this  competitive  interest  may 
sometimes  present  a  problem  of  jealousy  with  respect  to  our 
activities,  it  may  well  serve  as  a  means  of  promoting  the 
teachings  the  .Agricultural  Extension  Division  is  advocating. 
Therefore,  by  carefully  working  up  a  competitive  feeling 
among  the  people,  they  will,  without  knowing  it,  do  the 
very  thing  we  want  done,  which  probably  would  not  be 
accomplished  by  direct  action. 

The  visual  instruction  specialist  works  through  county  and 
home  agents  who  are  in  close  contact  with  a  large  number 
of  rural  people,  and  it  is  through  them  that  educational 
demonstrations  and  programs  are  effected.  Extension  work- 
ers cannot  demand  the  cooperation  from  those  with  whom 
they  must  work ;  on  the  contrary,  they  must  present  the  sub- 
ject in  such  a  way  that  the  people  will  of  their  own  volition 
follow  the  teachings  and  practices  advocated.  While  it  is 
true  the  activities  of  this  organization  are  to  a  great  extent 
among  adults,  even  they  at  times  can  be  more  stubborn  than 
children.  .Ml  of  our  work  is  done  with  the  sole  purpose  of 
helping  the  rural  people.  We  are  never  allowed  to  make  any 
charge  for  this  service.  For  the  reason  that  we  must  depend 
on  funds  granted  by  the  state  and  federal  government  to 
carry  on  this  work,  it  is  not  always  easy  to  provide  the 
necessary  equipment,  much  less  elaborate  material. 

Our  field  agents  are  fully  aware  of  the  value  of  visual 
instruction.  The  effectiveness  of  this  teaching  method  is 
strikingly  illustrated  by  the  exhibits  at  community,  county 
and  state  fairs ;  by  the  use  of  illustrative  material  at  group 
meetings,  and  by  demonstrations.  But  this  phase  of  the  pro- 
gram is  limited  in  its  effectiveness  and  there  is  greater  need 
for  a  wider  use  of  the  motion  picture. 

In  Louisiana  seven  specialists  have  made  special  use  of 
motion  pictures  in  their  work :  Soil  Conservation  Specialist, 
.\gronomist,  Beef  Cattle  Specialist,  Dairy  Specialist,  Poultry 
Specialist,  4-H  Club  Leader,  Forestry  Specialist.  The  pic- 
tures were  shown  to  both  adults  and  juniors  in  general, 
with  the  exception  of  those  based  on  Forestry  and  4-H  Club 
work.  Work  on  these  two  projects  has  been  largely  confined 
to  junior  boys  and  girls.  Motion  pictures  have  been  shown 
in  47  of  the  64  parishes. 

The  seasons  and  practices  are  the  factors  which  determine 
what  timely  pictures  should  be  shown.  During  the  winter 
months  pictures  dealing  with  terracing  and  soil  erosion,  or 
forestry  practices,  are  more  readily  received  by  the  people 
than  in  mid-summer.  The  harvest  is  past  and  the  people 
have  time  to  build  terraces  on  their  land.  Cross  ties,  poles, 
wood.  etc..  are  being  cut  at  this  season  and  a  program  of 
good  forestry  practices  falls  in  line  with  the  work  of  the 
farm  people.  Other  than  the  seasons,  the  judgment  of  the 
specialists  and  the  arrangements  of  their  programs  are  fac- 
tors which  determine  when  a  certain  program  of  pictures 
will  be  shown.  The  relationship  of  one  program  to  another 
and  the  need  of  local  improvement  also  enter  into  the  selec- 
tion of  what  pictures  to  show. 

There  are  two  problems  of  this  program  which  confront 
us  extension  workers  in  Louisiana.  First,  the  making  of,  or 
securing  existing  visual  material.  Second,  the  showing  of 
visual  material  made  locally  or  secured  from  an  outside 
source. 

Three  new  motion  picture  films  have  been  released  by  the 
.\gricultural  Extension  Division,  La.  State  University  & 
.A.  &  M.  College,  with  United  States  Department  of  .\gri- 
Qirltiire  cooperating.    These  are : 


(1)  J'or  1  he  Land's  Sake — A  .<ound  motion  picture  designed 
to  show  the  necessity  for  returning  to  the  soil  that  part  of 
its  fertility  which  soil  depleting  crops  take  from  it.  The 
subject  matter  applies  especially  to  soil  on  which  cotton  and 
corn  are  grown.  Scenes  were  made  in  West  and  East  Carroll 
parishes  and  at  the  St.  Joseph  Experiment  Station,  in  Ten- 
sas parish. 

(2)  Crowiiiy  Su<iar  Cane  The  Modern  Way — A  sound  mo- 
tion picture  film,  the  theme  of  which  is  expressed  by  the 
title.  Scenes  were  made  at  the  Baton  Rouge  Sugar  Cane 
Experiment  Station.  Improving  the  land  by  turning  under 
winter  legumes,  new  cultural  practices  and  improved  varie- 
ties are  the  high  points  stressed. 

(3)  The  Cattle  Are  Coming — Also  a  sound  motion  picture 
of  general  interest  concerning  the  beef  cattle  industry  of 
Louisiana,  presenting  the  practices,  both  good  and  bad,  as 
followed  in  the  state.  Dipping  scenes  are  of  especial  inter- 
est as  the  necessity  for  dipping  has  been  removed  as  a  result 
of  a  fight  on  ticks  made  over  a  period  of  thirty  years  in 
Louisiana. 

Some  4.700  ft.  of  negative  have  been  exposed  for  the  pur- 
pose of  making  a  new  dairy  picture.  The  theme  of  this  film 
will  bring  out  the  desirability  of  developing  small  herds, 
methods,  etc.  and  the  benefits  derived.  Scenes  for  various 
other  films  are  being  taken  from  time  to  time  and  will  be 
assembled  into  a  complete  reel  when  sufficient  material 
has  been   collected   on   the   particular  subject. 

We  are  attempting  to  establish  a  library  for  our  own  use. 
This  library  will  be  made  up  of  such  U.  S.  D.  .\.  and  other 
films  as  our  specialists  consider  worth  while  for  purchase, 
and  the  films  we  ourselves  make  in  the  future.  No  attempt 
is  contemplated  to  set  up  a  rental  library.  It  may  be  that 
some  of  our  local  films  will  be  of  use  to  other  states,  and  if 
they  are,  no  doubt,  some  exchange  or  purchase  arrangement 
will  be  made. 

Visual  education  is  a  device  for  educational  work.  It  is  an 
effective  supplement  to  printed  material,  lectures,  and  public 
addresses.  The  goals  of  visual  instruction  from  the  .Agri- 
cultural Extension  aspect  are :  first,  to  stimulate  an  interest 
in  individuals  that  will  bring  about  an  improvement  in  their 
present  practices;  second,  to  present  a  subject  with  more 
force,  clearness  and  ease  of  understanding;  third,  to  draw 
larger  attendance  at  meetings  through  the  novel  means  of 
teaching  by  visual  aids. 

At  the  close  of  the  year  1936  the  visual  education  project 
had  existed  as  a  definite  part  of  the  State  Extension  Or- 
ganization over  a  period  of  one  year  and  four  months.  Such 
statistical  information  as  may  be  given  will,  therefore,  be 
for  this  period  of  time  only.  While  the  words  visual  educa- 
tion embrace  a  very  broad  field,  in  this  case  they  will  refer 
to  the  use  of  motion  pictures  since  the  work  of  the  specTalist 
has   principally   been   with   this   particular   tool. 

It  is  believed  that  what  has  been  accomplished  is  of  worth 
while  significance.  The  shows  have  been  well  attended, 
which  indicates  that  the  people  favor  this  method  of  in- 
struction. Those  who  have  been  questioned  as  to  their 
opinion  of  the  value  of  the  material  shown  have  given  favor- 
able comment.  Requests  to  come  back  to  the  same  places 
have  been  received  on  numeroirs  occasions. 

The  following  is  a  statistical  summary  of  the  work  with 
motion  pictures  among  the  white  as  well  as  the  negro  farm 
people. 

Total  attendance.  Sept.  1.  193S  —  Dec.  31,  1935    58.016 
Total  showings  made  295 

Total  communities  reached  253 

Average  attendance  per  showing  200 

The  actual  time  devoted  to  showing  motion  pictures  during 
this   period   amounted   to  only    181    days,   or  just   a    fraction 

(Concluded  on  page  94) 


Page  92 


The  Educational  Screen 


NEWS  AND  NOTES   ^«'7  ^-/  -''^' 

uantfiCiint  JLautaA   attJi   events   ui   lite,    vnital    fLcLJi. 


ianA     on 


Conducted  by  Josephine  HoflFman 


Pictures  wl+h  a  History 

Back  in  1886  Paul  Nadar  persuaded  his  father, 
Felix  Nadar,  to  invite  the  famous  French  chemist, 
Michel  Eugene  Chevreul,  to  come  to  their  studio. 
Naturally  the  plan  was  to  engage  Chevreul  in  animated 
conversation  and  not  let  him  realize  that  pictures  were 
being  taken.  During  the  lively  conversation  tiiat  ensued, 
Paul  Nadar  was  able  to  expose  imnoticed  many  plates 
in  his  box  camera.  These  photographs  appear  in  the 
January  11,  1937,  issue  of  Life  magazine.  It  was  not 
until  last  October  that  the  photographs  came  to  light 
during  a  dispute  between  Paul  Nadar,  who  at  80  still 
runs  his  studio  in  Paris,  and  the  French  National 
Archives  over  the  ownership  of  the  plates. 

These  photographs  are  truly  remarkable  in  that  they 
actually  caught  the  various  expressions  of  Chevreul 
and  were  quite  a  departure  from  the  stiffly  posed  pic- 
tures of  the  day.  They  are  also  more  significant  because 
Nadar  made  them  with  the  cumbersome,  primitive 
equipment  of  that  time  and  did  not  have  access  to  the 
modern  speed  lenses  and  speed  films  that  are  so  com- 
mon with  our  present  miniature  cameras. 


Film  Strips  Available 

The  Rural  Electrification  Administration  announces 
two  film  strips  available  for  distribution.  Electric 
PoTuer  Senrs  the  Farm  shows  some  of  the  important 
uses  of  labor-saving  and  income-producing  electrical 
farm  equipment.  A  Visit  to  Rosedale  takes  its  audience 
on  a  sightseeing  tour  of  the  REA  Electrified  Farm, 
near  Washington,  D.  C. 

These  film  strips,  with  prepared  lectures,  may  be 
ordered  direct  from  L.  E.  Davidson  Picture  Service, 
438  Delaware  Avenue,  N.  Y.  Including  postage,  the 
charge  is  55  cents. 

Teaching  Aids  from  Indiana  University 

According  to  the  latest  catalog  of  "Picture  Aids  for 
School  and  Community  Use,"  which  lists  slides,  motion 
pictures  and  art  exhibits  loaned  by  the  Bureau  of 
Visual  Instruction,  Indiana  University,  all  35nmi  films 
have  been  withdrawn  from  service  with  the  exception 
of  the  Yale  Chronicles.  The  films  now  offered  under 
the  enrollment  plan  are  all  16mm.  Arrangements  are 
now  being  made  bv  the  Bureau  to  distribute  several 


Spencer  Model  D  Delineascope 

•  Has  the  optical  equipment  that  results  in  clearly 
detailed,  attention-connpeliing  screen  pictures,  and 
also,  the  modern  Spencer  mechanical  features  that 
give  greater  convenience  in  operating. 

For  complete  information  on  Spencer  Delinea- 
scopes  for  classroom  use,  or  for  auditorium  models, 
write  for  Catalog  K-78.   Address  Dept.  R-7-3. 

Spencer  Lens  Company 

Buffalo  Wi  New  York 


March,  1937 


Page  93 


special  sound  film  programs  of  feature  length  at  nom- 
inal rental  rates. 

As  a  further  service  to  users  of  the  Bureau's  library, 
Mr.  F.  L.  Lemler  has  prepared  many  helpful  pamph- 
lets. The  most  recent  are  "Important  Phases  in  the 
Administration  of  Visual  Work,"  which  will  help  the 
school  administrator  or  director  of  visual  instruction  to 
set  up  an  efficiently  functioning  visual  program  ;  and 
"Improvement  Sheet  for  Visual  Work,"  a  guide  to 
good  teaching  technique  with  visual  aids,  showing  the 
advantages  and  limitations  of  each  type. 

A  Teacher's  Manual  on  Safety  Instruction 

A  48-page  manual  of  teaching  aids  for  high  schools 
which  are  presenting  good  driving  instruction  or 
courses  in  traffic  safety  has  just  been  published  by  the 
National  Bureau  of  Casualty  and  Surety  Underwrit- 
ers, 1  Park  Avenue,  New  York  City.  The  manual  is 
intended  as  a  practical  instruction  supplement  to  the 
National  Bureau's  256-page  text  book,  "Man  and  tlie 
Motor  Car",  published  nearly  a  year  ago,  and  has  been 
issued  in  response  to  urgent  requests  from  many  of 
the  5000  high  schools  in  26  states  which  have  now 
inaugurated  automobile  driving  instruction  or  traffic 
safety  as  part  of  their  regular  curriculum. 

The  Teacher's  Manual  was  prepared  under  the 
editorial  direction  of  Dr.  Herbert  J.  Stack,  Director  of 
the  National  Bureau's  Education  division,  and  a  large 
committee  of  educators  and  traffic  safety  authorities. 
It  contains  16  units  of  instruction,  each  one  of  which 
presents  a  group  of  text  questions,  several  problems 
relating  to  the  lesson,  a  number  of  student  activities, 
and  a  broad  list  of  supplementary  references.  Each 
unit  contemplates  one  hour  of  instruction  or  more. 

In  addition  to  a  preface  by  Dr.  Stack  and  an  intro- 
duction, there  is  a  liberal  text  of  suggestions  to  teach- 
ers on  how  to  conduct  the  driving  courses.  Included  in 
the  points  covered  are :  methods  for  emphasizing  safety, 
visual  aids  such  as  motion  pictures,  lantern  slides,  talk- 
ing slide  films,  the  availability  of  teaching  materials  and 
many  other  teacher's  problems.  A  reference  section 
lists  all  publications  of  known  value  to  the  course.  The 
manual  contains  seventeen  larg-e  photographs,  each 
dramatizing  a  particular  unit.  The  manual  sells  for 
fifteen  cents  a  copy. 

WPA  Movie  Bibliography 

"The  Film  in  America,"  a  bibliography  of  the  mo- 
tion picture  industry,  now  being  compiled  by  workers 
of  the  WPA  Federal  Writers'  Project  of  New  York 
City,  is  reaching  its  final  stages,  it  is  announced 
by  Travis  Hoke,  director  of  the  project.  This 
book  will  be  an  authoritative  work  on  the  motion  pic- 
ture industry,  the  editors  state.  The  bibliography  will 
include  8,000  book  and  magazine  titles,  and  will  fea- 
ture a  minute  system  of  subject  classifications  and  an 
analytical  index. 

Preliminary  announcements  of  the  project's  pro- 
gress have  aroused  the  interest  of  schools,  colleges  and 
the  motion  picture  industry.  Numerous  requests  have 
been  received  from  them  for  all  published  material 
prepared  by  the  project. 


24  foot 
picturi 

ihroyam 


Projector 

in  a  demonftration  at  Confttitu- 
iion  Hall,  Washinfiton,  D.  C  for 
tt  National  Institution, 


The  first  and  only 
IGmni  projector  ifvith 

AKC  LAMP  The  rear  shutter  fea- 
ture exclusive  with  HOLMES  makes  it  possible  to 
use  an  Arc  Lamp.  NOW — no  auditorium  too  large 
for  a   16  mm.  projector. 

The  HOLMES  16  mm.  all  sprocket  sound-on-film 
unit  can  be  furnished  with  amplifier  of  sufficient 
output  to  insure  ample  volume  without  distortion 
in  the  largest  auditoriums,  using  one  to  four  speakers 
for  correct  distribution.  Can  also  be  furnished  with 
Mazda  lamp  equipment. 


Four  to  sixteen 

hundred  foot 

reels  can   be 

used. 


Write    for    our 

catalog   and 

prices. 


HOLMES 


Manufacturer  of  16  and  3  5  mm.sound  projectors 
HOLMES  PROJECTOR  CO.,  1813  Orchard  St.,  Chicago 


Page  94 


The  Educational  Screen 


NEW 

Social  Studies  Units 


rN  EACH  UNIT 

Twenty- five  Stereographs 

Twenty-five  Lantern  Slides 

A  Teachers*  Manual 


THE  LINCOLN  HIGHWAY 

From  New  York  to  Omaha 

THE  LINCOLN  HIGHWAY 

From  Omaha  to  San  Francisco 


GREAT  BRITAIN 
ITALY 


PRIMITIVE  INDIANS 


FARM  ANIMALS 


Others  in  Preparation 


•        • 


Send  for  Advance  Information  on  Units 
For  Next  Year's  Appropriation 

Keystone  View  Co 

Meadvilie,  Penna. 


DeVry  Announces  Summer  Conference 

Announcement  is  made  of  the  1937  meeting  of  the 
National  Conference  on  X'isual  Education  and  Film 
exhibition  in  Chicago,  June  21,  22,  23  and  2A — the 
week  preceding  the  N.  E.  A.  at  Detroit.  This  year  as 
last  it  will  bring  together  producers  and  users  of  edu- 
cational films — for  a  mutual  study  of  the  most  de- 
sirable elements  in  films  designed  for  education.  These 
will  include  both  16  and  35mm  films — both  sound 
and  silent.  Advertising  films  designed  for  school  u.se, 
as  well  as  strictly  classroom  films  will  be  included. 
There  will  be  an  almost  continuous  exhibition  of  the 
worthwhile  educational  films  of  the  year  which  presents 
an  unequalled  opportimity  to  teachers  to  see  at  one 
place  film  subjects  available  for  school  use.  There  will 
be  more  time  for  discussion  this  year  than  last.  An 
increase  of  300%  in  attendance  occurred  last  year — 
and  the  conference  is  growing  in  importance  each  year. 
Si^eakers  of  National  reputation  in  this  field,  will  take 
part  in  the  program.  Membershii)  and  admission  is 
free,  but  those  expecting  to  attend  are  urged  to  write 
in  early  for  programs  and  tickets,  so  that  the  man- 
agement may  plan  for  anijile  accommodations.  The 
office  of  the  director  is  at  1111  .\rnutage  Avenue, 
Chicago. 


Motion  Pictures  as  an  Aid  in  Agriculture 

(Concluded  from  page  91) 

more  than  six  months.  The  average  showings,  therefore, 
for  the  period  were  1.6  shows  per  day.  The  remaining  8 
months  of  the  14-month  period  are  accounted  for  by  the  fact 
that  tlie  specialist  performed  other  duties  in  connection  with 
summer  4-H  Club  camps,  conventions  and  annual  agents' 
meetings,  project  planning,  preparation  of  material,  etc. 

In  St.  Landry  parish,  prior  to  nieetm  ,s  held,  farmers 
ordered  2,604  bushels  of  legume  seed,  representing  127^ 
acres.  Following  this  showing  they  ordered  \4.342  bushels, 
representing  667  acres.  This  increase  of  11,738  bushels  or 
S39J^  acres  cannot  wholly  be  attributed  to  the  showing  of 
pictures.  However,  since  the  picture  shows  did  give  the 
county  agent  an  opportunity  to  talk  to  a  greater  number  of 
farmers  in  a  short  period  of  time,  and  since  the  pictures 
shown  had  as  their  subject  matter  the  results  obtained  from 
the  E.xperiment  Station  at  St.  Joseph  by  planting  winter 
legumes,  with  all  due  respect  to  those  others  concerned,  the 
specialist  is  inclined  to  believe  that  this  increase  of  better 
than  5  to  1  was  in  substantial  part  the  result  of  the  films. 

-\t  a  farmers'  meeting  in  De  Soto  parish  on  December  15, 
report.s  indicated  there  were  far  less  forest  fires  during  the 
past  year  than  during  any  other  in  the  history  of  the  parish, 
and  that  the  forestry  pictures  show'n  unquestionably  aided 
greatly   in  reducing  the  number  of  forest  fires. 

From  present  indications  nothing  will  prevent  the  in- 
creased use  of  motion  pictures  as  a  means  of  visual  instruc- 
tion. Due  to  circumstances  this  growth  may  be  gradual, 
but  it  is  certain  to  be  steady.  Films  are  available  on  many 
phases  of  agriculture  and  home  economics.  Production  of 
additional  local  films,  through  an  agreement  between  the 
U.S.D..-\.  Division  of  Motion  Pictures  and  four  Southern 
-States  is  under  way  at  present.  It  is  difficult  to  predict  what 
heights  the  use  of  motion  pictures  in  extension  work  may 
reach,  but  we  may  be  reasonably  sure  that  there  will  be  no 
other  device  capable  of  replacing  the  "talkie"  in  its  present 
capacity  in  the  educational  field  of  rural  Louisiana  for  many 
vears  to  come. 


March,  1957 


Page  95 


SCHOOL    DEPARTMENT 


Conducted  by  Wilber  Emmert 

Director  Visual  Education,  State  Teachers  College,   Indiana,   Pa. 


Plaster  Casts  Further  Nature  Interests 


'PHE  PUBLICITY  recently  given  to  the  work  of  the 
Departnient  of  Justice  in  making  casts  and  finger 
prints  has  aroused  interest  in  such  work.  Teachers  can 
take  full  advantage  of  this  aroused  interest  by  having 
their  pu]iils  make  casts  of  animal  tracks  and  casts  of 
leaves  for  their  science  and  nature  work.  In  addition  to 
the  school  work,  cast  making  offers  many  possibilities 
as  a  part  of  an  activity  ])rogram  for  various  clubs,  scout 
leadership  and  health  camps. 

Cast  making  is  easy.  The  materials  needed  are  few, 
simple,  and  inexpensive.  .\  few  simple  directions  and  a 
little  jjractice  will  prepare  teachers  to  capitalize  on  this 
aroused  interest  in  cast  making.  Animal  tracks  and  leaf 
casts  can  be  made  into  plaques  for  wall  hanging,  book 
ends,  trays,  and  paper  weights.  Such  things  are  easy 
to  make,  inexpensive,  and  very  useful. 

For  outdoor  work  the  materials  needed  consist  of 
three  cans  (gallon,  half-gallon,  and  quart  sizes  will  do), 
strips  of  cardboard,  or  copper,  or  tin  about  twenty 
inches  long,  a  stick  for  stirring,  a  small  can  of  talcum 
])owder  (or  a  can  of  lard,  or  a  can  of  light  automobile 
oil),  plaster  of  Paris,  water,  and  salt.  A  compact  carry- 
ing kit  may  be  made  by  selecting  the  cans  of  such  size 
that  thev  can  be  nested  into  the  largest  one  as  the  carry- 
ing container. 

On  the  field  triji  plaster  casts  can  be  taken  of  the  im- 
pressions made  by  the  feet  of  animals  in  the  snow  or 
mud.  Select  the  track  that  shows  the  best  detail,  and 
prepare  it  for  the  cast  by  dusting  it  with  talcum  pow- 
der, or  by  pouring  a  small  amount  of  oil  over  it.  Next 
place  the  strip  of  paper  or  metal  around  the  track,  not 
too  close  else  the  track  will  be  distorted,  and  at  such 
distance  as  will  give  the  desired  size  for  the  finished 
plaque,  then  press  it  firmly  into  the  ground,  or  back  it 
up  with  mud.  dirt,  or  sand. 

A  mixture  of  plaster  of  Paris  and  water  of  about 
the  consistency  of  pea  soup,  is  then  poured  into  the 
track.  In  general  it  will  require  a  little  less  than  half 
as  much  water  as  plaster  to  obtaiu  a  mixture  thin 
enough  to  pour  easily  and  fill  all  the  details  properly. 
After  the  water  and  plaster  of  Paris  have  been 
thoroughly  mixed,  a  small  amount  of  salt  is  stirred  in 
to  hasten  the  setting  and  hardening  of  the  plaster.  If 
the  mix  is  too  thin,  it  will  crack  when  hardening;  if 
too  thick,  it  will  not  flow  evenly  into  the  track;  if  too 
much  salt  is  added,  bubble  holes  will  result  in  the  fin- 
ished product.  \\'ith  a  few  practice  trials  no  difficulty 
will  be  found  in  this  respect. 

Since  the  plaster  hardens  rapidly  and  cannot  be 
mixed  again  with  water,  it  is  necessary  to  work  rapidly 
and  to  prepare  at  one  time  only  the  amount  to  be  used 
immediately.  After  about  ten  minutes  the  cast  can  be 
lifted  from  the  track,  wrapped  in  moss,  paper,  grass. 


or  leaves  and  carried  along  to  the  next  tracks  to  be 
cast,  or  taken  home.  If  a  group  is  working,  some  can 
prepare  the  tracks  for  the  casts  while  others  are  mak- 
ing the  plaster  mix ;  then  a  number  of  casts  can  be 
poured  one  after  the  other.  With  a  little  care  no  diffi- 
culty should  be  experienced  in  using  the  .same  track  for 
several  casts. 

The  cast  just  described  will  be  a  "negative"  cast,  i. 
e.,  one  in  which  the  im])ression  is  raised.  In  the  labora- 
tory "positive"  casts  may  be  made  by  placing  the 
negative  on  the  table,  or  on  a  board,  covering  it  with 
a  thin  coating  of  grea.se.  enclosing  it  with  the  band,  and 
])ouring  in  the  ])laster  as  before.  Numerous  positives 
can  be  made  from  a  negative,  Positives  can  also  be 
made  by  greasing  the  foot  of  an  animal  or  bird  and 
pressing  it  into  the  prepared  plaster  of  Paris  just  as  it 
begins  to  set. 

Leaf  casts  make  interesting  plaques  and  book  ends. 
Leaf  casts  are  made  by  greasing  with  oil,  lard,  or 
Crisco.  the  surface  of  the  leaf  against  which  the  plaster 
is  to  be  poured,  greasing  the  form  and  band,  jnitting 
the  leaf  into  the  form,  and  pouring  the  plaster  of  Paris 

PiCTUROLS     Bring     You 

PICTURES  for  PROJECTION 
In  the  Most  Convenient  Form 

With    Picturols,   all   of   the    pictures   for   each   lesson   are 

assembled   in   ONE  tiny   roll   of  film,  that  you   can   hold 

between  your  thumb  and   index  finger.    The  pictures  are 

selected  by  prominent  educators  and  lecturers.    For  each 

roll    which    does    not    contain    texts   there    is   a   carefully 

edited  syllabus. 

S.V.E.  Projectors  for 

showing  Picturols  are 

light  in  weight  (from 

3  to  6  lbs.)  and  easy 

to   use.    The  teacher 

changes  each  picture' 

merely  by  turning  a 

knob.  Picturols  cover 

all    fields    of    study. 

Catalogs  on  request. 

S.V.E.   Picturol   Proiector  Model   F  Write  today! 

The  Audio-Visual   Handbooit  by  E.  C.  Dent 

Revised  to  date  and  fully  illusfra+ed.   Cloth  $1.75. 
Paper  $1.25  Postpaid.    ORDER  NOW! 

SOCIETY/^VISUAL  EDUCATION.z^c 

"^P/ 9fam/facturerj:  Producers, and Dutribatorr of  Yifualiid/^^ 
V      327-    SO.  LA  SALLE    ST.  CHICAGO,      ILL.      V 


Page  96 


The  Educational  Screen 


into  it.  After  the  plaster  has  set,  the  cast  is  taken  from 
the  form  and  the  leaf  removed  from  the  cast.  Since  the 
veins  are  more  prominent  on  the  under  surface  of  the 
leaf,  this  side  is  usually  used  to  make  the  cast.  Leaf 
casts  give  the  best  results  if  the  cast  is  not  more  than 
a  half  inch  thick. 

The  plaques  may  be  prepared  for  hanging  on  the 
walls  by  laying  a  paper  clip  on  the  back  of  the  cast  at 
the  proper  place,  just  after  the  cast  has  been  taken 
from  the  form,  and  covering  the  clip  with  a  small 
quantity  of  thin  plaster  mix. 

In  making  book  ends,  the  form  used  to  hold  the 
plaster  cast  must  be  made  into  the  proper  shape  and 
with  the  desired  dimensions.  The  cast  should  be  about 
three  quarters  of  an  inch  thick  at  the  top,  two  to  four 
inches  thick  at  the  bottom,  five  inches  wide,  and  six 
inches  high.  A  little  difficulty  may  be  experienced  in 
this  work  because  the  bottom  must  be  straight  and  at 
right  angles  to  the  straight  side  towards  the  book.  The 
sloping  side  is  the  one  which  will  contain  the  cast  im- 
pression. Slight  irregularities  can  be  easily  carved  off 
with  a  knife,  or  made  smooth  with  a  wood  rasp.  It  is 
wise  to  imbed  a  sheet  of  tin  or  other  metal  in  the  bottom 
of  the  book  end  and  allow  it  to  project  two  or  three 
inches  beyond  the  book  side  of  the  cast.  This  can  be 
attached  in  the  same  manner  as  the  paper  clip  is 
fastened  to  the  plaque.  If  a  piece  of  felt  or  cloth  is 
glued  to  the  under  side  of  the  book  end  and  the  metal 
sheet,  they  will  not  scratch  or  mar  the  furniture  on 
which  they  are  placed. 

Both  the  plaques  and  the  book  ends  can  be  painted 
with  water  colors  to  give  the  desired  tints  to  the  leaves 
and  the  background.  Test  colors  should  be  tried  out  on 
the  back  of  the  plaque  of  Plaster  of  Paris  to  determine 
beforehand  how  the  colors  will  appear  on  this  porous 
material. 

One  precaution  should  be  observed  in  the  disposal  of 
the  excess  plaster  of  Paris  after  the  cast  has  been 
poured.  Allow  it  to  harden  before  dumping  it  into  the  . 
sink,  otherwise  the  drains  may  become  clogged  as  the 
plaster  of  Paris  hardens  in  the  pipes.  It  is  perhaps 
wiser  to  empty  it  into  the  waste  jar  and  dispose  of 
it  on  the  dump  heap. 

Cast-making  can  be  used  to  further  the  interest  of 
children,  and  as  an  excellent  means  of  correlating  the 
work  in  the  various  fields.  Artistic  perfection  can  be 
striven  for,  English  compositions  might  very  well 
follow  the  cast  making,  reading  exercises  based  upon 
the  work  might  lead  the  pupil  far  afield  in  studying 
about  the  animal  responsible  for  the  track,  science  and 
nature  interest  might  be  appreciably  augmented  there- 

by- 

A  collection  of  track  casts  for  most  of  the  wild 
animals  and  leaf  cast  for  the  common  trees  of  the 
neighborhood  would  furnish  very  valuable  materials 
for  instruction.  Those  made  by  persons  in  the  upper 
grades  would  assist  the  teachers  who  have  the  smaller 
children  under  their  supervision.  Track-casts  of  do- 
mestic animals  and  birds  would  make  a  splendid  ad- 
dition to  the  other  group.  Such  teaching  materials  can 
easily  be  stored  in  shallow  boxes,  or  trays,  properly 
labeled  for  ready  use. 

W.  E. 


Jn   jE^murmtn 


yf^  ILLIAM  F.  Barr,  Dean  Emeritus  of  the  Col- 
lege of  Education,  Drake  University,  died  at  his 
home  in  Des  Aloines,  Iowa,  on  Wednesday,  February 
27,  1937.  He  was  71  years  of  age.  Upon  retirement 
last  June,  Dean  Barr  had  completed  31  years  as  ad- 
ministrator of  the  Drake  University  College  of  Educa- 
tion, where  he  was  regarded  as  a  pioneer  in  education 
method. 

Born  in  Newark,  Ohio,  in  1865.  he  grew  up  in  In- 
diana and  gained  his  elementary  education  in  the  rural 
schools  of  that  state.  After  studying  at  private  normal 
schools  in  Ohio  and  Indiana,  he  started  his  teaching 
career  as  a  school  principal.  Dean  Barr  came  to  Drake 
University  in  1900  as  physics  and  mathematics  in- 
structor. After  taking  advanced  degrees  he  became 
head  of  the  "normal  school"  in  1905.  For  two  years, 
from  1911  to  1913,  he  also  served  as  Drake's  dean  of 
men,  being  the  first  dean  of  men  in  an  endowed  college 
in  Iowa. 

Dean  Barr  was  truly  one  of  the  pioneers  in  the  visual 
aids  field.  Many  years  ago  he  conceived  the  idea  that 
teachers  should  be  trained  to  understand  and  use  visual 
aids  eflfectively.  He  was  one  of  the  first  to  arrange  and 
teach  such  work.  The  first  course  appeared  in  the  Drake 
University  catalog  for  the  year  1925-26  and  was  listed 
under  the  heading  of  visual  education  as  follows :  "A 
course  intended  to  show  what  can  be  done  in  teaching 
school  and  college  subjects  by  the  use  of  the  moving 
picture,  projection  lantern,  picturol  and  stereoscope." 
Succeeding  years  have  seen  more  and  more  extensive 
courses  given  at  Drake,  covering  all  aspects  of  visual 
education  and  attended  by  increasing  numbers  of  stu- 
dents. 

Dean  Barr's  activity  had  decreased  with  failing 
health,  but  in  a  letter  received  a  short  time  before  his 
death  he  expressed  the  same  keen  interest  in  visual 
instruction  which  had  burned  so  strongly  for  so  many 
years.  To  those  who  knew  him,  his  inspiration  and  en- 
thusiasm were  powerful  stimuli  toward  increased  eft'ort 
in  the  field  of  visual  instruction. 

H.  L.  KoosER. 


March,  1937 


Page  97 


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The/         Explain 

More  and  more  Amprosound  Projectors  are  winning  acceptance 
as  the  standard  of  quality  in  the  field  of  16  mm.  Sound-on-film. 
A  statement  like  this  is  easy  to  make — but  an  interview  with 
Amprosound  users  will  confirm  it.  Schools,  universities,  museums, 
industrial  users  are  delighted  with  Amprosound  tone  quality, 
brilliance  and  general  satisfactory  operation.  See  the  latest 
Amprosound  Models  at  your  dealers.  Test  them  carefully.  Check 
them  for  the  points  enumerated  above. 

Prices  complete:  Junior  Model,  (500  Watt)  $375;  Senior  Model 
(750  Watt)  $415.  Write  for  Free  Circulars  on  any  of  the  com- 
plete line  of  Ampro  16  mm.  Projectors  —  Ampro  Corporation, 
•'839  North  Western  Avenue,  Chicago,  Illinois. 

A  M  IP  IP  € 

Precision     Projectors    for    Perfect    Performance 


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AMPRO       SILENT       PROJECTORS 

The  complete  line  of  Ampro  Silent  Projectors  is  char- 
acterized by  brilliance  of  illumination  and  convenience 
of  operation.  Many  thousands  of  these  projectors  have 
proved  their  ruggedness  and  efficiency  in  universities, 
schools,  auditoriums  and  homes  all  over  the  world.  Prices, 
complete  with  carrying  case.  Model  J  (BOO  watt)  $13B ; 
Model  K    (750  watt)   $150. 

AMPRO     CONVERTIBLE     MODELS 

Two  regular  16mm  Ampro  Projectors  plus  such  addi- 
tions as  will  permit  conversion  into  latest  type  sound 
projectors  by  the  addition  of  sound  parts  for  sound  film. 
These  are  the  models  to  purchase  if  you  are  not  quite 
ready  for  sound.  Their  cost  after  conversion  is  only 
slightly  more  than   the  regular  sound  models. 

Priced  Complete  with  carrying  case:  Model  MC  (con- 
vertible into  Amprosound  Junior)  $160 ;  Model  NC  (con- 
vertible into  Amprosound  Senior)    $180. 


Page  98 


The  Educational  Screen 


AMONG   THE    MAGAZINES 


AND    BOOKS 


Conducted  by  Stella  Evelyn  Myers 


The  Journal  of  Geography  (35 :  360-364,  Dec.  '2,6) 
"An  Experiment  in  Iiidividual  Versus  Group  Study 
of  Pictures  in  Geography,"  by  Elizabeth  Stadtlander. 

Stereographs  were  used  for  individual  study  of  pic- 
tures, and  slides  for  group  study,  with  two  groups  of 
fifth  grade  ])upils.  One  group  was  of  high  average  and 
the  other  of  low  average  children,  not  equated.  As  a 
rotary  system  of  j^resentuig  the  tests  was  adopted,  the 
lacking  of  equated  grouping  was  eliminated.  In  both 
groups,  the  improvement  was  from  25  per  cent  to  50 
per  cent  in  ability  to  interpret  facts  from  pictures.  It 
was  found  that  "Children  are  better  able  to  interpret 
facts  from  a  lantern  slide  than  from  an  individual  pic- 
ture when  used  as  a  class  device.  .  .  .  Average  and  low 
average  children  gain  more  ability  in  geographic  think- 
ing by  use  of  lantern  slides.  As  a  result  of  the  u.se  of 
jMCtures.  failing  children  gained  information,  learned 
to  talk  intelligently  about  a  region  or  activity,  because 
they  could  visualize  it,  learned  to  read  from  pictures 
what  they  could  never  have  learned  to  read  from  text- 
books, and  felt  a  sense  of  achievement  and  enjoyment 
in  the  subject." 


TILT-TOP 
BARGAINS! 


Central's  Senior 

MOVIE    TILT-TOP 

A  $7.50  Value 


Now  $5.45 


Aiiiil     11a  rpa  in 

ISook  of  Cameras 

and  Supplies. 


Tilts    to   any   angle.      Covers    full   360  circle 
for  panoraminK.      Any   make  of  8.    16,   35mm 
cameras.     Adjustable  to  any  tripod.     Substan- 
tial,   durable.      Chromium    plated    steel.      Shpg. 
Wt.     3     Lbs.       A     $7.50     Value.       Special:       $5.45. 
Order  Now  ! 

JUNIOR  — For  All  Cameras  — SPECIAL 

Fits  any  tripod,  all  still,  movie  cameras. 
Tilts  to  any  angle.  Complete  circle  for 
panoraming.  Black  enamel,  chromium 
plated.  Shpg.  Wt.  2  Lbs.  A  $5.00  Value. 
Special;      $3.95. 

CENTRAL   CAMERA   CO. 

230  So.   Wabash.    Dept.   53.   Chicago.    US. A. 
Photographic   Headquarters  Since   1899. 


$395 


BETTER    16   MM.   SOUND    • 

A  New  "MUST"  Film  For  Every 
School,  Church  and  Club. 
Endorsed    by    Senator    Gerald    P.    Nye       0 

"DEALERS 
IN  DEATH" 


A     clear,     factual     and     arresting     exposition     of     the 

International    munitions    ring    and    its    relation    to    the 

World   War  and   new   wars. 


6    KEELS   —  61    MINUTES  —   FOR   RENT   OR    LEASE 


GARRISON 


FILM    DIST.    INC. 

730  — 7th  Ave. 
NEW  YORK  CITY 


Scholastic  (29:8-9.  Jan.  23.  '57)  "(iettiiig  the 
Jump  on  Hollywood."  by  Delia  Farmer. 

A  fa.scinatin^  account  of  how  a  sophomore  class 
in  Central  High  School,  Superior,  Wisconsin,  wrote 
and  acted  a  scenario  from  Dickens'  ""Tale  of  Two 
Cities."  It  should  be  a  helpful  suggestion  of  one 
means  of  modernizing  the  Classics,  and  putting 
them  in  a  form  that  will  be  decidedly  stimulating  to 
young  people.  ever\-where  aided  by  modern  inven- 
tion. One  of  the  best  features  of  the  Sujjerior  pro- 
duction is  that  the  cost  was  almost  nothing. 

Health  and  Physical  Education  (8:29-31,  Jan.  '37) 
"The  Micro-Projector."  by  Everett  W.  Xelson. 

An  expensive  micro-projector  is  described,  which 
serves  the  purposes  of  projecting  permanently 
mounted  specimens,  making  drawings  of  micro- 
scopic fields,  and  projection  of  living  specimens  in 
liquids.  Observing  the  blood  stream  in  the  veins 
and  arteries  of  a  live  frog,  when  jirojected  on  the 
screen,  is  made  possible  by  a  simple  home-made 
device,  fully  described.  The  article  is  replete  with 
suggestions  for  science  teachers.  "Just  as  the  il- 
lustrated textbook  amplified  the  printed  word  fol- 
lowing the  invention  of  photography,  so  now  the 
film,  the  slide,  and  the  live  specimen  amplify  the 
text  by  means  of  projection  equipment." 

Childhood  Education  (13:206-210,  Jan.  '37)  "Ad- 
ventures through  Maps,"  by  Mildred  E.  Price. 

How  to  make  map  work  a  thrilling  and  educa- 
tional enterprise  is  here  described  and  illustrated. 
The  production  of  ])ictorial  maps,  sand  table  relief 
and  wooden  ma]5s  is  fully  elucidated. 

Progressive  Education  (^14:47-49.  Jan.  '37)  "Vis- 
ualizing Health  Education  through  Art",  by  Jane 
B.  Welling  and  Eaurentine  B.  Collins. 

The  Detroit  Health  Education  Club  and  the  stu- 
dents in  art  education  at  Wayne  University  coop- 
erated on  the  visualization  of  a  health  education 
program  in  terms  of  art  materials.  One  is  quite 
thrilled  by  seeing  in  imagination,  based  on  illus- 
trations, the  central  display,  six  feet  high,  revolv- 
ing on  its  own  turntable,  and  the  tabletop  displays 
revealing  the  evolution  of  the  dance  as  a  school  ac- 
tivity, other  dance  groups  with  a  touch  of  humor, 
and  percussion  instruments.  "The  point  of  this 
story  is  that  any  two  naturally  expressive  areas  of 
education,  such  as  art  and  health  education,  can 
work  together  and  can  produce  a  graphic  exposi- 
tion of  their  nmtual  interests." 


March,  1937 


Page  99 


in  every  lesson 

with  this  RCA 

'    Equipment    ' 


«i»w»»"-' 


RCA  SOUND  MOTION 
PICTURE  PROJECTOR,  PG-81 

...One  ofRCA's  complete  line 
of  35  mm.  sound  motion 
picture  projectors.  Has  900  or 
1000  watt  incandescent  lamp. 
Ample  illumination  for  aver- 
age room  or  auditorium.  Has 
the  same  RCA  Photophone 
Rotary  Stabilizer  soundhead 
used  in  large  motion  picture 
hoi  ses  all  over  the  country.  Assures  you  the  exacting  per- 
formance that  these  theatres  insist  on. 

RCA  CENTRALIZED 
SOUND  SYSTEM 

.  .  .  The  system  is  centrally 
controlled.  Through  it  the 
school  principal  may  convey 
radio  programs,  recorded 
speech  and  music,  and  direct 
announcements  from  his  office 
to  any  or  all  classrooms.  Is  of 
great  value  for  timely  educa- 
tional radio  programs,  music 
appreciation  broadcasts,  lan- 
guage teaching.  Provides  new 
clarity  of  speech  in  auditori- 
um. Can  also  be  used  in  gym- 
nasium, and  on  athletic  field. 
Is  valuable  for  use  in  fire-drills,  lectures,  standardized  aptitude 
and  achievement  tests,  and  has  unique  two-way  talk-back 
feature  which  permits  principal  to  speak  with  individual 
teachers  without  interrupting  classroom  work. 


•i^^'* 


Give  your  students  modem 
teaching  with  the  help  of 
this  RCA  apparatus  espe- 
cially designed  for  schools! 

EVERY  year  the  trend  to  modern  teaching  be- 
comes more  and  more  apparent.  Educators 
all  over  the  country  are  seeing  the  wisdom  in 
the  statement — lessons  that  live  are  easy  to  learn! 

Use  of  RCA's  modern  teaching  aids  means 
new  life  in  every  lesson,  plus  effectiveness. 
This  equipment  gives  you  a  new,  fresh  method 
of  presenting  studies  to  students. 

On  this  page  are  shown  two  of  RCA's  prod- 
ucts designed  for  schools.  They  provide  true 
quality  performance  because  they  are  created 
by  the  world's  greatest  sound  recording  and 
reproducing  organization.  Moreover,  they  are 
priced  moderately.  Full  details  about  these  and 
other  fine  RCA  educational  equipments  in- 
cluded in  the  interesting  new  booklet  "Sound 
Service  for  Schools" — a  copy  of  which  we  will 
mail,  free,  on  request. 


KCA  presents  the  "Magic  Key  of  RCA"  every  Sunday 
3  to  3  P.M.,  E.S.T.,  on  NBC  Blue  Network 


Samaf'J^i 


emee 


EDUCATIONAL  DEPARTMENT 

RCA  Manufacturing  Co.,  Inc.     •     Camden,  N.J. 
A  Service  of  the  Radio  Corporation  of  America 


Page  100 


The  Educational  Screen 


Just  Published 


THE  NEW  TECHNIQUE 
OF   SCREEN  WRITING 


How  to  Write  and 
Market  Photoplays 

— told  by  a  man  tvhose  business  is  handling 
screen  stories  and  turiting  photoplays 

Here  is  the  live,  authoritative,  practical  manual  of  writing 
fer  the  talking-pictures,  as  it  is  done  in  Hollywood  today,  that 
has  been  wanted  by  writers,  professional  and  non-professional 
alike. 

With  plenty  of  illustrative  material  from  actual  scripts,  this 
book  tells  how  the  technique  of  the  camera  and  sound  track  is 
utilized  In  story  telling,  how  to  use  the  accepted  forms  of  screen 
writing,  and  what  the  best  channels  for  marketing  photoplays 
are. 

The  New  Technique 
of  Screen  Writing 

By  Tamar  Lane 

Editor,  Scenarist,  Executive,  in  Association  with  RKO,  Universal, 
First  National,   Pathe,   Paramount,  Selznick,  and  Other  Studios. 

342  pages,  6x9,  $3.00 

This  book  places  in  the  hands  of  serious  writers  the  first 
adequate,  comprehensive  treatment  of  screen  writing  that  has 
appeared  since  the  talking  picture  made  its  advent.  It  conibines 
chapters  on  the  visualization  and  development  of  stories  in  the 
forms  which  the  studios  are  using  today  with  a  good  deal  of 
helpful  supplementary  information  that  applies  to  the  screen 
writer's  problems. 

A  special  feature  is  the  inclusion  of  complete  specimen  scripts 
of  (1)  an  original  screen  story.  (2)  a  treatment  or  adaptation, 
and  (3)  a  detailed  shocting  continuity,  each  on  pictures  that 
have   been   produced. 

Other  helpful  sections  give: 

— authoritative  discussion  of  the  actual  marketing  situation  on 
photoplay  material. 

— dictionary  of  studio  terms ;  explanation  of  camera  and  sound 
effects  and  their  use;  and  other  technical  information. 

— addr-ss  lists  of  story  agents  and  studios. 

— chapter  on  dialogue. 

• — information  on  studio  story  routine,  current  demands,  re- 
muneration, story  don'ts,  protection,  etc.,  etc. 

Examine  a  copy  of  this  practical  new  book 
for  10  days  on  approval 

SEND   THIS   McGRAW-HILL   COUPON 

McGRAW-HILL  BOOK  CO.,  Inc.,  330  W.  42nd  St.,  N.  Y.  C. 

Send  me  Lane's  The  New  Technique  of  Screen  Writing  for 
10  diys*  examination  on  approval.  In  10  days  I  will  send  $3.00 
plus  few  cents  postage,  or  return  book  postpaid.  (We  pay  post- 
age on  orders  accompanied  by  remittance.) 


Name . 


Address 

City  and  State 


Position.. 


Institution 

{Books  sent  on  approval  in  U.  S.  and  Canada  only.) 

E-3-37 


Educational  Forum  1  :39-49,  Nov.  '36)  "The 
Teaching  Film :  An  International  Survey,"  by 
Charles  A.  Gramet. 

Hungary  was  probably  the  first  state  to  make  the 
teaching  with  films  obligatory.  In  the  United  States, 
there  has  been  a  sporadic  introduction  of  films  because 
of  local  control  of  education.  New  York  City  for  four 
years  has  undertaken  an  organized  and  extensive  pro- 
gram of  instruction  with  films.  In  1933,  projectors  and 
films  were  recommended  for  all  schools  in  Glasgow. 

The  most  outstanding  experiments  in  England  and 
America  are  reviewed.  Germany  has  decided  in  favor 
schools  with  films  and  projectors  within  a  few  years, 
of  the  silent  film.  She  plans  to  equip  all  of  her  60,000 
Each  High  School  in  Italy  has  a  film  library  of  90 
films.  France  has  local  bureaus  operating  under  the 
State  Pedagogical  Museum.  Data  from  the  Soviet 
Union  are  somewhat  contradictory,  but  there  is  evi- 
dence that  a  very  extensive  movement  has  been  carried 
on  for  film  education. 

An  analysis  is  made  of  the  reasons  why  films  ane' 
not  more  generally  used.  In  Germany,  teachers  write 
scenarios  from  which  a  careful  selection  is  made,  when 
the  films  are  produced  and  distributed  to  the  school. 
Sources  of  materials,  and  plans  successfully  used  for 
payment  of  equipment  are  described. 

Building  America  (2:  Jan.  'i7).  Published  by  the 
Society  for  Curriculum  Study.  "Social  Security",  the 
subject  of  No.  4  in  the  second  volume  of  this  series, 
is  treated  in  thirty-one  pages,  fully  illustrated  and  il- 
luminated by  many  pictorial  graphs.  The  authors  ap- 
pear to  take  a  scientific,  and  hence  unbiased,  attitude 
toward  the  study  of  the  need  for  a  security  in  living, 
of  which  the  individual  cannot  be  assured  "on  his  own" 
in  a  society  that  is  highly  industrialized.  State  and  fed- 
eral laws  covering  security  for  the  employed,  unem- 
ployed, and  the  present  aged  are  fully  discussed.  The 
merits  of  individual  and  social  methods  for  security 
are  made  clear,  and  the  Social  Security  Act  is  carefully 
analyzed  as  to  its  strong  points  and  its  weaknesses. 

New  York  State  Education  (34:  310-311  et  al, 
Jan.  '37).  "After  School— Then  What?",  by  Mary  J. 
Clancy  and  Grace  Line.  This  is  the  fourth  in  a  series  of 
nine  articles  on  radio  and  motion  pictures  in  the  public 
schools.  Since  modern  invention  has  immeasurably  en- 
larged the  untravelled  world  that  the  pupils  may 
glimpse   through   the   arch   of   experience,   the   school 


16  MM.  SOUND-ON-FILM  for  RENT 

Lists  are  free  —  either  sound  or  silent  films. 
Our    rates    (we    honestly    believe)    are   the    lowest    in    the   U.    S.    A. 

All  programs  unconditionally  guaranteed. 

All   postage  on   films  —  both  to   and  from  destination  —  paid  by   us. 

We  are  organized  for  service — not  for  profit. 

May  we  save  you  money  on  your  equipment?     Try  us! 

THE      MANSE      LIBRARY       Cincinnati,    ohio 


MAKE   YOUR  OWN 

TYPEWRITER     SLIDES 

For    Screen    Projection 

USE        RADIO        MATS 

on   sale  by  Theatre  Supply   Dealers 
Write  for  Free  Sample 

RADIO-MAT  SLIDE  CO..  Inc. 

1819  Broadway  Dept.V.  New  York  City 


March,  1957 


Page  101 


must  adjust  itself  to  these  new  demands.  Any  reason- 
able philosophy  of  education  demands  that  teachers 
have  a  part  in  the  education  of  the  whole  child.  Because 
radio  and  moving  pictures  have  an  integral  part  in  the 
lives  of  our  children,  they  must  be  considered  in  any 
modern  philosoi:>hy  of  education.  "Educators  have  a 
dutv  toward  these  powerful  devices  which  science 
has  brought  to  them."  The  guide  places  his  knowledge 
at  the  disposal  of  the  traveller,  helping  him  to  derive 
pleasure  and  profit  from  his  experience.  Similarly,  the 
teacher  of  motion  picture  and  radio  a])preciation  acts 
as  guide  and  interpreter.  Lyman  Bryson  is  aptly  ejuoted 
thus,  "Education  is  primarily  training  in  discrimina- 
tion, and  the  educated  person  is  the  one  who  knows 
how  to  choose  both  for  his  own  satisfaction  and  for 
his  continuing  growth." 

The  Social  Studies  (28:  6-13,  Jan.  '37)  "The  Use 
of  the  Motion  Picture  as  a  Technique  of  Instruction", 
by  Grace  Hotchkiss,  Hyde  Park  High  School,  Chicago. 

For  teachers  wishing  to  organize  their  course  about 
the  film  as  an  integral  constituent,  even  aside  from  the 
field  of  history,  this  contribution  will  be  most  sug- 
gestive. For  the  second  semester  in  United  States  His- 
tory a  course  is  outlined  that  can  be  followed  in  detail. 
.'\11  expenses  were  met  by  the  history  classes  with 
seven  dollars  surplus  in  the  treasury.  .\  study  of  re- 
lated motion  pictures  was  a  part  of  the  assignment  for 
each  unit,  of  which  eight  units  comprise  the  work  of 
the  semester.  At  the  close  of  the  course,  one  picture 
was  used  for  the  purpose  of  review.  Six  types  of  ac- 
tivities, based  on  the  subject  matter  of  the  films,  are 
listed  as  among  those  included  on  the  work  sheets.  The 
use  of  the  motion  picture  affords  many  opportunities 
for  adjusting  instruction  to  individual  differences,  of 
which  illustrations  are  given.  Individual  follow-up 
work  is  described. 

Three  most  valuable  tables  are  given,  listing  the 
thirty-five  films  used,  with  their  source  and  price,  first 
alphabetically,  then  in  correlation  with  the  eight  units, 
and  finally  as  to  historical  development.  This  contribu- 
tion to  "Social  Studies"  should  be  a  landmark  among 
history  teachers  in  the  correlation  of  visual  aids  with 
their  subiei't  matter. 


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Also  a  classroonn  series  entitled  "SECRETS  OF 
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The  core  of  the  year's  work  in 
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The  visualization  of  hi^h  school 
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"SIMPLE  DIRECTIONS  FOR  MAKING  VISUAL  AIDS" 
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Page  102 


The  Educational  Screen 


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San  Francisco  Bridge  In  16  mm.  Sound 

A  new  single-reel  film  dealing  with  the  construction 
and  gala  opening  of  San  Francisco's  magniticent  new 
bridge  is  being  offered  by  Bell  &  Howell  Company's 
Film  Division.  The  film  follows  the  progress  of  con- 
struction with  effective  and  beautiful  photography.  An 
intelligent  narrative  and  a  musical  background  add  to 
the  interest.  The  opening  ceremonies,  with  many 
thousands  of  automobiles  racing  across  the  new  span 
in  opposite  directions,  and  finally  the  colorful  night 
parade  in  San  Francisco,  provide  a  fitting  climax. 

Victor  Enlarges  Plant 

To  meet  the  steadily  increasing  demand  for  their 
products,  Victor  Animatograj^h  Corporation  has 
embarked  on  an  expansion  program.  The  first  ste]) 
in  this  program  has  been  the  purchase  of  an  ad- 
jacent building  of  four  floors,  providing  twenty 
thousand  square  feet  of  additional  floor  space.  The 
main  plant  has  been  completely  renovated  also  and 
all  equipment  overhauled  or  replaced.  Even  with 
the  added  manufacturing  facilities,  the  plant  will 
continue  to  operate  on  a  three-shift  schedule. 


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ILVA  Film-Projector  Plan 

The  International  Library  of  Visual  .\ids.  New  York 
Cit\',  provides  a  practical  plan  whereby  schools  can  ob- 
tain a  sound  projector  and  good  teaching  material 
without  the  ex])enditure  of  regular  school  funds.  The 
service  is  sold  to  schofils  on  a  library  membership  plan, 
which  consists  of  one  Victor  projector  and  eighteen 
forty-minute  sound  units  to  be  supplied  at  the  rate  of 
one  imit  a  month  for  one  day's  showing,  covering  the 
two-year   period   of    ILVA   membership. 

The  pictures  are  intended  for  auditorium  use,  and 
are  a  pleasing  combination  of  entertainment  and  educa- 
tion. Teachers'  manuals  are  sui)plicd  for  each  of  the 
eighteen  films  so  that  the  teacher  can  plan  a  lesson  in 
advance  of  the  showing,  as  well  as  a  follow-up  after- 
ward. Leading  film  producers  cooperated  in  the  build- 
ing of  the  library  by  ])roviding  access  to  all  picture  neg- 
atives containing  educational  material  that  could  be 
edited  to  provide  schools  with  suitable  films  showing 
influences  on  civilization  and  the  forces  of  nature  that 
have  effected  the  progress  of  mankind.  A  good  narra- 
tive explanation  accompanies  each  picture. 

Fourteen  of  the  units  are  now  completed :  four  units 
(16  reels)  on  The  March  of  CiviUcatiou.  chronicling 
the  successive  waves  of  migration  of  the  Indo- 
European  races  across  Asia,  Europe,  and  over  our  own 
country  to  the  Orient ;  three  units  (12  reels)  on  Evolu- 
tion of  Economic  Life  ;  and  six  units  (24  reels)  on  Man 
Against  Nature.  The  most  recent  of  this  last-named 
series  is  "The  Story  of  the  Polar  Regions."  a  vivid  por- 
trayal of  the  life,  people,  animals,  and  industry  there, 
and  man's  struggle  to  discover  the  North  Pole. 

California  Wild  Life  Films 

Frank  R.  Church,  Oakland,  California,  are  now  ex- 
clusive agents  for  the  16mm-sale  of  the  educational  wild 
life  films,  the  negatives  o'f  which  are  owned  by  the 
California  State  Fish  and  Game  Commission.  This 
film  material,  produced  by  the  California  Conmiission, 
was  turned  over  to  the  University  of  California  a  short 
time  ago,  and  re-edited  by  Captain  Jjick  Robertson, 
noted  world  traveler  and  ])roducer  of  many  motion 
])ictures,  into  sixteen  one-reel  subjects.  The  first  nine 
are  completed  and  the  balance  will  be  finished  shortly. 
Titles  of  these  are:  A  Hunter's  Camp.  Divcllers  of  the 
Forest.  Wild  Life  on  the  Desert.  Duck  and  Goose 
Shooting.  IVcstern  Water  Fowl.  Winter  Visitors, 
Feathered  Beach  Combers,  Western  Birds  at  Home, 
and  Trout  for  Tomorrow. 

New  Hygiene  Subject 

The  Motion  Picture  Division  of  the  Kolynos  Com- 
pany has  produced  a  new  one-reel  scientific  health 
film  entitled  Science  Makes  a  Dentifrice,  which  por- 
traj's  modern   methods  of   production,   sanitation  and 


March,  19}7 


Page  103 


Show 

PICTURES     AT     THEIR     BEST 


WITH  A 


SCREEN! 


Movies,  filmslides,  glass  slides  and  other  visual  teaching  ma- 
terial can  be  used  most  effectively  only  when  projected  on  an 
efficient  screen.  In  Da-Lite's  complete  line  of  projection 
screens,  there  is  a  screen  with  the  right  light  reflective  qual- 
ity for  every  school  projection  requirement.  For  auditoriums 
and  other  large  rooms,  with  wide  viewing  angles,  screens 
with  white  or  silver  surfaces  are  usually  recommended.  For 
the  average  classroom,  the  glass-beaded  surface  is  the  most 
satisfactory,  for  it  reflects  the  maximum  amount  of  light  and 
gives  the  sharpest,  clearest  pictures. 

See  your  dealer  or  tvrite  today  for  latest  catalog! 

DA-LITE    SCREEN    CO.,    INC. 

2717  N.  Crawford  Ave.  Chicago.  III. 


The  DA-LITE  CHALLENGER 

— the  most  popular  portable  screen  on  the  market. 
Has  its  own  tripod  and  can  be  set  up  quickly  any- 
where. Fold!  to  compact  proportions  for  easy  carrv< 
inn.  Lioht  In  weight.  Seven  sizes  from  30"  x  40" 
to  70"  X  94".  The  larger  sizes  have  crank  lift.  .  .  . 
One  of  many  styles  in  the  Da-Lite  line. 


Quality      Screens      for      More     Than     a     Quarter     Century 


Da-Lite  Screens 


AND    MOVIE 
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I 


di.stril)ution  of  thi.s  well-known  dentifrice.  Laboratory 
ex])eriments  show  its  non-abrasive  cleansing  and  polish- 
ing power,  and  its  efifect  on  germs.  .Animated  drawing? 
and  trick  photography  are  used  to  increase  educational 
value  and  heighten  interest.  The  picture  is  a  suitable 
subject  for  health  and  hygiene  groups,  and  contains 
much  of  interest  to  even  more  advanced  medical  and 
scientific  groups.  It  is  available  in  16mm  or  35mm 
silent,  free  except  for  express  charges,  from  General 
Business  Films,  Inc..  565  Fifth  Avenue.  New  York- 
Schwartz  Appointed  Manager  of  Central 
Camera's  Chicago  Store 

Stanley  J.  Flesch,  President,  The  Central  Camera 
Company,  Chicago,  announces  the  appointment  of  Mr. 
Selwyn  S.  Schwartz  to  the  managership  of  Central's 
Chicago  retail  store. 

During  the  early  twelve  years  that  Mr.  Schwartz 
has  been  with  the  Central  Camera  Company,  he  has 
had  a  superlative  record  of  salesman.ship,  and  has 
acquired  a  host  of  friends  in  the  photographic  profes- 
sion and  among  the  amateurs. 

Mr.  Schwartz  extends  a  personal  invitation  to  all 
members  of  the  ])hotographic  profession  to  make  the 
Central  Camera  Company  their  headquarters  for 
cameras  and  photographic  supplies  of  all  kinds.  He 
suggests  that  out  of  town  photographers  send  for  the 
new  free  .\pril  Bargain  Book  listing  hundreds  of  new 
and  used  bargains  in  cameras,  lenses,  projectors  and 
photographic  supplies  of  all  kinds. 


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The  Educational  Screen 


16MM  UniveksaL  sound  projector 

ALL  YOU  WANT  IS  HERE  — Think  over  the  things  you  want 
most  in  a  16  MM.  Sound  Projector.  In  Universal  you  will  find 
record-breaking  Tone  performance  and  brilliancy  in  screen  image. 
Economy  is  the  boast  of  every  Universal  owner. 


The  advanced  Universal  has 
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Complete,  ready  to  plug  in. 
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DEALERS    IN    PRINCIPAL    CITIES 


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NAME 

ADDRESS 

CITY STATE. 


New  Film  From  Spain  Released 

Garrison  Film  Distributors,  Inc.,  announce  the  re- 
lease of  a  new  16mm  film  Defense  of  Spain  produced 
in  Spain  by  Ivor  Montague  of  the  British  Progressive 
Film  Institute,  This  picture  is  said  to  be  the  latest  and 
most  complete  film  on  the  subject  that  has  reached 
America  to  date,  being  filmed  late  in  November.  Other 
sound  films  imported  by  Garrison  for  release  are 
Under  Western  Eyes,  a  French  feature  film  based  on 
the  Joseph  Conrad  novel;  The  Wave  {"Redes")  pro- 
duced by  Paul  Strand  on  behalf  of  the  Fine  Arts  De- 
partment of  the  Mexican  Government ;  Inspector  Gen- 
eral based  on  the  famous  satirical  play  by  Gogol ;  Rose 
and  Raphael,  a  three  reel  sound  film  produced  under 
the  direction  of  Prof.  I.  V.  Pavlov  eminent  physiologist. 
The  latter  film  deals  with  Prof.  Pavlov's  experiments 
with  two  chimpanzees. 

More  Evidence  on  Classroom  Film 

The  November  issue  of  "The  Classroom  Film",  un- 
der The  Teaching  Films  Division  of  the  Eastman 
Kodak  Company  contains  a  most  excellent  presen- 
tation of  the  use  of  several   films  in  teaching  the 


ASK  US  ABOUT 

Tho  Three  Series  of  Charts 

Historical  Charts  of  the  Literatures 
Vocabulary  Charts  of  the  Languages 
Structural  Charts  of  Great  Dramas 
THE     EDUCATIOIVAL     SCREEN 


energy  concept.  The  previous  preparation  of  the 
pupils,  and  the  final  integration  of  the  whole  sub- 
ject are  made  perfectly  clear  by  Mary  Elizabeth 
Lynch,  Dorchester  High  School  for  Girls,  Boston, 
Mass. 

The  "Quincy  System  of  Teaching  Aids"  recog- 
nizes that  if  visual  aids  are  to  be  used  effectively 
certain  essential  practices  must  be  established.  The 
following  are  among  the  eighteen  recommendations 
made : 

"The  appointment  of  one  person  as  the  Director 
of  the  Department.  The  arrangement  of  the  avail- 
able materials  into  convenient  form  for  extended 
use.  The  classroom  is  the  proper  place  for  teach- 
ing with  the  use  of  films  or  other  aids.  Only  in- 
spirational or  emotional  type  films  may  be  used  to 
advantage  in  the  auditorium.  Factual  films  should 
be  used  only  in  the  classroom.  Building  should  be 
equipped  with  projectors.  Classrooms  should  have 
available  outlets  and  dark  shades.  Silent  films  are 
more  practical  for  school  use  than  are  sound  films." 

"Ten  Best"  for  1936 

Mutiny  on  the  Bounty  was  voted  the  best  picture  of 
1936  by  the  leading  cinema  reviewers  of  the  country, 
canvassed  annually  by  The  Film  Daily.  The  other 
nine  "Best"  were  named  in  the  following  order:  Mr. 
Deeds  Goes  to  Town,  The  Great  Ziegfeld,  San  Fran- 
cisco, Dods worth,  The  Story  of  Louis  Pasteur,  A  Tale 
of  Two  Cities,  Anthony  Adverse,  Green  Pastures,  A 
Midsummer  Night's  Dream. 


March,  1957 


Page  105 


I 


RtGHTtN  YOUR 

CLASSROOM 


A  MONG  Eastman  Classroom  Films — of  which 
xV  more  than  200  are  available — those  dealing 
with  Nature  Study  are  outstandingly  popular.  This 
living  subject  is  particularly  well  suited  to  films. 
They  clarify  it  as  no  other  method  can  .  .  .  make  it 
vitally  real,  impress  it  permanently  on  the  memory 
of  every  student. 

Look  over  the  list  of  Nature  Study  films  given  be- 
low. The  subjects  have  been  selected  with  great 
care.  You  will  recognize  their  value  to  you  and  your 
pupils.  Plan  to  acquire  those  which  are  not  already 
in  your  library. 

Eastman  Classroom  Films  cover  a  variety  of  sub- 
jects. Each  film  has  been  carefully  prepared  by 
authorities  to  insure  accuracy.  If  you  do  not  have 
the  descriptive  list  of  these  standard  instructional 
motion  pictures,  send  for  your  copy.  EastmanKodak 
Company,Teaching  Films  Division,Rochester,N.Y. 

EASTMAN  NATURE  STUDY  FILMS 


Adventures  of  Peter 
Bears 
Beavers 
Baby  Beavers 
Game  Birds 
Bird  Homes 
Birds  of  Prey 
Birds  of  the  Seacoast 
Some  Friendly  Birds 
Wading  Birds 
Luther  Burbank 
Animals  oftheCat Tribe 
From  Flower  to  Fruit 
Frogs,  Toads,  and 
Salamanders 


Wild  Flowers 

The  Ruffed  Grouse 

Some  Water  Insects 

Three  Jungle  Giants 

Rocky  Mountain  Mammals 

Some  Larger  Mammals 

Monkeys  and  Apes 

Oysters 

The  Raccoon 

Reptiles 

Seals  and  Walruses 

Some  Seashore  Animals 

The  Ship  of  the  Desert 

Spiders 

Under-Sea  Life 


Faslman  CUSSROOM  FILMS 


Page  106 


The  Educational  Screen 


THE    FILM    ESTIMATES 


As  You  Like  It  ( BerRner,  Olivier,  Quarter- 
maine)  (Fox  )  Notable  British  production,  faith- 
ful to  spirit  of  original,  impressively  set  and 
acted.  Intalligently  abridged  text  beautifully 
spoken  by  fine  English  supporting  cast.  Only 
flaws,  artificiality  of  forest  scenes  and  Berg- 
ner's  accent.  3-2-37 

(A-Y)  Excellent  (C)  Good  if  it  interests 

Beloved  Enemy  (Merle  Oberon.  Brian  Aherne) 
(U.A.)  Strong,  vivid,  finely  acted  picture  of 
hatred  and  heroism,  violence  and  bloodshed  and 
fanatical  loyalties  of  Irish  rebellion,  with  trag- 
ic romance  between  intrepid  Irish  hero  and  fine 
English  heroine.  Moving  drama,  lightened  by 
brief  bits  of  human  comedy.  2-9-37 

(A)  Fine  of  kind        (Y)  Very  sad        (C)  Too  sad 

Black  Legion  (Humphrey  Bogart)  (Warner) 
Elemental  laborer-hero,  piqued  at  merited  de- 
motion, turns  terrorist  by  taking  silly,  blood- 
curdling oath  in  pseudo-patriotic  order,  ends 
hectic  career  by  killing  best  friend  and  is 
jailed  for  life,  leaving  fine  wife  and  child  to 
suffer.     Pretentious  thriller.  2-9-37 

(A)  Depends  on  taste  (Y)  No  (C)  No 

Breezing  Home  (W.  Gargan,  Wendy  Barrie) 
(Univ. )  Unpretentious,  better  -  than  -  average 
race-horse  story,  with  more  human  interest 
and  love  of  horses,  less  mere  racing  and  trac  ; 
crookedness.  Natural  dialog,  little  wisecrack. 
Lovable  horse  is  real  hero.  Wendy's  "sing- 
ing" is  chief  flaw.  3-9-37 
(At  Dep.  on  taste      (Y)  Good       (C)  Mostly  good 

Bulldog  Drummond  Escapes  (Ray  Milland, 
Heather  Angel)  (Para.)  Suffers  somewhat  in 
comparison  with  former  colorful  "Drummond" 
roles,  but  contains  fair  suspense,  thriil,  mys- 
tery and  romance.  Frail,  helpless  heroine  sud- 
denly shows  amazing  ability  at  "knocking  cold'* 
the  villains !  Repetitious  comedy  bores.  2-9-37 
(A)  Perhaps       (Y)  Fair  thril  er       (C)  Doubtful 

Crack-Up  (Peter  Lorre.  Ralph  Morgan)  (Fox) 
Grim,  well-told,  suspenseful  spy  thriller,  with 
plots,  counterplots  and  killings  by  interna- 
tional spies  seeking  to  steal  American  avia- 
tion secret.  Usual  well-acted,  sinister  role 
by  Lorre.  Some  interesting  flying  scenes,  and 
harrowing  climax.  2-9-37 

(A)  Good  but  grim        (Y)  Unpleasant        (C)  No 

Devil's  Playground  (Dix,  Del  Rio,  C.  Mor- 
ris)(Colum.)  Crude  navy  melodrama  in  terri- 
ble English.  Hero  innocently  marries  cheap  cab- 
aret "dame"  and  she  spends  first  week  with 
his  painfully  conceited  "lady  killer"  pal  1  Hero 
punches  pal — then  saves  him  and  crew  from 
usual  agonies  in  sunken  submarine.  2-23-37 
(A)  Crude  (Y-C)  Unwholesome 

Final  Chord  (Lil  Dagover)  (Ufa)  Interesting 
triangle  romance  in  which  the  trials  and  tan- 
gles of  three  grownups  are  largely  solved  by 
the  engaging  little  son  of  one  of  them.  Very 
well  acted,  good  German  dialog,  adequate  Eng- 
lish titles,  and  much  Beethoven  music  in- 
trinsic to  the  plot.  2-23-37 
(A)  Very  good  of  kind      (Y-C)  D:jubtful  interest 

Find  the  Witness  (C.  Quigley.  Rosalind 
Keith )  ( Columbia )  Rather  good  little  puzzle 
picture,  decidedly  Class  B  in  direction  and 
cast,  but  holding  suspense  well  to  the  end. 
Famous  old  trick-box  of  the  great  Houdini 
furnishes  the  real  mystery  and  punch  for  the 
plot.  3-9-37 

(A)  Hardly         (Y)  Fairly  good         (C)  Doubtful 

Fugitive  in  the  Sky  (Jean  Muir,  Warren 
Hull)  (Warn.)  Murder  on  an  air  liner  and  the 
plane  makes  perilous  forced  landing  in  a  dust 
storm.  Usual  exciting,  stereotyped  melodrama 
with  complicated  and  illogical  plot.  Some  beau- 
tiful scenic  photography  the  only  interesting 
feature.      Actors   do  their  best.  2-23-37 

(A)  Hardly  (Y)  No  (C)  No 

Good  Earth  (L.  Rainer.  P.  Muni)  (MOM)  Mas- 
terful screening  of  great  realistic  novel  of  hum- 
ble Chinese  life.  Expert  in  nearly  every  detail — 
selection,  photographic  values,  acting,  direction. 
setting,  tempo,  convincing  truth.  Extraordi- 
inary  effects  at  times  a  bit  over-Hollywood. 
Beautifully  pictorial,  dialog  limited.  2-23-37 
(A)  Outstanding     (Y)  Mature     (C)  Too  mature 

Great  O'Malley.  The  (Pat  O'Brien.  H.  Bo- 
gart) (Warner)  Human  little  story,  well  acted 
and  directed,  about  a  well-meaning  city  cop 
with  exaggerated  sense  of  duty.  From  suf- 
ferings he  has  caused  he  learns  better  and 
everybody's  happy.  Engaging  role  by  Sybil 
Jason.  -  2-23-37 

(A)  Fair  (Y)  Good  (C)  Probably  good 

Green  Light  (Errol  Flynn.  Anita  Louise)  (1st 
Nat. )  Lloyd  Douglas'  novel  finely  done.  Thought- 
ful story  emphasizing  power  of  faith.  Young 
surgeon,  whose  career  is  interrupted  when  he 
takes  blame  for  unsuccessful  operation,  and 
others  influenced  by  philosophy  of  fine  old  min- 
ister. Spiritual  theme  but  not  preachy.  2-23-37 
(A)  Interesting       (Y)  Good        (C)  Beyond  them 

Head  Over  Heels  in  Love  (Jessie  Mathews 
and  English  cast)  (G-B)  Well-intentioned  ro- 
mantic comedy  which  apes  Hollywood  and  fails. 
Jessie's  charm  and  her  songs  are  it«  chief 
virtues.      Direction    feeble,   comedy   naive,   act- 


Being  the  Combined  Judgments  o^  a   National  Committee  on  Current  Theatrical   Rims 

(A)  Discriminating  Adults  (Y)  Youth  (C)  Children 

Date    of    mailing    on    weekly    service    is    shown    on    each    film. 

(The  Film   Estimates,  in  whole   or  In   part,   may   be   reprln+ed 

only   by   special   arrangement  with   The   Educational   Screen) 


ing    amateurish,   and   dramatic    interest   wavers 
constantly.      Good    story   spoiled.  3-2-37 

(A)  Poor  (Yl  Harmless  (C)  No  interest 

I  Promise  to  Pay  ( Chester  Morris,  Helen 
Mack )  ( Colum. )  Depressing  hut  rather  human 
little  picture  exposing  loan-shark  racket. 
Worthy  young  hero,  with  devoted  wife  and 
children,  caught  by  loan-racketeers,  fights  back, 
suffers  and  wins.  Likely  to  be  thought-pro- 
voking to  many  who  need  it.  3-9-37 
(A)  Hardly          ( Y)  Perhaps          (C)  No  interest 

Last  of  Mrs.  Cheyney  (Crawford,  Powell. 
Montgomery,  Morgan  I  <  MGM  )  Famous  Lons- 
dale play  of  expert  thievery  in  Eng.ish  high 
society  elaborately  screened  with  outstanding 
cast.  Unfortunately,  modernization  of  seti;  and 
costumes  distort  old  play  and  little  is  left  but 
smart  dialog.      Sophist.cated.    .  3-2-37 

|A)  Disappointing  (Y)  No  (C)  No 

Last  Rose  (Ufa)  (German  dialog.  English  ti- 
tles, laid  in  England)  The  opera  Martha,  free- 
ly transformed  into  human  and  amusing  story 
of  rural  life,  accurately  set  and  costumed,  con- 
vincingly played,  and  favorite  melodies  finely 
rendered.  Rich  in  character  interest  and  nat- 
ural comedy.  Fine  foreign  importation.  2-9-37 
(A)  Good       (Y)  Fairly  good       (C)  Doubtful  int. 

Living  Dangerously  ( Otto  Kruger.  Franci  ■ 
Lister)  (G-B)  Grim,  well-done,  slow-moving 
British  melodrama.  Doctor-hero  kills  ex-part- 
ner, and  flashbacks  tell  story  of  malevolent 
hatred  and  persecution  that  led  to  it.  District 
attorney  decides  act  was  justified  and  makes 
no  arrest.  2-16-37 

(A)  Perhaps  (Y)  No  (C)  No 

Love  is  News  ( Tyrone  Power,  Loretta 
Young.  Don  Ameche)  (Fox )  Hilarious,  swift, 
sure-box-office  farce,  original  plot,  with  slap- 
stick and  stock  laugh-devices,  and  action  bur- 
lesqued at  times.  Ace-reportsr  and  rich  heir- 
ess, in  love,  wrangle  and  fight  to  the  end. 
Three  good  roles.     Fast  fun.  3-9-37 

(A)  Very  good  of  kind    (Y)  Amus.    (C)DoubtfuI 

Maid  of  Salem  (Colbert.  MacMurray)  (  Para,  i 
Outstanding  historical  film,  first  picturing  viv- 
idly and  authentically  17th  Century  life  in 
Salem.  Then,  sudden  wave  of  mob  hysteria 
over  witchcraft,  and  film  turns  to  eerie,  stark 
melodrama  of  shuddering  fear  and  gruesome- 
gallows,  with  artificial  romance  added.  3-2-37 
(A)  Excellent      (Y)  Very  good       (C)  Too  strong 

Man  of  the  People  (Joseph  Calleia)  (MGM) 
Humble  East  Side  Jew,  popular,  honest,  am- 
bitious, seeks  law  career  but  racketeering  gang 
almost  stifle  his  efforts  to  serve  people.  De- 
pressing theme  with  good  purpose,  but  Calleia's 
weak  acting  fails  to  make  hero-role  strong 
enough   to  be  convincing.  2-16-37 

(A)  Poor  (Y)  Perhaps  (C)  Hardly 

Men  Are  Not  Gods  (Miriam  Hopkins  and 
English  cast)  (UA)  Heavy  romantic  triangle 
of  secretary-heroine,  Shakespearian  actor  and 
his  wife.  Some  deft  acting  and  strong  char- 
acter interest  atone  for  plot  shortcomings, 
improbable  or  archaic  incidents,  and  a  story 
that  limps   in   spots.  3-2-37 

(A)  Fair  (Y)  Better  not  (C)  No 

Michael  Strogoflf  (Anton  Walbrook)  (RKO) 
Jules  Verne's  stirring  tale  of  adventures  and 
hardships  encountered  by  Strogoff  in  his  efforts 
to  carry  the  Czar's  message  through  rebellious 
Tartar  country  to  the  Grand  Duke.  Vivid, 
tense,  grim,  much  fighting  and  violence.  Ex- 
citing entertainment.  2-23-37 
(A)  Fine  of  kind       (Y)  Strong       (C)  Too  strong 

Mighty  Treve  (Tufty,  Noah  Beery  Jr.)  (Univ.) 
Sincerely  done  picture  of  strong  human  and 
sentimental  appeal,  with  splendid  western 
backgrounds  and  finest  "dog  star"'  to  date. 
Two  moments,  when  misunderstanding  humans 
are  about  to  shoot  the  adorable  dog,  may  be 
too   tense  for  sensitive  children.  3-2-37 

(A-Y)  Fine  of  kind  (Ct  Mostly  excellent 

Once  a  Doctor  (Donald  Woods.  Jean  Muir) 
(Warn.)  Serious  drama  of  hard-working  young 
surgeon  whose  promising  career  is  wrecked  by 
treachery  of  drunken  doctor  pal  until  letter's 
confession  restores  him  to  good  standing.  Dis- 
torts hospital  life — scenes  of  drunkenness  and 
action  of  authorities  incredible.  2-9-37 

(A)  Ordinary      (Y)  Doubtful  value     (C)  No  int. 

On  the  Avenue  (Dick  Powell,  Madeleine  Car- 
roll) (Fox)  Gay  musical  review  with  striking 
settings,  song-and-dance  numbers,  and  Ritz 
Bros,  noisy  antics  as  background  for  wildly 
farcical  situations,  but  much  laughable  non- 
sense growing  out  of  producer-actor's  romance 
with  wealthy  heiress.  A  few  crudities.  2-9-37 
(A)  Fairly  amus.     (Y)  Amusing    (C)  P rob.  good 

Outcast  (W.  William,  L.  Stone.  K.  Morley) 
( Para. )    Strong,    well-acted    drama    of   hatred, 


vengeance  and  mt)b-hysteria  affecting  career 
and  life  of  fine  surgeon-hero.  Some  real  human 
values,  but  overdrawn,  incredible  action  in  sec- 
ond half  make  climax  less  convincing  than 
sensational.      Stone  excellent.  3-9-37 

(A)  Perhaps  ( Yt  Better  not  (C)  No 

Racing  Lady  (Ann  Dvorak.  Harry  Carey) 
(RKO)  Tame  little  racetrack  story  of  spirited 
daughter  of  old.  high-principled  sportsman  of 
fallen  fortunes.  She  wins  out  with  one  good 
horse  and  help  of  rich  rival  who  proves  honor- 
able. Petty  racetrack  crocks  and  darkies  fur- 
nish some  comedy.  2-16-37 
(A|  Hardly                           (Y-C)  Amusing  of  kind 

Sea  Devils  (McLaglen.  P.  Foster,  Ida  Lu- 
pino)  (RKO )  Bombastic  thriller  of  roughneck 
rivalry,  with  sodden  drinking,  saloon  love, 
ponderous  conceit,  bo*jrish  wise-cracking,  in- 
cessant fighting  over  colorless  heroine.  Thick 
with  absurdity  and  offered  as  "tribute"  to  the 
Coast  Guard.  2-16-37 

I A  )  Depends  on  taste       (  Y )  Better  not       ( C )  No 

She's  Dangerous  (Tala  Birrell,  Cesar  Ro- 
mero) (Univ. )  Rather  well-done  crook  thriller. 
Expert-spy  heroine  joins  arch-crook's  gang  to 
catch  him.  Learning  her  identity,  he  man- 
ages to  bring  her  with  him  to  electric  chair, 
after  airplane  and  death-row  thrills.  Startling 
denouement  solves  all.  2-16-37 

(A)  Good  of  kind  (Y)  Thrilling  (CtNo 

Stolen  Holiday  (Kay  Francis,  Ian  Hunter, 
Claude  Rains  )  (  Warner)  Top-heavy  with  fashion 
show,  but  good,  mature  romance.  Mannikin- 
heroine  becomes  Paris'  chief  couturiere  by 
friendship  of  great  crook  not  known  to  her  as 
such.  Law  catches  up,  she  is  loyal  till  his 
death,  then  turns  Ui  hero.  2-16-37 

(A)  Very  good  of  kind         (Yl  Mature        (C)  No 

They  Wanted  to  Marry  (Betty  Furness,  Gor- 
don Jones  I  ( RKO )  Elementary  little  tale  of 
news-candid-cameraman  sent  to  photograph 
very  elusive  financier.  After  far-fetched  but 
amusing  adventures  hero  gets  pictures  and  fi- 
nancier's daughter  as  well.  Acting  mediocre, 
episodes  absurd,  but  mostly  laughable.  3-9-37 
(A)  Hardly  (Y-C)  Fairly  amusing 

Traumulus  (Emil  Jannings)  (All  German  pro- 
duction \  Well  acted  character  comedy  of  ideal- 
istic old  schoolmaster  whose  pupils  run  t*J 
drink  bTid  women  under  his  "honor  system". 
Little  action,  incessant  dialog  and  wholly  in- 
adequate English  titles  make  it  good  only  for 
those  knowing  German,  2-16-37 

(A)  Depends  on  taste  (Y)  No  (C)  No 

Under  Your  Spell  (Lawrence  Tibbett)  (Fox) 
Famous  singer  flees  from  arduous  life  to  ranch 
and  when  spoiled  society  girl  follows  to  bring 
him  back  to  fulfill  contract  merry  complica- 
tions occur.  Thin,  inconsequential  story  dis- 
tinguished chiefly  by  Tibbett's  glorious  voice. 
Amusing  comedy  roles.  2-9-37 

(A)  Depends  on  taste     (Y-C)  Good  if  it  interests 

We're  On  the  Jury  (Helen  Broderick,  Victor 
MooreMRKOl  Amiable,  slow,  realistic,  mildly 
satirical  story  of  jury  procedure.  Engaging 
society  jury-woman  blandly  upsets  court  de- 
corum, sways  whole  jury,  finds  real  murderer, 
and  acquits  innocent  woman.  Broderick  and 
Moore  make  the  picture.  3-9-37 

(A-Y)  Amusing  (C)  Perhaps 

When  You're  in  Love  ( Grace  Moore,  Cary 
Grantl(Col.)  Fairly  pleasing  musical  romance. 
Plot  transparent  and  hero's  attitude  not  al- 
ways credible,  but  whole  light,  amusing  and 
pictorially  effective.  Grace  sings  no  arias,  but 
many  charming  songs  in  charming  manner. 
One  trashy  song  wholly  unnecessary.  3-2-37 
(A)Gd.  of  kind    (Y)Mostly  gd.    (C)Doubtful  int. 

Woman  in  Distress  (May  Robson,  Irene  Her- 
vey)  (Colum. )  Hero  and  heroine,  rival  reporters. 
try  to  "scoop"  each  other  on  story  concerning 
a  Rembrandt  owned  by  little  old  lady,  expertly 
played  by  May  Robson.  Crooks  steal  picture 
and  live'y  action  follows.  Rather  original  story 
marred  by   melodramatic   climax.  2-23-37 

(A)  Mediocre  (Y)  Perhaps  (C)  No 

Women  of  Glamour  (Virginia  Bruce,  Melvyn 
Douglas)  (Columbia)  Gold-diggers  glorified  in 
atmosphere  of  luxury,  sex  and  wisecrack.  Rich 
painter  leaves  wife  to  marry  blase'  young  hero- 
ine, and  just  manages  to  save  her  from  round- 
the-world  trip  with  drunken  rounder.  Worse 
because  well-acted.  3-9-37 

(A)  Depends  on  taste     (Y-Cl  Very  unwholesome 

You  Only  Live  Once  (Henry  Fonda.  Sylvia 
Sidney)  (UA)  High  tension  tragedy  of  young, 
three- jail-term  hero  and  devoted  heroine  in 
harrowing  race  from  law  which  wants  him  for 
brutal  murder.  Supposedly  shows  injustice  of 
social  order.  Really  morbid  thriller  of  mawk- 
ish appeal  to  misdirected  sympathy.  2-16-37 
(A)  Grim  (Y-C)  Unwholesome 


I 


March,  19)7 


Page  107 


I 


Publications  on  the  Visual  Field 


EDUCATIONAL  SCREEN 

Published  monthly  except  July  and  August.  Official  or- 
gan of  the  Department  of  Visual  Instruction  of  the  N.  E  .A. 
The  only  magazine  devoted  to  extending  and  improving  the 
use  of  visual  and  audio-visual  teaching  aids  in  education. 
A  clearing-house  of  thought,  fact  and  experience  on  all 
phases  of  the  work. 

$2.00  one  year;  $3.00  two  years 

"1000  AND  ONE"  BLUE  BOOK  OF  FILMS 

The  annual  film  directory,  widely  known  and  used  as  the 
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classified  according  to  subject  (145  numbered  subject 
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prices  charged  by  them.  Contains  hundreds  of  "free"  films. 
152  pp.   Price  75c  (2Sc  to  subscribers  of  E.  S.) 

A  SYMPOSIUM  ON  SOUND  AND 
SILENT  FILMS  IN  TEACHING 

A  stenotype  report  of  the  entire  afternoon  session  of  the 
winter  meeting  of  the  Department  of  Visual  Instruction 
of  the  N.  E.  A.  at  St.  Louis,  February  26,  1936.  Includes 
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8  pp.     Net  Price  20c 

VISUAL  AIDS  IN  EDUCATION.     By  Joseph 
J.  Weber,  Ph.  D. 

The  author's  final  and  finest  work  in  this  field,  being  "a 
balanced  summary  of  the  available  scientific  evidence  on 
the  values  and  limitations  of  visual  aids  in  education  and 
an  elaboration  upon  this  evidence  by  way  of  generalization 
and  application  so  as  to  inspire  the  progressive  educator  in 
making  common  sense  adaptation  of  visual  materials  and 
methods  to  the  purposes  of  the  school." 
220  pp.   Price  $2.00  ($1.50  to  subscribers  of  E.  S.) 

PICTURE    VALUES    IN    EDUCATION.      By 
Joseph  J.  Weber,  Ph.  D. 

An  important  contribution  to  the  literature  of  the  visual 
field.  Presents  in  unusually  interesting  forrn  .the  results 
of  extended  investigations  on  the  teaching  values  of  the 
lantern  slide  and  stereograph. 

156  pp.  illus.    Price  $1.00  (67c  to  subscribers) 


COMPARATIVE  EFFECTIVENESS  OF 
SOME  VISUAL  AIDS  IN  SEVENTH  GRADE 
INSTRUCTION.     By  Joseph  J.  Weber,  Ph.  D. 

The  first  published  work  of  authoritative  research  in  the 
visual  field,  foundational  to  all  research  work  following  it. 
Not  only  valuable  to  research  workers,  but  an  essential 
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131  pp.    Price  $1.00  (67c  to  subscribers  of  E.  S.) 


BIBLIOGRAPHY  ON  THE  USE  OF  VISUAL 
AIDS  IN  EDUCATION.  By  Joseph  J. 
Weber,  Ph.  D. 

A  complete  bibliography  on  the  field  to  June  1930.  Over 
1,000  references  to  books  and  magazine  articles.  (Addi- 
tional references  by  Mr.  Weber  through  September,  1932, 
appear  in  EDUCATIONAL  SCREEN  for  October  1932.) 

24  pp.    Net  Price  30c. 


SIMPLE  DIRECTIONS  FOR  MAKING 
VISUAL  AIDS.  By  Lillian  Heathershaw,  Drake 
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Prints ;  Sepia  Prints. 

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ACTIVITIES  OF  STATE  VISUAL  EDUCA- 
TION AGENCIES  IN  THE  UNITED 
STATES.  By  Fannie  W.  Dunn,  and  Etta 
Schneider,  Teachers  College,  Columbia 
University. 

A  concise  and  discriminating  summary  of  total  results 
from  a  comprehensive  survey  of  24  of  the  26  states  having 
Departments  of  Visual  Instruction.  A  companion  article 
to  this,  "Practices  in  City  Administration  of  Visual  Educa- 
tion," by  the  same  authors,  appeared  in  EDUC.'\TIONAL 
SCREEN  for  November  and  December,  1936. 

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Bibliography  on  the  Use  of  Visual 
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The  Educatioftal  Screen 


HERE  THEY  ARE 


FILMS 

Bell  &  Howell  Co.  (6) 

1815  Larchmont  Ave.,  Chicago 

(See  advertisement  on  inside  back  cover) 

Bray  Pictures  Corporation  (3,  6) 

729  Seventh  Ave.,   New  York  City 

Eastin  16  mm.  Pictures  (6) 

(Rental  I.ibrarv>   Davenport.  Ta. 
(See  advertisement  on  page  101) 

Eastman  Kodak  Co.  (1,  4) 

Rochester,  N.  Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St..  Philadelphia,  Pa. 
606  Wood  St.,  PittsburRh,  Pa. 

Eastman   Kodak  Co.  (1,  4) 

Teaching  Films   Division 
Rochester,  N.  Y. 

(See  advertisement  on   page   105) 

Edited  Pictures  System,  Inc.  (1,  4) 
330  W.  42nd  St.,  New  York  City 

Erpi  Picture  Consultants  Inc.  (2,  5) 

250  W.  57th  St.,  New  York  City 

Films,  Inc.  (5) 

330  W.  42nd  St.,  New   York  City 
19  S.  LaSalle  St.,  Chicago 
925  N.  W.  19th  St.,  Portland,  Ore. 

Garrison  Film  Distributors  Inc.     (3, 6) 

730  Seventh  Avenue,  New  York  City 

(See   advertisement  on   page   98) 

Walter   O.   Gutlohn,   Inc.  (5) 

35  W.  45th   St..  New  York  Citv 
(See  advertisement  on  page  101) 

Harvard  Film  Service  (3,  6) 

Biological    Laboratories, 
Harvard  University,  Cambridge  Mass. 

Guy  D.  Haselton's  TRAVELETTES 

7901  Santa  Monica  Blvd.,  Hollywood, 
Cal.  (1,  4) 

Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St..  Chicago,  III. 

(See  advertisement  on   page   103) 

Institutional  Cinema  Service,  Inc.  (3,  6) 

130  W.  46th  St.,  New  York  City 

The  Manse  Library  (4,  5) 

?439  Aubnrn    Ave..   Cincinnati.   O. 

(See  advertisement  on  page  100) 

Pinkney  Film  Service  Co.  (1,  4) 

1028   Forbes    St.,    Pittsburgh,    Pa. 

United  Projector  and  Films  Corp.  (1,  4) 
228  Franklin  St.,  Buffalo,  N.  Y. 

Universal  Pictures  Corp.  (3) 

Rockefeller   Center,    New   York   City 

(See   advertisement   on    page  77) 

Visual  Education  Service  (6) 

131  Clarendon  St.,  Boston,  Mass. 
Wholesome  Films  Service,  Inc.      (3,  4) 

48  Melrose   St.,   Boston,   Mass. 
Williams,  Brown  and  Earle,  Inc.  (3,  6) 

918  Chestnut  St.,  Philadelphia,  Pa. 
y.M.C.A.  Motion  Picture  Bureau    (3,6) 

347  Madison  Ave.,  New  York  City 

MOTION  PICTURE 
MACHINES  and  SUPPLIES 

The  Ampro  Corporation  (6) 

2839  N.  Western  Avenue,  Chicago 

(See  advertisement  on  page   97) 


Bell  &  HoweU  Co.  (6) 

1815    Larchmont    Ave.,    Chicago,    111. 

(See  advertisement  on  inside  back  cover) 

Central  Camera  Co.  (6) 

230  S.  Wabash  Ave.,  Chicago 

(See   advertisement  on   page   98) 

Eastman    Kodak    Co.  (4) 

Rochester,   N.   Y. 

(See  advertisement  on  outside  back  cover) 
Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St.,  Pittsburgh,  Pa. 
Edited  Pictures  System,  Inc.  (1) 

330   W.   42nd   St.,   New   York   City 
Ford  Movie  Co. 

1659  Ford  .-^ve.,  Detroit,  Mich. 

(See  advertisement  on   page   102) 

General  Films   Ltd.  (3,  6) 

1924    Rose    St.,    Regina.    Sask. 

The   Holmes  Projector  Co. 
1813  Orchard  St.,   Chicago,  111. 

(See  advertisement   on    page   93) 

Herman  A.   DeVry,  Inc.  (3,  6) 

1111    .'Vrmitage    St.,   Chicago 

(See  advertisement  on  inside  front  cover) 

Ideal  Pictures  Corp.  (3,  6) 

28   E.    Eighth   St.,   New   York   City 

(See  advertisement  on   page   103) 

RCA  Manufacturing  Co.,  Inc.  (S) 

Camden.   N.   T. 

(See  advertisement  on  page  99) 

S.  O.  S.  Corporation  (3,  6) 

636  Eleventh  Ave.,  New  York  City 

Sunny  Schick,  National  Brokers     (3.  6) 

407  W.  Wash.  Blvd.,  Ft.  Wayne,  Ind. 

United  Projector  and  Film  Corp.  (3,  4) 

228  Franklin  St.,  Buffalo,  N.  Y. 

Universal  Sound  System,  Inc.        (2,  5) 
Allegheny  Ave.  at  Ninth   St. 
Philadelphia,  Pa. 

(See  advertisement  on   page   104) 

Victor  Animatograph  Corp.  (6) 

Davenport,  Iowa 

(See  advertisement  on   page   78) 

Visual  Education  Service  (6) 

131  Clarendon  St.,  Boston,  Mass. 

Williams,  Brown  and  Earle,  Inc.  (3,  6) 
918  Chestnut  St.,  Philadelphia,  Pa. 

SCREENS 

Da-Lite  Screen  Co. 

2717    N.    Crawford    Ave.,    Chicago 
(See  advertisement  on  page  103) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut  St.,  Philadelphia,  Pa. 
606  Wood  St.,  Pittsburgh,  Pa. 
Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 

SLIDES  and  FILM  SLIDES 

Conrad  Slide  and  Projection  Co. 

510  Twenty-second  Ave.,   East 
Superior,  Wis. 
Eastman  Educational  Slides 

Johnson  Co.  Bank  Bldg., 

Iowa  City,  la. 
Edited    Pictures   System,   Inc. 

330  W.  42nd  St.,  New  York  City 
Ideal  Pictures  Corp. 

28  E.   Eighth  St.,  Chicago,  111. 
(See  advertisement  on  page  103) 


A    Trade    Directory 
for  the  Visual   Fiel(d 


Keystone  View  Co. 
Meadville,   Pa. 

(See    advertisement    on     page    94) 

New  Age   Educational   Methods 
1145     So.     New     Hampshire, 
Los  Angeles.  Calif. 

(See  advertisement   on   page  101) 

Radio-Mat  Slide  Co.,  Inc. 
1819  Broadway,   New  York  City 

(See  advertisement  on   page   100) 

Society  for  Visual  Education 

327  S.  LaSalle  St..  Chicago,  111. 

(See   advertisement    on    page   95) 

Spencer   Lens   Co. 
19  Doat  St.,  Buffalo,  N.  Y. 

(See   advertisement  on   page  92 > 

Stillfilm,  Inc. 

4307  W.  Pico  Blvd.,  Los  Angeles,  Cal. 
Visual  Education  Service 

131    Clarendon    St.,   Boston,   Mass. 
Visual  Sciences 

Suffern,  New  York 

(See  advertisement  on   page  101) 
Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 

STEREOGRAPHS  and 
STEREOSCOPES 

Herman  A.  DeVry,  Inc. 

nil    .-Xmiitage    St..    Chicago 
.,    (See  advertisement  on   inside  front  cover)    .. 

Keystone  View  Co. 
Meadville,  Pa. 

(See    advertisement    on    page    94) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 
Rochester,  N.  Y. 

(See   advertisement   on    page   80) 

Eastman  Kodak  Stores,  Inc. 
1020  Chestnut  St.,  Philadelphia,  Pa 
606  Wood  St.,  Pittsburgh,  Pa. 

General  Films  Ltd. 

1924  Rose  St.,  Regina,  Sask. 
E.  Leitz,  Inc. 

60  E.  10th  St.,  New  York  City 
Society  for  Visual  Education 

327  S.  La  Salle  St.,  Chicago,  III. 

(See   advertisement  on    page   95) 

Spencer  Lens   Co. 
19  Doat  St.,  Buffalo,  N.  Y. 

See    advertisement    on    page    92) 

Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 


REFERENCE   NUMBERS 

(1)   indicates    firm   supplies 

35   mm. 

silent. 

(2)   indicates    firm   supplies 

35    mm. 

sound. 

(3)   indicates   firm   supplies 

35   mill. 

sound  and  silent. 

(4)   indicates   firm   supplies 

16  mm. 

silent. 

(5)   indicates   firm   supplies 

16  mm. 

sound-on-film. 

(6)   indicates    firm   supplies 

16  mm. 

sound  and  silent. 

Continuous  insertions  under  one  heading,  $1.50  per  issue;  additional  listings  under  other  headings,  75c  each. 


m  Ua  (C  ATIOMAL 


8  Magazine  Devoted  Exclusively 
the  Visual  Idea  in  Education 


VOLUME  XVI 
NUMBER   4 


^^ 


APRIL,    1937 

PttOKc  Lforary 
Kaiifas  city.  Mo. 
T«aeh«rf  Ubrarv 


IN  THIS  ISSUE 

Proceedings  of  the  New 
Orleans  Meeting  —  con- 
cluded fronri  March  Issue. 


FAITH 

by 

Eugene 
Iverd 


(Courtesy  of  Colonial  Art  Coi 


25c    A    COPY    *     $2.00    PER    YEAR 


/# 


Why  I  selected 


AMPRO 


/# 


Read  this  interesting 
Story  Carefully 


H 


.ERE  is  a  composite  story  built  up  from  the  actual 
experiences  of  many  teachers  and  school  execu- 
tives who  have  selected  Amprosound  Projectors: 

"I  checked  over  all  the  leading  makers  of  sound 
projectors  on  the  market  today. 

"After  careful  comparative  tests,  I  picked  Ampro 
because  of  its  unusual  sound  quality,  theatre  brilliant 
illumination,  simple  system  of  centrallized  controls, 
rugged  construction,  absence  of  disturbing  noises,  light 
weight — and  because  it  operates  A.C.  or  D.C.  w^ithout 
the  use  of  a  converter  and  still  is  approved  by  the 
Underwriter's  Laboratories. 

"I  interview^ed  other  Ampro  owners  and  received 
uniformly  enthusiastic  reports. 

"My  own  experience  with  Ampro  after  a  consider- 
able period  has  confirmed  my  original  judgment." 

Ampro  Projectors  are  standard  equipment  in  the 
schools  of  Chicago,  Kansas  City,  New  York,  Pittsburgh, 
Atlanta,  Philadelphia,  Los  Angeles,  Washington,  Brook- 
lyn, San  Francisco — in  scores  of  other  large  cities,  in 
thousands  of  schools,  universities  and  museums  all  over 
the  w^orld. 

Find  out  ho'w  Ampro  Projectors  can  serve  your 
needs.  Write  today  for  Free  Circulars  on  any  of  the 
units  in  the  complete  Ampro  line. 

AJMEIPIRJD 


PRECISION    PROJECTORS    FOR    PERFECT  PERFORMANCE 


AMPRO  CORPORATION.  2839  N.  Western  Ave..  Chicago.  III. 


AMPRO 
Sound-on- film 

projectors  have  brought  ac- 
tual new  standards  of  tone 
quality,  illamination,  sim- 
plicity of  operation  to  the 
field  of  I  Gmni.  Soand-on- 
Film.  There  are  numerous 
features  of  design  and  con- 
struction that  explain  this. 
4>et  the  full  story  of  Ampro- 
sound before  making  any  de- 
cision.     Prices   complete : 

JUNIOR  MODEL.   $375 
SENIOR   MODEL.   $415 


AMPRO 
Silent  Projectors 

The  complete  line  of  Ampro 
Silent  Projectors  is  charac- 
terized by  brilliance  of  il- 
lumination and  convenience 
of  operation.  Many  thou- 
sands of  these  projectors 
have  proved  their  rugged- 
ness  and  efficiency  in  uni- 
versities, schools,  auditori- 
ums and  homes  all  over  the 
world.  Prices  complete: 
Model  J  (500  watt).  $135: 
Model    K     (750    watt).    $150. 


AMPRO 

Convertible 

Models 

Two  reirnlar  lOmni.  Ampro 
Projectors  plus  such  addi- 
tions as  will  permit  conver- 
sion into  latest  type  sound 
projectors  by  the  addition  of 
sound  parts  for  sound  film. 
Prices  complete:  Model  MC 
( convertible  into  Ampro- 
sound  Junior).  $160;  Model 
NC  (convertible  into  Am- 
prosound  Senior),    $180. 


Page  111 


Dk 


E  EDUCATIONAL  SCREEN 


APRIL,   1937 


VOLUME  XVI 


Content 


s 


Test  Questions  of  the  "Thought"  Type 

In  Visual  Education.   H.  K.  Moore I  13 

Vitalizing  Teaching  Through  the  Correct  Use 

of  the  Still  Picture.    Mineta  Merton. I  15 

Services  of  the  American  Council  on  Education. 

Charles  F.  hloban,  Jr 117 

China's  Life  and  Culture  Visualized. 

James  Henry  White I  18 

Among  the  Magazines  and  Books. 

Conducted  by  Stella  Evelyn  Myers 120 

News  and  Notes.    Conducted  by  Josephine  hHoffman. 122 

Seeing  Salem — Paramount  One-reel  Educational  Film 123 

Pueblo  Indians — In  hland-made  Lantern  Slides. 

Ann  Gale 126 

School  Department. 

Conducted  by  Wilber  Emmert 128 

■    Among  the  Producers 136 

Film   Estimates I  38 

r~ ■•"""" 


NUMBER  FOUR 


The  EDUCATIONAL  SCREEN,  published  monthly  by  The  Educational  Screen, 
Inc.  Publication  Office,  Morton,  Illinois;  Executive  Office,  64  East  Lake  St., 
Chicago,  Illinois.  Entered  at  the  Post  Office  at  Morton,  Illinois,  as  Second 
Second     Class     Matter.      Copyright,     April,     1937     by     the     Educational     Screen, 

every  month  except  July  and  August. 
$2.00  a  Year  (Canada,  $2.25;  Foreign,  $3.00)  Single  Copies,  25  cts. 


THE  EDUCATIONAL  SCREEN,  Inc. 
Directorate  and  Staff 
Herbert  E.  Slaught,  Pre*.  Stanley  R.  Greene 

Nelson  L.  Greene,  Editor  Joiephine  Hoffman 

Evelyn  J.  Baker  F.  Dean  McClusky 

Mary  Seattle  Brady  Stella   Evelyn   Myeri 

Wilber  Emmert  E.  C.  Waggoner 


Page  112 


The  Educational  Screen 


lOLOGY  comes  to  life! 


Motion  Picture  techniques  clarify  many  biological 
concepts  rarely  grasped  by  students 


Xhis  series  of  five  films  dealing  with 
Human  Biology  brings  to  the  class 
room  much  material  previously 
available  only  to  advanced  biolo- 
gists and  to  research  specialists.  It 
interprets  in  dramatic  and  easily 
understood  form  the  most  complex 
bodily  functions. 

The  wide  scope  and  unique  nature 
of  these  films  are  indicated  by  their 
titles:  Mechanisms  of  Breathing,  The 
Heart  and  Circulation  of  the  Blood, 
Body  Defenses  against  Disease,  The 


Nervous  System,  Reproduction 
among  Mammals.  Many  scientific 
concepts — ordinarily  difficult  or  im- 
possible to  demonstrate — are  vividly 
portrayed  by  animated  diagrams 
and  microphotography,  combined 
with  authentic  oral  interpretation. 
These  educational  films — like  the 
many  others  now  available — are  the 
product  of  the  best  scientific  thought 
that  can  be  brought  to  bear  on  the 
problems  involved.  Their  efficacy 
as  a  teaching  medium  has  been 
proved  in  many  schools.  They  can 
greatly  enrich  the  curriculum  in 
your  school,  for  they  overcome  such 


normal  barriers  to  learning  as  time, 
space,  seasonal  restrictions,  limita- 
tions of  human  eye  and  ear. 

For  full  details,  write  for  the 
new  catalog — "Instructional  Sound 
Films." 


Science  Films  now  (ivailable: 
Biological  Sciences  20  films 

(Produced  in  coopemtion  with  outnlnnitinfi  Kcientigtw) 

Human  Biology  5  films 

(Produced  in  cooperation  with  I'niv.  of  Chicago} 

Physical  Science  19  films 

(Produced  in  cooperation  ii  i(/i  I'niv.  of  Chicago) 

Natural  Science  5  films 

(Harvard  Vnioenity  Serieg) 


INSTRUCTIONAL  FILMS  PRODUCED  UNDER  THE  SPONSORSHIP  OF  LEADING  EDUCATORS,  UNIVERSITIES  AND  INSTITUTIONS 

ErpfPkTure  Consuttants 


Incorporated 


250  West  57th  Street,  New  York,  N.  Y. 


April,  1937 


Page  1 1 3 


Test  Questions  of  the  "Thought"  Type 
in  Visual  Education 


Being  some  very  pertinent  suggestions 
on  hoic  to  use  pictures  for  thought- 
production  instead  of  lesson-learning. 


By     H.      K.      MOORE 

Thomas  A.  Edison  High  School,  Cleveland,  Ohio 


THE  most  difficult  type  of  question  to  construct 
in  visual  education,  or  any  education  for  that 
matter,  is  the  "thought"  question.  It  is  easier 
to  measure  recall  of  facts  or  events;  it  is  harder  to 
devise  questions  which  require  the  pupil  to  organ- 
ize and  to  use  these  facts  in  his  thinking.  For  ex- 
ample, the  film  "Washington,  the  Capital  City" 
suggests  such  memory  questions  as,  "What  name  is 
given  to  the  President's  residence?'  A  question 
using  the  same  fact,  but  requiring  more  thought, 
might  be : 

The  White  House  needs  to  be  a  large  building 
because — 

(1)  The  President  lives  like  a  king. 

(2)  The  amount  of  executive  business  requires 
much  space. 

(3)  The  President  might  have  a  large  family. 

(4)  There  are  96  Senators. 

(5)  The  other  government  buildings  are  large. 
This     question     requires     more     than     knowledge 

that  the  White  House  is  the  President's  residence; 
it  asks  the  why  of  an  observed  characteristic  of  this 
fact.  It  presents  a  problem  for  solution.  Visual 
material  gives  an  opportunity  for  the  inclusion  of 
thought  questions  which  involve  the  organization 
of  data,  the  meeting  of  situations,  comparisons  be- 
tween observed  and  previously  known  facts,  and 
the  personal  and  civic  application  of  data.  This 
classification  is  not  systematic ;  it  is  merely  an  ex- 
pedient. 

1.  Orgaiihation  of  material.  In  reaching  decisions  in 
life  the  citizen  must  learn  to  exclude  the  irrelevant 
and  to  select  just  those  things  necessary  for  answer- 
ing the  question  before  him.  The  film  "Daily  Life 
in  Egypt"  includes  a  large  number  of  scenes  photo- 
graphed in  that  country.  A  question  such  as  "Name 
three  ways  in  which  the  Egyptians  use  the  Nile", 
requires  the  pupil  to  exclude  most  of  the  material 
in  the  film.  It  is  the  kind  of  thinking  we  do  much 
of  the  time.  Consider  the  case  of  a  candidate  for 
sheriff,  for  example,  who  gave  the  following  reasons 
for  his  reelection : 

1.  I  have  lived  here  for  sixty  years. 

2.  I  believe  that  the  home  is  the  foundation  of 
our  democracy. 

3.  I  am  opposed  to  foreign  entanglements. 

4.  I  have  known  most  of  you  and  your  fathers 
for  many  years. 

5.  I  have  never  been  defeated  for  public  office. 

'      6.    I  am  a  member  of  the  Republican  (or  Demo- 
cratic) party. 


7.  No  single  instance  of  wrongdoing  on  my  part 
has  ever  been  proved. 

8.  I  have  instituted  desirable  changes  in  the  care 
of  prisoners. 

In  this  situation,  as  in  the  question  about  the 
Nile,  there  must  be  an  organization  of  material  in- 
to relevant  and  irrelevant,  trivial  and  important, 
correct  and  incorrect,  with  frequent  placing  of  facts 
somewhere  between  the  extremes. 

2.  Meeting  of  situations.  The  solution  of  a  problem 
requires  an  examination  of  the  situation  in  which 
one  finds  himself,  the  calling  up  of  various  possible 
solutions,  the  testing  of  these  solutions  and  finally 
their  verification.  Strictly  speaking,  this  classifica- 
tion includes  all  the  others  but  here  it  will  be  re- 


(Courtesy  of  Eastman  Kodak  Company) 

An    Aerial   View   of   The    Washington   Monument. 

stricted  to  problems  which  do  not  actually  exist, 
i.e.,  to  "if"  problems.    Questions  of  this  type  are: 

A.  If  vou  lived  in  New  England  in  1630  and 
wanted  some  fuel  to  keep  you  warm,  what 
would  you  do?  ("Puritans"  film) 

1.  Phone  for  a  ton  of  coal. 

2.  Light  the  gas. 

3.  Chop  some  wood. 

4.  Use  an  electric  stove. 

5.  Light  the  oil  stove. 

B.  If  you  wanted  to  see  the  Washington  Monu- 
ment, to  what  town  would  you  go?  ("Wash- 
ington, the  Capital  City"  film) 

3.  Comparisons.  Thought  is  required  when  one  com- 
pares the  things  seen  in  the  film  with  knowledge  he 
already  has  or  when  data  from  two  or  more  films 


Page  114 


The  Educational  Screen 


are  considered  together.  The  question  about  fuel  in 
1630  is  of  this  type  because  it  involves  a  compari- 
son between  past  and  present.  Although  the  film 
itself  does  not  include  the  answer,  the  showing  of 


(Courtesy  of  Yale  University  Press  Film  Service) 
A    Puritan    Interior    from    The    Chronicles    of    America 
Film,  "The  Puritans." 

"The  Mining  and  Smelting  of  Copper"  might  be 
followed  by  a  question  such  as  "Which  is  hotter — 
molten  copper  or  boiling  water?"  A  series  of  films 
showing  scenes  from  various  cities  might  be  fol- 
lowed by  the  question :  "Which  of  these  cities  gives 
the  greatest  evidence  of  planning  before  building 
— New  Orleans,  Washington,  New  York  City,"  etc. 
A  series  of  films  on  various  industries  might  be  fol- 
lowed by  a  question  such  as: 

Which  of  the  following  employments  usually  of- 
fers the  greatest  independence? — 

(1)  Miner.  (2)  Farmer.  (3)  Factory  Worker. 
(4)  Cotton  Picker.     (5)  Engineman. 

The  question  about  the  uses  of  the  Nile  might  be 
followed  by  a  question  which  draws  out  the  way  in 
which  each  of  these  results  are  achieved  locally, 
i.e.,  obtaining  drinking  water,  providing  moisture 
for  crops  and  transporting  persons  and  things. 

4.  Applications.  Some  questions  which  involve  the 
personal  or  civic  application  of  data  are : 

A.  Which  one  of  these  do  you  think  best  describes 
the  Columbus  of  the  film  you  saw?  ("Colum- 
bus" film) 

CI)  Wavering.     (2)  Perseverant.     (3)  Pleas- 
ant.    (4)  Cautious.     (4)  Prosperous. 
In  a  few  words  give  an  instance  from  your  own 
observation   or  experience   of  an   event   when   this 
may  not  have  been  a  virtue 

B.  How  did  Washington  feel  after  he  had  sur- 
rendered to  the  French? 

("Gateway  to  the  West"  film) 

(1)  Lucky  to  have  escaped 

(2)  That  he  was  not  a  good  officer 

(3)  Disgraced 

(4)  That  he  was  too  young  to  know  better 

(5)  That  it  was  the  fault  of  someone  else. 
In  a  few  words  give  an  example  from  your  own 

experience  or  observation  of  one  who  is  living  down 
an  early  mistake  or  misfortune  and  is  moving  to- 
ward success 

C.  Columbus  had  to  wait  upon  the  king  before  he 


could  carry  out  his  plans.  If  you  had  a  pro- 
ject today  which  seemed  just  as  worthwhile  to 
you   as    Columbus'    did   to   him,   what    would 

you  do?  

In  deciding  whether  a  question  is  of  the  thought 

or   memory  type,   these   things   should   be   kept   in 

mind: 

1.  We  think  with  things  that  we  have  remem- 
bered; facts  are  the  material  of  reasoning. 

2.  Thought  problems  studied  by  a  class  may  be- 
come memory  questions  on  a  test. 

3.  All  "why  '  questions  are  not  thought  ques- 
tions ;  some  "what"  questions  are  of  the 
thought  type. 

4.  A  question  might  require  considerable  reason- 
ing for  one  pupil  and  mere  recall  for  another. 

5.  A  question  might  require  thought  in  grade  7 
and  mere  memory  in  grade  8. 

In  making  a  selection  of  questions  for  thought 
by  the  class,  it  is  well  to  consider  these  points : 

1.  The  question  should  be  worth  thinking 
about.  For  example,  the  value  of  considering  the 
fuel  problems  of  1630  might  be  questionable.  The 
teacher  should  examine  each  question  and  then  ask 
himself:   "So  what?"  or  "What  of  it?" 


(Courtes.\   „.    \.ii^   University  Press  Film  Service) 

A    Fort    Necessity    Scene    from    The    Chronicles    of 
America   Film,   "The    Gateway   to   the   West." 

2.  Definite  application  to  the  pupil's  own  prob- 
lems or  to  community  problems  should  be  called 
whenever  possible.  The  question  about  the  Nile  is 
of  greater  value  if  it  is  followed  by  a  similar  ques- 
tion about  a  local  river  or  if  it  is  used  to  illustrate 
the  kind  of  thinking  which  one  must  do. 

3.  The  original  selection  of  material  for  study 
is  important.  It  is  easier  to  find  thought  questions 
in  live  material  than  to  strain  at  promoting  useful 
thought  about  useless  data.  The  question  "So 
what?"  might  be  asked  about  the  material  itself. 

4.  Those  who  are  successful  in  solving  their  own 
problems  are  more  likely  to  be  helpful  in  leading 
others  to  think. 

5.  Visual  education  material  is  more  than  just 
another  way  of  stuffing  the  pupil  with  information; 
it  is  more  than  a  supplement  to  other  sources  of 
su1)ject  content;  it  can  be  a  stimulus  to  thought. 


April,  1937 


I'rncccdings  of  the  Department  of  Visual  Instruction  Mcelmj 


Page  1 1 5 


Vitalizing  Teaching  Through  the  Correct  Use  of 
the  Still  Picture 


By      MINETA      MERTON 

Waukesha  Junior-Senior  High  School,  Waukesha,  Wis. 


Presenting    clearly    the    difference    between 
"showing"  and '  using"  pictures  in  classroom. 


THE  modern  school   is  a  child  centered  school.     In  it,  the 
emphasis   is   placed   on  teaching  the  child  rather  than  on 
merely   teaching   the   subject.     The  three   R's   of  the  old 
school  are  now  supplemented  by  three  new  R's  which  we  may 
call: 

Reality :     So  that  learning  will  have  real  meaning  and  under- 
standing ; 
Eeasoning :     So  that  students  will  be  trained  to  think  and  form 
judgments   rather   than   merely   to   memorize   the   abstract 
words  of  the  text,  and 
Eesearch :     So  that  children  are  encouraged  to  investigate  and 
to  seek  enrichment  of  learning. 
Visual   aids   have   contributed   richly   in   realizing  these  new 
trends   in  education.     By   providing  rich  illustrative  materials 
they   have    brought    reality    into   learning;    by    providing   true 
facts  to  form  the  basis  for  clear  thinking  they  have  improved 
the  reasoning  of  students  and   by  arousing  interest  they  have 
stimulated  research. 

Perhaps  the  greatest  value  of  visual  aids  is  that  they  build 
on  pupil's  past  experiences,  and  when  these  experiences  are 
limited,  visual  aids  provide  substitute  or  vicarious  experiences 
■which  serve  as  the  background  for  interpreting  the  new  work 
to  be  learned.  It  has  been  said  that  the  basis  of  all  thinking 
is  e.xperience.  Each  child  interprets  the  spoken  words  of  the 
classroom  and  the  written  words  of  the  te-xtbook  by  means 
of  his  own  past  experiences.  What  he  has  seen  and  what  he 
has  experienced  provide  his  background  for  word-  under- 
standing. An  educator  has  said  that  when  we  teach  we  stand 
upon  a  scaffolding  just  as  the  carpenter  and  painter  stand 
upon  a  high  wooden  platform  when  working  on  a  building. 
The  scaffolding  upon  which  the  teacher  stands  is  the  child's 
past  experiences.  When  we  teachers  step  off  this  scaffolding 
by  failure  to  consider  the  child's  past  experiences,  we  ought  to 
get  the  same  kind  of  a  jolt  that  the  carpenter  or  painter  would 
get  if  he  were  to  step  off  his  high  wooden  platform.  Unfor- 
tunately some  classroom  teachers  step  on  and  off  this  child 
experience  scaffolding  without  even  being  aware  of  its  ex- 
istence and  it  is  the  child  who  loses  thereby. 

The  fewer  real  experiences  our  students  have,  relating  to 
the  subject  we  teach,  the  more  important  it  is  to  use  visual 
aids  to  help  them  develop  correct  initial  concepts  and  pre- 
tent  the  forming  of  false  and  iiiaccurate  interpretations. 

How  can  we  use  visual  aids  most  effectively  in  teaching? 
Each  visual  aid  has  its  own  particular  advantages  and  also 
its  limitations  in  various  teaching  situations.  Some  are  more 
effective  at  one  stage  of  the  learning  process  than  at  another. 
It  is  a  great  problem  to  determine  in  what  specific  situations 
in  learning  each  will  render  the  greatest  service. 

The  most  universally  used  visual  aid  in  the  classroom  is  the 
still  picture.  We  use  it  constantly  in  textbooks  and  reference 
books,  in  mounted  pictures,  and  projected  pictures  such  as 
lantern  slides  and  opaque  projection.  For  this  reason  we  are 
vitally  concerned  with  the  need  of  training  teachers  and  pupils 
in  using  and  interpreting  these  pictures  most  effectively.  Too 
often  a  teacher  shows  a  picture  and  considers  it  self  ex- 
planatory and  concrete  when  the  picture  actually  may  be  filled 
with  abstractions  for  the  child. 

Our  problem  is  :  How  can  we  use  our  still  pictures  so  that 
students  will  get  the  most  accurate  and  complete  understand- 
ing from  them?  How  can  we  help  students  read  into  a  pic- 
ture facts  which  will  make  it  meaningful  ?     Too  many  pupils 


are  allowed  merely  to  look  at  pictures  which  is  far  different 
from  studying  and  interpreting  them.  A  picture,  like  the 
printed   page   should  contain   material  for  thought  and   study. 

The  student  who  has  travelled  through  the  mountainous  re- 
gion of  our  west  and  looks  at  a  picture  of  a  mountain  canyon 
can  read  into  it  the  depth,  size,  color  which  makes  the  pic- 
ture a  vivid  experience  to  him.  But  what  of  our  students  of 
limited  experiences  whose  lives  have  been  confined  to  their 
immediate  surroundings  ? 

The  guidance  of  the  teacher  is  needed  to  train  these  pupils 
to  interpret  pictures  comprehensively.  There  are  several  fac- 
tors about  a  picture  which  it  is  well  to  train  children  to  con- 
sider : 

Size:  A  picture  is  of  greatest  value  when  there  is  some- 
thing in  it  which  is  familiar.  A  person,  automobile,  house, 
or  known  animal  are  essential  in  some  types  of  pictures  if  an 
idea  of  height  and  size  of  an  unknown  object  is  to  be  grasped. 
The  teacher  should  help  the  child  to  gain  the  habit  of  looking 
for  something  of  which  he  knows  the  size  and  then  using  that 
to  help  interpret  the  size  of  an  unknown  object  in  the  picture. 

One  of  the  greatest  difficulties  in  using  pictures  is  that  fre- 
quently there  is  something  in  the  foreground  which  looks  so 
large  that  it  gives  a  misleading  concept  of  the  true  size  of  an 
unknown  figure  in  the  background  due  to  the  fact  that  the 
distance  between  the  two  is  not  known  to  the  child.  Still 
this  distance  is  a  most  significant  factor  in  understanding  the 
true  dimensions  of  the  unknown  object.  The  teacher  must 
take  special  pains  to  see  that  the  child  understands  the  true 
size  in  pictures  such  as  these. 

How  important  it  is  for  us  to  judge  the  teaching  value  of 
pictures  from  the  standpoint  of  a  known  factor  of  size!  First, 
we  must  look  for  pictures  with  known  factors  of  size.  Second, 
if  the  pictures  do  not  show  known  factors,  we  must  look  to  see 
if  the  legend  under  the  picture  will  help  the  child  to  under- 
stand the  true  size.  Third,  in  the  absence  of  both  of  these 
the  clear  vivid  description  of  the  teacher  must  give  the  child 
some  idea  of  true  size. 

Temperature:  Another  abstraction  which  the  teacher 
must  help  the  child  to  overcome  is  that  of  temperature.  The 
child  must  read  into  a  picture  of  a  jungle  the  intense  humidity 
and  heat,  the  lack  of  any  breeze  and  the  sultry  sticky  warmth 
which  causes  this  dense  vegetation. 

One  must  also  read  temperature  into  a  picture  of  a  spout- 
ing geyser.  Does  the  child  realize  that  this  is  hot  water  being 
hurled  into  the  air?  Last  summer  I  received  a  letter  from  a 
friend  who  stood  too  near  to  a  geyser  that  suddenly  spouted 
and  this  person  was  seriously  scalded  and  suffered  excruciat- 
ing pain  for  several  weeks.  In  a  picture  of  a  geyser  we  should 
also  call  attention  to  motion.  Is  the  geyser  like  a  fountain 
continually  shoot-'ng  ?team  into  the  air?  The  child  must 
realize  that  this  takes  place  only  occasionally,  some  every  few 
hours,  others  at  shorter  intervals. 

Motion:  Motion  should  also  be  read  into  a  still  pic- 
ture of  a  ship  passing  through  the  locks  of  a  canal.  The  pic- 
ture shows  the  boat  only  at  the  time  the  camera  was  flashed. 
It  does  not  show  how  the  water  in  the  locks  is  raised  or 
lowered  and  how  the  boat  moves  from  one  of  the  locks  to 
another.  This  will  have  to  be  described  to  make  the  picture 
have  real  meaning. 

Sound:  There  is  the  abstraction  of  sound  in  a  picture 
of   Niagara   Falls.     Such   a   picture   does   not   become   an   ex- 


Page  1 1 6 


Prnccedmtjs  of  the  Dcj^artincnt  of  Visual  Instruction  Meeting 


The  Educational  Screen 


perience  for  the  child  until  he  reads  into  it  the  sound  of  the 
roaring  waters  dashing  over  the  steep  precipice.  Only  the 
vivid  description  of  the  text  or  the  words  of  the  teacher  can 
help  him  to  fully  comprehend  this. 

Another  illustration  of  the  need  for  describing  sound  is  in 
pictures  of  factories  where  the  noise  and  din  of  the  machinery 
is  almost  deafening. 

Distance:  Still  another  abstraction  in  pictures  we  must 
help  pupils  to  overcome  is  that  of  distance.  Does  the  child 
really  grasp  the  miles  and  miles  covered  by  the  winding 
stretch  of  wall  in  a  picture  of  the  Wall  of  China? 

Depth:  Probably  the  most  necessary  factor  in  under- 
standing a  picture  is  reading  depth  into  it.  Pictures  show  only 
two  dimensions :  length  and  width.  They  cannot  show  the 
depth  that  the  human  eye  really  sees. 

We  have  access  to  a  visual  aid  which  shows  depth.  It  is 
the  stereograph  and  the  stereoscope.  The  stereograph  is 
the  double  photograph  and  the  stereoscope  is  the  instrument 
through  which  the  picture  is  seen.  When  the  double  photo- 
graph is  seen  through  the  lens  of  the  stereoscope  it  shows 
depth. 

To  illustrate  how  real  a  picture  becomes  when  it  is  seen 
through  a  stereoscope,  I  will  mention  a  true  incident.  A  boy 
was  given  a  stereoscope  in  which  had  been  placed  a  stereo- 
graph of  a  man  standing  on  a  high  ledge.  The  boy  became  so 
absorbed  in  the  picture  that  when  the  teacher  came  up  un- 
awares and  touched  him  on  the  shoulder  he  jumped  hack  in 
fear  because  he  thought  he  would  be  pushed  off  this  high 
ledge  by  the  slightest  touch. 

The  following  are  types  of  pictures  which  should  first  be 
shown  through  a  stereoscope  to  have  the  student  understand 
depth :  Pictures  of  mountain  canyons,  airplane  view  of  cities, 
the  depth  and  structure  of  glaciers,  the  architecture  of  great 
cathedrals,  the  beauty  of  underground  caverns,  mountain 
peaks  and  valleys.  After  students  have  studied  such  pictures 
in  the  stereograph  they  will  be  able  to  read  depth  into  two 
dimension  pictures  of  those  scenes. 

The  stereoscope  is  to  be  used  for  individual  study.  It  should 
not  be  passed  from  student  to  student  during  class  recitation 
periods.  When  used  for  individual  study  the  child  actually 
imagines  himself  in  the  setting  which  the  picture  portrays. 

Color:  The  teacher  needs  to  help  the  child  to  sense 
color  when  an  uncolored  picture  of  the  Grand  Canyon  is  shown. 
The  student  must  read  into  this  picture  the  beautiful  colors 
of  the  rocks  to  fully  appreciate  this  spectacle.  Color  must  also 
be  read  into  a  picture  showing  an  uncolored  picture  of  a  cotton 
blossom,  or  an  uncolored  picture  from  which  the  child  is  ex- 
pected to  appreciate  the  colorful  costumes  of  some  foreign 
country. 

Odor:  The  odor  of  a  paper  mill  should  be  called  to  the 
student's  attention  when  a  picture  of  a  paper  mill  is  shown,  or 
in  contrast  the  delightful  odor  of  a  field  of  narcissus  in  bloom 
in  Holland.  Just  as  a  paper  mill  town  can  be  identified  from 
a  distance  by  the  peculiar  odor  of  its  paper  mills,  so  the  com- 
munities where  fish  are  dried  in  the  sun  can  be  identified  by 
the  strong  fishy  odor  which  saturates  the  air  of  the  commun- 
ity. This  should  be  called  to  the  child's  attention  when  pic- 
tures of  such   localities   are  studied. 

Speed:  In  our  age  of  speed  in  transportation,  does  the 
child  looking  at  a  picture  of  an  o.x  team  comprehend  the  slow, 
plodding  gait  of  the  team  pulling  a  crude  two  wheeled  cart? 
Can  he  have  any  comprehension  of  the  number  of  miles  this 
team  can  go  in  one  hour? 

Weight:  .^s  the  child  looks  at  a  picture  of  Philippine 
workers  carrying  baskets  of  potatoes  on  their  heads  does  he 
merely  see  people  and  baskets  and  potatoes  or  does  he  compre- 
hend the  great  weight  of  these  large  baskets  being  strapped  to 
the  heads  of  young  Philippine  girls? 

A  great  contribution  which  all  classroom  teachers  can  make 
in  the  field  of  visual  education  is  to  train  pupils  to  overcome 
the  limitations  and  abstractions   of  pictures,   so  that   students 


maj-  more  effectively  use  and  interpret  the  picture  material  in 
their  textbooks,  reference  magazines,  encyclopedias,  and  also 
the  commercialized  aids  that  are  used  to  further  enrich  their 
work.  When  students  during  their  study  periods  will  study 
pictures  as  intensively  and  thoughtfully  as  they  do  the  ma- 
terial from  the  printed  page,  we  will  have  indeed  vitalized  our 
teaching. 

Verj'  often  a  single  picture  is  not  adequate  in  showing  a 
teaching  situation  since  a  single  picture  can  show  only  one  step 
in  a  process  or  show  a  scene  from  only  one  angle  or  at  the 
moment  the  camera  was  flashed.  This  is  often  true  of  text- 
book pictures  since  textbooks  cannot  provide  enough  space  to 
show  a  complete  series  of  pictures  for  an  industry  or  region 
because  of  the  extensive  content  they  must  cover. 

An  example  of  what  might  be  given  in  a  te.xtbook  is  a  single 
picture  of  the  making  of  pottery.  Just  how  does  the  potter's 
wheel  work?  How  fast  does  the  plate  turn?  What  steps  were 
necessary  before  this  stage  in  the  making  of  the  plate  was 
reached?  All  of  these  questions  must  be  answered  either 
through  a  series  of  pictures  on  the  making  of  pottery  or  by 
the  clear  vivid  description  of  the  teacher.  She  will  have  to 
supplement  the  gap  by  collecting  and  building  up  a  series  of 
pictures  that  will  show  different  stops  in  an  industry,  or  differ- 
ent views  of  a  region,  or  stages  of  a  process. 

One  of  the  finest  things  that  can  be  done  is  for  the  teachers 
of  a  building  to  work  together  to  make  a  building  library  of 
excellent  pictures.  Each  school  should  contain  a  three  to  four 
drawer  filing  cabinet  filled  with  catalogued  pictures  of  teaching 
value.  Good  firm  mounting  boards  in  attractive  colors  should 
he  secured  so  that  the  pictures  may  be  well  mounted  before 
filing.  These  pictures  may  be  used  advantageously  in  opaque 
projection  and  also  provide  attractive  and  interesting  bulletin 
board  displays. 

Still  another  source  of  a  series  of  still  pictures  that  may  be 
used  to  show  a  more  detailed  process  of  an  industry  or  region 
is  available  in  the  film  strip  which  consists  of  a  series  of  pic- 
tures printed  on  strips  of  film.  A  film  strip  may  contain  from 
twenty  to  over  one  hundred  or  more  still  pictures  with  suitable 
captions.  In  a  film  strip  a  teacher  undoulitedly  has  a  most 
complete  series  of  pictures  related  to  a  topic  that  can  be  eco- 
nomically secured.  However,  teachers  must  guard  against  the 
temptation  of  showing  too  many  of  these  pictures  in  one  lesson. 
These  may  be  used  very  effectively  in  the  discussion  period  of 
a  review  or  summary  of  a  topic  or  a  unit  of  work. 

Still  a  third  source  of  .still  pictures  in  a  series  is  the  new 
type  of  visual  material  available  on  sets  of  cards  such  as  that 
provided  by  Comptons  in  their  picture  series.  Each  card  con- 
sists of  colored  pictures  and  on  the  back  of  the  card  are  the 
clear,  vivid  descriptions  intended  to  help  the  child  interpret  the 
pictures.  The  Photoart  Visual  Units  consist  of  cards  with  the 
'picture  and  printed  description  on  the  same  side  so  that  stu- 
dents may  refer  to  the  picture  more  easily  as  they  read  the 
description.  The  advantage  in  using  this  type  of  visual  ma- 
terial is  that  they  may  not  only  be  projected  before  the  class  in 
an  opaque  projector,  but  they  may  also  be  passed  out  to  stu- 
dents for  individual  study  or  reports  or  used  as  reference  ma- 
terial on  the  library  table  or  bulletin  board. 

Teaciiers  frequently  make  the  mi.stake  of  tising  too  many 
slides  or  pictures  for  one  lesson.  In  a  development  lesson  only 
a  very  few  should  be  used.  However,  at  the  close  of  a  unit 
of  work  a  larger  number  of  slides  would  be  justifiable  as  they 
would  be  used  to  recall  and  fix  definitely  work  that  has  been 
taught  and  to  help  students  to  organize  this  body  of  knowl- 
edge. 

In  closing  I  wish  to  state  that  it  is  not  my  purpose  to  mini- 
mize the  value  of  other  visual  aids  by  not  referring  to  them 
in  this  discussion.  Their  effective  use  and  great  value  would 
require  a  discussion  in  itself.  I  have  wished  to  show  how  the 
correct  use  of  the  still  picture  may  be  used  to  enrich  and  vita- 
lize our  teaching  and  also  give  valuable  learning  experiences  to 
our  students. 


April,  1937 


PrtH-ccdiiuis  of  the  Dcparlmcitt  of  Visual  liistniclion   Mccliiii; 


Page  117 


Services  of  the  American  Council  on  Education 


SINCE  its  inception  in  1935  the  Educational  Motion  Picture 
Project  of  the  American  Council  on  Education  has  under- 
taken a  clearing  house  function  for  the  wider  and  more 
effective  use  of  films  in  the  classroom.  During  the  past  year 
activities  have  been  concentrated  on  (1)  the  development  of 
conferences  and  programs  related  to  the  preparation  of  teach- 
ers in  the  use  of  motion  pictures  and  other  modern  teaching 
aids,  (2)  the  i)reparation  of  materials  for  publication,  and 
(3)  the  initiation  of  studies  related  to  problems  of  motion 
pictures  in  education. 

(1)  Teacher  Training  Program.  During  the  latter  part  of 
1936  and  early  in  1937  conferences  on  the  problems  of  teacher 
training  in  modern  teaching  aids  were  held  at  Milwaukee  in 
cooperation  with  the  University  of  Wisconsin  and  at  New 
York  City  in  cooperation  with  Teachers  College,  Columbia 
University.  These  conferences  were  attended  l)y  representa- 
tives of  teacher  training  institutions  of  those  regions  and 
others  responsible  for  teacher  preparation  in  the  use  of  visual 
aids.  .\t  the  Milwaukee  conference  discussion  centered  in  IS 
specific  questions  related  to  both  pre-service  and  in-service 
training  of  teachers  in  the  use  of  concrete  teaching  aids.  A 
stenographic  report  of  the  discussion  of  these  topics  has  been 
published  in  mimeographed  form.  This  report  contains  many 
valuable  specific  suggestions  as  to  methods  of  approach  and 
content  of  training,  A  more  general  approach  to  the  problems 
of  teacher  preparation  was  taken  at  the  New  York  confer- 
ence. Here  the  discussion  centered  in  five  general  questions. 
A  summarized  report  of  the  contributions  on  each  of  these 
general  topics  has  been  published.  These  two  reports  con- 
stitute an  excellent  basis  for  development  of  training  pro- 
grams throughout  the  country.  A  charge  of  25  cents  is  made 
for  this  pair  of  reports  to  cover  mimeographing  and  mailing 
costs. 

The  Educational  Motion  Picture  Project  participated  in  an 
intensive  training  course  in  the  use  of  motion  pictures  and 
other  concrete  teaching  materials  at  the  School  of  Adult 
Education  of  the  General  E.xtension  Division  of  the  University 
of  Florida,  February  6-14  at  Camp  Roosevelt.  One  hundred 
and  twenty  teachers  from  various  school  districts  in  Florida 
enrolled  for  this  training  program.  A  large  number  of  films 
were  evaluated  with  particular  references  to  the  elementary 
and  high  school  geography  and  science  courses  of  study  in 
Florida.  These  film  materials  were  integrated  with  particu- 
lar units,  textbooks,  etc.,  and  some  indication  was  given  as 
to  the  particular  merits  of  films  and  their  general  value.  Re- 
ports on  these  evaluations  have  been  mimeographed  and  will 
be  made  available  to  school  districts  throughout  Florida. 
As  such,  they  constitute  a  valuable  source  of  information  on 
educational  films  available  for  classroom  use.  In  addition  to 
these  classroom  films,  a  total  of  47  industrial  films  were  re- 
viewed and  briefly  annotated.  This  training  program  con- 
stitutes a  new  approach  to  in-service  training  of  teachers  and 
a  practical  program  of  film  evaluation  and  correlation  with  a 
state  curriculum. 

As  a  result  of  the  conference,  a  course  in  visual  instruction 
is  being  instituted  at  the  University  of  Florida.  Gainesville, 
and  the  School  of  Adult  Education  plans  to  continue  a  series 
of  week-end  programs  in  other  courses  of  study,  similar  to 
those  conducted  in  the  geography  and  science  fields.  A  fur- 
ther result  of  the  conference  was  the  inauguration  of  a  plan 


A  detailed  summary  of  achievem.ents,  past 
and  planned,  of  the  American  Council's 
Educational    Motion    Picture    Project. 

By   CHARLES    F.    HOBAN,    JR. 

American  Council  on   Education,  Washlngfon,  D.  C. 

to  expand  the  present  library  of  industrial  films  of  the  School 
of  Adult  Education  into  a  cooperative  film  library  to  serve 
the  schools  of  the  State  of  Florida.  A  report  on  the  confer- 
ence is  being  prepared  by  Mr.  Donald  Bean  of  the  University 
of. Chicago  Press. 

(2)  Publication  Program.  The  Educational  Motion  Pic- 
ture Project  has  undertaken  a  publication  program  to  facili- 
tate the  use  of  motion  pictures  and  other  teaching  materials 
in  the  classroom.  Early  in  the  summer  there  will  be  made 
available  a  volume  of  digests  of  literature  on  various  phases 
of  visual  instruction,  including  administration,  teacher  prepara- 
tion, methods  of  use.  research,  production,  evaluation,  etc. 
This  volume  will  be  published  by  the  H.  W.  Wilson  Company, 
950  University  Avenue,  New  York  City,  and  may  be  ordered 
directly  from  them  subsequent  to  June  1,  1937.  These  digests 
have  been  prepared  under  the  direction  of  the  Project  by 
Fannie  W.  Dunn  and  Etta  Schneider  of  Teachers  College, 
Columbia  University,  Edgar  Dale  of  Ohio  State  University, 
and  the  central  office  staff  of  the  Educational  Motion  Picture 
Project. 

.\nother  publication  series  will  be  issued  directly  by 
the  .'\merican  Council.  There  w'll  be  included  in  the 
American  Council  on  Education  Studies  a  statement  by  the 
Committee  on  Motion  Pictures  in  Education  on  the  present 
status  and  the  needs  for  a  wider  introduction  of  motion  pic- 
tures in  the  classroom,  and  a  handbook  on  the  use  of  educa- 
tional films,  including  a  great  deal  of  material  on  classroom 
and  small  district  administrative  problems.  The  latter  has 
been  compiled  by  Edgar  Dale.  Both  of  these  studies  will  be 
available  for  distribution  on  May  1,  1937.  There  is  also  in 
preparation  a  study  of  methods  of  teacher  training  and  a 
syllabus  for  use  in  teacher  training  courses.  This  is  being 
prepared  under  the  direction  of  a  subcommittee  of  the  Com- 
mittee on  Motion  Pictures  in  Education  headed  by  Henry 
Klonowcr,  Director,  Teacher  Training  and  Certification, 
Pennsylvania  Department  of  Public  Instruction.  While  the 
cost  of  these  studies  has  not  yet  been  determined,  they  will 
be  sold  for  less  than  50  cents  apiece. 

The  American  Council  is  also  cooperating  with  Cline  M. 
Koon,  Senior  Specialist  in  Radio  and  Visual  Education  of 
the  United  States  Office  of  Education,  in  the  preparation 
of  an  experimental  study  of  the  status  of  audio-visual  equip- 
ment in  the  elementary  and  secondary  schools,  based  on  a 
survey  conducted  early  in  1936.  This  study  will  be  published 
as  a  bulletin  of  the  United  States  Office  of  Education.  There 
has  already  been  issued  the  National  Visual  Education  Di- 
rectory which  lists  the  type  of  equipment  owned  by  and  the 
directors  of  visual  instruction  of  school  districts  in  all  .states 
of  the  Union.  This  Directory  resulted  from  the  survey  by 
the  Council  and  the  United  States  Office  of  Education,  and 
has  been  published  by  the  former.  It  is  being  distributed  by 
the  American  Council  at  a  cost  of  $3.00  a  copy. 

(3)  Research  Studies.  Three  research  studies  have  been 
undertaken  by  members  of  the  administrative  staff  of  the  Edu- 
cational Motion  Picture  Project  on  problems  directly  related 
to  the  use  of  films  in  the  classroom.  One  of  these  is  a  study 
of  patterns  of  distribution  of  educational  motion  pictures 
throughout  the  United  States.  There  will  be  included  in  this 
study  an  analysis  of  types  of  services  and  an  attempt  to  de- 

(Concluded  on  page  121) 


Page  118 


Proceedings  of  the  Department  of  Visual  Instruction  Meeting 


The  Educational  Screen 


China's  Life  and  Culture  Visualized 


A   most  interesting  experiment  in   building 
international   goodwill   through   visual   aids. 

By     JAMES     HENRY     WHITE 

Lake  Ariel,  Pennsylvania 


A  GREAT  deal  of  thought  is  being  given  these  days  to 
world  relationships ;  to  the  building  of  an  International 
consciousness.  Dr.  Nicholas  Murray  Butler  speaks  of 
the  "International  Mind."  He  describes  it  as  "that  habit  of 
thinking  and  dealing  with  the  nations  of  the  civilized  world 
as  friendly  and  cooperating  equals  in  aiding  the  progress  of 
civilization,  in  developing  commerce  and  industry,  and  in 
spreading   enlightenment   and   culture   throughout   the   world." 

Education   for    International   Friendship 

The  question  is  how  can  we  build  this  International  Mind? 
One  Western  Educator  says :  "A  new  spirit  of  understand- 
ing and  cooperation  is  developing  in  the  world,  but  we  who 
would  inspire  the  youth  with  that  spirit  must  begin  to  revise 
our  estimations  of  educational  values ;  we  must  clear  away 
some  of  the  misunderstandings  about  our  world  neighbors  and 
point  the  way  toward  a  universal  program  of  peace." 

Dr.  Albert  Einstein  would  solve  the  problem  by  proposing 
"that  the  League  of  Nations  bend  its  energies  to  collecting 
the  experiences  of  the  races  and  the  contributions  of  the  na- 
tions into  "One  Wisdom"  as  the  basis  of  instruction  of  the 
world's  children  in  th'ii  elementary  schools  in  international 
cooperation."  He  asserts,  "the  greatest  task  which  lies  ahead 
of  the  schools  in  all  lands  is  to  instruct  the  children  and 
youth  in  the  need  and  in  the  means  of  international  understand- 
ing and  cooperation." 

Attitudes    Must   Change 

Before  we  can  teach  world  friendship  to  the  children  our 
own  attitudes  must  change.  Too  often  we  have  emphasized 
backwardness  and  primitive  methods  in  countries  which  have 
contributed  enormously  to  world  culture  and  art  and  litera- 
ture. To  illustrate  the  point,  we  have  found  many  Ameri- 
cans, college  graduates,  who  think  of  China  as  an  uncivilized 
country.  There  is  certainly  something  radically  wrong  with 
an  educational  program  which  leaves  such  false  impressions. 
The  difficulty  is  that  we  don't  know  what  China  is.  Our 
whole  approach  to  that  land  has  been  wrong,  and  it  is  doubt- 
less true  of  other  lands.  This  situation  must  be  corrected  if 
we  are  to  succeed  in  building  world  peace. 

Dr.  Paul  Monroe  in  writing  of  the  problem  in  China  says : 
"In  business,  in  diplomacy,  in  religious  and  educational  en- 
deavor, in  friendly  approach,  the  Westerner  must  change  his 
attitude  if  he  expects  the  Chinese  to  change  his  acts.  Con- 
scious of  our  own  rectitude  of  purpose  or  the  excellence  of 
our  goods,  we  have  been  quite  indifferent  to  what  the  Chinese 
thought.  .  .  .  Attitudes  have  now  become  the  most  important 
of  the  facts  which  the  Western  powers  have  to  face  in 
China."  He  says  that  it  is  absolutely  necessary  for  the  people 
of  the  United  States  to  "change  their  point  of  view." 

Dr.  Faunce,  President  of  Brown  University,  despairs  of 
changing  the  attitude  of  our  adult  population.  He  says :  "I 
believe  it  is  too  late  to  attempt  to  overcome  the  nationalistic 
prejudice  and  narrowness  of  the  men  and  women  who  are  fifty 
years  of  age.  We  must  begin  with  the  boys  and  girls  in  our 
high  schools,  who  do  not  yet  know  enough  to  hate."  I  would 
suggest  that  we  begin  with  the  kindergarten,  and  I  would  also 
paraphrase  the  last  phrase  by  saying  that  we  should  see  to  it 
that  our  boys  and  girls   know   so  much  about   other  peoples 


that  they  would  be  protected  against  blind  hatred,  that  hatred 
that  grows  out  of  fear  and  ignorance. 

The  Problem  and  a  Solution 
How  can  we  build  an  intelligent  knowledge  of  other  lands 
which  will  lead  to  a  respectful  attitude?  That  is  the  problem. 
In  countries  with  rich  heritages  of  culture  and  art  and  natural 
beauty  the  problem  is  not  difficult.  An  old  Chinese  saying 
gives  us  the  secret.  It  says :  "One  showing  is  worth  a  thou- 
sand tellings."  It  is  a  question  of  Visualization.  Show  the 
children  the  beauty  of  the  country,  reveal  to  them  the  glories 
of  architectural  achievement,  portray  vividly  the  arts  and 
crafts  of  the  people,  make  real  the  life  and  customs  and  indus- 
try. Build  on  a  foundation  of  art  and  beauty,  create  a  genuine 
respect  for  these  people  in  the  hearts  of  the  children ;  then 
lead  them  to  a  sympathetic  understanding  of  their  life  and 
activities.  Don't  just  tell  them  how  they  do  and  live,  but  ex- 
plain zi'hy  they  do  it  that  way.  If  we  begin  by  stressing  back- 
wardness, low  standards  of  living,  primitive  methods,  crowded 
conditions,  and  peculiar  customs  and  characteristics  we  are 
building  on  a  wrong  foundation. 

Personal  Experience   in   China 

This  situation  of  wrong  emphasis  in  our  education  was 
keenly  sensed  by  my  brother  and  me  during  our  eight  years 
of  residence  in  the  Orient.  We  felt  absohitely  unprepared  to 
face  the  problem  of  understanding  China.  We  had  no  idea 
that  China  contained  so  much  of  art  and  beauty.  It  was  this 
revelation  of  what  China  actually  was  that  led  us  to  try  to 
capture,  if  possible,  the  spirit  of  her  ancient  civilization  and 
pass  it  on  for  others  to  see.  And  it  was  this  inspiration  of 
China  that  has  led  us  during  the  past  seven  years  to  carry 
on  in  the  United  States  an  experiment  which  many  educa- 
tional leaders  consider  a  unique  solution  to  the  problem  of 
building  international  friendship. 

Our  first  years  were  spent  in  Peiping,  that  center  of  China's 
glorious  past,  and  we  were  made  deeply  conscious  of  China's 
artistic  and  cultural  contribution  to  world  civilization.  We 
marveled  that  these  beauties  had  never  been  adequately  re- 
vealed to  the  West.  In  Peiping  we  found  unusual  opportunity 
for  study  and  research  in  various  backgrounds  of  Chinese 
civilization.  We  also  had  first  hand  contact  with  the  best  that 
still  exists  of  China's  marvelous  architecture.  To  capture  this 
beauty  we  chose  the  camera  as  our  aid.  It  was  a  fascinating- 
task.  Although  engaged  in  educational  and  publishing  pur- 
suits, we  spent  every  spare  moment  and  every  vacation  day 
in  exploring  the  ancient  temples,  palaces,  and  gardens.  Week 
by  week  we  found  new  beauties  and  added  them  to  our  store 
of  films. 

We  found  China  a  land  of  brilliant  and  harmonious  color. 
Nowhere  has  architecture  developed  so  many  beautiful  forms,, 
and  the  old  Chinese  architects  knew  instinctively  how  to  deco- 
rate their  constructions.  They  built  palaces,  temples  and 
pavilions  in  harmony  with  all  that  is  grand  in  all  the  world. 
Those  vermilion  pillars  resting  on  platforms  of  grey  or  white 
marble  and  supporting  gently  sloping  roofs  of  green,  yellow 
or  blue  porcelain  tile;  those  eaves  and  crossbeams  painted  ire 
the  gorgeous  hues  of  the  rainbow ;  those  magnificent  interiors 
reflecting  the  colors  of  the  peacock's  tail  in  coffered  ceilingr 
and  beams  and  pillars,  presented  a  challenge  that  we  could 
not  resist. 


r 


Apra,  1957 


Procccdmiis  of  the  l)cl>artment  of  Visual  Instruction  Meeting 


Page  1 1 9 


This  color  must  be  reproduced  at  any  cost.  The  second 
step  in  our  effort  to  reproduce  China  for  the  West  was  the 
preparation  of  an  cxliibition  of  China's  Beauty  Spots  in  the 
natural  colors.  Outstanding  subjects  were  selected  from  our 
collection  of  three  thousand  films,  and  these  were  enlarged 
for  painting.  Chinese  artists  were  trained  in  a  special  tech- 
nique which  made  it  possible  to  reproduce  perfectly  the  bril- 
liance of  lacquer  and  glaze  of  architecture,  or  the  delicate  hues 
of  nature.  Hundreds  of  hours  were  often  spent  in  perfecting 
the  coloring  of  a  single  scene.  It  made  China  live  before 
the  eye. 

The  presentation  of  this  exhibition  won  immediate  recogni- 
tion in  China.  The  production  of  the  Art  Volume  called 
"Peking  the  Beautiful"  featuring  seventy-two  of  our  Peking 
views  did  much  to  bring  our  work  to  the  attention  of  leading 
China  artists  and  critics.  Dr.  John  Ferguson,  noted  Art 
Authority  of  Peking,  and  Dr.  Arthur  DcC.  Sowerby,  Editor 
of  the  "China  Journal,"  pronounced  the  collection  the  finest 
representation  that  had  ever  been  made  of  Peking. 

Prominent  Chinese  recognized  in  this  exhibition  a  super- 
lative means  of  presenting  in  a  simple  and  yet  effective  man- 
ner the  fine  things  in  China's  cultural  heritage.  Dr.  David 
Z.  T.  Yui,  late  head  of  the  Y.  M.  C.  A.  organization  in  China, 
says  :  "No  one  who  is  conversant  with  the  world  situation  of 
today  will  fail  to  agree  that  one  of  the  prime  requisites  and 
sure  guarantees  for  lasting  international  peace  is  international 
understanding  and  goodwill.  And  one  of  the  best  ways  of 
promoting  this  understanding  and  goodwill  is  to  enable  the 
different  countries  to  genuinely  and  mutually  appreciate  the 
fine  and  distinguishing  points  in  each  other's  civilization. 
What  you  are  doing  will,  I  am  sure,  have  a  most  decided  and 
favorable  effect  upon  the  mutual  understanding  and  goodwill 
between  the  two  sister  Republics  on  both  sides  of  the  Pacific." 

Mr.  B.  A.  Garside,  Secretary  of  the  China  Union  Universi- 
ties, New  York  City,  expressed  his  reaction  to  our  effort  in 
these  words:  "One  of  the  gravest  blunders  we  Western 
friends  of  China  have  made  has  been  our  failure  to  give  any 
adequate  presentation  to  the  Western  world  of  the  enduring 
beauty  which  the  Chinese  people  have  through  the  ages  per- 
petuated in  their  temples,  their  palaces,  their  inonuments, 
their  landscaping,  and  even  through  their  costumes  and  their 
daily  round  of  ceremonials  and  observances. 

"Herbert  C.  White  and  J.  Henry  White  have  given  us  a 
most  unique  and  invaluable  contribution  which  goes  far  to 
remedy  this  failure.  With  the  warm  understanding  of  true 
friends  of  China  and  the  Chinese  people,  they  have  been  able 
to  see  and  appreciate  this  beauty.  With  the  genius  of  the 
artist  they  have  accomplished  the  task  so  many  others  have 
attempted  without  success — they  have  captured  and  preserved 
this  beauty  so  that  it  may  be  shown  to  all.  And  with  the  skill 
of  experts  in  photographic  reproduction  they  have  prepared 
a  collection  of  photographic  studies  which  is  beyond  compari- 
son with  anything  else  ever  brought  to  us  from  China." 

Putting  the  Collection  to  Work 
On  our  return  to  America  in  the  fall  of  1929  exhibitions 
were  arranged  in  leading  universities,  art  institutes,  and  civic 
groups  and  clubs.  Illustrated  lectures  were  prepared  to  ac- 
company the  exhibition  of  the  paintings.  The  work  received 
immediate  acclaim  from  artists,  photographers,  and  those  in- 
terested in  world  affairs.  Educators  saw  in  it  a  definite  ap- 
proach to  the  Orient  and  a  real  contribution  to  the  field  of 
international  relationships. 

One  of  the  first  educators  to  sense  the  possibilities  of  a 
visualization  of  China  was  Mr.  Willard  E.  Givens,  then  Super- 
intendent of  Oakland  Schools  in  California.  Mr.  Givens  at- 
tended our  first  showing  in  America  and  immediately  invited 
us  to  present  our  material  to  his  staff  and  teachers.  The  re- 
sponse was  most  gratifying,  and  following  the  lecture  Mr. 
Granger,  Director  of  the  Department  of  Visual  Instruction, 
requested  that  we  give  thought  to  the  organization  of  our  ma- 


terial into  units  of  study  for  teacher  and  classroom  use.  We 
took  Mr.  Granger's  request  seriously,  and  devoted  nearly  six 
months  to  the  selection,  organization,  and  reproduction  of 
units  touching  practically  every  phase  of  China's  life  and  cul- 
ture. A  story  was  also  prepared  to  accompany  each  of  the 
three  hundred  views  included  in  the  series.  The  material  was 
made  available  in  photographic  prints  and  colored  slides.  Sets 
of  this  China  Visualized  series  have  been  in  constant  use  in 
leading  libraries  and  city  and  county  systems  on  the  Pacific 
coast ;  and  in  a  number  of  the  larger  mid-western  centers. 
There  has  been  a  constant  urge  that  this  material  Ije  made 
up  in  printed  form,  which  would  multiply  the  usefulness  of 
the  collection  a  thousand  fold.  There  is  hope  that  this  may 
be  accomplished  before  many  months. 

In  the  organization  of  material  for  teacher  use  and  in  our 
lecture  work  we  have  tried  to  maintain  a  balanced  picture 
of  art  and  life.  This  is  very  important  in  developing  a  visual 
program  for  our  history  and  geography  classes.  During  re- 
cent years  we  have  delivered  hundreds  of  lectures  in  schools 
from  Bellingham,  Washington,  to  Gorham,  Maine;  and  from 
San  Diego,  California,  to  Miami,  Florida.  The  pictures  are 
everywhere  acclaimed  as  the  most  beautiful  that  have  ever 
been  shown.  The  student  reactions  have  been  very  revealing. 
For  one  thing  it  has  proved  that  a  beautiful  still  picture  can 
be  used  as  a  means  of  educational  entertainment.  The  trouble 
with  many  still  pictures  is  that  they  lack  artistic  merit,  and 
lack  proper  application  of  color.  Art  in  visual  education 
must  be  the  standard  of  merit.  Slides  and  prints  must  not 
only  depict  works  of  art,  but  they  must  be  works  of  art.  It 
may  cost  a  little  more  to  produce  high  quality  visual  ma- 
terial, but  it  will  be  worth  the  extra  cost  in  a  definite  reaction 
on  the  part  of  the  student. 

During  the  past  seven  years  the  attitude  of  thousands  of 
young  people  has  been  very  definitely  changed  toward  China. 
Foundations  have  been  laid  on  which  the  teacher  can  build  a 
definite  interest  in  this  fascinating  country.  We  have  tried  to 
reach  teacher  groups  also  and  give  them  the  inspiration  of 
beauty  from  China.  Scores  of  Teachers  Colleges  have  spon- 
sored our  Exhibit  and  Lecture  series  called  "A  Day  in 
China." 

We  have  found  Teacher  Institutes  interested  in  gaining  a 
glimpse  of  China.  The  International  Relations  Committee  of 
the  National  Education  Association  sponsored  the  program 
last  summer  in  Portland,  Oregon.  After  a  week's  work  in 
the  schools  of  Elgin,  Illinois,  Mr.  Waggoner,  the  Secretary 
of  the  Visual  Instruction  Department  of  the  National  Educa- 
tion Association,  wrote  thus :  "It  is  with  a  great  deal  of 
pleasure  that  I  report  to  you  the  reaction  of  our  students  and 
teachers  to  your  pictures  on  China.  All  reports  were  excep- 
tionally complimentary,  and  your  material  fits  very  nicely 
into  the  modern  trends  in  teaching.  I  know  of  no  other  ma- 
terial that  we  could  have  used  that  would  better  acquaint 
students  with  the  contribution  made  by  China  to  world  civiliza- 
tion. I  hope  it  will  be  possible  for  you  to  make  these  pictures 
available  to  every  student  in  the  country." 

The  experiment  has  taken  much  time  and  much  effort,  and 
during  the  past  few  years  has  not  been  an  easy  thing  to  carry 
forward.  But  we  feel  well  repaid  when  tributes  come  such  as 
this  one  from  Mr.  Givens,  the  Secretary  of  the  National  Edu- 
cation Association :  "Your  greatest  contribution  wherever 
you  are  able  to  give  your  lectures  and  exhibit  your  paintings 
is,  no  doubt,  in  the  building  of  goodwill.  That  is  certainly 
something  that  needs  emphasizing  at  this  particular  time  when 
there  is  so  much  confusion  and  unrest  everywhere." 

And  we  certainly  appreciate  this  opportunity  of  presenting 
our  exhibit  and  lecture  material  before  the  Visual  Department 
at  this  meeting  in  New  Orleans.  We  thank  Mr.  Greene  for 
his  kindly  interest  and  his  invitation  to  make  this  demonstra- 
tion. We  hope  that  as  time  goes  on  many  more  will  devote 
their  time  and  talent  in  this  great  effort  to  make  the  world  one 
happy  family  of  nations. 


Page  120 


AMONG   THE 
AND    BOOKS 


I 


The  Educational  Screen 


MAGAZINES 


Conducted  by  Stella  Evelyn  Myers 


The  Nation's  Schools  (19:  38,  Feb.  '37).  "Sins  of 
the  Cinema  and  Its  Virtues,"  by  Margaret  B.  Good- 
all. 

The  study  of  appreciation  of  motion  pictures  in 
High  School  has  attained  a  settled  place  in  the  cur- 
riculum of  progressive  schools.  The  philosophical 
basis  of  this  inclusion  in  the  curriculum  is  that  chil- 
dren should  be  taught  to  do  better  the  things  they 
are  going  to  do  anyway.  The  pupil  is  led  to  condi- 
tion himself  by  selecting  only  the  best  pictures  to 
see,  through  acquiring  knowledge  beforehand  of 
their  quality.  Enjoyment  is  heightened  by  new 
sources  of  esthetic  satisfaction  in  symbolism,  in  at- 
mosphere through  music  and  settings,  in  apprecia- 
tion of  the  art  of  direction,  and  in  the  psychological 
effect  of  the  unusual  camera  angles  and  adjustments. 
Emphasis  is  shifted  from  star  to  story.  Content 
must  contain  truth  about  life,  the  theme  must  have 
worth,  and  the  presentation  must  make  some  gen- 
uine social  contribution. 

New  York  Libraries  (15:  167-170,  Feb.,  '37). 
"Visual  Aids  and  the  Librarian,"  by  Ward  C. 
Bowen,  Director,  Visual  Instruction  Division,  New 
York  State. 

The  school  library  has  been  changed  from  a 
room  of  quiet  and  decorum  to  a  workshop  of  ideas, 
in  which  books  are  tools  and  their  use  is  more  de- 
sired than  their  preservation.  Learning  in  the  schools 
has  changed  from  formal  learning  to  learning  as 
a  manifestation  of  growth.  With  progressive  meth- 
ods, it  is  natural  that  emphasis  should  be  placed  on 
the  use  of  visual,  or  objective,  aids,  for  it  is  only 
through  these  means  that  the  realism  and  concrete- 
ness  demanded  in  the  new  program  can  be  achieved. 
The  librarian  is  a  collector  and  dispenser  of  in- 
formation. She  is  an  expert  in  classifying  source 
material.  It  is  therefore  logical  that  teachers  should 
turn  to  her  for  guidance  in  problems  that  are  visual. 
Charts,  posters  and  prints  may  be  collected  and  cat- 
aloged by  the  librarian.  It  is  suggested  that  slides 
may  be  cataloged,  repaired,  and  distributed  by  the 
library  force.  As  films  often  involve  mechanical  prob- 
lems, their  handling  would  depend  upon  the  individ- 
ual librarian,  and  the  kind  and  amount  of  assistance 
which  can  be  furnished  her.  The  treatise  is  replete 
with  detail,  and  may  be  of  great  service  to  any  li- 
brarian desiring  to  take  over  such  service. 

The  Education  Outlook.  London  (13:115-116, 
Autumn,  '36),  "Picture  Teaching",  by  Eric  Clayton 
Jones. 

The  entire  courses  in  history  and  geography  are  con- 
stituted of  picture  lessons.  The  illustrations  were  prints, 
assembled  from  a  variety  of  sources,  then  mounted, 
numbered,   and  placed   in  envelopes.   Notes   of   each 


lesson  also  were  filed  containing  picture  references  in 
the  margin.  After  each  lesson,  the  pictures  were  used 
as  the  basis  of  a  summary.  Tests  were  given  based  on 
the  illustrations.  In  English,  oral  themes  were  prepared 
and  delivered  explaining  each  view.  There  is  strong 
motivation  in  this  procedure  for  both  strong  and  weak 
pupils.  There  is  less  self-consciousness  as  the  attention 
of  the  group  is  centered  on  the  picture  rather  than  on 
the  performer. 

International  Journal  of  Religious  Education  (13: 
12-14,  March,  '37).  "Yes,  We  Read  from  Pictures," 
by  Lina  A.  Rauschenberg. 

When  a  five  year  old  child's  ability  to  read  was 
questioned,  she  replied,  "O  yes,  I  read  from  pic- 
tures." The  story  was  so  fully  illustrated  by  an 
artist  that  the  child  made  good.  Commercial  con- 
cerns have  long  known  that  if  we  read  their  pic- 
tures on  the  highway  often  enough  we  will  respond 
to  the  experiences  they  portray.  The  church  school 
cannot   ignore   these   far-reaching   influences. 

Pictures  heighten  the  joy  of  delightful  experiences 
that  are  familiar.  Children  like  to  see  other  children 
enjoying  the  experiences  that  they  have  enjoyed. 
Thus,  the  author  goes  on  to  her  ninth  value  to  be 
found  in  pictures, — "Boys  and  girls  need  to  live 
close  to  the  beautiful.  We  know  that  a  beautiful 
picture  may  lift  one  up  to  realms  where  the  great 
have  lived."  Excellent  criteria  are  given  for  the  choice 
of  pictures,  and  a  list  of  houses  from  which  prints 
may  be  obtained. 

Sight  and  Sound  (5:  123-125,  Winter,  '36-'37) 
"Films  for  Africans,"  by  G.  C.  Latham,  Educa- 
tional Director  Bantu  Educational  Experiment — Ex- 
tracts from  a  paper  given  at  the  twenty-third 
session  of  the  International  Colonial  Institute,  held 
in  London,  Oct.  '36. 

The  Bantu  Experiment  was  financed  by  the  Car- 
negie Corporation  of  New  York,  and  has  been  car- 
ried on  for  about  two  years.  Some  space  is  given 
this  report  because  of  the  analogy  between  the  prim- 
itive mind  and  the  child  mind  on  a  cultural  level 
when  the  receptivity  to  a  film  presentation  is  con- 
sidered. For  both,  it  is  imperative  that  a  pictorial 
experience  merge  into  an  appropriate  background  of 
general  life  experience.  Educational  films  must  deal 
with  problems  which  pertain  to  the  daily  life  of  the 
African,  and  which  can  be  worked  out  with  the 
means  at  hand.  The  Natives,  especially  the  educated 
ones,  are  greatly  interested  in  the  white  man  and 
his  ways,  but  western  films  must  be  re-edited  for 
him,  or  taken  anew.  The  African  needs  to  see  the 
simple  home  life  and  rural  side  of  life  which  give  a 
more  true  and  balanced  idea  of  the  white  man's 


April,  1937 

mode  of  existence  and  character  than  can  be  ob- 
tained from  most  entertainment  films.  Keeping 
out  undesiralilc  films  is  not  only  necessary,  but  a 
large  and  continuous  supply  of  good  ones  is  impera- 
tive. Scenarios  must  be  prepared  by  people  whose 
main  interest  is  humanitarian  and  not  economic. 
"1  submit  that  (the  film)  is  going  to  be  a  potent 
influence  for  good  or  evil  and  that  it  will  be  an  al- 
most criminal  dereliction  of  duty  if  we  fail  to  make 
jiroper  use  of  this  tremendous  power  which  lies  to  our 
hand." 

"Classroom  Methods"  (p.  154),  by  John  L. 
ITaride.  A  general  treatise  of  three  techniques  for 
film  lessons,  but  especially  applicable  to  the  teach- 
ing of  English  Composition  and  Appreciation  of 
Poetry.  The  three  factors  in  the  latter  are  assimilat- 
ed more  fully  by  the  use  of  the  film  than  by  the 
usual  methods  of  exposition  or  reading,  whether 
oral  or  silent. 

(pp.  128-135)  "How  can  film  entertainment  spe- 
cifically designed  for  children  be  provided  in  public 
cinemas  ?" 

A  conference  on  "Films  for  Children,"  organized 
by  the  British  Film  Institute,  was  held  in  London  in 
November.  "The  Dimensions  of  the  Problem,"  a  talk 
given  at  the  conference  by  Simon  Rowson,  reports 
that  of  all  the  films  acceptable  to  the  British  Film  In- 
stitute only  about  one  out  of  nine  is  considered  suitable 
for  children. 

This  department  extends  an  invitation  to  psycholo- 
gists or  others  to  sustain,  or  refute,  the  following  thesis 
set  forth  in  "What  Children  Like,"  an  article  by  Dr. 
Emanuel  Miller.  "Enjoyment  which  is  obtained 
through  the  visual  scene,  arouses  by  its  very  nature 
primitive  interests  and  instincts.  Particularly  is  this 
true  of  the  cinema  in  which  visual  impressions  are  ob- 
tained through  the  medium  of  movement.  This  is  true 
of  adults  as  well  as  of  children.  .  .  .  Never  mind  what 
our  age  may  be ;  on  entering  a  cinema  the  mental  age 
undergoes  immediate  devaluation  on  the  ivhole.  Emo- 
tional and  instinctual  satisfactions  are  sought  even  if 
what  we  see  is  subject  at  times  to  intellectual  assess- 
ment." Analyzing  further  the  instinctual  interest  in 
the  motion  picture,  the  child  is  interested  in  movement 
and  in  speed,  but  the  movement  must  be  in  the  direc- 
tion of  a  goal.  Movement  implies  power,  and  power 
often  implies  aggression.  The  child  favors  aggressive 
living,  but  the  aggression  must  be  harmless.  Recent 
Mickey  Mouse  films  terrify  some  children  because  the 
aggressive  motive  is  too  insistent.     "When  aggression 

or  destructiveness  is  portrayed it  must  be  curbed, 

and  some  measure  of  justice  and  reconciliation  must 
be  achieved.  Through  the  phantasy  life  of  the  child, 
the  aggressive  motive  is  satisfied  as  he  becomes  iden- 
tified with  the  doer  of  big  deeds.  Enhancement  of 
the  self  takes  place, — positive  self-feeling  is  a  dominat- 
ing emotion.  As  the  child  becomes  older  the  ego  is  ex- 
pressed in  heroism  and  moral  excellence.  Although 
boys  may  imitate  the  aggressive  methods  of  the  gang- 
ster, they  do  not  adopt  his  motives.  I  have  not  known 
a  single  young  delinquent  of  more  than  100  I  have 
studied,  who  was  deeply  influenced-  by.  films  of  crime. 
They  may  act  the  gangster,  but  they  do  not  follow 
his  career." 


Page  121 


Our  Cover  Picture  —  FAITH 

"PUGENE  IVERD,  public  school  teacher,  whose  real 
'~'  name  is  George  M.  Ericson,  was  born  in  St.  Paul, 
Minn.  January  31,  1893.  His  early  school  days  were 
spent  in  the  little  town  of  Waseca.  .\  student  of 
Yankton  College,  the  St.  Paul  Institute  of  Art,  and  the 
Pennsylvania  Academy  of  Fine  Arts.  He  is  a  painter 
of  youth,  having  acquired  a  fine  appreciation  and 
understanding  of  boys  and  girls  through  his  work  in 
the  schools.  His  cover  designs  of  boys  appear  on 
leading  magazines,  and  his  landscapes  and  marines 
have  hung  in  many  exhibitions. 


The  English  Journal  (26:  205-211,  March,  '37). 
"Movie  and  Radio — Friend  and  Foe,"  by  Richard 
James  Hurley. 

Nearly  400  boys  and  an  equal  number  of  girls 
attending  a  Junior-Senior  High  School,  were  ex- 
amined as  to  attendance  at  movies  and  the  type  of 
plays  preferred.  Results  are  described  and  tabulated. 
It  is  the  author's  opinion  that  the  quality  of  picture 
production  has  improved  since  1930  with  a  corres- 
ponding increase  in  the  use  of  books,  plays  and  poems 
as  themes  for  pictures.  A  similar  investigation  was 
made  of  radio  auditions  with  rather  startling  re- 
sults. "With  reading  interest  at  a  peak  in  Grades 
VII-VIII,  guidance  is  needed  to  counteract  this 
radio  'trash'.  A  strong  appeal  is  made  to  educators 
to  exert  a  direct  influence  in  the  guidance  of  what 
young  people  see  and  hear  through  the  media  of 
two  of  the  world's  most  marvelous  inventions.  We 
must  seriously  consider  the  influence  of  movie  and 
radio.  .  .    and  act  vigorously." 

Services  of  the  American  Council 
on  Education 

{Concluded  from  page  117) 

termine  the  advantages  and  disadvantages  of  each  of  these 
types. 

Another  study  deals  with  evaluation  procedures  which  are 
employed  by  school  districts  for  the  selection  and  the  use  of 
educational  films.  Attention  is  being  given  to  the  various 
evaluation  forms  which  are  used  and  an  attempt  will  be  made 
to  develop  a  standard  evaluation  form  which  can  be  used 
throughout  the  country. 

A  third  study  will  inquire  into  the  procedures  used  in  west- 
em  European  countries  in  the  educational  motion  picture  field. 
France,  Italy,  Germany,  and  England  will  be  visited  this  sum- 
mer by  a  representative  of  the  Educational  Motion  Picture 
Project.  Inquiry  will  be  made  into  production,  distribution, 
teacher  training,  and  classroom  procedures.  A  report  on  this 
study  will  be  available  next  fall. 


The  Department  of  Visual  Instruction 
of  the  N.  E.  A. 

Full  announcement  regarding  the  three-day 
session  at  Detroit,  June  28,  29,  30,  concurrently 
with  the  annual  meeting  of  the  N.  E.  A.,  will  be 
made  in  the  Mav  issue  of  Educational  Screen. 


Page  122  The  Educational  Screen 

NEWS  AND  NOTES   ^-7  W  -/*/-»  - 

HancTtcunt  Jiaina^   dnJi   events   tn   tke    vl^huL   TLeiJL. 

Conducted  by  Josephine  Hoffman 


A  Report  on  Visual  Education  in  Minnesota 

A  study  of  Audio-Visual  Aids  in  use  in  Minnesota, 
compiled  by  Harold  C.  Bauer,  Superintendent  of 
Schools  at  Lakefield,  for  the  Minnesota  School  Board 
Association,  presents  a  case  for  greater  emphasis  on 
such  aids.  The  data  obtained  from  the  reports  of  220 
school  superintendents  are  of  considerable  interest.  It 
was  found  that  more  than  half  of  the  schools  of  the 
state  own  phonographs,  lantern  slide  projectors,  and 
radios.  41%  own  stereographs,  25%  micro  slide  pro- 
jectors, 19%)  16mm  silent  projectors,  16%  filmstrip 
projectors,  13%  35mm  silent  projectors,  13%  stillfilm 
attachments,  10%,  central  sound  projectors,  8%  opaque 
projectors,  8%  motion  picture  cameras,  4%  16mm 
sound  projectors,  and  1%  35mm  sound  projectors. 
Response  to  the  question,  "type  of  equipment  desired," 
indicated  that  there  is  the  greatest  demand  for  16mm 
sound  projectors.  The  average  yearly  expenditure  of 
the  220  schools  participating  in  the  study,  is  $40. 

Minnesota  school  administrators  endorse  the  use  of 
audio-visual  aids  and  encourage  their  furtherance. 
Their  response  in  positive  support  of  such  aids  was 
unanimous.  The  survey  disclosed  the  fact  that  the 
greatest  obstacle  to  the  promotion  of  a  visual  educa- 
tion program  is  finances,  the  second  being  the  lack  of 
teacher  preparation  for  the  use  of  such  aids. 

New  York  School  PTA  Motion  Picture  Course 

The  Parent-Teachers  Association  of  Samuel  J. 
Tilden  High  School,  New  York  City,  is  offering  par- 
ents, teachers  and  students  a  course  of  ten  sessions, 
February  to  June,  to  acquaint  them  with  the  many 
phases  of  motion  pictures.  The  historical,  educational, 
social  and  artistic  aspects  of  the  film  will  be  presented 
by  distinguished  authorities,  and  each  topic  will  be 
illustrated  with  motion  pictures.  Miss  Rita  Hochheim- 
er,  in  charge  of  the  Bureau  of  Visual  Instruction  of 
the  Board  of  Education,  will  supervise  the  course. 

Filnn  Societies  Exchange  Pictures 

The  Cinematique  Francaise,  a  French  society  for  the 
collection  of  motion  picture  films,  and  the  American 
Museum  of  Modern  Art  have  recently  arranged  an  ex- 
change of  motion  i)ictures  between  France  and  the 
United  States  which  show  the  development  of  the  art. 
The  American  organization  was  one  of  the  first  to  start 
a  collection  of  old  films.  The  French  society  was  found- 
ed only  last  September,  but  already  it  has  several 
hundred  films  in  its  library. 

Among  the  more  interesting  items  in  the  French 
collection  are  the  early  efforts  of  Louis  Lumiere, 
known  as  the  "father  of  the  cinema."  Some  of  these 
motion  pictures  were  made  as  early  as  1895.  The  oldest 
examples  will  be  placed  on  displfiy  in  the  Photography 
Pavilion  of  the  Paris  International  Exposition  of  Arts 


and    Crafts    which    opens    in    the    French    capital    in 
May. 

Film  Courses  at  Universities 

At  the  University  of  Illinois,  Prof.  Ernest  Bern- 
baum  has  inaugurated  a  course  in  Ajjpreciation  of 
Movies,  English  58.  Fifty  are  in  the  class,  one-half 
of  the  applicants.  Twelve  movies  are  to  be  evaluated 
during  the  course.  Students  must  read  the  book  on 
which  the  motion  picture  is  based,  or  a  criticism 
of  it.  before  going  to  the  theatre.  Midsummer  Night's 
Dream  and  The  Charge  of  the  Light  Brigade  were  the 
first  films  studied.  The  class  meets  twice  a  week  for 
discussing  the  historical  accuracy,  artistry,  and  tech- 
nical qualities  of  films  studied.  An  examination  will  be 
held,  and  three  credits  allowed  for  the  course.  It  is  to 
be  determined  whether  values  comniunicated  through 
the  medium  of  the  novel  and  the  drama  can  be  ade- 
quately communicated  through  the  medium  of  the 
cinema. 

♦         ♦ 

A  course  in  cinema  appreciation  has  been  conducted 
by  Professor  Sawyer  Falk  at  Syracuse  University  since 
1934.  This  year  a  laboratory  plan  which  includes  the 
showing  of  motion  pictures  and  analysis  of  scenarios, 
has  been  added.  Students  will  examine  scripts,  analyze 
them  in  terms  of  sequences  and  in  general  become 
familar  with  cinema  terminology'.  The  picture  under 
discussion  will  then  be  shown  for  careful  scrutiny  of 
definite  scenes  which  afford  examples  of  various  film 
construction. 

WPA  Art  Loans  Continued 

Thousands  of  paintings  and  other  works  of  art,  cre- 
ated by  workers  on  units  of  the  Federal  Art  Project 
of  the  Works  Progress  Administration,  are  available 
for  loan  to  public  institutions  deriving  their  support 
from  tax  funds,  according  to  instructions  issued  to 
State  WPA  Administrators  throughout  the  country. 
Procedure  to  be  followed  by  institutions  in  applying 
for  loan  of  art  works  and  by  directors  of  art  projects 
in  the  states  in  granting  these  requests  are  outlined  in 
these  instructions. 

It  is  interesting  to  note  that  thousands  of  public  in- 
stitutions throughout  the  country  already  have  availed 
themselves  of  the  benefits  of  the  Federal  Art  Project. 
According  to  the  latest  available  figures,  500  WPA 
Federal  art  mural  projects  were  completed  in  schools, 
hospitals,  and  other  public  buildings  in  all  sections  of 
the  country  last  year.  In  addition.  6,136  institutions 
and  public  agencies  have  received  7,695  easel  paint- 
ings;  1,462  sculptures;  1,511  prints;  102.103  i)osters; 
130.092  photographs;  4,395  art  and  craft  objects; 
15.973  mat  drawings  and  diagrams;  322  stage  sets; 
1 55  dioramas  and  models  from  visual  education  ;  and 
4.253   lantern    slides. 


April,  1937 


Page  123 


Seeing  Salem 

Paramount  One-Reel  Educational  Film 

JJERE  IS  Paramount's  second  offering  under  its  re- 
cently inaugurated  policy  of  producing  one-reel  con- 
densations from  such  of  its  theatrical  features  as  con- 
tain material  of  genuine  value  in  the  classroom.  It  is 
a  splendid  policy,  which  will  win  for  Paramount  from 
the  educational  field  not  only  approval  and  apprecia- 
tion but  well-deserved  profits  in  course  of  time.  Edu- 
cational material  of  this  kind  is  absolutely  unobtainable 
from  any  other  source  or  by  any  other  method.  The 
huge  expense  of  research,  set-construction,  properties, 
costumes,  professional  cast,  expert  direction  and 
optimum  photography  is  definitely  prohibitive  for  edu- 
cational production  per  se.  But  with  the  cost  of  these 
essential  elements  carried  by  the  theatrical  film,  the 
educational  cream  of  the  jiicture  can  become  available 
to  the  schools  at  a  price  they  can  pay,  and  will  pay 
more  and  more  widely.  Seeing  Salem  is  a  sample  of 
this  educational  cream.  It  merits  not  only  our  sin- 
cere congratulations  to  Paramount  but  widespread 
rental  and  sale.  It  is  a  selective  condensation  from  the 
notable  feature  picture,  Maid  of  Salem,  expertly  done 
with  real  understanding,  which  is  much  beyond  the 
ordinary  "good  intentions".  The  coojieration  of 
Annette  Glick,  of  the  Los  Angeles  Schools,  is  an  evi  ■ 
dent  factor  in  the  excellent  result. 

Seeing  Salem  is  an  ajipropriately  named,  one-reel, 
silent  film,  that  could  hardly  he  improved  by  "sound". 
It  aims  to  present  "a  reconstruction  of  the  modes,  man- 
ners, customs  and  costumes  of  the  Puritans"  and  we 
may  add  also  "the  mood,  mentality,  emotions,  atmos- 


iCoiirti-sy  of  Bell    &    Howt-ll   Co.  I 

The  House-Raising — an  important  social  event. 
From  the  film  "Seeing  Salem." 

phere  and  tempo  of  New  England  life  of  three  hun- 
dred years  ago."  The  picture  moves  slowly,  as  it 
should  for  ox-cart  days.  It  gives  time  for  careful 
seeing  and  reflecting.  Countless  details  are  there — of 
costume,  furnishing,  tools,  landscape,  village  archi- 
tecture, facial  expression  and  type — details  that  are 
utterly  new  to  youngsters  of  the  present  day  and  which 
their  eyes  need  time  to  master.    Wise  omission  of  the 


violence  and  hysteria  that  make  good  "theatre"  in  the 
major  production  leaves  a  little  picture  smoothly  and 
richly  informative  in  factual  elements.  It  is  a  treat 
for  learning  eyes  and  minds  that  need  to  grasp  and 
hold  the  permanent  facts  of  Salem  life,  undistracted 
by  thrill  and  crisis.     The  feature  film.  Maid  of  Salem, 


(Courtesy  of  Bell  &  Howeil  Co.) 

Candle-Making   in  a   Puritan   Home. 
From  the  film  "Seeing  Salem. ' 

is  a  dramatic  convergence  upon  certain  tense  and  tragic 
moments  in  Salem  history  for  purposes  of  theatre. 
Seeing  Salem  is  a  calm  and  charming  replica  of  daily 
life  as  it  went  on,  not  for  moments,  but  for  genera- 
tions on  the  "stern  and  rock-bound  coast." 

Paramount  has  also  provided  an  excellent  and 
needed  supplement  to  the  one-reeler  in  the  form  of  an 
attractive  carton  of  two  dozen  beautiful  stills  from 
the  film,  skilfully  annotated  for  teaching  use.  Un- 
hurried study  of  these  will  yield  a  wealth  of  details 
inevitably  missed  in  the  moving  picture.  Indeed,  if  a 
youngster  is  to  get  all  that  Paramount  has  to  give  on 
Salem,  here  are  the  three  steps:  First,  analysis,  in- 
terpretation and  discussion  of  the  still  pictures ;  second, 
an  intense  and  thoughtful  viewing  of  Seeing  Salem; 
and  third,  (for  those  not  too  sensitive  for  strong 
drama)  a  session  with  the  Maid  of  Salem  for  a  thrill- 
ing, unifying  experience,  with  all  background  details 
already  known  and  the  mind  and  eyes  free  to  absorb  the 
action. 

Bell  and  Howell  handle  Seeing  Salem  for  the  edu- 
cational field. 

N.  L.  G. 


Page  124 


The  Educational  Screen 


PROJECTORS 


MARK     RKO  D 


I1MTER1MATI01MALLY  SUPREME 


WE  realize  that  the  purchase  of  motion  ]Mctiire  equipment  requires  long-  and  serious 
consideration  and  advertisements,  correspondence  or  even  catalogs  are  ordinarily 
inadequate.  In  many  instances  decisions  cannot  be  quickly  made  and  it  is,  there- 
fore, highly  desirable  to  have  information  personally  supplied  by  representatives  of  the 
National  Theatre  Supply  Company,  Distributors  of  Simplex  Projectors,  with  Branches 
throughout  the  United  States.  We  are  also  represented  in  foreign  countries  and  would  like 
you  to  write  to  us  for  the  names  and  addresses  of  any  of  our  distributors. 

^^UR  wide  experience  enables  us  to  understand  the  needs  of  schools,  colleges,  churches, 
hospitals,  private  and  public  institutions,  etc.,  and  where  there  is  no  technical  advisor 
to  guide  in  the  selection  of  equipment  the  complete  line  of  35  MM  Simplex  Projectors 
places  us  in  a  position  to  impartially  advise  regarding  the  kind  of  equipment  best  suited  to 
meet  the  specific  requirements  of  any  proposed  installation.  Projection  Room  Plans  and 
information  regarding  installation  of  motion  picture  equipment  will  be  supplied  to  archi- 
tects and  others  upon  request. 


pOK  a  quarter  of  a  century,  a  period  which  covers  almost  the 
entire  commercial  history  of  the  motion  picture  industry,  the 
products  of  this  company  have  held  an  unquestioned,  outstanding 
leadership  wherever  motion  pictures  are  shown  and  enjoyed.  In 
New  York,  Chicago,  Los  Angeles,  London,  Paris — the  great  cities 
of  the  world — Simplex  Projectors  are  installed  in  the  largest  and 
finest  motion  picture  houses,  and  are  extensively  used  in  South 
America,  Asia,  Australia,  Africa,  as  well  as  throughout  North 
America  and  Europe.  Over  twelve  hundred  theatres  in  England, 
Ireland  and  Scotland  alone  are  equipped  with  our  products.  These 
facts  we  believe  definitely  substantiate  our  claim  "Simplex — the 
International  Projector."  Simplex  Projectors  are  used  in  thousands 
of  rural  communities  throughout  the  United  States  and  Canada  as 
well  as  in  the  larger  cities  where  superior  projection  is  necessary 
and  dependability  is  essential.  The  universal  appeal  of  motion  pic- 
tures has  been  made  possible  and  practical  for  over  twenty-five 
years  very  largely  through  the  engineers  and  mechanical  staff  of 
this  company.  Governments,  the  Army  and  Navy,  great  commercial 
organizations,  universities,  churches,  and  other  institutions  have 
used  Simplex  Projectors  exclusively  for  many  years.  More  re- 
cently the  finest  Trans-Atlantic  and  Pacific  Liners  have  installed 
Simplex  Projectors  for  the  entertainment  of  their  passengers. 


gaw/y/^  PORTABLE  SOUND  PROJCC TORS 


INTERNATIONAL  PROJECTOR  CORPORATION 

66-96    GOLD     ST.  NEW     YORK,  NY. 


April,  1937 


Page  125 


Super  Simplex  Projectors,  Simplex  Sound  Projectors,  Simplex 
Semi-Professional  and  Simplex  Portable  Sound  Projectors 

Standard   professional  35  MM   mo-Hon   picture  equipment  for  Theatres,  Auditoriums,  Schools,  Colleges,  Churches, 

Hospitals,  Private  and  Public  Institutions,  etc. 


Men,  Methods  and  Materials 

kiANY  OF  the  men  in  our  plant  have  been  with  us 
from  fifteen  to  thirty  years,  and  have  had  extensive 
experience  in  the  design  and  construction  of  motion 
picture  projectors.  This  is  of  utmost  importance  as 
motion  picture  projectors  must  be  designed  and  built 
with  a  thorough  understanding  of  the  practical  diffi- 
culties of  the  motion  picture  field  as  well  as  the  tech- 
nical problems.  Although  Simplex  Projectors  are  made 
with  scientific  accuracy  and  projection  involves- a  knowl- 
edge of  mechanics,  electricity  and  optics,  utmost  thought 
has  been  given  to  the  importance  of  having  our  machines 
simple  and  dependable.  Very  satisfactory  results  can 
be  obtained  even  by  those  who  have  not  the  skill  and 
knowledge  required  in  order  to  .secure  the  quality  of 
screen  presentation  demanded  in  large  motion  picture 
theatres.  In  the  hands  of  a  projectionist  with  the 
necessary  technical  knowledge,  .Simplex  Projectors 
will  meet  all  reasonable  requirements  inider  any  con- 
ditions. \\'e  definitely  claim  that  no  other  organiza- 
tion is  so  completely  equipped  for  the  manufacture, 
testing  and  checking  of  sound  and  visual  motion  )iic- 
ture  apparatus. 

Simplex  parts  are  made  from  carefully  selected  raw 
material,  and  this  also  involves  an  intimate  knowledge 
of  the  highly  specialized  recpiirements  of  this  field. 
Every  part  used  in  the  manufacture  of  Simplex  Pro- 
jectors is  made  in  our  own  plant,  and  whenever  re- 
c|uired  in  order  to  secure  greater  ease  of  operation  and 
longer  wear  all  parts  are  specially  hardened  and 
ground.  Satisfactory  screen  results  can  be  secured 
only  through  such  constant  care  in  the  manufacture 
of  Simplex  parts.  Due  to  the  tremendous  enlarge- 
ment of  the  picture  from  the  film  to  the  screen,  un- 
steadiness becomes  noticeable  and  objectionable,  thus 
greatlv  reducing  the  entertainment  value  of  the  pic- 
ture. Unsteadiness  in  some  instances  may  be  due  to 
errors  in  photography,  but  frequently  is  the  result  of 
l)r,ojectors  which  are  poorly  designed  and  constructed 
or  in  a  defective  condition.  Failure  to  use  properly 
made  parts  is  a  harmful  practice. 


Basic  Mechanical  Excellence 


nical  ])roblems  and  by  prompt,  adequate  service  in  sup- 
plying parts  for  emergencies.  Service  to  be  satisfactory 
involves  willingness  to  help  as  well  as  adequate  fa- 
cilities and  we  assure  users  of  Simplex  Products  that 
either  direct  or  through  our  representatives  we  are 
glad  at  all  times  to  be  of  assistance  whenever  it  is  in 
our  power  to  do  so.  A  cordial  invitation  is  extended 
to  visit  our  offices  and  inspect  our  factory.  Packing, 
shipping  and  servicing  of  .Simplex  Projectors  also  in- 
volve many  problems  and  here  again  our  great  ex- 
perience and  vast  resources  enable  us  to  maintain  our 
outstanding  international   leadership  in  this  field. 


IN  ADDITION  to  basic  mechanical  excellence.  Sim- 
plex Projectors  have  many  exclusive  patented 
features  which  secure  ease  and  safety  in  operation,  and 
reduce  maintenance  cost.  Supplementing  the  many 
other  desirable  features  of  Simplex  Projectors  is  our 
wide  sales  and  service  organization  throughout  the 
United  States  and  in  many  parts  of  the  world.  Our 
representatives  are  also  able  to  help  theatre  owners  and 
others  using  Simplex  Projectors  by  solving  their  tech- 


SIMPLEX  FACTORY 


PROJECTORS  -    DISTRIBUTED     BY     NATIONAL    THEATRE     SUPPLV    COMPANY 


Paee  126  "^^^  Educational  Screen 

Pueblo  Indians  -  In  Hand-Made  Lantern  Slides 


By     ANN     GALE 

Art   Department,   Lindblom 
High   School,   Chicago 


'J'HE       Pueblo      Indians. 

true  natives  of  our  coun- 
try, are  interesting  to  chil- 
dren in  third,  fourth,  and 
fifth  grades. 

Their  way  of  living  is  an 
excellent  example  of  man's 
adaptation  to  his  physical 
environment.  Their  thick 
walled  horses,  agriculture 
by  irrigation  and  dry  farm- 
ing, and  their  crafts  show 
this  adaptation. 

These  six  pictures  may 
be  traced  on  slides  and 
projected  on  the  screen  as 
the  basis  for  a  discussion  of 
Indian  life  in  the  South- 
west: 

( 1 )  Indian  pueblos  on  a 
mesa,  with  other  mesas 
and  mountains  in  the  back- 
ground 

(2)  An  Indian  pueblo 
with  an  Indian  woman  in 
front  of  the  oven.  The  dry- 
ing racks  are  on  the  side 

(3)  An  Indian  man 
weaving  a  blanket 

(4)  Indians  selling  pot- 
tery and  blankets  to  tour- 
ists 

(5)  An  Indian  family  on 
a  donkey 

(6)  An  Indian  cultivat- 
ing his  patch  of  corn. 

Keystone  crayons  will 
show  the  brilliant  contrasts 
of  yellow  -  orange  sand, 
green  foliage,  blue  sky, 
purple  mountains,  and  red 
clififs. 


The  simplest  type  of 
hand-made  slide  is  made  by 
drawing  or  tracing  on  fine- 
ly finished  etched  glass  with 
ordinary  medium  lead  pen- 
cil. Color,  by  special  cray- 
ons or  inks,  enhances  the 
slides  greatly.  Fine  efi^ects 
ire  obtained  by  blending 
with  crayons.  About  one 
third  inch  margin  should  be 
left  all  around  the  slide. 
The  slide  is  readily  cleaned 
with  soap  or  washing 
powder  to  receive  a  new 
picture 


I 


April,  1937 


Page  127 


^Uh  Modern  RCA  Sound  EdueaUon 


fmrepnm 


RCA  Sound  ^Aotion 
Picture  Projector,  PG-81 

OneofBCA-scompleleline 

of  Sound  Motion  Picture  Vro- 
jectors.  Designed  to  give  ami^e 

illumination  in  average  rooms 
or  large  auditorium*.  tqu.piM-d 
«ithlhesameRCVPhotophone 

Rotarv  Stabiliser  Soundhead 
u^ed  in  nation's  leading  mot,on 

picture  houses.  Assures  h.gh 
quality  performanee. 

• 

RCA  Centralized 
Sound  System 

School    principal    u.ay    convey 
radio  programs.recorded  speech 

"dmusicanddirectannounce- 

„,entsfromhiso(ruetoanyo 

all  classrooms.  Valuable  for 
i^ely  educational  rad.o  pro- 
grams, music  appreciation 
broadcasts,  language  teaclung. 
Canbeusedinaud.tor.um,gym- 
nasium,  and  on  atblettc  field. 


Samaf^4 


ijEADiNG  educators  throughout  the 
country  know  the  great  value  of 
RCA's  Modern  Teaching  Aids.  De- 
signed especially  for  school  use,  they 
offer  supplementary  instruction 
which  injects  new  and  vigorous  spirit 
into  regular  classroom  work.  Lessons 
take  on  new  life — and  lessons  that 
live  are  easy  to  learn.  Young  minds 
are  stimulated,  and  teaching  becomes 
more  effective! 

RCA's  foremost  Educational  Aids 
— the  new  Sound  Motion  Picture  Pro- 
jector, model  PG-81  and  the  RCA 
Centralized  School  System — offer 
true  quality  performance  at  low  cost 
to  the  modern  school.  They  are  built 
by  the  world's  leading  organization 
in  sound  recording  and  reproducing 
e(juipment.  Ask  for  specifications  and 
prices  for  your  school.  At  your  service 
are  trained  experts  who  are  familiar 
with  school  problems. 

Send  for  New  Catalog 

.■SOUND  S6«V1CI  FO»  SCHOOIS 


<^^$0f  FOR  SCHOOLS 


EDUCATIONAL    DEPARTMENT 
RCA  Manufacturing  Co.,  Inc.,  Camden,  N.  J.       •       A  Service  of  the  Radio  Corporation  of  America 


Page  128 


The  Educational  Screen 


SCHOOL    DEPARTMENT 


Conducted  by  Wilber  Ernmert 

Director  Visual  Education,  State  Teachers  College,  Indiana,  Pa. 


A  Living  Picture  Book 

'T'WICE,  while  teaching  and  supervising  art.  I  have 
used  a  living  picture  book  in  the  elementary  grades 
to  stimulate  interest  in  reading  books.  This  device 
as  used  in  the  sixth  grade  art  class  was  a  modified  re- 
volving stage  constructed  to  look  like  a  large  open 
book,  with  different  scenes,  and  the  children  themselves 
as  living  characters  in  the  books.  The  projects  grew 
out  of  the  interest  in  some  new  library  books  which 
the  children  wished  to  recommend  in  a  forceful  way 
to  their  classmates. 

Except  for  some  help  from  the  school  carpenter, 
whom  we  called  in  as  a  consulting  engineer  when  the 
book  would  not  turn  easily,  most  of  the  actual  work 
was  done  in  regular  art  class  periods  by  the  children 
themselves. 

In  planning  the  problem  the  group  decided  to  make 
a  large  book  from  which  the  characters  could  step 
out  and  speak.  They  chose  ten  favorite  books,  de- 
cided upon  the  most  dramatic  or  characteristic  inci- 
dent in  each  book,  then  each  pupil  made  an  illustra- 
tion for  one  of  these  incidents,  but  leaving  out  the 
characters,  as  they  were  to  be  real  children  after  the 
book  was  made.  The  drawings  were  posted  on  a  bul- 
letin board,  class  criticisms  were  given,  improvements 
were  made,  and  finally  the  ten  best  pictures  were 
chosen  by  the  class  from  the  forty  pictures  submitted. 

These  were  enlarged  on  newsprint  paper  to  about 
36"  X  42"  in  size,  then  outlined  with  a  number  zero 
round  nib  lettering  pen.  Several  children  worked  to- 
gether on  each  drawing,  filling  in  the  outline  with 
colored  crayon,  and  working  definitely  for  strong  con- 


IDEAL  PICTURES  CORPORATION 

28  E.  Eighth  Street 
CHICAGO.  ILL. 

Announces  with  pleasure 
the  establishment  of 

A  FREE 
LENDING  DEPARTMENT 

under  the  management  of 

Miss  GENEVA  DORAN,  formerly  of  the 

Y.  M.  C.  A.  Motion  Picture  Bureau 

FREE      FILMS 

16  mm.  sound  and  silent  and 
3  5  mm.  sound  and  silent 

Send  For  Free  Film  Lists 


trasts.  Plans  were  made  by  those  children  not  work- 
ing on  the  large  drawings  to  do  the  printing  which 
they  felt  was  needed  to  complete  the  book.  A  title  or 
an  explanatory  sentence  was  chosen  for  each  illustra- 
tion, and  after  practice  in  lettering,  they  were  placed 
on  a  page  to  be  opposite  each  drawing.  The  printing 
was  done  with  an  old  chart  printing  outfit  with  letters 
one  inch  high.  Cut  paper  or  pen  lettered  titles  could 
have  been  used  for  these  pages. 

Costumes  suitable  for  the  different  characters  were 
decided  upon  through  class  discussion.  The  children 
gathered  together  odds  and  ends  of  materials,  such 
as  sashes,  feathers,  costumes  previously  used,  and 
remnants  of  cloth.  From  these  materials  costumes  re- 
sulted with  no  outlay  of  money  and  a  minimum  of 
effort.  In  some  cases  materials  were  sewed  together 
to  make  the  garment,  but  in  general,  parts  were  clever- 
ly pinned  together  to  make  an  attractive,  usable,  and 
satisfactory  costume. 

Free  periods  were  used  for  the  construction,  saw- 
ing, and  nailing  together  of  the  book.  It  was  made  of 
double  beaverboard,  edged  with  light  weight  mould- 
ing, with  an  old  broom  handle  in  the  center  between 
the  two  pieces  of  beaverboard.  Both  back  and  front 
were  painted  with  showcard  paint  to  give  the  appear- 
ance of  an  open  book.  At  the  right  side,  both  back 
and  front,  a  shallow,  rounded  shelf  was  built  upon 
which  the  characters  sat  or  stood  and  from  which 
each  one  stepped  after  speaking  a  few  words. 

To  give  the  illusion  of  pages  in  a  real  book  five 
printed  pages  were  nailed,  one  on  stop  of  the  other, 
on  the  left  side  of  the  book.  At  the  right  five  pic- 
tures were  nailed,  in  the  same  manner.  This  was  done 
on  the  front  and  the  back. 

The  "book"  was  placed  in  the  center  of  the  room 
with  screens  extending  on  each  side  to  form  a  continu- 
ous wall  across  the  room.  Had  curtains  been  available 
they  would  have  been  used  instead  of  the  screens. 
The  diagram  which  follows  shows  how  the  screen 
and  the  materials  were  arranged  for  the  performance. 


-«<.1^! 


(Audience  here) 

A.  and  B.  Front  and  back  shelves  below  pages.     C.  Broom 

handle.    D.  and  D.  Screens.    E.  Children  ready  to  take  their 

places  in  the  book. 

As  soon  as  one  character  was  shown,  the  book 
turned,  and  while  that  character  was  speaking  the 'first 
printed  page  and  illustration  were  torn   off  and  the 

(Concluded  on  page  130) 


April,  1937 


Page  129 


*^<^01iver  Wendell  Holmes  Was  Right. 
The  Stereoscope  Is  Not  A  Toy.'' 


The  March  Number  of  The  Technology  Kevietv 


The  above  quotation  is  taken  from  a  most  interesting  and  informative  article  on 
the  use  of  stereographs  in  education  and  ophthalmology  in  the  official  monthly 
publication  of  the  Massachusetts  Institute  of  Technology.  The  article  is  entitled 
"Seeing  Solid." 


From  the  Keys+one  Social-Study   Unit  on   Great  Britain 

WHY  WAIT  for  some  promised  magic  of  the  future?  The  Keystone  View 
Company  can  provide  your  children  NOW  with  those  marvelous  third-dimension 
near  experiences — made  more  impressive  than  ever  by  up-to-the-minute  photo- 
graphs and  the  new  illuminated  school  telebinocular. 

We  will  send  you,  on  your  request,  a  reprint  of  the  above-mentioned  article 
from  The  Technology  Review,  entitled  "Seeing  Solid." 


Keystone  View  Company 


MEADVILLE.   PENNA. 


Page  130 


The  Educational  Screen 


The  Chinese  Had 
a  Word" 

We  Have  the 
Pictures  for  it! 


"One  picture  is  worth  ten 
thousand  words,"  wrote 
the  sage  of  old  Cathay. 
He  h^d  the  right  idea 
about  education  and  en- 
tertainment. It  is  our  idea 
too*,  with  these  pictures  to 
boig^  jt  up   .   .   . 

STRAN<^ER  THAN  FICTION;  GOING 
PLACES;  YOU  CAN'T  GET  AWAY 
WITH  IT;  OSWALD  CARTOONS; 
MEANY  Ml  NY  MOE  CARTOONS; 
MENTONE  SHORTS;  SERIALS; 
UNIVERSAL  NEWSREELS 

And  These  Features 
With  Many  Others, 

SHOW  BOAT;  MY  MAN  GODFREY; 
THREE  KIDS  AND  A  QUEEN 

Let  Us  Tell  You  Morel 
Write    .    .    .    Phone 

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COMPANY,  INC. 

Rockefeller  Center  New  York.  N.  Y. 

CIRCLE  7-7100 


next  character  and  scene  were  arranged.  In  this  way 
there  were  no  pauses.  The  book  turned,  a  character 
spoke,  stepped  down,  and  took  a  seat ;  the  book  turned 
again,  and  the  next  character  appeared,  spoke,  stepped 
down,  and  took  his  seat.  By  having  the  children 
properly  placed  it  was  possible  to  repeat  the  process 
rapidly  and  for  as  many  scenes  as  had  been  planned. 

Some  difficulties  were  experienced  with  the  mechani- 
cal operation  of  the  book.  It  was  found  that  the  base 
had  to  be  large,  heavy  and  strong  to  keep  the  book 
from  falling  over.  The  bottom  of  the  broom  stick  had 
to  project  deep  into  the  base  so  that  the  pages  would 
turn  easily.  These  were  the  things  discussed  with  the 
carpenter.  Small  children  had  to  be  chosen  as  the 
characters  so  that  they  would  not  be  out  of  propor- 
tion with  the  Images  of  the  book,  and  to  reduce  the 
weight  on  the  mechanism. 

The  short  speeches  for  the  characters  were  written 
by  the  class  during  language  periods.  In  subsequent 
language  periods  the  children  who  were  to  portray  the 
characters  were  coached  in  their  speeches,  and  in  the 
mechanics  of  getting  in  and  out  of  the  book. 


Child  kneeling  on  shelf  in  front  of  picture  in  book. 

As  planned  at  first  the  living  picture  book  was  to 
be  quickly  and  inexpensively  constructed,  and  to  be 
presented  in  an  Art  period  to  another  sixth  grade. 
Due  to  the  interest  created  during  the  construction  of 
the  book,  the  making  of  the  costumes,  and  the  "re- 
hearsal," this  initial  presentation  was  so  successful  that 
the  Principal  asked  the  class  to  repeat  the  program 
so  that  more  persons  might  see  it.  This  was  done,  and 
in  addition  to  entertaining  several  classes,  it  provided 
a  most  interesting  asseiubly  program  to  which  many 
parents  came. 

This  type  of  integrated  project  can  be  carried  out 
in  any  school  where  the  teachers  plan  their  work  to- 
gether and  cooperate  in  various  undertakings.  It  pro- 
vides an  activity  in  which  all  the  children  can  have  a 
major  part  in  both  planning  and  working  out  the  final 
product. 

By  ALMA  M.  GASSLANDER 

Teacher   and    Supervisor  of   Art, 
State  Teachers  College,  Indiana,  Pa. 


April,  1957 


Page  1 3 1 


Sales  up! 


Prices  Reduced 

On     The     Standard     Challenger    Screen 

30 "x40 "  was  $20.00  NOW  $1 5.00        36  "x48 "  was  $25.00  NOW  $20.00 

39  "x52 "  was  $30.00  NOW  $25.00 

THE  advantages  that  have  made  the  Challenger,  Ameri- 
ca's most  popular  portable  .  .  .  pivotally  attached  tri- 
pod for  quick  set-up  .  .  .  square  center  rod  for  rigid 
mounting  .  .  .  lightweight  .  .  .  glass  beaded  surf  ace  .  .  . 
are  now  available  at  box  screen  prices.  See  the  Challenger 
and  other  Da-Lite  Screen  values  (also  at  new  low  prices) 
at  your  dealer's!  Write  today  for  catalog  with  new 
low  prices! 

DA-LITE   SCREEN    COMPANY,   INC. 

2717  N.  Crawford  Ave.  Chicago, 


linois 


Da-Lite  Screens 


AND    MOVIE 
ACCESSORIES 


SEVENTH  SESSION 


NATIONAL  CONFERENCE  ON  VISUAL  EDUCATION 


and  FILM  EXHIBITION 


(DeVry    Poundatlonj 


CHICAGO.  JUNE  21,  22.23.  24,  1937 


At  the  Francis  W.  Parker  School,  3  30  Webster  Ave. 

(Opposite  Lincoln  Park) 

A  Large  and  Representative  Gathering  of  Visual  Educationalists,  Bringing  Together 
the  School  and  Advertising  Fraternities,  Speakers  and  Film  Exhibitors  o£  National 
Reputation. 

NO  ADMISSION  OR  MEMBERSHIP  FEES 

TEACHERS,  PRINCIPALS,  SUPERINTEN- 
DENTS, COLLEGE  INSTRUCTORS,  ADVER- 
TISING   MANAGERS    and    ASSISTANTS,    AD- 


Almost  continuous  show^ings  of  selected  industrial 
and  educational  films  as  examples  of  the  best  cur- 
rent practice.  These  will  be  both  silent  and  sound, 
1 6  as  ^vell  as  3  5  mm.  films. 

After  the  sho'wings,  advertising  and  schoolmen 
will  discuss  the  films.  Discussion  will  include 
photographic  and  scenario  technique;  advertising, 
sales  or  training  values,  and  educational  values. 
As  a  rule,  representatives  of  producers  and  spon- 
sors will  be  present  and  will  lead  the  discussions. 
Sessions  will  begin  9  o'clock  each  morning  and 
continue  until  5  o'clock,  w^ith  one  hour  for  lunch 
— Evening  sessions  begin  at  7:30. 

ANNUAL  DINNER  and  ENTERTAINMENT 

An  evening  of  music,  fun  and  good  fellow^ship. 
Radio  and  Movie  stars.  This  is  the  only  session  for 
which  a  charge  is  made.    Banquet  Tickets,   $1.50. 


VERTISING    AGENCIES,     SALES    MANAGERS 
ARE  ESPECIALLY  INVITED. 


SIGN  THE  COUPON 


r 


National  Conference  on  Visual  Education 
1111   Armitage  Ave,,  Chicago 

Please  send  me  program  and  Free  Membership  Card. 
Name .,- - ,_ — 


Address  . 


Position  . 


_l 


Page  132 


The  Educational  Screen 


Your  Attention  is  invited  to  the  problem  of 

PROJECTION  LAMPS 

P'or  best  results  in  all  projection  you  are  advised  to 

Use  MAZDA  SPECIAL  PROJECTION  LAMPS  Exclusively 

We  supply  lamps  of  the  best  professional  grade,  of  all  voltages,  and  for  all  types  of  pro- 
jectors. Sold  us  your  specifications. 


1937 

VISUAL   REVIEW 

now  available  — 

Write  for  your  copy. 


Society  Fob.  Visual  Education,  Inc. 

^Manufacturers,  cProducers  and  CbUiribuhrs  of  (}iiuala{ids 

3Z7    SOUTH     LASALLE    STR.EET,  CHICAGO,     ILLINOIS. 


16  MM.  SOUND-ON-FILM  for  RENT 

Lists  are  free  —  either  sound  or  silent  films. 
Oar  rates    (we   honestly  believe)    are   the   lowest   in   the   U.    B.   A. 

All  progrrams  unconditionally  STuaranteed. 

All   postase  on   films  —  both  to  and  from  destination  —  paid   by   us. 

We  are  organized  for  service — not  for  profit. 

May  we  save  you  money  on  your  equipment?     Try  us! 

THE     MANSE     LIBRARY      l\\\  .V,^"^'^ "  $Hh 


SALE  of 
MOVIE    BOOKS! 

Save  real  money  on  these  bargain- 
priced  movie  books'.  Order  yours  NOW! 
AMATEUR  MOVIE  MAKING  — by  Herbert  C.  McKay.  F.R.P.S. 
(4S0  pages,  cloth-bound,  shpg.  wt.  4  lbs.)  Regularly  $3.  SPECIALt 
$1.95.  MOTION  PICTURE  PHOTOGRAPHY— by  Carl  Louis  Gregory. 
F.R.P.S.  (370  pages,  lavishly  illustrated,  shpg.  wt  5  lbs.)  Regu- 
larly $6,  Now  ONLY  $2.95.  MOTION  PICTURE  PROJECTION— 
by  T.  O'Connor  Sloane  (300  pages,  cloth-bound,  shpg.  wt.  2  lbs.) 
A  $3  Value.  SPECIAL:  97c.  MOTION  PICTURE  DIRECTING— 
by  Peter  Milne  (234  pages,  cloth,  shpg.  wt.  2  lbs.)  Reduced 
from  $3  to  97c.  THE  CINE  CAMERA  and  CINE  EDITING  AND 
TITLING— both  by  Herbert  C.  McKay  (both  cloth-bound.  Illus- 
trated. 86  and  88  pages,  shpg.  wt.  each  2  lbs.)  Regularly  $1.  SPECIAL 
only  59c  each!  VOICE  OF  THE  FILMS— by  McKay  (80  pages, 
illustrations,  diagrams,  shpg.  wt.  10  oz.)  Regularly  $1,  SPECIAL  49c. 
P  B  C  C  I        Write   for    Free   April    Bargain 


Book    of    Cameras,    Supplies! 


Central  Camera  Co. 

230  S.   Wabash   Ave..   Dept.  54.   CHICAGO,   USA 


^P     screen  with  quickly 
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on    sale  by   Theatre   Supply   Dealers 
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ODD     NUMBERC 
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Of  All  Magazines  Supplied  Promptly 
and  Reasonably 

THE  H.  W.  WILSON  COMPANY 

950  University  Avenue  New  York  City 


ASK  lis  ABOUT 

The  Three  Series  of  Charts 

Historical  Charts  of  the  Literatures 
Vocabulary  Charts  of  the  Languages 
Structural  Charts  of  Great  Dramas 
THE     EDUCATIONAL     SCREEN 


"The  Mighty  Treve" — A  Film  Review 

(Based  on    Albert  Payson  Tcrhune's  novel,  "Treve.") 

TVJ  ANY  dogs  have  come  and  gone  on  the  screen,  in 
bit  parts,  in  star  parts,  from  Strongheart  and  Rin 
Tin  Tin  down  through  lesser  knowns,  even  to  adorable 
])ups  that  are  nameless.  And  now  comes  "Tuffy."  If 
there  are  any  youngsters  who  have  never  lost  their 
hearts  to  a  dog  in  a  movie,  let  them  prepare  to  lose 
them  now.  This  irresistible  collie  is  a  dog  '"star"  of  the 
first  magnitude.  The  picture  is  his. 

It  is  an  open-air  picture  of  rolling  plateau  and  wind- 
swept upland  in  the  great  Southwest,  grazing  lands  for 
sheep  in  thousands.  -Against  a  glorious  natural  back- 
ground unfolds  a  human  little  story,  adecjuately  acted, 
of  sheep-ranch  people  and  esj^ecially  of  "Bud''  (sin- 
cerely played  by  Xoah  Beery  Jr.)  and  his  dog. 

The  home  ranch  sold,  to  a  heartless  buyer  who  claims 
the  dog  goes  with  it,  the  disconsolate  orphan  hero  with 
his  last  possession  rides  ofif  alone  with  his  pony  an^ 
parrot  to  seek  another  home.  But,  the  loyal  dog  escapes 
and  overtakes  his  master.  Joyously  now  they  travel  on 
and  meet  a  girl  who  offers  shelter  at  her  uncle's  ranch 
— but  the  dog  must  be  ke])t  out  of  sight  for  "uncle  hates 
dogs."  -Vccident  reveals  TufFy's  presence,  and  only  the 
plea  of  his  niece  prevents  the  furious  old  man  from 
sending  the  wanderers  on  their  way.  After  a  poignant 
scene  where  the  uncle  nearly  manages  to  shoot  the 
beautiful  animal,  TufTy's  irresistible  charm,  intelligence 
and  devotion  gradually  turn  his  hatred  to  aiifection. 
Tuffy's  masterful  handling  of  a  huge,  head-strong  flock 
of  sheep  that  were  too  much  for  the  herders  is  finely 
thrilling.  He  saves  the  uncle's  life  from  an  attacking 
mountain  lion.  He  wins  prizes  and  much  needed  money 
when  his  fond  master  exhibits  him  at  a  neighboring 
fair — but  then  comes  misfortune  which  all  but  leads  to 
tragedy.  The  brutal  buyer  of  Bud's  old  home  appears, 
claims  Tuflfy,  the  law  upholds  him,  and  the  broken- 
hearted hero  sees  his  pal  led  away  apparently  forever. 

Shortly  comes  news,  dreaded  by  every  rancher,  that 
shee])  are  being  found  killed.  Madly  they  hunt  the  per- 
petrator. It  may  be  coyote,  wolf,  mountain  lion,  or 
even  a  sheep-dog  turned  "killer,"  as  they  are  known  to 
do  occasionally.  Tracks  are  found  showing  that  the 
killer  runs  on  three  legs.  And  one  day  Tufify  reappears, 
bedraggled,  bloody,  holding  an  injured  forefoot  of?  the 
ground.  The  code  of  the  range  says  killers  must  die, 
and  a  dozen  revolvers  are  drawn  for  the  execution.  Bud 


April,  19}7 


Page  133 


pleads,  but  in  vain.  .V  Jxanjjcr  rides  iiji.  across  his  liorse 
tlie  manj^led  body  of  a  dead  wolf  with  a  forefoot  miss- 
ing, evidently  lost  in  a  trap  long  before.  The  three- 
])awed  tracks  are  explained!  Tuffy  had  killed  the 
"killer"  in  what  must  have  been  a  terrific  battle!  The 
proven  innocence  and  heroism  of  the  adorable  dog. 
after  tense  moments  of  suspicion  that  will  be  emotional- 
ly trying  to  sensitive  children,  provide  vast  relief  and  a 
triumphantly  happy  ending.  jvj    L   G 

The  Chicago-Erpi  Films  on  Astronomy 

This  group  of  four  sound-films,  recently  completed 
by  Erpi  Picture  Consultants  under  the  scientific  super- 
vision of  Walter  Rartky,  Associate  Professor  of  As- 
tronomy in  the  University  of  Chicago,  is  a  notable  ad- 
flition  to  (lur  steadily  accumulating  store  of  educational 
film  material  of  real  distinction.  Such  productions  are 
raising  the  quality  of  visual  teaching,  and  are  hastening 
the  day  when  real  selection  can  be  exercised  and  in- 
ferior stuff  consigned  to  the  discard. 

The  four  films  form  a  logical  descriptive  series,  be- 
ginning at  home  with  "The  Earth  in  Motion",  on  to 
"The  Moon."  then  to  "The  .Solar  System."  and  finally 
"Exploring  the  Universe"  with  unlimited  space 
as  the  only  limit.  -Splendid  animated  drawing,  neces- 
sarily condensing  the  distance  scale  but  keeping  rela- 
tive in(5tions  accurate,  is  a  major  feature  used  to  great 
advantage  throughout  the  films.  Obviously  the  "sound" 
element  in  these  pictures  means  merely  the  accompany- 
ing vocalogue  dubbed  on  the  film,  it  being  impossible 
as   yet   to   catch    "the   music    of   the   spheres"   on   the 


PLEASE  NOTE 

Your  film  plans  should  include  our  "World  in  Review"  series 
specially  produced  by  Pathe  News  Inc.  and  edited  for  class- 
room as  well  as  auditorium  use;  also  a  series  entitled, 
"Secrets  of   Nature",   produced   by   British   Instructional   Films. 


16  MM.  SOUND-ON-FILM 


EDUCATIONAL  FILMS  ON 

Astronomy 
Music  Appreciation 
Microscopic   Studies 
Studies  in   Biology 
Art  and   Architecture 
Physical  Science 
World  and   Its  People 


ENTERTAINMENT 

(Full-I^ength    Features! 

"Last  of  the  Mohicans" 
"Black  Beauty" 
"Little   Men" 
"Jane  Eyre" 
"The    Healer" 
"Keeper  ot  the   Bees" 
"Hoosier    Schoolmaster" 


Cartoons    —     Sports 


Travels     —     Musicals     —     Novelties 


SPECIAL  SUBJECTS 


"Evolution" 
3  Reels 


"Hlilory  of  Aviation'* 
3  Reeii 


"Highway  Mania" 
2  Reels 


"Earthquakes" 
2  Reels 


WRITE  DEPT.  ES  for  catalogs  listing  500  subjects. 
(Available  on  rental  or  purchase  basis) 


WALTER  0.  GUTLOHN 


35  W.  45th  St. 
INC.      N.Y.C. 


40II1I  I   I  SEES  ALL-PLAYS  ALL!         ««,,.,,*     ws,s^„;^-^^,s 

16MM Universal  SOUND  PROJECTOR 

ALL  YOU  WANT  IS  HERE  — Think  over  the  things  you  want 
most  in  a  16  MM.  Sound  Projector.  In  Universal  you  v^ill  find 
record-breaking  Tone  performance  and  brilliancy  in  screen  image. 
Economy  is  the  boast  of  every  Universal  owner. 


The  advanced  Universal  has 
won  the  approval  of  leaders  in 
every  field.  This  ruggedly  con- 
structed, precision  built  projec- 
tor embodies  all  the  latest  fea- 
tures. Throws  a  clear,  brilliant 
image  to  any  desired  screen 
size  and  reproduces  sound  in 
life-like,  true  tone  quality. 


Finger-tip  control  instantly  ad- 
justs amplification  for  large  or 
small  audiences.  Compactly 
portable  in  two  carrying  cases, 
it  is  ready  for  quick  set-up. 
Complete,  ready  to  plug  in. 
Universal  is  low  in  first  cost,  ex- 
tremely economical  in  upkeep 
.    .    .   AND  EASY  ON  FILMS. 


May  Be  Purchased  on  the  Universal  Budget  Payment  Plan 

Sentry    Safety    Control    Corp. 
UNIVERSAL    SOUND    PROJECTOR    DIV. 


OUTSTANDING 
FEATURES 


SOUND 
PROJECTOR 

•  750-Watt  pwijector  lamp.  Brilliant 
ijlctures.  For  all  size  reels.  Heavy  duty 
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Trained  operator  not  nece.'isary.  Adjust- 
ments Quickly  accessible.  For  sound  or 
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Central  oiling.  Hansch  &  Lomb  sound 
optical  luiit.  Underwriter  approved. 
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0  rower  for  large  or  small  groups. 
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so  thaX  error  in  oi)enUion  is  impossible. 

SPEAKER 

#  Dynamic  T^-pe.  12-inch  cone.  S|)e- 
cial  voice  balance.  50-ft.  voice  line. 
Sjteaker  contained  for  carrying  In  «m- 
plitier  case. 


Manufacturers  of  16mm  -  36mm 
Sound  Projectors 


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Factory  &  General  Offices. 
Allegheny  Ave.  at  9th  St.. 
Phl'adelphia,  Pa. 


Paramount  Building. 
New  York  City. 
New  York 


DEALERS    IN    PRINCIPAL    CITIES 


Please    send    tull    Information    and    literature    on 
your  16  MM.  Sound  Projector. 


NAME  

ADDRESS 
CITY 


STATE 


Page  134 


The  Educational  Screen 


Announcingl 

A  new  producing  organization  devoted  exclusively 
to  supplying  the  increasing  demand  for  16  mm. 
educational   films   of  all   types. 


NEW  IDEAS 


NEW  MATERIAL 

Series  A— GEOGRAPHY:— 

History,     Native    Customs,     Industries  —  with     maps    and 
diagrams. 

Series  B— SCIENCE:— 

Simple  dramatizations  of  natural  phenomena.    Astronomy 
films  made  with  cooperation  of  Hayden  Planetarium. 

Series  C— SPORTS:— 

Techniques,    equipment,    training  —  under    supervision    of 
leading   college   instructors.  . 

Series  D— SCREEN  MEMORIES:— 

Taken  from  famous  old  films  of  Blograph  Studios  dating 
bad  to   1909. 

Write  for  full  information. 

Pictorial  Film  Library,  Inc. 


1 30  West  46th  St. 


New  York,  N.  Y. 


AT  LAST! 

A  TALKIE   PROJECTOR 


$ 


85 


FOR  THIS  PRICE  WE  WILL  CON- 
VERT YOUR  SILENT  16mm.  PRO- 
JECTOR INTO  A  FIRST  CLASS 
SOUND -ON -FILM     PROJECTOR 

WRITE    IMMEDIATELY     FOR    FULL    DETAILS 
GIVE  MAKE  AND  MODEL  OF  YOUR  PROJECTOR 

FORD  MOVIE  COMPANY 

1659  FORD  AVENUE 
DETROIT.      MICHIGAN 


sound-track.  The  four  constitute  an  invaluable  supple- 
ment to  the  Bartky  textbook.  "Highlights  of  Astrono- 
my," one  of  the  five  New  Plan  texts  by  the  University 
of  Chicago  faculty  which  were  reviewed  in  our  Feb- 
ruary issue.  Needless  to  add  that  the  films  have  equal 
value  with  any  textbook  in  .\strononiy. 

The  Earth  in  Motion  presents  a  visual  proof  of  cer- 
tain facts  not  easily  grasped  or  fully  comprehended  by 
the  average  mind,  such  as  the  earth's  sphericity,  rota-  , 
tion  and  revolution.  The  evidence  set  in  motion  on  the  1 
screen — of  star  trails,  of  the  Foucault  pendulum,  of  the 
annual  parallax  of  stars — makes  these  concepts  clear, 
fascinating,  lui  forgettable. 

Tlic  Moon  brings  out  vividly  the  personality  and 
habits  of  our  nearest  neighbor  in  space,  her  orbit  and 
phases,  her  weird  ])ower  over  the  tides,  and  how  she 
occasionally  eclipses  herself,  the  sun,  and  other  stars.      _ 

The  Solar  Family  takes  us  still  further  afield  to  sur-  m 
vey  our  own  solar  system,  the  origin  of  the  planets,  their 
orbits,  the  puzzling  retrograde  movement  of  Mars  and 
Jupiter,  the  apparent  shift  in  position  of  Saturn's  rings, 
the  path  of  comets,  and  such  intriguing  matters. 

Exploring  the  Universe  first  makes  clear  the  prin- 
ciples and  construction  of  telescopes,  and  then  brings 
into  concrete  visibility  by  animation  thrilling  goings-on 
in  the  depths  of  space  of  which  most  of  the  human  race 
is  blissfully  unaware — the  binaries,  the  trinaries,  the 
variables  and  why  they  vary,  galaxies  and  galactic  ro- 
tation, what  will  happen  to  the  Big  Dipjier  in  a  hun- 
dred thousand  years,  and  for  final  good  measure  the 
theory  of  the  expanding  universe.  N.  L.  G. 


Visual  Education  Conference 

The  National  Conference  on  \  isual  Education  re- 
ports that  applications  already  in  for  free  membership 
cards  for  the  June  meeting  indicate  that  registration3 
will  exceed  all  former  records.  The  cards  will  be 
issued  in  the  order  received.  When  the  seating  ca- 
pacity of  Francis  W.  Parker  .School  auditorium  is 
reached,  no  further  cards  will  be  issued. 

Supt.  W.  L.  Johnson  of  the  Chicago  City  Schools 
will  give  the  address  of  welcome  for  the  teaching 
fraternity,  and  President  Homer  Buckley  of  the  Buck- 
ley Dement  Co.  for  the  advertising  fraternity.  Both 
of  these  men  are  leaders  in  their  respective  fields  of 
school  administration  and  advertising. 

Held  the  week  before  the  June  N.  E.  .\.  meeting, 
the  conference  should  provide  a  convenient  stopover 
for  visual  educationalists  on  the  way  to  Detroit — and 
it  is  hoped  that  special  groups  will  be  organized  to 
attend  the  Detroit  session  of  The  Visual  Education 
section  of  the  N.  E.  A.  The  Conference  is  made  pos- 
sible by  The  DeVry  Foundation,  and  its  headquarters 
are  at  1111  Armitage  .\ venue,  Chicago. 


Back  Issues  Wanted 

Frequently  we  receive  orders  for  back  issues  of  the 
Educational  Screen  tvhich  we  cannot  fill  because  our 
supply  is  exhausted.  Wc  are  particularly  in  need  of  the 
folloxinnq  copies:  March,  May  (192S),'  April,  October 
(\928) :'  March  (1930);  all  issues  of  1931,  1932,  1933; 
January,  June,  September  (1934);  April,  Mav,  June 
(1935). 

//  any  of  our  readers  can  supply  these  numbers,  a  fair 
price  ivill  he  paid  for  them,  if  rccewed  in  qnod  condition. 


AprH,  1937 


Page  135 


Four  Important  New 
Classroom  Films 


Photographed  by  Juhen  Bryan, 
famous  American  explorer  and  lecturer 

Announcing  a  magnificent  new  series  of  documentary  motion 

pictures  . . .  filmed  by  Julien  Bryan,  noted  explorer-lecturer 

edited  according  to  standards  that  have  made  other  Eastman 
Classroom  Films  famous. 


JAPAN  Modern,  westernized  urban  life  contrasted 
with  the  ancient  modes  and  methods  that  persist  in 
farm  areas.  Public-school  life;  religious  ceremonies. 
Facts  recorded  as  only  the  motion  picture  camera  can 
record   them.    2    reels   (ready   soon),   $48   complete. 


TURKEY  The  new  Turkey  evolving  under  the  mod- 
ernizing influence  of  the  Young  Turks  is  shown  in 
highly  instructive  action  scenes.  Life  in  Ankara,  the 
new  capital.  Rapid  strides  in  industrialization.  Agri- 
cultural activities.  2  reels  (ready  soon),  $48  complete. 


RUSSIA  Its  people;  its  public  buildings,  old  and 
new;  conditions  in  the  cities,  in  the  factories,  on  the 
farms.  An  intimate,  objective  camera  study  of  an  ex- 
periment aflfecting  one-seventh  of  the  world's  land 
area.  3  reels  (ready  May  1),  $72  complete. 


SIBERIA  Developments  in  this  vast  country  under 
U.  S.  S.R.  policies.  Schools,  hospitals,  collective  farms, 
and  the  fishing  industry.  The  Lake  Baikal  region.  The 
primitive  Buryat  Mongolians.  Tungus  life  in  the 
Siberian  tundra.  2  reels  (ready  May  1),  $48  complete. 


Order  now  for  prompt  delivery,  or  write   for  further  details  .  .  . 
Eastman  Kodak  Company,  Teaching  Films  Division,  Rochester,  N.  Y. 

Eastman  Classroom  Films 


Page  136 


ENTERTAINMENT 

FILMS 

16  mm.    —    Sounc 

and  Silent 

Tremendous  Selection   of  Subject*^  — 

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TWO  NEW  SCIENCE  AIDS 

FOR       PROGRESSIVE       TEACHERS 

PRINCIPLES    OF    PHYSICS        PRINCIPLES    OF    CHEMISTRY 

The  visualization  of  hisrh  school  The  core  of  the  year's  work  in 
physics  on  35  mm.  film  slides  for  chemistry  especially  adapted  for 
classroom  use.  review. 

Descriptive  literature  and  sample  strip  of 
typical  frames  sent  on  request.     Address : 

VISUAL     SCIENCES  —  Suffern.    N.Y. 


TEACHERS,    PRINCIPALS,    SUPERINTENDENTS 


We   Place   You   in    the   Better 
For  a  School,   etc.,  etc' 

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Largest  and    Most   Suci 


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'•SIMPLE  DIRECTIONS  FOR  MAKING  VISUAL  AIDS" 
by  Lillian  Heathershaw.  Drake  University,  Des  Moines,  Iowa 
with  directions  for  making:  Etched  Glass  Slides,  using:  Colored  Pencils; 
Etched  Glass  Slides,  usin^  Colored  Inks  ;  Paper  Cut-out  Lantern  Slides  ; 
Ceran^c  Lantern  Slides ;  India  Ink  Lantern  Slides ;  Stillfilms ;  Cello- 
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Electric  Map ;  Spatter  Work ;  Pencil  Outlines  of  Leaves  ;  Carbon  Copies 
of  Leaves  ;  Leaf  Prints  from  Carbon  Paper ;  Blue  Prints ;  Sepia  Prints. 

Price  25c.    Send  coin  or  stamps  to 
EDUCATIONAL  SCREEN  64  E.  Lake  St..  Chicago 


The  Educational  Screen 

AMONG  THE  PRODUCERS 

Recent  Gutlohn  Releases 

Walter  O.  Gutlohn,  Inc.,  New  York  City,  annt  mice 
the  addition  of  many  new  reels  to  their  library  of 
16mni  sound  films,  among  which  is  Highway  Mania, 
a  two-reel  instructional  film  on  the  hazards  of  reck- 
less driving,  giving  constructive  suggestions  and 
criticisms  on  the  safety  of  automobile  driving.  This 
film  features  Lowell  Thomas  and  has  been  produced 
by  Pathe  News.  It  is  available  either  on  a  rental  or 
outright  purchase  basis. 

Another  picture  available  on  the  same  basis  is  a 
three-reel  film  on  The  History  of  Aviation,  also  pro- 
duced by  Pathe  News.  The  subject  matter  deals 
with  the  first  flights  in  history  up  to  and  including  the 
])resent-(lay  transatlantic  flying  liners  and  the  China 
Clipper. 

New  subjects  in  the  World  in  Rcvinv  and  Secrets 
of  Nature  series  are  being  acquired  regularly  for  dis- 
tribution to  schools  and  institutions  on  a  leasing  or 
rental  arrangement.  Twenty-five  of  the  films  in  these 
series  may  be  obtained  in  16mm  silent  versions. 

Mention  should  also  be  made  of  Harmony  Lane,  a 
moving  interpretation  of  Stephen  Foster's  life,  which 
is  now  available  for  the  first  time  in  16mm  sound-on- 
film  from  this  library. 


evry  literature  is  informing 

THE  EDUCATIONAL  BOOKLETS   ARE  IN   DEMAND  FOR  COLLEGE  and  HIGH  SCHOOL  CLASSES 
In    Visual    Education,    Advertising,   and     for     Libraries     and     Business 

Research  Workers 
■^i  Glorify  Your  Product 


"This  exceedingly  'Dractical'  b;)ok 
might  say  also  provoked,  by  tne 
coming  in  from  all  corners  of  the 
general  intent:  'What  research  and 
done  in  this  field?'  'Has  anything 
really  known?'  Are  there  any  'facts' 
ly  'claims',  etc.  This  neatly  made 
pages  in  attractive  blue- paper-cover, 
convenient    answer    to    such    inquiries. 


't     was     prompted,     one 
never-ceasing      inquiries 
field    to    the    following 
experiment     have     been 
been    proved 7'    ' What    is 
everything    mere- 
booklet,    of    24    readable 
OeVry's    quick    and 
Educational     Screen 


A  practical  treatise  on  how  to  go 
about  the  job  of  producins  "Talk- 
ies" that  will  sell  goods  and  service. 
Shows  what  other  firms  have  ac- 
complished. Richly  illustrated.  Free 
to   sales   and   advertising:  executives. 


Supt.  Arthur  L.  Maberry  of  Bangs.  Texas  substi- 
tuted supervised  study  at  school,  for  desultory  study 
at  home.  He  bought  a  16mm  talkie  unit,  and  used 
the  amplifier  for  public  address  throughout  the 
school.  He  says  this  equipment  greatly  aided  his 
school-study  plan.  The  Literary  Digest  wrote  it  up. 
This  booklet  gives   the   details.    Free   on   request. 


CIRCULARS       ON       DEVRY       PRODUCTS      BELOW,       FREE      ON       REQUEST 


Theatre  Folder 


Portable    Folder  16mm     Challenger    Sound   16mm     Sprocket     Inter-      Public  Address  Folder         Silent     Cameras     and         DeVry  Sound  Camera 


Folder 


nittent     Folder 


HERMAI¥     A.     DeVRY     IXC. 


Projectors.    Accessories 

II  II    Armitage  Ave.,        CHICAGO 


April,  19J7 


Page  137 


A  New  Source  for  16  mm.  Films 

The  Pictorial  ]'"ilm  Library  Inc.  of  New  York 
City  have  recently  entered  the  16mni  producing  and 
distributing  field  and  plan  to  make  available  one  new 
film  each  month  for  the  educational  field.  Csecho- 
sloz'akia,  The  President  Speaks,  and  Ski-Esta  have 
been  announced  as  completed,  and  others  are  in  ])ro- 
duction. 

Czechoslovakia  is  a  timely  one-reel  subject  which 
captures  the  light-hearted  spirit  of  the  colorful  life  of 
the  country.  Prague,  with  its  beautiful  architecture 
and  quaint  buildings,  and  the  mountain  folk  of  Slo- 
vakia are  its  features. 

The  President  Speaks,  one  reel,  is  an  historical  liv- 
ing document  of  the  policies  of  President  Roosevelt 
as  explained  to  the  people  of  the  United  States  in  one 
of  the  famous  Fireside  Chats  of  May  1935.  This 
film,  claimed  to  be  the  first  and  only  one  of  its  kind 
ever  offered  to  the  pviblic,  was  produced  with  the  con- 
sent and  cooperation  of  the  White  House. 

Representative  of  the  series  on  sports,  the  one-ree' 
subject,  Ski-Esta.  stresses  the  elements  of  skiing  from 
actual  class  instruction  to  the  more  advanced  ph:ises 
of  the  thrilling  sport.  Photographed  at  the  popular 
ski  resort — North  Creek,  New  York — by  the  famcui 
outdoor  cameraman.  Carl  Rerger,  it  contains  scenes  of 
]Mctorial  beauty. 

Da-Llte  Screen  Prices  Reduced 

.\t  a  time  when  the  ])rices  of  nearly  everything  are 
going  up,  announcements  of  price  reductions  are  es- 
pecially welcome  news,  .\mong  the  few  manufacturers 
who  are  making  such  announcement.';  '■his  Spring  is  the 
Da-Lite  Screen  Company,  Inc..  Chicago,  makers  of  one 
of  the  largest  lines  of  projection  screens.  The  Da-Lite 
Companv  advises  that  owing  to  economies,  resulting 
from  recent  increases  in  sales,  the  prices  of  several  of 
its  portable  models  have  been  reduced. 

All  sizes  of  the  Standard  Challenger — the  popular 
portable  screen  with  tripod  attached — are  now  $5.00 
lower  in  price.  The  30"  x  40"  which  was  $20.00  is  now 
onlv  $15.00.  The  36"  x  48"  has  been  reduced  from 
$25.00  to  $20.00.  The  39"  x  52"  which  was  $30.00  is 
now  $25.00.  These  lower  prices  bring  the  advantages 
of  a  tripod  screen  to  a  school  at  practicallv  the  cost  of 
a  box  screen.  The  30"  x  40"  size  of  the  Standard 
Challenger  is  actually  less  than  the  same  size  of  the 
Da-Lite  New  Deal  box  screen.  The  other  two  sizes — 
36"  x  48"  and  39"  x  52"  are  the  same  in  both  types  of 
screens. 

Users  of  visual  aids  will  also  appreciate  the  saving 
offered  in  price  reductions  on  the  DeLuxe  New  Deal 
(box)  Screens — the  large  screens  (45"x60"  to 
72"x96")  for  showings  to  large  groups. 

Sealtite  Film  Cabinet 

A  circular  has  just  been  issued  by  the  Neumade 
Products  Corporation,  427  West  42nd  Street,  New 
York  City,  on  the  new  Sealtite  Film  Cabinet.  The  new 
cabinet  is  made  up  in  units  of  5,  6,  8,  10,  and  12  sec- 
tions, accommodating  the  new  2,000  ft.  reel.  It  has  sev- 
eral innovations  to  recommend  it,  among  which  are, 
automatic  closing  of  section  doors ;  safety  in  chambers 
between  section ;  permanent  reel  carriage  and  heavier 
gauge  steel  construction. 


More  Convenient 
for  Classroom 
Use 


.Lwa 
■iM  (A) 


The  Model  VA  Spencer  combination  projec- 
tor, ideal  for  classroom  use  gives  you: 

•  Brilliant  screen  pictures  for  standard 
slides. 

•  Superior  projection  from  opaque 
materials  .  .  .  pictures  or  text  from 
books,  drawings  or  photographs. 

•  You  can  use  both  slides  and  opaque 
material  in  the  same  class  period  by 
turning  a  handle. 

•  Your  books  or  photographs  are  pro-  ''^ 
tected  from  the  heat  of  the  lamp  ?; 
by  the  Spencer  Cooling  Fan. 

•  With  the  new  elevating  device  you 
can  most  conveniently  center  the 
picture  on  the  screen. 

Write  for  complete  description   and   prices  of  Spencer 
Delineascopes  for  school  use.   Please  address  Dept.  R-7-4. 

Spencer  Lens  Company 


Buffalo 


New  York 


Page  138 


The  Educational  Screen 


THE    FILM   ESTIMATES 


Borderland  (Bill  Boyd,  Jimmie  Ellison) 
(Para.)  Hopalong  Cassidy  poses  as  "bad  man" 
to  help  Rangers  capture  murderous  head  of 
cattle  rustlers.  Fine  scenery,  eood  acting, 
usual  saloons  and  ^un-battles,  tense  moments, 
but  heavy  villainy  not  overdone.  Good  as 
Westerns  go.  4-6-37 

(A)  Hardly  (Y-C)  Good  of  kind 

Dangerous  Number  (Robt.  Young,  Ann  Soth- 
ern)  (MOM)  Crazy  farce  planned  to  be  "fast 
and  funny".  Rich,  breezy  hero  and  tempera- 
mental actress  of  cheap  antecedents  do  a  hectic 
wedding-,  wrangle  furiously  through  brainless 
adventures  to  supposed  harmonious  conclusion. 
Stupid  role  for  Reginald  Owen.  4-6-37 

<A)  Mediocre  (Y)  Better  not  (C)  No 

Don't  Tell  the  Wife  (Guy  Kibbee.  Una  Mer- 
kel)  (RKO)  Fast,  hilarious  farce,  "kidding" 
swindling  of  public  by  promoters  of-  fake 
mining  stock.  A  dupe  of  gang  discovers  real 
gold  in  the  mine  and  merrily  turns  tables  on 
crooks.  Farcical  treatment  of  serious  subject 
of  dubious  effect.  3-30-37 

(A)  Mediocre  (Y)  No  value  (C)  No 

Espionage  (Edmund  Lowe,  Madge  Evans) 
(MOM)  Pseudo-spy-thriller  about  hero  and 
heroine  in  railroad-chase  after  big  munitions- 
maker  on  supposed  secret  mission.  Thrills 
neutralized  by  wisecrack,  hokum,  stock  laughs. 
Hero's  supposed  lady-killing  power  still  chief 
feature.  4-6-37 

(A)  Hardly  (Y)  Perhaps  (C)  No 

Family  Affair  (L.  Barrymore  and  tine  cast) 
(MOM)  Excellent  picture  of  family  life  and 
loyalty,  rich  in  character  values  and  homely, 
human  interest.  Fine  old  judge,  target  of 
crooked  political  foes,  comes  through  with 
flying  colors  for  himself,  town  and  family. 
One  marring  8equ<»nce.  3-16-37 

(A-Y)  Excellent  (C)  If  not  too  mature 

Her  Husband's  Secretary  (Jean  Muir,  Wal- 
ter Hull)  (Warner)  Good  little  triangle  story 
but  crudely  done,  showing  how  wife  should 
stand  rivalry  of  Secretary.  Absurd  motiva- 
tion, lack  of  subtlety,  and  a  too  contemptible 
Secretary  spoil  it.  And  a  forest  fire  for 
climax.  3-23-37 

(A)  Hardly  (Y)  No  (C)  No 

History  is  Made  at  Night  (Jean  Arthur. 
Chas.  Boyer)  (UA)  Head  waiter-hero,  jealous 
ship-owner  husband,  long-suffering  heroine 
wife  woven  into  tense,  exciting  triangle  with 
"Titanic  disaster"  climax.  Fine  acting,  strik- 
ing photography,  convincing  characters  out- 
weigh some  absurdities  in  melodrama.  3-30-37 
(A)  Very  good  of  kind       (Y)  Doubtful       (C)  No 

John  Meade's  Woman  (Edward  Arnold,  Fran- 
cine  Larrimore)  (Para.)  Strong,  compelling 
character  drama,  finely  done,  turning  to  mere 
wind-machine  melodrama  for  climax.  Rich,  ruth- 
less hero  rides  rough-shod  over  others  but  finds 
it  doesn't  pay.  Social  ethics  at  their  worst, 
like  "Come  and  Get  It".  3-16-37 

(A)  Very  gd.  of  kind      (Y-C)  Very  unwholesome 

King  and  the  Chorus  Girl  (Fernand  Gravet. 
Joan  Blondell)  (Warner)  Clever,  airy  romantic 
comedy  of  whimsical  nonsense.  Gravet  not- 
able as  irresponsible  play-boy  king  who  never 
sees  daylight.  Blondell  fine  as  little  American 
chorus  girl  who  cures  him.  Thin  sophisticated 
atmosphere  vanishes  in  laughs.  4-6-87 

(A-Y)  Very  good  of  kind  (C)  Little  interest 

Lost  Horizon  (Ronald  Colman,  Jane  Wyatt, 
Margo)  (Colum.)  Costly,  pretentious  screening 
of  much  loved  book,  with  much  beauty,  fine 
acting  and  vast  thrill.  But  trying  to  be  co- 
lossal overdoes  violence  and  sound,  drags  cut 
scenes,  burying  drama  and  thought  under  mere 
weight,   length  and  spectacle.  3-16-37 

(A)  Notable         (Y)  Heavy         (C)  Beyond  them 

A  Man  Betrayed  (Lloyd  Hughes,  Eddie  Nu- 
gent) (Republic)  Second-rate  but  harmless 
little  tale  of  red-blooded  young  missionary 
who  returns  to  find  brother  in  hands  of 
crooks  who  manage  to  frame  him  on  murder 
change.  Hero  battles  everybody  and  wins. 
Feeble  throughout.  3-23-37 

(A)  Mediocre       (Y-C)  Harmless  but  slight  value 

The  Man  Who  Could  Work  Miracles  (Roland 
Young)  (British)  (UA)   An  H.  G.  WelU  whimsy 


Being  the  Combrned  Judgments  of  a  National  Committee  on  Current  Theatrical  Films 

(A)  Discriminating  Adults  (Y)  Youth  (C)  Children 

Date    of    mailing    on    weekly    service    is    shown    on    each   film. 

(The  Film  Estimates,  in  whole  or  in  part,  may  be  reprinted 

only  by  special  arrangement  with  The  Educational  Screen) 


about  miraculous  power  bestowed  on  ordinary 
human  being,  who  uses  it  first  for  small  ends, 
then  greater,  and  finally  for  universal  destruc- 
tion. Young  fine  as  humble  hero.  Novel  story, 
elementary  cinema.  3-23-37 

(A-Y)  Interesting  (C)Doubtful  interest 

Marked  Woman  (Bette  Davis,  Humphrey  Bo- 
gart)  (Warner)  Grim,  strong  picture  of  sordid, 
sexy  business  of  night-club  "hostesses"  work- 
ing to  enrich  murderous  bully,  their  overlord 
in  vice.  Decency  thrillingly  defeated  through- 
out. Fine  example  of  expert  screening  of 
outrageous  theme.  4-6-37 

(A)  Dep.  on  taste        (Y-C)  Utterly  unwholesome 

May  time  (Jeanette  MacDonald,  Nelson  Ed- 
dy) (MGM)  Outstanding  musical  to  deaght  all. 
despite  length  and  some  over- melodramatic 
bits.  Opera-singer,  devoted  to  "career",  wins 
renown  but  loses  her  true  love.  Told  in  flash- 
back. Lovely  music,  beautiful. y  sung,  in  beau- 
tiful settings.  Fine  production.  3-30-37 
(A)  Excellent      (Y)  Excellent     (C)  Mat.  but  gd. 

Midnight  Court  (Ann  Dvorak,  John  Litel) 
(Warner)  Sensational  presentation  of  stolen 
car  racket,  with  former  eminent  lawyer  de- 
fending crooks  by  mockery  of  justice.  Hero- 
ine, plus  melodramatic  complications,  bring 
him  to  his  senses  and  he  turns  the  tables  on 
the  crooks.  Much  overdone  in  spots.  3-23-37 
(A)  Hardly  (Y)  Better  not  (C)  No 

Nancy  Steele  is  Missing  (Victor  McLaglen) 
(Fox)  Another  heavy-fisted  role  for  McLaglen. 
Raging  at  munitions-makers  as  cause  of  war, 
he  kidnaps  baby,  hides  it  safely  —  then  goes 
berserk  trying  to  swindle  the  father,  his  own 
benefactor,  till  villain  forces  confession.  Con- 
temptible role  powerfully  played.  3-23-37 
(A)  Fine  of  kind                        (Y-C)  By  no  means 

Parole  Racket  (Paul  Kelly,  Rosalind  Keith) 
(Columbia)  Sensational  stuff  on  parole  abuses 
which  strains  credulity.  Parole  board  head 
shown  as  big  boss  of  bomb-throwing,  rack- 
eteer gang,  hiring  parolees  until  detective 
hero  captures  all.  Newspaper  offices  a  la 
Hollywood.  3-16-37 

(A)  Hardly  (Y)  Little  value  (C)  No 

Personal  Property  (Jean  Harlow,  Robert 
Taylor)  (MGM)  Inartistic  version  of  "Man  in 
Possession".  Vacuous  "society"  drama  of 
wrangling  romance,  resorting  to  low  comedy, 
crude  slapstick,  raucous  dialog,  and  burlesqued 
character.  Many  laughs  for  the  general  pub- 
lic. Merely  good  box-office.  3-30-37 
(A)  Depends  on  taste        (YJ  Doubtful        (C)  No 

Quality  Street  (Hepburn,  Tone,  Bainter) 
(MGM)  Genuine  treat  for  Barrie  lovers.  Act- 
ing and  direction  distinguished  for  artistry  and 
intelligence.  Correctly  slow-moving,  to  keep 
gentle  humor,  romance,  charm  of  original, 
with  settings  and  action  faithful  to  manner 
and  atmosp])ere  of  the  period.  3-30-37 

(A)  Delightful       (Y)  Excellent       (C)  Very  good 

Ready,  Willing  and  Able  (Ruby  Keeler,  Ross 
Alexander)  (Warner)  Just  another  musical 
farce,  with  two  young  wise-cracking  would-be 
producers  trying  to  get  a  play  financed.  Mis- 
taken identity  of  star  makes  complications. 
Feeble  because  of  heroine's  poor  acting  and 
Fazenda*s  over-inflated  role.  3-16-37 

(A)  Mediocre  (Y)  Perhaps  (C)  Hardly 

Seventh  Heaven  (James  Stewart.  Simone  Si- 
mon) (Fox)  Notable  re-creation  in  sound  of 
famous  silent  of  ten  years  ago,  superior  to  it 
in  dramatic  vigor  and  pictorial  technique  if 
not  in  charm  and  sentimental  appeal.  More 
strength  than  subtlety  at  times.  Stewart's 
Chico  excellent.  4-6-37 

(A)  Excell.     (Y)  Mature  but  gd.     (A)  Bey.  them 

Spain  in  Flames  (Authentic  war  pictures) 
(Amkino)  Realistic,  terrifying,  grim,  actual 
scenes  in  Spain,  taken  by  Soviet  and  Spanish 
Government  cameras,  portray  present  struggle 
from    strongly    anti-fascist    standpoint.      Pro- 


foundly stirring  for  People's  Front  sympathiz- 
ers. Clear  vocal  comment  adds  much.  4-6-37 
(A)  Depends   on  taste     (Y|  No  (C)  No 

Swing  High.  Swing  Low  (Fred  MacMurray, 
Carole  Lombard)  (Para.)  Hilarious  mixture  of 
tortured  "music"  and  wisecrack  dialog,  with 
breezy  adventure,  pick-up  romance,  cabaret 
"love",  cheap  philandering,  sodden  drunken- 
ness, continuous  night-club  tone.  Offends  taste 
and  intelligence,  sure-fire  money-maker.  3-28-87 
(A)  Depends  on  taste  (Y-C)  Unwholesome 

Time  Out  for  Romance  (Claire  Trevor,  Mich- 
ael WhalennFoxl  Conniving,  ultra-rich  moth- 
er of  low  social  ethics,  buys  titled  husband  for 
spirited  dauj^hter.  Latter  runs  away,  disguised, 
to  join  father.  Cross-continent  chase  by  mo- 
tor-car caravan  furnishes  amusing  complica- 
tion. Elementary  fun.  3-30-87 
I  At  Hardly              (Y-C)  Probably  quite  amusing 

Top  of  the  Town  (Doris  Nolan,  Geo.  Murphy) 
(Univ.)  Frenzied  noise,  jazz,  dance,  "music" 
and  brainless  hilarity  in  glorified  cabaret 
where  life  is  just  one  long  hunt  for  laughs. 
Burlesque  proof  that  "swing"  beats  "clasaical"* 
Low  salaries  made  possible  big  sets.  Compare 
such  stuff  with   "Maytime"  !  4-6-87 

(A)  Dep.  on  taste  (Yi  Doubtful  (C)  No 

Trouble  in  Morocco  (Jack  Holt,  Mae  Clarke) 
(Columbia)  Naive  thriller.  Hero  and  heroine, 
rival  reporters,  seeking  scoop  on  arms-smug- 
gling in  Africa,  very  busy  double-crossing  each 
other  and  evading  treachery  on  all  sides. 
Holt's  gun  never  misses,  but  enemy  volleys 
never  hit,   etc.  3-30-37 

(A)  Hardly  (Y)  Perhaps  (C)  No 

Two  Wise  Maids  (Alison  Skipworth,  Polly 
Moran)  (Republic)  Poor  effort  at  realistic  study 
of  old  schoolteachers  and  their  faithful  serv- 
ice. Makes  heroine  fundamentally  unsympa- 
thetic, then  tries  to  win  back  sympathy.  More 
burlesque  than  realistic.  Pitiful  waste  of  Skip- 
worth.  Moran  is  futile.  3-28-87 
(A)  Mediocre                  (Y-C  i  Little  or  no  interest 

Under  Cover  of  Night  (Edmund  Lowe,  Flor- 
ence Rice)  (MGM)  Complex  multi-murder  mys- 
tery in  a  college  faculty,  with  quite  convincing 
college  background.  English  is  spoken,  no 
wisecracking.  Grim  villain  known  from  start, 
but  solution  kept  continuously  interesting- 
Comic  relief  slight.  3-16-87 
(A)  Good  of  kind    (Y)  Thrilling    (C)  Too  strong 

Waikiki  Wedding  (Bing  Crosby,  Shirley  Rose) 
( Para. )  Much  photographic  beauty  but  little 
else.  Bing,  as  ingenious  publicity-man  for  Ha- 
waiian pineapples,  starts  what  leads  to  cnuy 
hash  of  South  Sea  adventure,  maudlin  romance, 
volcanic  eruptions,  sensuous  dances,  clown 
comedy,  and  much,  much  Bing  "music",  8-30-87 
(A)  Depends  on  taste  (Y-C)  Doubtful  value 

We  Have  Our  Moments  (Sally  Eilers,  James 
Dunn»  (Univ.)  Lively  shipboard  story  of  crooks, 
detectives  and  stolen  money,  with  Dunn-Eilers 
team  back  in  best  form.  Rural  schoolteacher, 
bent  on  fling  in  Europe  before  marrying  rustic 
fiance,  finds  exciting  adventures  and  a  real 
husband.  3-28-87 

(A)  Good  of  kind         (Yl  Very  good         (C)  Good 

When*s  Your  Birthday?  (Joe  Brown,  Ma- 
rian Marsh)  (RKO)  Fast,  hilarious  farce  with 
Joe's  typical  crazy  gags  and  antics  better  than 
average.  Hero's  addiction  to  astrology  brings 
complications  and  a  burlesque  prizefight.  With 
help  of  his  "planet",  he  wins  both  fight  and 
heroine.  3-16-17 

(A)  Depends   on    taste  (Y-C)  Good 

Wings  of  the  Morning  (Annabella,  H.  Fon- 
da) (Fox)  Colorful,  richly  romantic,  ramblinK 
story,  with  great  beauty  and  charm  of  scene 
and  action  in  stunning  Technicolor  and  cap- 
tivating French  heroine.  Her  early  masquer- 
ade as  boy  and  several  embarrassing  moments 
with  hero  avoid  offense.  8-16-87 

(A)  Unusual       (Y)  Excellent       (C)  Mostly ffood 


April,  1937 


Page  139 


Publications  on  the  Visual  Field 


EDUCATIONAL  SCREEN 

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A  clearing-house  of  thought,  fact  and  experience  on  all 
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"1000  AND  ONE"  BLUE  BOOK  OF  FILMS 

The  annual  film  directory,  widely  known  and  used  as  the 
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classified  according  to  subject  (145  numbered  subject 
groups) — with  full  information  given  on  every  film — -wheth- 
er 16mm  or  35mm,  silent  or  sound,  title,  number  of  reels, 
brief  synoposis  of  contents,  sources  distributing  the  films 
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prices  charged  by  them.     Contains  hundreds  of  "free"  films. 

152  pp.   Price  75c  (25c  to  subscribers  of  E.  S.) 


COMPARATIVE  EFFECTIVENESS  OF 
SOME  VISUAL  AIDS  IN  SEVENTH  GRADE 
INSTRUCTION.     By  Joseph  J.  Weber,  Ph.  D. 

The  first  published  work  of  authoritative  research  in  the 
visual  field,  foundational  to  all  research  work  following  it. 
Not  only  valuable  to  research  workers,  but  an  essential 
reference  work  for  all  libraries. 

131  pp.     Price  $1.00  (67c  to  subscribers  of  E.  S.) 


BIBLIOGRAPHY  ON  THE  USE  OF  VISUAL 
AIDS  IN  EDUCATION.  By  Joseph  J. 
Weber,  Ph.  D. 

A  complete  bibliography  on  the  field  to  June  1930.  Over 
1,000  references  to  books  and  magazine  articles.  (Addi- 
tional references  by  Mr.  Weber  through  September,  1932, 
appear  in  EDUCATIONAL  SCREEN  for  October  1932.) 

24  pp.    Net  Price  30c. 


A  SYMPOSIUM  ON  SOUND  AND 
SILENT  FILMS  IN  TEACHING 

A  stenotype  report  of  the  entire  afternoon  session  of  the 
winter  meeting  of  the  Department  of  Visual  Instruction 
of  the  N.  E.  A.  at  St.  Louis,  February  26,  1936.  Includes 
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addition  to  the  family  of  visual  aids. 

8  pp.    Net  Price  20c 

VISUAL  AIDS  IN  EDUCATION.    By  Joseph 
J.  Weber,  Ph.  D. 

The  author's  final  and  finest  work  in  this  field,  being  "a 
balanced  summary  of  the  available  scientific  evidence  on 
the  values  and  limitations  of  visual  aids  in  education  and 
an  elaboration  upon  this  evidence  by  way  of  generalization 
and  application  so  as  to  inspire  the  progressive  educator  in 
making  common  sense  adaptation  of  visual  materials  and 
methods  to  the  purposes  of  the  school." 
220  pp.  Price  $2.00  ($1.50  to  subscribers  of  E.  S.) 

PICTURE    VALUES    IN   EDUCATION.      By 
Joseph  J.  Weber,  Ph.  D. 

An  important  contribution  to  the  literature  of  the  visual 
field.  Presents  in  unusually  interesting  form  the  results 
of  extended  investigations  on  the  teaching  values  of  the 
lantern  slide  and  stereograph. 

156  pp.  illus.    Price  $1.00  (67c  to  subscribers) 


SIMPLE  DIRECTIONS  FOR  MAKING 
VISUAL  AIDS.  By  Lillian  Heathershaw,  Drake 
University,  Des  Moines,  Iowa. 

Directions  for  making  Etched  Glass  Slides,  using  Colored 
Pencils;  Etched  Glass  Slides,  using  Colored  Inks;  Paper 
Cut-out  Lantern  Slides;  Ceramic  Lantern  Slides;  India  Ink 
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Map;  Spatter  Work;  Pencil  Outlines  of  Leaves;  Carbon 
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Prints ;  Sepia  Prints. 

24  pp.    Net  Price  25c. 

ACTIVITIES  OF  STATE  VISUAL  EDUCA- 
TION AGENCIES  IN  THE  UNITED 
STATES.  By  Fannie  W.  Dunn,  and  Etta 
Schneider,  Teachers  College,  Columbia 
University. 

A  concise  and  discriminating  summary  of  total  results 
from  a  comprehensive  survey  of  24  of  the  26  states  having 
Departments  of  Visual  Instruction.  A  companion  article 
to  this,  "Practices  in  City  Administration  of  Visual  Educa- 
tion," by  the  same  authors,  appeared  in  EDUCATIONAL 
SCREEN  for  November  and  December,  1936. 
8  pp.    Net  price,  20c. 


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Bibliography  on  the  Use  of  Visual 
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Simple  Directions  for  Making 
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A  Symposium  on  Sound  and  Silent 
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The  Educational  Screen 


HERE  THEY  ARE 


FILMS 

Bell  &  Howell  Co.  (6) 

1815  Larchmont  Ave.,  Chicago 

(See  advertisement  on  inside  back  cover) 

Bray  Pictures  Corporation  (3,  6) 

729  Seventh  Ave.,   New  York  City 

Eastin  16  mm.  Pictures  (6) 

(Rental  Library)   Davenport.  la. 
(See  advertisement  on  page  136) 

Eastman  Kodak  Co.  (1,  4) 

Rochester,  N.  Y. 

(See  advertisement  on  outside  back  cover) 

Eastman   Kodak  Co.  (1,  4) 

Teaching  Films  Division 
Rochester,  N.  Y. 

(See  advertisement  on  page  135) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St.,  Pittsburgh.  Pa. 
Edited   Pictures  System,  Inc.  (6) 

330  W.  42nd  St.,  New  York  City 
Erpi  Picture  Consultants  Inc.  (2,  S) 

250  W.  57th  St.,  New  York  City 

(See  advertisement  on  pag:e  112) 

Films,  Inc.  (5) 

330  W.  42nd   St.,  New   York  City 
19  S.  LaSalle  St.,  Chicago 
925  N.  W.  19th  St.,  Portland,  Ore. 

Walter   O.    Gutlohn,   Inc.  (5) 

35  W.  45th  St.,  New  York  City 

(See  advertisement  on  page  132) 

Harvard  Film  Service  (3,  6) 

Biological   Laboratories, 
Harvard  University,  Cambridge  Mass. 

Guy  D.  Haselton's  TRAVELETTES 
7901  Santa  Monica  Blvd.,  Hollywood, 
Cal.  (1,  4) 

Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago,  111. 

(See  advertisement  on  page  128) 

Institutional  Cinema  Service,  Inc.  (3,  6) 
130  W.  46th  St.,  New  York  City 

The  Manse  Library  (4,  5) 

2439  Auburn   Ave.,   Cincinnati.   O. 

(See  advertisement  on  page  132) 

Pictorial  Film   Library,  Inc.  (6) 

130  W.  46th  St.,  New  York  City 

(See  advertisement  on  page  134) 

Pinlcney  Film  Service   Co.  (1,  4) 

1028   Forbes    St.,    Pittsburgh,    Pa. 

United  Projector  and  Films  Corp.  (1,  4) 
228  Franklin  St.,  Buffalo,  N.  Y. 

Universal  Pictures   Corp.  (3) 

Rockefeller   Center,    New   York   City 

(See  advertisement  on  page  130) 

Visual  Education  Service  (6) 

131  Clarendon  St.,  Boston,  Mass. 
Wholesome  Films  Service,  Inc.      (3,  4) 

48  Melrose  St.,  Boston,  Mass. 
Williams,  Brown  and  Earle,  Inc.  (3,  6) 
918  Chestnut  St.,  Philadelphia,  Pa. 

MOTION  PICTURE 
MACHINES  and  SUPPLIES 

The  Ampro  Corporation  (6) 

2839  N.  Western  Avenue,  Chicago 

(See  advertisement  on  inside  front  cover) 

Bell  &  Howell  Co.  (e) 

1815    Larchmont    Ave.,    Chicago,    111. 

(See  advertisement  on  inside  back  cover) 

Central  Camera  Co.  (6) 

230  S.  Wabash  Ave.,  Chicago 

(See  advertisement  on  page  132) 


(4) 


Eastman    Kodak    Co. 

Rochester,    N.   Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St.,  Pittsburgh,  Pa. 
Edited   Pictures  System,  Inc.  (6) 

330  W.   42nd    St.,   New   York   City 
Ford  Movie  Co. 

1659  Ford  Ave.,  Detroit,  Mich. 

(See  advertisement  on  page  134) 

General  Films   Ltd.  (3,  6) 

1924   Rose    St.,   Regina,    Sask. 
Herman   A.    DeVry,   Inc.  (3,   6) 

1111   Armitage   St.,   Chicago 

(See  advertisements  on  pages   131,   136) 

Ideal  Pictures  Corp.  (3,  6) 

28   E.    Eighth   St.,   New   York   City 

(See  advertisement  on  page  128) 

International   Projector   Corp.  (3,6) 

90  Gold  St.,  New  York  City. 

(See  advertisement  on  pages  124-125) 

The  Photoart  House  (6) 

844   N.    Plankinton   Ave.,   Milwaukee, 
Wis. 
RCA  Manufacturing  Co.,  Inc.  (5) 

Camden,   N.  J. 

(See  advertisement  on  page  127) 

S.  O.  S.  Corporation  (3,  6) 

636  Eleventh  Ave.,  New  York  City 
Sunny  Schick,  National  Brokers     (3.  6) 

407  W.  Wash.  Blvd.,  Ft.  Wayne,  Ind. 
United  Projector  and  Film  Corp.  (3,  4) 

228  Franklin  St.,  Buffalo,  N.  Y. 
Universal  Sound  System,  Inc.        (2,  5) 

Allegheny  Ave.   at  Ninth   St. 
Philadelphia,  Pa. 

(See  advertisement  on  page  133) 

Victor  Animatograph  Corp.  (6) 

Davenport,  Iowa 

(See  advertisement  on  page  110) 

Visual  Education  Service  (6) 

131   Clarendon  St.,  Boston,  Mass. 

Williams,  Brown  and  Earle,  Inc.  (3,  6) 
918  Chestnut  St.,  Philadelphia,  Pa. 

PICTURES  and  PRINTS 

Colonial  Art  Company 

1336  N.  W.  First  St.,  Oklahoma  City, 
Okla. 
The  Photoart  House 

844    N.    Plankinton   Ave.,    Milwaukee, 
Wis. 

SCREENS 

Da-Lite  Screen  Co. 

2717    N.    Crawford   Ave.,    Chicago 

(See  advertisement  on  page  131) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St.,  Pittsburgh,  Pa. 
Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 

SLIDES  and  FILM  SLIDES 

Conrad  Slide  and  Projection  Co. 

510  Twenty-second  Ave.,   East 
Superior,  Wis. 
Eastman  Educational  Slides 

Johnson  Co.  Bank  Bldg., 

Iowa  City,  la. 


A    Trade     Directory 
for  the  Visual    Field 


Edited    Pictures    System,   Inc. 

330  W.  42nd   St.,  New  York  City 
Ideal  Pictures  Corp. 

28  E.   Eighth   St.,  Chicago,  111. 

(See  advertisement  on  page  128) 

Keystone  View  Co. 
Meadville,   Pa. 

(See  advertisement  on  page  1291 

Radio-Mat  Slide  Co.,  Inc. 
1819  Broadway,   New  York  City 

(See  advertisement  on  page  132) 

Society  for  Visual  Education 
327  S.  LaSalle  St.,  Chicago,  111. 

(See  advertisement  on  page  132) 

Spencer   Lens   Co. 
19  Doat  St.,  Buffalo,  N.  Y. 

(See  advertisement  on  page  137) 

Visual  Education  Service 

131    Clarendon    St.,   Boston,   Mass. 
Visual  Sciences 

Suffern,  New  York 

(See  advertisement  on  page  136) 

Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 

STEREOGRAPHS  and 
STEREOSCOPES 

Herman  A.  DeVry,  Inc. 

1111    .A,rmitage    St.,    Chicago 

(See  advertisements  on  pages   131.   136) 

Keystone  View  Co. 
Meadville,  Pa. 

(See  advertisement  on  page  129) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 
Rochester,  N.  Y. 

(See  advertisement  on  page  109) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut  St.,  Philadelphia,  Pa. 
606  Wood  St.,  Pittsburgh,  Pa. 

General  Films  Ltd. 

1924  Rose  St.,  Regina,  Sask. 
Keystone  View  Co. 

Meadville.   Pa. 

(See  advertisement  on  page  129) 

Society  for  Visual  Education 

327  S.  La  Salle  St.,  Chicago.  111. 

(See  advertisement  on  page  132) 

Spencer  Lens  Co. 

19  Doat  St.,  Buffalo,  N.  Y. 

(See  advertisement  on  page  137) 

Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 


REFERENCE   NUMBERS 

(1)   indicates    firm   supplies 

35   nun. 

silent. 

(2)   indicates    firm   supplies 

35   mm. 

sound. 

(3)   indicates   Arm   supplies 

35   mm. 

sound  and  silent. 

(4)  indicates   firm  supplies 

16  mm. 

silent 

(5)   indicates   firm   supplies 

16  mm. 

sound-on-film. 

(6)   indicates    firm   supplies 

16   mm. 

soun^  and  silent. 

Continuous  insertions  under  one  heading,  $1.50  per  issue;  additional  listings  under  other  headings,  75c  each. 


3  1  HI  (C  ATIIDMAL 


Magazine  Devoted  Exclusively 
the  Visual  Idea  in  Education 


IN  THIS  ISSUE 


Teaching   an   Abstract 

Concept     in     Science 

by  Motion  Pictures 


The  Preparation 

of  Educational 

Film  Strips 


What  the  Supervisor 

Wants   in  Visual 

Education 


Flowers 
of  the 

Norway 
Maple 


MAY.  1937 


VOLUME  XVI,  NUMBER  5 


K&iiMt  city.  M»» 
TateHtri  Ubrary 


Photo  by  Mark  Mooney,  J 
(Courtesy  of  Nature  Note 


25c    A    COPY 


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INTERNATIONAL  PROJECTOR  CORPORATION 


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news  picture  gathering  and  editing 
facilities  will  reach  new  heights  of 
achievement  in  picturing  England's 
Coronation  —  the  pageant  of  the 
Century. 

In  addition  to  complete  coverage 
of  the  great  event  itself,  PATHE- 
GRAMS will  include  an  historical- 
ly correct  pictorial  review  of  Eng- 
land's Royalty  from  the  beginning 
of  the  Twentieth  Century  to  the 
present. 

Every  grade  school,  high  school  and 
college  should  own  this  authentic 
film  record  of  modern  history  in 
the  making. 

PATHEGRAMS'  Coronation  mo- 
vies will  serve  as  a  truly  important 
and  permanent  historical  review — 
invaluable  and  indispensable  to  all 
modern  educators. 


SENSATIONALLY 
LOW  PRICES 

make  it  possible  for  all  to 
own  this  historical  film  docu- 
ment. 

PATHEGRAMS'  Coronation 

movies  are  available  in  lengths 

to  meet  the  facilities  of  every  To    be   released    about 

16MM  exhibitor.  May  24,  1937. 

Talking  and  Sound  ORDERS  Will  BE  FIllED  IN  ORDER  OF  RECEIPT 

16MM  REELS: 

200  ft $7.00        Reserve  your  copy  now  through  your 

1I.V5        Dealer  or,  to   assure   early  delivery, 

^.1      ,    / f'.i    J  I  send  check  or  money   order  TODAY  TO 

16MM  REELS: 

i!         IE  PATHEGRAMS 

•  INC. 


R.C.A.  BUILDING  •   ROCKEFELLER  CENTER  •  NEW  YORK  CITY 


Page  142 


Df^ 


£  EDUCATIONAL  SCREEN 


MAY,  1937 


VOLUME  XVI 


Contents 

i 

Teaching  an  Abstract  Concept  in  Science  by  Means 

of  The  Motion  Picture.  Dr.  C.  L.  Gutzeit.. 147 

The  Preparation  of  Educational  Film  Strips. 

Loren  C.  Spires 1 49 

What  the  Supervisor  Wants  in  Visual  Education. 

John  S.  Mclsaac. I  5 1 

Summer  Courses  in  Visual  Instruction ...152 

Among  the  Magazines  and  Books. 

Conducted   by  Stella   Evelyn   Myers ...154 

News  and  Notes.  Conducted  by  Josephine  hloffman 155 

The  Department  of  Visual  Instruction 157 

Foreign  Films  for  Educational  Institutions. 

Conducted    by   Wesley   Greene 158 

hlow  Nature  Protects  Young  Plants  and  Animals — 

(In  Hand-made  Lantern  Slides).    By  Ann  Gale 160 

School  Department. 

Conducted  by  Wilber  Emmert. 162 

Among  the  Producers... I  70 

Film   Estimates I  7 1 

Here  They  Are!  A  Trade  Directory  for  the  Visual  Field I  72 


NUMBER  FIVE 


The  EDUCATIONAL  SCREEN,  published  monthly  by  The  Educational  Screen. 
Inc.  Publication  Office,  Morton,  Illinois;  Executive  Office,  64  East  Lake  St., 
Chicaao,  Illinois.  Entered  at  the  Post  Office  at  Morton,  Illinois,  as  Second 
Second     Class     Matter.      Copyright,     May,      1937     by     the     Educational     Screen, 

every  month  except  July  and  August. 
$2.00  a  Year  (Canada,  $2.25;  Foreign,  $3.00)  Single  Copies,  25  cts. 


THE  EDUCATIONAL  SCREEN,  Inc. 

Directorate  and  Staff 

Herbert  E.  Slautht,  Pr««.  Stanley  R.  Greene 

Nelson  L.  Gr<Me,  Editor  Joiephine  Hoffman 

Evelyn  J.  Baker  F.  Dean  McClutky 

Mary  Beattle  Brady  Stella   Eye:yB    Myen 

Wilber  Emmert  E.  C.  Waggoner 


May,  1937 


Page  147 


Teaching  an  Abstract  Concept  in  Science 
By  Means  of  the  Motion  Picture  ^ 


Presenting  the  results  of  a  preliminary  experiment 
in  an  out  •  of  •  the  •  ordinary  teaching  problem. 

By      DR.      C.      L.      GUTZEIT 

Formerly  of  Cornell  University  and  University  of  Texas 


IN  A  world  of  increasing  number  and  variety  of 
technical  advances,  a  genuine  understanding  of 
science  and  its  principles  becomes  increasingly 
necessary.  It  is  no  longer  possible  to  reserve  the  teach- 
ing of  these  principles  to  the  specialist  in  college  or  to 
pre-college  training.  Molecules,  atoms,  and  electrons 
have  become  common  words  in  the  news  of  the  day 
and  the  subject  of  curiosity  and  interest  to  everyone 
who  reads  the  daily  newspapers. 

In  spite  of  the  fundamental  nature  of  these  concepts, 
which  are  the  foundation  of  all  physical  science,  the 
study  of  them  has  been  reserved  for  the  technically 
minded  university  student.  Although  molecular  and 
atomic  structure  are  generally  mentioned  in  elementary 
textbooks  of  physics  and  chemistry,  the  teaching  of 
the  micro-structure  of  matter  is  beset  with  difficulties 
which  are  only  partly  solved  in  first  year  college  science 
and  attacked  with  little  hope  of  solution  at  high  school 
level  or  below.  With  sufficient  persistence  it  is  jxjssible 
to  force  the  terminology  into  the  student's  vocabulary 
for  examination  purposes,  but  there  is  very  little  real 
understanding  of  the  concepts. 

The  teaching  of  molecular  and  atomic  theory  in- 
volves two  closely  related  difficulties.  Like  all  very 
fundamental  and  general  inter-relating  principles,  the 
concepts  are  very  abstract  and  foreign  to  the  thinking 
processes  of  the  untrained  individual.  Furthermore, 
the  demonstration  and  technical  elucidation  of  experi- 
mental evidence  of  the  structure  of  matter  are  neces- 
sarily limited  to  specialists. 

The  teaching  problem  resolves  itself  into  finding  a 
method  whereby  accurate  mental  imagery  may  be  con- 
veyed. A  verbal  description  is  inadequate.  The  various 
pictorial  devices  used  by  the  specialist  and  carried  over 
into  elementary  textbooks  are  not  only  inadequate  but 
actually  misleading  to  the  uninitiated.  It  is  quite  sat- 
isfactory to  place  a  series  of  marks  representing  elec- 
trons about  a  central  particle  representing  the  nucleus, 
or  to  place  a  set  of  dots  representing  an  outer  shell  of 
electrons  about  the  symbol  for  an  element,  provided 
that  the  reader  understands  the  arbitrary  nature  of  the 
symbolism.  As  a  teaching  device,  however,  such  pic- 


iTaken  from  a  paper  delivered  before  the  Alamo  Section, 
Texas  State  Teachers  Association,  at  San  Antonio,  Texas. 
Acknowledgment  is  made  to  the  following  in  San  .'\ntonio 
Public  Schools :  Mr.  Thomas  B.  Portwood.  .'\ssistant  Su- 
perintendent in  charge  of  the  Secondary  Division,  Public 
Schools  ;  Miss  Emma  Gutzeit,  Director  of  Radio  and  Visual 
Instruction;  Miss  Kathora  Remy  and  Mr.  John  W.  Todd  in 
whose  classes  the  experiment  was   conducted. 


tures  become  pernicious  misrepresentation.  The  static 
character  of  models  renders  them  only  slightly  useful 
in  atomic  theory  and  totally  ineffective  for  kinetic 
molecular  theory. 

It  has  been  the  opinion  of  the  writer,  who  has  had 
experience  in  the  difficulties  of  presenting  such  ma- 
terial to  college  students,  that  the  problem  is  primarily 
one  of  method  of  presentation  and  not  of  subject  mat- 
ter. The  fundamental  nature  of  these  concepts  suggests 
that  they  be  introduced  in  the  study  of  science  as  early 
as  possible,  rather  than  that  they  be  postponed  for 
advanced  work.  The  presentation  requires  two  char- 
acteristics which  textbook  or  blackboard  presentation 
fail  to  give :  three  dimensions  and  motion. 

The  motion  picture  enables  one  to  depict  the  re- 
quired motion,  and  the  three  dimensions  by  the  use 
of  perspective  drawing  in  animated  diagrams.  In  ad- 
dition, it  also  pertnits  one  to  superimpose  theoretical 
interpretations  on  actual  photography  of  experimental 
phenomena.  The  visualization  of  the  theoretical  prin- 
ciples removes  their  abstractness  and  makes  them  in- 
telligible to  the  student  at  an  earlier  mental  age  than 
is  otherwise  possible.  The  motion  picture  should,  there- 
fore, be  admirably  adapted  to  the  presentation  of  ab- 
stract concepts. 

On  this  hypothesis  an  experiment  was  planned, 
using  available  films,  to  teach  elementary  molecular 
and  atomic  theory  to  college  level  and  below  until  the 
lowest  perception  limit  was  reached.  Circumstances 
prevented  the  experiment  from  being  carried  beyond 
the  preliminary  stages  in  high  school  chemistry  and 
eighth  grade  science  classes.  Results  which  indicate 
successful  teaching  in  the  eighth  grade  show  that  the 
lowest  perception  limit  had  not  been  reached. 

Subject  Matter 

Elementary  molecular  theory  assumes  a  spherical 
form  for  molecules.  Atomic  theory  was  combined  in 
the  unit  of  instruction  to  indicate  the  arbitrariness  of 
this  assumption.  The  subject  matter  content  of  the 
film  on  atomic  structure  also  suggested  this  combina- 
tion. 

Molecular  Theory  of  Matter.^  Erpi  Picture  Consult- 
ants, Inc.,  University  of  Chicago  series;  (1  reel, 
sound).  This  film  introduces  molecular  theory  as  a 
plausible  explanation  of  diffusion,  and  develops  by 
means  of  a  comparison  of  theoretical  predictions  and 


2Loaned  through  the  courtesy  of  Calpini.  Inc..  San  An- 
tonio, Texas,  representative  of  Bell  and  Howell  Company, 
from  Erpi   Picture   Consultants,   Inc. 


Page  148 


The  Educational  Screen 


experimental  facts.  It  includes  diffusion  of  gases  in 
air  and  vacuum,  pressure  of  gases  as  a  kinetic  pheno- 
menon, liquefaction  and  evaporation,  vapor  tension 
and  equilibrium,  cooling  due  to  evaporation,  crystalliza- 
tion and  melting,  and  the  Browian  movement. 

Beyond  the  Microscope,^  The  General  Electric  Com- 
pany; (1  reel,  silent).  This  film  presents  in  detail  the 
mechanics  of  the  electrolysis  of  water,  including  the 
structure  of  the  hydrogen  atom,  the  hydrogen  mole- 
cule, the  water  molecule,  ions  and  ionic  reactions  in 
the  electrolysis  of  water,  crystallization  of  water  and 
microphotographs  of  snow  crystals.  The  atomic  theory 
pictured  is  the  combination  of  the  Bohr  theory  and  the 
Lewis-Langmuir  theory  customarily  used  by  the 
chemist  in  elementary  theory  of  atomic  structure. 
Classes  Used 

Two  senior  high  school  chemistry  classes  and  two 
eighth  grade  junior  high  school  science  classes  were 
taught  in  parallel,  a  film  group  and  a  non-film  group 
in  each  school.  The  age  and  ability  of  the  two  groups 
in  each  school  were  comparable  and  represented  normal 
classes.  Diagnostic  tests  could  not  be  made  because  of 
lack  of  time,  but  evidence  indicated  little,  if  any,  prev- 
ious knowledge  of  the  subject  matter.  Intelligence 
quotients  were  available  for  the  eighth  grade  groups. 
Teaching  Method 

For  the  motion  picture  groups,  the  film  was  intro- 
duced by  a  brief  explanation  and  followed  by  a  de- 
tailed class  discussion.  Appropriate  comments  and  ex- 
planations were  made  during  the  showing  of  the  silent 
film.  Each  film  was  shown  twice  on  successive  days, 
the  film  on  molecular  theory  being  presented  first,  and 
the  final  (fifth)  day  devoted  to  review.  In  the  eighth 
grade  glass,  the  review  included  a  third  showing  of 
both  films. 

For  the  non-film  groups,  the  discussion  was 
patterned  after  the  films.  For  molecular  theory,  the 
theoretical  principles  were  introduced  and  the  dis- 
cussion followed  the  deductive  reasoning  given  in  the 
film.  For  atomic  theory  it  was  necessary  to  present 
the  theoretical  conclusions  directly  and  without  experi- 
mental proof.  In  both  cases  the  discussion  centered 
largely  about  blackboard  diagrams. 

The  purpose  of  the  experiment  was  to  determine 
directly  the  perception  ability  by  film  and  verbal  teach- 
ing, following  identical  subject  matter,  so  that  no  text- 
book was  used.  Specific  applications  were  avoided  as 
much  as  possible,  and  the  discussion  was  held  to  the 
simplest  applications  suitable  for  lending  experimental 
validity  to  the  abstract,  theoretical  concepts.  This  is 
contrary  to  usual  classroom  procedure,  and  the  re- 
striction decreases  learning  eflfectiveness.  As  such,  the 
results  should  be  below  normal  for  ordinary  classroom 
teaching. 

Tests  Used 

The  nature  of  the  subject  matter  makes  it  very  diffi- 
cult to  use  the  standard  type  of  objective  tests.  No 
tests  have  been  devised  for  objective  measurement  of 
concepts  involving  motion.  Verbal  tests  are  entirely 
inadequate. 


Three  types  of  tests  were  chosen :  multiple  choice, 
true-false,  and  pictorial.  Multiple  choice  tests  favor 
textbook  teaching,  and  since  no  textbook  was  used, 
these  were  of  particular  interest.  True-false  tests  are 
reported  to  favor  oral  instruction  and  hence  should 
favor  the  non-film  group.* 

The  pictorial  tests  recjuire  si^ecial  explanation.  The 
non-film  groups  were  taught  by  means  of  static  dia- 
grams patterned  from  the  dynamic  ones  in  the  films, 
in  order  to  make  the  presentation  as  uniform  as  pos- 
sible in  both  groups.  Since  the  concepts  are  essentially 
pictorial  in  character,  these  tests  were  anticipated  to 
favor  the  non-film  groups  where  both  the  presentation 
and  tests  involved  static  diagrams. 

Each  of  the  three  tests  covered  both  films,  the  ques- 
tions alternating  on  each  film.^  Except  for  a  few 
technical  terms  specifically  applying  to  the  phenomena 
and  explained  as  a  part  of  the  presentation,  terminology 
of  the  tests  was  chosen  to  avoid  any  vocabulary  diffi- 
culties. Ten  minutes  was  allowed  for  each  test,  and  the 
tests  were  of  such  lengths  that  this  provided  ample 
time  for  completion.  In  this  way  the  confusion  and 
error  of  the  ordinary  "speed  test"  were  avoided. 

Results  of  Tests 

Results  are  recorded  for  each  film  separately,  "A" 
for  Molecular  Theory  of  Matter  and  "B"  for  Beyond 
the  Microscope.  The  tests  represent :  I  Multiple  choice, 
II  True-False,  and  III  Pictorial  tests.  All  question 
were  given  equal  weight.  Results  represent  the  records 
only  of  those  students  attending  the  entire  exjjeriment. 

Discussion  of  Results 

Since  the  median  grade  for  the  eighth  grade  science 
class  is  considerably  better  than  anticipated 
for  satisfactory  results  the  subject  matter  is 
definitely  not  beyond  the  conception  range  at 
this  grade  level.  The  method  used  is  a  severe  one 
and  the  normal  teaching  procedure  should  give  better 
results.  An  examination  of  the  frequency  distribution 
of  error  on  the  individual  questions  indicated  that  the 
tests  were  too  simple  to  gauge  the  eflfectiveness  of  the 
teaching.  The  tests  were  designed  to  give  median  scores 
within  the  range  of  40  to  75  for  the  junior  and  senior 
high  school  groups.  It  was  expected  that  the  tests 
would  require  modification  before  proceeding  with 
further  experimentation. 

The  non-film  groups  gave  erratic  results,  as  shown 
by  a  detailed  examination  of  the  test  papers.  This 
masks  the  superiority  of  the  film  groups.  Absences  due 
to  assemblies,  etc.  seriously  interfered  with  the  experi- 
ment in  the  eighth  grade  groups. 

True- false  tests  gave  the  most  erratic  results  and 
favored  the  non-film  groups.  This  is  in  accordance  with 

{Continued  on  page  150) 

*For  a  discussion  of  objective  tests  as  applied  to  film  teach- 
ing, see  Joseph  J.  Weber,  Visual  Aids  in  Education,  (Mimeo- 
graphed), The  Educational  Screen,  Chicago,  1930.  Chap. 
IX-XII.,  pp.  52-71. 


^Loaned    through    the    courtesy    of    the    General    Electric 
Company,  Dallas,  Texas. 


^Complete  sets  of  these  questions  may  be  obtained  from 
the  Director  of  Visual  Instruction,  Board  of  Education, 
San  Antonio,  Texas. 


May,  1937 


Page  149 


The  Preparation  of  Educational 
Film  Strips 


Describing,  with  fully  detailed  directions,  an  inter- 
esting use  of  16  mm.  film  for  classroom  teaching. 

By      LOREN      C.      SPIRES 

Community  High  School,  Carterville,  Illinois 


AS  A  device  for  the  presentation  of  new  material 
or  as  a  means  of  providing  more  interesting  and 
effective  drill  material,  the  teacher-prepared  film 
strip  is  the  peer  of  all.  No  douht  many  schools,  recog- 
nizing the  merit  of  such  teacher-prepared  strip,  have 
shunned  its  preparation  because  of  the  seemingly  in- 
surmountable difficulties  to  be  overcome.  Such  fear  is 
in  reality  groundless,  as  excellent  results  can  be  ob- 
tained at  the  first  attempt  if  certain  fundamental 
rules  are  adhered  to.  The  procedure  need  not  be  at 
all  complex. 

In  this  article  will  be  discussed  the  preparation  of 
film  strip  on  16mni  motion  picture  film.  These  strips 
may  be  projected  with  the  ordinary  class  room  motion 
picture  projector,  if  it  is  set  for  still  projection.  The 
reasons  for  selecting  the  16mm  film  are :  ease  of  ob- 
taining equipment,  low  cost  of  materials,  and  excel- 
lence of  the  resulting  pictures.  It  should  be  clearly 
understood  at  this  point,  however,  that  the  same  meth- 
od may  be  employed  with  35mm  film  to  be  used  with 
the  regular  film  strip  projector,  the  only  difiference 
between  the  two  cases  being  the  use  of  a  35mm  min- 
iature camera  instead  of  the  16mm.  These  35mm 
cameras  are  now  obtainable  at  a  relatively  low  cost. 

To  film  the  pictures  a  16mm  motion  picture  camera 
is  used.  And  the  simplest  form  of  filming  is  to  use  one 
of  the  titling  stands  made  for  such  cameras.  These 
stands  are  provided  with  supplementary  lenses  which 
enable  material  to  be  filmed  at  a  distance  of  about  8 
inches  from  the  camera,  with  the  result  that  type- 
written material  can  be  used  rather  than  large,  hand 
printed  titles.  In  case  the  school  is  not  equipped  with 
a  motion  picture  camera,  there  can  always  be  found 
an  amateur  movie  maker  in  the  community  who  will 
gladly  cooperate  with  the  school  in  the  production  of 
the  film. 

The  film  used  is  16mm  positive  film,  obtainable 
from  any  large  camera  supply  house  at  a  cost  of  about 
$1.25  for  a  100  foot  roll;  enough  to  produce  at  least 
forty  film  strips  of  50  frames  each.  It  has  speed  enough 
for  outdoor  work  and  is  well  suited  for  reproducing 
line  drawings  and  printed  matter.  This  film  does  not 
come  on  light  tight  spools  so  must  be  handled  in  the 
dark  by  the  light  of  a  safe  red  lamp.  The  red  frosted 
bulbs  sold  by  electric  or  variety  stores  make  excellent 
working  lights  for  this  type  of  film.  When  the  film  is 
taken  from  its  metal  container  it  should  be  wound  on 
a  camera  spool  for  safe  storage,  as  well  as  for  inser- 
tion in  the  camera.  The  emulsion  or  dull  side  of  the 
film  must  face  the  lens  when  the  camera  is  threaded. 
In  the  preparation  of  the  material  to  be  filmed,  the 


teacher  should  make  a  carefully  written  sequence  of 
the  drawings  and  explanatory  titles  to  be  used.  Each 
title  or  drawing  is  then  transferred  to  a  separate  white 
card  or  strip  of  paper  for  photographing.  All  drawings 
should  be  in  black  ink,  and  a  relatively  new  black 
ribbon  should  be  used  on  the  typewriter  for  printing 
the  titles  and  explanatory  legends.  Hand  printed  titles 
may  be  used  if  desired,  but  it  should  be  remembered 
that  any  irregularity  in  the  print  is  magnified  many 
times  on  the  screen  and  small  errors  become  large 
errors,  as  viewed  by  the  audience.  After  printing,  each 
card  is  numbered  according  to  its  place  in  the  sequence 
and  is  then  ready  for  filming.  The  actual  filming 
should  be  done  in  bright  sunlight. 

In  the  filming  procedure  the  camera  is  securely 
fastened  to  the  titling  stand  and  the  lens  stopped  down 
to  the  correct  stop  for  bright  sunlight.  The  first  title 
of  the  sequence  is  then  placed  in  the  titling  easel  and 
accurately  centered.  This  is  important  as  any  varia- 
tion of  a  printed  line  from  the  horizontal  is  very 
noticeable  when  projected  on  the  screen.  After  proper- 
ly centering  the  title,  a  single  frame  exposure  is  made. 
If  the  camera  is  not  equipped  with  an  attachment  for 
making  single  exposures,  a  quick  pressure  and  release 
of  the  starting  button  will  do  nicely.  This  motion  can 
be  quickly  mastered  by  practicing  it  with  the  camera 
empty.  When  the  first  title  has  been  filmed,  these  op- 
erations are  repeated  until  all  of  the  cards  in  the 
sequence  have  been  photographed. 

After  making  the  last  exposure  of  the  sequence, 
the  camera  is  taken  into  the  dark-room,  lighted  by  the 
red  lamp,  and  the  film  is  cut  just  above  the  film  gate. 
The  exposed  strip  may  then  be  removed  and  is  ready 
for  development,  the  most  interesting  step  in  the  pro- 
cedure. 

The  development  equipment  consists  only  of  two 
half-gallon  jugs.  These  will  serve  as  developing  tanks 
as  well  as  storage  containers  for  the  solutions  after 
they  have  been  used.  If  kept  in  tightly  corked  con- 
tainers, the  solutions  may  be  kept  in  good  condition 
for  several  weeks,  and  will  develop  at  least  200  feet  of 
film  before  becoming  exhausted.  Lacking  two  half- 
gallon  jugs,  glass  fruit  jars  will  make  excellent  de- 
veloping tanks.  The  solutions  may  then  be  stored  in 
tightly  corked  bottles. 

In  one  of  the  jugs,  place  enough  prepared  developer 
— any  kind  of  film  developer  will  do — to  make  64 
ounces  of  solution.  Fill  the  jug  with  water  and  stir 
until  the  developer  is  completely  dissolved.  Partially 
fill  the  other  jug  with  water,  and  in  it  dissolve  the 
contents  of  one  package  of  acid-fixing  powder  (hypo), 
then  add  water  until  the  jug  is  full.  These  are  the  only 


Page  150 


The  Educational  Screen 


solutions  required  in  the  developing  process,  and  the 
directions  given  on  the  containers  of  the  chemicals 
should  be  carefully  followed  as  any  variation  from 
them  may  result  in  the  failure  of  some  of  the  chem- 
icals to  dissolve. 

Development  is  carried  on  in  the  dark-room  lighted 
by  the  red  lamp.  Grasping  one  end  of  the  exposed 
strip,  the  film  should  be  quickly  immersed  in  the  de- 


Samples    of   School-Made    Filmstrips 

veloper.  While  in  this  solution,  the  film  should  be 
agitated  occasionally  to  assure  even  development  over 
the  whole  strip.  This  process  should  reach  completion 
in  about  five  minutes,  after  which  the  film  is  re- 
moved from  the  developer  and  placed  in  a  tray  of 
water.  The  water  serves  to  remove  the  chemicals  from 
the  emulsion  so  that  the  fixing  solution  will  not  be 
contaminated.  Ordinarily  one  minute  will  be  enough 
time  for  this  washing  process.  Examination  of  the  film 
at  this  stage  will  show  that  the  exposed  parts  have  now 
turned  black,  leaving  the  printing  and  the  margins 
white. 

The  film  is  taken  from  the  water  next  and  placed 
in  the  fixing  bath,  where  the  unexposed  parts  of  the 
emulsion  are  removed,  producing  a  transparency  suit- 
able for  projection.  Under  ordinary  conditions  three 
minutes  will  suffice  for  the  fixing  process.  After  the 
film  has  been  placed  in  the  fixing  bath  the  white  light 
may  be  turned  on  in  the  room  for  further  examination 
of  the  strip.  Upon  removal  from  this  bath,  all  of  the 
unexposed  parts  of  the  emulsion  should  have  been 
removed  and  the  parts  should  appear  clear  by  trans- 
mitted light.  Then  the  film  should  be  washed  in  running 


water  for  about  fifteen  minutes.  Thorough  washing 
is  very  important  at  this  stage,  as  failure  to  completely 
remove  the  fixing  bath  will  result  in  discoloration  of 
the   finished   strip. 

After  thorough  washing,  the  film  should  be  gone 
over  with  a  bit  of  wet  absorbent  cotton  to  remove  any 
foreign  matter  from  the  emulsion,  then  it  should  be 
hung  up  to  dry.  The  strip  will  be  dry  enough  for  pro- 
jection in  from  fifteen  minutes  to  an  hour,  depending 
upon  the  temperature  and  moisture  content  of  the  air. 
The  background  should  appear  black  and  the  letters 
and  drawings  should  be  sharply  outlined  against  this 
background.  This  is  a  pleasing  combination  as  viewed 
from  the  screen,  and  is  perhaps  the  simplest  combina- 
tion of  light  and  shadow  for  the  beginner. 

The  process,  as  outlined  above,  may  be  used  to  re- 
produce printed  material  or  line  drawings,  and  can  be 
adapted  to  practically  any  type  of  subject  matter.  It 
has  been  found  especially  useful  in  increasing  the 
effectiveness  of  drill  material  in  science  and  mathe- 
matics classes.  It  is  also  an  interesting  device  for  the 
presentation  of  new  material.  And  its  economical 
feature  enables  extensive  film  strip  libraries  to  be  built 
at  a  nonn'nal  cost. 

Teaching  an  Abstract  Concept  in  Science 
With  Motion  Pictures 

{Continued  from  page  148) 

the  claims  of  \\'eber.  that  oral  instruction  is  favored  by 
the  true-false  tests.  Pictorial  tests  favor  film  groups  in 
spite  of  the  greater  similarity  of  the  tests  to  the  class 
presentation  for  the  non-film  groups  compared  to  that 
given  to  the  film  groups.  This  result  indicates  a  greater 
clarity  of  concepts  obtained  by  the  use  of  films. 

The  results  of  the  multiple  choice  tests  are  of  par- 
ticular interest.  The  ratios  of  the  percentile  scores  on 
these  tests  to  the  mental  ages  as  calculated  from  the 
intelligence  quotients  gave  nearly  constant  values  for 
the  individuals  in  each  eighth  grade  group.  The  film 
group  was  approximately  25%  superior  to  the  non- 
film  group.  This  result  was  qualitatively  anticipated. 
Although  the  data  are  too  meager  for  generalizations, 
this  result  is  in  accordance  with  the  principle  that  the 
multiple  choice  tests  are  more  nearly  in  accordance 
with  the  gains  in  general  information  than  the  true- 
false  and  pictorial  tests. 

A  frequent  objection  to  the  introduction  of  abstract 
theory  in  science  for  the  high  school  level  or  below 
is  the  lack  of  interest  by  the  students.  The  abstract 
nature  of  the  subject  matter  and  treatment  in  no  way 
interfered  with  the  class  interest  in  this  experiment. 
The  eager  interest  and  attention  were  particularly 
evident  in  the  junior  school  groups,  both  film  and  non- 
film  groups. 

The  non-film  groups  were  favored  by  the  experience 
of  the  teacher  in  teaching  abstract  subjects  without  the 
use  of  visual  aids.  The  average  teacher  in  the  secondary 
schools  is  not  familiar  with  the  technique  of  teaching 
this  type  of  subject  matter. 

Both  films  used  in  this  experiment  oflfer  unusual 
and  valuable  contributions  to  science  programs  in  sec- 
ondary schools  as  well  as  for  the  college  level.  It  is 
obvious   that   the   technique   of   presentation   must    be 


May,  1937 


Page  151 


TABLE  OF  MEDIAN  PERCENTILE  SCORES 


Group  No. 

Junior   (Film)    15 

School    (Non-Film)  .  .17 

Senior    (Film)    19 

School   (Non-Film)...  13 


7i 
54.5 
7i 
64 


55.5 
36 
67 
35 


I-AII 

60 
45 

75 
65 


II-A        II-B     II-All       III-A      III-B     III-AIl     A-All     B-AII       Total 


67 
60 
80 
80 


40 
60 
80 
67 


different  for  the  junior  high,  senior  high  and  college 
levels,  but  the  theoretical  principles  must  be  identical. 
These  principles  are  adequately  covered  in  the  films, 
and  the  subject  matter  is  sufficient  for  the  greater  part 
of  the  junior  school  treatment  of  this  subject.  For 
senior  high  school  and  college  the  films  serve  to  intro- 
duce the  material  and  to  implant  the  correct  funda- 
mental principles. 

Molecular  Theory  of  Matter  represents  unusually 
excellent  photographic  treatment,  but  has  the  dis- 
advantage that  the  film  moves  too  rapidly.  The  sound 
is  not  a  part  of  the  phenomena  represented,  but  the 
lecture  is  a  well  coordinated  system  of  deductive 
reasoning.  The  verbal  accompaniment  to  the  film  is 
too  rapid  and  out  of  proportion  to  normal  practice  in 
lecture  presentation  of  technical  material.  The  film 
could  also  be  used  as  a  silent  picture,  with  appropriate 
comments  by  the  teacher.  This  would  make  it  possible 
to  decrease  the  running  speed  of  the  film  and  enable 
the  use  of  individual  frames  as  still  pictures.  An  al- 
ternative would  be  to  use  the  film  as  a  sound  picture 
for  the  first  showing  and  as  a  silent  film  on  a  double 
action    machine    for   subsequent    review    and    detailed 


52 
60 
84 
72 


87.5 
87.5 
100 
87.5 


75 

50 

100 

50 


83 
66.7 
92 
76 


65 
61 
85 
65 


48 
56 
74 
51 


60 
60 
82.5 
68 


Age 

13.8 
14.8 
17.0 
16.7 


I.Q. 

100 
97.5 


study.  The  latter  method  would  combine  the  advantages 
of  both  silent  and  sound  pictures. 

Beyond  the  Microscope  is  unusually  free  from  dis- 
continuities caused  by  subtitles.  For  senior  high  school 
and  college  level  the  film  requires  amplification.  By 
means  of  a  set  of  drawings  for  slide  or  opaque  pro- 
jection, including  not  only  the  structure  of  the  atoms, 
molecules  and  ions  shown  in  the  film,  but  also  others, 
not  included,  it  would  be  possible  to  construct  a  unit 
of  study  on  this  difficult  subject  superior  to  any  at 
present  available. 

These  films,  in  common  with  practically  all  technical 
teaching  films,  could  be  vastly  improved  if  the  pro- 
ducer furnished  supplementary  still  pictures  taken  di- 
rectly from  the  film  and  included  as  a  part  of  the  film 
teaching  unit.  These  could  be  in  the  form  of  film  strips, 
slides  or  prints,  for  opaque  projection.  The  study  of 
detail  always  requires  still  pictures  which  can  be  pro- 
jected for  an  unlimited  time.  Devoting  any  consider- 
able part  of  the  motion  picture  to  such  stills  is  not 
only  an  expensive  waste  of  film  but  is  less  satisfactory 
than  the  pictures  specificially  designed  for  still  pro- 
jection. 


What  the  Supervisor  Wants  in 
Visual  Education 


VISUAL  Education  has  now  passed  the  stage  of 
infancy  in  which  it  was  looked  on  as  a  possible 
temporary  innovation,  and  has  demonstrated  that 
it  will  grow  up  and  to  a  fair  size  at  that,  but  it  is  still 
in  the  adolescent  period  in  which  the  characteristics  of 
its  mature  development  are  not  clearly  discernible.  It 
seems  probable  that  those  who  have  to  do  with  it  in 
various  capacities  can  exert  much  influence  on  these 
characteristics  if  they  but  know  in  what  direction  this 
influence  should  be  pointed. 

Most  of  the  courses  in  Visual  Instruction  in  teacher 
training  institutions  have  been  the  work  of  experts, 
such  as  directors  of  museums,  in  collaboration  with 
interested  school  officials  abetted  by  manufacturers  of 
such  devices  as  projection  apparatus  and  motion  pic- 
tures. While  the  course  has  only  recently  been  added 
to  the  required  list,  and  that  in  relatively  few  states, 
some  work  has  been  offered  for  several  years  and 
most  school  systems  contain  one  or  more  staff  mem- 
bers who  have  taken  such  a  course. 

Under  these  circumstances  it  seemed  advisable  to 
the  writer  to  canvass  supervising  officials  who  had  had 
an  opportunity  to  observe   diverse  practise   in  visual 


By      JOHN      S.      MclSAAC 

Department  of  Education,  Geneva  College,  Beaver  Falls,   Pa. 

instruction  and  secure  their  reaction  regarding  the 
relative  efficiency  of  the  different  sensory  aids.  A 
check  list  involving  most  of  the  aids  in  common  use 
and  some  not  so  common  was  made  up  and  divided 
into  two  parts:  1)  knowledge  and  information  about 
sensory  aids,  2)  techniques  and  skills  in  their  use.  The 
list  contained  a  total  of  seventy-five  items  relating  to 
sixteen  different  devices  as  well  as  an  inquiry  as  to 
the  means  approved  by  the  official  for  giving  instruc- 
tion in  visual  education. 

Each  item  of  the  check  list  was  followed  by  six  re- 
sponses as  follows : 

5 — should  be  mastered  and  overlearned  for  per- 
manency. 

4 — should  be  stressed  above  average. 

3 — should  be  given  average  emphasis. 

2 — should  have  casual  inclusion,  less  than  aver- 
age emphasis. 

1 — should  have  mere  mention. 

0 — should  be  ignored  or  omitted. 
The  che-:k  lists  were  sent  to  some  seventy  superin- 
tendents, principals,  and  supervisors  of  instruction  in 
three   states,   in  the   service  area  of  the  college  with 


Page  152 


The  Educational  Screen 


which  the  writer  is  connected.  Some  forty  responses 
were  secured  although  a  few  of  these  pled  lack  of 
contact  as  an  excuse  for  not  checking  the  lists  in  full. 
While  the  number  is  not  large  enough  to  make  the 
findings  completely  unassailable  it  is  sufficient  to  per- 
mit some  statistical  treatment  and  the  comparison  of 
the  averages  of  two  chance  groups  within  the  list 
showed  a  close  correspondence  and  high  correlation. 

The  returns  showed  a  definite  majority  in  favor  of 
a  special  course  in  visual  instruction  rather  than  stress 
in  subject  matter  or  special  methods  courses. 

"I  believe  that  teacher  preparation  in  the  use  of 
sensory  aids  should  be  done  in  special  methods  courses 
in  particular  fields" — 22% 

"I  believe  that  teacher  preparation  in  the  use  of 
sensory  aids  should  be  done  in  the  content  courses  in 
the  various  fields" — 25% 

"I  believe  that  teacher  preparation  in  the  use  of 
sensory  aids  should  be  done  through  a  special  course 
in  visual  education" — 53% 

The  second  finding  was  that,  as  a  class,  knowledge 
and  information  is  rated  more  important  than  tech- 
niques and  skill.  The  diflference  in  the  rankings  was 
nearly  six  times  their  probable  error  denoting  certainty 
that  a  real  diflference  exists. 

A  third  observation  was  that  the  more  common  and 
familiar  devices  such  as  maps,  blackboards  and  graphs 
are  rated  more  important  than  the  more  technical  ones 
often  thought  of  first  when  visual  education  is  men- 
tioned. The  ranking  of  the  ratings  is  appended. 
Information  and  understanding  about — 

1.  Maps  and  globes 

2.  Blackboards  and  bulletin  boards 


3.  Graphs  and  charts 

4.  Teacher  training  programs 

5.  Research  experiments 

6.  Exhibits  and  museums 

7.  Motion  pictures 

8.  The  school  journey 

9.  Flat  pictures 

10.  Dramatization  and  pageants 

11.  Administrative  programs 

12.  Lantern  and  film  slides 

13.  Radio 

14.  Projection 

Techniques  and  abilities  in  dealing  with — 

1 .  Graphs 

2.  The  school  journey 

3.  Specimens 

4.  Blackboard 

5.  Motion  ]5ictures 

6.  Dramatization 

7.  Sand  table 

8.  Flat  pictures 

9.  Lantern  slides 

10.  Maps  and  globes 

11.  Models 

12.  Projectors 

13.  Photography 

14.  Flectric  "Maps" 

15.  Screens 

16.  Puppet  shows 

Realizing  that  more  extensive  development  may 
change  the  relative  emphasis  on  some  of  these  topics, 
we  offer  this  brief  study  as  of  possible  interest  to 
those  concerned  with  conditions  as  they  exist  today 
and  desirous  of  guiding  the  future  progress  of  visual 
instruction  into  more  valuable  channels. 


Summer  Courses  in  Visual  Instruction 


Institution 

Title  of  Course 

Instructor 

Institution 

Alabama 

Alabama    Polytech- 

Visual   Instruction 

M.  L.  Beck 

University  of  Coio 
rado,   Boulder 

nic  Institute,  Au- 

burn, June  8-Ju!y 

June  21  ...  . 

16 

University  of  Den- 

California 

ver,    Denver 

University    of 

Fundamentals  of  Mo- 

B. V.  Morkovin 

Florida 

Southern  Cali- 

tion    Picture     Pro- 

University  of   Flor- 

fornia, Los  Ange- 

duction ;  Motion  Pic- 

ida,  Gainesville 

les,  June  21   .  .   . 

ture     Story     and 

June  14  ...  . 

. 

Continuity. 

Georgia 

Social      Psychological 

M.  Metfessel 

University    of 

Aspects    of    Motion 

Georgia,   Athens 

Pictures 

June  17  ...  . 

Audio -Visual    Educa- 

Sarah Mullen 

Illinois 

tion 

Northwestern  Uni- 

Methods of   Teaching 

Sarah  Mullen 

versity,   Evans- 

the  Use  and  Appre- 

ton, June  21- 

ciation    of     Educa- 

Aug. 14 

tional     Films     and 

State  Normal  Uni- 

Radio Programs 

versity,  Normal 

State  College,  San 

Photography 

S.  Morse 

June  12  ...  . 

Francisco 

University   of 

June  21   ...  . 

Illinois,    Urbana 

Colorado 

June  21-Aug.  14 

State   College  of 

Visual   Aids    in   Edu- 

Helen Davis 

Indiana 

Education,    Gree- 

cation 

Purdue  University, 

ley,  June  21- 

Lafayette, 

July   16 

June  14  ...  . 

Title  of  Course  Instructor 

Visual  Aids  Lelia  Trolinger 

Education  through  Mo-  Lelia  Trolinger 
tion   Pictures 

Visual    and    Auditory  E.  H.  Herrington 
Aids 

Visual  Education  W.  L.  Goette 


Visual    Aids    in    Edu-    T.  R.  Wright 
cation 


Visual  Aids  and  Radio    Paul  C.  Reed 
in  Education 


Visual  Education  C.  L.  Cross 


Visual    and    Auditory    Louis  Astell 
Instructional    Aids 


Visual  Education  H.  A.  Henderson 


May,  1937 


Page  153 


Institution 
Iowa 

Iowa  State  College, 
Ames,  June  16 

Kansas 

University  of  Kans- 
as, Lawrence 
June  8  .  .  .  . 

University  of  Wich- 
ita,  Wichita 
June  7  .  .  .  . 

Kentucky 

University  of  Ken- 
tucky, Lexington 
June  14  ...  . 

Maryland 

University  of  Mary- 
land, College  Park, 
June  23  .  .  . 

Massachusetts 

State  Teachers  Col- 
lege,    Fitchburg, 
July-August 

Minnesota 

State  Teachers   Col- 
lege,  Moorhead, 
June   14  .  .  . 

State  Teachers  Col- 
lege,   Winona, 
June   14  .  .  . 

Missouri 

Teachers    College, 
Kansas    City, 
June   14  .  .  . 

New  Jersey 

State  Teachers  Col- 
lege, Montclair, 
July  5  .  .  . 

State  Normal  Col- 
lege,   Trenton, 

July  5  .  .  . 

Rutgers  University, 
New  Brunswick, 
July  S  .  .  . 

New  York 

New  York  Univer- 
sity, New  York 
City,  July  5  .  .  . 


Teachers  College, 
Columbia  Univer- 
sity, July  12-Aug. 
20 


Chautauqua  Summer 
Schools,  Chautau- 
qua, July  5  -  Aug. 
13 

Ohio 

Ohio  State  Univer- 
sity, Columbus, 
June  21  .  .  . 

Western  Reserve 
University,  Cleve- 
land, June  21  .  .  . 


Title  of  Course 

Lecture-Discussions  on 
Visual  Aids 

Visual  Education  in 
Elementary  and  Sec- 
ondary  Schools 

Visual  Sensory  Aids 
in  Teaching 


Visual  Instruction 


Visual  Education 


Visual    Aids   in    Edu- 
cation 


Instructor 
H.  L.  Kooser 

FredMontgomery 

W.  A.  Bon  well 

Louis  Clifton 

Henry  Brechbil! 

C.  W.  Erickson 

C.  P.  Archer 


Title  of  Course 


Instructor 


Visual  Education 


J.  C.  Muerman 


Supervision   through 
Visual   Aids 


Visual  Instruction        Ella  C.  Clark 


Methods  in  the  Use  of 
Visual  Aids 


Visual  Instruction 


Visual  Instruction 


Visual  Instruction 


Visual  and  Auditory 
Materials  in  the  So- 
cial  Studies 

Laboratory  Courses  in 
Visual  Aids 

Practical  Applications 
of  Visual  Aids 

Materials  and  Meth- 
ods in  Visual  and 
Auditory  Education ; 

Research  in  Visual 
and  Auditory  Edu- 
cation 

Laboratory  Course  in 
Visual  Aids 


Visual  Aids 


Rupert  Peters 


E.  W.  Crawford 


Geo.  W.  Wright 


L.  R.  Winchell 


D.  C.  Knowlton 


John  Shaver 

John  Shaver 

Fannie   Dunn 
V.    C.   Arnspiger 
C.  M.  Koon 
Fannie   Dunn 
V.   C.   Arnspiger 
C.    M.    Koon 
G.  H.  O'Donnell 


Edgar  Dale 


The    Use    of    Visual 
Aids  in  Education 


B.  F.  Holland 


V.  M.  Russell 


Institution 
Oklahoma 

A.    &    M.    College, 

Stillwater, 

May  31  .  .  . 
Texas 
University  of  Texas, 

Austin,  June  8  .  .  . 
Wisconsin 
State    Teachers   Visual  Instruction 

College,    Platte- 

ville, 

June   14  .  .  . 
State    Teachers    Visual  Instruction  C.  D.  Jayne 

College,    Stevens 

Point, 

June    14  .  .  . 
Stout    Institute,  Me- 

nomonie, 

June   22  .  .  . 
University   of    Wis- 
consin,   Madison, 

June  28  .  .  . 
Wyoming 

University   of  Wyo- 
ming,     Laramie, 

June  15  .  .  . 
Pennsylvania 

The  following  teacher-training  institutions  will  give 
courses  in  Visual  Education.  As  complete  information  was 
not  available  in  time  for  this  issue,  we  present  only  a  par- 
tial list  of  instructors  of  such  courses. 

Albright   College, 
Reading 


Visual  Instruction 


Paul  Nelson 


Visual  Instruction  J.  E.  Hanson 


Radio  and  Visual  Edu- 
cation 


Cline  M.  Koon 


Institute    of    Visual 
Education 


W.    M.    Gregory 
and  others 


Allegheny   College, 

Meadville 
Beaver  College  (J.  E.  Malin) 

Jenkintown 
Bucknell  University, 

Lewisburg 
College    Misericordia, 

Dallas 
Drexel  .Institute  (Mr.  Galphin) 

Philadelphia 
Elizabethtown    College, 
(E.  Wenger) 
Elizabethtown 
Geneva   College 
(J.  S.  Mclsaac) 
Beaver  Falls 
Gettysburg  College, 

Gettysburg 
Grove  City  College, 

Grove   City 
Immaculata    College, 

Immaculata 
Juanita   College 
(Paul   Rummel) 
Huntington 
LaSalle   College, 
Philadelphia 
Lehigh   University, 

Bethlehem 
Marywood  College 
(S.   M.   Sylvia) 
Scranton 
Mercyhurst    College, 

Erie 
Muhlenberg  College 
(H.    E.   Miller) 
Allentown 
Penn.   State  College 
(H.   E.   Thompson   and 
J.   G.   Sigman) 
State  College 


Rosemont  College, 

Rosemont 
Seton   Hill  College, 

Greensburg 
St.  Thomas  College, 

Scranton 
Susquehanna    University, 

Selinsgrove 

Temple  University 

(J.  T.  Garman) 

Philadelphia 
Thiel  College, 

Greenville 
University   of  Pennsylvania, 

Philadelphia 
University    of    Pittsburgh 

(Mr.  E.  E.  Sechreist), 

Pittsburgh 
Villa  Maria  College, 

Erie 
Villanova  College, 

Villanova 
Washington   &  Jeflferson, 

Washington 
Waynesburg   College 
(C.  O.  Riggs), 

Waynesburg 

State  Teachers  Colleges  at 
Bloomsburg 
California 
Clarion 

East   Stroudsburg 
Edinboro 

Indiana  (W.  E.  Emmert) 
Kutztown 
Lock  Haven 
Mansfield 
Millersville 
Shippensburg 
Slippery  Rock 
West   Chester 
Cheyney  Training  School 


Page  154 


The  Educational  Screen 


AMONG   THE    MAGAZINES 
AND    BOOKS 


Conducted  by  Stella  Evelyn  Myers 


The  School  Executive  (56:  309-310,  April  'i7). 
"Large  Scale  Use  of  Visual  Aids",  by  J.  Ralph 
Schaffer,  Baltimore. 

The  use  of  visual  aids  is  apt  to  be  an  "extra  per- 
formance" rather  than  a  teacher's  aid  in  the  class- 
room. This  attitude  indicates  a  need  to  fit  the  visual 
materials  more  eflfectively  into  the  course  of  study. 
The  first  step  in  this  direction  would  be  to  determine 
the  visual  aids  required  for  a  particular  course  of  study. 
This  work  might  be  done  by  specialists  in  subject-mat- 
ter, in  visual  aids  and  the  sources  of  materials,  and 
experienced  classroom  teachers.  The  major  and  minor 
objectives  for  each  unit  should  be  considered,  and 
the  particular  aid  that  would  be  most  useful  in  meet- 
ing each  objective  should  be  decided  upon,  and  listed 
with  source  and  prices  for  purchase  and  rental.  If 
gaps  appear  in  such  a  visual  correlation,  suggestions 
should  be  made  for  new  visual  aids  to  be  produced. 
Teachers  should  be  provided  with  directions  for  the 
use  of  the  aid  for  a  particular  lesson.  If  requests  were 
commonly  made  for  visual  aids  for  a  whole  course, 
rather  than  for  separate  programs,  producers  would, 
no  doubt,  attempt  to  supply  such  materials  by  courses. 

The  plan  for  cooperation  among  schools  in  the  use  of 
visual  aids  seems  almost  imperative  in  order  that  costs 
may  be  reduced.  The  writer  seems  to  have  an  exag- 
gerated idea  of  the  difftculty  and  the  expense  of  fitting 
each  classroom  for  projection  lessons.  He  recommends 
the  plan,  which  seems  to  work  more  efficiently  and 
with  perhaps  no  more  loss  of  time,  of  each  school  hav- 
ing a  room  set  aside  for  projection  purposes  with  all 
stationary  equipment  always  in  place. 

When  the  mass  of  detail  involved  in  booking,  ob- 
taining, and  using  visual  materials  is  considered,  it 
seems  unwise  to  place  this  load  on  the  teachers.  "For 
purposes  of  efficiency  and  economy  this  work  should 
be  assigned  to  one  person,  a  director  of  visual  edu- 
cation. This  director  would  be  responsible  for  sup- 
plying the  visual  education  needs  of  the  school  and  for 
the  operation  of  the  projection  room.  "This  expense 
for  visual  equipment  must  be  thought  of  in  the  terms 
of :  Can  we  afford  to  do  without  itf  .  .  .  Perhaps  more 
advertising  is  needed  to  convince  boards  of  educa- 
tion of  the  fact  that  visual  aids  are  an  important  com- 
plement to  the  teacher  and  deserve  an  expenditure  in 
comparison  to  their  worth  in  the  whole  teaching  pro- 
cess." 

Film  Progress,  London  (2:  5-10,  Jan.  ':i7).  "The 
School  Film,  What  Is  and  What  Should  Be,"  by 
Bruce  Beddow.  (The  London  editor  states  that  he 
publishes  this  article  because  of  the  number  of  live 
issues  that  it  raises.) 

The  serious  business  of  bringing  the  film  into  the 
classroom  has  been  badly  mismanaged,  because  in 
the  main  it  has  not  been  managed  by  educators.  It 


is  suggested  that  an  Education  Film  Council  be 
formed  to  direct  and  co-ordinate  the  work  of  lesser 
bodies.  Brains,  imagination  and  enthusiasm  must  be 
required  of  all  applicants  for  positions  on  the  Coun- 
cil, or  the  lesser  bodies.  Also,  the  candidate  must 
have  sufficient  classroom  experience  to  give  first- 
hand knowledge  of  the  mentality  of  the  elementary 
and  secondary  school  child. 

The  Council  should  appoint  a  Subject  Committee 
for  each  school  subject  and  each  of  these  subject 
committees  would  divide  into  sub-committees  for 
three  age  levels.  The  History  Committee  with  the 
knowledge  and  approval  of  the  Council  would  pass 
on  to  the  Junior  History  Sub-Committee  certain 
terms  of  reference  for  a  series  of  films  to  be  pro- 
duced. The  correct  approach,  the  'atmosphere'  to  be 
attempted,  and  the  actual  teaching  facts  would  be 
listed.  Not  until  this  stage  of  the  procedure,  should 
the  film  director  be  approached.  "As  for  the  films 
now  in  existence,  a  few  could  be  'cut'  and  embodied 
in  the  scheme,  but  the  mass  should  be  solemnly 
burnt  next  April  Fool's  Day."  As  to  sound,  the 
English  educator  says,  "When  I  see  apple  orchards 
in  Kent  I  do  not  want  to  listen  vaguely  to  a  mawk- 
ishly jocular  voice — coming  from  nowhere  to  tell  me 
how  the  apples  are  packed :  let  one  of  the  workers 
look  up  and  speak  to  me  in  his  own  good  Kentish 
dialect  and  I  will  accept  him  and  his  explanation 
as  natural  things.  So  that  I  think  that  what  the 
teacher  resents  is  not  the  sound  film,  but  the  voice 
of  the  too  explicit  commentator." 

The  Journal  of  the  National  Education  Associa- 
tion (26:  91-92,  March,  1937).  "The  Outlook  for 
Films  in  Education,"  by  Charles  F.  Hoban,  Jr. 

A  most  enlightening  article  on  the  general  status 
of  the  visual  field  for  education  is  presented  under 
the  headings:  "Production  Activities,"  "Distribu- 
tion," and  "Increased  Use."  The  writer  proclaims 
that  a  new  surging  of  interest  and  activity  in  these 
three  fields  is  everywhere  evident.  The  thought  of 
this  long-desired  synchronization  is  most  stimulat- 
ing. The  lamented  limitations  to  learning  are  over- 
come by  means  of  an  interesting  and  understandable 
pictorial  presentation.  The  world  comes  into  the 
classroom  and  speaks  even  to  the  retarded  child,  in- 
stilling truer  attitudes,  enriching  knowledge,  and 
motivating  skills. 

Educational  films  are  being  produced  by  educat- 
ors, as  is  fitting,  by  industrial  and  commercial  or- 
ganizations to  make  explicit  their  own  processes 
and  products,  and  by  certain  federal  departments. 
Distribution  is  being  carried  on  by  several  state 
departments  of  education,  at  least  28  university  ex- 
tension bureaus,  and  teacher-training  institutions 
that  have   developed   circulating  fl'-ii   libraries.   There 

{Concluded  on  page  156) 


May,  1937  Page  155 

NEWS  AND  NOTES   ^-^  /-/  -"<-  - 

HaitLTLcant  Jioina^   and   events   at   ike   vaiiai   rieiJi. 

Conducted  by  Josephine  Hoffman 


Free  Source  Material 

Under  the  <;;uidance  of  Mr.  Lester  M.  Bruce,  Chair- 
man of  the  Social  Science  Committee  of  Teachers,  in 
the  New  Providence  Public  Schools,  New  Providence, 
New  Jersey,  a  10-page  publication  "Materials  of  In- 
struction in  Social  Science,"  has  just  been  issued. 
This  first  number  contains  over  one  hundred  sources 
of  free  posters  and  publications.  Copies  may  be  se- 
cured free  of  charge  by  writing  to  George  W.  Wright, 
Supervising  Principal,  New  Providence,  New  Jersey. 

Bureau  of  Mines  Films  Shown  to  7,000,000 

A  total  of  7,252,000  Americans  learned  something 
of  how  minerals  are  produced  and  utilized  through  at- 
tendance at  the  showing  of  the  educational  motion  pic- 
ture films  of  the  U.  S.  Bureau  of  Mines,  Department 
of  the  Interior,  during  the  year  1936.  The  films,  cover- 
ing 57  diflferent  subjects,  were  exhibited  on  84,783 
occasions,  the  attendance  figures  exceeding  those  of 
any  previous  year.  Approximately  500  reels  were  added 
to  the  Bureau  of  Mines  motion-picture  library  during 
the  year,  making  over  3,000  reels  available  for  dis- 
tribution. The  cost  of  producing  the  films  is  borne  by 
cooperating  industrial  concerns.  The  films  are  used  by 
educational  institutions  and  engineering  societies 
throughout  the  country.  Some  of  the  films  have  ac- 
tually been  made  a  part  of  prescribed  courses  in  certain 
colleges. 

High  Lights  of  Visual  Conference 

Advance  information  has  been  furnished  us  by  the 
ofificers  of  the  DeVry  National  Conference  on  Vis- 
ual Education.  Dr.  I.  E.  Deer  will  show  the  latest 
films  in  The  Secrets  of  Success  series.  L.  W.  Coch- 
rane, University  of  Iowa,  will  exhibit  color  films  made 
at  the  University.  Supt.  Hamilton  of  the  Oak  Park 
Schools  and  William  G.  Hart  of  the  Fordson  Schools 
at  Dearborn,  Michigan,  will  show  films  of  school  ac- 
tivities. The  National  College  of  Education  at  Evans- 
ton  has  done  some  interesting  filming  that  will  also  be 
presented.  A.  E.  Holleman  of  the  Shell  Petroleum 
Corporation,  who  has  made  an  outstanding  contribu- 
tion to  scientific  testing  for  film  training  in  salesman- 
ship, will  present  further  studies  made  on  this  subject, 
and  will  exhibit  a  striking  new  film.  Miss  Alma  Rog- 
ers, organizer  of  the  County  Cooperative  Film  Service 
of  St.  Louis  County,  will  report  on  the  progress  of 
this  unique  organization.  A  similar  county  film  serv- 
ice along  original  lines  will  be  described  by  County 
Supt.  H.  E.  Ryder  of  Sandusky  County,  Ohio.  Supt. 
Rilling  of  Anna.  Ohio,  will  present  the  remarkable 
way  in  which  a  Public  Address  System  enabled  him  to 
continue  the  work  of  his  schools,  after  the  recent 
earthquake  destroyed  their  school  buildings.  There 
will  be  an-  illustrated  lecture  on  a  6000-mile  tour  of 
Soviet  Russia  by  Supt.  F.  E.  Hewitt  of  Washington, 
Kansas.    James    Henry    White,    who    delighted    audi- 


ences at  the  New  Orleans  meeting  of  The  Department 
of  Visual  Instruction,  will  show  his  fascinating  pic- 
tures on  China.  Bertha  Rachael  Palmer  will  present 
the  new  film  of  the  National  W.  C.  T.  U.,  The  Benefi- 
cent Reprobate.  Forest  Treasures  will  be  presented  by 
the  Veneer  Association.  A  number  of  new  Government 
films  will  be  shown,  including  glimpses  of  C.  C.  C. 
Camps  at  work.  Raymond  Evans.  Chief.  Division  of 
Motion  Pictures,  U.  S.  Department  of  Agriculture, 
will  discuss  the  work  of  his  department  and  present 
In  the  Beginning,  a  new  film  depicting  the  genesis  of 
mammalian  life.  Many  industrial  firms  will  also  pre- 
sent their  latest  films. 

The  program  is  far  from  complete,  but  promises  to 
be  one  of  exceptional  interest.  The  Conference  meets 
this  year  June  21  to  24,  inclusive,  and  will  be  held  in 
Chicago  at  the  Francis  W.  Parker  School. 

School  Reports  on  Peace  Film 

The  anti-war  documentary  film,  Dealers  in  Death, 
exposing  the  mimitions  racket,  was  shown  to  an  as- 
sembly of  students  and  teachers  at  John  H.  Francis 
Polytechnic  High  School,  Los  Angeles,  and  the  re- 
ports gathered  from  the  group  after  the  showing 
testify  to  the  eflfectiveness  of  the  film's  appeal  for 
peace.  A  few  of  these  reports  are  quoted  below  ver- 
batim : 
Questions : 

1.  Do  you  feel  this  is  a  picture  that  should  be 
shown  to  high  school  students? 

2.  Please  explain  your  vote. 

3.  Give  a  short  evaluation  of  this  program. 
Answers : 

Secondary  Principal: 

1.  Yes.  ' 

2.  The  reaction  of  the  students  was  good.  They 
were  obviously  aiifected.  Attitudes  changed, 
yet  not  emotionally  debauched. 

3.  Artistically  poor. 
Dramatically  medium. 
Intellectually  fine. 
Emotionally  O.  K. 

High  School  Teacher: 

1.  Yes. 

2.  I  believe  that  high  school  students  should  see 
this  picture.  As  the  future  citizens  of  the  U. 
S.  they  should  know  the  causes  of  war  and 
who  causes  them.  We  must  develop  the  hate 
of  war  in  students  as  early  as  possible. 

3.  The  horrors  of  war  caused  by  the  greed  of  a 
few  munitions  makers  who  do  not  care  how 
many  people  are  slaughtered  and  their  meth- 
ods of  propaganda,  are  fully  explained  with- 
out fear.  Only  through  the  education  of  peo- 
ple to  the  horrors  and  truth  of  war  can  we 
outlaw  it.     The  enormous  amount  of  money 


Page  156 


The  Educational  Screen 


spent  for  rearmament  has  involved  most  of 
the  world  in  a  siege  of  hunger  and  starvation. 
I  believe  this  film  has  shown  me  more  of  the 
horrors  of  war  than  I  could  ever  hope  to  learn 
in  books.  I  heartily  endorse  this  film  not  only 
for  high  schools  but  for  colleges  as  well. 
Student  (President  Scholarship  Society)  : 

1.  Yes. 

2.  The  boy  or  girl  of  high  school  age  needs  just 
such  facts  as  these  brought  before  him  in 
order  to  change  war  from  an  adventure  to  a 
disaster  in  his  eyes. 

3.  Some  of  the  scenes  are  exceedingly  gruesome, 
and  yet,  I  think  something  authentic  as  this 
is  needed  to  bring  out  the  point  of  war  as  a 
tragedy.  The  facts  brought  into  the  picture 
are  interesting,  because  none  of  these  things 
are  given  in  newspapers  of  today.  We  need 
something  like  this  to  awaken  the  youth  of 
today. 

High  School  Student  : 

1.  Yes. 

2.  I  feel  that  this  picture  should  be  shown  to 
high  school  students  because  when  they  are 
this  age  they  are  old  enough  to  understand 
the  grim  realities  of  war  and  young  enough  to 
turn  this  knowledge  towards  channels  of 
peace. 

3.  This  program  showed  very  clearly  just  how 
futile  war  is.  Many  millions  of  lives  are  lost 
because  of  the  inhuman  avarice  of  the  muni- 
tions manufacturers.  The  cost  of  war  is 
brought  out  most  clearly,  I  think,  by  the  fact 
that  for  every  soldier  that  is  killed  $25,000  is 
spent.  Another  startling  fact  was  the  com- 
parison of  the  money  wasted  on  destruction 
and  the  same  money  that  could  have  been 
spent  to  build  colleges  and  libraries,  and  pro- 
vide millions  of  homes  for  the  impoverished. 
I  think  it  would  be  very  wrong  not  to  show 
this  picture  because  if  we  want  peace  we  must 
first  show  the  horrors  of  war. 

This  film,  which  is  handled  by  Garrison  Film  Dis- 
tributors, has  been  endorsed  by  the  U.  S.  Senate 
Munitions  Investigation  Committee.  It  was  produced 
with  the  editorial  advice  of  Professor  Walter  B.  Pit- 
kin. Its  author.  Burnet  Hershey,  is  a  famous  war  cor- 
respondent who  served  the  New  York  Times  with  the 
American  Expeditionary  Forces  during  the  World 
War  and  was  later  attached  to  General  Pershing's 
Headquarters. 

School  Gives  Photography  Course 

A  course  in  photography  is  given  at  Lehigh  Uni- 
versity, Bethlehem,  Pennsylvania,  in  connection  with 
the  regular  journalism  instruction  at  the  school  to 
candidates  for  posts  on  the  student  newspaper.  So 
great  has  been  the  response  that  the  class  had  to  be 
divided  into  two  sections.  With  the  purchase  of  a 
miniature  camera  and  the  setting  up  of  a  regular  dark- 
room, the  semi-weekly  news  photographers  were  ready 
to  go  to  work.  The  instruction  includes  mastery  of 
developing  and  printing  and  of  what  it  takes  to  make 
pictures  under  the  varied  conditions  which  newspaper 
photographers  face. 


Among  the  Magazines  and  Books 

(Concluded  from  page  154) 

are  97  full-time  directors  of  visual  education  in  the 
United  States,  and  230  part-time  instructors.  Ad- 
ditional film  catalogs  are  helping  in  increased  use 
of  appropriate  films.  Teachers  are  being  trained  in 
film  projection  and  teaching  techniques,  over  300 
teacher-training  institutions  ofi:ering  courses  deal- 
ing with  the  motion  picture  in  education.  In  fact, 
by  surveys,  publications,  and  conferences,  this  or- 
ganization is  attempting  to  serve  as  a  clearinghouse 
of  educational  information  in  the  field  of  the  film. 

Science  News  Letter  (31 :  179-180,  March  20,  '37) 
"Microfilm  Hailed  as  New  Way  to  Duplicate  Books, 
Pictures,"  by  Watson  Davis. 

This  library  wonder-worker,  enabling  a  reader  to 
carry  the  contents  of  five  large  books  in  his  vest 
pocket,  while  the  librarian  both  lends  and  retains  a 
copy  of  each  book,  is  helpfully  illustrated.  At  home, 
the  book  is  read  from  a  translucent  screen.  Six  pages 
of  a  book  are  reproduced  on  microfilm  about  one  by 
five  inches  in  measurement.  If  the  microfilm  images 
can  be  reduced  to  one-fourth  of  their  present  size,  a 
book  of  240  pages  can  be  produced  on  film  the  size  of 
the  usual  cataloguing  card.  A  whole  library  would 
then  require  no  more  room  than  the  space  now  oc- 
cupied by  the  card  catalogue. 

Science  (85:  240-242,  March  5,  "37)  "Dissemina- 
tion of  Scientific  Literature  by  Means  of  Micro- 
films." 

This  scientific  article,  less  popular  in  style  than  the 
preceding  article,  contains  suggestions  that  should  be 
very  helpful  to  librarians  when  the  stage  of  catalog- 
ing microfilms  is  reached. 

Sierra  Educational  News  (33:  21-23.  Jan.,  '37.) 
"Cinema  Report-Card,"  by  Raymond  Gruner. 

Cinema  Report-Cards  as  designed  for  an  Elemen- 
tary School  are  described  with  six  points  for  chil- 
dren's rating.  What  plays  made  the  greatest  im- 
pression is  indicated,  and  also  how  good  or  bad  the 
pupils  thought  them  to  be.  The  total  findings  are 
re-produced  for  1936  with  the  child's  own  point  of 
view  told  in  his  own  expressive  manner. 

Building  America — Steel  (2:  31  pp,  Feb.,  '37) 
The  story  of  steel  is  one  of  the  most  romantic  of  the 
fourteen  stories  published  to  date  in  the  series,  "Build- 
ing America."  The  development  of  the  industry  from 
the  early  crucible  to  the  Bessemer  converter  and  the 
open  hearth  process  is  presented  in  word  and  picture. 
The  fascinating  steel  network  of  the  Great  Lakes  Re- 
gion is  traced  from  the  fluctuating  compass  of  Wil- 
liam Burt  in  Northern  Michigan  (1844)  to  the  busy 
hives  where  half  a  million  men  are  the  workers.  The 
romantic  stories  of  Carnegie  and  Gary  are  delineated 
with  their  respective  policies.  The  organization  of 
large  corporations  and  monopolies  and  the  Sherman 
Anti-Trust  Law  are  treated.  The  history  of  welfare 
work  by  the  companies,  and  the  organization  of 
labor  unions  are  clearly  analyzed.  As  far  as  the  eco- 
nomic foundation  of  the  reviewer  extends,  the  ac- 
count is  perfectly  straight-forward  and  told  with  a 
great  desire  to  present  both  the  labor  and  managerial 
sides  with  absolute  truth  and  justice. 


May,  1937 


Page  157 


THE    DEPARTMENT    OF    VISUAL 
INSTRUCTION   OF  THE  N.  E.  A. 


A  rXENDANCE  prospects  grow  steadily  brighter 
■^^  for  the  coming  Department  sessions  in  Detroit, 
Jime  28  to  30,  held  concurrently  with  the  annual  meet- 
ing of  the  N.  E.  A.  With  the  invaluable  assistance 
of  W.  W.  Whittinghill.  Director  of  Visual  Education 
in  the  Detroit  Schools,  acting  as  our  efhcient  Chair- 
man of  Arrangements,  most  desirable  accommodations 
have  been  secured  for  the  occasion. 

The  Fort  Shelby  Hotel  is  official  Department  Head- 
quarters, where  our  scheduled  luncheons  will  be  held, 
and  where  there  are  still  rooms  available  for  our  mem- 
bers who  write  the  hotel  promptly  for  reservations. 
Our  meetings  will  take  place  just  across  the  street 
from  the  Fort  Shelby  in  the  beautiful  auditorium  of 
the  new  WWJ  Broadcasting  Studios.  Seldom  has  the 
Department  enjoyed  such  ideal  arrangements  for  its 
periodic  get-together. 

PROGRAM 

Detroit  Meeting,  June  28  to  30,  1937 

Department  Headquarters — Fort  Shelby  Hotel 
Assembly  Programs,  in  WWJ   Broadcasting  Studio 

Local  Chairman   of  Arrangements,  W.   W.  Whittinghill,  934S 
Lawton  Avenue,  Detroit.  (   Send  luncheon  and  hotel  reser- 
vations   direct   to   him). 

FIRST  DAY  (Monday,  June  28) 

12  Noon — Registration   Luncheon  (Crystal  Ball  Room, 
Fort  Shelby  Hotel) 

Address  of  Welcome 

Guest   Speaker,   Frank   Cody,    Superintendent   of   Detroit 
Schools 
Overview  of  Detroit  Visual  Program 

Manley  E.  Irwin,  College  of  Education,  Wayne  Univer- 
sity, Director,  Division  of  Instruction,  Detroit 
Schools 

2  P.  M. — Afternoon  Program   (WWJ  Auditorium) 

Immediate  Needs  in  Visual  Instruction 

F.  Dean  McClusky,  Director,  Scarborough  School,  Scar- 
borough, N.  Y. 
State  Wide  Visual  Work  in  Indiana 

F.   L.   Lemler,   Secretary,   Bureau   of  Visual   Instruction, 
Indiana  University 
Complete  Learning  through  Visual  Aids  in  Physics 

O.     S.    .'\nderson.    Physics     Department,    High    School, 
Fargo,   N.   D. 
The  Motion  Picture  in  the  Learning  Process 

W.   M.   Gregory,   Director,   Educational   Museum,   Cleve- 
land  Public   Schools 
Recent  Trends  in   Use  oj  Cinema  in  Education 

Panel  discussion  led  by  John  A.  HoUinger,  Director,  De- 
partment of  Visualization,  Pittsburgh  Public  Schools. 
(Showing  of  selected  educational  films) 

SECOND   DAY   (Tuesday,  June  29) 

12  Noon — Conference  Luncheon   (Fort   Shelby  Hotel) 

(for  Department  Members  only) 

Considerations  on  the  Present  and  Future  of  the  Department 
Nelson  L.  Greene.  President  of  the  Department  of  Vis- 
ual  Instruction 


Showing   of  new  film,  "Child  Safety  in   Traffic",  for  discus- 
sion by  members 
Don    Carlos    Ellis,   Treasurer,    Metropolitan    New    York 
Branch  of  the  D.  V.  I. 

2  P.  M. — Afternoon  Program  (WWJ  Auditorium) 

The  Teaching  of  Wild  Life  near  Home 
Frank  S.  Gehr,  Yonkers,  N.  Y. 

Lantern  Slide  Technique  in  Geography  Instruction 

Villa  B.  Smith,  Lecturer  in  Geography,  Western  Reserve 
University 

Seeking  New  Educational   Objectives  through   Use  of  Films 
Edgar  Dale,  College  of  Education,  Ohio  State  University 

Teacher  Participation  in  Edtieational  Film  Production 
(Panel    Discussion    following) 

Charles    A.    Gramet,    Franklin    K.    Lane    High    School, 
Brooklyn,  N.  Y. 

(Showing  of  selected  educational  films) 

THIRD  DAY  (Wednesday,  June  30) 

1:30  P.  M. — Afternoon  Program   (WWJ  Auditorium) 
Essential  Qiuilities  for  an  Educational  Film 

Esther  L.  Berg,  Public  School  91,  New  York  City 

Second   Showing    of   "Child   Safety    in    Traffic"    for   audience 
discussion 

(Showing  of  selected  educational  films) 

Business  Meeting 

Election  of  OfScers,   New  Policies.  Adjournment. 

VKTITH  such  a  meeting  in  prospect,  our  membership 
should  keep  pace.  The  June  issue  of  The  Edu- 
cational Screen  will  print  the  third  Roster  of  Paid 
Members.  As  before,  no  member  expiring  previous 
to  June  can  be  included  unless  his  $2.00  renewal  is  re- 
ceived before  June  1st.  Your  expiration  date  is  shown 
in  the  November  or  February  rosters.  February 
showed  increase  over  November.  June  should  show 
a  still  greater  increase  over  February.  It  all  depends' 
on  you ! 

Special  significance  will  attach  to  the  June  Roster. 
It  is  planned  to  make  it  merely  the  "charter  nucleus" 
of  the  greater  Department  that  is  to  come.  A  new 
number  (from  1  up  as  far  as  the  roster  goes)  will 
be  assigned  each  member,  a  new  membership  card  is- 
sued, and  that  number  will  be  permanent  for  that 
member.  Non-renewal  will  merely  drop  the  number, 
leaving  a  permanent  gap  in  the  member  series.  In  fu- 
ture rosters,  then,  the  member  number  itself  will  be  an 
automatic  index  of  seniority  in  the  Department,  the 
lowest  numbers  indicating  permanently  the  "charter 
nucleus". 

Let's  make  this  "nucleus"  at  least  500,  and  give  the 
new  officers  to  be  elected  this  June  something  to  build 
upon  as  a  real  foiindation.    It  all  depends  on  you! 


Page  158 


The  Educational  Screen 


FOREIGN    FILMS    FOR 
EDUCATIONAL    INSTITUTIONS 


Conducted  by  Wesley  Greene 


COLLEGE  foreign  film  showings  may  be  classified 
in  the  main  under  two  headings :  those  arranged 
to  serve  broad  cultural  interests  and  those  pro- 
moted by  specific  language  groups.  In  the  former 
group  are  such  programs  as  those  sponsored  by  the 
Film  League  of  Nashville.  International  House  (Chi- 
cago), the  student-conducted  Art  Cinema  League  of 
the  University  of  Michigan,  and  the  University  Thea- 
tre at  the  University  of  \\'isconsin.  In  the  latter 
group  are  the  French  programs  sponsored  by  the 
French  Talking  Films  Committee  of  Cambridge, 
Massachusetts,  and  the  occasional  showings  sponsored 
by  language  instructors  interested  in  only  one  subject. 
In  this  issue  we  are  pleased  to  have  an  account  of 
the  work  of  the  Film  League  of  Nashville,  to  illustrate 
the  successful  presentation  of  foreign  films  designed 
for  those  with  a  multiplicity  of  cultural  interests.  In 
the  next  issue  we  shall  have  an  account  of  a  leading 
film  group  specializing  in  one  language. 

Film  League  Of  Nashville 

By  FRANCES  NEEL  CHENEY 

Librarian  o^  Vanderbilt  University  and  Secretary  of  the  League 

'J^HE  Film  League  of  Nashville,  organized  in  1932 
by  Thomas  Dabney  Mabry  for  the  study  of  the 
history  and  development  of  film  art,  ofifers  to  those 
genuinely  interested  in  the  motion  picture  an  oppor- 
tunity to  see  and  study  films  whose  nature  is  too  sjdc- 
cial  for  popular  appeal  and  which  would  not  otherwise 
be  shown  in  Nashville.  The  films  are  drawn  from 
three  sources :  foreign  films  which  would  never  be 
exhibited  in  commercial  theatres,  films  made  by  indi- 
viduals in  America  and  elsewhere  which  are  con- 
cerned with  the  experimental  and  technical  side  of  the 
cinema,  and  memorable  American  and  continental  films 
which  may  be  revived  for  historical  study. 

The  twelve  films  shown  in  one  season  are  divided 
into  groups  of  three  or  four  each,  according  to  lan- 
guage. In  this  way  college  students  can  obtain  a 
French  or  German  membership  if  they  are  not  inter- 
ested in  the  whole  series.  This  is  a  non-profit  making 
organization  and  the  membership  is  of  three  kinds : 
a  minimum  membership  of  four  meetings  for  $2  00. 
a  sustaining  one  of  twelve  meetings  for  $5.00,  and  a 
student  membership  of  three  meetings  for  $L00.* 
Members  may  obtain  guest  cards  for  fifty  cents  each. 

The  group  is  made  up  of  students  and  townspeo- 
ple, and  meets  every  other  Sunday  evening  at  a  com- 
mercial theatre  which  is  rented  for  the  purpose.  A 
union    operator   is   used   and    the    films    exhibited    are 

*It  is  interesting  to  note  that  the  subscription  idea  failed 
miserably  when  tried  four  years  ago  at  International  House. 
Chicago.  Apparently  some  groups  like  the  idea  and  some 
don't. — Wesley  Greene. 


ship]5ed  back  the  same  night  of  the  showing.  Each 
member  is  notified  three  days  before  the  meeting  by  a 
postcard  which  gives  the  name  of  the  film  with  a  brief 
resume  or  critical  note.  This  supplements  the  printed 
program  which  is  issued  at  the  beginning  of  each  sea- 
son. The  membership  has  grown  more  varied  from 
year  to  year. 

The  task  of  selecting  films,  however,  becomes  in- 
creasingly difficult.  In  the  beginning,  there  were  any 
number  of  classics  such  as  Potemkin.  Le  Million, 
Zwci  Herzen  im  3/4  Takf.  Maedchcn  in  Uniform  to 
choose  from.  But  by  showing  three  of  the  best  Eng- 
lish, French,  German,  and  Russian  films  each  year 
the  supply  of  old  films  has  been  exhausted ;  and  it  is 
now  necessary  to  show  the  current  year's  releases, 
which  cost  more  and  thus  require  a  larger  member- 
ship. This  year,  for  instance,  the  League  has  seen  The 
Eternal  Mask,  Crime  et  Cliatiinent.  Gypsies.  Janosik, 
and  hopes  to  close  the  season  with  La  Kennesse 
Heroique. 

Very  little  eflfort  is  made  to  please  the  whole  group 
even  though  the  films  are  chosen  by  a  comiuittee  which 
is  often  advised  by  the  faculty  of  V'anderbilt  Uni- 
versity. For  example,  some  of  the  members  are  widely 
enthusiastic  over  Rene  Clair,  others  are  bored.  Some 
consider  The  Passion  of  Joan  of  Arc  the  best  film  they 
have  seen,  others  think  it  desecrates  a  lovely  legend 
by  having  Joan  appear  so  ugly  and  unkempt. 

It  is  impossible  to  determine  the  group  reaction  to 
certain  films  in  advance  of  the  showings.  At  the  show- 
ing of  Madame  Bovary  the  student  element  was  very 
rowdy  and  laughed  uproariously  at  the  wrong  time. 
However,  this  sort  of  thing  does  not  happen  often. 

There  has  been  no  difficulty  with  showing  Russian 
and  German  films  as  the  League  is  well  established  as 
a  non-partisan  organization.  There  has  been  no  cry 
of  its  furthering  communism  by  showing  Potemkin  or 
Gypsies.  In  the  German  language,  Emil  and  die  Dc- 
tektive.  Blue  Light  and  Der  Hauptmatin  von  Koepen- 
ick  naturally  have  given  no  cause  for  criticisiu. 

We  have  found  that  English  titles  with  the  films 
are  essential  and  so  far  only  Einil  und  die  Detektive 
has  been  shown  successfully  without  them.  When  no 
English  titles  are  available,  it  is  necessary  to  have  in- 
troductory remarks  by  someone  and  this  is  far  from 
satisfactory.  We  suggest  that  distributors  equip  their 
films  with  better  English  titles  and  that  these  titles  hide 
no  more  than  a  third  of  the  screen  at  the  worst. 

The  increasing  number  of  film  bureaus  such  as  the 
International  Film  Bureau  and  the  New  Film  Alli- 
ance greatly  simplifies  the  selection  of  only  the  best 
films.  The  League  looks  forward  to  closer  cooperation 
with  organizations  which  realize  its  needs  and  which 
can  act  as  clearing  houses  for  the  sort  of  information 
desired. 


May,  1937 


Page  159 


in  every  lesson 

with  this  RCA 

'    Equipment    ^ 


RCA  SOUND  MOTION 
PICTURE  PROJECTOR,  PG-81 


l\'* 


...  One  of  RCA's  complete  line 
of  35  mm.  sound  motion 
picture  projectors.  Has  900  or 
1000  watt  incandescent  lamp. 
Ample  illumination  for  aver- 
age room  or  auditorium.  Has 
the  same  RCA  Photophone 
Rotary  Stabilizer  soundhead 
used  in  large  motion  picture 

houses  all  over  the  country.  Assures  you  the  exacting  pe"- 

formance  that  these  theatres  insist  on. 


«• :» 


wMm 


RCA  VICTOR  PHONOGRAPH-RADIO 

MODEL  9-U-2 

This  beautiful  instrument  ful- 
fills the  demand  for  a  combi- 
nation phonograph -radio  of 
excellent  quality  at  moderate 
cost.  It  provides  all  types  of 
radio  programs,  domestic  and 
short-wave,  and  reproduces 
phonograph  records  with  suffi- 
cient volume  for  use  in  the  school  auditorium.  Its  fine  quality 
is  demonstrated  by  its  wealth  of  superb  RCA  Victor  Radio 
features,  including  Magic  Voice,  Magic  Brain,  Magic  Eye 
and  RCA  Metal  Tubes.  The  phonograph  features  automatic 
record  changer,  new  inertia  tone  arm  and  pick-up,  automatic 
stop,  and  plays  10  or  12  inch  records  interchangeably.  The 
cabinet  is  34  inches  high,  46^4  inches  wide  and  18  Ji  inches 
deep,  richly  finished. 


Give  your  students  modern 
teaching  with  the  help  of 
this  RCA  apparatus  espe- 
cially designed  for  schools! 

EVERY  year  the  trend  to  modem  teaching  be- 
comes more  and  more  apparent.  Educators 
all  over  the  country  are  seeing  the  wisdom  in 
the  statement — lessons  that  live  are  easy  to  learn! 

Use  of  RCA's  modern  teaching  aids  means 
new  hfe  in  every  lesson,  plus  efFeaiveness. 
This  equipment  gives  you  a  new,  fresh  method 
of  presenting  studies  to  students. 

On  this  page  are  shown  two  of  RCA's  prod- 
ucts designed  for  schools.  They  provide  true 
quality  performance  because  they  are  created 
by  the  world's  greatest  sound  recording  and 
reproducing  organization.  Moreover,  they  are 
priced  moderately.  Full  details  about  these  and 
other  fine  RCA  educational  equipments  in- 
cluded in  the  interesting  new  booklet  "Sound 
Service  for  Schools" — a  copy  of  which  we  will 
mail,  free,  on  request. 


KCApresenti  tl)e"Magic  Key  of  RCA"  every  Sunday 
2  to  3  P.M.,  E.D.T..  o»  NBC  Blue  Network 


^mee 


EDUCATIONAL  DEPARTMENT 

RCA  Manufacturing  Co.,  Inc.     •     Camden,  N.  J. 
A  Service  of  the  Radio  Corporation  of  America 


Page  160 


The  Educational  Screen 


How  Nature  Protects  Young  Plants  and  Animals 

--In  Hand-Made  Lantern  Slides 


J 


By     ANN     GALE 

Art   Department,    Lindblom 
High   School,   Chicago 

gPRING  is  a  good  time  for 
a  study  of  the  various 
ways  of  protection  for  young 
plants  and  animals  in  inter- 
mediate grades. 

In  plants  the  growing  tip 
of  the  young  plant  must  be 
protected  against  cold.  With 
animals,  the  baby  animal  nuist 
be  protected  until  he  can  fend 
for  himself. 

These  six  pictures  may  be 
traced  on  slides  and  projected 
on  the  screen  as  a  basis  for 
such  a  study : 

(1)  The  tightly  rolled  tips  of 
young  ferns. 

(2)  The  pro- 
tecting bud 
scales  found 
over  the 
leaves  of 
trees. 

(3)  The  flow- 
er of  the 
bloodroot 
w  h  i  c  h  is 
tightly  wrap- 
ped in  the 
leaf. 

(4)  A  moth- 
er robin  feed- 
ing young 
robins  who 
are  not  strong 
enough  to  get 
their  own   food. 

mother  bear  and  a 
young  cub  together  foraging 
for  food. 

(6)   A  young  kangaroo  in  his 
mother's   pocket. 

Keystone  crayons  may  be 
used  to  suggest  the  natural 
coloring  of  the  plants  and  ani- 
mals. 

The  simplest  type  of  hand- 
made slide  is  made  by  draw- 
ing or  tracing  on  finely  fin- 
ished etched  glass  with  ordi- 
nary medium  lead  pencil.  Col- 
or, by  special  crayons  or  inks, 
enhances  the  slides  greath'. 
Fine  effects  are  obtained  by 
blending  with  crayons.  About 
one-third  inch  margin  should 
be  left  all  around  the  slide. 
The  slide  is  readily  cleaned 
with  soap  or  washing  powder 
to  receive  a  new  picture. 


(5)  A 


May,  1937 


Page  161 


DEVRY    LITERATURE    IS    I^FORMIXG 

THE   EDUCATIONAL   BOOKLETS  ARE  IN   DEMAND  FOR  COLLEGE  and  HIGH  SCHOOL  CLASSES 
In    Visual    Education,    Advertising,   and     for     Libraries     and     Business 

Research  Workers 
Glorify  Your  Product 


"This  exceedingly  'practical'  booklet  was  prompted,  one 
might  say  also  provoked,  by  the  never-ceasing  inquiries 
ooming  in  from  all  corners  of  the  field  to  the  following 
general  intent:  'What  research  and  experiment  have  been 
done  in  this  fleld?'  'Has  anything  been  proved?'  'What  it 
really  known?'  Are  there  any  "facts'  or  is  everything  mere- 
ly 'claims',  etc.  This  neatly  made  booklet,  of  24  readable 
pages  in  attractive  blue- paper-cover,  is  DeVry's  quick  and 
convenient    answer    to    such    inquiries."     Educational     Screen 


A  practical  treatise  on  how  to  go 
about  the  job  of  producing  "Talk- 
ies" that  will  sell  Koods  and  service. 
Shows  what  other  firms  have  ac- 
complished. Richly  illustrated.  Free 
to   sales   and   advertising   executives. 


Supt.  Arthur  L.  Maberry  of  Bangs,  Texas  substi- 
tuted supervised  study  at  school,  for  desultory  study 
at  home.  He  bought  a  16mm  talkie  unit,  and  used 
the  amplifier  for  public  address  throughout  the 
school.  He  says  this  equipment  greatly  aided  his 
school-study  plan.  The  Literary  Digest  wrote  it  up. 
This  booklet  gives  the  details.   Free  on   request. 


CIRCULARS       ON       DEVRY       PRODUCTS      BELOW,      FREE      ON      REQUEST 


DeVry  Theatre 
Projectors 


~,j  mm.  Portable 
Sound  Projector 


Itimm  ■■Challcnqcr" 
Sound  Projector 


lb  mm    Sprocket 

Intermittent  Sound 

Projector 


DeVry  Public 
Address  Systems 


Silent  Cameras,  Projectors 
and  Accessories 


DeVry  Sound 
Camera 


HERMAN     A.     DeVKY     IXC. 


II  I    Armi+age  Ave.,       CHICAGO 


IIss^Jn  national  conference  on  visual  education 

and  FILM  EXHIBITION  (DeVry  Foundation)        CHICAGO,  JUNE  21,  22,23.  24,  1937 

At  the  Francis  W.  Parker  School,  330  Webster  Ave.    (Opposite  Lincoln  Park) 


A  Large  and  Repre- 
sentative Gathering  of 
Visual  Educationalists, 
Bringing  Together  the 
School  and  Advertising 
Fraternities,  Speakers 
and  Film  Exhibitors  of 
National      Reputation. 

No   Admission   or 
Membership  Fees 

Almost  continuous  showings 
of  selected  industrial  and 
educational  films  as  ex- 
amples of  the  best  current 
practice.  These  will  be  both 
silent  and  sound,  16  as  well  as  3  5  mm.  films. 
After  the  showings,  advertising  and  schoolmen  will  discuss 
the  films.  Discussion  will  include  photographic  and  scenario 
technique;  advertising,  sales  or  training  values,  and  educa- 
tional values.  As  a  rule,  representatives  of  producers  and 
sponsors  will  be  present  and  will  lead  the  discussions.  Sessions 
wll  begin  9  o'clock  each  morning  and  continue  until  5  o'clock, 
with    one    hour    for    lunch — Evening    sessions    begin    at    7:30. 

ANNUAL  DINNER  and  ENTERTAINMENT 

An    evening    of   music,    fun    and    good    fellowship.     Radio   and 


Movie  stars.  This  is  the  only 
session  for  which  a  charge 
is  made.  Banquet  Tickets, 
$1.50. 

Teachers,  Principals, 
Superintendents,  Col- 
lege Instructors,  Ad- 
vert isingManagers  and 
Assistants,  Advertising 
Agencies,  Sales  Man- 
agers are  especially 
invited. 


SIGN  THE  COUPON 


.71 


NATIONAL    CONFERENCE    ON    VISUAL   EDUCATION 
nil    ARMITAGE  AVE.,   CHICAGO  I 

I 


Please  send  me  program  and  Free  Membership  Card. 

I 
Name | 

Address.— - ■ 

„  I 

Position I 


Page  162 


The  Educational  Screen 


SCHOOL    DEPARTMENT 


Conducted  by  Wilber  Emmert 

Director  Visual  Education,  State  Teachers  College,  Indiana,  Pa. 


How  To  Construct  and  Use  Star  Maps 


¥¥7 ITH  the  reorganization  of  courses  of  study  for 
"'  the  public  schools,  science  has  taken  its  place 
along  with  the  traditional  subjects,  beginning  with 
the  first  grade  and  continuing  through  every  grade  to 
the  high  school.  Survey  courses  in  science  are  popu- 
lar in  universities,  and  in  many  teacher-training  insti- 
tutions such  science  survey  courses  are  mandatory. 

One  unit  which  is  included  in  all  these  survey 
courses  deals  with  the  earth  on  which  we  live  and  with 
the  stars  in  their  courses.  To  satisfy  the  natural  curi- 
osity of  peoeple  about  the  heavenly  bodies,  there  has 
been  a  rapid  growth  of  the  planetarium  idea  in  this 
country.  It  is  expected  that  within  a  few  years  a 
planetarium  will  be  within  the  reach  of  every  person 
in  the  United  States.  Until  such  time  as  the  funda- 
mentals of  astronomy  and  the  definite  first-hand  ac- 
quaintance of  the  constellations  is  the  common  know- 
ledge of  every  one,  the  schools  can  perform  valuable 
service  by  teaching  about  the  stars  and  the  star  stories 
to  the  children.  Star  maps,  star  charts,  and  "guides 
to  the  constellations"  will  prove  very  helpful  in  this 
work. 

The  directions  given  below  for  the  construction  of 
star  maps,  and  the  recommended  technique  for  their 
use  provide  the  teachers  with  usable  materials  for 
their  activity  program  in  the  modern  school.  This 
program  involves  construction  work  in  the  classroom 
and  field  trip  experiences  during  the  observation 
period. 

Making  the  Star  Maps 

Materials  needed  for  the  construction  of  the  star 
maps  consist  of  one  sheet  of  oak  tag  and  a  box  of 
small  gummed  stars.     The  oak  tag  sheet  is  approxi- 


Before  Booking 

NEXT  FALL'S  PROGRAMS 

See  our 
1937-38  CATALOGUE 

(Just  off  the  press) 

LISTING 

283  16mm  Sound-On-Film  Features 

and 

Thousands  of  Short  Subjects 

IDEAL  PICTURES  CORPORATION 

28  East  Eighth  Street 
CHICAGO,  ILL 


mately  23  x  28  inches  in  size,  large  enough  to  make 
the  cards  for  eight  star  maps.  The  box  of  small 
gummed  stars  contains  one  hundred  stars,  which  is 
just  about  the  right  number  for  the  star  maps  to  be 
constructed.  These  stars  may  be  had  in  a  number  of 
colors,  such  as  silver,  gold,  blue,  red,  and  green,  any 
of  which  gives  satisfactory  results  on  the  map.  The 
oak  tag  is  of  such  color  and  texture  that  it  will  give  a 
long  period  of  useful  service,  though  any  other  card- 
board material  may  be  used  for  cards. 

The  oak  tag  is  prepared  for  the  maps  by  first  cut- 
ting a  strip  two  inches  wide  the  long  way  of  the  sheet, 
making  it  2  x  28  inches,  and  then  cutting  the  remain- 
der in  to  eight  equal  pieces,  each  about  7  x  10  inches. 
The  long  strip  may  be  used  to  make  a  ''zodiac  band" 
and  the  other  pieces  serve  as  the  cards  for  the  star 
maps.  If  a  large  paper  cutter  is  available  it  is  a  sim- 
ple matter  to  cut  the  sheet.  Scissors  may  be  used, 
but  are  not  so  satisfactory.  Another  plan  is  to  secure 
a  board  six  or  eight  inches  wide  and  about  three  feet 
long,  lay  the  oak  tag  on  the  board,  and  with  the  yard 
stick  as  a  guide  cut  the  sheet  with  an  old  razor  blade. 
It  is  best  to  cut  the  sheet  the  long  way,  giving  two 
equal  pieces  twenty-eight  inches  long.  Then  each 
strip  may  be  cut  into  four  equal  pieces  for  the  final 
cards.  A  small  paper  cutter  is  usually  large  enough 
for  this  final  cutting. 

Teachers  will  see  in  this  construction  work  oppor- 
tunities for  correlation  of  the  work  in  science  with  oth- 
er subjects,  particularly  mathematics  and  art.  Ex- 
treme accuracy  in  measurement  is  necessary  if  the 
eight  cards  are  to  be  exactly  the  same  size.  Since  the 
oak  tag  often  runs  slightly  over  the  23  x  28  inch  size. 
it  will  be  necessary  to  deal  in  fractions  of  inches,  or 
trim  the  card  to  those  dimensions.  In  any  event  it  re- 
quires mathematical  considerations  to  plan  the  work 
for  the  cutting.  In  the  lower  grades  this  might  well 
be  one  of  the  major  objectives  in  the  process  of  mak- 
ing the  star  maps.  Art  comes  into  play  during  the 
placing  of  the  stars  on  the  cards.  Proper  spacing  is 
necessary ;  correct  placement  of  stars  must  be  made : 
and  neatness  in  sticking  the  stars,  drawing  the  lines. 
and  lettering  the  cards  all  make  for  artistically  finished 
products.  It  also  serves  as  a  stimulus  to  the  imagina- 
tion, which  is  one  of  the  fundamental  purposes  of  art 
education. 

The  star  maps  suggested  for  the  early  work  in  this 
field  are  those  which  stress  relationships  in  such  a 
manner  that  associations  are  formed  whereby  other 
constellations  may  be  readily  identified.  The  natural 
starting  point  is  the  north  star  and  the  circumpolar 
constellations,  followed  with  those  which  also  have  the 
north  star  as  the  point  of  reference.  Consequently, 
star  map  number  (1)  is  The  Big  Dipper  and  the  North 


May,  1937 


Page  163 


Mechanical 
Saperiority 

of  the  Holmes 

16  mm.  Projector 


No  Other  16  mm. 
Projector  Has  All 
These  Features: 

REAR  PICTURE 
SHUTTER— Has  been 
on  Holmes  Projectors 
since    1922. 


I  INSTANT  TENSION  ADJUST- 
MENT OF  PICTURE  APER- 
TURE —  Absolutely  essential  for 
perfect    projection. 

DECIMITTENT  SPROCKET 
MOVEMENT— No  claw. 

ALL  SPROCKET  —  Insures  maxi- 
mum film  life. 

ALL  SHAFT  DRIVEN  —  No  belts 
or  chains. 

STRAIGHT  SOUND  APERTURE— 
No   sound   drum. 

DIRECT  BEAM  OF  LIGHT  ON 
SOUND  TRACK  AND  PHOTO 
CELL  —  No  prism  or  reflected 
light. 

HOLD  BACK  SPROCKET  —  Abso- 
lutely essential  for  perfect  sound. 

FILTERED  SOUND  SPROCKET— 
Same  as  used  in  theatre  ma- 
chines. 

SHAFT  DRIVEN  TAKEUP  —  Posi- 
tive in  action. 

SPEEDOMETER  —  No  euesswork 
about  proper  speed. 

GOVERNOR  TYPE  MOTOR— With 
speed   reg:ulator. 

THREADING — Simplicity    itself. 

HIGH    FIDELITY    SOUND    LENS. 

EXCITER  UNIT— Adjustable  in  six 
directions. 

LAMPHOUSE  —  Adaptable  to  500. 
750  or   1000   Watt   Lamps. 

DYNAMIC  SPEAKER  —  With  12 
inch   cone. 

AMPLIFIER— 15   Watts  Output. 

REELS — 400  to  1600   feet. 

WEIGHT — Complete  equipment  ap- 
proximately  70    pounds. 


This  16  mm.  projector 
with  a  HOLMES  ARC 
LAMP  instead  of  the 
MAZDA  shown  was 
used  to  throw  a  24- 
foot  picture  144  feet 
for  a  National  Insti- 
tution at  Constitution 
Hall,  Washington, 
D.  C. 

HOLMES  EASY  PAY- 
MENT PLAN  MAKES 
PURCHASE  EASY  — 
ASK  FOR  CATALOG 
—  FREE  DEMONSTRA- 
TION. 


HOLMES 

PROJECTOR 
COMPANY 

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CHICAGO 


Remain  atY  our  Desk 


while  you  illustrate  your 
lectures  with  slides 

0  Here  is  a  real  convenience  in  delivering  an 
illustrated  lecture.  You  may  sit  at  your  desk 
facing  your  class  as  usual,  with  your  notes  in  front 
of  you.  You  also  see  the  slide  you  are  using  to 
illustrate  a  point.  It  is  right  side  up,  exactly  as 
the  class  sees  it  on  the  screen.  As  you  point  with 
your  pencil  to  a  significant  detail,  the  silhouette  of 
the  pencil  point  on  the  screen 
serves  as  a  pointer.  You'll 
find  a  gain  in  student  interest. 
This  is  the  Spencer  Model 
"B"  Delineascope. 

Return  the  coupon  for  Folder 
K-78  giving  full  information, 
or  see  this  projector  at  the 
nearest  Spencer  display  room. 

Spencer  Lens  Company 


Buffalo 


New  York 


1    SPENCER 

LENS 

COMPANY 

1    Dept.  R-7-5 

BuSFalo.  N.  Y. 

Please  send 

folder  K-78 

describing 

Spencer  Delineascopes.                1 

1   NAME 

Page  164 


The  Educational  Screen 


rblo-js 

^^^■> 

""n/^    . 

^^0W  TO  LOCATE   THE 

VERNAL  EQUINOX 

v:Reiades 


OxssioPE(A  jAURlGA,an<)  TAURUS 
O- 


% 

\,MllOR 

Vith-T 

\                                  Ralaris 

yFo«siop«i«) 

o 

BIG  DIPPER  and  CASSIOPEIA 

Star,  showing  the  "pointers"  directed  towards  the 
north  star.  It  can  also  be  used  to  show  that  the 
big  dipper  revolves  about  the  north  star  in  twenty- 
four  hours,  and  can  be  used  as  the  "clock  of  the 
sky." 

Since  the  north  star  (Polaris)  is  the  end  star  in 
the  handle  of  the  Little  Dipper,  a  star  map  show- 
ing the  relative  positions  of  the  Big  Dipper  and 
the  Little  Dipper  form  the  subject  matter  for  star 
map  number  (2),  "Big  Dipper  and  Little  Dipper." 
These  names  are  used,  rather  than  "Ursa  Major 
and  Ursa  Minor,"  because  the  dippers  constitute 
only  parts  of  the  "Bear"  constellations.  It  will  be 
seen  that  as  the  earth  rotates  on  its  axis  the  dippers 


S.ckl. 

^■-^e<^olus 

Cf^Ustinl 

Autumnal*; 

^^^^"^  ^pi 

cq 

SovitK    Hon 

tzon 

VVy^TO  LOCATE  THE  AUTUMNAL 

EQuiNoy. 

>-'— *^]  Big-D.^" 

jiArcturus 
7\    in  Bootes 

/     \ 

Reoulus 

/             \                    ^^_,^.^ 

""in 

Leo 

A. 

it^^^-^^'lS^ 

?. 

LEO,  VIRGO,  BOOTES,  SCORPIO 

May,  1937 


Page  165 


appear  to  revolve  about  the  nortli  star  counter  clock- 
wise, always  holding  their  relative  positions  with  one 
another.  If  either  constellation  is  seen,  it  is  an  easy 
matter  to  locate  the  other. 

If  a  line  is  drawn  from  the  bend  in  the  handle  of 
the  Big  Dipper  to  the  north  star,  and  then  projected 
an  equal  distance  beyond,  it  will  locate  the  constella- 
tion Cassiopeia.  The  star  map,  number  (3),  "Big 
Di]5per  and  Cassiopeia",  stresses  the  relationships  ex- 
isting between  these  circumpolar  constellations.  If 
one  constellation  is  identified,  the  other  can  be  located 
readily.  It  can  be  shown  that  both  the  Big  Dipper 
and  Cassiopeia  revolve  counter-clockwise  about  the 
north  star  and  that  either  one,  or  both,  may  be  used 
as  a  "clock  of  the  sky". 

The  vernal  equinox  is  a  very  important  point  of 
reference  in  astronomical  measurements.  Spring  oc- 
curs when  the  sun  arrives  at  the  vernal  equinox.  To 
locate  the  vernal  equinox,  draw  a  line  (a  meridian) 
from  Polaris  to  Beta  Cassiopeia,  (a  distance  of  thirty 
degrees)  then  on  to  Alpheratz  in  the  Square  of  Pe- 
gasus (another  thirty  degrees),  and  extend  it  another 
thirty  degrees  into  an  open  space  in  the  skv.  That 
]ioint  will  be  the  approximate  position  of  the  vernal 
equinox,  ninety  degrees  from  the  north  star.  This  map 
entitled.  "How  to  Locate  the  Vernal  Equinox",  num- 
ber (4),  stresses  the  relationships  between  the  north 
star.  Cassiopeia,  the  Square  of  Pegasus,  and  the  vernal 
equinox.  Identification  of  any  one  makes  possible  the 
ready  location  of  the  others. 

Starting  again  from  the  north  star  and  projecting  a 
line  through  the  constellation  Auriga  on  to  the  celes- 
tial equator,  a  number  of  relationships  may  be  indi- 
cated. Chart  number  (5)  points  out  the  positions  of 
Cassiopeia.  Auriga.  Taurus,  and  the  Pleiades. 

One  of  the  most  brilliant  and  fascinating  constella- 
tions of  the  autumn  and  winter  months  is  the  giant 
Orion  majestically  marching  westward  across  the 
southern  skies  and  driving  the  enraged  bull,  Taurus, 
backward  hour  after  hour.  This  constellation  is  eas- 
ily located  by  drawing  a  line  (meridian)  from  Polaris 
past  Capella  in  Auriga,  and  on  beyond  the  celestial 
equator.  Orion  will  be  found  with  the  upper  star  in 
his  belt  along  the  celestial  equator,  with  his  faithful 

t hunting  dog,  Canis  Major,  containing  the  brightest 
star  of  the  heavens,  Sirius,  following  closely  behind 
him.  Star  map  number  (6)  entitled,  "Orion",  shows 
these  relationships. 
Autumn  begins  automatically  when  the  sun  is  at 
the  autumnal  equinox.  This  jxjint  may  be  located  by 
following  the  ecliptic  three-fifths  of  the  distance  from 
the  first  magnitude  star.  Reguhis,  in  the  sickle  of  the 
constellation  Leo,  to  Spica  in  the  constellation  Virgo. 
Since  both  of  these  stars  are  bright,  first  magnitude 
stars  and  as  there  are  few  other  stars  in  that  immedi- 
ate vicinity,  no  difificulty  will  be  experienced  in  locat- 
ing with  a  fair  degree  of  accuracy,  the  autumnal 
equinox.  Map  number  (7),  "How  to  Locate  the  Au- 
tumnal Equinox"  will  be  of  great  assistance  in  this 
work. 

The  last  of  this  series,  number  (8).  is  used  to  lo- 
cate certain  bright,  first  magnitude  stars,  starting  from 
the  initial  point  of  origin,  the  Big  Dipper.  It  is  said 
that  the  Century  of  Progress  in  Chicago  was  officially 


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opened  by  light  from  the  stai"  Arctunis.  This  star 
may  be  easily  located  by  following  southward  the 
swing  of  the  curve  of  the  handle  of  the  Big  Dipper 
until  the  first  bright  star  is  encountered.  That  star, 
in  a  fairly  starless  region,  is  the  first  magnitude  star, 
Arctunis.  in  the  constellation  Bootes.  A  continuation 
of  that  line  will  bring  into  view  certain  other  first 
magnitude  stars  as  indicated  on  the  star  map,  "Big 
Dil^per.  Arctunis.  Spica.  Antares.  Regiilus". 

This  series  of  eight  star  maps  constitutes  only  a  few 
which  can  be  constructed.  They  do.  however,  deal 
with  very  prominent  star  groups  seen  for  a  number  of 
months  during  the  year.  Other  star  maps  might  well 
assi.st  in  locating  the  constellations  favorably  placed 
during  the  time  the  unit  is  being  studied,  ^^"ith  the 
experience  gained  in  constructing  this  small  number 
of  maps,  it  will  be  easy  to  make  any  others  desired. 
Teachers  should  be  certain  to  keep  in  mind  the  desir- 
ability of  stressing  definite  relationships  between  con- 
stellations or  stars  when  making  the  star  maps.  An 
isolated  constellation  on  a  card  will  be  of  little  value 
in  attempting  to  locate  the  heavenly  bodies  when  on 
the  field  trip. 

It  would  be  well  to  have  an  observation  period  be- 
fore the  actual  work  of  constructing  the  star  maps. 
This  would  serve  as  a  stimulus  and  create  a  desire 
on  the  part  of  the  children  to  make  the  maps.  It  is  a 
good  plan  for  the  teacher  to  construct  a  set  of  the 
maps  to  find  the  problems  the  children  are  likely  to 
encounter  in  their  work.  The  set  made  by  the  teach- 
er may  be  used  as  a  standard  of  excellency  for  the 
children's  finished  products.  The  teacher  might  well 
place  the  diagrams  in  an  enlarged  form  on  a  wall  chart, 
having  all  the  groups  on  the  one  chart.  One  way  to 
do  this  is  to  draw  the  figures  on  a  strip  of  unbleached 
muslin,  say  thirty-six  inches  wide  by  about  sixty  or 
seventy-two  inches  long,  with  colored  crayon.  All 
members  of  the  class  could  view  this  at  the  same  time 
during  their  construction  work.  The  "zodiac  band" 
may  be  made  by  drawing  a  line  to  represent  the  eclip- 
tic in  the  middle  of  the  two  inch  strip  and  its  full 
length,  then  marking  oft  spaces  every  two  inches  to 
form  the  areas  for  the  twelve  zodiacal  constellations. 
The  constellation  figures  may  then  be  put  in  these 
spaces,  along  with  the  svmbols  and  names  of  the  signs 
of  the  zodia.  The  months  and  dates  for  the  signs  may 
also  be  noted  in  these  spaces.  Since  the  strip  is  twen- 
ty-eight inches  long,  four  inches  may  be  usd  to  lap 
over  to  hold  the  band  in  a  circular  form. 

It  has  been  found  that  in  placing  the  stars  on  the 
cards   it   is  much  easier  to  simply  place  the   stars   in 


May,  1957 

life  contrasted 


Page  167 


Julien  Bryan,  noted  American  explorer 
and  lecturer,  photographed  all  of  the  ma- 
terial in  this  important  new  series  of 
Eastman  Classroom  Films. 


on  the  «a"»;„t^"ffectinfe  ^''^.'^^n  cott^P^^'^■ 
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Page  168 


The  Educational  Screen 


The  Chinese  Had 
a  Word-- 

WE  Have  the 
Pictures  for  it! 


"One  picture  is  worth  ten 
thousand  words,"  wrote 
the  sage  of  old  Cathay. 
He  had  the  right  idea 
about  education  and  en- 
tertainment. It  is  our  idea 
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the  approximate  positions,  then  shift  them  about  until 
they  look  like  the  diagram  on  the  chart,  and  then 
sticking  them  on  the  card,  rather  than  measuring  the 
distances  and  drawing  the  form  beforehand.  The 
lines  can  be  readily  drawn  in  after  the  stars  are  stuck 
to  the  cards.  Use  a  cloth  or  a  handkerchief  in  press- 
ing the  moistened  star  to  the  card  to  avoid  a  smear 
around  the  star  on  the  card.  Draw  the  lines  in  ink 
to  avoid  the  smearing  of  the  lines  when  the  cards  are 
in  use.  This  latter  exercise  gives  experience  in  ruling 
with  ink. 

How  to  Use  the  Star  Maps 

Before  going  on  the  field  trip,  it  would  be  well  for 
the  children  to  know  the  names  of  the  stars  and  the 
constellations  to  be  studied.  They  must  know  also 
that  the  star  maps  are  so  constructed  that  it  is  neces- 
sary to  hold  them  over  the  head  to  get  the  true  rela- 
tionships when  viewing  the  stars. 

There  are  several  ways  of  using  the  star  maps  on 
the  field  trip.  One  way  is  for  the  teacher  to  make  a 
demonstration,  using  the  focusing  flash  light  pointed 
toward  the  stars  in  the  constellation.  Then  the  pupils 
may  look  at  the  star  map  to  identify  the  objects  indi- 
cated by  the  teacher.  After  a  few  such  demonstrations 
the  pupils  can  very  easily  pick  out  the  other  constel- 
lations by  using  their  maps.  Pupils  may  be  called  on 
to  demonstrate  in  place  of  the  teacher.  Misunderstand- 
ings may  be  cleared  up  by  referring  to  the  maps  and 
then  using  the  flash  light  to  trace  out  the  stars  and  star 
groups. 

One  way  to  firmly  fix  the  constellations  and  their 
relative  positions  clearly  in  mind  is  to  tell  the  star 
stories  and  legends  as  the  observation  progresses.  For 
example.  Taunts  is  always  to  the  west  of  Orion.  This 
can  be  remembered  from  the  legend  which  states  that 
in  his  fight  with  the  huge  bull,  Orion  was  victorious 
and  now  drives  the  charging  bull  westward,  while  his 
huge   hunting   dog,    Siriiis,   follows    faithfully   behind. 

In  the  classroom  pupils  may  review  the  field  trip 
lesson  by  using  the  star  maps  and  telling  the  stories 
of  the  constellations  and  stars  contained  thereon.  Chil- 
dren might  be  asked  to  mark  out  the  constellations  on 
the  floor  or  blackboard,  then  check  their  work  for  ac- 
curacy by  using  the  star  map.  The  map  contains  items 
which  will  call  for  reading  and  study  in  order  to  un- 
derstand all  the  implications  in  it. 

After  a  little  practice  and  some  further  instructions 
the  pupils  may  find  great  pleasure  in  going  out  by 
themselves,  or  in  small  groups  in  their  own  neighbor- 
hood and  studying  the  constellations.  The  star  maps 
will  make  them  independent  of  the  teacher  in  this  work 
and  they  can  study  the  stars  as  often  as  they  choose. 
They  may  w-ish  to  make  additional  maps  when  their 
fund  of  knowledge  grows  beyond  the  small  set  of  eight. 

The  construction  of  the  maps  will  assist  in  develop- 
ing certain  skills,  habits  of  work  and  neatness,  stimu- 
late the  imagination,  and  promote  understandings. 
Their  use  may  lead  to  the  acquisition  of  wholesome 
interests  which  might  cause  wide  reading  and  culmi- 
nate in  a  life-long  hobby.  Teachers  who  grasp  this 
opportunity  for  an  integrated  project  will  be  opening 
up  broad  avenues  to  the  wonders  of  immediate  and 
remote  environment  of  daily  life. 


May,  1937 


Page  169 


Da-Lite 

Has  the  Screens  You  Need 


It  is  easy  to  choose  the  right  screen  for  any  school 
requirement  when  you  select  from  the  Da-Lite  line. 
Here  you  will  find  the  world's  largest  assortment  of 
models  and  sizes,  ranging  in  price  from  $2.30  up. 
Surfaces  are  glass -beaded  unless  white  or  silver  is 
requested.  See  at  your  dealer's.  Write  for  catalogue 
and  new  low  prices  now!  Da-Lite  Screen  Co.,  Inc., 
2717  No.  Crawford  Ave.,  Chicago,  111. 


DA-LITE  MODEL  B  SCREEN 

One  of  several  types  of  hanging  screens. 
Roller-mounted  in  metal  case  to  protect 
surface  when  not  in  use.  12  sizes,  22"  x  30" 
to    63"    X    84"     inclusive.      From     $8.00    up. 


THE  NEW  DEAL 

The  leading  value  in  moderately  priced  box 
screens.  Single  collapsible  square  support  and 
non-sag  top  slat.  10  sizes  from  22"  x  30"  to 
72"  X  96"  inclusive.  From  $15.00  up.  One  of 
several  types  of  table  models. 


Da-Lite  Screens 


THE  STANDARD  CHALLENGER 

can  be  set-up  anywhere.  Adjustable  in 
height.  Patented  square  center  rod  on 
tripod  and  non-sag  top  slat  hold  entire 
screen  in  perfect  focus.  Folds  compactly 
for  easy  carrying.  Recently  reduced  in 
price.  30"  x  40"  now  only  $  1 5.00,  36"  x  48" 
now  $20.00,  39"  x  52"  now  $25.00. 


AND    MOVIE 
ACCESSORIES 


1937    VISUAL    REVIEW    now 
available    free    upon    request. 


¥/ 

PICTUROLS 

AND 

PROJECTORS 

Fitted  for  a  Wide  Range  of  School  Uses. 
New  Subjects. 

Write   For  Catalog.  Also  Special   Money-Saving 
Connbination   Package  Offers. 

Send  norv  for 

The  AUDIO-VISUAL  HANDBOOK 

By   ELLSWORTH   C.  DENT 


$1.25 

Paper  Bound 


POSTPAID 


$1.75 

Cloth  Bound 


Society  for  Visual  Education,  Inc. 

327   So.   LaSalle   St.,   CHICAGO.   ILL. 


PLEASE  NOTE 

Your  film  plans  should  include  our  "WORLD  IN  REVIEW" 
series  specially  produced  by  PATHE  NEWS  INC.  and  edited 
for  classroom  as  well  as  auditorium  use;  also  a  series  entitled, 
"SECRETS  OF  NATURE,"produced  by  British  Instructional  Films. 


16  MM.  SGUND-GN-FILM 

EDUCATIONAL  FILMS  ON 
Astronomy  Art  and   Architecture 

Music  Appreciation  Physical  Science 

Microscopic  Studies  World   and   Its  People 

Studies  in  Biology  Popular   Science 

ENTERTAINMENT  (Full-Length  Features) 
"Last  of  the  Mohicans"  (Serial)  "The   Healer" 

"Black  Beauty"  "Keeper  of  the  Bees" 

"Little   Men"  "Hoosier   Schoolmaster" 

"Jane   Eyre"  "Student's    Romance" 

Cartoons — Sports — Travels — Musicals — Novelties 


SPECIAL   SUBJECTS 


"Evolution" — 3   Reels 
"History  of  Aviation" 


"Highway    Mania" — 2    Reels 
-3  Reels      "Earthquakes" — 2   Reels 


"We  the  People"— I    Reel 
An  interpretation  of  the  Constitution 


WRITE  DEFT.  ESS  for  catalogs  listing  500  nubjects 

Available  on  rental  or  purchase  basis    (Schools) 

Also  for  list  of  educational  material  in   16  mm.  Silent 


WALTER  O.GUTLOHN 


35  W.  45th  St. 
INC.     N.Y.C. 


Page  170 


The  Educational  Screen 


AMONG  THE  PRODUCERS  ^i'L^^  tl. 


e  coin,tnetcia 


L 


/' 


r/«4  annauncc 


new  ptoJiuct:^  aiiJi  develapHtenu  i>j;  lutete^t  to  lite  fieLJL. 


The  New  Leitz  Vlll-S  Projector 

With  simple,  "one  shot"  methods  of  color  pho- 
tography coming  more  and  more  into  prominence 
for  amateur  use  greater  emphasis  has  lately  been 
placed  on  projection,  the  method  by  which  color 
transparencies  such  as  Kodachrome  or  Dufaycolor 
can  be  enjoyed.  In  addition,  the  projection  of  black 
and  white  studies  reveals  details  and  depths  of 
tones  unsuspected  in  a  paper  print. 

For  the  proper  projection  of  color  transparencies 
a  projector  must  meet  certain  requirements.  The 
screen  image  must  be  brilliant  and  sharp,  and  the 
ventilation  such  that  in  normal  use  the  delicate 
colors  of  the  transparency  are  not  destroyed  by  the 
heat.  The  new  Leitz  VIII-S  Projector  (made  by 
the  makers  of  the  Leica  Camera)  was  designed 
with  these  considerations  in  mind  and  while  it  gives 
a  brilliant  image  for  use  with  moderately  large 
gatherings  it  is  also  adaptable  for  home  use.  It 
employs  a  250-watt  bulb  which,  because  of  the  pro- 
jector's unique  system  of  condensers,  gives  a 
greatly  increased  screen  illumination  over  project- 
ors of  a  comparable  wattage. 

The  VIII-S  Projector  is  versatile  in  that  it  will 
project  single  frame  filmslides,  Leica  double  frame 
filmslides,  or  2x2  inch  glass  slides.  These  latter 
are    usually    employed    with    color    transparencies. 

The  gate  for  the  positive  film  strips  has  spools 
to  which  the  film  is  clipped.  After  a  strip  of  posi- 
tive film  has  been  run  through  the  projector  it  is 
merely  slipped  oflf  the  take-up  spool.  To  insert  the 
film  in  the  gate  the  latter  opens  up  and  the  film  is 
inserted.  Scratch- 
ing is  prevented 
by  a  n  o  ve  1  ar- 
rangement that 
releases  the  glass 
pressure  plates  be- 
fore the  film  spool 
is  turned.  Inter- 
changing of  the 
gates  for  2x2 
inch  glass  slides 
and  positive  film 
strips  has  been 
reduced  to  extreme 
simplicity,  for  all 
that  is  necessary  is  to  turn  a  lever,  and  the  one  gate 
is  merely  lifted  oflf  the  projector  to  interchange  with 
the  other. 

The  entire  construction  of  the  VIII-S  Projector 
is  such  that  the  maximum  illumination  possible  is 
obtainable.  External  adjustments  allow  the  lamp 
to  be  moved  sidewise  or  forward  and  backward,  to 
place  it  in  correct  optical  alignment.  The  lamp 
housing  design  provides  excellent  ventilation,  one 


The  New  Leitz  Projector 


of  the  main  feaiures  being  internal  removable 
condensers  mounted  separately.  The  external  con- 
denser is  also  interchangeable. 

New  projection  lenses  are  available  for  the  Leitz 
Vlll-SProjector,  complete  information  on  which  may 
be  had  by  writing  to  E.  Leitz,  Inc..  730  Fifth  Avenue, 
New  York,  N.  Y. 

Coronation  Pictures  in  16  mnn. 

A  striking  development  of  modern  visual  education 
is  found  in  the  authentic  16mm  motion  pictures  of 
England's  Coronation  just  announced  by  Pathegrams 
of  Rockefeller  Center,  New  York.  These  films,  of 
especial  interest  to  teachers  of  history  and  social 
science,  will  be  available  in  both  silent  and  sound 
versions  and  in  a  variety  of  lengths  for  use  before  the 
end  of  this  school  year. 

The  longer  editions  will  include  with  the  pictures 
of  the  Coronation,  taken  from  preferred  ofificial  posi- 
tions, an  historically  accurate  presentation  of  British 
royalty  since  1900,  making  them  especially  valuable 
for  school  film  libraries. 

These  pictures  will  be  available  at  a  reasonable  price 
so  that  schools  will  be  able  to  aflford  this  means  of 
studying  the  most  colorful  pageant  of  modern  history 
in  the  making. 

Central  Doubles  Size  of  Catalog 

The  Central  Camera  Company,  230  South  Wa- 
bash Avenue,  Chicago,  have  enlarged  the  size  of 
their  new  catalog  100%.  In  this  latest  camera  cata- 
log, Central  has  included  numberless  new  importa- 
tions in  cameras  and  accessories  for  the  professional 
and  amateur  photographer,  as  well  as  listing  the 
latest  domestic  merchandise,  all  at  unusually  attrac- 
tive prices.  Many  interesting  bargains  in  used 
equipment  are  also  included,  and  each  one  bears  the 
Central  "OK"  tag  which  guarantees  the  camera 
mechanically  and  includes  the  Central  guarantee 
of  satisfaction  or  your  money  back  within  ten  days. 
A  free  copy  may  be  secured  upon  request. 
Ray-Bell  Film-Ad  Productions 

Heading  an  imposing  list  of  national  advertisers, 
Ray-Bell  Films,  Inc.,  annoimces  the  release  of  four 
special  Alka-Seltzer  films.  For  these  productions, 
Ray-Bell  Films  brought  the  famous  radio  act — "Uncle 
Ezra  and  The  Hoosier  Hot  Shots,"  from  Chicago.  The 
films  were  made  in  color,  using  the  new  Cinecolor 
process,  and  in  actual  sound. 

Other  national  advertisers  for  whom  Rav-Bell  Films 
has  made  pictures  recently  include:  Dr.  West  Tooth- 
brushes, Pepsodent,  Dreft,  John  Deere,  Ford,  Chevro- 
let. Campana-Listerine,  Minneapolis-Moline  Power  Im- 
plement Company,  and  the  International  Harvester 
Company.  Another  large  advertiser  signed  by  Ray- 
Bell  Films  last  week  was  the  Pure  Oil  Company  whose 
contract  calls  for  a  series  of  26  different  fi'ms  with 
several  in  color. 


May,  19}7 


Page  171 


THE    FILM    ESTIMATES 


California  Straight  Ahead  (John  Wayne)  (Univ) 
After  much  slow,  unimpressive  action  by  truck- 
driving  hero  and  others,  story  culminates  in 
race  between  motor  caravan  and  freight  train, 
struggling  through  mountain  snows  to  carry 
important  cargo  to  West  Coast.  Some  pic- 
turesque spots.  A  feeble  romance  included.  5-4-37 
(A)  Mediocre  (Y)  (C)  Perhaps 

Call  It  a  Day  (Ian  Hunter.  Frieda  Incscourt) 
(War)  Light,  domestic  comedy  of  springtime  ro- 
mance with  outstanding  cast,  sprightly  dialog, 
deft  direction.  Brazen  love-chasing  by  emotional 
females.  Adult  opinion  will  vary  from  whimsical 
and  amusing,  to  overdone  and  silly.  Perhaps  a 
good  "horrible  example"  for  youth.  B-4-37 

(A)Verygoodof  kind  (Y)Doubtful  (C)Slightint. 

Can  This  Be  Dixie?  (Jane  Withers,  Slim  Sum- 
merville)  (Fox)  Episodic  series  of  struggles  to 
keep  addle-pated.  poverty-stricken  Southern 
colonel's  estate  out  of  sherifT's  hands  by  dubi- 
ous methods.  Jane  Withers  as  blatant,  over- 
smart  child  dominates  all.  Picturesque  in  spots 
but  mostly  preposterous.  4-13-37 

(A)  Stupid  (Y-C)  No  value 

Carnival  in  Flanders  (La  Kermesse  Hercique) 
(French  prod.,  English  titles  )  Outstanding  cos- 
tume comedy  brings  to  life  imaginary  episode 
in  17th  Century  Flanders.  Wives  heroically  ig- 
nore terror-stricken  men,  turn  horror  of  Span- 
ish invasion  into  hilarity  by  feminine  methods. 
Merrily  sophisticated  masterpiece.  4-27-37 

(A)  Excellent      (Y)  Doubtful      (C) Beyond  them 

Clarence  (Roscoe  Karns,  Eleanor  Whitney, 
Eugene  Pallette)  (Para.)  Good  screening  of 
Tarkington's  whimsical  story  of  hero,  a  timid 
and  unknown  genius,  plopped  into  position  with 
a  hysterical  family  where  he  becomes  invalu- 
able. Class  B,  but  lively  and  amusing  in  ac- 
tion, dialog  and  character.  4-13-37 
(A)  Good                (Y)  Very  good                (C)  Good 

The  Crime  Nobody  Saw  (Lew  Ayres.  Eugene 
Pallette)  (Para.)  Mediocre  murder  tale,  poor  in 
direction,  acting  and  dialog,  incredible  action 
and  artificial  situation.  Three  would-be  play- 
wrights, hired  to  write,  are  devoid  of  ideas 
till  a  crime  under  their  very  noses  supplies 
necessary  plot.  4-13-37 

(A)  Mediocre  (Y)  Perhaps  (C)  No 

Criminal  Lawyer  (Lee  Tracy,  Margot  Gra- 
hame)(RKO)  Hero  lawyer,  partner  of  racket- 
eers and  politicians,  tricks  justice,  burlesques 
court  procedure,  and  almost  wins  governorship. 
Wins  street-walker  heroine  instead.  Sordid  mo- 
tives and  gangster  ethics  rule.  Hero's  mawkish 
oratory  and  breezy  swagger  overdone.  4-20-37 
(A)  Poor  (Y)  Unwholesome  (C)  No 

East  Meets  West  (George  Arliss  and  English 
cast  I IGB)  Costume  melodrama  of  rum-running, 
romance,  intrigue,  with  Arliss  doing  "Green 
Goddess"  role  with  sly  gusto.  Oriental  sultan 
of  small  domain  plays  emissaries  of  rival  na- 
tions against  each  other  to  win  huge  loan  from 
each.     Undesirable  elements.  4-13-37 

(A)  Good  of  kind  ( Y|  Doubtful  (C)  No 

Fifty  Roads  to  Town  (Don  Ameche.  Ann  Soth- 
ernl(Fox)  Farce  comedy  of  mistaken  identities 
and  amusing  complications.  Hero  is  taken  for 
gangster  by  heroine  and  police  who  capture 
him  after  comic  shooting  siege.  Some  padding, 
illogical  and  dubious  elements,  but  capable  cast 
makes  it  prettv  good  fun  on  the  whole.  4-27-37 
(A)  Rather  amusing         (Y)  Perhaps         (C)  No 

Good  Old  Soak  (Wallace  Beery,  Janet  Beech- 
erXMGM)  Well-acted  screening  of  Don  Mar- 
quis' glorified  drunkard,  "The  Old  Soak",  re- 
taining genuine  comedy  and  human  appeal,  but 
heavy-drinking,  good-hearted  father  is  too  slov- 
enly, boorish  and  crude  to  accord  convincingly 
with  his  supposed  environment.  4-27-37 

(A)  Good  of  kind  (Y)  Doubtful  (C)  No 

Girl  Overboard  (Gloria  Stuart.  Walter  Pid- 
geon)(Univ.)  Well-knit  little  murder  mystery. 
Crime  committed  as  ship  sails,  fire  at  sea  de- 
stroys evidence,  but  clever  district  attorney 
finds  more  and  a  fine  heroine  for  wife  as  well. 
Suspense  well  maintained.  Quite  above  aver- 
age Class  B  picture.  4-20-37 
(A)  Good  of  kind           (Y)  Good            (C)  Hardly 

A  Greater  Promise  (Russian  prod.)  (Amkino) 
Day-to-day  life  of  pioneers  in  autonomous  Jew- 
ish republic  of  Birobidjan,  Soviet  solution  for 
racial  problem.  Outstanding  acting  by  Mos- 
cow Art  Theatre  and  Kamorny  artists.  Didac- 
tic, interesting,  often  amusing.  Chalky  photog- 
raphy and  illegible  sub-titles  are  ilaws.  4-13-37 
(A)  Dep.  on  taste         (Y-C  I  Probably  no  interest 


Being  the  Combined  Judgments  of  a  National  CommlHee  on  Current  Theatrical  Films 

(A)  Discriminating  Adults  (Y)  Youth  (C)  Children 

Date    of    mailing    on    weelly   service    is    shown    on    each    film. 

(The  Film  Estimates,  in  whole  or  in  part,  may  be  reprinted 

only  by  special  arrangement  with  The  Educational  Screen) 


Her  Husband  Lies  (Ricardo  Cortez.  Gail 
Patrick)  (Para.)  Expertly  done  picture  making 
very  glamorous  the  suave,  sinister  career  of 
big-time  gambling  hero,  his  pseudo-heroism  in 
"saving"  his  kid  brother,  also  an  addict.  Wom- 
en weep  but  game  goes  on  till  bullet  stops 
the  hero,  4-13-37 

(A)  Dep.  on  taste  (Y-C)  Very  unwholesome 

Internes  Can't  Take  Money  (Stanwyck,  Mc- 
Crea)  (Para.)  Medical  ethics  and  gangsterism 
combined  in  finely  acted,  sensational  drama. 
Gang  leader  owes  life  to  interne-hero  and  helps 
him  find  heroine's  daughter,  hidden  by  ex- 
husband.  Character  values  distorted,  ethics 
scrambled,   racketeers   glorified.  4-27-37 

(A)  Good  of  kind  (Y)  Better  not  (C)  No 

Laughing  at  Trouble  (Jane  Darwell)  (Fox) 
Pleasing  portrayal  of  small-town  lite  and  peo- 
ple with  assorted  characters  providing  simple 
humor  and  drama.  Kindly  spinster-newspaper- 
publisher  skillfully  manoevers  affairs  and  peo- 
ple, and  successfully  proves  innocence  of  youth 
falsely  accused  of  murder.  4-27-37 

(A)  Perhaps         (Y)  Fairly  good  (C)  Mature 

Melody  for  Two  (James  Melton,  Patricia  Ellis) 
(War)  Ordinary  mixture  of  swing,  jazz,  cafe 
life,  and  petty  wranglings  of  dance-bands.  Over- 
self-satisfied  hero,  provoked  into  breaking  con- 
tract, is  barred  from  engagements  until  diiB- 
culties  arc  smoothed  out  by  heroine.  Only  fea- 
tures. Melton's  songs  and  comedy  bits.  5-4-37 
(A)  Mediocre            (Y)  Perhaps            (C)  Hardly 

Midnight  Taxi  (Brian  Donlevy.  Frances 
Drake)  (Fox)  Above  average  Class  B  thriller. 
G-man  hero,  posing  as  taxi-driver,  gains  confi- 
dence of  gansters  and  of  heroine  involved  with 
them,  until  final  round-up  puts  violent  end  to 
huge  counterfeiting  racket.  Exciting  smashes 
and  chases  throughout.  4-20-37 

(A)  Perhaps       (Y)  Good  of  kind       (C)  Doubtful 

Mountain  Justice  (J.  Hutchinson.  Geo.  Brent) 
(War.)  Harrowing,  well-acted  melodrama,  in- 
spired by  recent  headlines,  depicting  hill-billy 
ignorance  and  intolerance.  In  self  defense,  fine 
heroine  kills  her  brutally  inhuman  father,  and 
narrowly  escapes  lynching.  Good  comedy  roles 
lighten  grim  proceedings  somewhat.  f-^''"-'" 
(A)  Depends  on  taste  (Y)  No  (C)  No 

Murder  Goes  to  College  (Marsha  Hunt,  Lynn 
Overman)  (Para)  Disagreeable  mystery,  with 
college-professor  suspects  mixed  up  with  rack- 
eteers and  gambling.  Mercenary,  wisecracking 
sleuth,  without  job.  solves  crime  and  shows  up 
police.  Lively  action,  humorous  dialog,  good  roles 
by  Overman  and  Karns  as  alcoholic  pal,  5-4-37 
(A)  Hardly  (Y)  Better  not  (C)  No 

Park  Avenue  Logger  (Geo.  O'Brien.  Beatrice 
Roberts)  (RKO)  Vigorous,  healthy  little  yarn 
about  lumber-king's  son.  thought  by  father  to 
be  high-brow  sissy,  known  to  audience  as  wrest- 
ling champion.  At  father's  camp  for  toughen- 
ing, he  detects  crook  management  and  saves 
father's  interests  in  smashing  style,  4-20-37 
(A)  Hardly  (Y)  Good  (C)  Probably  good 

Revolutionists  (Russian,  with  English  titles) 
(Amkino)  Sincere,  convincing  story  of  actual 
growth  of  revolution  from  Czarist  terrorism  of 
•96  through  bloody  climax  of  1905.  Some  naivete 
still,  but  notably  good  photography,  acting  and 
narrative.  Avoids  raucous  sound,  dragging 
tempo,  and  overdone  close-ups.  5-4-37 

( A )  Good  (Y)  (C)  Doubtful  interest  or  value 

River  of  Unrest  (John  Lodcr)  (G-B)  Seething 
Irish-rebellion  melodrama  with  usual  patriot 
guns,  government  tanks,  ambushes,  secret  meet- 
ings, killings  in  the  dark,  etc.  Mysterious 
Irish  leader,  heroine's  brother  incognito,  finally 
killed  by  hero  who  still  manages  to  marry  the 
heroine!     Grim  and  confused.  4-20-37 

(A)  Mediocre        (Y-C)  Little  interest,  less  value 


Romance  and  Riches  (Gary  Grant,  Mary  Brian) 
(Gr  Natl)  Exaggerated,  highly  incredible  Oppen- 
heim  story  of  ultra-rich  hero  bored  by  luxury, 
goaded  to  earn  his  way  incognito  for  a  year. 
He  carries  through,  sows  princely  gifts  secretly 
among  deserving  poor,  and  wins  humble  heroine 
and  happiness.  Main  idea"  wholesome.  5-4-37 
(A)  Mildly  amusing        (Y)  Good        (C)  Perhaps 


Shall  We  Dance  (Fred  Astaire.  Ginger  Rogers) 
(RKO)  Another  typical  concoction,  hardly  equal 
to  their  previous  ones,  with  music,  notable 
dancing,  spectacular  sets,  and  good  comedy  by 
E.  E.  Horton.  Mild  sophistication  achieved  by 
ship-board  rumor  that  the  innocent  pair  is  mar- 
ried. Considerable  "sameness"  will  be  felt.  5-4-37 
(A)Goodofkind     (Y)Doubtful  value     (C)Hardly 


That  Man's  Here  Again  (Hugh  Herbert,  Tom 
Brown,  Mary  Maguire)  (Warner)  Feeble  jum- 
ble of  farce,  romance,  and  old-style  melo- 
drama about  boy,  girl,  and  an  adorable  baby. 
Chief  role  by  Herbert  as  amiable  alcoholic 
whose  artful  trickery  helps  bring  happiness  to 
the  three  others.  4-20-37 

(A)  Hardly  (Y)  Doubtful  (C)  No 


Thunder  in  the  City  (Edward  G.  Robinson) 
(Columbia)  American  super-salesman  supposed 
to  stampede  London  by  high-pressure  ballyhoo 
into  stock-buying  in  new  metal  discovery.^  He 
wins  heroine  when  bubble  bursts.  Impossibility 
made  breezily  real.  Harmless  and  lively  fun  If 
taken  as  hilarious  exaggeration.  5-4-37 

(A)  Fair  (Y)  Good  (C)  Perhaps 

Twenty-Three  and   a   Half  Bonra   Leave    (J. 

Ellison)  (Grand  Nat.)  Breezy  farce  about 
doughboys  in  camp.  Rollicking  fun,  slap- 
stick, song  sequences,  as  cocky  sergeant  hero 
wins  wager  that  he  will  breakfast  with  the 
general,  and  wins  his  daughter  also  for  good 
measure.  4-13-37 

(A)  Perhaps     (Y)  Amusing     (C)  Probably  good 

Wake  Up  and  Live  (Winchell,  Bernie,  Faye, 
Jack  Haley,  Patsy  Kelly.  Ned  Sparks.  Citlett) 
(Fox)  Hilarious  farce  comedy  at  its  best.  Win- 
chell-Bernie  feud  and  Kelly-Sparks  wisecracks 
deftly  woven  into  plot  centered  on  hunt  for 
"phantom  troubadour",  whose  voice,  accident- 
ally on  air,  starts  frantic  complications.  4-20-37 
( A-Y)  Excellent  of  kind     (C)  Probably  amusing 


When  Love  is  Young  (Virginia  Bruce,  Kent 
Taylor)  (Univ.)  Colorless  version  of  trite  theme. 
Plain  small-town  girl  of  humble  family,  snubbed 
by  classmates,  is  made  into  beautiful  Broad- 
way star  by  clever  press-agent,  and  gets  to 
even  up  old  scores.  Chief  asset  is  deft  charac- 
ter role  by  Walter  Brennan.  4-27-37 
(A)  Fair       (Y)  Prob.  good       (C)  Little  interest 

The  Woman  I  Love  (Paul  Muni.  Miriam  Hop- 
kins) (RKO)  Unsympathetic  leading  roles  and 
old,  overdone  Great  War  details  mar  this  seri- 
ous triangle  story.  Muni  hated  as  jinx  by  fel- 
low-airmen. His  adored  wife  in  love  with  youth 
in  same  squadron.  Depressing  mess  solved  by 
youth's  death  !  Waste  of  Muni-Hopkins.  4-20-37 
(A)  Disappointing      (Y)  Unwholesome     (C)  No 

Woman  Wise  (Rochelle  Hudson.  Michael 
Whalen)  (Fox)  Vigorous  sports-editor,  with 
real  humanity  in  his  make-up,  fights  outrag- 
eous use  of  old  fighters  by  ring  racketeers,  even 
risking  his  own  reputation  to  win  his  cause 
and  the  peppery  heroine.  Elementary  stuff  of 
wholesome  effect  as  a  whole.  4-13-3*7 

(A)  Hardly         (Y)  Fairly  good         (C)  Doubtful 


You're  in  the  Army  Now  (Wallace  Ford.  Grace 
Bradley)  (G-B)  Mediocre  film,  rambling  plot 
about  smart-aleck,  illiterate  American  grafter 
who  lands  inadvertently  in  British  Army.  Com- 
edy values  marred  by  cheap  action  and  dialog, 
and  totally  unappealing  hero  who  achieves  he- 
roic death  fighting  Chinese  bandits.  ^-''':?" 
(A)  Mediocre  (Y)  No  (C)  No 


Page  172 


The  Educational  Screen 


HERE  THEY  ARE 


FILMS 

Bell  &  Howell  Co.  (6) 

1815  Larchmont  Ave.,  Chicago 

(See  advertisement  on  inside  back  cover) 

Bray  Pictures  Corporation  (3,  6) 

729  Seventh  Ave.,  New  York  City 
Eastin  16  mm.  Pictures  (6) 

(Rental  Library)   Davenport,  la. 
(See  advertisement  on  page  166) 

Eastman  Kodak  Co.  (1,  4) 

Rochester,  N.  Y. 

I  See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Co.  (1,  4) 

Teaching  Films  Division 
Rochester,  N.  Y. 

(See  advertisement  on   pa^e   167) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 
606  Wood  St.,  Pittsburgh,  Pa. 

Edited  Pictures  System,  Inc.  (6) 

330  W.  42nd  St.,  New  York  City 

Films,  Inc.  (5) 

330  W.  42nd  St.,  New  York  City 
19  S.  LaSalle  St.,  Chicago 
925  N.  W.  19th  St.,  Portland,  Ore. 

Garrison  Film  Distributors  (3,  6) 

730  Seventh  .Avenue.   New  York  City 
(See    advertisement    on    page    166) 

Walter  O.  Gutholn,  Inc.  (5) 

35  W.  45th  St.,  New  York  City 

(See  advertisement  on  page   169) 

Harvard  Film  Service  (3,  6) 

Biological   Laboratories, 

Harvard  University,  Cambridge  Mass. 
Guy  D.  Haselton's  Travelettes 

7901  Santa  Monica  Blvd.,  Hollywood, 

Cal.  (1,  4) 

Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago,  111. 

(See  advertisement  on   page   162) 

Institutional  Cinema  Service,  Inc.  (3,6) 

130  W.  46th  St.,  New  York  City 

The  Manse  Library  (4,  5) 

2439  .\uburn  Ave.,   Cincinnati,  O. 
(See  advertisement  on   page   166) 

Pathegrams,  Inc.  (6) 

Rockefeller  Center,   New  York  City 

(See  advertisement  on  page   141) 

Pinkney  Film  Service  Co.  (1,  4) 

1028  Forbes  St.,  Pittsburgh.  Pa. 
United  Projector  and  Films  Corp.  (1,4) 

228  Franklin  St.,  Buffalo,  N.  Y. 
Universal  Pictures  Corp.  (3) 

Rockefeller  Center,  New  York  City 
(See  advertisement  on   page   168) 

Visual  Education  Service  (6) 

131  Clarendon  St.,  Boston,  Mass. 
Wholesome  Films  Service,  Inc.       (3,  4) 

48  Melrose  St.,  Boston,  Mass. 
Williams,  Brown  and  Earle,  Inc.     (3,  6) 
918  Chestnut  St.,  Philadelphia,  Pa. 

MOTION  PICTURE 
MACHINES  and  SUPPLIES 

The  Ampro  Corporation  (6) 

2839  N.  Western  Avenue,  Chicago 

(See  advertisement  on   page  144) 

Bell  &  Howell  Co.  (6) 

1815  Larchmont  .Ave.,  Chicago 
(Se^  advertisement  on  inside  bacK  cover) 

Central  Camera  Co.  (6) 

230  S.  Wabash  .\ve.,  Chicago 

(See  advertisement  on  page  166) 


Eastman  Kodak  Co.  (4) 

Rochester,  N.  Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 
606  Wood  St.,  Pittsburgh,  Pa. 

General  Films  Ltd.  (3,6) 

1924  Rose  St.,  Regina,  Sask. 

Herman  A.  DeVry,  Inc.  (3, 6) 

1111  .Ar)nitage  St.,  Chicago 

(See  adverti.sement  on   page   161) 

Holmes  Projector  Co.  (3,  6) 

1813  Orchard  St.,  Chicago 

(See  advertisement  on  page   163) 

Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago. 

(See  advertisement  on   page   162) 

International    Projector    Corp.       (3,   6) 

90  Gold  St.,  New  York  City 
(See  advertisement  on  inside  front  cover) 

The  Photoart  House  (6) 

844   N.    Plankinton   Ave.,    Milwaukee, 
Wis. 

(See  advertisement  on   page   165) 

RCA  Manufacturing  Co.,  Inc.  (5) 

Camden,  N.  J. 

(See  advertisement  on  page   159) 

S.  O.  S.  Corporation  (3,6) 

636  Eleventh  Ave.,  New  York  City 

Sunny  Schick,  National  Brokers     (3, 6) 

407  W.  Wash.  Blvd.,  Ft.  Wayne,  Ind. 

United  Projector  and  Films  Corp.  (1,  4) 
228  Franklin  St.,  Buffalo,  N.  Y. 

Universal  Sound  System,  Inc.  (2,  5) 

.'Mlegheny  .\ve.,  at  Ninth  St. 
Philadelphia,  Pa. 

Victor  Animatograph  Corp.  (6) 

Davenport,  Iowa 

(See  advertisement  on  page  143) 

Visual  Education  Service  (6) 

131  Clarendon  St.,  Boston,  Mass. 
Williams,  Brown  and  Earle,  Inc.     (3,  6) 

918  Chestnut  St.,  Philadelphia,  Pa. 

PICTURES  and  PRINTS 

Colonial  Art  Company 

1336  N.  W^  First  St.,  Oklahoma  City, 
Okla. 
The  Photoart  House 
844   N.    Plankinton   Ave.,   Milwaukee, 
Wis. 

(See  advertisement  on   page   165) 

SCREENS 

Da-Lite  Screen  Co. 

2717  N.  Crawford  .^ve.,  Chicago 

(See  advertisement  on   page  169) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut  St.,  Philadelphia,  Pa. 
606  Wood  St.,  Pittsburgh,  Pa. 
Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 

SLIDES  and  FILM  SLIDES 

Conrad  Slide  and  Projection  Co. 

709   E.  Eighth  St.,   Superior,  Wis. 
Eastman  Educational  Slides 
Johnson  Co.  Bank  Bldg., 
Iowa  City,  la. 


A   Trade    Directory 
for  the  Visual  Field 


Edited  Pictures  System,  Inc. 

330  W.  42nd  St.,  New  York  City 
Ideal  Pictures  Corp. 

28  E.  Eighth  St.,  Chicago,  111. 

(See  advertisement  on   page   162) 

Keystone  View  Co. 

Meadville.  Pa. 

(See   advertisement   on    page    146) 

Radio-Mat  Slide  Co.,  Inc. 

1819  Broadway,  New  York  City 
(See  advertisement  on   page   166) 

Society  for  Visual  Education 

327  S.  LaSalle  St.,  Chicago,  111. 

(See  advertisement  on   page  169) 

Spencer  Lens  Co. 

19  Doat  St.,  lUiffalo,  N.  Y. 

(See   advertisement   on    page    163) 

Visual  Education  Service 

131  Clarendon  St.,  Boston,  Mass. 
Visual  Sciences 

Suffcrn,  New  York 

(See  advertisement  on   page   166) 

Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 

STEREOGRAPHS  and 
STEREOSCOPES 

Herman  A.  DeVry,  Inc. 

1111  .Xrmitage  St.,  Chicago 

(See  advertisement  on   page  161) 

Keystone  View  Co. 
Meadville,  Pa. 

(See   advertisement   on    page    146) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 
Rochester.  N.  Y. 

(See  advertisement  on   page  145) 

Eastman  Kodak  Stores,  Inc. 
1020  Chestnut  St.,  Philadelphia.  Pa. 
606  Wood  St.,  Pittsburgh,  Pa. 

General  Films  Ltd. 

1924  Rose  St..  Regina,  Sask. 
Keystone  View  Co. 
Meadville.  Pa. 

(See  advertisement  on  page  146) 

Society  for  Visual  Education 

327  S.  LaSalle  St.,  Chicago,  111. 

(See  advertisement  on   page   169) 

Spencer  Lens  Co. 

19  Doat  St.,  Buffalo,  N.  Y. 

(See  advertisement  on   page  163) 

Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 


REFERENCE  NUMBERS 

(1)   indicates    firm    supplies 

35   mm. 

silent. 

(2)   indicates    firm   supplies 

35   mm. 

sound. 

(3)    indicates    firm    supplies 

35   mm. 

sound   and  silent. 

(4)    indicates    firm    supplies 

16  mm. 

silent. 

(5)   indicates    firm   supplies 

16   mm. 

sound-on-film. 

(6)    indicates    firm    supplies 

16  mm. 

sound  and  silent. 

Continuous  insertions  under  one  heading,  $L50  per  issue;  additional  listings  under  other  headings,  75c  each. 


1  M  (C  ATIOMAL 


le  Magazine  Devoted  Exclusively 
I  the  Visual  Idea  in  Education 


Detroit's 

Art 
Center 


Skyline 

of 
Detroit 


Heart 

of  the 

City 


N.  E.  A. 

CONVENTION 

NUMBER 


JUNE.  1937 


JCttMM  Glly,  M«u 


VOLUME  XVI,  NUMBER  6 


Courtesy  of  Standard    American    Encyclopedia 


25c, A  copy 


$2.00    PER    YEAR 


■''^■^BS^SB^i- 


PROJECTORS  -    DISTRIBUTED     BY     NATIONAL    THEATRE     SUROLY    COMPANY 


PROJECTORS 

Used  in  Thousands  oF  Theatres 
Throughoub   f-he  World    •     • 


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FOR  SCHOOLS.  COLLEGES,  CHURCHES,  ETC. 


We  realize  that  the  installation  of  motion  picture 
equipment  requires  long  and  serious  consideration 
and  ore  therefore  pleased  to  receive  inquiries  and 
supply  answers  with  the  full  understanding  that  in 
mony  instances  decisions  cannot  be  quickly  made. 
Our  wide  experience  also  enables  us  to  understand 
the  needs  of  Schools,  Colleges,  Churches,  Hotels, 
Hospitals,  Private  and  Public  Institutions,  etc.,  and 
where  there  is  no  technical  adviser  to  guide  in  the 
selection  of  equipment,  the  complete  line  of  35  mm. 
Simplex  Projectors  we  manufacture  places  us  in  a 
position  to  impartially  advise  regarding  the  kind  of 
equipment  best  suited  to  meet  the  specific  require- 
ments  of   any   proposed   installation. 


T^unfUe^:  PROJECTORS 

In  addition  to  basic  mechanical 
excellence.  Simplex  Projectors  have 
many  exclusive  patented  features 
which  secure  ease  and  safety  in 
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cost.  Supplementing  the  many  de- 
sirable features  of  Simplex  Projectors 
is  our  wide  sales  and  service  organ- 
ization. Oxir  representatives  are  also 
able  to  help  users  of  Simplex  Projec- 
tors by  solving  their  technical  prob- 
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INTERNATIONAL  PROJECTOR  CORPORATION 

80-96    GOLD     ST.  NEW     YORK,  NY. 


June,  1937 


Page  175 


Dk 


£  EDUCATIONAL  SCREEN 


JUNE.  1937 


VOLUME  XVI 


Contents 

Problems  In  Developing  a  Visual  Aid  Program. 

Alvin   B.   Roberts I  79 

A  New  Era  in  Visual  Methods.  John  B.  MacHarg 182 

The  School  Newsreel  Needs  a  Sponsor.   Arthur  Stenius....  184 

Foreign  Films  for  Educational  institut'ons. 

Conducted  by  Wesley  Greene 187 

The  Department  of  Visual  Instruction ..188 

Film   Estimates... 1 90 

News  and  Notes.    Conducted  by  Josephine  Hoffman 191 

Among  the  Magazines  and  Books. 

Conducted  by  Stella  Evelyn  Myers 192 

Rural  Mexico — In  Hand-made  Lantern  Slides. 

By  Ann  Gale 1 94 

School  Department. 

Conducted  by  Wilber  Emmert 196 

Among  the  Producers 202 

Here  They  Are!   A  Trade  Directory  for  the  Visual  Field. ...204 


The  EDUCATIONAL  SCREEN,  published  monthly  by  The  Educational  Screen, 
Inc.  Publication  Office,  Morton,  Illinois;  Executive  Office,  64  East  Lake  St., 
Chicago,  Illinois.  Entered  at  the  Post  Office  at  Morton,  Illinois,  as  Second 
Second     Class     Matter.      Copyright,     June,      1937     by     the     Educational     Screen, 

every  month  except  July  and  August. 
$2.00  a  Year  (Canada,  $2.25;  Foreign,  $3.00)  Single  Copies,  25  cts. 


NUMBER  SIX 


THE  EDUCATIONAL  SCREEN,  Inc. 
Directorate  and  Staff 


Nelson  L.  Greene,  Editor 
Evelyn  J.  Baker 
Mary  Beattie  Brady 
Wilber  Emmert 
Stanley  R.  Greene 


Wesley  Greene 
Josephine  Hoffman 
F.  Dean  McClusky 
Stella  Evelyn  Myen 
E.  C.  Waggoner 


Page  176  The  Educational  Screen 


To  Teachers  and 
Directors  of  Visual  Instruction 


H 


ANDMADE-LANTERN-SLIDE  activities  are  assuming  a  large 
place  in  the  visual  instruction  programs  of  the  modern  school. 
Every  year  the  demand  for  handmade-lantern-slide  materials 
becomes  greater  and  greater. 

Through  the  exchange  of  ideas  submitted  by  educators,  and  re- 
search in  the  development  of  usable  materials,  the  Keystone  View 
Company  has  come  to  understand  the  problems  involved  in  this 
type  of  visual  activity.  This  has  enabled  us  to  contribute  largely 
to  its  development  and  promotion. . 

One  of  the  greatest  handicaps  to  the  progress  of  handmade-lantern- 
slide  activities  has  been  the  efforts  of  selling  organizations  un- 
interested in  educational  outcomes  and  the  healthy  development 
of  a  visual  program  to  substitute  cheap  and  inferior  materials  for 
the  use  of  the  teacher. 

We  wish  to  protect  our  patrons,  who  appreciate  the  importance 
of  using  only  the  highest  quality  of  handmade -lantern -slide 
materials.    In  this  connection,  we  would  emphasize  the  following: 

Keystone  Etched  Class — thin  and  acid  etched 

Keystone  Cover  Class — thin  and  free  from  flaws 

Keystone  Lantern-Slide  Crayons — translucent  and  colorful 

Keystone  Lantern-Slide  Inks — brilliantly  colorful  and    un- 
affected by  the  heat  of  the  lantern 

In  order  that  our  customers  may  know  they  are  receiving  the  above, 
and  not  inferior  products,  we  are  now  sealing  and  labeling  clearly 
each  box  of  Keystone  Etched  Class  and  Keystone  Cover  Class, 
as  well  as  Keystone  Lantern-Slide  Crayons  and  Keystone  Lantern- 
Slide  Ink. 

We  suggest  that  you  do  not  accept  as  of  Keystone  quality  handmade- 
lantern-slide  materials  that  do  not  carry  our  label  and  our  guar- 
antee of  satisfaction. 

Yours  very  truly, 

Keystone  View  Company 


June,  1937 


Page  179 


Problems  in  Introducing  a  Visual 
Aid  Program 


Comments  and  conclusions  from  actual  experiences 
which   will   be   pertinent   to   many   other   situations. 

By      ALVIN      B.      ROBERTS 

Pripicipal,  Haw  Creek  Township  High  School,  Gilson,  Illinois 


THE  SCHOOL  man  of  today  who  attempts  to 
introduce  a  Visual  Aid  program  is  faced  with 
many  problems  which  those  of  us  who  started 
using  visual  material  ten  or  twelve  years  ago  did  not 
have  to  work  out.  Consec[uently.  there  are  numerous 
questions  which  come  to  the  mind  of  the  principal  or 
superintendent  who  is  now  planning  to  introduce  such 
a  program. 

Perhaps  the  first  problem  which  will  confront  the 
school  executive  is  determining  the  type  of  projector 
to  use.  Roughly  speaking,  projectors  may  be  divided 
into  two  groups,  the  still  group,  including  the  lantern 
slide,  opaque,  strip  film,  and  micro-projector ;  and  the 
movie,  including  the  35mm  and  16mm.  either  silent  or 
sound.  The  average  high  school  of  today  must  depend 
entirely  upon  some  outside  source  for  its  projection 
material.  Consequently,  a  study  of  these  sources  will 
reveal  the  amount  of  available  material  for  either  of 
the  above  types  of  projectors.  Seemingly,  the  movie 
projectors  are  receiving  considerably  more  emphasis, 
but  the  still  i)rojectors  will  always  have  a  ])lace  in  any 
well-rounded  visual  ]irogram.  If  a  still  projector  is 
to  be  selected,  probably  a  combination  machine  will  be 
more  desirable,  since  it  costs  very  little  more  than  the 
lantern  slide  projector  and  yet  will  handle  either  the 
strip  film  or  slides. 

It  is  not  so  easy  to  select  a  projector  in  the  movie 
field.  With  the  rapid  introduction  of  16mm  film,  very 
few  schools  of  today  are  buying  the  35mm  projector. 
However,  even  when  we  confine  our  questions  to  the 
16mm  machine,  there  is  a  question  of  the  silent  or 
sound-on-film.  Here  a  number  of  things  must  be  con- 
sidered carefully.  In  the  first  place,  is  the  projector 
to  be  used  almost  entirely  in  the  classroom  or  in  the 
auditorium  for  large  groups?  If  the  latter,  probably 
the  sound  projector  will  meet  the  needs  more  adequate- 
ly. Again  there  is  a  question  of  price.  Since  the  aver- 
age sound  projector  costs  approximately  three  to  four 
times  that  of  the  silent  projector,  one  cannot  altogether 
ignore  this  item.  Next  there  is  a  question  of  portability, 
that  is,  is  the  projector  to  be  moved  to  the  different 
classrooms  ?  Then  there  is  the  question  of  adaptability. 
Many  of  the  sound  films  so  far  produced  are  suited 
for  one  particular  class  and  one  particular  subject.  The 
silent  film  may  be  adapted  to  the  general  level  of  the 
class  and  to  the  dift'erent  classes,  as  well.  For  example, 
in  the  film  "Mining  of  Sulphur",  the  context  may  be 
used  in  connection  with  the  General  Science  class, 
showing  the  operation  of  pumps  and  other  simple  ma- 
chines. The  same  film  may  be  used  in  the  Physics 
class  to  show  certain  physical  and  chemical  processes 
which  are  involved  in  the  mining  of  sulphur.  One  loses 
this  adaptability  in  using  the  sound  film.  On  the  other 


hand,  one  must  take  into  consideration  that  the  lecture 
included  on  the  sound  film  will  probably  be  given  much 
better  than  the  teacher  will  give  it  to  the  class.  Again 
there  are  certain  classes  in  which  sound  is  almost  in- 
dispensable, for  example,  in  connection  with  music 
classes  or  in  Physics  classes  where  sound  really  makes 
up  a  part  of  the  film  itself.  At  the  present  time  I  be- 
lieve the  majority  of  schools  are  using  the  silent  pro- 
jector as  it  is  more  adaptable  to  use  in  the  classroom. 
These  figures  taken  from  the  National  Visual  Educa- 
tion Directory  seem  to  bear  out  the  above  statement: 
16mm  silent  projectors  in  use,  6074,  16mm  sound  pro- 
jectors in  use,  458.  One  might,  however,  explain  the 
use  of  the  great  number  of  silent  projectors  by  the 
fact  that  the  sound  machine  has  been  on  the  market  for 
such  a  short  period  of  time.  These  are  only  a  few  of 
the  questions  that  come  up  in  the  selection  of  silent 
or  sound  projector.  Assuming  now  that  the  school 
executive  has  determined  the  type  of  projector,  we  find 
the  following  problems  which  must  be  worked  out  in 
connection  with  the  development  of  the  Visual  Aid 
program. 

These  might  be  grouped  under  the  head  "Problems 
of  Administration  and  Utilization."  Under  administra- 
tion, the  first  major  problem  is  to  see  that  the  teachers 
are  interested  in,  and  are  sympathetic  with  your  pro- 
gram. Unless  your  teachers  are  interested  you  will  be 
disappointed  with  the  results  of  the  use  of  film.  One 
reason  for  this  is  that  preparing  a  film  for  presenta- 
tion to  the  class  requires  a  great  deal  more  time  than 
preparing  for  the  regular  class  room  recitation,  and  if 
the  film  is  not  properly  prepared,  there  is  a  waste  of 
both  the  teacher's  and  pupils'  time. 

Building  the  Film  Program 

Building  a  suitable  program  requires  considerable 
work  over  a  period  of  years ;  like  building  a  curri- 
culum, it  is  set  up  and  changed  from  year  to  year. 
Starting  from  the  ground  up,  the  first  problem  is  the 
building  of  a  time  schedule  for  the  films  which  you 
are  planning  to  use.  Whether  you  use  those  put  out 
bv  a  University  Service,  or  some  other  source,  the 
problem  remains  the  same.  If  you  could  press  a  button 
and  have  the  film,  which  you  wish  to  use  drop  into 
your  hand,  the  time  schedule  would  not  trouble  you. 
But  when  you  consider  that  (in  Illinois,  for  example) 
there  are  between  three  and  four  hundred  schools  now 
using  the  University  Service,  you  can  see  that  it  is 
ncessary  to  send  in  your  reservation  several  months 
in  advance.  The  purpose  of  the  time  schedule  is  to 
correlate  the  film  to  the  material  you  are  studying  in 
the  text  book.  This  may  be  done  by  checking  the 
amount  of  time  reauired  for  each  chapter  or  unit,  and 
marking  the  date  for  opening  and  closing  the  chapter 


Page  180 


The  Educational  Screen 


or  unit,  then  thumbing  through  the  tihii  catalogue  and 
Hsting  the  fihiis  that  you  expect  to  use  with  that  par- 
ticular unit  according  to  your  estimated  time  for  study. 
When  the  film  is  received,  you  should  correct  your 
time  schedule  because  you  will  probably  find  the  film 
has  come  a  bit  early  or  a  few  days  late,  and  it  can  be 
reserved  for  the  following  year  on  a  more  accurate 
basis.  It  is  true  that  the  next  year's  class  may  go 
slower  or  faster,  but  this  method  seems  the  most  sat- 
isfactory of  all   we  have  used. 

The  second  major  problem  is  rating  and  apportion- 
ing film.  By  rating,  I  mean  determining  the  class  for 
which  the  film  is  best  suited.  For  example,  in  the 
field  of  science,  shall  you  use  a  particular  film  in  gen- 
eral science,  in  biology,  in  physics?  Is  it  too  technical 
for  the  Freshman  class?  Is  it  worth  showing  to  the 
Freshmen  and  repeating  later  when  they  are  taking 
biology  or  physics?  By  apportioning  the  film,  I  mean 
determining  in  which  subject  it  may  be  used  to  the 
best  advantage.  There  are  a  host  of  films  which  can  be 
used  in  connection  with  commercial  geography,  but 
few  in  American  history.  The  films,  "Philippine  Is- 
lands," "Mexico",  "Alaska",  and  the  "Panama  Canal" 
can  be  used  equally  well  with  either  class,  but  in  order 
to  avoid  excessive  use  of  visual  material  in  the  former 
class  we  used  them  with  the  history  group  when 
studying  the  unit  on  imperialism.  By  proper  apportion- 
ing, also,  more  of  your  teachers  will  use  film  and  all 
the  work  will  not  fall  on  just  one  or  two.  A  temporary 
rating  and  apportioning  sheet  may  be  set  up  by  reading 
the  descriptive  material  given  in  the  catalogue;  this 
sheet  can  be  corrected  after  the  film  has  been  seen. 

Projection  Problems 

Another  problem  which  should  receive  careful  con- 
sideration, is  providing  a  room  suitable  for  projection. 
This  room  should  accommodate  the  largest  class  with- 
out crowding  and  should  be  darkened  so  that  the  pic- 
tures will  be  sharp  and  clear,  yet  large  enough  for  the 
students  to  get  all  details.  For  two  years  we  used  the 
projector  in  the  classroom  where  translucent  shades 
were  used,  and  I  feel  that  much  of  the  value  of  the 
film  was  lost  because  the  image  was  not  sharp  and  dis- 
tinct, or,  in  an  attempt  to  bring  out  the  details  of  the 
picture,  the  image  had  to  be  so  reduced  in  size  that  it 
was  not  clearly  visible  to  all  members.  Where  only  one 
room  is  used  it  is  well  to  post,  a  day  or  more  in  ad- 
vance, the  schedule  of  classes  using  the  room.  Since 
all  classes  will  use  the  room  at  their  regular  hour  of 
meeting,  I  do  not  believe  much  of  the  value  of  the 
projected  material  will  be  lost  because  of  the  change 
from  the  regular  class  room. 

Another  problem  is  the  training  of  teachers  to  op- 
erate the  projector.  This  requires  only  a  few  minutes 
since  either  the  silent  or  the  sound  projector  is  very 
simple  to  thread  and  focus.  I  believe  the  teacher  will 
secure  better  results  when  using  the  projector,  without 
the  presence  of  another  teacher  to  operate  the  machine. 
\r\,  many  cases,  the  operation  of  the  projector  may  be 
turned  over  to  some  responsible  boy.  This  allows  the 
teacher  to  stand  near  the  screen  so  that  she  may  point 
out  more  clearly  just  what  she  expects  the  class  to  get. 
She  is  also  in  a  better  position  to  talk  to  the  class, 
especially  if  it  happens  to  be  a  large  one. 

In  the  utilization   of  slides,   the   students   must   get 


away  from  the  "show  idea".  When  we  first  started 
using  film,  the  students  came  into  the  class  room  with 
a  feeling  that  it  was  to  be  merely  a  "show".  A  good 
stiff  test  or  summary  on  the  material  shown  will  help 
to  break  up  the  show  idea.  There  are  few  of  you,  I 
believe,  who  would  come  into  your  class  room  and 
state,  "The  material  I  am  going  to  give  you  today  is 
entertaining  and  interesting  but  not  worth  remember- 
ing." Hence,  why  should  the  class  not  be  held  re- 
sponsible for  the  visual  material?  If  it  is  not  worth 
this,  is  it  worth  using  at  all? 

Correlation  With  Subject  Matter 

The  greatest  value  will  come  to  the  class  if  the  films 
are  properly  fitted  to  the  subject  matter.  How  well  the 
films  will  correlate  with  the  material  the  class  is  stud}'- 
ing  will  depend  entirely  upon  the  care  with  which  the 
time  schedule  was  built  up,  and  the  adjustment  made 
in  the  class  room  procedure  after  receiving  the  ap- 
proved schedule  from  the  source  you  are  using.  Here, 
again,  there  are  few  of  you  who  would  discuss  a  map 
on  the  "Migrations  of  Barbarians  in  Europe"  when 
you  were  studying  the  unit  in  your  text  dealing  with 
Ancient  Egypt.  Naturally  you  would  fit  the  map  dis- 
cussion to  the  text  material,  and  the  same  principle 
applies  to  films  or  slides.  In  order  to  present  a  film  to 
the  best  advantage,  the  teacher  will  need  considerable 
time  for  preparation.  A  teacher  cannot  prepare  proper- 
ly for  a  presentation  without  first  seeing  the  film.  It 
is  true  that  the  class  room  films  are  accompanied  by 
manuals,  but  even  so,  the  teacher  must  know  exactly 
what  is  coming  next.  Preparation  of  this  type  means 
gaining  access  to  the  projection  room,  generally  after 
school  or  during  the  evening.  Hence,  the  time  for  pre- 
paration greatly  exceeds  that  used  in  preparing  for 
regular  class  room  recitation.  As  is  true  with  all  class 
room  procedure,  a  well  planned  lesson  secures  far 
better  results. 

The  students,  too,  must  do  some  preparation  for 
the  film  or  slides.  The  amount  will  be  determined  by 
the  place  in  the  unit  in  which  the  aid  is  being  used.  If 
introducing  a  new  unit  little  will  be  done;  if  closing 
the  unit  a  great  deal  more  may  be  expected  of  the 
class.  In  all  cases  students  should  be  held  accountable 
for  the  material  so  presented ;  whether  in  special  test, 
summary,  or  questions  included  in  the  regular  unit 
test  or  examination  matters  little,  so  long  as  the  class 
realizes  that  it  is  to  be  held  responsible  for  this  ma- 
terial. 

Whenever  possible,  the  aid  should  be  discussed  im- 
mediately after  showing.  This  gives  the  students  an 
opportunity  to  ask  question  on  points  not  clear,  and 
if  necessary,  portions  of  the  film  may  be  shown  a 
second  or  third  time.  Remember  that  the  teacher 
through  preparation  is  familiar  with  the  film ;  the 
students  are  seeing  it  for  the  first  time,  so  considerable 
explanation  on  some  parts  may  be  necessary.  For 
example,  in  the  film  "Circulation"  the  exchange  of 
carbon  dioxide  and  oxygen  in  the  tissues,  while  quite 
clear  to  the  teachers,  needs  some  explanation  for  stu- 
dents. 

Schedule  for  Specific  Unit 
In  addition  to  fitting  the  film  to  the  text  book  ma- 
terial, the  teacher  must  decide  the  proper  sequence  of 
the  aids  in  the  unit.  There  are  many  units  in  science  and 


June,  1937 


Page  181 


geograph}',  which  will  require  extreme  care.  Here 
again,  however,  it  is  impossible  to  make  a  proper 
placement  until  after  having  used  the  films  once  or 
several  times.  For  example,  in  my  biology  class  I  use 
the  following  material  in  studying  the  unit  on  "Insects". 
Now  you  may  not  agree  with  the  order  in  which  1 
have  listed  this  material,  and  I  do  not  contend  that  the 
arrangement  is  perfect,  but  I  do  know  that  you  secure 
better  results  when  planning  some  sequence  of  ma- 
terial for  the  unit.  I  introduce  the  unit  with  the  set  of 
slides,  "'Importance  of  Insects  to  Man."  In  this  we 
see  how  insects  are  injurious  to  crops  and  animals ; 
how  they  carry  disease ;  how  they  are  valuable  to  man : 
and  something  about  their  structure  and  general 
methods  of  control.  You  can  readily  see  that  this 
touches  almost  every  phase  we  will  take  up  in  our 
study  of  the  unit.  The  second  set  of  slides  used  is 
"Structure  of  Insects".  This  shows  wing  formation, 
mouth  parts,  structure  of  skeleton,  muscular  attach- 
ment, digestive  tract,  nervous  and  circulatory  systems. 
This  prepares  students  for  dissection  of  insects  if  you 
expect  to  do  any,  and  if  not,  it  gives  them  a  good  con- 
ception of  the  general  structure  of  insects. 

I  then  use  the  third  set  of  slides,  "The  Life  History 
of  the  Honey  Bee."  Here  we  study  an  insect  that  is 
beneficial  to  man,  one  that  has  a  complete  meta- 
morphosis, and  also  one  that  lives  in  a  colony. 

The  first  film  which  is  used  is.  "The  House  Fly." 
This  very  graphically  shows  every  stage  in  the  life 
history  of  the  fly  and  how  the  changes  are  made.  It 
also  shows  how  the  fly  eats  and  why  it  is  one  of  our 
greatest  menaces  to  health,  as  a  carrier  of  disease 
germs.  Proper  methods  of  control  are  shown  and  also 
the  eflfects  of  general  control  methods. 

To  close  the  unit  I  use  the  three  reels  "Malaria." 
Here  again  life  history,  carrier  of  disease,  how  germs 
are  carried,  control  measures  and  effects  are  shown. 
Now,  as  I  stated  above,  you  may  not  agree  with  this 
sequence,  but  I  believe  you  will  agree  some  sequence 
is  necessary. 

There  are  a  few  uses  of  films  that  I  should  like  to 
mention  which  probably  do  not  belong  under  either 
administration  or  utilization. 

Films  or  slides  are  also  excellent  for  use  in  pre- 
paring students  for  field  work.  I  know  there  are  many 
schools  (again  in  Illinois,  for  example)  which  are  vis- 
iting our  leading  cities  and  historical  places  throughout 
the  state.  In  our  own  school  we  travel  approximately 
3000  miles  during  the  term.  The  students  have  an 
opportunity  to  study  in  Chicago,  St.  Louis,  Spring- 
field. Peoria,  Rock  Island  and  other  nearby  cities.  To 
receive  the  most  good  from  the  tour  the  students  must 
make  some  preparation,  and  here  again  visual  material 
cannot  be  excelled.  The  film  "Rocky  Mountain  Mam- 
mals" is  used  in  preparing  part  of  the  work  for  the 
biology  class  in  the  Field  Museum.  "The  Nation's 
Market  Place"  is  used  in  preparing  those  who  are  to 
visit  the  Chicago  Board  of  Trade.  "Reptiles"  is  used 
in  preparing  the  biology  class  for  their  study  in  the 
Snake  House  at  St.  Louis.  "Crude  Oil  Refining"  and 
"Romance  of  Glass"  are  used  to  prepare  the  upper 
classes  for  their  tour  of  the  refinery  at  Wood  River, 
and  the  glass  factory  at  Alton. 

Films  may  also  be  used  to  an  advantage  by  those 
interested   in   vocational   guidance.    Whether    this    is 


given  as  an  indei^endent  course  or  in  a  series  of  assem- 
blies throughout  the  year,  the  use  of  film  will  be  found 
very  valuable,  because  by  careful  selection  of  visual 
aids,  a  great  number  of  vocations  can  be  brought  to 
the  attention  of  the  students.  Films  showing  occupa- 
tions, from  the  lowest  unskilled  to  the  highest  skilled 
and  professional  groups,  are  now  available. 

Many  teachers  and  principals  are  using  films  to 
bring  the  activities  of  the  school  to  the  attention  of  the 
parents  and  people  of  the  community.  Those  of  you 
who  are  teaching  know  that  few,  if  any  parents,  visit 
the  class  room.  Through  the  use  of  inexpensive  cam- 
eras, either  still  film  or  movie,  many  of  the  activities 
can  be  photographed  and  shown  at  P.T.A.  and  other 
community  meetings. 

Some  teachers  are  also  using  these  cameras  to  pho- 
tograph projects  for  permanent  records  and  use  in 
future  classes,  others  to  recopy  pictures,  which  at  best 
cannot  be  used  advantageously  in  the  class  room,  and 
reqviire  considerable  time  and  space  for  filing.  When 
copied  on  roll  film  they  can  be  presented  effectively 
and  stored  in  very  small  space.  Other  teachers  are 
using  their  own  film  to  bring  portions  of  their  travels 
into  the  class  room.  Whether  visiting  points  of  inter- 
est in  her  own  state,  or  traveling  extensively,  the 
teacher  will  always  find  something  of  interest  to  pho- 
tograph for  use  in  her  school. 

Comments  and  Conclusions 

In  summarizing,  the  main  points  to  be  considered  in 
introducing  a  visual  aid  program,  are  (1)  selection  of 
projector,  (2)  interesting  teachers  in  the  project,  (3) 
the  time  schedule,  (4)  rating  and  apportioning  film, 
(5)  preparation  of  teachers,  (6)  preparation  of  pupils, 
and  (7)  holding  pupils  accountable  for  visual  material 
used. 

Probably  some  of  you  might  be  interested  in  the  stu- 
dents' reaction  to  a  visual  aid  program.  Last  year  my 
senior  class,  1936,  had  been  taught  with  the  use  of 
visual  aids  for  four  years.  I  asked  each  member  of  the 
class  to  write  a  paper  on  "Why  I  Like  Visual  Aids" 
and  each  was  also  invited  to  give  adverse  criticisms 
and  suggestions  if  any.  While  there  were  only  twelve 
in  the  class,  ten  of  them  said  they  liked  a  visual  aid 
program  because  it  was  different  from  the  regular 
class  room  procedure.  The  second  most  frequent  point 
mentioned  was,  "It  is  easier  to  remember  material 
when  we  see  it.  than  when  we  read  it."  The  third 
highest  was,  "Visual  material  saves  time.  It  would 
take  hours  sometimes  to  read  what  can  be  shown  on 
the  screen  in  fifteen  or  twenty  minutes,  and  then  we 
would  probably  not  understand  it  as  well." 

The  adverse  criticism  was,  "We  miss  many  interest- 
ing points  when  given  a  long  list  of  questions  before 
seeing  the  film.  We  are  so  busy  looking  for  the  an- 
swers to  the  questions  that  many  points  are  over- 
looked." 

Those  who  attempted  to  give  a  suggestion  preferred 
introduction  by  the  teacher  and  comments  while  show- 
ing the  film,  and  also  the  opportunity  to  ask  questions 
and  clear  up  points  during  presentation  of  film.    • 

In  conclusion.  I  should  like  to  leave  as  a  warning  to 
those  who  are  using  visual  aids  for  the  first  time,  this 
suggestion.  See  that  you  do  not  book  too  many  films 
for    the    first    year.    When    selecting   films    in    some 

(Concluded  on  page  203) 


Page  182 


The  Educational  Screen 


A  New  Era  in  Visual  Methods 


Interesting  ways  and  means  for  extending 
the    range    of    still    pictures    in    teaching. 

By      JOHN       B.      MacHARG 

Professor  of  American  History 
Lawrence  College,  Appleton,  Wisconsin 


NOW,  right  now,  we  are  so  showered  with  radi- 
cal improvements  and  accruing  possibihties  in 
the  technique  of  Visual  Education  that  it  is 
difficult  for  a  willing  and  enthusiastic  teacher  to  keep 
pace  with  the  progress.  Those  who  are  not  trying, 
are  surely  missing  rare  opportunities  for  pioneering 
in  the  new  day  that  has  dawned. 

Most  important  potentially  is  the  talking  film,  the 
potency  of  which  in  some  types  of  instruction,  even 
with  the  films  now  available,  can  hardly  be  over  esti- 
mated. The  possibilities  and  ramifications  of  future 
development  are  boundless. 

Because  of  the  expense  and  inherent  difficulties  of 
moving  picture  and  sound  production,  the  use  of 
speaking  pictures  in  classrooms  must  necessarily  pro- 
ceed comparatively  slowly,  while  for  stills, — stereopti- 
con  pictures, — less  entertaining,  perhaps,  but  often 
more  effective,  the  stage  is  set  for  inexpensive  and 
satisfactory  visual  methods  of  teaching,  impossible 
before  the  improvements  and  inventions  of  the  last 
year,  without,  in  general,  prohibitive  cost. 

This  has  been  brought  about,  first,  by  the  advent 
of  miniature  cameras  using  35  mm.  film.*  Ten  years 
ago  there  was  but  one  on  the  market,  still  far  in  the 
lead  because  of  its  requisite  precision  and  abundant 
accessories ;  to-day,  there  are  too  many  miniature 
cameras  to  name,  and  their  tribe  increases ;  all,  even 
the  cheapest,  are  capable  of  producing  good  teaching 
slides,  at  surprisingly  low  cost. 

The  last  year  has  also  brought  the  improved  Koda- 
chrome  film,  by  means  of  which,  it  is  possible  to  make 
color  slides  of  simply  startling  beauty.  If  amateur 
photographers  at  large,  realized  what  they  can  do 
with  ease  in 
color  photog- 
raphy, they 
would  soon 
own  a  minia- 
ture camera.  It 
becomes  a  ne- 
cessity of  life, 
and  is  absolute- 
ly necessary 
for  color  slides, 
because  at 
present,  Koda- 
chrome  is  not 
available  in  other  than  strip  film.  Because  of  its  new- 
ness, color  photography  scares  off  the  tyro,  without 
reason.  No  special  filter  nor  equipment  is  necessary. 

*For  full  discussion  of  miniature  cameras  and  the  technique  of 
slide  making,  see  Fortune,  Oct.  1936  and  the  writer's  articles 
in  the  Educational  Sceren,  May  1935,  and  Nov.  1936. 


Figure   1.  The  Switch-Board 


Using  Eastman,  K135,  for  out-of-doors  shots  and 
K135A,  for  artificial  illumination,  simply  set  the  West- 
on meter  at  Scheiner  18  and  follow  the  reading.  If  you 
haven't  a  photometer,  1/60"— 1/100"  at  f4.5  will  not 
be  far  off  for  most  shots  out  of  doors.  Copying  is 
easier,  with  No.  1  flood  lamps,  two  or  three  feet  from 
the  color  print ;  1/20"  at  f4.5,  will  give  a  beautiful 
positive,  every  time. 

Of  course,  if  you  make  color  slides,  you  must  have 
a  projector,  if  you  are  to  view  them  with  any  degree 
of  satisfaction.  Color  prints  can  be  made  on  paper 
from  Kodachrome  positives,  but  it  is  a  process  that 
requires  more  skill  and  patience  than  most  amateurs 
possess,  and  the  results  do  not  compare  favorably  with 
stereopticon  projection.* 

Fortunately,  both  for  the  worker  in  color  photog- 
raphy and  for  the  instructor,  who  is  alive  to  the  fact 
that  he  must  include  slides  for  maximum  effectiveness 
i  n  teaching, 
projectors  of 
unprecedented 
efficiency  and 
versatility  have 
appeared  with- 
in the  last  year 
at  half  the  cost 
of  machines 
formerly  avail- 
able. This 
makes  it  prac- 
tical to  furnish  „.  ^,     „. 

Figure  2.  The  Rheostat 
a    room    at    a 

cost  of  fifty  dollars  with  two  projectors,  an  equip- 
ment affording  so  much  of  satisfaction  and  advantage 
that  the  double  cost  should  be  assumed,  wherever 
possible. 

First,  two  machines  enable  the  teacher  to  use  a  map 
and  picture  side  by  side,  and  to  project  similar  or 
dissimilar  objects   for  comparison. 

Valuable  as  is  this  technique  in  teaching,  it  is  in  the 
use  of  two  machines  with  a  rheostat  that  the  chief 
advantage  lies.  This  method  of  changing  projections 
on  the  screen  without  motion,  through  the  gradual 
fading  out  of  one  image  and  the  emergence  of  another, 
relieves  eye  strain  and  adds  so  much  to  the  pleasure  of 
stereopticon  pictures,  that,  if  for  no  other  reason,  it 
should  be  generally  adopted.  At  present  this  method 
is  practically  unknown  in  schools. 

A  switch-board  for  this  work  requires  simple  wiring 

Tor  enthusiastic  description  of  the  process  and  results,  see 
Leica  Photography,  Feb.  1937.  Detailed  information  will  be 
found  in  Eastman  Wash-Off  Relief,  published  by  the  Eastman 
Kodak  Co.,  Rochester,  N.  Y. 


June,  1957 


Page  183 


that  almost  anyone  can  do,  and  materials  that  can 
be  readily  procured  for  well  under  five  dollars.  Fig.  1 
shows  the  hook-up  in  detail :  A, A,  are  the  receptacles 
for  the  stereopticons,  B  is  the  mounted  rheostat,  (50 
Watt,  Ohmite  Potentiometer,  Resistance  500,  suitable 
for  two  100  Watt  machines.)  C.  is  a  knife-switch 
cut-out,  governing  both  projectors.  The  receptacle,  E. 
and  switch,  D,  are  not  necessary  adjuncts  but  con- 
venient for  control  of  a  room  light,  which,  if  of  the 
indirect,  reflector  type,  may  be  used  during  the  show- 
ing of  most  slides,  with  sufficient  light  for  note-taking. 
F,  is  the  plug  for  current.  Fig.  2.  shows  the  mounting 
of  the  rheostat.  The  handle  and  support  are  easily  cut 
from  sheet  metal.  The  cylindrical  fitting  at  the  top, 
which  is  necessary  for  holding  the  handle  in  place, 
can  be  obtained  by  breaking  up  the  bakelite  knob,  sup- 
plied with  the  rheostat. 

Fig.  3,  shows  the  switch-board  mounted  with  a  sup- 
port for  the  two  projectors.  The  rheostat  lever  may 


Figure  3.  Double  Projection 

be  seen  just  behind  the  machines.  The  board  shown  is 
fitted  with  five  receptacles,  two  for  the  stereopticons, 
and  three  for  added  convenience.  One  may  be  used  for 
room  light,  the  other  two  for  independent  use  of  the 
machines,  without  rheostat,  when  comparative  study 
of  two  images,  shown  at  the  same  time,  is  desired.  Still 
another  receptacle  might  well  be  provided  to  accom- 
modate a  small  fan,  which  is  desirable  for  cooling 
rheostat  and  slides,  if  long  continued  use  of  the  ap- 
paratus is  necessary.  The  open  switch-board,  and  the 
use  of  two  machines,  however,  obviate  undue  heating 
for  the  usual  work  of  the  class  room. 

Two  machines  and  rheostat  make  possible  the  use 
of  varied  devices  and  motion  picture  effects.  One  of 
the  most  obvious  is  the  map  title,  which  serves  to  im- 
press the  location  of  a  picture. 

After  a  slide  showing  the  title,  "Craigmillar 
Castle,"  which  arouses  the  attention  of  the  student,  the 
next  slide,  Fig.  4,  fades  in  and  the  location  of  the  per- 
haps unfamiliar  home  of  Queen  Mary  of  Scots 
appears.  When  the  picture  of  the  castle,  Fig.  5,  comes 
out  of  the  screen,  as  it  seems  to  do,  there  is  oppor- 
tunity for  the  telling  of  all  the  romantic  history  that 
clusters  about  this  picturesque  ruin. 

By  the  use  of  colored  slides  or  screens,  beautiful 
and  surprising  sunset  effects  may  be  produced.  Blank 
outline  maps  with  a  question  superimposed,  gradually 


fade  into  the  same  map  with  the  states  in  color,  an- 
swering the  question.  Flowers  may  be  made  to  change 
their  colors  gradually,  etc.  Among  others,  the  field 
of  Psychology,  in  particular,  offers  abundant  scope 
for  the  ingenuity 
of    the    teacher    in  yj 

producing   valuable        ^S-j 
devices. 

In  fact  the  use  of  ^ 

this    apparatus    af-     §    ^""^C^  J~'~7*''^^'"*"''' 
fords  so  many  op-      ^      ^^P^rh.y...    ^^ 
portunities   for   ef-  'l^'^~f    .v^'")' 

fective     originality        g^  ^^t^  ^ 

on  the  part  of  the  -c^^"^' 

teacher,      and      so  c  /^-/'lt,liT"*^^^^"r^r«?I'c 

great     added     eye 

comfort     to     both  ^   li?^,  \  "ii*," 

teacher     and     stu-    -, 
dents,     that     once 
used  and  appreciat- 
ed,   it   is    likelv   to 
seem  indispensable.  ^'2""  "•  ^'^*"°°  °^  Castle 

Two  projectors  used  without  rheostat,  also,  make 
stereoscopic  or  three  dimensional  projection  compara- 
tively simple.  To  accomplish  this,  two  stereoscopic 
negatives  must  be  made  of  each  subject  and  the  posi- 
tives made  from  them  projected  superimposed  through 
color  filters,  one  blue-green,  the  other  red.  The  re- 
sulting image  on  the  screen  when  viewed  by  means  of 
spectacles  with  lenses  of  complimentary  colors  has 
surprising  depth  and  decided  advantages  in  many  fields, 
especially  that  of  anatomy.  The  enduring  vogue  of 
the  hand   stereoscope,  often  with  crude  and  unsatis- 


Figure   5.   Craigmillar    Castle 

factory  pictures,  bears  witness  to  the  fascinating  charm 
of  three  dimensional  images.* 

We  teachers  are  living  in  a  rare  era  of  new  develop- 
ments, which  are  at  hand  ready  for  use ;  for  maximum 
efficiency,  they  must  be  used.  The  challenging  call  of 
visual  education  resounds  today,  with  imperative  notes 
of  privilege  and  duty. 


♦Filters  and  spectacles  with  corresponding  lenses  may  be  ob- 
tained from  the  Bausch  and  Lomb  Co.,  Rochester,  N.  Y. 


Page  184 


The  Educational  Screen 


The  School  Newsreel  Needs  A  Sponsor 


FOR  MANY  years  visual  education  and  extra- 
curricular activities  have  gone  hand  in  hand 
on  the  secondary  school  level.  Sponsors  of 
clubs  have  always  found  that  a  sure  guarantee  for  at- 
tendance of  members  is  a  notice  to  the  effect  that  at 
the  next  meeting  of  the  organization,  pictures  bearing 
on  the  interest  of  the  club  will  be  shown.  A  biology 
teacher  may  find  that  he  cannot  present  a  film  to  his 
class  because  other  schools  in  the  city's  system  are 
scheduled  to  use  the  picture  during  the  several  days 
when  it  jibes  with  his  course  outline,  or  because  his 
room  is  not  suitable  for  the  showing  of  pictures  and 
the  school's  program  prevents  a  shift  to  a  suitable 
room,  or  for  one  of  five  or  six  other  reasons  which 
are  common  in  the  average  high  school.  But  to  show 
the  same  film  to  members  of  the  school's  nature  club 
offers  none  of  the  obstacles.  A  meeting  can  be  moved 
ahead  or  postponed  to  meet  the  availability  of  the 
film.  With  an  organization  meeting  after  school  hours, 
class  and  room  schedules  are  not  interfered  with  in 
order  that  the  school's  visual  education  equipment 
can  be  used.  All  in  all,  the  freedom  from  formal 
demands,  which  an  extra-curricular  activity  possesses, 
has  always  permitted  faculty  advisors  to  make  the 
most  of  the  visual  aids  offered  by  the  school  system. 

But  until  recently,  no  extra-curricular  activity  has 
been  of  such  a  nature  as  to  come  directly  under  the 
visual  education  department,  or  be  sponsored  by  the 
teacher  in  charge  of  a  school's  visual  education  pro- 
gram. Such  an  activity  has  now  had  its  probationary 
period,  proved  itself  to  be  sound  and  worthwhile,  and 
shown  that  it  can  best  be  handled  by  one  directly  con- 
nected with  visual  education.  This  activity  is  the  school 
newsreel. 

Started  at  Detroit  Western  High  School  approx- 
imately four  years  ago,  the  school  newsreel  has  spread 
as  it  proved  itself  more  than  a  fad.  Today,  as  worked 
out  in  the  school  where  it  originated,  the  newsreel  is  a 
regular  supplement  for  the  scpiool  paper,  showing 
every  second  week  as  part  of  an  hour's  program,  and 
receiving  such  support  from  the  student  body  that  it 
promises  to  become  the  most  popular  extra-curricular 
activity  of  the  school. 

Although  there  is  no  need  for  recounting  the  start 
of  this  activity  to  outline  procedures  which  now  are 
followed  in  carrying  through  the  school's  motion  pic- 
ture program,  a  brief  summary  may  be  of  value  to 
prove  that  this  student  activity  is  possible  in  schools 
other  than  those  of  large  cities  where  general  funds 
can  be  called  upon  for  the  initial  expense.  Western 
High's  newsreel  began  as  a  function  of  the  school 
newspaper  when  a  year's  profit  from  the  publication 
was  sufficient  to  buy  equipment  needed.  To  any  school 
which  lists  a  16mm  projector  as  part  of  its  visual  aid 


Presenting  some  of  the  values  and  methods  of 
a  recently  developed  extra-curricular  activity. 

By      ARTH  U  R      STEN I U  S 

In  Charge  of  Visual  Education 

Western  High  School,  Detroit,  Michigan 

equipment,  the  cost  of  additional  equipment  needed  for 
the  activity  comes  well  under  one  hundred  dollars. 
With  this  amount  one  can  purchase  camera,  film, 
bulbs  and  reflectors  for  inside  pictures,  and  materials 
for  the  making  of  titles.  And  no  activity  will  pay  for 
its  equipment  more  readily. 

But  what  are  the  benefits  justifying  such  an  extra- 
curricular activity?  True,  first  thought  may  tend  to 
condenm  the  activity  because  so  few  students  can  par- 
ticipate in  and  benefit  by  the  activity  itself,  but  just  as 
varsity  teams'  "sports"  programs  find  their  greatest 
justification  in  the  enjoyment  which  the  students  in 
general  receive  from  watching  the  contests  and  not 
the  actual  benefits  received  by  the  team  members,  just 
so  the  newsreel  and  the  work  of  a  few  create  a  thing 
of  general  interest  and  enjoyment.  The  newsreel  itself 
is  intensely  interesting  to  the  students.  There  are  few 
things  which  hold  more  fascination  to  the  adolescent 
than  the  opportunity  to  see  himself  and  his  friends 
on  the  screen,  and  when  pictures  bring  a  club  outing 
or  a  football  game  played  away  from  home  to  the 
auditorium,  then  both  students  who  participated  and 
those  who  missed  the  event  are  thrilled. 

Various  departments  of  the  school  benefit  from  this 
activity.  Athletic  events  not  usually  supported  whole- 
heartedly such  as  cross  country  races,  track  meets 
held  away  from  home,  etc.  can  be  shown  to  the  stu- 
dent body.  Action  shots  of  a  team  in  practice  makes 
the  best  type  of  stimulus  at  a  pep  meeting.  With  a 
camera  that  will  take  slow  motion  pictures  as  well  as 
those  at  regular  speed  —  and  practically  any  good 
medium-priced  motion  picture  camera  now  offers 
three  speeds  for  taking  pictures — athletes  and  coaches 
can  benefit  when  seeing  just  what  form  is  used  in 
clearing  the  bar  in  a  high  jump,  or  why  an  opposing 
tackle  managed  to  break  up  a  play,  etc.  But  the  athletic 
department  is  not  alone  in  receiving  such  benefits.  A 
senior  class  play  can  be  advertised  by  shots  taken  at 
rehearsals.  Within  a  year  or  two,  selected  shots  of  in- 
dividuals make  for  an  interesting  class  history  as  the 
seniors  see  themselves  or  classmates  as  they  really 
looked  when  members  of  the  sophomore  or  junior 
class.  No,  there  is  no  shortage  in  benefits  justifying 
the   school   newsreel. 

But  what  are  the  demands  on  faculty  time  if  such 
an  activity  is  carried  through?  Very  little.  No  activity 
can  be  so  wholly  a  matter  of  student  participation. 
With  camera  manufacturers  striving  to  create  an 
amateur  motion  picture  market,  equipment  necessary 
for  the  taking  of  pictures  is  almost  fool  proof.  A  few 
simple  directions  which  practically  any  upper  grade 
intermediate  student  can  carry  out,  and  highly  present- 
able pictures  can  be  the  results.  Development,  of 
course,  is  done  by  the  manufacturers,  so  that   from 


June,  1937 


Page  185 


the  plan  of  what  pictures  are  to  be  taken  to  the  wit- 
nessed program,  actual  care  of  the  projector  while  the 
films  are  being  shown  is  the  chief  demand  on  the  time 
of  the  teacher  in  charge  of  the  activity. 

With  sufficient  benefits  to  the  students  justifying 
the  venture,  with  demands  on  faculty  supervision  not 
too  great  to  make  the  activity  less  desirable  than  any 
other  in  a  school's  extra-curricular  program,  and  with 
the  initial  and  upkeep  cost  far  below  that  necessary 
for  the  carrying  out  of  such  student  activities  as  the 
school  annual,  newspaper,  senior  play,  etc.,  the  news- 
reel  is  an  activity  which  can  successfully  be  taken  on 
by  practically  any  school  on  the  secondary  level.  To 
the  faculty  member  who  sponsors  a  motion  picture 
activity  will  come  one  of  the  most  interesting  adven- 
tures in  student  activity  that  the  school  can  offer.  His 
problem  will  not  be  one  of  stimulating  those  working 
under  him.  but  in  harnessing  the  enthusiasm  of  the 
students  who  are  to  carry  through  the  newsreel  and  its 
kindred  presentations. 

As  the  newsreel  activity  has  been  carried  out  at 
Detroit's  Western  High  School,  the  programs  offered 


"Shooting"  a  Scene  for  The  Newsreel 

to  the  students  have  either  been  one  of  a  full  class 
period,  or  one  complete  within  half  a  period.  When 
the  full  period  programs  are  shown,  the  presentation 
is  usually  offered  the  last  two  hours  of  the  school 
schedule  as  well  as  one  showing  after  all  classes  are 
out.  In  this  manner,  most  students  who  have  early 
programs,  are  able  to  see  the  program  without  staying 
more  than  one  period  after  the  classes  are  through, 
yet  no  student  is  without  an  opportunity  to  view  the 
program  because  his  classes  conflict  with  the  show- 
ings. The  shorter  programs,  those  taking  only  half  a 
period  to  show,  are  given  during  the  lunch  period  so 
that  each  student  has  the  opportunity  of  eating  during 
one  half  of  the  hour  and  seeing  the  motion  pictures 
the  other  half  of  the  period. 

[n  neither  the  longer  or  shorter  presentation  does 
the  newsreel  showing  activities  of  the  students  make 
up  the  entire  program.  Two  hundred-foot  reels  of 
film  taken  about  the  school  is  the  usual  amount  of 
newsreel  shots  shown  on  a  program,  a  fact  which 
makes  only  eight  minutes  of  the  program  the  showing 
of  school  activies.  If  the  newsreel  is  to  be  shown  at 
longer  intervals,  of  course,  more  footage  can  be  giver> 


to  students  activities,  but  we  have  tried  to  keep  it  a 
NEWSreel,  and  accordingly  have  found  that  if  a 
month  or  more  elapses  between  showings,  the  interest 
in  the  pictures  is  not  as  high  as  under  the  present  pro- 
cedure. In  the  shorter  type  of  program,  an  animated 
cartoon  rented  from  a  motion  picture  library  com- 
pletes the  presentation ;  the  entire  half  lunch  period 
being  only  22  minutes  in  length,  some  seventeen  or 
eighteen  minutes  of  pictures  is  all  that  can  be  shown 
in  that  time  and  still  permit  students  to  buy  tickets  and 
seat  themselves  in  the  auditorium. 

The  longer  programs  shown  at  the  end  of  the  day 
have  varied.  In  some  a  one-act  play  put  on  by  a  club 
or  dramatics  class  has  acted  as  the  completing  unit 
for  a  newsreel  and  comedy ;  in  others,  films  make  up 
the  entire  program.  In  the  latter  case,  there  are  various 
means  of  securing  material  for  the  showings.  The 
complete  program,  other  than  the  newsreel,  may  be 
rented  from  the  rental  libraries  referred  to  before. 
Sport,  musical  or  travel  features  can  be  added  to 
comedies  to  complete  the  presentation.  Or  educational 
films  of  a  more  or  less  general  interest  offered  by  the 
board  of  education's  visual  department  can  be  used, 
as  well  as  some  type  of  films  offered  by  various  groups 
such  as  the  United  States  Navy  department,  National 
Parks  systems,  etc.  Just  how  and  from  where  films 
can  be  rented  or  loaned  readily  can  be  learned  by  con- 
sulting any  person  connected  with  a  concern  selling 
photography   equipment. 

But  a  motion  picture  activity  of  the  type  with  which 
this  article  is  concerned  need  not  hold  itself  to  the 
newsreel  idea.  The  writer  has  already  directed  the 
producing  of  a  "movie"  written,  acted,  and  edited  by 
the  students.  True,  it  was  merely  a  twenty-minute  com- 
edy of  the  slapstick  variety,  but  no  picture  was  ever 
more  enthusiastically  received  than  that  which  was 
shown  to  our  student  body.  A  style  show  taken  with 
colored  film  featured  another  program  viewed  by  more 
than  thirteen  hundred  students  of  the  school.  Parent- 
teacher  association  meetings  can  be  livened  with  an 
occasional  showing  of  what  makes  up  some  of  the  ac- 
tivities of  the  school,  and  other  uses  of  the  equipment 
are  as  numerous  as  the  sponsor  or  students  handling 
the  activity  care  to  make  it. 

When  the  newsreel  idea  first  started,  there  were 
some  who  felt  that  it  was  a  novelty  with  little  value 
and  no  permanent  place  in  the  school's  extra-curricular 
program.  Today,  when  the  idea  has  been  carried 
through  successfully  in  various  high  and  intermediate 
schools,  colleges  and  even  on  the  elementary  level,  an 
individual  is  short  sighted  not  to  realize  that  motion 
pictures  "of  the  students,  by  the  students  and  for  the 
students"  is  here  to  stay.  No  department  of  the 
school  can  reasonably  be  selected  to  sponsor  this  ac- 
tivity except  those  concerned  with  visual  education; 
and  in  turn,  those  of  the  profession  who  are  interested 
in  visual  work  should  not  hesitate  to  take  on  an  ac- 
tivity which  carries  as  much  interest  and  worth  for  the 
students   of   our   schools. 


In  six  years,  according  to  Alan  H.  Nicol,  director  of 
visual  education,  the  Buffalo  schools  have  developed 
the  use  of  16mm  film  from  none  in  1929-30,  to  14,605 
films,  in  1935-36. 


Page  186 


The  Educational  Screen 


^0  a  (Breal  ^eac^er.  a  (Beulal  Scl)olar»  an  ll6eal   «frlen6 

IS61     -     1937 


AT  SUNSET,  May  21st,  1937.  ended  a  long  life 
of  great  and  varied  service  to  education  and 
humanity.  Professor  Slaught  was  intimately  a 
part  of  The  University  of  Chicago,  as  student  and 
teacher,  from  its  be- 
ginning in  1892  to 
his  retirement  in 
1932.  Known  above 
all,  perhaps,  as  a 
great  teacher  of 
Mathematics,  his  dy- 
namic energy  car- 
ried him  far  beyond 
the  classroom.  He 
was  a  potent  force 
behind  such  univer- 
sity activities  as  the 
Bureau  for  place- 
ment of  teachers,  the 
Alumni  Council,  the 
Association  of  Doc- 
tors of  Philosophy, 
serving  long  terms 
of  office  in  each ;  in 
such  national  activ- 
ities as  the  founding 
of  the  Mathematical 
Association  of 
America,  and  the  de- 
velopment of  The 
American  Mathe- 
matical Monthly, 
of  which  he  was 
Managing  Editor 
for  many  years ;  and 
there  still  remained 
surplus  power  that 
made  him  widely 
known  as  a  speaker 
on  convention  plat- 
forms, writer  of 
scholarly  articles  in 
many  publications, 
and  author  of  the 
famous  series  of 
mathematical  textbooks.  But  these  and  many  more  de- 
tails of  the  great  life  will  be  written  at  length  elsewhere. 
We  are  concerned  here  with  what  was  a  very  minor 
part  of  Dr.  Slaught's  multiple  preoccupations,  his  rela- 
tion and  importance  to  The  Educational  Screen. 

HPHERE  would  have  been  no  first  issue  of  this  mag- 

azine  to  appear  in  January,   1922  were  it  not  for 

Herbert  H.  Slaught — "Dear  H.E.S."  as  we  soon  came 


to  think  of  him.  It  was  he  who,  after  careful  study 
and  deliberation,  said  the  magic  words  "We'll  do  it." 
His  generous  initial  financing,  from  the  none  too 
abundant    resources    of    a    college    professor,    made 

possible  the  be- 
ginnings of  organ- 
ization and  produc- 
tion. Visual  in- 
struction was  not  his 
field.  Only  the  keen 
vision  of  his  incisive 
mind  told  him  the 
coming  importance 
of  that  field  and  the 
logical  need  of  a 
magazine  to  serve  it 
exclusively.  H  i  s 
faith  in  the  visual 
idea,  his  unquench- 
rihle  enthusiasm,  his 
unwavering  support, 
liis  sage  counsel,  his 
buoyant  sense  of  hu- 
mor and  his  famous 
laugh,  kept  us  going 
through  the  many 
\ears  of  discourag- 
ing deficit,  topped  by 
the  great  depression, 
until  the  field  should 
have  grown  large 
enough  to  support 
the  enterprise.  We 
are  deeply  thankful 
that  he  lived  to  see 
his  faith  justified 
and  the  magazine 
safely  on  its  way. 

His  was  a  rare 
spirit,  a  great  heart, 
a  rich  personality,  a 
genial  soul.  We  of 
the  magazine  cannot 
hope  to  replace  such  a  President.  We  shall  seek 
only  a  successor.  Whatever  the  value  of  The  Edu- 
cational Screen  to  the  visual  field  during  the  past 
fifteen  years,  and  whatever  the  service  it  may 
render  in  the  future,  it  must  be  considered  largely 
as  a  gift  from  him  who  has  gone,  to  a  field  that  was 
not  his  own. 

Nelson  L.  Greene. 


June,  1937 


Page  187 


FOREIGN    FILMS    FOR 
EDUCATIONAL    INSTITUTIONS 


Conducted  by  Wesley  Greene 


TN  the  single  language  field  the  most  active  group 
is  the  French  Talking  Films  Committee  of  Cam- 
bridge, Massachusetts,  organized  and  directed  by  Mrs. 
Belle  P.  Rand. 

Foreign  films  are  usually  shown  in  college  com- 
munities either  to  cover  broad  cultural  interests  or  to 
meet  the  demands  of  special  language  groups.  The 
former  type  of  program  was  discussed  in  the  last  issue 
of  The  Educational  Screen  by  Frances  Neel 
Cheney,  Secretary  of  the  Film  League  of  Nashville, 
which  aims  to  exhibit  films  from  several  diflferent 
countries  in  the  course  of  each  school  year. 

In  this  issue  we  are  pleased  to  present  a  descrip- 
tion of  the  work  carried  on  so  well  in  the  Harvard 
University  community  by  the  one  person  who  is  more 
responsible  than  any  other  for  the  continued  success 
of  an  intelligent  French  film  program  for  a  university 
group. 


French  Talking  Films  at  Harvard 

By      BELLS      P.      RAND 

Chairman,   French  Talking   Films  Committee  o-f  Cambridge,  Mass, 

T^WO  major  difficulties  confronted  the  French  Talk- 
ing  Films  Committee  at  the  outset  of  our  venture 
six  years  ago,  the  problem  of  financing  it  and  the  prob- 
lem of  securing  sufficient  talking  films  to  ensure  its 
prolonged  success.  Because  it  is  the  usual  experience 
of  film  committees  and  educators  to  meet  with  these 
two  stumbling  blocks  in  their  initial  efforts  to  promote 
better  understanding  of  the  language  and  culture  of 
one  or  several  countries  by  a  foreign  film  program,  I 
shall  explain  in  some  detail  our  solution  of  both  of 
these. 

It  was  a  Maurice  Chevalier  film,  La  Grande  Mare, 
seen  in  the  Paramount  Theatre  on  the  Grand  Boule- 
vard one  late  afternoon  in  Paris  in  August  1931  that 
set  me  planning  a  series  of  films  for  students  at  Har- 
vard that  would  present  the  language  they  were  study- 
ing in  the  lecture  room  with  a  colloquial  and  vivid 
reality.  On  my  return  to  Cambridge  I  secured  the 
enthusiastic  cooperation  of  the  young  man  in  charge 
of  showing  instructional  silent  films.  The  Institute  of 
Geography  had  just  been  built  and  equipped  with  a 
complete  small  auditorium  and  35  mm.  projectors. 
We  arranged  to  use  this  auditorium  for  our  film  pro- 
grams, but  because  no  admission  can  be  charged  for 
any  function  held  in  a  University  building  we  had  to 
make  immediate  arrangements  to  meet  our  costs  in 
some  other  way. 

A  contributing  committee  of  generous  Francophile 
friends   in   greater   Boston   was    formed   without   too 


much  trouble  and  we  presented  Le  Million  three  times 
to  such  enthusiastic  audiences  that  we  were  encour- 
aged to  start  a  series.  Free  tickets  were  issued  to  stu- 
dents, instructors,  stenographers  and  clerks.  Assistant 
professors  and  those  of  higher  rank  were  expected 
to  become  voluntary  subscribers,  to  secure  admission 
cards.  We  adopted  the  policy  of  showing  a  documen- 
tary film,  often  as  popular  as  the  feature  in  the  pro- 
gram, before  each  long  film  and  of  beginning  the  pro- 
gram with  a  short  talk  by  a  young  professor  of  the 
department  or  a  student  who  had  lived  in  France. 

The  problem  of  securing  a  sufficient  number  of  good 
films  was  more  difficult  to  solve.  For  a  while  our 
chief  source  of  supply  was  Paramount  Pictures.  We 
have  never  shown  anything  as  successful  as  Mariits, 
which  we  obtained  from  them,  but  on  the  whole  most 
of  their  films  were  American  productions  done  over 
into  French  for  consumption  in  French  provincial 
towns.  However,  the  French  Ambassador  at  Wash- 
ington, hearing  of  our  activities,  oiTered  an  ideal  solu- 
tion by  letting  us  bring  into  the  country  a  few  films 
from  Paris  by  means  of  the  valise  diplomatique.  These 
films,  rented  at  a  small  sum.  are  free  of  duty  and  re- 
main in  the  country  only  three  months,  after  which 
they  are  sent  back  to  Paris.  It  has  been  increasingly 
possible  to  rent  these  films,  while  they  are  here,  to 
other  schools  and  universities.  The  proceeds  of  the 
minimum  rentals  charged  are  sent  back  to  the  firms 
in  Paris  which  very  graciously  loan  the  films.  The 
commercial  value  of  the  film  has  not  been  injured  for 
this  country  because  by  this  arrangement  it  can  only 
be  shown  in  a  very  limited  number  of  places  and  it  is 
never  furnished  with  the  English  subtitles  necessary 
for  commercial  consumption. 

In  Paris  we  organized  a  selection  committee  of 
prominent  French  people  and  Americans  living  there. 
It  is  headed  by  Madame  Maurice  Girod-de  I'Ain  and 
Dorothy  Leet,  Director  of  the  American  Women's  Uni- 
versity Club,  acts  as  secretary-treasurer.  When  a  film 
has  been  voted  upon  by  several  members  of  the  com- 
mittee it  is  sent  to  the  office  of  M.  Yves  Chataigneau 
at  the  Ministere  des  Aflfaires  Etrangeres  who  has  al- 
ways graciously  attended  to  the  details  of  exporting  the 
film  through  the  diplomatique  pouch. 

We  have  always  hoped  to  see  the  widespread  use  of 
French  films  in  university  language  courses  through- 
out the  country.  By  dint  of  much  letter  writing  and 
encouragement  we  have  persuaded  several  groups  to 
repeat  an  experiment  that  has  proved  so  successful 
with  us.  The  task  will  be  easier  when  more  college 
auditoriums  have  been  equipped  with  sound  projec- 
tors and  when  mo«e  French  films  become  available  at 
reasonable  rentals. 


Page  188 


The  Educational  Screen 


DEPARTMENT  OF  VISUAL  INSTRUCTION 


Third    Official    Roster    June   1937 Department    of    Visual    Instruction 

(Showing  expiration  month  of  current  year  —  July  and  August  not  included  —  the  \  indicates  two  years] 


Expiring     June  to  May 

JSONDJFM  AM 


Expiring     June  to  May 

JSONDJFM  AM 


Expiring:     June  to  May 

JSONDJFM  AM 


Adams,  E.  D.  (Ohio) 
Alleman.    C.    C.      (Wis.) 

Allwein,    Mary    (Pa.  I 

Amson.  Emily  .. (N.Y.I 
Anderson.  C.  D.  (Cal.l 
Anderson.  D.  P.  (Utah) 
Anderson.  E.  W.  (111.) 
Anderson.  O.  S.  (N.D.) 
Appenzellar.  J.  L.   (Pa.) 

Arnold.    E.   J. (Ohio) 

Astell.   L.    A (111.) 

AuKhinbzugh.   B.  A.  (O.) 

Austin.    F.    H (Ohio) 

Austin,  Scott  ..  (Mass.) 
Baker.  Evelyn  J.  (III.) 
Balcom,  A.  G.  (N.J.) 

Ballou,     Ethel  (Wis.) 

Bardy,    Joseph  (Pa.) 

Barnard.    E.  (Mich.) 

Barrett,     Wilton     (N.Y.) 

Barry.    A.   J (Mass.) 

Bashkowitz.    P.       (N.Y.I 

Bauer.    H.    C (Minn.) 

Bedell.  Ralph  C.  (Mo.) 
Benham.    S.   Mae    (N.Y.) 

Berg.    E.    L.    (N.Y.) 

Bernays.    Ely    (N.Y.) 

Bert,  Reese  E.  .  (Cal.) 
Bettencourt,    W.    (Mass.) 

Birch,    C.    E (Kans.l 

Bittel,    W.    H (Ind.) 

Bonwell.  W.  A.  (III.  I 
Bowen.  Ward  C.  (N.Y.) 
Bowmar.  SUnley  (N.Y.) 
Brewer,     K.     M.  .     (Pa.) 

Briner,    G    .C (N.Y.) 

Brodshaus,  M.  (N.Y.) 
Brown.    C.    A.  (Ore.) 

Brown.  Oliver  E.  (Cal.) 
Buckingham,   B.    (Mass.) 

Burke,    H.    A (Nebr.) 

Burns,   Suzette        (N.Y.) 

Byers,    B.    H.   (Pa.) 

Caldwell.  L.  B.  (Kans.) 
Canfield.  B.  R.  (Mass.) 
Cannavan,   P.   D.   (Ohio) 

Carlyon,    E.    L (III.) 

Carrick,    Guy    R.      (Pa.) 

Carter,  J.  M (III.) 

CaweIti,  Donald  G.  (III.) 
Chapin,  H.  S,  (N.Y.) 
Childs,  Henry  E.  (R.I.) 
Christiansen.  F.  (Mass.) 
Clark.  Ella  C.  (Minn.) 
Cleveland.  W.  R.  (III.) 
Clifford.  William  (N.Y.) 
Cohen,    Frances      (N.Y.) 

Collier.    R.   Jr. (Colo.) 

Condon.  Chester  (Mass.) 

Conger.    H.   G (III.) 

Conn.    M.    Z (Ohio) 

Cook.  Dorothea  (D.C.) 
Cook.    Dorothy    ..(N.Y.) 

Cook.    G.    S. (III.) 

Crawford,  E.  M.  (Ohio) 
Crawford,  E.  W.  (N.J.) 
Crumbling.  C.  S.  (Pa.) 
Cnmmings.  O.  G.  (Cal.) 
Cunliffe.  Bessie  (Mass.) 
Cushing.  Lena  ..(Mass. I 
Dale,    Edgar  (Ohiol 

Dalrymple,  C.  V.(Mich.  I 
Turlington,    E.  (Pa.  I 

Davenport.    M.    .  (Mass.) 

Davis.    M.    E.    (Cal.l 

Davis,  R.  H.  A.   (Kans.) 

Deer.     Irvin    F (Ill.l 

Dennis.    S.    C. (Ohio) 

Dent.    E,   C (N.J.) 

Devereux.  F.  L.  (N.Y.) 
Doane,  Donald  C.    (Cal.) 

Doidge,    R.    W (N.Y.) 

Dolan.   John   J (N.J.) 

Dudley.    W.    H (III.) 

Dugdale.  Lee  A.  (Colo.) 
Dunn.  Fannie  W.  (N.Y.) 

Dwerlkotte.    F.    (Pa.) 

Dyar.     E.    J. (Mass.) 

Dyer,   J.   E (D.C.) 

Dyer.    W.    C (Ohio) 

Eaton.    Ann     (N.Y.) 

Eby.    George  (Cal.) 

Edwards.    C.    E.     (Ohio) 

Eichel.    C.    G (N.Y.) 

Ellis.  Don  Carlos  (N.Y.) 
Elwell.    J.   W.  (Ohio) 

Emmert,  Wilber  (Pa.  I 
Erickson,    C (Mass.) 


t 

+ 

t  . 


Farwell,    M.     (Mass. 

Ferguson,  B.  W.  (N.J. 
Finle.v,  E:den  D,  (111. 
Fisk,  Harrison  .  (Mass. 
Fortington,   H.  A.    (N.Y 

Frances.    C.    B (Ind. 

Frankel.  Louis  (N.Y. 
Freeman.  F.  N.  (111. 
Freeman.  P.  Q.  (Ohio 
Gallup.  Anna  B.  (N.Y. 
Gambach.  J.  C.  (111. 
Garrity.  Helen  (Mass. 
Gchan.  Claire  C.  (N.Y. 
Gibbony.  Hazel  ....(Ohio 
Giering.   E.   J.   Jr.    (La. 

Gillen.     F.     G (Pa. 

Glcckler,  Bryce  (Kans. 
Glenwright,  W.  C.  lO. 
Glick.    Annette         (Cal. 

Gluck,    David    (N.Y. 

Gramet,  C.  A.  (N.Y. 
Gray,  Rebecca  J.  (D.C. 
Greene,  Nelson  L.  (III. 
Greenwald,  A.  J.  (N.Y. 
Gregory,   W.   M,      (Ohio 

Gunnell,    F.    E (N.Y. 

Hamilton,    George    ( Pa. 

Hanna,    B.    M (Ohio 

Hansrn.    J.    E (Wis. 

Hardcastle.    R (Mo. 

Haworth.    H.    H.      (Cal. 

Hayes,    D.    P (III. 

Hcaley,  Gertrude  (N.Y. 
Hebert,  A.  O.  (Mass. 
Heinaman,  F.  S.  (Pa. 
Helstern,  R.  F.  (Ohio 
Hessberg,  Lena  ..(N.Y. 
Hethershaw,  L.  ..(Iowa 
Hill.  Ned  W.  ..  (Ariz. 
Hillegass.  W.  F.  ( Pa. 
Hissong,  R.  D.  ...(Iowa 
Hoban,  C.  F.  .  (D.C. 
Hoban.  C.  F.  Jr.  (D.C. 
Hochheimer,  R.  (N.Y'. 
Hodgins,  G.  W.  (D.C. 
Hoefling,    C.    BL    ..(N.Y. 

Hoffman,   J (III. 

Hollinger,  J.  A (Pa. 

Hunt.    F.     L. (N.J. 

Jansen.    William    (N.Y. 

Jensen.    J.    H.  (S.D. 

Johnson.    E.    R.   (Mass. 

Jones.    A.    H, (Ind. 

Jones,    Arthur   L.  (N.Y. 

Jordan.    A.    L (Cal. 

Katz.    Elias  (N.Y. 

Kaufman.   M.   E.  (Nebr. 

Kerstetter.    N.    (Pa. 

Killey.  Lcrens  ...  (Cal. 
Knowlton,    D.    C,  (N.Y. 

Koon.  Cline  M (D.C. 

Kooser.   H.    L. (Iowa 

Kottman.    W.    A.    (N.Y. 

Kradel.    J.    C.    (Pa. 

Krasker.  A.  ..  (Mass. 
Kraus.  Joseph  F.  (Wis. 
Kruse.   W.   F.  (111. 

Kunce.    W.   C.  (Ohio 

Lain,     Dolph     (III. 

Lamping.    S (Ohio 

Lannin,    G (Mich. 

Lease,    L.    J. (Cal. 

Legro,  Edna  C.  (Mass. 
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Lewin.    William      (N.J. 

Lewis.    D.   K (Minn. 

Lieberman.   M (N.Y. 

Lindstrom.  C.  A.  (D.C. 
Linton.  Alma  V,  (Cal. 
Lyons.  John  H.  (Conn. 
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Mack.  Helen  A.  (111. 
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Maddock,  W.  H.  (N.Y. 
Mahaffey,  C.  E.  .  (Ohio 
Mallon,  Arthur  (N.Y. 
Mann,  Paul  B.  (N.Y. 
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Martin,    R.   W (Ohio 

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McClusky,    F.   D.    (N.Y. 

McDaniel.    N (Mass. 

Mclntire.  George  (Ind. 
McKeown.  M.  J.  (N.Y. 
McMahon.  T.  J.  (Ohio 
McMaster.  W.  H,  (Cal. 
McMullan.    D.    S.   (Can. 


t 

t 

t  • 


McSwyn.v.  Mary  (N.Y. 
Meissner,    Amelia    (Mo. 

Meola.    L.    K (Ohio 

Millar.    L.    B.         iMich. 

Miller.    W.    C. (Ohio 

Moyer.    J.    A (Mass. 

Mueller.  J.  H.  ...(Mass. 
Muerman,  J.  C.  (Okla. 
Mullen,  S.  McL..  (Cal. 
Nelson.  Paul  C.  (Wis. 
Newman.   H.  T.      (N.Y. 

Nichol,    R.   J. (111. 

Nichols,    F.    W (111. 

Nichols.  Preston  (Mass. 
Nicol.  Alan  H.  (N.Y. 
Norman.  M.  A.  (111. 
Northcott.   J.   W.(Mass. 

O'Brien,    W.  S (Wis. 

O'Gorman.   D.  (N.Y. 

Palmer.    W.   C.        (N.D. 

Parizak.    Liel    (Wis. 

Parks.  G.  H.  (Conn. 
Pence.    A.    C.  (Ohio 

Peters.  Rupert  ...  (Mo. 
Petersen.    C.    W.  (Mass. 

Piatt,    H.    H (Mass. 

Pointer,    P.    D.         (Ind. 

Powell.   W.   T (Tex. 

Pratt.    M.    W.  (111. 

Purdon,    A.    (Mass. 

Quinn,    Eleanor    ..(N.Y. 

Rabenort.    W (N.Y. 

Rakestraw.   B.   B.    (Cal. 

Ramsey,    G.    F (N.Y. 

Ramsever,  L.  L.  (Ohio 
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Reagan.  C.  R,  (Ga. 
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Reitze,   A.   W.  (N.J. 

Rhodes.    H.    K (Pa. 

Rhuland.  F.  A.  (Mass. 
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Routzahn.  E.  G.  (N.Y. 
Ruch.    H.    R,  (Pa. 

Sargent,    T,  (Mass. 

Schmidt,    C.    E. (N.J. 

Seltzer,  Jack  ....(Mass. 
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Sims,   Stephen  B.    (N.J. 

Sissler,    C.    T. (N.Y. 

Small,  L.  G.  (Mass. 
Smith.    Gerald    W.   (111. 

Smith.    H.    A (Mass. 

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Spafford.    B.    M.    (N.Y. 

Stabler,    E.    F. (Pa. 

Stackhouse.  J.  M.(N.C. 
States,    Earl     C.     (Ohio 

Steiner.    F (N.Y. 

Sullivan.  J.  V.  (N.Y. 
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Taylor,    Roy   H. (111. 

Temple,  E.  H.  (Mass. 
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Timings.  Claire  ..(N.J. 
Trace.  Charles  T.  (N.Y. 
Trachsel,  R.  E.  (Ohio 
Trolinger,  Leiia  (Colo. 
Troxel,  Russell  B.  (III. 
Tuttle.  Earle  B.  (N.J. 
Twichell,  L.  M.  (Mass. 
Twogood,  A,  P....  (Iowa 
Uhrlaub,    R.    R.   (Kans. 

Uhte,    J.    C (Cal. 

Van  Aller.  H.  H.  (N.Y. 
Van  Loenen.  C.  A, (Cal. 
Varnedoe,  Ashton  ( Ga. 
Vaughan,   H.   B.  .  (Tex. 

Vernor,    P.    H. (III. 

Volk,    J (Ohio 


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at  Chico  (Cal. I    .    t 

at    Kearney    ,,,  (Nebr. I    .    .    .    .    f 

at    San    Diego      (Cal.  1 t  •    •    •    • 

at  Terre  Haute   (Ind. )   .    .    .    .    t 

Summitville  Spec.  Sch., 

(Ohiol   .    .    .    .    t 

Univ.  of  Hawaii, 

Library   (T.H.) t  .    .    . 

Univ.  of  Hawaii 

Visual    Serv.        (T.H.)  .    .    .    .    t 

Univ.  of  Kentucky, 

Exten.  Div (Ky.)  .    .    .    t 

Univ.  of  Minnesota 

Library    (Minn.)   .    .    .    t 

Univ.  of  Oklahoma 

Exten.    Div.        (Okla.) t  •    •    .    • 

Visual  Aids  Comm., 

Ridgewood      .  .      (N.J.)    .    .    t 

Whitmer  H.  S.  Camera 

Club,    Toledo  (Ohio t  •    .    • 

Wm.  McGulfey  H.  S.. 

Oxford  (Ohiol t  .    .    . 

Wilson  Teachers  Coll. 

(D.C.)   .    .    .    .    t 


The  "Charter  Nucleus"  for  future  growth  will  consist  of  the  entire  Roster  above  (all  pre-June  expirations 
excluded)   PLUS  all  renewals  and  new  memberships  received  prior  to  the  Detroit  meeting. 

IS  YOUR  NAME  IN  THE  ROSTER?  If  not.  rush  your  little  $2.00  immediately  to  headquarters.  Don't 
miss  being  in  the  CHARTER  NUCLEUS   (probably  the  last  memberships  available  at  the  present  fee). 


PROGRAM 
Detroit  Meeting,  June  28  to  30,  1937 

Department  Headquarters — Fort  Shelby  Hotel 
Assembly  Programs,  in  WWJ  Broadcasting  Studio 

Local  Chairman  of  Arrangcvtents,  W.  W.  Whittingliill,  9345 
Lawton  Avenue,  Detroit.  (   Send  luncheon  and  hotel  reser- 
vations   direct   to   him). 

FIRST  DAY  (Monday,  June  28) 
12  Noon — Registration   Luncheon   (Crystal   Ball  Room, 
Fort  Shelby  Hotel) 
Address  of  Welcome 

Guest  Speaker,  Frank  Cody,  Superintendent  of  Detroit 
Sch(X)ls 

Overview  of  Detroit  Visual  Program 

Manley  E.  Irwin,  College  of  Education,  Wayne  Univer- 
sity, Director,  Division  of  Instruction,  Detroit 
Schools 

2  P.  M. — Afternoon  Program  (WWJ  Auditorium) 

Immediate  Needs  in  Visual  Instruction 

F.  Dean  McClusky,  Director,  Scarborough  School,  Scar- 
borough, N.  Y. 

State  Wide  Visual  Work  in  Indiana 

F.  L.  Lemler,  Secretary,  Bureau  of  Visual  Instruction, 
Indiana  University 

Complete  Learning  through  Visual  Aids  in  Physics 

O.    S.    Anderson,    Physics    Department,    High    School, 
Fargo,   N.   D. 
The  Motion  Picture  in  the  Learning  Process 

W.   M.   Gregory,   Director,   Educational   Museum,   Cleve- 
land Public  Schools 
Essential  Qualities  for  an  Educational  Film 

Esther  L.  Berg,  Public  School  91,  New  York  City 

(Showing  of  selected  educational  films) 

SECOND   DAY   (Tuesday,  June  29) 

12  Noon — Conference  Luncheon   (Fort   Shelby  Hotel) 
(for  Department  Members  only) 

Considerations  on  the  Present  and  Future  of  the  Department 
Nelson  L.  Greene,  President  of  the  Department  of  Vis- 
ual Instruction 
Showing   of  new  film,  "Child  Safety  in   Traffic",   for  discus- 
sion by  members 
Don    Carlos    Ellis,   Treasurer,    Metropolitan    New    York 
Branch  of  the  D.  V.  I. 


2  P.  M. — Afternoon  Program  (WWJ  Auditorium) 
The  Teaching  of  Wild  Life  near  Home 

Frank  S.  Gehr,  Yonkers,  N.  Y. 
Seeking   New  Educational   Objectives   through    Use   of  Films 
Edgar  Dale,  College  of  Education,  Ohio  State  University 
Lantern  Slide  Technique  in  Geography  Instruction 

Villa  B.  Smith,  Lecturer  in  Geography,  Western  Reserve 
University 
The  Circulation  of  Visual  Aids  in  a  Small  City — School  System 
H.  J.   Dotson,   Principal,  John  Simpson  Jr.   High   School, 
Mansfield,  Ohio 
Teacher  Participation  in  Educational  Film  Production 

Charles    A.    Gramet,    Franklin    K.    Lane    High    Schcxjl, 

Brooklyn,  N.  Y. 
Informal  Comment  and  Discussion  led  by  H.  H.  Church, 
Superintendent  of  Schools,  Fremont,  Ohio 
{Shozving  of  selected  edticational  films) 

THIRD  DAY  (Wednesday,  June  30) 
2:00  P.  M.— Afternoon  Program   (WWJ  Auditorium) 

Recent  Trends  in  Use  of  Cinema  in  Education 

Panel  discussion  led  by  John  A.  Hollinger,  Director,  De- 
partment of  Visualization,  Pittsburgh  Public  Schools. 

(Showing  of  selected  educational  films) 
"Is  the  cinema  used  effectively  in  classrooms?     What  evi- 
dence is  there?     What  types  are  most  valuable  in  class- 
rooms ?" 

J.  E.  Hanson,  Bureau  of  Visual  Instruction,  University 

of  Wisconsin 

"Is    the   cinema   used    effectively    in   assembly    programs? 

What  type  of  assembly  programs  are  most  satisfactory? 

What  types  of  pictures  give  best  results  on  such  programs  ?" 

(Speaker  to  be  selected) 
"Has  large-group  instruction  by  visual  aids  proved  effec- 
tive?    What  organization   is  essential?     What  procedures 
are  desirable?     What  are  the  outcomes?" 

J.  W.  C.  Remaley,  Gladstone  Jr.  High  School,  Pitts- 
burgh, Pa. 
"How  select  films  and  projection  equipment?  What  stand- 
ards are  generally  accepted?  What  type  projectors  for 
classroom?  For  auditorium?  Should  selection  be  made 
by  administrative  officers,  supervisory  officers,  teachers,  or 
other';?" 

(Speaker  to  be  selected) 
"How  may  producers  meet  demands  of  education?     How 
should  educators  encourage  or  stimulate  production?" 

William   F.   Kruse,   Bell   and  Howell   Company,   Chi- 
cago, 111. 
General  Summary  by  Panel  Chairman. 

Second  Showing   of  "Child  Safety   in   Traffic"   for   audience 

discussion 

Business  Meeting 

Election  of  Officers,  New  Policies.  Adjournment. 


Page  190 


The  Educational  Screen 


THE    FILM   ESTIMATES 


Angers  Holiday  (Jane Withers)  (Fox)  Another 
unnatural,  precocious  role  for  Jane  who  is  the 
whole  show  in  lively  but  incredible  story.    Pub- 
licity stunt  built  around  movie-star-heroine  be- 
comes real  kidnapping  case  but  Jane's  strategy 
captures    gang,     reuniting    her    adored    news- 
paper-hero with  actress.  6-1-37 
(A)  Hardly       (Yj  Perhaps       (C)  Prob.  amusing 
Ab  Good  as  Married   (John  Boles,  Doris  No- 
lan) (Univ.)   Fast,  fluffy,  sophisticated,  alcoholic 
farce,    featuring   facetious    contempt    for    mar- 
riage.     Ultra-rich  playboy  weds   his   Secretary 
(Nolan   is  charming)    to  save  income  tax,  and 
goes  on  playing  to  last-reel-moral-ending.  Good 
box-ofiice  despite  Boles*  comedy  antics.     6-8-37 
(A)  Depends  on  taste   (Y)  Unwholesome   (C)  No 
Beethoven      Concerto       (Russian,      Excellent 
English     titles)      (Amkino)      Notable     Russian 
picture,   dominated   by   children,    with   two   ex- 
traordinary  little  heroes   in   national   competi- 
tion   for   violin   honors.    Acting   notable,   music 
beautiful,  human   interest  strong.   Culture  and 
happiness  presented  as   Russian   norm.   5-11-37 
(A)   Very    good           (Y)   Good           (C)   Perhaps 
Cafe  Metropole    (Power,   L.  Y^oung,   Menjou, 
Winninger,     Westley)     (Fox)     Suave     Parisian 
gambler,  engaging  young  inebriate  as  his  tool, 
absurdly    rich    and    absurdly    acting    American 
family,   make  an  amusing,  smart,  merrily  im- 
probable farce-comedy.  Certain  elements  prob- 
ably too   farcical   to  be  objectionable.     5-11-37 
(A)Very  good  of  kind(Y)Prob'ly  good(C)Hardly 
Captain    Calamity      (John    Houston.    Marian 
Nixon)  (Gr.    Nat.)      Elementary,    loosely    knit 
story    of    sordid    villainy    and    violent    fighting 
over  money  and  women  in  South  Seas.     Heavy- 
fisted,    pleasant-singing   hero   rather  engaging, 
and   full    color   photography   of   tropical    lands 
and  seas  often  notably  good.                      5-25-37 
(A)  Hardly                 (Y)  Doubtful                 (C)  No 
Captains  Courageous  (Bartholomew,  S.  Tracy. 
L.    Barrymore)    (MGM)    Powerful  portrayal  of 
rich    little   snob    transformed    by    hard    knocks 
and   high    adventure   among   rough   but   under- 
standing fishermen.  Grand  Banks  schooner  life 
magnificently     shown     in     tense,     convincing, 
human   drama.   Masterpiece  of  cinema.   5-11-37 
(A)   Excellent    (Y)   Excellent    (C)   Very   strong 
Captain's  Kid  (Sybil  Jason,  Kibbee,  Robson) 
(1st  Nat.)   Unpretentious  character  comedy  with 
Kibbee  as  old   sea-captain   spinning  tall  yarns 
and  adored  by  his  old  sweetheart's  little  niece. 
Sybil    is    engaging   and   is   prime  motive   force 
throughout.    Improbability   and   over-precocious 
child  conduct  don't  worry  production.      5-25-37 
(A)  Hardly                              (Y-C)  Fairly  amusing 
Charlie  Chan  at  the  Olympics   (Oland,  Luke, 
K.  de  Mille)  (Fox)   Good  Chan  picture.  He  chases 
airplane   mystery    from    South    Seas    eastward, 
to  catch  villain  in  Olympic  stadium  in  Berlin. 
Two   sons   now  help  their  clever   father.      The 
eight-year-old  is  good,  but  Luke  works  so  hard 
at  his  acting!                                                     5-25-37 
(A)  Good  of  kind                                        (Y-C)  Good 
China   Passage  (Constance  Worth,  Vinton  Ha- 
worth)(RKO)    Gem-theft-thriller  of  slight  dis- 
tinction.     Shanghai    diamond    disappears,    and 
swarm  of  suspects,   military  hero  and  Federal 
Agent    heroine    all    board    same    steamer    for 
'Frisco.   Long  voyage  of  snoopings,  druggings, 
killings,  to  clumsy  clinical  solution.         5-25-37 
(A)Mediocre                  (Y)  Hardly                  (C)  No 
Elephant  Boy    (Sabu.    Indian  boy,   and   Kala 
Nag,   the  elephant)  (UA)    Another   masterpiece 
by  Flaherty  of  "Nanook"  and  "Man  of  Aran." 
Great,  natural,  healthily  thrilling  picture,  made 
in  native  jungles,  from   Kipling's  tale  of  deep 
friendship    between    adorable    boy    and    mighty 
elephant.     Every  one  should  see  it.            6-8-37 
(A)    (Y)    (C)    Excellent 
Fair   Warning    (J.   Edward  Bromberg,    Betty 
Furness)  (Fox)  Above  average  Class  B  murder- 
mystery,      with      credible     motivation,      rather 
novel  plot,  detective  decidedly  original  in  man- 
ner   and    method,    and    without    excessive    vio- 
lence.    Death  Valley  setting  adds  more  inter- 
est than  the  mild  romance  injected.         5-25-37 
(A)  Fair                                        (Y-C)  Good  of  kind 
Girl    from    Scotland    Yard     (Karen    Morley) 
(Para)    Complex    mystery    thriller   built   round 
sinister  "death  ray"  that  threatens  destruction 
of   British   Navy.      English   Secret  Service  hero- 
ine   and    American    newspaper-man     hero     put 
an  end  to  half-mad  inventor's  ghastly  activity. 
Made  expressly  for  spine-chilling.             5-18-37 
(A)  Good  of  kind            (Y)  Doubtful            (C)  No 
Hit  Parade,  The   (F.   Langford,  Phil  Regan) 
(Repub.)    Well-done,  entertaining  musical  with 
radio    acts     logically    woven     into    substantial 
story    of   radio   agent,    society   radio    star    who 
jilts    him,    and   ex-convict   heroine   who   makeo 
good  on  the  air  with  hero's  help  and  gets  par- 
don when  her  innocence  is  established.      6-1-37 
(A)  (Y)  Good  of  kind                  (C)  Little  interest 
Hotel   Haywire   (Byington,  Overmann,  Carril- 
Io)(Para.)    Meant  for  hilarious  nonsense  farce 
about    astrology-addled     wife    and     easy-going 
husband  headed  for  divorce,   hubby  to  furnish 
evidence    of    adultery.      Sprawling    plot,    over- 
eflfort  to  be  funny.     Characters  too  unlife-like 
for  successful  satire.                                         6-8-37 
(A)  Stupid                  (Y)  No  value                  (C)  No 


Being  the  Combined  Judgments  of  «   National  Committee  on  Current  Theatrical  Films 

(A)  Discriminating  Adults  (Y)  Youth  (C)  Children 

Date    of    mailing    on    weekly    service    is    shown    on    each    film. 

(The  Film  Estimates,  in  whole  or  in  part,  may  be  reprinted 

only  by  special  arrangement  with  The  Educational  Screen) 


I  Met  Him  in  Paris  (Colbert,  Douglas,  R. 
Young)  (Para.)  Sophisticated  comedy  of  hero's 
struggles  in  Paris  and  Switzerland  to  prevent 
seduction  of  heroine,  carefully  transformed  into 
farce.  Uneven  in  quality  and  interest.  Second 
half  of  picture  fails  to  realize  its  dramatic 
possibilities  and  character  values.  6-1-37 

(A)  Good  of  kind  ( Y)  Better  not  (Ci  No 

Jim  Hanvey,  Detective  (Guy  Kibbee,  Tom 
Brown)  (Repub.)  Loosely-woven  murder  mys- 
tery with  plots  and  counter-plots.  Crime  fol- 
lows attempts  to  steal  valuable  emeralds  and 
rural  detective-hero  finally  traps  killer.  Oc- 
casionally amusing  and  interesting  but  whole 
illogical  and  unconvincing.  6-1-37 

(A)  Hardly  (Y)  Perhaps  (C)  No 

Kid  Galahad  (£.  G.  Robinson,  Bette  Davis) 
( War. )  Well-done,  vivid,  sordid  stuff  about 
prize-fight-racketeering  hero,  with  heavy  gang- 
ster complications.  Charming  little  romance  oi 
minor  characters  set  in  elaborate  welter  of 
swagger,  swat  and  sweat.  Typical  Robinson 
role,  fairly  reputable  role  for  Davis.  6-8-37 
(A)  Very  good  of  kind  (Y)  Better  not  (C)  No 
King  of  Gamblers  (Nolan,  Trevor,  Tamiroff) 
(Para)  Well  done  racketeer  thriller,  with  the 
newspaper-hero  engaging  even  when  drunk. 
Ail  characters  live  and  move  in  sordid  atmos- 
phere of  sex  and  impropriety,  but  the  good 
manage  to  stay  "good"  and  thus  keep  the  mess 
more  or  less   censor-proof.  5-11-37 

(A)Depends  on  taste     (Y)Unwholesome     (C)No 

Let  Them  Live  (John  Howard,  Nan  Grey) 
(Univ.)  Interne-hero  wages  vain  fight  for  slum 
clearance  against  powerful  city  political  boss 
who  tricks  and  outwits  him,  until  serious  epi- 
demic enables  hero  to  win  cause.  Elementary, 
largely  incredible,  but  total  effect  probably 
good.  6-1-37 

(A)  Hardly  (Y)  Fair  (C)  Doubtful 

Let's  Get  Married  (Ida  Lupino,  W.  Connol- 
ly, R.  Bellamy)  ^Col.)  Arrogantly  temperamen- 
tal heroine  defies  her  rich,  powerful  politician- 
father's  ideas  for  her  marriage.  Weather- 
forecaster  hero  is  high-principled,  but  his  aver- 
sion to  politicians  cannot  save  him.  Heroine- 
chase-hero  motif  again.  5-25-37 
(A)  Fair           (Y)  Probably  amusing  ^C)  No 

Love  from  a  Stranger  (Ann  Harding,  Basil 
Rathbone)  (U.A.)  Psycopathic  killer-motif,  finely 
acted,  building  up  quietly  and  effectively  to 
grisly  spine-chilling  climax  as  heroine's  charm- 
ing, cultured  husband  of  few  weeks  is  revealed 
as  maniacal  murderer.  Terrifying  suspense  un- 
til she  outwits  him,  saving  herself.  6-1-37 
(A)  Good  of  kind          (Y)  Too  grim          (C)  No 

Make  Way  for  Tomorrow  (V.  Moore,  Beulah 
Bondi)  (Para.)  Realistic  domestic  comedy,  not- 
ably acted,  depicting  contrasts  and  conflicts 
between  aged  parents  and  their  children.  It  is 
deeply  human,  convincingly  true,  frequently 
amusing,  but  too  many  moments  are  poignant 
and  depressing  for  popular  success.  6-1-37 

(A)  Excellent    (Y)  Mature  but  good    (C)  Beyond 

Mama  Steps  Out  (Alice  Brady,  Kibbee,  Fur- 
ness) (MGM  I  Another  in  current  series  of 
heroine-chases-hero  pictures.  Bizarre,  newly- 
rich  American  mother  slurs  America  and  seeks 
culture  in  a  burlesqued  France.  Too  crudely 
done  to  be  clever,  and  too  elemental  to  be 
called   intelligent   amusement.  5-11-37 

(A)  Mediocre  (Y)  No  (C)  No 

Man  Who  Found  Himself  (John  Beal)  (RKO) 
Trite  theme,  achieving  little  distinction  in  the 
telling,  about  regeneration  of  young  surgeon, 
soured  on  his  profession,  who  becomes  in  turn 
hobo,  construction  laborer  and  airplane  me- 
chanic, until  heroine  and  a  train  wreck  achieve 
his  awakening.  5-18-37 

(A)  Hardly  (Y)  Fair  (C)  No  interest 

Night  Key  (Boris  Karloff,  Jean  Rogers) 
(Univ)  Pseudo-science,  gang  melodrama,  and 
romance  combined  in  exciting  thriller.  Good 
in  spots,  and  Karloff's  role  a  relief  from  his 
usual  monster  parts.  But  mostly  artificial 
thriller,  preposterous  and  unconvincing  as  a 
whole.  5-11-37 

(A)  Hardly  (Y)  Doubtful  (C)  No 

Night  Must  Fall  (R.Montgomery,  R.Russell, 
Dame  Whitty)  (MGM)  Genial,  smiling  young 
man,  living  as  trusted  and  loved  member  of 
rural  English  home,  finally  disclosed  as  hideous 
psychopathic  killer.  Striking  blend  of  gentle 
realism  and  stark  crime.  Quiet,  grim,  difficult 
theme  very  ably  presented.  5-18-37 

( A)  Very  unusual         ( Y)  (C)  Doubtful  value  or  int. 

Nobody's  Baby  (Patsy  Kelly,  Lyda  Roberti) 
Hilarious  farce  with  slight  plot  stretched  to 
feature  length,  ably  acted  by  the  two  heroines. 
Humorous,  somewhat  suggestive,  complications 
develop  when  the  girls,  probation  nurses,  take 
care  of  a  baby  until  its  night-club-dancer- 
mother  is  reunited  to  husband.  6-1-37 

(A)  Depends  on  taste        (Y)  Passable        (C)  No 


Penrod  and  Sam  (^Billy  Mauch,  Frank  Craven, 
Spring  Byington)  (Warner)  Boy-parent  psychol- 
ogy, young  human  nature,  engagingly  presented 
in  modernized  Tarkington  story,  with  healthily 
exciting  melodrama  added.  Quite  wholesome  en- 
tertainment for  all,  with  bits  perhaps  strong 
for  sensitive  children.  Mauch  promising.  5-18-3? 
(A)  ( Y)  Very  good  of  kind        (C)  Probably  good 

The  Prince  and  the  Pauper  (Mauch  Twins 
and  outstanding  cast)  (1st  Nat.)  Mark  Twain's 
fanciful  tale  of  16th  Century  English  Court 
splendidly  screened,  in  spirit  of  book  and  times. 
Only  a  trying  moment  or  two  for  very  sensi- 
tive children.  A  much-loved  classic  admirably 
handled.    No  romance  lugged  in  I  5-25-37 

(A)  Excellent  (Y)  Excellent  (Cj  Good 

Prisoners  (Russian)  (English  titles)  (Amkino) 
Realistic,  finely  acted  portrayal  of  how  skill- 
fully and  "paternally"  the  G  P  U  handles 
tough  criminals  and  wins  them  back  to  the 
glorious  gospel  of  work.  Excellent  propagan- 
da on  Russian  methods  and  the  sweet  and 
wholesome   life   in    Soviet   prisons.  6-8-37 

(A)  Gwd  of  kind  (Y-C)  No 

Racketeers  in  Exile  (Bancroft,  Venable, 
Wynne  Gibson)  (Columbia)  City  racketeer 
takes  his  gang  to  his  own  home  for  hideout. 
Stumbles  on  profitable  idea  of  evangelism  fop 
graft,  and  merrily  swindles  friends  and  rela- 
tives till  converted  by  own  preachings  !  Brazen 
hypocrisy    thoroughly     repugnant.  5-11-37 

(A)  Hardly  (Y)  No  (C)  No 

Scotland  Yard  Commands  (Clive  Brook)  (Gr. 
Nat. )  Opens  with  ex-naval-hero  on  drunken 
spree.  He  stumbles  upon  smuggler  activities 
on  coast,  is  commissioned  by  Scotland  Yard  to 
finish  the  job.  Fantastic  doings,  with  the  long 
arm  of  coincidence  working  overtime.  Clive 
Brook  his  suave,  stiff,  familiar  self.  6-8-37 
(A)  Hardly  (Y)  Hardly  (C)  No 

A  Star  is  Born  (Gay nor,  March,  Menjou) 
(U  A)  Expert  glamorization  of  Hollywood 
with  iine  technicolor  and  notable  cast.  But 
heroine's  success  must  depend  on  disagreeable 
screen-hero  whose  drunken  antics  lead  her  to 
stardom,  him  to  suicide,  and  picture  to  anti- 
climax. Fine  material  stupidly  ruined.  5-11-37 
(A)  Depends   on   taste  (YiNo  (C)  No 

Step  Lively^Jeeves  (Treacher,Givot.  Dinehart) 
(Fox)  Attempt  to  "improve"  the  Jeeves  series 
by  loading  film  with  horseplay,  slapstick,  and 
burlesque  crooks.  Treacher's  unique  character 
play  lost  by  making  him  mere  puppet  of 
racketeers  in  nonsense  farce.  Nullifies  only 
value  of  Jeeves  pictures.  5-18-37 

(A)  Mediocre  (Y)  Little  value  (C)  No 

They  Gave  Him  a  Gun  (Tone,  S.  Tracy,  Gladys 
George)  (MGM )  Grim  character  drama,  with 
three  strong  roles  of  two  doughboys  and  nurse, 
and  war  background  effectively  done.  The  weak- 
ling hero,  trained  by  his  country  to  kill  with  a 
gun,  turns  gunman  after  the  war  and  earns  a 
grisly  end.  Strongly  anti-war.  5-18-37 

(A)  Goodof  kind       (Y)  Probably  good       (C)  No 

Thirteenth  Chair  (Dame  Whitty.  Madge  Evans, 
Lewis  Stone)  (MGM)  Excellent  screening  of  old 
Veiller  melodramatic  thriller,  in  which  spiritual- 
istic medium  functions  to  aid  law  in  detecting 
cold-blooded  slayer  of  two.  Some  grewsome 
moments.  Roles  by  Dame  Whitty  and  Lewis 
Stone  are  notable.  5-18-37 

(A)  (Y)  Very  good  of  kind  fC)  Too  strong 

This  is  My  Affair  (Robert  Taylor,  Barbara 
Stanwyck)  (Fox)  Pretentious  crook  melodrama 
carefully  laid  in  1901  as  to  costumes,  cluttered 
furnishings,  and  archaic  slang.  Naval-hero.sent 
after  bank  robbers,  joins  gang,  narrowly  miss- 
es execution,  wins  beer-hall  heroine.  McKinley, 
Dewey  and  Teddy  Roosevelt  convincing.  6-8-37 
(A)  Fair  (Y-C)  Doubtful  interest  or  value 

Tsar  to  Lenin  (Russian.  English  narration) 
(Lenauer)  Impressive,  authentic  scenes  (many 
faded  and  worn)  by  royal,  "red"  and  other 
cameramen,  give  grim  history  of  Russia  from 
tsar  to  revolution  with  portraits  of  leaders. 
Vocalogue  by  Max  Eastman  informative  but 
thoroughly   pro-communistic.  5-25-37 

(A)  Interesting  (Y)  Doubtful  (C)  No 

Turn  Off  the  Moon  (Charles  Ruggles,  Eleanor 
Whitney)  (Para)  Hilarious,  very  noisy  nonsense 
farce,  laid  in  Department  Store  whose  senti- 
mental owner  settles  his  i)olicies  by  astrology. 
Horseplay,  drunken  antics,  and  much  music  and 
dance  by  none  too  skillful  cast.  Ruggles'  lead- 
ing role  is  only  merit.  5-18-37 
(A)  Perhaps       (Y)  Probably  good       (C)  Hardly 

Way  Out  West  (Laurel  and  Hardy)  (MGM) 
Amiable  nonsense  farce,  partly  burlesque  on 
old  westerns,  with  the  stars  as  carefree,  jov- 
ial gypsies.  Usual  antics  and  pantomime  fun- 
ny as  usual,  but  story  suffers  at  times  from 
prolonged  repetitions  and  sustained  slapstick. 
Some  needless  vulgar  touches.  6-8-37 

(A)  Depends  on  taste      (Y-C)  Probably  amusing 


June,  1937 

NEWS  AND  NOTES 

Hanifccant  Jio^ma^   anJi   events   in   lite   vimai   rieLJi. 


Page  191 


fCLna    btur    notat 


Ltym     an 


Conducted  by  Josephine  Hoffman 


Visual  Education  in  the  South 

A  conference  for  the  promotion  of  visual  education 
was  held  May  14th  at  Florence,  Alabama,  State  Teach- 
ers College  and  attracted  an  attendance  of  more  than 
one  hundred  school  officials  in  addition  to  supervisors 
of  TVA,  faculty  and  students  of  the  college.  Dr.  Floyd 
F.  Cunningham,  Professor  of  Georgraphy  and  head 
of  Visual  Instruction  at  State  Teachers  College,  pre- 
sided over  the  morning  meeting  and  discussed  "Es- 
tablishing a  Program  of  Audio-Visual  Education."  Dr. 
C.  B.  Collier,  head  of  the  Department  of  Education, 
spoke  on  "Visual  Aids  in  Modern  Education,"  and 
E.  B.  Baldwin  of  the  Department  of  History  on  "The 
Film  Strip  Projector  in  Visual  Education."  Dr.  Eula 
P.  Egan,  head  of  the  Department  of  Psychology,  pre- 
sided over  the  afternoon  session  and  gave  a  talk  on 
"The  Use  of  Sound  Films  in  Teaching  Psychology." 

Out  of  town  speakers  included  E.  E.  Sechriest, 
principal  Ensley  High  School,  Birmingham ;  Dr.  J. 
S.  Wardlaw,  director  of  the  Bureau  of  Visual  In- 
struction, University  System  of  Georgia,  who  ex- 
plained "A  New  Film  Service  for  the  South" ;  Supt. 
R.  E.  Thompson  of  Tuscombia ;  and  J.  Paul  Waldrop, 
Guntersville  Dam,  whose  subject  was  "The  Use  of 
Visual  Aids  in  the  Program  of  the  TVA." 

The  conference  passed  significant  resolutions  urging 
the  extension  department  of  the  University  of  Ala- 
bama to  establish  a  state  film  library  service. 

♦ 

Further  evidence  of  the  increasing  interest  in  audio- 
visual education  throughout  the  southern  states  is  the 
announcement  by  the  Hamilton  County  board  of  edu- 
cation, Tennessee,  that  films  and  radio  broadcasts  will 
play  a  large  part  in  the  county  school  system  next 
year.  According  to  Mrs.  Harry  B.  Lacey,  chairman 
of  the  board,  they  are  planning  ways  in  which  all 
their  schools  may  acquire  motion  picture  projectors, 
and  the  auditoriums  of  many  schools  will  be  equipped 
with  projection  booths.  Also,  in  some  of  the  new 
county  schools,  wired  channels  will  be  run  into  the 
various  classrooms  to  permit  the  entire  school  to  listen 
in  on  broadcasts  of  educational  interest.  Mrs.  Lacey 
declared  there  is  no  limit  to  the  subjects  that  might 
be  covered  by  these  audio-visual  aids.  "The  old  way 
of  teaching  is  giving  way  gradually  to  a  newer  concept. 
There  is  no  reason  why  education  cannot  be  a  grip- 
ping, glamorous  process." 

Ohio  Film  Clinic 

The  third  Ohio  State  University  Film  Clinic  was 
held  May  22  in  the  motion-picture  laboratories  of  the 
Goodyear  Tire  and  Rubber  Company  at  Akron. 

The  program  for  the  day  was  the  making  of  a 
film  on  how  to  make  a  film.  Mr.  George  Blake,  head 
of  the  Goodyear  photographic  laboratories,  made  avail- 
able the  motion-picture  facilities  of  the  Goodyear  com- 


pany for  the  shooting  of  this  16-mm.  film.  Mr.  J.  Ray 
Stine,  principal  of  Central  High  School,  Akron,  had 
prepared  the  scenario  for  the  day's  shooting.  In  this 
way  the  members  of  the  clinic  were  able  not  only  to 
get  first-hand  experience  in  shooting  motion  pictures, 
but  also  to  study  the  equipment  of  a  motion-picture 
laboratory. 

National  Cinema  Appreciation  Convention 

As  the  culmination  of  the  very  active  season,  the 
Cinema  Appreciation  League  will  have  its  Annual 
Convention  on  July  22-27  under  the  general  guidance 
of  Dr.  Rufus  B.  von  KleinSmid,  President  of  the 
University  of  Southern  California  and  Director  of  the 
American  Institute  of  Cinematography ;  Dr.  Vierling 
Kersey,  Superintendent  of  Los  Angeles  City  Schools ; 
Dr.  Lester  Burton  Rogers,  Dean  of  the  Summer  Ses- 
sion ;  and  Dr.  Boris  V.  Morkovin,  Head  of  the  Depart- 
ment of  Cinematography  at  the  University  of  South- 
em  California  and  Editor-in-Chief  of  the  magazine, 
Cinema  Progress. 

The  detailed  program  will  be  sent  to  anyone  inter- 
ested by  Miss  Rose  Walton,  Secretary  of  the  Conven- 
tion. Address  3551  University  Avenue,  Box  74,  Los 
Angeles,  California. 

Minnesota  Organizes  Audio-Visual  Society 

Minnesota  educators,  meeting  at  the  University  of 
Minnesota  to  discuss  the  function  and  scope  of  audio- 
visual education,  voted  to  organize  the  Minnesota 
Society  for  the  Study  of  Audio-Visual  Education. 
This  association  will  devote  its  time  and  energies  to 
research.  Harold  C.  Bauer,  Superintendent  of  Schools 
at  Lakefield,  Minnesota,  was  elected  chairman  in 
charge  of  organization. 

Pavilion  of  Motion  Picture,  Photography  and 
Recording  at  Paris  Exposition 

An  imposing  monument  to  the  arts  of  photography, 
recording  and  motion  picture  production,  will  rise  at 
the  foot  of  the  Eiffel  Tower,  to  reveal  to  visitors  the 
mysteries  of  these  important  industries.  This  palace, 
dedicated  to  these  three  arts,  promises  to  be  one  of  the 
most  brilliant  exhibits  at  the  Paris  1937  International 
Exposition. 

The  great  French  savant,  Mr.  Louis  Lum^ere,  has 
accepted  the  presidency  of  this  class  at  the  show.  In 
the  Lumiere  factories  at  Lyon,  experiments  tending 
toward  the  solution  of  the  problem  of  color  and  three 
dimensional  moving  pictures,  are  being  constantly 
carried  on  under  his  direction.  Mr.  Lumiere  reveals 
that  his  color  research  concerns  the  use  of  auto-chro- 
matic plates  which  he  invented  30  years  ago.  Three 
dimensional  films  are  now  being  shown  in  Paris,  ap- 
plying his  recent  discoveries  in  this  field. 

(Concluded  on  page  203) 


Page  192 


The  Educational  Screen 


AMONG   THE 
AND    BOOKS 


MAGAZINES 


Conducted  by  Stella  Evelyn  Myers 


Book  Review 

Visualizing  The  Curriculum  (320  pages)   ($3.50) 
By  C.  F.  Hoban,  C.  F.  Hoban,  Jr.,  S.  B.  Zisman. 
Published  by  The  Cordon  Company,  225  Lafayette 
St.,  New  York  City. 

Here  is  a  book  of  which  the  visual  field  may  well  be 
proud.  Both  in  content  and  appearance  it  is  an  out- 
standing contribution  to  the  field,  a  milestone  of  pro- 
gress in  the  literature  of  visual  instruction. 

In  typography  and  lay-out  it  is  refreshingly 
"modern",  and  yet  of  a  dignity  to  please  the  most  con- 
servative. Its  seven-and-a-half  by  ten-inch  page  of 
quality  paper-stock,  its  large-type,  well-leaded  text,  its 
finely  chosen  type-faces,  its  deft  arrangement  of  num- 
erous illustrations,  make  for  utmost  reading  ease.  Text 
occupies  the  inner  two-thirds  of  the  page,  the  outer 
third  is  a  generous  margin  which  permits  artistic  va- 
riety in  the  placing  of  cuts,  an  ideal  location  for  sub- 
titles and  "footnotes"  beside  the  text  where  they  apply, 
and  incidentally  will  allow  many  readers  the  joy  of  ex- 
ercising their  penchant  for  annotating. 

Contents  are  as  satisfying  as  the  format.  The  "vis- 
ual" literature  of  the  past  twenty  years  has  been  ex- 
tensive, but  not  wholly  free  from  platitude  and  repeti- 
tion. The  authors  of  "Visualizing  the  Curriculum" 
have  evidently  waded  widely,  sifted  industriously,  and 
selected  judiciously  from  the  congeries.  The  obvious 
has  been  deftly  condensed,  the  absurd  discarded,  the 
dubious  resolved,  and  the  truth,  old  or  recent,  present- 
ed in  terse  and  telling  form.  The  result  is  a  careful 
and  authoritative  compendium  of  past  thought  and  in- 
vestigation, richly  amplified  by  copious  quotation  from 
latest  research  and  much  original  matter  of  the  authors' 
own. 

"Visualizing  the  Curriculum"  covers  the  field  of 
visual  aids  with  refreshing  completeness  and  discrim- 
inating emphasis.  It  will  be  a  valuable  corrective  to  the 
still  too  prevalent  notion  that  "visual  education"  and 
"movies"  are  synonymns.  The  titles  and  page-lengths 
of  the  nine  chapters  suggest  the  range  of  subject- 
matter  and  the  balanced  treatment.  The  first  chapter 
discusses  the  fundaments — verbalism,  psychology  of 
learning,  and  underlying  principles — the  "why"  of 
visual  instruction  (26  pages).  The  next  five  chapters 
present  comprehensivly  the  following  classes  of  visual 
aids:  The  School  Journey  (31  pages).  Objects,  Models, 
School  Museum  (32  pages),  The  Motion  Picture  (53 
pages),  The  Still  Picture  (64  pages),  Graphic  Ma- 
terials (51  pages).  The  three  final  chapters  are: 
Integrating  the  Materials  of  Instruction  (30  pages), 
Administering  a  Visual  Aids  Program  (12  pages). 
Architectural  Considerations  (20  pages).  A  Glossary 
of  technical  terms  and  a  detailed  Index  close  the 
volume. 

Few  readers  will  be  satisfied  to  "glance  through" 
this  book.  It  deserves  and  invites  careful  reading,  re- 
flection  and    repeated    reference.     There    are   mental 


vitamins  here  for  all  serious  students  of  the  visual 
field  and,  for  good  measure,  a  few  fertile  germs  of 
controversy  as  well.  This  is  as  it  should  be,  for  full 
agreement  is  not  only  impossible  but  quite  undesirable 
in   a   living,   changing   field.  N.   L.  G. 

School  and  Society  (45:  475-477,  April  3,  '37). 
"Visual  Vitalization",  by  Laurence  B.  Campbell, 
Evanston,  111. 

Educators  producing  streamlined  curricula  are  chal- 
lenged by  opportunities  for  visual  vitalization.  Im- 
provement of  courses  involves  not  only  ploughing  un- 
der outmoded  subject-matter,  but  also  introducing 
new  content,  which  now  may  be  simplified  by  visual 
aids.  "Pioneers  on  our  educational  frontiers  no 
longer  need  to  champion  the  cause  of  visual  instruc- 
tion, for  scientific  research  has  demonstrated  its  ef- 
fectiveness. ...  To  question  the  value  of  visual  aids 
properly  used  is  to  reveal  an  amazing  ignorance  or  an 
extraordinary  prejudice  both  utterly  alien  in  insti- 
tutions to  be  guided  by  modern  educational  philoso- 
phy and  psychology."  The  advocates  of  visual  edu- 
cation "believe  it  will  vitalize  the  pattern  of  experi- 
ences designed  to  modify  the  growth  and  develop- 
ment of  pupils  to  condition  them  for  life  in  a  democ- 
racy. We  will  need  all  available  resources  to  achieve 
such  a  goal  .  .  .  Counterfeit  economy  should  be  pass- 
ing. Public  hysteria  during  the  depths  of  the  depres- 
sion made  it  seem  necessary  to  curtail  expenditures 
in  the  schools  ....  Now  that  the  worst  period  of 
the  panic  apparently  is  past,  administrators  and  many 
boards  of  education  are  realizing  that  an  economy 
which  cripples  the  mental  and  emotional  development 
of  the  next  generation  may  prove  costly." 

New  York  State  Education  (24:616-617  et  al. 
May  '2)7)  "Administering  Visual-Audio  Aids  in  a 
High  School',  by  Elmer  W.  Snyder  and  Clarence 
B.  Evaul,  John  Marshall  High  School,  Rochester. 

A  Service  Bureau  for  radio,  visual  and  photographic 
service  is  maintained  by  the  pupils  under  the  direct 
supervision  of  a  member  of  the  faculty.  The  service 
includes  the  physical  charge  of  equipment,  as  well  as 
photographing  school  activities  and  making  lantern 
slides.  Printed  forms  are  reproduced  in  the  article 
for  radio  and  visual  requests  from  teachers.  "The 
general  use  of  these  visual-audio  aids  by  our  teachers, 
after  teaching  experimentation  has  shown  convincing 
and  lasting  results,  indicates  that  visual  aids  and  sound 
equipment  are  bringing  in  a  new  era  of  educational 
methods.     Of  the  truth  of  this  there  can  be  no  doubt." 

California  Journal  of  Secondary  Education  (12: 
163,  March,  'Z7).  "Los  Angeles  County's  New  Film 
Library",  by  Mary  Clinton  Irion,  Ass't.  Director 
of  Audio- Visual  Division  of  the  County  Schools. 

For  many  years  films  were  provided  by  the  Division 
of  Visual  Aids  of  the  County  School  Department  for 

{Continued  on  page  200) 


June,  1937 


Page  193 


That's  why  modern  schools  throughout  the  nation  are 
joining  the  swing  to  forceful,  dramatic  education  through 
use  of  sound  motion  pictures  and  are  installing 

RCA  SOUND  MOTION 

PICTURE  PROJECTORS  built 

especially  for  SCHOOLS 

This  equipment,  the  result  of  RCA  sound  engineering,  is 
especially  built  for  school  use.  And  no  matter  how  small,  or 
how  large  your  school,  there  is  an  RCA  Photophone  sound 
motion  picture  projector  to  suit  your  requirements. 

In  addition,  RCA  Victor  offers  schools  a  complete  sound 
service  including  everything  needed  for  the  reception,  re- 
cording, reproduction,  amplification  and  distribution  of 
sound.  There  are  Victor  Records,  Victrolas,  RCA  Victor 
Electrolas,  RCA  Victor  Radios  and  Phonograph-Radios, 
voice  recording  equipment,  portable  public  address  systems, 
centralized  sound  equipment  and  many  related  products. 

AT  THE  DETROIT  CONVENTION  . . .  visit  the  NBC-RCA 
Exhibit,  Booths  C-44  and  45 — an  effective  and  complete 
sound  service  for  schools,  designed  for  modern  teaching 
— teaching  that  makes  lessons  live. 

Write  today  for  your  free  copy  of  the  interesting  new  catalog, 
"Sound  Service  for  Schools"  which  gives  full  details  about  all 
RCA  Victor's  modern  teaching  aids. 

EDUCATIONAL  DEPARTMENT 

RCA  MANUFACTURING  CO.,  Inc.,  Camden,  N.J. 

Listen  to  "The  Magic  Key"  every  Sunday,  2  to  3  P-  M-,  E.  D.  T.,  on  NBC  Blue  Network 


S^ima^^. 


RCA  PHOTOPHONE  Portable  Projec- 
tor, Model  PG-81   with  900-  or   ICOO- 
watt  Incandescent  Lamp.  Ample  illumination 
for  the  average  room  or  auditorium. 


RCA  PHOTOPHONE  Portable  Projeaor, 
Model  PG-81  with  15-ampere  Low-Intensity 
Reflector  Arc  Lamp.  Stronger  illumination  for 
the  large  auditorium. 


^^C^^  FOR  SCHOOLS 


A    SERVICE    OF    THE     RADIO    CORPORATION     OF    AMERICA 


Page  194 


The  Educational  Screen 


RURAL  MEXICO -In  Hand-Made  Lantern  Slides 


MEXICO   OFFERS   an   interesting  unit   in   the   study   of 
social  types   for  third  or  fourth  grades.   Such  a  study 
of  Mexico  does  much  to  encourage  an  interest  in  the 
Mexicans    and    a    feeling   of    friendliness    toward    them. 

These  six  pictures  may  be  traced  on  slides  and  projected 
on  the  screen  as  aids  in  the  study  of  Mexico.  (1)  A  Mex- 
ican man.  showing  his  serape  before  he  puts  it  on,  and  after- 
wards. (2)  A  Mexican  woman  with  her  baby  wrapped  in 
her  reboso.  On  her  head  and  in  her  arms  she  carries  baskets 
of  flowers.   There   is   a   cactus    fence   in   the   background. 


By      ANN      GALE 

Art  Department,  Lindblom  High  School,  Chicago 

(3)  A  maguey  field  with  one  of  the  workers.  (4)  A  Mex- 
ican market.  The  woman  is  selling  pottery.  Fruit,  flowers, 
baskets,  and  other  articles  are  for  sale.  (5)  A  man  carry- 
ing articles  to  market  by  perching  them  on  his  back. 
(6)  .Another  man  headed  for  the  market  but  he  uses  donkey- 
transportation. 

Keystone  crayons  may  be  used  to  show  the  blue  rebosos, 
red  and  blue  serapes,  yellow  hats,  pink  shirts  and  magenta 
skirts. 


^,  Ni^  J  .  0" 


>^J      %       ^ 


The  sim- 
plest type 
of  h  a  II  d  - 
made  slide 
is  made  by 
drawing  or 
tracing  on 
finely  fin- 
ished etched 
glass  with 
0 r  dinar y 
medium  lead 
pencil.  Col- 
or, by  spe- 
cial crayons 
or  inks,  en- 
hances the 
slides  great- 
ly. Fine  ef- 
fects are  ob- 
tained by 
blending 
ivith  cray- 
ons. About 
one  -  third 
inch  m,argin 
should  be 
left  all 
around  the 
slide.  The 
slide  is  read- 
ily cleaned 
with  soap  or 
washing 
pozvder  to 
receive  a 
nerv  picture. 


June,  1937 


Page  195 


TWO  DeVry  leaders 

Beware  of  "just  as  good"  Sound  Projectors.  They  may  "get  by"  at  a  demonstration,  but  the  sound  goes 
"sour" — and  poor  materials  and  workmanship  shorten  the  life  of  the  unit,  and  pleasure  of  the  audience. 
The  DeVry   16  mm.  Sprocket  Intermittent  ^«Mkk. 

Sound  Projector  ^^^s.  ''"''*  °^^'^  '^  """  "''•""^"e""" 

(Look   through    the    magnifying    glass]  ^Hl^fc-a^  SOUnd  PrOJeCtOf 


Made  for  discriminating  users  who  want  the  best 
low  priced  Sound   Projector  available. 


The   SPROCKET   INTERMITTENT   puts  the    16  mm.   Proiector 

in    the    Pro-fessional    Class.     All    theatre    projectors    use    the  Where  economy  is  necessary,   DeVry  refinements  enable  the  claw  or 

Sprocket    Intermittent       It    gives    the    srnooth     performance  shuttle  intermittent  to  perform  at  its  best, 

necessary  where  sound   is  a  vital  element. 

DeVry  manufactures  the  largest  and  most  complete  line  of  motion   picture  sound   equipment 
in  the  world,  including   16  mm.  and  35  mm.  Cameras  and   Projectors  —  both  sound  and  slent. 

HERMAN      A.      DEVRY      IXC.  II  II   Armitage  Ave..       CHICAGO 


lll^^a  NATIONAL  CONFERENCE  ON  VISUAL  EDUCATION 


SESSION 

and  FILM   EXHIBITION  (DeVry    Foundation) 

At  the  Francis  W.  Parker  School,  330 

A  Large  and  Repre- 
sentative Gathering  of 
Visual  Educationalists, 
Bringing  Together  the 
School  and  Advertising 
Fraternities,  Speakers 
and  Film  Exhibitors  of 
National  Reputation. 
No  Admission  or 
Membership  Fees 

Almost  continuous  showings 
of  selected  industrial  and 
educational  films  as  ex- 
amples of  the  best  current 
practice.  As  a  rule,  repre- 
sentatives of  producers  and 

sponsors  will  be  present  and  will  lead  the  discussions.  Sessions 

will  begin  9  o'clock  each  morning  and  continue  until  5  o'clock, 

with   one   hour    for    lunch — Evening    sessions    begin    at    7:30. 

WEDNESDAY  EVENING,  JUNE   2  3,   6:3  0  O'CLOCK 

ANNUAL  DINNER  and  ENTERTAINMENT 

An   evening   of  music,    fun    and    good    fellowship.     Radio  and 


CHICAGO,  JUNE  21,  22,  23,  24,  1937 

Webster  Ave.     (Opposite  Lincoln  Park) 

Movie  stars.  This  is  the  only 
session  for  which  a  charge 
is  made.  Banquet  Tickets, 
$1.50. 

Teachers,  Principals, 
Superintendents,  Col- 
lege Instructors,  Ad- 
vertisingManagers  and 
Assistants,  Advertising 
Agencies,  Sales  Man- 
agers are  especially 
invited. 

SIGN  THE  COUPON 
1 

I    NATIONAL    CONFERENCE    ON    VISUAL    EDUCATION 


Mil    ARMITAGE   AVE..   CHICAGO 

Please  send  me  program   and   Free  Membership  Card. 


Name. 


I 
I 

I 

I    Address.. 

■     Position. 


Page  196 


The  Educational  Screen 


SCHOOL    DEPARTMENT 


Conducted  by  Wilber  Emmert 

Director  Visual   Education,  State  Teachers  College,   Indiana,   Pa. 


Postage  Stamps  and  School  Work 

'C'  DUCATORS  today  base  their  philosophies  of  edu- 
cation  on  the  assumption  that  the  child  is  a  bio- 
logical organism  endowed  with  all  the  attributes  in- 
herent in  a  biological  organism  and  which  character- 
ize protoplasm  as  such.  Chief  among  the  characteris- 
tics of  protoplasm  is  that  of  adaptability.  The  business 
of  the  school  is  to  present  the  environment  of  persons 
and  things  to  the  child  in  such  form  that  he  can 
learn  to  adapt  himself  to  it.  The  ultimate  goal  of 
educational  work  at  any  level  of  intellectual  attainment 
is  the  desirable  modification  of  the  life  of  the  student. 
This  process  involves  the  development  of  abiding  in- 
terests, desirable  habits,  abilities,  skills,  attitudes,  and 
appreciations.  Wholesome  interests  constitute  a  major 
factor  in  the  educative  process.  Children  seem  to  be 
innately  endowed  with  certain  interests,  chief  among 
which  is  the  desire  to  acquire,  collect  and  assemble 
materials  of  various  types.  Peculiar,  strong,  personal 
attachments  develop  towards  such  possessions.  Herein, 
lies  the  teacher's  master  key  to  assist  the  pupils  in  their 
intellectual  developments.  Existing  interests  may  be 
utilized,  and  through  them  the  "drive"  to  bring  about 
the  desired  habits,  abilities,  skills,  and  appreciations. 


YOUR  VISUAL 
TEACHING  PROGRAM 

Should  include  our  "WORLD  IN  REVIEW"  series  specially 
produced  by  PATHE  NEWS  INC.  and  edited  for  classroom 
as  well  as  auditorium  use;  also  a  series  entitled,  "SECRETS 
OF     NATURE,"     produced     by     British     Instructional     Films., 


16  MM.  SOUND-ON-FILM 

EDUCATIONAL  FILMS  ON 
Astronomy  Art  and  Architecture 

Music  Appreciation  Physical  Science 

Microscopic  Studies  World  and  Its  People 

Studies  in  Biology  Popular   Science 

ENTERTAINMENT  (Full-Length  Features) 
"Last  of  the  Mohicans"  (Serial)  "The  Healer" 

"Black  Beauty"  "Keeper  of  the  Bees" 

"Little  Men"  "Hoosier   Schoolmaster" 

"Jane  Eyre"  "Student's    Romance" 

Cartoons — Sports — Travels — Musicals — Novelties 


SPECIAL  SUBJECTS 

'Evolution" — 3  Reels        "Highway  Mania" — 2  Reels 

"History  of  Aviation" — 3  Reels 

"Earthquakes" — 2  Reels 


"We  the  People" — 1  Reel 

A    Pictorial   Study   of  the   Constitution 


WRITE   DEPT.   ES6   for   catalogs   listing   .^00   subjects 

Available  on  rental  or  purchase  basis    (Schools) 
Also  for  list  of  educational  material  in   16  mm.  Silent 


WALTER  0.  GUTLOHN 


35  W.  45th  St. 
INC.      N.Y.C. 


One  practically  universal  interest  brought  to  the 
schools  by  the  pupils  is  that  associated  with  stamp  col- 
lecting. Children  of  all  ages  will  be  found  to  have 
stamp  albums  and  collections,  and  to  be  engrossed  in 
this  fascinating  hobby.  They  derive  a  tremendous 
amount  of  pleasure  and  satisfaction  out  of  collecting 
stamps,  exchanging  them  with  others,  studying  them, 
arranging  them  in  their  albums  and  into  exhibits, 
finding  out  about  the  countries  from  which  they  came, 
the  lives  and  habits  of  peoples,  and  the  monetary 
systems  of  various  countries.  Postage  stamps  arouse 
interest  in  a  thousand  and  one  different  things,  and 
present  numerous  problems  for  solution.  Problem  solv- 
ing involves  reflective  thinking  and  the  drawing  of 
conclusions  from  observed  facts.  Problems  may  be 
characterized  by  the  questions:  "Why?",  "Where?", 
"What?".  "Plow?",  or  "When?".  In  looking  over  a 
packet  of  stamps  the  child  is  easily  prompted  to  ask, 
"\Miy  is  George  Washington's  picture  on  a  stamp  of 
Brazil?;  "Why  is  Lindberg's  portrait  on  a  stamp  of 
Sjmin?";  "How  does  it  happen  that  Columbus  is  the 
only  person  shown  on  the  stamps  of  Chile  for  fifty 
years  (1853-1904)  when  it  is  known  that  Columbus 
never  discovered  that  country  or  never  visited  it?"; 
"Where  is  Azerbaijan?";  "What  is  a  (or  should  one 
say  where  is  — )  kookaburra  ?"  ;  "How  should  one  pro- 
nounce the  word  "philately"  (the  science  of  stamp 
collecting  and  stamp  study),  and  the  word,  "philatel- 
ic"?; "When  was  the  first  adhesive  postage  stamp 
issued  by  the  United  States  Government?". 

Hundreds  of  other  questions  will  arise  in  the 
minds  of  the  child,  and  their  solutions  will  add  greatly 
to  his  fund  of  information,  materially  modifying  his 
life.  Postage  stamps  are  much  more  than  just  little 
])ieces  of  colored  paper ;  they  are  alive  with  history, 
art,  romance,  science,  avarice,  tragedy  and  interna- 
tional intrigue.  From  their  study  the  child  will  have 
a  keener  understanding  of  the  histories,  customs,  and 
life  occupations  of  peoples  in  many  lands.  Teachers 
of  any  subject  or  grade  can,  from  time  to  time,  find 
occasion  to  call  upon  this  philatelic  interest  to  further 
the  school  work  of  the  moment  and  contribute  to  the 
child's  intellectual  development. 

A  few  illustrations  will  indicate  ways  in  which  post- 
age stamps  may  be  used  as  a  part  of  the  school  work. 
From  these  leads  the  alert  teacher  can  see  many  other 
fruitful  paths  to  follow  whereby  desirable  habits,  abil- 
ities, skills,  attitudes,  appreciations,  and  interests  may 
be  developed. 

Recently  tremendous  world-wide  interest  centered 
around  the  succession  to  the  throne  in  England.  In 
1935  the  King  George  V  Silver  Jubilee  was  celebrated 
throughout  the  British  Empire.  The  following  year 
saw  the  abdication  of  King  Edward  VIII,  with  ques- 
tions arising  as  to  the  attitude  of  some  of  the  Crown 
Colonies  and  the  Dominions  towards  the  jxirent  gov- 
ernment.   May  12,  1937,  witnessed  the  coronation  cere- 


June,  1937 


Page  197 


monies  for  the  new  ruler,  King  George  VI.  With  the 
reign  of  these  three  kings,  special  stamps  were  issued 
to  commemorate  the  events.  In  schools  throughout  this 
country,  teachers  and  pupils  were  concerned  with  cer- 
tain features  of  these  affairs.  History,  current  events, 
and  geography  classes  were  asking:  The  British  Em- 

])ire? .    Crown     Colonies? ,     Dominions? , 

just  what  are  they?,  where  are  they?,  how  many  are 
there?,  why  "Crown  Colonies?,  why  "Dominions?", 
Many  of  these  questions  are  very  elementary  for  some 
of  the  stamp  collectors  in  the  classes ;  they  can  be  very 
effectively  answered : 

1.  Have  someone  bring  his  stamp  album  to  school,  give 
a  report  and  show  his  collections  to  the  class. 

2.  Have  some  fan  prepare  exhibits  using  map  of  the  world 
(several,  if  need  be)  with  the  stamps  around  the  map 
and  lines  or  threads  to  the  country  of  issue.  (This 
gives  the  individual  the  experience  in  selecting  the 
stamps,  arranging  the  materials  artistically  on  the  page, 
searching  for  stamps  to  complete  the  list,  lettering  the 
labels  for  the  stamps,  and  further  insight  into  his  hobby. 
The  class  as  a  whole  has  the  experience  of  seeing  in 
pictorial  and  graphic  form  the  far-flung  distribution 
of  the  member  colonies  of  the  British  Empire.) 

3.  Have  a  number  of  classmates  give  reports  on  specific 
problems  related  to  peoples,  products,  customs  and  gov- 
ernmental affiliations  of  the  separate  colonies. 

4.  Have  separate  exhibits  and  reports  devised  for  each 
colony  and  related  problems  of  all  colonies.  Many  of 
these  things  would  be  found  depicted  on  the  various 
postage  stamps ;  their  presentation  in  this  form  produces 
lasting  memory-images  in  the  minds  of  the  pupils. 

The  scope  of  activities  is  tremendously  large.  Stamps 
must  be  printed  on  paper  with  ink.  Problems  connected 
with  ])aper-makirvg.  ink-making,  etching,  engraving, 
and  printing  could  well  form  topics  for  consideration 
in  certain  classes  and  units  of  work. 

If  well  planned  the  educational  outcomes  would  be 
very  significant.  Do  you  sense  the  history,  romance, 
and  international   intrigue  in   some  series  of  stamps? 

In  1932  tiie  United  States  jxistoffice  department 
issued  the  George  Washington  Bi-centennial  series  of 
twelve  stamps.  Each  of  the  twelve  stamps  had  a  sepa- 
rate likeness  of  Washington  taken  from  portraits  paint- 
ed during  his  lifetime  by  famous  artists.  It  can  be 
readily  seen  that  an  exhibit  of  these  stamps  on  a  card 
about  the  size  of  a  sheet  of  letter-head  paper  (8J/2X 
11").  each  stamp  framed  with  a  square  drawn  with 
india  ink,  properly  labeled  with  the  name  of  the  artist, 
the  date  of  its  production,  and  the  present  location  of 
the  original  painting,  all  framed  under  glass  would 
make  a  valuable  set  to  be  used  in  history  and  art 
classes.  The  production  of  the  exhibit  might  be  a  group 
project,  some  furnishing  the  stamps,  others  searching 
for  the  information  about  the  stamps  to  be  included 
in  the  set,  another  who  is  adapt  at  lettering  making  the 
labels,  and  some  one  measuring  and  making  the  lined 
squares  to  frame  the  individual  stamps.  Either  the  un- 
used or  the  cancelled  stamps  could  be  employed  in 
this  exhibit.  Sometime  during  the  construction  work 
the  story  back  of  each  stamp  could  be  presented  by 
members  of  the  class. 

The  current  fourteen-cent  stamp  depicts  the  Amer- 
ican Indian  in  full  war  bonnet.  Schools  throughout  this 
country  devote  considerable  time  in  certain  grades 
during  the  months  of  October  and  November  to  the 
"Indian  Projects".  Would  not  an  exhibit  of  stamps 
showing  "The  Redman  of  United  States  Stamps",  with 


Natural    Color 
Plates 

Beautifully  Projected 
Perfectly  Protected 


The  greater  density  that  is  characteris- 
tic of  natural  color  plates  requires  special 
projection  equipment,  such  as  THE 
SPENCER  MODEL  DK.  The  optics,  of 
traditional  Spencer  quality,  produce 
screen  pictures  of  perfect  definition  and 
color  value.  The  specially  designed  Spen- 
cer cooling  fan  protects  the  plates  from 
damage  by  heat  from  the  lamp. 

The  Spencer  Model  DK  is  especially 
•  designed  for  color-plate  projection  where 
the  projection  distance  does  not  exceed 
50  feet.  Similar  instruments  are  available 
for  distances  up  to  150  feet.  The  com- 
plete line  of  Spencer  projectors  for 
lantern  slides,  opaque  objects  and  film- 
slides  is  described  in  Catalog  K-78. 
Use   the   coupon    to   obtain   your   copy. 

Spencer  Lens  Company 


Buffalo 


New  York 


SPENCER  LENS  COMPANY 
Dept.   R-7-6,  BufTalo,  N.  Y. 

Please  send   Spencer   Delineascope   Catalog   K-78. 


NAME 

ADDRESS 


Page  198 


The  Educational  Screen 


The  Chinese  Had 
a  Word" 

WE  Have  the 
Pictures  for  it! 


"One  picture  is  worth  ten 
thousand  words,"  wrote 
the  sage  of  old  Cathay. 
He  had  the  right  idea 
about  education  and  en- 
tertainment. It  is  our  idea 
too,  with  these  pictures  to 
back  it  up   .   .   . 

STRANGER  THAN  FICTION;  GOING 
PLACES;  YOU  CAN'T  GET  AWAY 
WITH  IT;  OSWALD  CARTOONS; 
MEANY  MINY  MOE  CARTOONS; 
MENTONE  SHORTS;  SERIALS; 
UNIVERSAL  NEWSREELS 

And  These  Features 
With  Many  Others, 

SHOW  BOAT;  MY  MAN  GODFREY; 
THREE  KIDS  AND  A  QUEEN 

Let  Us  Tell  You  More! 
Write    .    .    .    Phone 

NON-THEATRICAL  DEPARTMENT 

UNIVERSAL  PICTURES 
COMPANY,  INC. 

Rockefeller  Center  New  York,  N.  Y. 

CIRCLE  7-7100 


all  the  features  associated  therewith,  be  an  acceptable 
addition  to  the  list  of  activities  usually  undertaken 
during  the  study  of  this  project?  The  Ic-,  2c-.  and  3c- 
stamps  of  the  United  States  Columbian  Commemora- 
tive issue  of  1893  shows  "Coknnbus  in  Sight  of  Land", 
"Landing  of  Columbus",  and  "Columbus  Presenting 
Natives  to  the  Queen".  A  later  issue  portrays  "ilar- 
quette  on  the  iMississippi",  and  "Indian  Hunting  the 
Buffalo".  Stamp  No.  328  shows  Captain  John  Smith ; 
No.  330  gives  a  picture  of  Pocahontas;  No.  372  com- 
memorates the  Hudson-Fulton  events :  No.  680  shows 
General  Anthony  \\'ayne  and  his  Indian  guide,  No. 
739  shows  Nicolet  landing  in  Green  Bay  and  his  re- 
lations with  the  Indians ;  No.  682  is  for  the  Alassa- 
chusetts  Bay  Colony ;  No.  683  commemorates  South 
Carolina:  No.  743  depicts  the  cliff  dwellers'  homes; 
and  No.  775  celebrates  the  statehood  of  Michigan.  His- 
torv,  science,  transportation,  romance,  tragedy,  and  de- 
votion are  portrayed  in  the  "Redman  Stamps".  A 
new  series  of  Indian  stamps  is  to  be  released  by  the 
postoffice  department  during  this  year  to  educate  the 
people  concerning  Indian  art  and  crafts,  industries, 
and  commtmity  life — those  elements  of  progress  des- 
tined to  save  the  race  from  extinction.  The  government 
is  thus  placing  in  the  hands  of  teachers  outstanding  pic- 
torial materials  valuable  for  school  work. 

Nations  issue  postage  stamps  to  honor  their  famous 
personages,  to  commemorate  places  and  events,  to  ad- 
vertise their  products,  to  publicize  their  scenic  spots 
and  natural  resources,  to  secure  international  good 
will  and  to  spread  propaganda.  Since  postage  stamps 
go  everywhere,  their  pictorial  and  cryjitic  word  mes- 
sages are  carried  into  every  nook  and  corner  of  the 
world,  reaching  untold  millions  of  people  and  affecting 
their  lives,  manners,  and  attitudes.  Our  national  parks 
are  known  the  world  over  because  of  the  National 
Park  Series  of  ten  stamps.  The  recent  Army-Navy 
series  of  five  stamps  each  brought  to  the  attention  of 
the  world  a  long  array  of  nn'litary  personages.  On 
August  18.  1937  the  Virginia  Dare  stamp  will  be  issued 
by  the  United  States  Government.  To  the  query  "why" 
the  world  over,  the  answer  will  be  that  Virginia  Dare 
was  the  first  white  child  born  on  the  American  Con- 
tinent. 

The  above  suggestions  have  indicated  some  of  the 
possibilities  of  postage  stamps  and  school  work,  and 
how  the  teacher  can  make  this  a  regular  feature  of  the 
school  procedure.  The  concluding  jiaragraphs  deal  with 
a  list  of  topics  for  class  and  club  work,  and  a  brief 
bibliography  of  this  field. 

The  following  topics  might  be  used  as  an  outline 
of  ]:)rocedure  for  the  stamp  club,  or  worked  in  as 
features  of  the  regular  school  work  at  the  appropriate 
times. 


Fundamentals  of  Philately 
A   Pronouncing  Gazetteer 
Stamps  and  War 
Peace  and  Postage  Stamps 
Fight  and  Philately 
A  Philatelic  Garden 
Children  on  Postage  Stamps 
Postage  Stamps  and  Inflation 
Science  and  Philately 
The  Horse  on  Postage 

Stamps 
The  Postoffice  in  1847 
Birds  on  Postage  Stamps 


Comes     to     the 
For- 


on 


High     Art 

Stamp 
American    Citizens 

eign  Stamps 
Philatelic  Railroads 
Women  and  Philately 
Aircrafts  on  Airpost  Stamps 
Health    Heroes    on    Postage 

Stamps 
Musical   Composers   Honored 

on  Stamps 
The     Bureau     of     Engraving 

and  Printing 


June,  1957 


Page  199 


Postal    Regulations 
Horticulture  and  Philately 
Literary     Men     Honored    on 
Stamps 


Manufacture  and  Varieties  of 

Philatelic   Papers 
Redman  on  U.  S,  Stamps 
Stamps     that      Portray     the 

Spirit  of  Christmas 


BIBLIOGRAPHY 

Scott    Stamp   and    Coin    Company.    "Standard   Postage   Stamp 
Catalogue"  1  West  47th  Street,  New  York 

Government  Printing  Office,  "Descriptive  Catalogue  of  United 
Stales  Postage  Stamps" 
Superintendent  of  Documents,  U.  S.  Government  Printing 
Office,  Washington,  D  .C. 
Boy  Scouts  of  America,  "Stamp  Collecting  Merit  Badge  Book- 
let" 
Boy  Scouts  of  America,  Two  Park  Avenue,  Nevkf  York  City 
The    following   three    publications    are   available   from    H. 
I..  Lindquist,  Publisher,  2  West  46th  Street,  New  York 
City 
Charles  Phillips,  "Stamp  Collecting,  the  King  of  Hobbies" 
Johl  and  King,  "United  States  Stamps  of  the  T'a'cntieth  Cen- 
tury" 
Stamps  ^Magazine,  "Stamps  Magazine" 

Western   Stamp  Collector  Magazine,  "Western   Stamp   Collec- 
tor" 
Western  Stamp  Collector,  Albany,  Oregon 
Mekeel's    Weekly    Stamp    News,    "Mekeel's    Weekly    Stamp 
Nezi's" 
Portland,  Maine 
H.  E.  Harris  Company,  "The  Fiery  Throne" 

H.  E.  Harris  Company,   108  Massachusetts  Ave.,   Boston, 
Mass. 
Weekly  Philatelic  Gossip,  "Weekly  Philatelic  Gossip" 

Holton,  Kansas 
Harold  Shaffer,  "Philately  Serves  Chemistry" 
Journal  of  Chemical  Education,  May  1934 
Etude  Magazine  (Several  articles  on  Philately) 

By  Wilher  Emmert,  President 
Philatelic  Society  of  Indiana.  Pa. 


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The  Educational  Screen 


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"We  the  People" — A  Film  Review 

This  compact  little  educational  film,  in  16mm 
sound  and  something  less  than  a  reel  in  length, 
summarizes  the  history  of  our  Constitution,  its 
origin,  its  fundamental  provisions,  and  its  high  im- 
portance as  a  guarantee  of  American  principles  and 
liberties.  It  is  a  composite  of  many  shots  from 
many  sources  arranged  in  logical  sequence  and 
with  a  forceful  vocalogue  accompanying. 

Opening  with  the  signing  of  the  Constitution  in 
1787  in  Independence  Hall  and  a  facsimile  of  the 
document,  the  film  sketches  briefly  the  three-fold 
division  into  legislative,  executive  and  judicial. 
From  this  point  on,  chief  emphasis  is  on  the  Su- 
preme Court  as  the  bulwark  of  the  Constitution, 
the  umpire  of  legality — and  the  baseball  umpire  is 
flashed  in  as  a  startling  comparison!  The  possi- 
bility of  changing  the  Constitution  by  popular  vote 
is  then  emphasized.  Famous  previous  Amend- 
ments are  recalled,  from  Woman's  Sufifrage  in  1920 
to  Prohibition  Repeal  in  1933.  And  finally,  aiming 
to  show  what  the  Constitution  saves  us  from,  a 
kaleidoscopic  series  of  shots  of  President  Wilson, 
the  Great  War,  bombings,  torpedoings,  riots.  Hit- 
ler, Stalin,  and  animated  maps  showing  how  large 
a  part  of  the  world  is  under  dictatorships. 

We  the  People  presents  much  material  in  little 
space,  swiftly,  and  with  unmistakably  patriotic  in- 
tent. Available  on  rental  or  purchase  basis  from 
Walter  O.  Gutlohn,  35  W.  45th  Street,  New  York 
City.  N.  L.  G. 

Among  the  Magazines  and  Books 

(Continued  from  fiatjc  192) 

the  schools  of  the  county.  Finally  these  prints  wore 
out,  and  for  the  last  six  years  there  has  been  no  ap- 
propriation for  replacement.  A  plan  has  been  de- 
vised by  which  each  district  may  provide  the  purchase 
price  of  one  or  more  short  or  long  reels.  This  is 
about  seven  and  one-half  cents  per  pupil  in  the  ele- 
mentary school,  and  ten  cents  per  pupil  in  the  sec- 
ondary school.  The  films  are  to  be  deposited  with  the 
Division  of  Visual  Education  for  circulation  among 
all  contributing  schools.  The  Division  will  bear  the 
expenses  of  housing,  repairing,  booking,  and  shipping 
films  to  the  schcols.  Coniiiiittees  of  administrators 
and  teachers  from  contributing  districts,  along  with 
members  of  the  Division  of  Visual  Aids  will  make 
the  selection  of  films  to  be  purchased. 

Christian  Science  Monitor  (March  3,  '37)  "Why 
not  Make  Your  Own  Films?",  by  Ian  L.  Serraillier, 
London. 

Finding  that  the  educational  films  ordered  were 
often  dull  and  pedantic,  that  they  were  a  collection  of 
sera]:)  shots  from  disused  films,  strung  together  with 
hastily  improvised  titles,  that  they  were  aloof  with 
a  complete  lack  of  the  personal  touch,  the  author  has 
been  for  the  past  two  years  gradually  accumulating  a 
library  made  by  himself  to  suit  his  own  requirements. 
Being  thoroughly  familiar  with  the  subject  matter, 
and  with  the  type  of  pupils  for  whom  they  were  de- 
signed, he  has  found  the  films  most  fitting. 

The  main  content  of  some  of  the  films  were  as  fol- 
lows :      One    picture    was    of    the    Welsh    Mountains, 


June,  19}  7 


Page  201 


which  deah,  not  only  with  the  formation  of  the  moun- 
tains themselves,  but  also  with  farm  and  village  life 
in  the  valleys.  The  continuity  and  the  personal  touch 
were  gained  by  linking  together  the  scenes  with  the  ad- 
venture of  a  party  of  mountaineers.  This  gave  a  hu- 
man interest,  often  overlooked  in  educational  films. 
Another  motion  picture  was  of  spring  in  Kent.  The 
care  of  young  lambs  and  farmyard  animals,  and  the 
methods  of  sowing  and  planting  were  combined  with 
sequences  suggestive  of  the  meaning  of  spring — its 
promise,  its  power,  its  excitement.  Because  the  writer 
could  not  find  a  satisfactory  film  on  life  in  the  Alps, 
he  went  to  Switzerland  and  spent  two  weeks  in  a 
typical  mountain  village,  living  in  the  home  of  a  moun- 
tain guide.  The  daily  struggle  with  the  snow  and 
methods  of  transport,  including  skiers  carrying  mes- 
sages, families  descending  by  sledge  into  the  valley, 
and  the  use  of  the  horsesleigh  were  depicted  in  his  film. 
A  week-end  skiing  expedition  gave  an  excellent  op- 
portunity for  introducing  views  of  the  Savory  Alps, 
the  Vaudois,  and  Mont  Blanc. 

Minnesota  Journal  of  Education  (17:  329,  April, 
'2)7)  "More  Teacher  Training  in  Audio-Visual 
Field",  by  Harold  C.  Bauer. 

From  a  survey  made  by  the  writer,  it  is  shown  that 
school  administrators  ranked  "lack  of  teacher  apprecia- 
tion and  understanding  of  the  audio-visual  program" 
the  second  greatest  obstacle  faced  in  using  these  aids. 
The  following  reasons  are  thought  to  be  back  of  this 
indiflference.  "Some  teachers  are  loathe  to  move  aside 
and  use  mechanical  aids  which,  for  the  time  being  at 
least,  force  them  into  the  background.  Squirm  if  you 


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will,  but  the  ego  of  some  teachers  will  not  permit  the 
easy  conception  of  a  situation  in  which  they  do  not 
dominate  the  entire  audio-visual  scene."  Some  teach- 
ers are  diffident  about  trying  to  operate  what  appears 
to  be  complicated  machinery  ;  others  do  not  wish  to  do 
anything  difTerent  from  their  treadmill  procedure. 
Yet,  the  large  majority  want  to  know  what  this  new 
movement  is  all  about,  and  how  they  can  prepare 
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need  for  lengthy  explanations  .  .  .  PICTUROLS  are 
available  for  all  fields  of  study.  They  are  light  in  weight, 
easy  to  handle  and  easy  to  store.  50  views  on  a  PICTUROL 
or  other  3.5  mm.  filmslide  can  be  stored  in  little  more  than 
one  cubic  inch  of  space.  Their  cost  is  but  a  fraction  of 
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i 


Page  202 


The  Educational  Screen 


AMONG  THE  PRODUCERS  H'Le  ti 

Titnti  announce  new  ptoiinct^  anJL  JLeveLopntent^  af  inteteAl  to  tke  TieiJi. 


ere  Ifte  contntetcca 


I 


New  S.  V.  E.  Filmsilde  Series  Announced 

In  advance  of  the  ajjpearance  of  the  1937-38  Fall 
Catalog  of  Picturols  to  be  distributed  by  the  Society 
for  Visual  Education,  Inc.,  announcement  is  made  of 
some  of  the  new  productions  which  will  be  included. 

Of  especial  appeal  to  nature  students  is  the  set 
edited  by  Dr.  Gayle  W.  Pickwell  of  San  Jose  State 
College,  California.  This  set  has  been  divided  into 
short  rolls,  suitable  for  socialized  classroom  work  with 
youthful  pupils;  and  the  sub-titles  have  been  carefully 
written  accordingly.  Some  of  the  subjects  are :  Toads 
&  Tree  Toads,  How  Young  Birds  Get  Food,  How 
Animals  are  Protected  from  their  Enemies,  Squirrels 
and  Other  Gnawing  Mammals,  Texas  Night  Hawk, 
The  Barn  Owl,  Monarch  Butterfly,  Buck  Moth,  Some 
Spiders  and  How  They  Live,  Desert  Animals,  How 
Color  Protects  Animals,  The  Swallowtail  Butterfly. 

Professors  Guy  Garrard  and  Ray  Cross  have  assem- 
bled and  edited  an  instructive  and  sufficiently  complete 
series  on  Diesel  Engines,  divided  into  ten  rolls  titled 
as  follows :  Fuels  and  Lubricants,  Stationary  En- 
gines, Tractors,  Other  Portable  Types,  Locomotives 
and  Trains,  Automobile  Busses  &  Trucks.  Marine  En- 
gines, Aircraft,  Schools,  Use  in  Foreign  Countries. 

Changes  in  important  geographic  details  make  neces- 
sary a  system  of  constant  revision  of  data  in  that 
field.  This  is  reflected  this  season  in  a  larger  than 
usual  number  of  new  revised  Picturols.  There  are  five 
admirable  rolls  on  the  city  and  harbor  of  New  York. 
Other  new  subjects  in  the  City  Series  are:  Cleve- 
land, Denver,  Detroit,  Los  Angeles,  Minneapolis,  New 
Orleans.  Pittsburgh,  San  Francisco,  Seattle,  St.  Louis 
and  Washington,  D.  C.  Modem  developments  in  Pales- 
tine are  shown  in  two  new  rolls,  one  dealing  with 
Rural  and  the  other  with  Urban  subjects. 

An  entirely  new  course  on  The  Metals  is  presented 
in  a  series  by  Prof.  Evans  \V.  Buskett.  of  which  six 
rolls  are  in  the  laboratory :  Gold  &  Silver,  Iron  & 
Steel,  Zinc.  Aluminum,  Lead  and  Copper. 

Increasing  interest  in  visual  aids  as  part  of  the 
technique  of  teaching  youngsters  to  read  makes  the 
offering  of  Juvenile  Graded  Reading  in  three  volumes 
a  matter  for  attention.  The  screen  exercises  lead  be- 
ginners rapidly  into  effective  reading  of  juvenile  lit- 
erature, and  also  develop  confidence  and  ability  to 
approach  more  difficult  reading.  While  this  series  is 
offered  only  by  the  "volume",  each  of  the  three  vol- 
umes or  sets  is  divided  into  twelve  rolls.  The  first  set 
is  for  kindergarten,  identifying  some  of  the  objects 
and  experiences  of  the  home,  the  town,  and  the  coun- 
try. The  second  set,  for  beginning  first  grade,  couples 
objects  with  actions,  requiring  memory  and  judgment 
as  to  which  is  correct ;  and  in  the  third  set.  for  upper 
first  grade,  each  of  the  twelve  rolls  contains  three 
little  illustrated  stories  into  which  are  woven  informa- 
tion about  nature  and  homely  items  of  child  experience. 


together   with   distinctly   valuable   lessons   of   honesty, 
safety,  health  and  economy. 

Notable  among  the  miscellaneous  additions  which 
will  appear  in  the  Fall  Catalog  for  the  first  time  are: 
Negro  Music  and  Musicians — Hadley ;  Beginning 
Spanish  :  V^ocabulary — Hatton  ;  A  Visit  to  the  Zoo  : 
Animals — Millen;  Yellowstone  National  Park — Pea- 
body  ;  Crater  Lake  National  Park — Peabody. 

Kodachronne  Price  Reduction 

Eastman  Kodak  Company  announces  a  reduction 
in  the  price  of  Kodachrome  Film  for  miniature  cam- 
eras. Kodachrome  Film  No.  K135,  and  No.  K13SA 
for  Photo-flood  lighting,  both  18  exposures,  for  Ko- 
dak Retina  and  similar  35mm  miniature  cameras,  is 
reduced  from  $3.50  to  $2.50,  including  processing. 
Kodachrome  Film  No.  K828.  and  No.  K828A  for 
Photo-flood  lighting,  both  8  exposures,  for  Kodak 
Bantam  Special  is  reduced  from  $1.75  to  $1.35.  in- 
cluding processing. 

Bausch  &  Lomb  Microfilm  Reader 

At  the  suggestion  of  Watson  Davis,  Director  of 
Science  Service,  the  Bausch  and  Lomb  Optical  Com- 
pany has  developed  a  Microfilm  Reader  to  be  used  in 
connection  with  "bibliofilm." 

By  microphotography.  tiny  photographic  prints, 
single  motion  picture  frame  size,  are  made  on  safety 
film.  Newspaper  or  text  book  pages,  portions  of  rare 
or  valuable  "out-of-print"  publications,  sketches  and 
illustrations  are  reduced  to  approximately  ^  in.  by  1 
in.  Thus  a  roll  of  microfilm  small  enough  to  go  into 
a  vest  pocket  may  hold  as  many  pages  as  five  books. 
The  reductions  in  bulk  and  copying  costs  are  invalu- 
able to  Science  and  Literature.  Bibliofilm  or  micro- 
film service  is  now  available  from  several  sources. 

Naturally  these  small  film  areas  are  too  small  for 
direct  reading.  The  ^Microfilm  Reader  provides  the 
handy,  inexpensive  means  for  reading  these  micro- 
films. With  its  magnification  of  from  Tyi  to  8  times, 
the  tiny  photographs  arc  enlarged  by  the  Reader  to 
comfortable  reading  size.  Lightness  of  weight  and 
a  convenient  handle  make  for  effortless  reading  over 
long  periods.  In  addition,  the  Bausch  &  Lomb  Reader 
is  suited  to  the  careful  inspection  of  miniature  camera 
negatives,  single  frame  size.  Double  frame  size  nega- 
tives may  be  inspected  in  their  entirety  by  slightly 
moving  the   film. 

Focusing  Device  for  Cine-Kodak  Special 

Hugo  ]Meyer  &  Company.  New  York  City,  have 
constructed  a  special  reflex  focusing  device  for  the 
Cine-Kodak  Special  Camera  which  will  permit  the 
use  of  200-foot  magazines.  Hitherto,  with  such  maga- 
zines, the  photographer  was  unable  to  use  the  reflex 
focusing  device  of  the  camera  itself.  The  attachment 
incorporates  a  tube  containing  a  series  of  reflex  prisms, 
so  arranged  that  the  main  focusing  tube  is  offset  thus 


r 


J7ine,  1937 


clearing  the  side  of  the  200-foot  magazine.  A  special 
turret  has  been  also  installed,  adapted  to  any  lens  hav- 
ing tlie  standard  thread  lens  mount. 

Bell  &  Howell  "Streamline  8" 

The  new  8  mm.  camera  just  announced  by  the 
Bell  Company  is  not  only  "])alm  size",  as  this  com- 
pany advertises,  but  it  is  jjalm  fitting  as  well.  This 
newest  Filmo  is  the  same  size  as  the  original  Dou- 
ble 8,  and  is  called  the  Streamline  8  because  its  die- 
cast  aluminum  case  is  designed  along  the  flowing 
lines  which  characterize  everything  these  days. 

The  serious  8  mm.  amateur  will  welcome  the  sin- 
gle-frame device  on  this  camera,  a  mechanism 
which  permits  the  user  of  8  mm.  film  to  enjoy  ani- 
mation work.  A  new  exposure  guide  is  built  into 
the  cameFe,  a  guide  which  permits  quicker  light 
readings.  Choice  of  two  speed  ranges  is  available, 
8-16-24-32  and  16-32-48-64  frames  per  second.  The 
lens  is  a  Taylor-Hobson  12_^  mm.  F  2.5,  fully  cor- 
rected for  both  black-and-white  and  natural  color 
film  and  is  instanly  interchangeable  with  an  al- 
most unlimited  selection  of  other  lenses.  1-inch 
and  lJ/2-inch  lenses  are  mounted  directly  for  the 
Streamline  8.  and  the  camera  is  equipped  with  two 
viewfinder  masks. 

New  Film  Service  for  Schools 

With  the  endorsement  of  the  P.  T.  A.  and  other 
local  civic  bodies,  the  National  Educational  Film 
Foundation,  Inc.,  a  non-profit  organization,  has  just 
been  launched  to  produce  a  large  number  of  educa- 
tional films  each  year.  Schools  will  be  able  to  obtain 
prints  of  these  films  from  their  nearest  state  university 
or  other  such  organizations  as  are  interested  in  the 
cause  of  visual  education. 

The  Universities  which  are  going  to  handle  these 
films  have  been  asked  to  appoint  some  member  of  their 
stafT  to  join  with  the  work  of  several  educators  who 
are  forming  an  Educational  Committee  for  the  Foun- 
dation. This  committee  will  assist  in  the  selection  and 
preparation  of  film  subjects.  In  the  beginning  work 
will  be  confined  to  the  production  of  teaching  films 
for  the  primary  and  secondary  schools  of  the  United 
States. 

Headquarters  have  been  established  at  11333  Chand- 
ler Boulevard,  North  Hollywood,  California,  where 
literature  on  the  work  of  the  Foundation  is  being  dis- 
tributed. 

New  Mexican  Film 

The  new  Mexican  feature  length  film  The  Wave 
("Reeds"),  made  along  the  Gulf  of  Vera  Cruz  by  the 
Department  of  Fine  Arts  of  the  Mexican  Govern- 
ment, has  just  been  released  by  Garrison  Film  Dis- 
tributors, Inc.,  New  York  City.  This  dramatic  study 
of  the  fisher-folk  was  initiated  by  Carlos  Chavez,  emi- 
nent composer  and  conductor,  when  he  was  head  of 
the  Department  of  Fine  Arts.  The  film  was  completed 
under  the  supervision  of  the  American  photographer. 
'Paul  Strand,  who  chose  an  all-native  cast  of  non-pro- 
fessional actors. 


Page  203 

Introducing  a  Visual  Aid  Program 

{Concluded  from  page  181) 

classes  there  are  so  many  that  can  be  used,  that  the 
inexperienced  teacher  is  likely  to  include  all.  Then, 
when  the  films  begin  to  come  in  at  the  rate  of  five  or 
six  per  week,  the  teacher  finds  it  impossible  to  prepare 
properly.  If  the  teacher  does  not  know  just  what  is  in 
the  film,  she  cannot  assign  definite  preparation  mate- 
rial for  the  class.  With  poor  preparation  on  the  part 
of  the  teacher  and  the  class,  I  am  afraid  you  will  be 
disappointed  with  the  results  of  your  program.  To  get 
best  results.  I  feel  that  it  is  much  better  to  use  fewer 
films,  allowing  ample  time  for  preparation  for  both 
teacher  and  pupil. 

News  and  Notes 

{Concluded  from  page  191) 

An  ultra  modern  film  studio,  complete  in  every  de- 
tail, will  occupy  the  main  floor.  Here  the  public  may 
follow  the  entire  development  of  a  modern  movie, 
from  the  initial  steps  to  the  final  presentation.  Other 
halls  will  be  devoted  to  the  latest  methods  and  results 
achieved  in  the  photographic  field.  France's  new  de- 
velopments in  color  photography  will  be  demonstrated 
and  contributions  for  this  display  will  be  collected  from 
world-wide  sources.  The  resultant  exhibit  will  be  the 
finest  oflfered  on  the  subject  of  photography.  A  record- 
ing studio  will  be  an  attraction  in  another  section  of 
the  massive  hall  where  the  intricate  process  of  produc- 
ing a  phonograph  record  may  be  viewed. 

S.  M.  P.  E.  Spring  Convention 

The  Society  of  Motion  Picture  Engineers  held 
a  five-day  convention  in  Hollywood  at  the  Hollywood- 
Roosevelt  Hotel,  May  24th  to  28th.  Examinations  of 
the  papers  program,  embracing  practically  every  phase 
of  the  motion  picture  industry,  indicates  that  research 
and  development  of  motion  picture  equipment  and 
techniques  show  greater  acceleration  in  the  last  year 
than  at  any  time  since  the  first  several  years  after 
the  introduction  of  sound. 

At  the  Friday  afternoon  program  which  was  de- 
voted to  a  Sound  Equipment  Symposium,  "Present 
Aspects  in  the  Development  of  16mm  Sound"  were 
discussed  by  A  Shapiro  of  The  Ampro  Corporation, 
Chicago,  and  "A  Sound  Kodascope"  was  demonstrat- 
ed by  Eastman  Kodak  Company. 

More  Summer  Courses 

Since  the  printing  of  the  list  of  Summer  Courses 
in  Visual  Instruction  in  our  May  issue,  the  follow- 
ing   schools    have    reported    such    courses,    which 
should  be  added  to  that  list. 
California,  Santa  Barbara  State  College,  June  28  to 

August  6,  "Mechanics  of  Visual  Education" 
New  York,   Cornell  University,   Ithaca,  July   5   to 
August    13,    "Observational   Aids",    by    Ass't 
Professor  Johnson,  Miss  Gordon 
Oregon,  State  College,  Corvallis,  "How  to  Use  Vis- 
ual Aids",  by  George  Eby 
A   Correction:  Lehigh   University.   Bethlehem,   Pa., 
will  not  give  a  course  in  Visual  Education  this  sum- 
mer, as  stated  in  our  May  issue. 


Page  204 


The  Educational  Screen 


HERE  THEY  ARE 


FILMS 

Akin  and  Bagshaw,  Inc.  (6) 

1425    Williams    St.,   Denver,   Colo. 
Bell  &  Howell  Co.  (6) 

1815  Larchmont  Ave.,  Chicago 

{See  advertisement  on  inside  back  cover) 

Bray  Pictures  Corporation  (3,  6) 

729  Seventh  Ave.,  New  York  City 
Eastin  16  mm.  Pictures  (6) 

(Rental  Library)  Davenport,  la. 

(See  advertisement  on   page  201) 

Eastman  Kodak  Co.  (1,  4) 

Rochester,  N.  Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Co.  (1,  4) 

Teaching  Films  Division 

Rochester,  N.  Y. 
Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St.,  Pittsburgh,  Pa. 
Edited  Pictures  System,  Inc.  (6) 

330  W.  42nd  St.,  New  York  City 
Erpi  Picture  Consultants,  Inc.      (2,  5) 

250  W.  57th  St.,  New  York  City 

<See  advertisement  on  page   178) 

Films,  Inc.  (5) 

330  W.  42nd  St.,  New  York  City 
19  S.  LaSalle  St.,  Chicago 
925  N.  W.  19th  St.,  Portland,  Ore. 
Garrison  Film  Distributors  (3,  6) 

730  Seventh  Avenue.  New  York  City 

(See  advertisement  on  page  200) 

Walter  O.  Gutholn,  Inc.  (5) 

35  W.  45th  St.,  New  York  City 

(See  advertisement  on  page   196) 

Harvard  Film  Service  (3,  6) 

Biological  Laboratories, 

Harvard  University,  Cambridge  Mass. 
Guy  D.  Haselton's  Travelettes 

7901  Santa  Monica  Blvd.    Hollywood, 

Cal.  (1,  4) 

Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago,  111. 

(See  advertisement  on  page  200) 

Institutional  Cinema  Service,  Inc.  (3,6) 

130  W.  46th  St.,  New  York  City 

The  Manse  Library  (4,  5) 

2439  Auburn  Ave.,  Cincinnati.  O. 
(See  advertisement  on   page  200) 

Pinkney  Film  Service  Co.  (1,  4) 

1028  Forbes  St.,  Pittsburgh,  Pa. 

United  Projector  and  Films  Corp.  (1,4) 

228  Franklin  St.,  Buflfalo,  N.  Y. 

Universal   Pictures   Corp.  (3) 

"'.ockefeller  Center,  New  York  City 

(See  advertisement  on  page   198) 

Visual  Education  Service  (6) 

131  Clarendon  St.,  Boston,  Mass. 

Wholesome  Films  Service,  Inc.       (3,  4) 

48  Melrose  St.,  Boston,  Mass. 

Williams,  Brown  and  Earle,  Inc.     (3,6) 

918  Chestnut  St.,  Philadelphia.  Pa. 

MOTION  PICTURE 
MACHINES  and  SUPPLIES 

The  Ampro  Corporation  (6) 

2839  N.  Western  Avenue,  Chicago 

(See  advertisement  on  page   177) 

Bell  &  Howell  Co.  (6) 

1815  Larchmont  Ave.,  Chicago 
(S«e  advertisement  on  insiie  back  cover) 


Central  Camera  Co.  (6) 

230  S.  Wabash  Ave.,  Chicago 

(See  advertisement  on   page  201) 

Eastman  Kodak  Co,  (4) 

Rochester,  N.  Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 
606  Wood  St.,  Pittsburgh,  Pa. 

General  Films  Ltd.  (3,6) 

1924  Rose  St.,  Regina,  Sask. 

(See  advertisement  on  page  200j 

Herman  A.  DeVry,  Inc.  (3,6) 

1111  Armitage  St.,  Chicago 

(See  advertisement  on  page   195) 

Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago. 

(See  advertisement  on   page  200) 

International    Projector    Corp.       (3,   6) 
90  Gold  St.,  New  York  City 

(See  advertisement  on  inside  front  cover) 

The  Photoart  House  (6) 

844   N.   Plankinton   Ave.,   Milwaukee, 
Wis. 

RCA  Manufacturing  Co.,  Inc.  (5) 

Camden,  N.  J. 

(See  advertisement  on  page   193) 

S.  O.  S.  Corporation  (3,6) 

636  Eleventh  Ave.,  New  York  City 

Sunny  Schick,  National  Brokers     (3, 6) 

407  W.  Wash.  Blvd.,  Ft.  Wayne,  Ind. 

United  Projector  and  Films  Corp.  (1,  4) 
228  Franklin  St..  Buffalo,  N.  Y. 

Victor  Animatograph  Corp.  (6) 

Davenport,  Iowa 

(See  advertisement  on   page   174) 

Visual  Education  Service  (6) 

131  Clarendon  St.,  Boston,  Mass. 

Williams,  Brown  and  Earle,  Inc.     (3,6) 

918  Chestnut  St.,  Philadelphia.  Pa. 

PICTURES  and  PRINTS 

Colonial  Art  Company 
1336  N.  W.  First  St.,  Oklahoma  City, 
Okla. 

The  Photoart  House 

844   N.   Plankinton   Ave.,   Milwaukee, 
Wis. 


SCREENS 

Da-Lite  Screen  Co. 

2717  N.  Crawford  Ave.,  Chicago 

(See  adverti:  emcnt  on   page   199) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut  St.,  Philadelphia,  Pa. 
606  Wood  St.,  Pittsburgh,  Pa. 

Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 

SLIDES  and  FILM  SLIDES 

Conrad  Slide  and  Projection  Co. 

709   E.  Eighth  St..  Superior,  Wis. 
Eastman  Educational  Slides 

Johnson  Co.  Bank  Bldg., 
Iowa  City,  la. 
Edited  Pictures  System,  Inc. 

330  W.  42nd  St.,  New  York  City 


A  Tracde   Direcfory 
for  the  Visual  Fielcd 


Ideal  Pictures  Corp. 

28  E.  Eighth  St.,  Chicago,  111. 

( See  advertisement  on  page  200) 

Keystone  View  Co. 
Meadville,  Pa. 

(See  advertisement  on   page  176) 

Radio-Mat  Slide  Co.,  Inc. 

1819  Broadway,  New  York  City 

(See   advertisement  on    page  200) 

Society  for  Visual  Education 
327  S.  LaSalle  St.,  Chicago,  111. 

(See  advertisement  on   page  201) 

Spencer  Lens  Co. 

19  Doat  St.,  Buffalo,  N.  Y. 

(See  advertisement  on   page   197) 

Stillfilm,  Inc. 
4703  W.  Pico  Blvd.,  Los  Angeles,  Cal. 

(See  advertisement  on   page   199) 

Visual  Education  Service 

131  Clarendon  St.,  Boston,  Mass. 
Visual  Sciences 
Suffern,  New  York 

(See  advertisement  on   page  200) 

Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia.  Pa. 

STEREOGRAPHS  and 
STEREOSCOPES 

Herman  A.  DeVry,  Inc. 

1111  Armitage  St.,  Chicago 

(See  advertisement  on  page   195) 

Keystone  View  Co. 
Meadville,  Pa. 

(See  advertisement  on   page  176) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomh  Optical  Co. 
Rochester,  N.  Y. 

(See  advertisement  on   page   173) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut  St.,  Philadelphia,  Pa. 
606  Wood  St.,  Pittsburgh.  Pa. 

General  Films  Ltd. 
1924  Rose  St.,  Regina,  Sask. 

(See  advertisement  on   page  200) 

Keystone  View  Co. 

Meadville,  Pa. 

(See  advertisement  on   page   176) 

Society  for  Visual  Education 

327  S.  LaSalle  St.,  Chicago,  111. 

(See  advertisement  on   page  201) 

Spencer  Lens  Co. 

19  Doat  St.,  Buffalo,  N.  Y. 

(See  advertisement  on   page   197) 

Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia.  Pa. 


REFERENCE  NUMBERS 

(1)   indicates   firm   supplies 

35    mm. 

silent. 

(2)   indicates    firm   supplies 

35   mm. 

sound. 

(3)   indicates   firm   supplies 

35   mm. 

sound  and  silent. 

(4)   indicates   firm   supplies 

16  mm. 

silent. 

(5)   indicates   firm   supplies 

16   mm. 

sound-on-film. 

(6)   indicates   firm   supplies 

16  mm. 

sound  and  silent. 

Continuous  insertions  under  one  heading,  $1.50  per  issue;  additional  listings  under  other  headings,  75c  each. 


]  1  HI  C  ATIdl  RIAL 


le  Magazine  Devoted  Exclusively 
I  the  Visual  Idea  in  Education 


Tut^wf  Ubnirv 


FALLING 

LEAVES 

by 

J.  E.  Bundy 


(Courtesy    o£    The    Colonial    Art    Company) 


SEPTEMBER,  1937 

VOLUME  XVI 

NUMBER? 


IN  THIS  ISSUE 

Papers  reprinted  from  the  Detroit  Meeting 
of  the  Department  of  Visual  Instruction 

Our-View  of  the  Detroit  Visual  Program 

The  Immediate  Needs  in  Visual  Education 

Teacher    Participation    in    Educational 
Film  Production 


25c    A    copy    *     $2.00    PER    YEAR 


PROJECTORS 

PAOE  M^R^  REG  D    Used  in  Thousands  oF  Theabres 

Throughoub  hhe  World    •    • 


T^unm^  PROJECTORS 

In  addition  to  basic  mechanical 
excellence.  Simplex  Projectors  have 
many  exclusive  patented  features 
which  seciire  ease  and  safety  in 
operation  and  reduce  maintenance 
cost.  Supplementing  the  many  de- 
sirable features  of  Simplex  Projectors 
is  our  wide  soles  and  service  organ- 
ization. Our  representatives  ore  also 
able  to  help  users  of  Simplex  Projec- 
tors by  solving  their  technical  prob- 
lems and  by  prompt  adequate  serv- 
ice in  supplying  parts  for  emergen- 
cies. Packing,  shipping  and  servic- 
ing of  Simplex  Projectors  also  involve 
many  problems  and  here  again  our 
great  experience  and  vast  resources 
enable  us  to  maintain  our  outstand- 
ing international  leadership  in  this 
field. 


PROJECTORS 


FOR  SCHOOLS.  COLLEGES,  CHURCHES,  ETC. 


We  realize  that  the  installation  oi  motion  picture 
equipment  requires  long  and  serious  condderation 
and  are  therefore  pleased  to  receive  inquiries  and 
supply  answers  with  the  full  understanding  that  in 
many  instances  decisions  cannot  be  quickly  made. 
Our  wide  experience  also  enables  us  to  understand 
the  needs  of  Schools,  Colleges,  Churches,  Hotels, 
Hospitals,  Privote  and  Public  Institutions,  etc.,  and 
where  there  is  no  technical  adviser  to  guide  in  the 
selection  of  equipment,  the  complete  line  of  35  mm. 
Simplex  Projectors  we  manufacture  places  us  in  a 
position  to  impartially  advise  regarding  the  kind  of 
equipment  best  suited  to  meet  the  specific  require- 
ments  oi   any   proposed   installation. 


Simplex  Sound   Projector 
Type  SP  —  IncandcacenI  Lamp 


Simplex   Porlable 


Cal-aloques  and  ofter  informaHon  sen!-  u| 


luesl- 


INTERNATIONAL  PROJECTOR  CORPORATION 

88-36    GOLD     ST.  NEW     YORK,  NY. 


September,  19}7 


Page  207 


DH 


£  EDUCATIONAL  SCREEN 


SEPTEMBER,  1937 


VOLUME  XVI 


Contents 


Over-view  of  the  Detroit  Visual  Program 

Manley  E.   Irwin 21  I 

The  Immediate  Needs  in  Visual  Education. 

F.  Dean  McClusky .....2  I  3 

Teacher  Participation  in  Educational  Film  Production. 

Charles  A.  Gramet .2 1 6 

Film    Estimates 2  i  8 

News  and  Notes.  Conducted  by  Josephine  hloffman 221 

Getting  Ready  for  Winter — -In  Hand-made  Lantern  Slides. 
By  Ann  Gale  . 223 

Among  the  Magazines  and  Books. 

Conducted  by  Stella  Evelyn  Myers 224 

School  Department. 

Conducted  by  Wilber  Emmert 228 

Among  the  Producers .236 

Here  They  Are!  A  Trade  Directory  for  the  Visual  Field 240 


NUMBER  SEVEN 


The  EDUCATIONAL  SCREEN,  published  monthly  by  The  Educational  Screen, 
Inc.  Publication  Office,  Pontiac,  Illinois;  Executive  Office,  64  East  Lake  St., 
Chicago,  Illinois.  Application  for  re-entry  at  the  Post  Office  at  Pontiac,  Illinois, 
as  Second  Class  Matter  is  pending.  Copyright,  September,  1937  by  the  Educa- 
tional Screen,  every  month  except  July  and  August. 
$2.00  a  Year  (Canada,  $2.25;  Foreign,  $3.00)  Single  Copies,  25  cts. 


THE  EDUCATIONAL  SCREEN,  Inc. 
Directorate   and   Staff 
NersoN    L.    Greene,    Editor       Wesley     Greene 


Evelyn    J.    Baker 
Mary    Beattie    Brady 
Wilber    Emmert 
Stanley    R.    Greene 


Jotephine     Hoffman 
F.    Dean    McCluslty 
Stella     Evelyn      Myers 
E.    C.    Waoaoner 


Page  208 


How  to  Select 
a  16mm.  Projector 


Frankly,  it  is  not  the  easiest  task  to  select  the  best 
16ninT.  sound-on-film  or  silent  projector.  There  are 
many  points  to  be  considered,  many  facts  to  be  de- 
termined. Recently  the  American  Council  on  Educa- 
tion in  its  booklet  "Teaching  with  Motion  Pictures" 
listed  10  questions  the  prospective  purchaser  should 
have  answered  before  ordering.  We  have  taken  the 
liberty  of  reproducing  some  of  these  questions — and 


The  Educational  Screen 


our   answers. 


QUESTIONS  and  ANSWERS 


1.  Does  it  show  a  clear  bright  picture?  Answer:  Anipro  I'lo- 
iectors  have  a  Super-Optical  system  and  are  noted  for  their 
brilliance  of  illumination. 

2.  Does  it  proiect  a  steady  picture?  Answer:  The  steadiness 
of  projection  with  Ampro  Projectors  is  assured  by  the  patented 
Ampro  movement  using  a  triple  claw. 

3.  Is  it  lieht  enoueh  to  be  carried  easily?  Does  it  have  a  con- 
venient handle?  Answer:  Anipro  Projectors  are  easily  portable 
and  provided  with  convenient  carrying  handles. 

4.  Is  it  simple  to  thread  and  operate?  Answer:  We  believe 
the  Ampro  is  the  simplest  machine  to  thread.  The  centralized 
controls  assure  ease  of  operation. 

5.  Is  it  durable  and  simple  to  maintain  in  good  working  order? 
Answer:  Yes.  Ampro  Projectors  are  ruggedly  built  throughout 
and  have  passed  some  unusual  tests  to  demonstrate  their 
durability. 

6.  Is  the  lamp  accessible  and  easy  to  replace?  Answer:  Yes. 
To  remove  lamp,  it  is  only  necessary  to  take  off  top  cover  and 
lamp  is  readily  accessible. 

7.  Is  the  lamp  house  adequately  ventilated?  Answer:  Yes. 
Ampro  Projectors  use  the  latest  type  double  blade  fan. 

8.  Can  the  Reflector  and  Condensers  be  easily  cleaned?  An- 
swer :     Yes. 

9.  Is  the  machine  adapted  to  the  type  of  current  (AC  or  DC) 
that  you  have  in  your  building?  Answer:  .Ampro  Projectors  are 
equipped  with  Universal  Motors.  They  can  be  used  on  both  AC 
or  DC  current  without  the  necessity  of  converters. 

10.  Is  the  manufacturer  reliable  and  well  established?  Answer: 
Ampro  Projectors  are  today  standard  equipment  in  thousands  of 
schools,  universities,  homes,  and  industrial  plants  all  over  the 
world. 

LAM  PRO- 


The  Ampro  Corporation — 2839   N.  Western  Avenue,  Chicago,  111. 


r 
I 


Please  send  me  FREE  circular  on: 
Name     . . . 


es-9 


Q  Ampro  Silent  Projectors 
QAmpro  Convertible  Moilel 
Q]  Ampro  Sound-on*Film 
Projectors 


Address 


16mm. 
Sound-on-Film 

AMPRO  16mm. 
SOUND -ON  -  FILM 
Projectors  have 
brought  actual  new 
standards  of  tone  qual- 
ity, illumination,  sim- 
plicity of  operation  to 
the  field  of  16mm. 
Sound-on-Film.  There 
are  numerous  features 
of  design  and  construc- 
tion that  explain  this. 
Get  the  full  story  of 
Ampro  sound  before 
making  any  decision. 
Price  complete :  Junior 
Model,  $395;  Senior 
Model,   $455. 


Convertible 
Model 

A  750  watt  projector 
equipped  with  F  1.65 
projection  lens  and  pi- 
lot light  plus  such  ad- 
ditions as  will  permit 
conversion  into  sound 
projector  by  the  addi- 
tion of  sound  parts 
which  can  be  readily 
added  b  y  customer. 
Model  NC  convertible 
into  Model  N  Ampro- 
sound  Projector.  Price 
$190. 


16mm. 
Silent  Projectors 

The  complete  line  of 
Ampro  Silent  Projec- 
tors is  characterized  by 
brilliance  of  illumina- 
tion and  convenience 
of  operation.  Many 
thousands  of  these  pro- 
jectors have  proved 
their  ruggcdness  and 
efficiency  in  universi- 
ties, schools,  auditori- 
ums and  homes  all 
over  the  world.  Prices 
complete  :  Model  J  (SCO 
watt),  $140;  Model  K 
(750  watt),  $160. 


September,  1957 


Proceedings  of  the  Dcfiartmcnt  of  I'isiial  Instruction  Mecti 


IKJ 


Page  211 


Over-View  of  the  Detroit  Visual  Program 


A  survey  of  the  valuable  service  rendered  by  the 
Department   of   Visual   and   Auditory   Education 

By      MANLEY     E.      IRWIN 

Director   of    Instruction,    Detroit    Public   Sctiools 


VISUAL  education  in  Detroit  is  relatively  new.  The  De- 
partment of  Visual  Education  of  the  Detroit  Public 
Schools  was  organized  in  1918.  At  that  time  the  depart- 
ment library  consisted  of  approxiinately  seven  thousand  slides 
and  only  two  schools  were  using  films.  The  policy  of  pur- 
chasing films  and  equipment  for  a  department  library  was 
soon  established  and  a  program  of  training  teachers  in  tlieir 
use  was  begun. 

Today  there  are  125,000  slides  in  the  Detroit  schools  and  19.- 
000  more  in  our  Visual  library.  To  make  the  use  of  these 
slides  possible  there  are  220  stereopticans  in  use  in  the  schools. 
Instead  of  only  two  schools  using  the  films,  practically  all  of 
our  250  schools  use  them.  In  addition,  Detroit  now  has  306 
motion  picture  projectors  of  which  166  are  for  16mm.  silent 
films,  139  for  35  min.  silent  films,  and  one  35  mm.  sound  pro- 
jector in  a  high  school.  There  are  11,074  classroom  films  and 
4,042  auditorium  films  in  the  visual  library.  At  lea.sf  one 
teacher  in  each  school  is  trained  to  operate  these  machines 
according  to  the  standards  set  up.  The  department  has  ex- 
panded and  its  name  changed  to  fhe  Department  of  Visual 
and  Auditory  Education. 

From  the  beginning,  the  Department  found  that  it  had  a 
fertile  field  for  experimentation.  It  was  not  handicapped  by 
any  tTaditions  such  as  one  might  find  in  undertaking  an  experi- 
ment in  the  field  of  arithmetic,  reading,  spelling,  or  social 
studies.  The  parents  of  the  children  in  school  had  no  childhood 
experience  with  visual  education.  For  this  reason,  they  had 
no  preconceived  idea  as  to  whether  instruction  by  means  of  vis- 
ual materials  is  good  or  bad.  They  can  not  cotnpare  visual  in- 
struction of  today  with  the  way  they  were  taught  by  visual 
aids.     Neither  could  the  Department. 

Thus  we  have  had  almost  a  free  hand  in  determining  what 
type  of  visual  education  program  we  should  present  to  the 
pupils.  It  is  somewhat  disconcerting  to  some  of  us  that  al- 
though new  devices  may  be  used  in  instruction  and  new  mater- 
ials may  be  supplied  for  use  in  the  classrooms,  children  of 
today  must  learn  through  the  same  five  senses  thaf  were  used 
by  their  parents. 

For  a  while  visual  education  ofTered  only  one  avenue  of  ap- 
proach, viz.,  through  seeing.  With  the  advent  of  talking  pic- 
tures in  school  use,  hearing  has  been  added  and  two  senses  can 
be  used.  Such  instruction  has  an  advantage  over  many  other 
instructional  aids.  Through  hearing  and  seeing  most  of  our 
knowledge  can  be  gained ;  etnotions  can  be  aroused ;  imagina- 
tions stirred ;  and  desire  to  do  things  awakened.  No  educational 
program  can  hope  to  do  much  more  for  pupils,  because  visual 
aids  appeal  both  to  the  intellectual  and  fo  the  emotional  sides 
of  life. 

But,  with  opportunities  come  responsibilities.  The  studies 
made  possible  by  the  Payne  Fund  and  carried  on  under  the 
direction  of  W.  W.  Charters  show  that'  care  must  be  exercised 
in  the  selection  of  both  quality  and  quantity  of  the  pictures 
which  children  are  to  see. 

The  Department  of  Visual  Education  in  Detroit'  was  natur- 
ally rather  conservative.  No  one  was  sure  just  what  should 
be  included  in  a  visual  program  for  schools,  or  in  which  grades 
materials  should  be  presented,  or  what  methods  should  be  used 
to  teach  by  visual  aids. 


The  problem  of  selecting  visual  material  is  a  cooperative 
one.  The  content  of  the  visual  aids  has  to  be  selected  from 
some  subject  matter  field.  If  there  are  pictures  of  people,  for- 
ests, or  rivers,  they  naturally  fall  in  the  field  of  the  social  studies. 
If  there  are  pictures  of  animals  or  plants,  they  naturally  fall 
in  the  field  of  the  exact  sciences.  If  there  are  pictures  of  archi- 
tecture or  paintings  or  musical  instruments,  they  fall  in  the 
field  of  fine  arts.  For  this  reason,  close  cooperation  had  to  be 
worked  out  with  the  dififerent  departinents  in  the  Division  of 
Instruction.     May  I  give  an  illustration. 

Suppose  a  picture  of  making  bread  was  prepared  by  some 
bakery,  A  copy  of  the  film  is  sent  to  our  Department  of  Visual 
Education.  The  Department  checks  the  photography  and  the 
mechanical  arrangement  of  fhe  picture.  A  showing  of  the 
picture  is  then  given,  to  which  the  supervisor  of  home  eco- 
nomics is  invited.  The  supervisor  will  evaluate  the  picture  in 
terms  of  the  process  of  making  bread.  She  will  make  sure 
that  the  same  kind  of  pict'ure  might  be  taken  in  another  bakery 
and  that  the  ingredients  used  in  the  process  of  making  bread 
are  not  peculiar  to  one  company.  A  committee  which  views 
the  picture  also  checks  to  see  whether  the  name  of  the  com- 
pany is  unduly  prominent,  or  the  description  given  is  too 
extravagant  for  one  brand  of  the  product  shown.  If  the  film 
is  approved,  it  is  then  placed  on  our  school  list'  and  is  referred 
to  in  our  course  of  sfudy  in  home  economics.  The  same  process 
would  apply  to  other  fields. 

The  following  standards  have  been  set  up  for  selecting  pic- 
tures : 

1.  Films  and  slides  containing  more  than  a  minimum  amount 
of  advertising  or  propaganda  may  not  be  used  in  the  Detroit 
Public  Schools.  Generally,  a  courtesy  title  at  the  beginning  or 
the  end  of  a  film  is  approved.  For  example,  a  courtesy  title 
would  permit  the  commercial  organization  to  state :  This  Mo- 
tion Picture  Presented  by  (name  of  organization). 

2.  Visual  and  auditory  teaching  aids  should  not  carry  impli- 
cations which  point  to  the  absolute  superiority  of  one  specific 
product  or  a  particular  commercial  organization. 

The  Bureau  of  Mines,  a  division  of  the  Department  of  the 
Interior,  follows  a  policy  which  reads  as  follows :  This  Motion 
Pict'ure  Presented  by  The  Bureau  of  Mines  in  Cooperation  with 
(name  of  organization). 

The  rest  of  the  film  relates  directly  to  the  manufacture  and 
uses  made  of  this  particular  product  and  does  not  repeat  propa- 
ganda for  the  purpose  of  merchandising  this  particular  product. 

Even  before  the  publication  of  the  volumes  containing  the  re- 
port of  the  Payne  Fund  Studies,  all  members  of  the  instruc- 
tional departments  in  Detroit  schools  were  aware  of  the  tre- 
mendous influence  which  pictures,  either  motion  or  stills,  were 
exerting  upon  the  public.  No  department  is  vain  enough  to 
believe  that  all  of  their  teachers  can  influence  the  young  people 
to  the  same  extent  that  is  exerted  by  billboards,  magazines, 
or  other  types  of  pictorial  advertising.  Nor  can  our  teachers 
hope  I'o  compete  in  character  portrayal  with  such  movie  stars 
as  Joan  Crawford,  Clark  Gable,  or  Joe  E.  Brown.  The  same  is 
true  of  special  fields.  No  health  teacher  is  more  effective  in 
getting  children  to  eat  spinach  than  "Pop-Eye,  the  Sailor  Man." 

Of  course,  we  are  trying  to  make  the  classroom  more  like  life 
itself.     Yet,  we  doubt  whettier  most  of  the  dramatizations  in 


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the  regular  classrooms  of  the  schools  or  even  motion  pictures 
brought  in  by  commercial  concerns  can  compete  with  Katharine 
Hepburn,  John   Barrymore,  or  George  Arliss. 

Teachers  of  the  social  studies  have  long  realized  that  they  are 
unable  to  give  as  complete  a  picture  of  the  Salem  witchcraft 
as  that  depicted  in  Tlic  Maid  of  Salem  or  life  on  the  western 
frontier  as  that  given  by  The  Plainsman.  The  same  might  be 
said  of  a  large  number  of  our  historical  films. 

Since  visual  education  is  relatively  new,  it  has  been  natural 
that  the  early  methods  of  instruction  by  visual  aids  should  be 
copied  from  the  regular  methods  of  instruction  which  are  used 
by  classroom  teachers. 

I  remember  visiting  a  classroom  about  twelve  years  ago  in 
which  the  teacher  was  having  the  children  in  a  fifth  grade 
science  class  look  at  stereopfican  views.  The  pupils  were  told 
to  look  at  a  picture  and  study  it  and  be  ready  to  give  a  report 
in  ten  minutes.  Each  child  was  to  see  one  picture.  The  pupils 
soon  became  restless  and  the  teacher  whispered  to  me  that  the 
class  was  "dumb"  and  could  not  concentrate.  I  saw  the  same 
class  with  a  different  teacher  who  gave  much  more  scientific 
directions  and  I  came  to  the  conclusion  that  Hie  pupils  were 
not  so  "dumb." 

Even  yet  there  are  few  or  no  standards  to  guide  one  in  saying 
just  how  a  program  of  visual  education  may  be  used,  nor  how 
a  city  school  system  might'  prepare  the  instructional  type  of 
film.  A  few  years  ago,  some  promoters  believed  that  the  movie 
and  other  visual  aids  would  replace  the  teacher.  You  and  I 
know  that  the  real  value  of  education  which  comes  from  the 
intimate  contact  of  pupils  with  teachers  can  not  be  replaced 
by  any  mechanical  instrument  which  has  yet  been  devised.  Yet, 
it  is  true  that  some  teachers  have  been  disturbed. 

Such  teachers  are  still  afraid  that  they  may  be  replaced  by 
radio,  television,  talkies,  or  motion  pictures.  No  doubt  they 
represent  the  type  which  opposed  textbooks  because  they 
thought  textbooks  would  replace  teachers.  Those  who  have 
such  fears  are  probably  justified  to  some  extent',  because  it  is 
barely  possible  that  with  the  type  of  personality  they  possess 
they  could  be  replaced  by  some  of  these  mechanical  instruments. 
However,  the  teacher  who  is  the  real  artist'  and  professional 
worker  may  rest  assured  that  the  general  public  would  not  be 
content  to  have  motion  pictures  or  even  the  radio  take  the 
place  of  the  teacher  in  the  classroom. 

Some  enthusiasts,  in  attempting  to  outline  a  program  or  write 
scenarios  for  motion  pictures  and  talkies,  thought  that  t'hey 
could  take  a  picture  of  what  they  called  a  "master  teacher"  to 
conduct  lessons  in  many  subjects.  For  example,  penmanship. 
Let'  me  dramatize : 

A  picture  would  be  taken  of  a  teacher  conducting  a  class 
in  penmanship.  The  teacher  would  say,  "Good  morning,  boys 
and  girls.  Today  our  lesson  in  penmanship  is  making  "ovals." 
Get  out  your  pads  and  your  pens.  Remember  your  penman- 
ship position!  Do  you  have  both  feet  on  the  floor,  both  arms 
on  the  desk,  and  the  pen  pointing  over  the  right'  shoulder  ?  Are 
you  ready?  One,  two,  three,  four,  five,  six,  seven,  eight,  nine 
ten." 

Thus  for  fifteen  or  twenty  minutes  the  pupils  would  make 
ovals  or  letters  under  the  skillful  counting  and  rhythmic  chant 
of  this  master  teacher,  whose  only  function  was  to  count  and 
swing  her  arm  to  the  rhythm  of  her  counting. 

The  same  would  be  true  of  music.  Of  course,  the  teacher 
on  the  screen  could  make  no  check  on  the  quality  of  singing, 
nor  could  he  be  sure  that  the  pupils  were  following  the  baton. 
However,  this  master  teacher  could  ask  all  pupils  to  turn  to 
a  particular  page  and  sing  the  scale  and  other  exercises.  Under 
such  a  procedure  one  teacher  could  present  herself  in  as  many 
rooms  as  would  have  films  and  film  projectors. 

Thus,  you  see,  the  task  of  the  regular  teacher  in  the  class- 
room would  be  to  take  care  of  the  projector  and  act  in  the  role 
of  a  patrolman.     She  would  maintain  order  as  best  she  could 


and  make  her  report  to  this  master  teacher  whose  picture  had 
been  taken. 

Believe  it  or  not,  we  in  Detroit  do  not  subscribe  to  that  type 
of  instruction.  We  think  that  something  more  can  be  done 
with  visual  aids  than  to  follow  the  regular  classroom  pro- 
cedures, either  as  they  were  followed  a  generation  ago  or  as 
they  are  today. 

We  believe  that  instruction  by  visual  aids  can  be  used  in 
five  ways:  (1)  as  a  means  of  stimulation;  (2)  as  a  means  of 
integration,  (3)  as  a  means  of  disseminating  information;  (4) 
as  a  means  of  summarizing  other  classroom  experiences ;  and 
(5)  as  a  means  of  evaluating  motion  pictures  and  talkies  and 
of  appreciating  the  great  literary  and  historical  films  which 
are  presented  to  the  public. 

The  visual  program  used  in  Detroit  is  designed  to  stimulate 
the  intellectual  curiosity  of  pupils.  It  is  thought  that  from 
such  stimulation  a  number  of  activities  can  be  attempted.  Fri.- 
quently,  there  is  a  discussion  period  in  which  pupils  talk  about 
the  things  they  have  viewed ;  there  are  dramatizations,  re- 
ports on  personal  experiences,  special  drills,  preparation  of  ex- 
hibits, visits  of  inspection  to  places  mentioned  or  related  to 
those  presented  in  the  pictures. 

As  a  means  of  integration,  the  visual  program  makes  possi- 
ble the  presentation  of  large  units  of  work  which  naturally 
cut  across  the  subject  matter  lines  and  draw  on  the  various 
subject's  of  the  curriculum  for  their  contribution  to  the  topic 
under  discussion.  Frequently  pictures  contain  content  which 
is  related  to  history,  art,  and  literat'ure.  The  activities  which 
can  grow  out  of  such  a  presentation  are  as  numerous  as  the 
sands  of  the  sea.  English,  both  oral  and  written,  handwriting, 
spelling,  social  studies,  reading,  art,  and  nearly  all  the  rest 
can  be  used.  Thus  the  different  subjects  have  a  real  part  in 
solving  the  problems  which  are  presented  in  a  single  picture. 

The  Department  of  Visual  and  Auditory  Education  and 
other  cooperating  agencies  in  Detroit  have  thought  that  our 
visual  program  can  bring  to  pupils  up-to-date  information  of 
a  kind  not  readily  found  in  textbooks,  not  readily  accessible 
to  pupils,  and  not  apt  to  reach  them  through  ordinary  channels. 
We  believe  in  first  hand  experiences  that  come  from  visits  to 
places  of  interest.  James  Russell  Lowell  probably  had  this 
type  of  experience  in  mind  when  he  suggested  that  the  most 
effective  way  to  teach  historical  and  geographical  facts  Is  to 
visit  the  place  where  these  events  occurred.  Y'ou  remember 
what  he  said  in  the  poem,  Under  the  Old  Elm.  in  describing 
the  place  where  Washington  took  command  of  the  colonial 
troops.  He  said,  "Here — here,  where  we  stand,  stood  he,  the 
would  be.  Yet,  we  can  approach  it  by  bringing  in  pictures  of 
of   historical   interest,   important  as   we   think   that   experience 

Our  teachers  can  not  take  all  their  children  to  these  places 
of  historical  interest,  important  as  we  think  that  experience 
would  be.  Yet,  we  can  approach  it  by  bringing  in  pictures  of 
interesting  spots  with  much  of  the  atmosphere  and  grandeur 
associated  with  them.  Such  pictures  help  to  bridge  the  gap  be- 
tween the  abstract  presentation  of  the  textbook  and  tne  actual 
experience  of  standing  where  stood  "the  purely  great." 

As  a  summary  lesson,  visual  materials  often  bring  together  the 
experiences  that  children  have  had  in  art,  social  studies,  and 
other  rooms  in  the  school.  They  help  children  to  live  again 
those  experiences  which  they  have  had  and  make  it  possible 
for  them  to  get  a  new  view  of  the  units  they  have  studied. 

The  use  of  motion  pictures,  both  sound  and  still,  give  the 
schools  an  excellent  opportunity  to  help  pupils  evaluate  the 
programs  which  they  see  outside  of  school.  They  learn  to 
discriminate  to  some  extent  among  the  pictures  available.  They 
are  able  to  study  English,  drama,  sound  effects,  and  to  build 
standards  for  judging  the  worth  of  the  bill  of  fare  offered  in 
the  theaters.  With  understanding  and  evaluation  naturally  will 
come  an  appreciation  of  the  work  that  goes  into  the  production 
of  even  the  lesser  of  our  commercial  pictures. 

Thus    it    will   be   seen   that    practically   every    phase   of   tlie 


September,  1937 


Proceedings  of  the  Defartment  of  Visual  Instntetion  Meeting 


Page  213 


school  program  can  be  reinforced  by  our  visual  aids.  No 
course  of  study  is  prepared  which  does  not  list  with  each  of 
the  units  in  the  course  the  visual  aids  supplied  by  the  Depart- 
ment of  Visual  and  Auditory  Education,  the  Children's  Mu- 
seum, and  other  cooperating  agencies.  These  are  a  part  of 
our  references,  the  same  as  textbooks  and  supplementary  ma- 
terials. 

No  line  can  be  drawn  between  that  which  is  textbook  mater- 
ial and  that  which  is  visual  in  the  true  sense  of  the  word.  Visual 
aids  are  used  by  all  instructional  departments.  They  reinforce 
and  supplement  the  other  classroom  materials.  The  idea  is 
expressed  by  Kipling  in  his  Laiv  of  the  Jungle,  where  he  says, 

"As   the  creeper  that  girdles   the  tree  trunk, 

The  law  runneth  forward  and  back. 
For  liie  strength  of  the  pack  is  the  wolf, 

And  the  strength  of  the  wolf  is  the  pack." 
Our  V'sual  Education  program  is  not  confined  alone  to 
slides  and  films.  We  have  258  still  films  in  our  department 
library.  We  also  have  168  opaque  projectors  in  the  schools. 
Our  hbr.irv  also  contains  2300  music  records.  These  have 
been  classified  both  by  type  of  music  and  by  type  of  com- 
poser. To  make  these  records  of  greatest  use,  335  Victrolas 
are  used  in  the  music  rooms  and  the  auditoriums.  By  the 
aid  of  these  records  music  appreciation  can  be  developed 
to  a  large  extent. 


Closelv  allied  with  our  program  of  visual  education  is 
ra.lio.  We  now  have  254  radios  in  the  schools.  Of  course, 
some  of  these  schools  have  more  than  one  radio  and  others 
have  none.  A  number  of  radio  programs  are  prepared  by 
ihe  Department  of  Radio  Education  and  are  broadcast  di- 
rectly into  the  schools.  What  I  have  said  about  the  motion 
picture  rrogram  applies  equally  well  to  our  radio  program. 

In  addition  to  the  visual  education  program  carried  on 
in  the  schools  we  have  close  co-operation  with  other  agencies 
i  1  the  city  The  Detroit  Institute  of  Arts,  the  Detroit  His- 
tories! Society,  and  our  own  Children's  Museum  constitute 
an  integral  part  of  our  program  of  visual  education. 
Through  the  co-operation  of  these  different  agencies  and  the 
close  working  together  of  our  different  departments  we  are 
:.ble  to  provide  a  program  of  which  we  are  proud. 

Kipling  was  probably  thinking  of  visual  education  when 
he  wrote, 

"It  ain't  the  guns  and  armament 

nor  the  funds  that  we  can  pay, 
But  it's  close  co-operation 

that  helps  to  win  the  day. 

It  ain't  the  individual 

nor  the  army  as  a  whole 
But  the  everlastin'  teamwork 

of  every  bloomin'  soul." 


The  Immediate  Needs  in  Visual  Education 


By      F.      DEAN      McCLUSKY 

Dirfccior  of  Scarborough  School, 
Scarborough-on-hHudson,    New  York 


Emphasizing  the  need  for  practical  applica- 
tion of  visual  education,  and  suggesting  some 
remedial  steps 


NO  EDUCATIONAL  movement  in  recent  years  has  been 
characterized  by  so  much  experimentation  as  has  that 
known  as  visual  instruction.  At  the  February  1936 
meeting  of  the  Department  of  Visual  Instruction  of  the  Na- 
tional Education  Association  held  in  St.  Louis,  Missouri,  I 
stated  that  the  need  for  comparative  experimentation  in  visual 
instruction  had  ceased  to  exist.  We  have  had  enough  of 
research  to  prove  its  value.  That  it  has  value  in  instruction 
has  been  definitely  established.  What,  then,  are  the  obstacles 
which  prevent  a  widespread  use  of  visual  materials,  particularly 
the  motion   picture,   in   educational   institutions  ? 

In  stating  the  obstacles  to  progress,  with  particular  reference 
to  the  motion  picture,  I  shall  also  indicate  the  remedial  steps 
to  be  taken.  These  remedial  steps  represent  the  needs  in  visual 
education.     They  are  the  problems  to  be  solved. 

Obstacles — 1.  There  has  been  a  definite  lack  of  coordination 
between  educational  and  commercial  interests. 

a.  Educators  have  failed  to  make  their  problems  articulate 
to  commercial  producers  and  both  educators  and  business 
men  developed  the  notion  that  entertainment,  commer- 
cialism, and  education  do  not  mix. 

b.  Commercial  interests  have  failed  to  grasp  or  to  study 
sufficiently  the  nature  of  instruction  and  the  complexity 
of  educational  institutions. 

c.  Business  men  dominated  by  the  quick  profit  motive  lost 
sight  of  fhe  necessity  of  gaining  the  confidence  and  backing 
of  professional   leadership  in   education. 

Remedial  Steps — 1.  The  production  of  motion  pictures  for 
schools  can  be  successfully  accomplished  only  by  independent 
companies  working  in  conjunction  with  the  educators — not  by 
theatrical  producers,  or  by  any  others  with  whom  the  produc- 
tion and  distribution  of  motion  pictures  is  a  side  line  or  medium 
for  propaganda,  or  purely  a  commercial  enterprise. 


2.  In  order  that  coordination  between  educators  and  com- 
mercial interests  may  be  made  effective 

a.  Educational  leadership  would  be  obtained  through  advis- 
ory boards  or  committees,  each  member  of  which  would 
retain  his  or  her  professional  standing  and  position. 

(1)  These  educational  advisors   would  blueprint  needs, 
conduct  research,  and  validate  materials. 

(2)  They  would  operate  in  a  non-profit  framework. 

b.  The  cooperating  commercial  producers  would  manu- 
facture the  productions  outlined  by  the  educational  advisory 
group  and  market  only  those  materials  which  it  had 
validated. 

n )  The  commercial  producers  would  operate  at  a  profit 

but  the  service  motive  would  be  dominant. 

(2)   The  obiect  of  the  commercial  producers  would  be 

to  market  materials  for  instruction  independent  of  special 

interests. 

Obstacles — 2.  School  trustees,  heads  of  educational  institutions, 
and  teachers  have  looked  upon  motion  picture  teaching  as  a 
fad  or  novelty.  Their  attitude  has  been,  let  the  other  fellow 
try  it  first.  This  educational  conservatism  or  inertia  has  been 
a  major  obstacle  to  progress. 

Remedial  Steps — 1.  Educational  leaders  must  be  aroused  to  meet 
their  responsibilities  in  evaluating  the  importance  of  the  motion 
picture  in  national  life  and  in  schools. 

2.  The  place  of  the  motion  picture  in  instruction  must  be 
made  a  major  topic  for  discussion  at  professional  meetings  in 
teachers'  institutes,  and  in  regional,  state,  and  national 
conventions. 

3.  The  impetus  for  arousing  the  interest  of  educational 
leaders  in  the  motion  picture  should  come  from  within  the 
profession  itself  rattier  than  from  commercial  sources. 

Obstacles — 3.  Educational  leaders  have  been  critical  of  the  bad 


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taste,  stupidity  and  low  moral  tone  of  theatrical  motion  pictures. 
As  a  result  those  in  whom  the  control  of  education  rested 
developed  a  feeling  of  opposition  to  motion  pictures  in  general. 
They  regarded  with  suspicion  all  plans  and  all  enterprises 
which  had  as  their  aim  the  introduction  of  motion  pictures 
into  schools.  While  leading  educators  have  recognized  the 
potential  value  of  motion  pictures  in  education  they  have 
quietly  and  continuously  opposed  all  attempts  to  introduce  into 
broad  classroom  use  motion  pictures  which  smacked  of  com- 
mercialism, low  moral  tone,  propaganda,  or  controversial  issues. 
The  unsatisfactory  pictures  were  found  to  be  so  numerous  that 
the  good  ones  suffered  from  being  too  frequently  found  in 
bad  company. 

Remedial  Steps — 1.  Educators  with  the  support  of  the  right 
kind  of  capital  must  take  things  into  their  own  hands. 

2.  An  unbiased  clearing  house  of  educational  information 
must  be  established. 

3.  Children  should  be  trained  in  schools  to  appreciate  the 
true  values  in  entertainment  and  in  propaganda  motion  pictures 
in  keeping  with  the  accepted  aims  of  education. 

Obstacles — 4.  The  stupidity  which  has  characterized  the  adver- 
tising, propaganda  and  sales  methods  of  companies  producing 
and  distributing  so-called  "educational"  motion  pictures  created 
strong  opposition  in  educational  circles  to  school  films  good  or 
bad.  Some  of  this  propaganda  created  a  fear  in  teachers 
that  motion  pictures  would  supplant  them  and  mechanize 
instruction.  The  notion  e.xpressed  in  this  propaganda  that  films 
would  be  used  to  supplant  te.xt  books  aroused  not  only  the 
opposition  of  teachers  to  visual  education  but  also  the  antagon- 
ism of  the  authors  and  publishers  of  textbooks. 

Remedial  Steps — 1.  An  analysis  of  the  psychological  processes 
involved  in  learning  by  means  of  the  various  devices  and 
techniques  used  in  visual  instruction  must  be  made  by  pains- 
taking research  governed  by  economical  and  educational  criteria. 

2.  Statements  relative  to  the  value  of  and  place  of  the  motion 
picture  in  education  must  be  confined  to  the  true  merits  of  this 
medium  of  instruction. 

3.  Teachers  must  be  reassured  that  the  introduction  of  visual 
instruction  into  classroom  use  will  be  based  upon  impartially 
conducted   experimentation. 

Obstacles — S.  Non-theatrical  exhibitors  and  distributors  met 
vigorous  opposition  from  the  theatrical  distributors  and  exhibi- 
tors who  feared  that  school  and  church  competition  would 
hurt  theatrical  box  office  receipts. 

Remedial  Steps — 1.  The  educational  motion  picture  must  be 
developed  apart  from  the  theatrical   interests  by  educators. 

2.  Educators  and  allied  non-theatrical  producers  and  dis- 
tributors should  establish  a  working  agreement  which  will 
secure  the  good  will  of  theatrical  interests  and  not  their 
active  opposition. 

Obstacles — 6.  Low  financial  returns  to  producers  and  to  dis- 
tributors of  motion  pictures  in  the  non-theatrical  field  has  been 
to  some  extent  caused  by  the  competition  of  "free"  films  and 
"subsidized"  distributors  such  as  state  universities  and  museums. 

Remedial  Steps — 1.  Educational  institutions  should  place  visual 
instruction  on  a  sound  financial  basis  by  making  a  place  for 
it  in  the  budget  along  with    other  school  equipment. 

2.  Utmost  care  should  be  used  by  school  authorities  in 
selecting  "free  films"  for  classroom  use. 

3.  Educators  and  non-theatrical  producers  and  distributors 
should  study  the  cost  of  films  and  of  equipment  to  standardize 
as  far  as  is  possible  such  costs  to  schools  so  as  to  establish 
a  fair  return  to  business  men. 

Obstacles — 7.  Heads  of  educational  institutions  have  devoted 
little  time,  energy  or  thought  to  the  organization,  supervision 


and  administration  of  visual  education.  This  has  resulted  in 
a  lack  of  leadership  and  guidance  needed  by  sincere  producers 
and  distributors  of  "educational"  motion  pictures  and  by 
pioneering  teachers  using  this  new  medium  of  instruction. 

Remedial  Steps — 1.  School  authorities  must  make  visual  instruc- 
tion a  major  item  of  study  and  include  it  in  any  consideration 
of  school  equipment  and  its  use. 

2.  Heads  of  schools  should  appoint  a  competent  person  to 
head  up  visual  instruction  in  the  school  system  and  in  each 
school  building, 

3.  Conferences  on  the  u.se  of  visual  materials  should  be  held 
by  school  authorities  with  teachers. 

4.  Visual  instruction  should  be  made  a  major  item  on  the 
programs  of  state  and  national  professional  gatherings. 

Obstacles — 8.  The  mechanical  problems  involved  in  the  use  of 
motion  pictures  in  classrooms  have  been  a  strong  inhibitory 
factor.  Before  the  safety  standard  16  mm.  film  was  perfected, 
the  fire  hazard  was  great  and  laws  prohibited  the  use  of  films 
in  classrooms  unless  equipped  with  fireproof  booths.  Many 
teachers  have  been  timid  about  operating  the  machines.  Many 
also  would  not  take  the  trouble  to  order  films,  set  up  projector, 
et  cetera,  even  when  such  were  available  for  use. 

Remedial  Steps — 1.  A  member  of  the  teaching  staff  in  each 
school  building  must  be  placed  in  charge  of  visual  equipment 
and  become  expert  in  the  use  of  it  and  in  the  mechanics 
of  operation. 

a.  The  chairman  of  visual  instruction  should  train  teachers 
in  the  mechanics  and  use  of  equipment. 

b.  He  should  inspect  projector  equipment  in  classrooms 
to  insure  the  maximum  efficiency  in  results. 

c.  He  should  work  out  routines  and  schedules  for  the  use 
of  equipment  and  assist  teachers   in  securing  materials. 

d.  The  person  in  charge  of  visual  instruction  in  each 
school  building  should  work  in  close  cooperation  with  the 
central  school  authorities  and  with  those  agencies  upon 
which  he  must  depend  for  films,  slides,  et  cetera. 

Obstacles — 9.  Commercial  interests  and  educators  alike  have 
failed  to  develop  definite  agreed  upon  policies  with  respect 
to  production  and  use  of  motion  pictures  in  education.  Com- 
petition also  between  different  types  of  visual  materials  confused 
school  boards  and  executives. 

Remedial  Steps — 1.  An  educational  foundation  or  clearing  house 
of  national  scope  should  be  established  which  will  serve  to 
coordinate  educational  experience  and  practice  in  the  use 
of  visual  materials. 

2.  Educators  and  commercial  interests  alike  should  determine 
in  conference  the  standards  and  policies  which  should  govern 
the  use  of  visual  materials  in  schools. 

3.  The  place  of  each  visual  aid  in  instruction  should  be 
determined  by  experimental  methods  which  should  result  in 
a  coordinated  program  of  teaching  with  these  materials. 

Obstacles — 10.  Many  of  the  failures  of  commercial  efforts 
in  the  non-theatrical  field  have  been  traced  directly  to  poor 
management,  or  unsound  business  methods  or  questionable 
business  ethics,  or  excessive  overhead  and  or  lack  of  planning. 

Remedial  Steps — 1.  The  integrity  of  those  business  interests 
engaged  in  producing  and  distributing  motion  pictures  for 
scnools  must  be  established. 

2.  The  service  motive  must  be  dominant. 

3.  The  business  interests  must  coordinate  their  efforts  with 
school  authorities  and  follow  educational  leadership. 

4.  No  special  interests  must  be  permitted  to  use  the  educa- 
tional motion  picture  for  propaganda. 

5.  Commercial  interests  must  be  willing  to  start  small  and 
grow  with  the  field  and  to  provide  sufficient  capital  for  the 
long  pull. 


September,  1937 


Proceedings  of  the  Department  of  Visual  Instruction  Meeting 


Page  215 


Obstacles — 11.  Few  non-tlicalTical  producers,  distributors  and 
exhibitors  have  developed  a  satisfactory  system  for  distributing 
motion  pictures  to  be  used  in  schools. 

Remedial  Steps — 1.  Each  school  building  should  contain  a 
library  of  essential  visual  materials  owned  by  the  school 
authorities. 

2.  Supplemental  materials  should  be  circulated  from  a  school 
owned  and  operated  library  serving  a  local  geograpliical 
unit  such  as  a  city  school  system,  a  townsliip  or  county. 

3.  District  sales,  rental  and  service  organizations  of  a  com- 
mercial nature  covering  a  state  or  larger  area  would  supplement 
the  work  of  local,  county  or  school  officials.  The  primary 
function  of  the  commercial  organization  would  be  to  render 
projection  service  and  to  sell,  rent,  or  lease  prints  in  quantity 
to  the  local  libraries. 

Obstacles — 12.  The  cost  of  films  for  school  purposes  has  been 
too  high.  Schools  could  not  afford  to  pay  the  high  cost  of 
projection  equipment  and  films. 

Remedial  Steps — 1.  Mass  production  of  equipment  and  of 
materials  is  necessary  to  reduce  costs. 

2.  The  formula  is  quantity  and  quality. 

3.  School  authorities  must  establish  a  regular  item  in  the 
school  budget  for  visual  instruction  and  place  it  on  a  sound 
financial  basis. 

Obstacles — 13.  Educators  have  not  purchased  nor  used  motion 
pictures  for  schools  on  a  broad  scale  because  few  offerings  liave 
been  suited  to  the  curriculum.  The  motion  pictures  available 
for  school  use  have  not  represented  a  comprehensive  educa- 
tional program.  The  films  have  not  been  correlated  closely 
enough  with  units  of  study  nor  with  text  books.  As  a  conse- 
quence the  films  used  in  schools  have  been  a  side  issue. 
Remedial  Steps — 1.  A  careful  analysis  of  basic  courses  of 
study  needs  to  be  made  to  discover  wherein  visual  materials 
may  be  used  to  greatest  advantage  in  accordance  with  econom- 
ical  and  educational   criteria. 

2.  Producers  should  not  attempt  the  production  of  motion 
picltires  for  classroom  use  until  the  continuities  for  such  films 
have  been  validated  by  educators  who  are  experts  in  the 
teaching  of  the  particular  fields  of  study  in  which  such  films 
are  to  apply. 

3.  An  evaluation  of  existing  visual  materials  needs  to  be 
made  by  educational  experts  in  the  teaching  of  the  subjects 
in  which  these  materials  are  to  be  used.  Such  evaluation 
should  be  based  wherever  possible  upon  actual  experience  in  the 
use  of  that  particular  film  or  aid  in  the  classroom. 

4.  Educators    should    not    use    motion    pictures    which    are 
unsuited  to  the  educational  purpose  of  the  schools. 
Obstacles — 14.    Pioneering    educators   have    not    had    sufficient 
information   relative   to   the    sources   of   and   effectiveness   of 
educational  motion  pictures  and  equipment. 

Remedial  Steps — 1.  An  independent  unbiased  clearing  house 
of  visual  instruction  must  be  established.  It  would : 

a.  Conduct  research  and  surveys  to  determine  where  the 
greatest  needs  for  visual  aids  occur  and  disseminate  that 
information. 

b.  Survey  and  appraise  the  pedagogical  pictures  now 
available,  suggesting  in  some  instances  reediting,  in  ottiers 
the  specific  conditions  under  which  the  pictures  could  be 
used  to  greatest  advantage,  and  eventually  determine  upon 
or  organize  a  plan  of  endorsement  acceptable  to  educators 
and  producers. 

c.  Promote  cooperation  between  publishers  of  text  books 
and  producers  of  pictures,  to  the  end  that  each  might 
complement  the  other. 

d.  Evolve  a  comprehensive  blue  print  for  the  production 
of  visual  aids,  to  avoid  duplication  and  insure  eventual 
coverage  of  the  whole  curriculum. 

t.   Serve  as  a  clearing  house   for  information,  at  the  dis- 


posal of  all  interested  parties. 

f.  Promote  the  training  of  teachers  in  visual   instruction. 

g.  Secure  the  active  interest  in  and  support  of  educators 
in  the  development  of  the  new  techniques. 

Obstacles — 15.  Pioneers  who  despite  great  handicaps  and 
obstacles  proceeded  to  develop  motion  picture  programs  for 
schools  found  that  teachers  needed  to  be  trained  to  use  motion 
pictures  effectively  in  the  classroom. 

a.  In  the  early  days  of  the  visual  education  movement, 
pioneering  producers  held  fo  the  notion  that  motion  pic- 
tures would  supplant  text  books  and  teachers,  hence  teacher 
training  in  motion  picture  instruction  was  not  considered 
by  them  to  be  of  importance. 

b.  Despite  the  fact  that  educators  as  early  as  1923  began 
to  emphasize  the  necessity  for  teacher  training  in  visual 
in.struction,  progress  has  been  painfully  slow.  While  there 
has  been  an  increase  in  the  number  of  teacher  training  in- 
stitutions offering  courses  in  visual  instruction,  these 
courses  are  electives  (with  the  exception  of  a  few  insti- 
tutions, especially  in  the  State  of  Pennsylvania),  which 
means  that  the  vast  majority  of  teachers  in  training  are 
not  tutored  in  the  use  of  motion  pictures  and  other  devices 
in  education. 

Remedial  Steps — 1.  There  is  agreement  as  to  the  need  for 
training  teachers  in  visual  instruction.  But  authorities  are  not 
in  agreement  as  to  the  way  to  accomplish  this  goal  for  teachers- 
in-training. 

(a)  One  suggestion  that  has  considerable  backing  is  the 
introduction  of  a  required  core  course  in  teacher  training 
institutions. 

(b)  Another  is  to  require  the  specialists  in  the  teaching 
of  the  several  school  subjects  to  train  teachers  in  the  use 
of  visual  materials  in  teaching  those  subjects. 

2.     It  is  generally  agreed  for  teachers-in-service 

(a)  That  the  best  procedure  would  be  for  them  to  ob- 
serve in  demonstration  centers  the  work  of  teachers  who 
are  successful  in  the  use  of  visual  materials. 

(b)  That  visual  instruction  be  made  a  major  subject  for 
discussion  in   professional   meetings. 

From  the  foregoing  discussion  it  is  apparent  that  the  great- 
est immediate  need  is  to  shift  educational  thinking  with  respect 
to  visual  education  from  the  experimental  base  to  that  of  prac- 
tical application.  Teachers  want  guidance  as  to  best  methods 
of  using  visual  materials  in  the  classroom.  A  number  of  dem- 
onstration schools  or  centers  should  be  created  in  the  public 
and  privafe  schools  of  the  country  in  which  a  thorough-going, 
continuous  demonstration  of  visual  instruction  in  daily  class- 
room use  would  be  exhibited.  Each  of  these  demonstration 
schools  should  be  fully  equipped  in  every  classroom  with  pro- 
jection equipment  and  with  the  necessary  visual  materials  such 
as  bulletin  boards,  diagrams,  models,  et  cetera  necessary  for  a 
systematic  instructional  program.  The  demonstration  centers 
should  be  geographically  located  so  that  teachers,  principals, 
and  school  board  members  throughout  the  United  States 
could  benefit  by  visiting  the  centers  and  seeing  the  work  at 
hand.  It  is  my  firm  belief  tliat  the  equipment  companies  would 
enhance  their  sales  and  make  rapid  progress,  if  they  were  to 
invest  money  and  materials  in  the  esfablishment  of  such  cen- 
ters rather  than  to  spend  further  money  in  experimentation  of 
the  type  that  has  characterized  most  of  the  past  research  in 
this  field.  The  Department  of  Visual  Instruction  could  serve 
as  an  agency  to  bring  this  to  pass.  Many  of  the  large  city 
school  systems  already  have  spent  considerable  time  and  energy 
servicing  schools  with  visual  materials.  Would  it  not  be 
practical  for  these  bureaus  to  consider  the  desirability  of 
equipping  completely  one  school  building  fo  serve  as  a  dem- 
onstration center  for  the  city  in  all  subjects  and  in  all  phases 

(Concluded  on  page  217) 


Page  216 


Proceedings  of  the  Department  of  Visual  Instruetion  Meeting 


The  Educational  Screen 


Teacher  Participation  In  Educational 
Film  Production 


Adi.russion  of  the  problem  of  producing  pictures  for  school 
u^e  should  properlj'  begin  with  an  acknowledgement  of 
our  debt  to  the  pioneers  who  have  contributed  their  gen- 
ius, thought  and  capital  so  that  this  valuable  product  of  science 
and  invention  might  be  made  available  for  educational  purposes 
in  the  schools.  We  should  not  wish  that  any  statement  that 
we  mal:o  should  be  construed  as  carping  criticism.  We  should 
hrpe,  rrtlher,  to  make  some  constructive  criticisms  for  im- 
proving  rhe  contribution  of  motion  pictures  to  education. 

Are  teaching  films  essentially  different  from  theatrical  pic- 
tures, even  when  the  latter  are  labeled  "educational"?  Dr. 
Ernest  Rust  of  the  Swiss  Federal  Institute  of  Technology  de- 
scribes the  teaching  film  as  "the  kind  of  film  that  is  suitable 
for  school  use  and  can  be  used  during  the  lesson  like  any  other 
didactic  means,  at  the  right  moment.  The  distinctive  feature 
of  the  teaching  film  is  its  instructive  content  clearly  defined 
according  to  principles  of  pedagogics  and  adapted  to  the  par- 
ticular type  and  grade  of  school."  To  be  most  useful,  the 
teaching  film  must  correlate  with  the  curriculum  and  con 
tribute  to  our  educational  objectives. 

A  more  elaborate  list  of  criteria  may  be  developed,  in  which 
tne  pedagogical,  psychological  and  technical  elements  are 
elaborated.  Limitations  of  time  and  space  preclude  their  in- 
clusion here.  Prof.  Karl  Bigelow  of  Teachers  College,  Columbia 
University  has  recently  surveyed  all  available  studies  in  this 
field  and  has  produced  an  excellent  comprehensive  check  list 
that  is  very  valuable. 

It  Is  necessary,  in  judging  the  educational  value  of  a  film, 
that  we  differentiate  between  those  that  contribute  directly 
to  the  learning  process  and  those  that  have  value  because  of 
the  incidental  or  supplementary  learnings  that  they  may 
contribute. 

How  can  teachers  participate  in  educational  film  production? 
They  are,  broadly  speaking,  the  consumers.  They  are,  at  the 
very  best,  the  middle  man  between  the  child,  who  is  the  ultimate 
consumer,  and  the  producer.  Teachers  stand  in  a  imique  rela- 
tionship to  children,  for  the  former  are  charged  by  society  with 
the  duty  of  guiding  the  learning,  and  the  development  of  the 
interests,  attitudes,  appreciations  and  loyalties  of  fhe  latter. 
They  should,  therefore,  be  consulted  as  to  the  educational  needs, 
the  organization  and  presentation  of  the  picture  materials. 

We  recognize  that  few  teachers  may  yet  have  the  training, 
experience,  insight,  judgment  and  imagination  necessary  to  give 
such  guidance  to  the  producers.  Experience  will  produce  more 
of  them.  Those  that  have  the  competence  already  developed 
should  be  sought  out  and  their  services  utilized. 

Teachers  know  which  topics  in  the  curriculum  need  objective 
presentation  through  motion  pictures.  They  may  be  trained  to 
prepare  "picture  plans" — scenarios — for  production.  Ideally 
they  should  participate  in  the  taking  and  editing.  Too  often 
promising  scenarios  "come  a  cropper"  in  production.  Subject 
matter  and  technical  experts  should  be  consulted  to  insure 
accuracy  and  excellence,  but  the  teachers  should  guide  the 
development  of  the  picture  lesson.  This  plan  is  not  Utopian. 
It  has  been  used  in  several  European  countries  and,  on 
occasion,  even  in  this  country. 


Presenting  the  problem  of  real  teaching  films 
and  how  teachers  can  contribute  to  the  supply. 

By      CHARLES      A.      GRAMET 

Chairman  of  Biology  and  General  Science, 
Franklin  K.  Lane  High  School,  Brooklyn,  New  York 

There  has  accumulated  a  great  store  of  picture  material 
much  of  which  is  purchasable  as  footage  and  much  of  which 
is  usable.  A  number  of  small  producers  have  made  use  of  such 
film  material  to  concoct'  or  assemble  teaching  films,  not  often 
successfully.  Competent  teachers  should  select,  edit  and  supple- 
ment such  pictures.  Too  often  the  picture  determines  its 
educational  use,  rather  than  does  the  educational  need  deter- 
mine the  teaching  film. 

We  have  reason  to  believe  that  the  day  is  not  far  ofif 
when  an  adequate  program  of  cooperation  between  the  motion 
picture  industry  and  the  schools  will  be  developed  on  such 
a  basis  as  has  been  suggested  and  the  ricli  store  of  the  former 
made  available   for  enriching  the  work  of  the  latter. 

An  examination  of  the  curricula  and  courses  of  study  will 
show  that  commercial  producers  have  neglected  great  areas. 
Business  training,  for  example,  is  a  completely  virgin  field. 
Only  science  has  been  extensively  developed  and  even  here 
there  are  important  gaps.  There  is  no  lack  of  need,  but  failure  to 
recognize  the  need  and  a  failure  or  inability  to  satisfy  it 
when  recognized.  To  fill  many  of  these  deficiencies  we  recom- 
mend teacher-made  pictures. 

There  is,  too,  the  problem  of  pictures  that  are  of  local 
interest,  yet  essential  in  that  situation.  We  have  reference  to 
pictures  for  community  civics,  local  industries,  community 
hygiene,  educational  guidance,  records  of  important  local 
(school  and  community)  events,  dramatizations,  etc.  It  is 
obvious  that  commercial  producers  would  not  find  it  profitable 
to  produce  such  films.  They  must  be  made  by  teachers. 

Can  teachers  make  pictures  ?  Can  such  pictures  compare 
favorably  with  commercial  products  ?  The  answer  to  both 
questions  is  in  the  affirmative.  This  belief  is  based  on  personal 
experience  and  acquaintance  with  the  work  of  amateurs  ip 
making  movies.  We  have  described  elsewhere  (Educational 
Screen  Jan.  &  Feb.  1934}  the  making  of  a  teaching  film. 
The  problems  appear  to  be  these : 

1.  Planning.  This  involves  describing  the  film  lesson  and 
making  the  scenario.  The  aim  of  the  picture,  unity,  coher- 
ence, interest,  climax  must  be  considered. 

2.  Taking.  After  the  continuity  is  developed,  the  camera  work 
is  done.  Picture  composition,  emphasis,  camera  angles, 
tempo  and  lighting  are  the  technical  effects  that  must  be 
considered. 

3.  Editing.  The  scenes  are  cut  and  reassembled.  This  is  done 
in  accordance  with  the  principles  listed  under  planning. 
The  product  is  viewed  and  reviewed,  cut  and  re-edited 
until  the  film  satisfies  the  criteria  that  we  have  established. 

4.  Titling.  The  length  of  each  title,  tlie  amount  of  telling  as 
against  thought  stimulation  and  provocation  of  the  imagina- 
tion, the  total  proportion  of  titles  to  the  length  of  the 
picture,  the  vocabulary  of  the  pupils  for  whom  the  film 
is   planned,   must   be  considered. 

5.  .Sound.  Except  where  the  dialogue  or  conversation  is  an 
integral  part  of  the  activity,  sound,  if  deemed  necessary, 
may  be  dubbed  after  the  picture  is  filmed.  Music,  com- 
ments and  effects   may  be  produced  in  this  way.     There 

is   a   large   enough    field    for   teacher   production   in   silent 


September,  1937 


Proceedings  of  the  Dcparliticnt  of  Visual  Instruction  Meetinc/ 


Page  217 


pictures  or  those  witli  dubbed  sound.  We  need  not  intrude, 

for  the  present,  into  the  "talkie"  field  where  the  costs  as 

well   as  the  skills  arc  high,  though  not  beyond  our  reach. 

We  have  discussed  elsew'here,  too,  the  questions  of  equipment 

and  costs.  These  are  not,  in  our  opinion,  paramount  issues.  If 

the  making  of  pictures  by  teachers   is  educationally  desirable, 

money  must  be  provided  as  for  other  educational  services. 

This  presentation  has  been  made  brief  in  order  that  ample 
time  might  be  given  to  the  showing,  and  possibly  the  discussion, 
of  several  teacher-made  films.  Each  has  been  developed  in 
accordance  with  the  |)edagogical,  psychological  and  technical 
principles  that  have  been  suggested  in  this  paper.  Each  has 
been  designed,  too,  for  a  specific  teaching  situation.  Each  has 
its  virtues  as  well  as  its  limitations.  It  is  hoped  that  they  will 
be  viewed  and  criticised  in  terms  of  the  criteria  that  have  been 
enumerated. 

The  first  picture.  How  the  Heart  Works,  is  an  early  effort. 
The  second,  How  Plants  Are  Reproduced,  has  only  recently 
been  completed.  The  latter  is  described  in  detail  in  the  lesson 
plan  that  has  been  distributed.  The  pictures  that  we  have  been 
interested  to  make  in  the  past'  have  been  in  the  field  of  science, 
for  here  we  require  least  expert  scientific  advice.  The  principles 
are,  however,  applicable  to  any  subject  area  and  we  intend  to 
explore  other  fields  next — business  training,  art  and  English. 
Limitafions  of  time  and  space  preclude  our  describing  here 
a  school  organization  for  facilitating  the  production  of  teaching 
films.  It  has  been  described  in  an  article  that  will  .soon  be 
published. 

Teachers  have  an  important  contribution  to  make  in  fhe 
production  of  educational  films  directly  through  the  making 
oi  pictures  and  indirectly  through  cooperation  with  commercial 
producers  as  advisors,  consultant's  and  editors. 

The  Immediate  Needs  in 
Visual  Education 

(Concluded  front  page  215} 

of  visual   instruction   rather  than   to  have  efforts   scattered  as 
they  are  in  many  places  at  the  present  time? 

A  second  step  of  great  importance  which  mi"''  be  taken  is 
the  blue-printing  by  educators  of  the  areas  in  the  school  sub- 
jects which  can  best  be  taught  by  the  use  of  visual  materials. 
Producers  of  slides,  films,  and  other  materials  have  been 
working  totally  in  the  dark  with  respect  to  what  the  educator 
wants.  I  recall  meeting,  some  15  years  ago,  the  head  of  an 
organization  with  capital  of  over  $1,000,000  which  had  been 
set  up  for  the  purpose  of  producing  motion  picture  films  for 
the  schools.  He  had  the  money  and  the  staff  but  did  not 
know  what  pictures  the  educators  wanted  him  to  make.  This 
individual  made  an  honest  effort  to  find  the  answer  and  was 
unable  to  do  so  even  though  he  received  the  co-operation  of 
the  then  United  States  Commissioner  of  Education.  Surveys 
liave  been  made  here  and  there  which  throw  light  upon  cur- 
ricular  needs  with  respect  to  visual  materials  but  there  is  no 
doubt  in  the  minds  of  those  with  experience  that  the  visual  ed- 
ucation materials  produced  so  far  have  not  been  systematically 
organized  to  meet  the  needs  of  the  school.  The  blue-printing 
of  educational  needs  should  be  undertaken  by  a  Foundation 
which  would  finance  the  bringing  together  of  educators  to  ac- 
complish this  task.  If  this  Department  were  to  do  no  other 
thing  than  to  make  it  possible  for  such  a  group  to  function,  it 
would  be  making  a  real  contribufion  such  as  would  justify 
its  existence.  As  it  is  now,  films  are  made  topsy-turvy  apart 
from  any  planned  program  and  educators  are  asked  to  accept 
the  product  and  make  of  it  what  they  can. 

A  third  immediate  need  in  visual  instruction  has  been  men- 
tioned many  times  during  the  past  seventeen  years.  The  first 
group  of  educators  to  call  attention  to  it  was  the  Committiee 


of  the  National  Education  Association  of  which  Charles 
Hubbard  Judd  was  Chairman,  appointed  by  its  then  President', 
Will  Owen,  in  1923.  In  their  report,  which  was  presented  to 
the  meeting  of  the  N.  E.  A.  held  in  Oakland,  California,  in 
1923  they  stated  that  a  clearing  house  of  information  must'  be 
established.  Throughout  all  succeeding  years  the  need  for  a 
clearing  house  has  been  reiterated.  Here  again  is  a  job  for  a 
Foundation.  Such  a  clearing  house  of  information  would 
have  to  be  unbiased  and  independent  in  order  to  render  judg- 
ment's which  would  be  regarded  as  authentic  and  reliable  by 
teachers  and  commercial  interests  alike.  It  is  to  be  hoped 
that  the  work  of  Dr.  C.  F.  Hoban,  Jr.,  of  the  American  Coun- 
cil in  Education,  will  result  in  the  permanent  establishment  in 
that  institution  of  such  a  center  for  the  guidance  of  principals, 
teachers,  and  others  vitally  interested  in  the  progress  of  edu- 
cation. 

A  fourth  immediate  need  is  the  recognition  on  the  part  of 
many  who  went  into  the  field  from  the  commercial  side  that 
visual  instruction  is  not  a  "get-rich-quick  scheme"  and  that 
large  sums  of  money  and  profits  are  not  to  be  made  at  the  ex- 
pense of  American  education  by  making  and  selling  visual 
materials  fo  the  schools  of  the  nation.  The  President  of  a 
large  university  recently  stated  in  an  address  which  I  heard 
that  visual  education  is  likely  to  prove  more  profitable  than 
oil.  Such  wishful  thinking  has  led  many  educators  with  the 
sincerest  of  mot'ives  and  others  astray.  Even  our  great  text- 
book companies  have  had  their  financial  difficulties  from  time 
to  time  in  serving  the  needs  of  American  education  and  not 
one  of  them  has  produced  a  John  D.  Rockefeller.  Obviously, 
it  will  take  capital  to  provide  schools  with  materials  which 
fhey  need  but  it  must  be  capital  which  is  furnished  with  a 
motive  to  serve  the  schools  of  the  nations.  Such  capital  will 
have  to  be  put  up  by  people  who  will  be  content  with  little 
or  no  profit,  certainly  not  more  than  6%  on  their  investment. 

The  educational  field  cannot  be  compared  with  the  enter- 
tainment field  as  a  source  of  gain.  The  rapid  growth  of  the 
motion  picture  industry  and  the  weallli  which  has  come  to 
many  people  connected  with  it  will  not  be  duplicated  in 
schools. 

The  fifth  and  last  immediate  need  in  visual  instruction  which 
I  wish  to  emphasize  is  that'  of  developing  a  spirit  of  co-opera- 
tion among  commercial  and  educational  interests  alike  to  see 
that  this  important  job  is  done.  Mr.  Owen  D.  Young  re- 
cently said  in  my  presence  that  it  is  a  crime  that  motion 
pictures  have  not  yet  found  their  way  into  American  educa- 
tion on  anything  like  the  scale  which  should  have  been  at- 
tained and  that  flie  next  great  effort  to  bring  this  about  must 
be  a  success.  The  field  is  so  great  and  the  amount  of  work 
which  will  be  necessary  to  do  a  splendid  job  is  such  that 
there  is  room  for  everyone.  And  it  will  be  a  labor  of  love. 
Those  who  have  been  sincere  and  intelligent  in  their  efforts  in 
this  field,  and  there  are  a  large  host,  recognize  the  soundness 
of  the  above  statement.  If  by  some  medium  or  establishment  of 
a  pivot  this  co-operation  could  be  secured  and  the  now  scat- 
tered efforts  unified,  visual  instruction  would  come  into  its 
own  and  would  become  a  major  force  in  American  education. 


Note :  The  remaining  Detroit  papers  will  be  reprinted 
in  the  October  issue.  A  report  of  that  meeting  will  also 
be  given  in  that  issue,  together  with  a  discussion  of 
future  plans  for  the  Department  of  Visual  Instruction. 
Due  to  the  enforced  absence  of  Mr.  Nelson  L.  Greene, 
our  editor  and  president  of  the  Department,  the  reg- 
ular Department  page  has  been  omitted  this  month. 
We  are  very  happy  to  report  that,  after  several  weeks 
of  illness,  Mr.  Greene  is  now  rapidly  recovering  and 
expects  to  be  back  soon  at  his  desk. 


Page  218 


The  Educational  Screen 


THE    FILM    ESTIMATES 


Anna  (Russian  Dialog,  English  Titles)  (Am- 
kino)  Romantic  Soviet  spy  thriller  of  eome 
appeal.  Interesting  story  but  acting  and  di- 
rection uneven.  Many  naive,  staring  close-ups 
which  slow  up  action.  Some  striking  photog- 
raphy and  some  very  bad.  Obvious  propaganda 
glorifying     Communist     party.  8-3-37 

(A)   Fair  (Y)    Little  Value  (C)   No 

Another  Dawn  (K.  Francis,  Ian  Hunter,  E. 
Flynn)  (War.)  Trite  triangle  romance  involv- 
ing honorable  characters,  but  with  stilted  dia- 
log and  obvious  situations  leading  to  inevitable 
final  self-sacrifice  by  soldier-husband  to  free 
wife  for  marriage  with  lover.  Beautiful  des- 
ert photography  compensating  factor.  7-6-37 
(A)  Hardly  (Y)  Better  not  (C)  No 

Armored  Car  (Robt.  Wilcox,  Judith  Barrett, 
Irving  Pichel)  (Univ. )  Lively,  guspenseful  pic- 
ture showing  operation  of  armored  cars  which 
transport  payrolls,  bank  funds,  and  crooks  who 
plot  holdups.  Hero  joins  gangsters  when  dis- 
charged from  service,  exposes  them  in  thrill- 
ing climax.  Informative  aspects  of  value.  8-3-37 
(A)    Ordinary    (Y)    Perhaps    (C)    Too   exciting 

Artists  and  Models  (Jack  Benny.  Ida  Lupino, 
G.  Patrick)  (Para.)  Complex  musical  review, 
with  lavish  settings  for  assorted  "acts" — song 
and  dance  spectacles,  comedy  teams,  "hot 
rhythm"  bands,  Martha  Raye.  Brief  plot  pro- 
vides "romance"  and  generally  gay,  inoffensive 
sophistication    on    elaborate    scale.  8-17-37 

(A)-(Y)   Very  good  of  kind   (C)  Doubtful  value 

Back  Stage  (Anna  Neagle,  Arthur  Tracy, 
Tilly  Losch)  (G-B)  Pleasant  mixture  of  music, 
personalities  and  back-stage  realism,  rather 
charming  despite  high  improbability  of  street- 
singer,  called  off  street  by  heroine,  winning  in- 
stant success  in  operatic  role.  Rising  fame  dims 
heroine's  romance,  but  only  temporarily.  6-15-37 
(A)  (Y)  Fairly  good  (C)  )Hardly 

Behind  the  Headlines  (Lee  Tracy,  Diana  Gib- 
son) (RKO)  Lively,  spectacular,  sensational 
newshawkery,  with  original  touches,  capturing 
would-be  hijackers  of  a  Government  gold  ship- 
ment to  Fort  Knox.  Hero  and  heroine  are  rival 
reporters  and  wrangling  lovers  to  the  end.  Less 
violence  and  wisecrack  than  usual.  6-29-37 

(A)  Hardly         (Y)  Good  Thriller       (C)  Hardly 

Between  Two  Women  (F.  Tone.  M.  O'Sullivan, 
V.  Bruce)  (MGM)  Well-acted,  overlong  roman- 
tic drama,  fine  in  spots,  but  hospital  back- 
ground and  action  not  always  credible,  melo- 
dramatic crises  overdone,  as  surgeon-hero's 
marriage  to  wealthy  socialite  fails.  leading  to 
divorce  and  return  to  fine  little  nurse.  8-10-37 
(A)    <Good  of  kind)        (Y)   Perhaps        (C)   No 

Boccaccio  (German  cast)  (UFA)  Merry  so- 
phisticated operetta,  finely  sung  and  acted  in 
German.  Law  Clerk  of  15th  Century  Italy, 
uses  pseudonym  of  "Boccaccio"  to  write  of  gay 
amours  and  infidelities  of  townspeople,  leading 
to  hilarious  mixups  and  complications.  Too 
deftly   done  to   be   offensive.  8-10-37 

(A)    Depends  on  taste   (Y)-(C)    Not  for  them 

Border  Cafe  (John  Beal,  Armida,  Harry  Carey) 
( RKO )  Sordidness,  heavy  villainy  and  little 
character  value  in  story  of  drunken  wastrel 
sent  west  by  family  in  hope  of  reformation  ; 
manages  to  continue  riotous  living.  Then  joins 
fight  against  organized  terrorism,  becoming 
hero.  Western  sceenry  chief  merit.  8-17-37 

(A)    and    (Y)    Mediocre  (C)    No 

Born  Reckless  (Rochelle  Hudson,  Brian  Don- 
levy)  (Fox)  Ex -race-driver-hero  gets  into  taxi- 
cab  racket,  defeats  gangster  company  practi- 
cally single  handed,  wins  girl  also  associating 
with  gang  to  get  vengeance  for  brother  they 
framed.  Loud  and  violent.  Fist  fights  sup- 
plemented by  hurling  furniture.  7-13-37 
(A)  Hardly                (Y)  Better  not  (C)  No 

Broadway  Melody  of  1938  (Eleanor  Powell, 
Robt.  Taylor)  (MGM)  Elaborate  musical,  with 
dancing,  singing  and  comedy  acts  worked  into 
elementary,  agreeable  little  story.  Opulent  stage 
extravaganza  as  climax.  Eleanor  appealing. 
A  nauseating  sequence  with  Judy  Garland  sing- 
ing maudlin  song  to  Gable's  picture.  9-14-37 
(A)  Fair  of  kind  (Y)  Mostly  good  (C)  Doubtful 

Confession  (Kay  Francis,  Ian  Hunter,  Basil 
Rathbone)  (War.)  Sordid  melodrama,  ably  di- 
rected and  acted.  Ruthless  philanderer  plan- 
ning seduction  of  innocent  young  girl  is  killed 
by  cabaret  singer.  Her  story,  told  in  flash- 
backs, earns  leniency.  Ludicrous  effects  in 
makeup  detract  from  dramatic  values.  8-24-37 
(A)    Unpleasant    (Y)    and    (C)    Unwholesome 


Being  the  Combined  Judgments  of  a   National  Committee  on  Current  Theatrical   Films 

(A)  Discriminating  Adults  (Y)  Youth  (C)  Children 

Date    of    mailing    on    weekly    service    is    shown    on    each    film. 

(The  Film  Estimates,  in  whole  or  in  part,  may  be  reprinted 

only   by   special   arrangement  with   The   Educational   Screen) 


Criminals  of  The  Air  (Chas.  Quigley,  Rosalind 
Keith)  (Columbia)  Elementary,  largely  harm- 
less thriller  about  young  pilot  assigned  to  bor- 
der air  patrol  to  help  trap  smugglers  operating 
across  Mexican  border.  Sinister  characters  and 
wild  chase  ending  in  grim  climax  provide  a  few 
tense  moments.  8-10-37 

(A)    Hardly  (Y)    Passable  (C)   No 

Dance,  Charlie  Dance  (Stuart  Irwin,  G.  Far- 
rell,  A.Jenkins)  (First  Natl.)  Fast,  obvious 
farce  about  naive  country  hero  in  New  York, 
high  pressured  into  buying  no-good  show,  who 
subsequently  is  able  to  outsmart  those  who  out- 
smarted him.  Routine  stuff,  with  loud  clamor- 
ous dialog  and  much  wisecracking.  8-10-37 
(A)    Mediocre  (Y)    Doubtful  (CA)    No 

Day  at  the  Races  (Marx  Bros.,  M.  O'SuUivan, 
A.  Jones )  ( MGM )  Probably  longest,  wildest 
Marx  rampage  to  date,  the  usual  preposterous 
situations.  hy.sterical  slapstick  antics,  panto- 
mime, vulgarity,  "gags"  (funny  or  silly  ac- 
cording to  taste,  interrupted  now  and  then  by 
appealing  song  and  dance  sequences.  6-29-37 
(A)    Depends   on    taste  (Y)    (C)    Doubtful 

Dead  End  (J.McCrae.  H.  Bogart,  S.  Sidney) 
(U.  A.)  Realistic,  vivid  drama  portraying  New 
York  riverfront  slum  life  and  criminal  char- 
acters it  breeds.  Notably  acted,  especially  by 
gang  of  young  hoodlums  dominating  action. 
Thoughtful,  unpleasant  stuff,  excellently  done, 
with  striking  settings  and  photography  9-7-37 
(A)    Very   good    (Y)    Strong    &    mat.    (C)    No 

Devil  Is  Driving,  The  (Richard  Dix)  (Col.) 
Meant  as  arraignment  of  crooked  court  pro- 
cedure which  soi't-ptdi!.,  drunken  driving  by 
wealthy.  Artificial  plot  makes  hero  first  defend, 
then  prosecute  same  drunken  playboy's  ituto- 
killings.  Colorless  cast,  weak  dialog,  and  vague 
climax   largely   nullify   value.  .  .    6-22-37 

(A)    Mediocre  (Y)    (C)    Little   value 

Double  or  Nothing  (  B.  Crosby,  M.  Raye,  Mary 
Carlise)  (Para.)  Slow-moving,  undistinguished, 
noisy  musical  comedy  romance,  inferior  to  most 
Crosby  films.  Rather  original  plot  based  on  ec- 
centric millionaire's  will.  leaving  fortune  to 
person  passing  test  for  honesty  and  intelli- 
gence. Some  scenes  in  bad  taste.  9-14-37 
(A)  Mediocre             (Y)  Better    not  (C)  No 

Draegerman  Courage  i  Barton  MacLane.  Jean 
Muir)  (War.)  Dreary  little  film  based  on  re- 
cent mine  disaster.  Grim  scenes  of  death  and 
suffering  of  entombed  men  while  heroic  rescue 
squads  work  day  and  night.  Complete  as  to 
scenes  of  anxiously  waiting  relatives,  and 
broadcasts    at    mine    entrance.  8-24-37 

(A)    Hardly    (Y)-(C)    No   entertainment   value 

Dreaming  Lips  (Bergner,  R.  Massey)  (U.A.) 
British  film.  'Tense,  intimate  triangle.  Little 
action  but  of  high  dramatic  value  and  charac- 
ter interest,  crisply  done,  in  real  English.  Con- 
vincing, appealing,  grimly  tragic.  Bergner 
extraordinary  as  wife  torn  between  love  for 
musician  and  loyalty  to  husband.  7-13-37 

(A)  Fine  of  kind  (Y-C) Utterly  mat.  and  unsuit. 

Easy  Living  (Jean  Arthur,  Edw.  Arnold.  R. 
Milland)  (Para)  Noisy,  risque  slapstick  for  high- 
priced  actors.  Merry-mad  farce  carried  to  ul- 
timate. Nothing  intended  to  be  realistic,  merely 
fast  laughs.  Sophisticated  situation  —  heroine 
showered  with  attention  when  wrongly  taken 
for  broker's  mistress— no  indecencies.  7-20-37 
(A)Gd.  of  kind     (Y)Amus.  but  mat     (C)Unsuit. 

Emperor's  Candlesticks.  The  (Powell.  Rainer 
and  fine  cast)  (MGM)  Complex,  but  finely-acted 
and  written  spy  thriller  of  intrigue  between 
Czarist  Russia  and  Poland.  High  suspense 
thruout.  Strong,  wholesome  romance  intrinsic 
to  plot,  without  sex  objection.  Elaborate  cos- 
tume thriller  in  European  setting.  7-13-37 
(A)  Very  good  of  kind    (Y)  Good    (C)  Little  int. 

Ever  Since  Eve  (R.  Montgomery,  Marion  Da- 
vies)  (MGM)  Light,  trivial  comedy.  Heroine  is 
too  beautiful.  All  employers  offend  with  unwel- 
come attentions.  Disguised  as  ugly  duckling 
becomes  secretary  to  irresponsible  novelist-hero, 
with  inevitable  complications  and  ultimate  ro- 
mance. Wisecracking,  loud  comedy.  7-27-37 
(A)  Depends  on  taste       (Y)  Better  not       (C)  No 


Exclusive  (F.  MacMurray,  F.  Farmer,  C.  Rug- 
gles)  (Para. )  Melodramatic  newspaper  story, 
tense,  exciting,  hardiy  believable.  Racketeer- 
publisher  resorts  to  gangster  methods,  innocent- 
ly aided  by  heroine-reporter,  to  ruin  decent 
rival  paper  for  which  father  and  fiance  work, 
and  is  exposed  after  sensational  events.  7-27-37 
(A)  Fair  of  kind  (Y)  Exciting  (C)  No 

Fight  to  the  Finish.  A  (Don  Terry,  Rosalind 

Keith)  (Colum.)  Appropriate  title  for  this  film 
which  is  one  long,  dirty  fight  between  rival 
cab  companies,  one  run  by  tough  hero  and  the 
other  by  despicable  enemy  whose  false  testi- 
mony had  sent  hero  to  jail.  Several  deaths  oc- 
cur before  war  is  over.  Too  rough.  7-20-37 
(A)  Hardly  (Y)  No  value  (C)  No 

Firefly,  The  (J.  MacDonald,  Allan  Jones,  etal.) 
(MGM)  Musical  and  photographic  masterpiece 
despite  undue  length  due  to  prolonged  war 
scenes.  Richly  romantic,  colorful  spy  story, 
costumed  and  set.  with  charm  of  scene  and  ac- 
tion, in  Spain  in  days  of  Napoleon.  Delightful 
music   superbly   sung.  8-10-37 

(A)   Excellent  (Y)  Excellent   (C)   Doubtrul  int. 

Fire  Over  England  (Flora  Robson,  R.  Mas- 
sey) (U.A.)  Colorful,  richly  romantic  semi-his- 
torical film  of  16th  Century  and  intrigue  be- 
tween England  and  Spain,  showing  Queen  Eliz- 
abeth's defeat  of  Spanish  Armada.  Excellent 
but  not  always  authentic  character  portrayals. 
Highly  romanticized  history.  7-13-37 

(A)  Fine  of  kind    (Y)  Very  good    (C)  Doubt,  int. 

Flight  From  Glory  (Chester  Morris)  (RKO) 
Thrilling,  suspenseful  aviation  melodrama. 
Credible,  rather  interesting  story  of  grounded 
aviators  in  lonely  airport  working  for  inhu- 
man boss  who  uses  wornout  planes  to  fly  mine 
supplies  over  Andes  mountains.  Natural  dialog 
and  acting,  and  intelligent  direction.  9-14-37 
(A)    Fairly    good    (Y)    Strong    (C)    Unsuitable 

Fly  Away,  Baby  (Barton  MacLane,  Glenda 
Farrell)  (Warner)  Undistinguished  murder 
mystery,  with  bellowing  detective-hero,  and 
pert  reporter-heroine  as  super-sleuth.  Interest 
strengthened  by  shots  of  airplanes,  clipper 
ships  and  airviews  of  cities  as  heroine  pursues 
suspect  in  round-the-world  flight.  8-17-37 
(A)    Perhaps    (Y)    Fair    (C)    Doubtful    interest 

Footloose  Heiress,  The  (Ann  Sheridan,  Craig 
Reynolds)  (War.)  Frivolous,  exaggerated  farce 
about  spoiled,  unmanageable  heroine,  whose 
"taming"  is  undertaken  by  high-handed,  im- 
pertinent hero,  abetted  by  girl's  harrassed 
father.  Largely  silly,  incredible,  with  a  laugh 
now  and  then  :  some  suggestiveness.  9-7-37 
(A)    Hardly    (Y)    Not   the   best    (C)    No   value 

Forbidden  Paradise  (War.-Purdon  Travelog) 
Sensational  jungle  stuff  with  "Adults  Only"  tag. 
Some  genuine  but  poor  photography  of  French 
Indo  China,  grotesque  native  rites,  striking  an- 
imal shots,  death  struggles,  etc..  but  mostly 
crude,  preposterous  faking  playing  up  repellant 
ape-worship  and  ape- woman  element.  7-20-37 
(A)  Crude  (Y)  Certainly  not  (C)  No 

Frame-Up,  The  (Paul  Kelly,  Jacqueline  Wells) 
(Col.)  Mild  little  romance  buried  in  sordid 
racetrack  atmosphere — very  breezy,  very  slangy, 
very  crooked.  Police-agent  hero,  jaw-puncher 
extraordinary,  gets  badly  tangled  with  power- 
ful racing-game  crooks,  but  wins  out  with  fists 
and   much  help   from   police  guns.  6-22-37 

(A)    Hardly  (Y)    Hardly  (C)    No 

Girls  Can  Play  (Jacqueline  Wells.  Chas. 
Quigley)  (Col.)  Girl  soft-ball  teams  provide 
background  for  ordinary  romance  and  murder 
mystery.  Action  concerned  with  efforts  of  po- 
lice and  reporter  hero  to  get  evidence  on 
known  racketeer-killer  of  two.  Mediocre  in 
situation,  action,  acting  and  interest.  8-24-37 
(A)    Hardly  (Y)    and    (C)    Mediocre 

Girl  Loves  Boy  (Eric  Linden,  Cecilia  Parker) 
(Grand  Nat'U  Simple,  human  little  story  of 
small  town  life  in  horse  and  buggy  days.  Rich, 
shallow  playboy,  married  to  gold  digger,  is  ex- 
tricated from  false  marriage  and  reformed  by 
love  for  fine  heroine  from  proud,  impoverished 
family.  Appealing  touches  of  home  life,  6-29-37 
(A)  Fair  (Y)   Good  (C)  Yes 


September,  1937 


Page  2 1 9 


Go-Getter.  The  (Brent,  Winniner,  Anita  Louise) 
(War.)  Noisy  but  amusins  comedy  romance. 
Hero  surmounts  unheard-of  obstacles,  plactd 
by  heroine's  explosive  and  ingenious  father. 
WinniKer  practically  perfect  as  Cappy  Ricks. 
Fast,  well-knit  plot.  Good  taste  would  have 
omitted  brief,  needless  bedroom  scene.  6-22-37 
(A)    Good  (Y)    (C)    Mostly  very  K'Jnd 

Great  Gambini.  The  (Tamiroff.  Marian  Marsh, 
John  Trent)  (Para.)  Original,  fairly  absorb- 
ing murder  mystery,  well-acted  in  part,  but 
weakened  by  confusion  in  plot,  some  tedious 
action,  burlesqued  police  characters.  Some 
novel  camera  effects,  and  an  excellent  char- 
acter portrayal  by  Tamiroff.  8-24-37 
(A)    Fairly    good         (Y)    Fair        (C)    No    value 

Great  Hospital  Mystery  (J.  Darwell,  Sally 
IJlane.  Thos.  Beck)  (Fox)  Feeble  murder  tale  of 
involved  situations,  exaggerated  characters,  in- 
congruous slapstick  comedy,  absurd  hospital 
procedure.  Dark  doings  and  murder  in  hospital 
finally  solved  with  aid  of  intrepid  head  nurse. 
Rather  obvious   solution.  7-13-37 

(A)  Hardly  (Y)  Better  not  (C)  No 

Heart's     Desire     (Richard     Tauber.     Leonora 

Corbett)  (Brit.  Int.)  Simple,  appealing  story 
about  rise  of  Viennese  singer  to  opera,  till  dis- 
illusionment brings  him  back  to  his  beloved 
Vienna.  Tauber  sings  gloriously,  but  unfortu- 
nately poor  acting  and  bad  taste  in  costuming 
make  him  appear  ridiculous  at  times.  7-6-37 
(A)  Pleasing     (Y)  Very  good     (C)  If  it  interests 

It's  All  Yours  ( M.  Carroll,  Francis  Lederer) 
(Col. )  Secretary-heroine  inherits  employer's 
millions  in  latter's  plan  to  reform  his  spend- 
thrift nephew,  whom  heroine  loves.  Gay, 
frothy  nonsense  and  antics  as  he  supposedly 
learns  values  and  she  succeeds  in  having  him 
fall    in    love    with    her.  8-31-37 

(A)     Depends    on    taste    (Y)    Perhaps     (C)    No 

It  Can't  Last  Forever  (Ralph  Bellamy,  Betty 
Furness)  (Col. )  Clumsy,  ill-conceived  combina- 
tion of  farce  and  melodrama.  Radio  booking- 
agent-hero  engineers  publicity  hoax  by  fake 
mind-reading  act  on  air.  When  he  wants  to 
quit,  finds  himself  involved  with  gangsters. 
whom  he  outwits  in  amusing  climax.  9-14-37 
(A)    Waste  of  time  (Y)    and    (C)    Poor 

Knight  Without  Armour  (Dietrich,  Donat) 
(U.  A.)  Strong  romantic  melodrama  with 
Russian  Revolution  as  background.  Grim  death 
and  destruction  throughout.  Intimate  roman- 
tic episodes  inoffensively  handled ;  famed  bath- 
tub scene  merely  silly.  Donat  effective.  Lan- 
gourous  acting  :  fixed  stares  by  Dietrich.  8-17-37 
(A)   Good  of  kind   (Y)   Strong,  mature   (C)  No 

Lady  Escapes,  The  (Gloria  Stuart,  Michael 
Whalen)  (Univ.)  Cheap  concoction  about 
married  pair,  in  love  supposedly,  who  con- 
stantly quarrel,  scream  epithets,  hurl  furni- 
ture. They  separate,  giddy  wife  engages  in 
flirtation,  making  husband  jealous,  leading  to 
reunion  for  renewal  of  petty  bickering.  9-7-37 
(A)    and    (Y)     Stupid  (C)    No 

Last  Night.  The  (Russian,  good  English  titles) 
(Amkino)  Skillful  screening  of  first  great  Bol- 
shevik triumph,  glorifying  Soviet  idea  as  use- 
ful. Much  human  interest  and  real  drama  in 
Moscow  struggle,  switching  people  and  army 
from  old  regime  to  new.  Rather  blatant  prop- 
aganda. R-22-37 
(A)    Fairly  good            (Y)    (C)    Doubtful   value 

Last  Train  from  Madrid  (Gilbert  Roland,  K. 
Morley,  D.  Lamour)  ( Para)  Tense,  suspenseful, 
propaganda  less  melodrama  about  assorted  char- 
acters scheming,  lying  and  killing  to  obtain 
coveted  pass  out  of  besieged  Madrid.  Violent, 
unimpressive,  little  character  value,  and  with 
some  feeble  acting  and  humor.  6-29-37 

(A)    Fair  of  kind  (Y)    Doubtful  (C)   No 

League  of   Frightened  Men    (Walter   Connolly, 

Lionel  Stander )  ( Col )  Good  detective  puzzle, 
needing  no  hokum  and  little  violence,  with  Con- 
nolly masterful  as  super-detective,  Stander  rta- 
sonably  funny,  and  villain  beautifully  concealed 
to  the  end.  Well  acted,  original  plot,  and  ac- 
tion concentrated  on  business  in  hand.  6-29-37 
(A)   Good  of  kind   (Y)Good  Thriller  (C)Mature 

Life   of    Emile   Zola.    The    (Muni,    Schildkraut, 

and  fine  cast)  ((>)1.)  Stirring  biographical 
film,  authentically  mounted,  true  in  e5sentia!s, 
fictionized  as  to  detail.  Muni  superb  in  tit  e 
role.  Schildkraut's  Drey  fuss  impressive.  Some 
minor  flaws  in  make-up  that  hardly  detract 
from  moving,  human,  dramatic  values.  8-31-37 
(A>    and    (Y)    Excellent  (C)    Mature 

Life  of  the  Party  (Gene  Raymond,  Harriet 
Hilliard)  (RKO)  Ridiculous  title  for  largely 
ridiculous  musical-farce-comedy,  with  frivol- 
ous plot  of  hero  chasing  heroine  who  is  chas- 
ing career,  a  pretended  "man-and-wife  situa- 
tion," to  accompaniment  of  gags  and  comic 
specialties  of  Penner,  Parkyakarkus.  9-7-37 
(Ai    Depends  on   taste    (Y)  If  it  amuses    (C)  No 


Love  In  a  Bungalow  (Nan  Grey,  Kent  Tay- 
lor) (Univ.)  Light,  breezy  romantic  comedy 
with  loo  much  talk  slowing  up  action.  Letter 
written  by  heroine,  hostess  in  charming  model 
bungalow,  and  whimsical  hero,  wins  prize  in 
most-happily-married  couple  contest  and  leads 
to   amusing   complications.  8-31-37 

( A ) Ordinary      ( Y )  Passable     (C )  Little     interest 

Love  Under  Fire  (Don  Ameche,  Loreita 
Young)  (Fox)  Dull,  largely  incoherent  con- 
glomeration of  Spanish  Revolution,  romance, 
jewel  thefts,  chases,  captures  and  escapes  by 
assorted  characters,  Borrah  Minnevitch  and 
his  gang  merely  adding  to  the  general  con- 
fusion. E.  E.  Clive  amusing.  8-24-37 
(A)    Mediocre    (Y)    and    (C)    Doubtful    interest 

Make  a  Wish  (Bobby  Breen.  B.  Rathbone, 
Marian  Claire  )  (RKO)  Entertaining  and 
pleasant  musical  |)icture  with  tunes  part  of 
plot.  Natural  role  for  Bobby,  and  Rathbone 
engaging  as  composer  in  love  with  singer- 
heroine,  mother  of  his  little  pal.  Wholesome 
scenes  of  boys'  camp  life  add  much.  8-31-37 
( A )     Enjoyable       ( Y )     Good       ( C )     Very    good 

Man  in  Blue.  The  (Edward  Ellis.  Nan  Grey  i 
(Univ.)  Fine  character  study  by  Ellis  as  hon- 
est "cop",  trying  to  save  boy  of  crooked  her- 
edity from  going  wrong  in  crooked  environ- 
ment. Rest  is  ordinary  melodrama,  with  crooks 
made  entirely  too  engaging  to  be  wholesome 
for  youngsters.  6-29-37 

(A)    Perhaps  (Y)    Doubtful  (C)    No 

Married  Before  Breakfast  (Robt.  Young,  F. 
Rice)  ( MGM )  Silly,  preposterous  farce,  with 
hero  an  irresponsible  playboy  disliking  work. 
Sells  invention  and  wishes  to  share  good  for- 
tune with  others.  Helping  heroine  get  married 
leads  to  hectic  escapades  involving  gangsters, 
stolen  cars,  wrecks  and  police.  7-13-37 

(A)  Stupid  (Y-C)  No  value 

Marry  the  Girl  (Mary  Boland,  F.  McHugh.  H. 
Herbert)  (War.)  Nonsensical,  confused  comedy. 
Crazy  characters  try  to  manage  newspaper 
syndicate  and  family  troubles.  After  chaotic 
session  in  insane  asylum  and  gangster  intru- 
sion, difficulties  are  ironed  out.  Sometimes 
funny'  but    decidedly   too    absurd,  8-31-37 

(A)    Waste   of   time  (Y)    Poor  (C)    No 

Meet  The  Missus  (Victor  Moore,  Helen  Broder- 
ick)(RKO)  Intended  as  satirical  farce  on  the 
prize-contest  racket,  and  the  susceptibility  of 
the  public  to  same.  Henpecked  husband  hero 
does  the  hou'^swork  which  helps  wife  win.  Ex- 
pert Moore-B  rode  rick  team  wasted  on  stuff 
more  silly   than   subtle.  6-22-37 

(A)   Hardly  (Y)    (C)    Perhaps  amusing 

Midnight  Madonna  (W.  William.  E.  Ellis, 
K.  Clancy)  ( Para. )  Framed  testimony  against 
virtuous  heroine  gives  child  to  worthless  ex- 
husband,  till  gambler-hero's  sensational  expose 
of  perjury  wins  reversal  of  court's  decision. 
Artificial  concoction,  with  Ellis'  role  and  "Shir- 
ley Temple-like"  Kitty  chief  interests.  7-6-37 
(A)  Mediocre  (Y)  Poor  (C)  No 

Motor  Madness  (Allen  Brook,  Rosalind  Keith) 
(Columbia)  Impetuous  young  hero,  allowed  to 
drive  new  model  outboard-motor  racer  and  in 
love  with  builder's  daughter,  must  needs  go 
carousing  on  gambling  ship  and  punching  many 
jaws  the  night  before  great  race.  Second-rate 
in  plot,  cast,  and  thrills.  6-15-37 

(A)  Mediocre  (Y)  Poor  (C)  No 

Mountain  Music  (Bob  Burns,  Martha  Raye) 
( Para. )  Rube  comedy  of  the  craziest,  with 
elementary  slapstick,  supposedly  on  hill-billy 
life,  but  characters  and  action  are  burlesqued 
until  they  become  meaningless.  Many  laughs  in 
a  mass  of  absurditv.  At  least.  Bob  does  not 
play    his    "bazook""  !  6-5?2-37 

(A)    Stupid  (Y)  (C)    Laughable  but  inane 

Mr.  Dodd  Takes  the  Air  (Kenny  Baker,  Frank 
McHugh,  A.  Brady)  (Warner)  Farce  comedy 
of  little  worth,  parts  amusing,  but  mostly 
far-fetched,  silly,  unconvincing  and  even  dis- 
tasteful in  situations  and  characters.  Hero's 
engaging  personality  and  voice  compensate  for 
generally    preposterous    action.  8-17-37 

(A)    Hardly  (Y)    and    (C)    Perhaps 

Night  of  Mystery  (E.  Patterson,  R.  Karns) 
(Para.)  Mediocre,  uninteresting  filming  of 
early  Van  Dine  murder  tale.  Three  murders 
occur  in  household  before  the  famous  Philo 
Vance  can  solve  the  mystery.  Poor  direction, 
confused  situations,  illogical  characterizations 
make  it  dull  stuff.  7-13-37 

(A)  Mediocre  (Y)  Better  not  (C)  No 

Nightingale,  The  (Russian,  full  color,  sparse 
English  titles)  (Amk  I  Simple,  convincing  real- 
ism, well  acted,  beautiful  anu  grim  by  turns,  of 
Russian  industry  as  it  was  under  Czars.  Obvious 
propaganda.  Marred  by  slow  tempo,  over-pro- 
longed scenes,  and  many  touches  of  crudity,  nai- 
vete and  absurdity.  Good  music,  sound.  6-29-37 
(A)   Novel  (Y)    (C)    Little  interest  or  value 


New  Faces  of  1937  (Penner,  Berle,  et  al) 
I  RKO)  Hilarious,  crazy  backstage  story  con- 
cerning production  of  a  show  crooked  producer 
tries  to  ruin.  Nonsensical  dialog  and  antics 
by  assorted  comics,  free  from  vulgarity,  some 
clever  skits  and  ensembles,  and  very  funny 
at  times.  7-6-37 

(A)  Depends  on  taste      (Y-C)  Probably  amusing 

North  of  the  Rio  Grande  (Bill  Boyd)  (RKO) 
Fair  Western  in  Hopalong  series.  He  exposes 
lawless  element  responsible  for  young  broth- 
er's death  and  the  villainy  oi  head  of  cattia 
rustling  gang  posing  as  respected  citizen.  Ex- 
citing pursuits,  gun  play  and  hectic  chase 
after    runaway    train   as    climax.  8-31-37 

(A)    Hardly    (Y)    Fair    (C)    Good   but  exciting 

Oh  Doctor  (Edward  E.  Horton)  (Univ.) 
Crazy  farce  about  crooks  trying  to  swindle 
rich  hero  who  imagines  himself  mortally  ill 
with  complications  of  diseases.  Heroine 
comes  in  as  nurse  and  transforms  him.  Only 
feature.  Horton's  unique  comedy  work  as  the 
hero,  7-13-37 

(A)  Hardly  (Y-C)  Fairly  amusing 

On  Again.  Off  Again  (Wheeler  and  Woolsey) 
(RKO)  Usual  preposterous  nonsense  stuff  and 
hokum  by  pair  as  brainless  partners  in  suc- 
cessful pill  business.  Incessant  fighting  leads 
to  contest,  loser  of  which  becomes  valet  to 
other.  Provoke  a  feeble  laugh  occasionally  but 
mostly    very    tiresome.  9-7-37 

(A)    Stupid  (Y)    and    (C)    Poor 

One  Mile  From  Heaven  (Claire  Trevor,  Sally 
Blaine)  (Fox)  Highly  incredible  farce-melo- 
drama mixture,  with  super-clever  reporter 
heroine  solving  puzzling  claim  of  mullato  girl 
to  white  child.  Some  appealing  action  and 
comedy,  Fredi  Washington's  fine  acting,  and 
Bill  Robinson  compensating  factors.  8-24-37 
(A)     Perhaps  (Y)     Perhaps  (C)     No 

Outcasts  of  Poker  Flat  (P.  Foster.  J.  Muir, 
V.  Weidler)  (RKO)  Lusty,  lively  melodrama 
based  on  Bret  Harte  stories  of  Gold  Rush  days. 
Drinking,  shootings,  and  child  poker  player  in 
hero's  gambling  house !  But  minister,  school- 
teacher-heroine and  vigilantes  bring  law  and 
order  and  drive  out  gamblers.  7-6-37 

(A)  Hardly  (Y)  Better  not  (C)  No 

Outlaws  of  the  Orient  (Jack  Holt,  Mae  Clarke) 
(Col.)  Again  Jack  is  the  super-man,  of  an  oil 
company  this  time,  hindered  in  developing  oil 
field  in  China  by  double-crossing  bandit  gen- 
eral and  gang,  who  are  finally  eliminated  in 
lively  exchange  of  gun  fire.  Elementary 
melodrama.  8-3 1-37 

(A)    Mediocre  (Y)    Mediocre  (C)    No 

Pamell  (Clark  Gable,  Myrna  Loy)(MGM)  Dra- 
matic story  of  fiery  Irish  patriot  whose  cause 
for  home  rule  meetes  d-?feat  when  scandal 
breaks  over  his  love  for  married  woman.  Im- 
pressively set  and  marked  character  interest 
but  film  weakened  by  Gable's  lack  of  fire  and 
excess  dialog,  which  thins  out  pictorial  value 
and   content.  fi-22-37 

(A)    Very    good    of    kind    (Y)  Mature    (C)  No 

Pick  a  Star  (Patsy  Kelly,  Jack  Haley,  Rosina 
Lawrence)  (MGM)  Nonsense  comedy  of  coun- 
try girl  with  prize-winning  voice  crashing 
Hollywood.  Burlesqued  "star"  has  improper  de- 
signs upon  her,  but  finally  helps  to  success. 
Feeble  romance,  flimsy  characters  eked  out  by 
laughable  inserts  of  Laurel  and  Hardy.  6-15-37 
(A)  Depends  on  taste     (Y)  Perhaps     (C)  Hardly 

Reported  Missing  (Wm.  Gargan,  Jean  Rog- 
planes  in  flight,  kills  pilots,  robs  passengers. 
ers)  (Univ.)  Preposterous  thriller  built  around 
air  travel.  Puzzling  aspects  of  several  plane 
crashes  lead  to  investigation  and  grim  climax 
exposing  brutal  aviator-killer  who  boards 
jumps  to  safety  while  planes  crash.  8-31-37 
(A)  and  (Y)  Good  of  kind  (C)  Doubtful  value 

Riding  on  Air  (Joe  E.  Brown.  Guy  Kibbe) 
(RKO)  Hilarious,  clean  comedy  with  usual 
funny  Brown  antics.  He  wins  radio  contest, 
gets  into  trouble  with  his  girl  and  community 
through  slick  stock  promoter,  but  becomes  hero 
when  he  captures  smugglers  and  proves  worth 
of  airplane  invention.  Thrilling  flying.  8-24-37 
(A)    and    (Y)    Amusing  (C)    Good 

Road  Back,  The  (R.  Cromwell,  John  King, 
et  al,)  (Univ.)  Notable  production,  stirringly, 
impressively  depicting  futility,  horror  and 
tragic  by-products  of  war.  Unfortunately,  ill- 
conceived  buffoonery  and  slapstick  blur  the  im- 
pelling poignancy  of  author's  theme — the  mal- 
adjustment of  soldiers  to  civilian  life.  8-3-37 
(A)    Excellent    (Y)    Mature    (C)   Not  for  them 

Roaring  Timber  (Jack  Holt,  Grace  Bradley) 
(Columbia)  Melodrama  with  time-worn  theme. 
Hard-working  hero,  a  lumber-boss,  overcomes 
all  obstacles,  despite  heavy  villainy,  to  meet 
dead  line  date  set  by  contract.  Some  love'y 
scenery  and  interesting  glimpses  of  logging 
operations,    but   elementary    stuff.  8-8-37 

(A)    Mediocre  (Y)    Poor  (C)    No 


Page  220 


The  Educational  Screen 


Saratoga  (Jean  Harlow.  Clark  Gable  MMGM) 
Credible,  well-acted  romantic  racetrack  story, 
with  good  comedy.  Gay.  scheming  bookmaker- 
hero  and  stubborn  heroine  in  love  but  wrangle 
incessantly  and  try  to  outsmart  each  other  until 
misunderstandings  are  cleared  up.  Some  sex 
touches  crudely,  needlessly  lugged  in.  7-27-37 
(A)  Fairly  amus.   (Y)  Better  not  (C)  Unsuitable 

San  Quentin  (Pat  O'Brien,  Ann  Sheridan) 
(Warner)  Army-hero,  appointed  prison  yard 
captain  to  replace  brutal  predecessor,  tries 
policy  of  fairness  and  understanding  in  han- 
dling of  men,  but  double  dealing  starts  trouble, 
leading  to  grim  climax.  Fairly  interesting, 
strong  in  spots  ;  not  always  convincing.  8-3-37 
(A)    Good  of  kind  (Y)    Perhaps        (C)    No 

She  Had  to  Eat  (Jack  Haley,  Rochelle  Hudson) 
(Fox)  Light,  inane  farce  with  crazy,  crooked 
and  weak  characters — a  crazy  millionaire  who 
forgets  people  when  sober,  a  professional  gold 
digger  heroine,  and  an  incredibly  naive  hero 
whose  resemblance  to  escaped  convict  gets  him 
mixed  up  with  gangsters  and  police.  7-20-37 
(A)  Poor  (Y)  Mediocre  (C)  No 

She's  No  Lady  ( Ann  Dvorak.  John  Trent ) 
(Para.)  Inane,  monotonous  concoction,  combin- 
ing romance  and  crook  melodrama.  Hero  and 
heroine  indulge  in  heavily  whimsical  dialog 
that  is  both  unconvincing  and  trying.  Action 
lumbers  along  to  rather  stupid  climax,  involv- 
ing a  chase  after  necklace.  9-14-37 
(A)    and    (Y)    Mediocre                               (C)    No 

Singing  Marine.  The  (Dick  Powell.  Doris 
Weston  K  Warner)  Light,  gay,  tuneful  story. 
Marine  tries  out  for  radio  on  his  furlough  and 
his  immediate  big  success  goes  to  his  head, 
causing  plenty  of  trouble  with  his  girl,  his  bud- 
dies and  superior  officers.  Some  amusing  com- 
edy by  Hugh  Herbert.  7-6-37 
( A,)Fair  of  kind    (Y)Prob.  gd.    (C)If  it  interests 

Slave  Ship  (W.  Baxter,  W.  Beery,  Eliz.  Al- 
lan) (Fox)  Powerful,  grim,  vivid  drama  of  slave 
trading  before  Civil  War.  Cruel,  unscrupulous 
crew  mutinies  when  captain  tries  to  quit  busi- 
ness for  love  of  his  wife,  and  wholesale  killings 
result.  Well  acted  and  directed,  fine  photog- 
raphy, but  too  brutal  and  violent.  7-20-37 
(A  (Unpleasant  (Y)Too  strong  (C)  Decidedly  not 

Slim  (Hy.  Fonda,  Pat  O'Brien.  M.  Lindsay) 
(War.)  Realistic,  convincing  drama  dea  s  with 
heroism  and  devotion  to  duty  of  linemen  who 
work  on  high  tension  power  lines.  Human 
characters,  notab'e  photography,  thrilling,  sus- 
penseful  climax.  Little  romance,  deep  friendship 
of  two  men   are  appealing  elements.  7-27-3/ 

(A-Y)  Interesting  (C)  Too  thri:iing 

Song  of  the  City  (M.  Lindsay,  Jeffery  Dean) 
(MGM)  Rather  pleasing  portrayal  of  simp.e 
home  life  of  Italian  family  in  San  Francisco 
fishing  colony  with  whom  poor  but  socialite 
hero  lives  after  they  rescue  him  from  sea, 
and  where  he  finds  new  life  and  love.  Good 
photography  and  atmosphere.  7-6-37 

(A)  Fair    (Y)  Probably  good    (C)  Little  interest 

Song  of  Happiness  (Russian,  English  Titles) 
(Amkino)  Slow,  dragging,  largely  naive  story 
of  how  benign,  paternal  Sovietism  trains  art  tal- 
lent  and  sends  it  back  to  work  gloriously  among 
those  whence  it  came.  Obvious,  sentimental 
propaganda.  Earthy  people  made  glamorous, 
supposedly.  Thin  plot,  crude,  tiresome.  7-20-37 
(A)  Dull  (Y)  No  (C)  No 

Souls  at  Sea  (Gary  Cooper,  Geo.  Raft,  Frances 
Dee)  (Para.)  Strong,  colorful,  absorbing  melo- 
drama inspired  by  century-old  sea  disaster  in 
days  of  slave  trade.  Impressively  set,  costumed, 
directed,  acted,  beautifully  photographed.  Es- 
sentially tragic  situation,  but  not  prolonged 
or  overdone.  9-14-37 

(A)    Fine  of  kind        (Y)  Too  strong        (C)    No 

Stella  Dallas  (Stanwyck,  Ann  Shirley,  J. 
Boles)  (MGM)  Excellent  sound  version  of 
famous  sentimental  silent  of  years  ago.  Shir- 
ley notable  as  daughter ;  Stanwyck  highly  ef- 
fective as  crude,  blatant  mother  who  does 
courageous  sacrifice  for  child.  Some  unneces- 
sary exaggerations,  but  whole  notable.  8-17-37 
(A)Very    fine    of    kind    (Y)-(C)    Good   but   sad 

Sweetheart  of  the  Navy  (Cecilia  Parker,  Eric 
Linden)  (Grand  Nat'I)  Exceedingly  dull,  poor- 
ly directed  and  acted  film,  the  wooden  little 
heroine  being  particularly  distressing  as  hos- 
tess of  nightclub  catering  to  sailors.  Prize- 
fighting and  romantic  elements  ensue  as  action 
limps  painfully  along  to  finish.  8-10-37 

(A)    Stupid  (Y)    Poor  (C)    Poor 

Super  Sleuth  (Jack  Oakie,  Ann  Sothern) 
(RKO)  Farcical  mystery  with  audience  know- 
ing identity  of  killer  at  start.  C;mceited.  dumb 
movie-detective-hero  tries  to  detect  his  would-be 
assassin  in  real  life  by  screen  methods  and  by 
^heer  luck  captures  him  after  much  nonsensical 
el"»npti'^k  dointjTH  in  fantastic  museum.  7-27-.'*'* 
(A)Dep.  on  taste   (Y)Prob.  funny    (C)Betternot 


Talent  Scout  (Donald  Woods,  Jeanne  Madden) 
(War.)  Little  heroine,  "discovered"  by  breezy 
self-confident  studio  scout,  fails  in  screen  test, 
but  his  artful  scheming  wins  second  chance  and 
recognition  of  talent.  Fairly  amusing  bur- 
lesque of  Hollywood,  and  with  elementary  but 
wholesome   romantic   angle.  7-27-37 

(A)  Perhaps      (Y)  Fairly  good      (C)  No  interest 

Talk  of  the  Devil  (Sally  Filers.  Ricardo  Cor- 
tex) (Gau-Brit)  Starts  out  interestingly,  with 
real  character  interest,  then  drags  out  dully 
with  much  talk,  little  action,  through  a  suicide 
and  attempted  murder  to  unconvincing,  melo- 
dramatic finish.  Neither  characterizations  nor 
situations  are  very  credible.  7-20-37 

(A)  Hardly  (Y)  Unsuitable  (C)  No 

That  I  May  Live(  Rochelle  Hudson.  Robt.  Kent) 
(Fox)  Weak  ex-convict  hero  wants  to  reform 
but  old  gang  force  him  into  bank  robbery  and 
pin  a  murder  on  him.  Escapes  and  builds  new 
life  with  fine  wife  and  loyal  friend,  who  trap 
gang,  clearing  hero.  Some  homely  little  touches 
but  story  illogical  and  iinconvincintT.  fi_22-''7 
(A)   Mediocre        (Y)   Doubtful  value        (C)   No 

The  Tenth  Man  (English  cast)  (G-B)  Strong 
unscrupulous  hero  wins  seat  in  English  Parlia- 
ment, rides  rough-shod  over  all,  and  even 
flaunts  amours  in  own  home  before  his  wife. 
Embezzles  to  promote  fake  mine,  is  caught, 
and  commits  suicide  just  as  mine  yields  un- 
expected gold.  Lacks  appealing  quality.  6-15-37 
(A)  Perhaps  (Y)  Doubtful  (C)  No 

There  Goes  My  Girl  (Gene  Raymond.  Ann 
Sothern)  (RKO)  Another  lively  "newspaper" 
melodrama  of  love,  murder,  bawled  dialog  and 
general  boorishness.  Burlesque  city-editor  fights 
marriage  of  hero  and  heroine,  rival  reporters. 
Loving  pair  wrangle  in  public.  Her  fist  fells 
husky  men,  etc.  Frantic  and  absurd  film.  6-15-37 
(A)  Depends  on  taste  (Y)  (C)  Doubtful  value 

Thin  Ice  (Sonja  Henie,  Tyrone  Power)  (Fox) 
Elementary  little  plot  about  romance  of  in- 
cognito prince  and  little  skating  instructress. 
but  decidedly  worth  while  for  Sonja's  charm 
and  incomparable  skating,  delightful  ice  bal- 
lets, Alpine  scenery.  Joan  Davis'  antics  serve 
merely  as  undesirable  interruptions.  9-7-37 
(A)    Good  (Y)    Very    good  (C)    Good 

Think  Fast,  Mr.  Moto  (Peter  Lorre,  Virginia 
Field)  (Fox)  Rather  diverting,  fairly  credible 
mystery  melodrama.  Interesting  settings,  excit- 
ing action,  grim  at  times,  tense  climax  a-< 
jewel  and  opium  smugglers  are  finally  trapped 
in  Shanghai.  Lorrc's  effective,  highly  suspense- 
ful  role  an  interesting  departure.  9-14-37 

(A)  Good    of    kind  (Y)  Exciting  (C)  No 

Thirteen,  The  (Russian  cast,  English  titles) 
Stirring,  absorbing  drama  of  heroism  based  on 
actual  incident.  Group  of  demobilized  Soviet 
soldiers,  commander  and  wife,  attacked  at 
oasis  by  bandits,  hold  them  off  until  troops 
come  to  rescue  lone  survivor.  Superb  desert 
photography,    fine   acting.  9-14-37 

(A)    Impressive      (Y)    Good      (C|    Too  exciting 

Toast  of  New  York,  The  (E.  Arnold.  C.  Grant, 
Oakie)  (RKO)  Lively,  highly  fictionized  and 
romanticised  history  of  Fisk*s  manipulation  of 
men  and  stock  markets,  and  rise  to  financial 
power  in  post-civil-war  days,  the  good-natured, 
swashbuckling,  ruthless  hero  reaping  ruin  and 
death    in    final    audacious   scheme.  8-10-37 

(A)    Good   of   kind        (Y)    Doubtful        (C)    No 

Topper  (Constance  Bennett,  C.  Grant,  Roland 

Young)  (MGM)  Hilarious,  well-acted,  sophisti- 
cated,preposterous  fantasy,  with  clever  trick 
photography  to  carry  out  preternatural  theme 
of  gay,  irresponsible  pair  whose  whimsies  are 
continued  by  their  spirits  after  car  crash.  A 
noveltv,  over-long,  overdone  in  spots.  8-3-37 
(A)    Amusing    of    kind    (Y)    Perhaps    (C)    No 

Two  of  Us  (Jack  Hulbert,  Gina  Malo)  (Gau- 
mont  British)  Broad  English  farce  of  choppy 
action  and  interpolated  song  and  dance  se- 
quences. Impecunious,  glib-tongued  waiter 
crashes  exclusive  London  "party."  his  impress- 
ive impertinence  creates  chain  of  highly  in- 
credible, fairly  amusing  developments.  8-10-37 
(A)    Hardly     (Y)    and    (C)    Doubtful    interest 

Tundra  (Expedition  picture)  ('Norman  Dawn) 
Amazingly  fine  and  striking  photography  of 
actual  Alaska,  its  landscape,  mountains,  bergs, 
fauna  and  flora,  and  the  adorable  doings  of  two 
bear  cubs.  The  attempted  adventure  "story"  is 
naively  artificial  and  often  preposterous — weak 
drama  in  splendid  settings,  6-15-37 

(A)  Unusual  (Y)  (C)  Mostly  very  good 

Under  the  Red  Robe  (Raymond  Massey.  Con- 
rad Veidt.  Annabella)  (Fox)  Mostly  interesting 
English  version  of  famous  romantic  novel  of 
Richelieu  and  the  Huguenots.  The  too  mature 
Veidt  does  romantic  role  rather  heavily,  and 
charming  Annabella's  English  is  none  too  clear, 
but  Mfl.'isey's  Richelieu   compensates.  6-15-37 

(A)(Y)  Very  gocd  (Cl  Little  interest 


U.S.S.R.-I937  (Amkino)  Lengthy  compilation 
glorifying  Soviet  achievements  in  industry, 
arts  and  crafts,  farming,  sports  and  athletics, 
etc.  Tedious  shots  of  preparations  for  round- 
the-world  flight.  Poor  photography  and  sound. 
Concludes  with  elaborate  festival  of  games, 
dances,     stunts,     etc.  8-17-37 

(A)    and    (Y)    If   it   interests    (C)    No   interest 

Varsity     Show     (Dick     Powell,     Fred     Waring) 

(War.)  Above  average  college  musical,  peppy, 
amusing,  smoothly  done.  Substantial  little 
story  concerns  students'  difficulties  in  putting 
on  show  due  to  faculty  interference,  so  trans- 
fer it  to  New  York  to  help  hero-producer. 
Effective     spectacles,     pleasing     cast.  9-7-37 

(A)  Good      (Y)  Entertaining     (C)  If  it  interests 

Venus  Makes  Trouble  (James  Dunn,  Patricia 
Ellis)  (Columbia)  Incessant  talk  and  little  else 
in  story  of  glib-tongued  super-salesman  hero 
who  achieves  sensational  success  as  merchan- 
dising expert.  In  preposterous  cHmax  he  talks 
himself  out  of  grand  jury  indictment.  Ele- 
mentary unconvincing  stuff.  7-27-37 
(Ai  Mediocre       (Y)  Little  int.  or  value       (C)  No 

Wee  Willie  Winkie  (Shirley  Temple.  V.  Mc- 
LaglenKFox)  Little  Shirley  at  her  best  in  Kip- 
ling story  a  tered  to  fit.  Delightful,  appealing 
little  girl  action  throughout.  Mature  surround- 
ings and  situations,  of  course,  with  some  vio- 
lence, pathos,  tense  moments,  and  improbable 
but  pleasing  climax.  7-27-37 

(A)  Very  good      (Y)  Excellent      (C)  Mostly  good 

Westbound  Limited*  Lyle  Talbott,  Polly  Rowles) 
(Uni.)ElenK'ntary  melodrama  about  embittered 
telegrapher-hero,  who  (^ees  unjust  prison  sen- 
tence for  neglect  of  duty,  following  train  wreck, 
alternately  tramps  and  works,  till  circum- 
stances provide  opportunity  for  vindication. 
Some  character  interest  and  value.  8-24-37 
(A)    Hardly  (Y)    and    (C)    Fair 

When  Thief  Meets  Thief  (D.  Fairbanks,  Va- 
lerie Hobson  )  (U.A. )  Unpleasant  mess  of  sordid 
situations  and  characters.  Bo<jtIegger-burglar 
hero  first  seduces  and  then  falls  in  love  wi^h 
intended  victim — golddigging  fiancee  of  hero's 
treacherous  ex-pal.  Then  reformation,  comp  i- 
cations.  killing  ard  wholesale  perjury.  7-6-37 
(A)  Unpleasant  (Y)  No  (C)  No 

Wings  Over  Honolulu  (Wendy  Barrie,  Ray 
Milland)  (Univ.)  Pleasant  little  romance,  over- 
sticky  and  too  playful  at  times,  leads  to  rich 
heroine's  marriage  to  poor  naval  lieutenant.  His 
duties  and  her  loneliness  bring  not  too  ser- 
ious trcuble  and  all  ends  well.  U.  S.  Navy  co- 
operated heavily.  6-29-37 
(A)    Fair            (Y)    Probably  good             (C)    No 

Wild  Money  (E.  E.  Horton,  Lynne  Overman) 
( Para. )  Rather  different  and  well  told  news- 
paper story  with  amusing  comedy  and  much 
character  interest.  Fine  performance  by  Hor- 
ton as  penny-pinching  auditor  on  paper  who 
is  thrust  into  reporter's  job  in  kidnapping 
case ;  proves  his  efficiency,  heroism.  8-3-37 
(A)    Amusing    (Y)    Good    (C)     Prob.  Amusing 

Wine,  Women  and  Horses  (Barton  MacLane) 
(War.)  Gambler-hero  tries  to  reform  to  please 
wife,  succeeds  intermittently.  Unhappy  situa- 
tion for  both  finally  solved  by  wife  turning 
to  former  sweetheart  and  hero  to  marriage 
with  more  adventuresome  girl.  Undistinguished 
fi!m    with    misleading    ethics.  9-7-37 

(A)    Mediocre  (Y)    Better  not  (C)    No 

Woman  Chases  Man  (Miriam  Hopkins.  Joel 
McCrea)  (MGM)  Fast,  furious,  flippant  farce 
with  clever  dialog,  combining  hilarious  slap- 
stick, risque'  wisecrack,  and  suggestive  situa- 
tions of  dubious  taste.  Bibulous  antics  of  hero 
and  heroine  add  "humor".  Crazy  climax  in  a 
tree!     Box   office  ethics.  6-15-37 

(A)  Depends  on  taste  (Y)  (C)  By  no  means 

You  Can't  Beat  Love  (Preston  Foster,  Joan 
Fontaine)  (RKO)  Well-acted  trivia.  Wealthy 
play-boy  hero  digs  ditches  in  top  hat  and  tails, 
indulges  in  other  whimsies  on  "dares",  includ- 
ing running  for  mayor.  Exposes  crooked  hench- 
men of  honest  incumbent,  then  graciously  with- 
draws SI  latter  mav  be  re-e'ected.  8-3-37 
(A)    Hardly    (Y)    Fair    (C)    Doubtful    interest 

You  Can't  Buy  Luck  (Onslow  Stevens,  Helen 
Mack )  ( RKO )  Lives  fairly  up  to  title,  but 
agreeable  little  romance  is  marred  by  heavy 
villainy,  resulting  in  hero's  conviction  for 
murder  of  former  inamorata.  With  aid  of 
loyal  little  heroine  he  proves  innocence  and 
traps  the  real  killer.  7-20-37 

(A)  Fair  (Y)  Better  not  (C)  No 

You    Can't    Have    Everything    (Alice    Faye,    D. 

Ameche )  ( Fox )  Lively,  pretentious  musical. 
Vast  array  of  singing,  dancing.  Jazz-band 
"acts,"  Ritz  Bros,  sound  and  fury  throughout. 
Plot  in  current  "mode" — hero  as  engaging 
inebriate  involved  with  crude  vulgarian  who 
causes  trouble  when  hero  finds  romance.  8-17-37 
(A)     Hardly  (Yi     Better    not  (C)    No 


September,  1957 


Page  221 


Uom     Oli, 


NEWS  AND  NOTES   ^-^  4«/  ..un 

Conducted  by  Josephine  Hoffman 


Producers  and  Educators  Cooperate 
On  Film  Project 

A  highlight  of  the  Detroit  convention  of  the  Na- 
tional Education  Association  last  June  was  the  signifi- 
cant announcement  made  by  Dr.  Mark  A.  May. 
director  of  the  institute  of  Human  Relations  at  Yale 
University,  that  the  Motion  Picture  Producers  and 
Distributors  of  America  will  furnish  film  material 
to  the  school  field,  to  be  evaluated  by  educators. 

The  Hays  organization  has  set  up  headcjuarters  at 
1600  Broadway,  New  York,  for  a  group  of  educators 
reviewing  all  non-current  short  subjects  of  Metro- 
Goldwyn-Mayer,  Paramount,  RKO,  Twentieth  Cen- 
tury-Fox and  Educational,  United  Artists,  Universal 
and  Warner  Brothers.  Ajiproximately  15,000  short 
subjects  have  been  produced  by  these  companies  since 
the  beginning  of  sound  pictures.  Of  this  number 
some  2,000  films  were  selected  for  viewing  by 
the  educational  group  as  being  the  most  likely 
for  school  use.  These  selected  films  were 
classified  under  music,  physical  sciences,  biologi- 
cal sciences,  physical  education,  elementary  education, 
and  social  science.  The  50  films  yet  to  be  examined 
come  under  this  last  group,  which  comprises  the  great- 
est number  of  films  of  any  of  the  classifications.  Ap- 
proximately 1000  films  have  been  approved  so  far 
by  the  70  educators  and  these  will  be  edited  to  con- 
form to  educational  needs. 

With  the  analysis  completed,  the  next  step  will  be 
the  consideration  of  the  distribution  problem.  In  ad- 
dition, a  board  of  educators  proposes  to  advise  the 
producer-distributors  on  new  production  of  films  for 
schools. 

A  $75,000  Rockefeller  and  a  $50,000  Hayes  organi- 
zation appropriation  is  paying  for  an  exploration  of 
the  field. 

Berkeley  Summer  Film  Exhibit 

A  new  type  of  educational  film  exhibit,  staged 
experimentally  by  the  University  of  California  Exten- 
sion Division,  for  teachers  and  school  officials  attend- 
ing Summer  Session  at  Berkeley,  has  been  highly 
successful  and  will  probably  become  an  annual  aflfair, 
according  to  Bovd  R.  Rakestraw,  head  of  the  Exten- 
sion Division's  Department  of  Visual  Instruction. 

Instead  of  restricting  the  exhibit  to  the  showing  of 
educational  films,  as  has  been  done  on  the  Berkeley 
campus  in  the  past  years,  the  Department  of  Visual 
Instruction  this  year  requested  the  manufacturers  of 
projection  equijiment  and  motion  picture  cameras  to 
send  representatives  and  exhibits.  Each  exhibitor  was 
given  the  opportunity  to  demonstrate  his  equipment 
in  a  two-hour  showing  of  educational  films  in  one  of 
the  University's  large  auditoriums.  In  a  lobby  out- 
side the  auditorium  exhibitors  were  given  display 
space,   so  that  visitors  could  inspect  at  close  range  a 


number  of  types  of  projectors  and  cameras.  During 
the  five  afternoons  of  the  exhibit,  i7  educational 
films,  furnished  by  the  Department  of  Visual  Instruc- 
tion, were  shown  to  over  a  thousand  visitors. 

The  objectives  of  the  exhibit  were:  first,  to  enable 
educators  to  "preview"  a  variety  of  educational  films 
and  to  learn  al)out  this  tool  of  education;  second,  to 
enable  teachers  and  adiuinistrators  unfamiliar  with 
school  projection  equipment  to  determine  which  types 
of  equipment  would  meet  the  teaching  and  budgetary 
requirements  of  their  schools. 

The  success  of  the  exhibit  amply  warrants  its  estab- 
lishment as  an  annual  summer  session  feature,  Rake- 
straw believes,  and  jilans  are  now  being  made  for  a 
repeat  performance  in  the  summer  of  1938. 

Summer  Conference  Held  in  Missouri 

A  conference  on  the  use  of  visual  aids  in  secondary 
schools  was  held  on  July  20  and  21,  at  the  University 
of  Missouri,  Columbia. 

The  following  topics  were  discussed  by  members  of 
the  faculty:  Problems  Involved  in  the  Use  of  Visual 
Equipment  in  Teaching,  The  Place  of  Visual  Aids  in 
the  General  Teaching  Program,  An  Example  of  the 
Use  of  Visual  Aids  in  the  Teaching  of  Geography, 
Visual  Aids  in  the  Teaching  of  Physics,  The  Use  of 
Visual  Aids  in  the  Teaching  of  Classical  Languages. 

Demonstrations  of  various  types  of  visual  aids  and 
equipment  were  also  given.  A  demonstration  lesson. 
Teaching  Dental  Hygiene  Through  the  Use  of  Motion 
Pictures,  using  the  advanced  unit  in  the  fourth  and 
fifth  grades  of  the  University  Elementary  School,  was 
one  of  the  program's  highlights. 

Audio-Visual  Education  Conference  in  Atlanta 

A  statewide  conference  on  the  use  of  the  radio 
and  the  motion  picture  in  Education  will  be  held  in 
Atlanta  Friday  and  Saturday  October  15  and  16.  The 
Audio- Visual  Education  Association  has  prepared  an 
excellent  program  including  addresses  by  men  and 
women  of  national  reputation  and  recognized  leader- 
ship in  these  fields  as  well  as  superintendents,  prin- 
pals  and  teachers  in  the  colleges  and  in  both  urban 
and  rural  schools,  and  leaders  in  religious  education 
in  Georgia  and  other  states  who  have  successfully 
utilized  these  modern  teaching  tools  in  classroom,  lab- 
oratory and  auditorium. 

The  October  conference  should  be  of  great  inter- 
est and  benefit  also  to  members  of  Parent-Teacher  As- 
sociations civic  clubs,  religious  education  agencies  and 
other  organizations  interested  in  the  effective  use  of 
the  latest  developments  in  the  audio-visual  field,  and 
it  is  expected  a  large  number  of  officials  and  other  ed- 
ucational leaders  from  all  sections  of  Georgia  and  ad- 
joining states  will  attend. 


Page  222 


The  Educational  Screen 


In  connection  with  the  conference,  demonstrations 
of  the  use  of  improved  audio-visual  aids  will  be  given, 
a  tour  of  Atlanta's  several  broadcasting  stations  will 
be  made,  methods  of  using  the  radio  and  the  motion 
picture  films  in  teaching  and  developing  appreciation 
in  music,  health,  current  events,  spoken  English  and 
other  subjects,  and  in  the  conservation  of  resources, 
both  natural  and  social,  will  be  presented.  New  ed- 
ucational motion  picture  films  will  be  shown,  and  the 
latest  audio-visual  equipment  and  materials  will  be  ex- 
hibited. 

Micro-Photography  to  Preserve  Valuable  Material 
The  American  Documentation  Institute  has  been  in- 
corporated on  behalf  of  leading  national  scholarly, 
scientific  and  informational  societies  to  develop  and 
operate  facilities  that  are  expected  to  promote  research 
and  knowledge  in  various  intellectual  fields.  A  first 
objective  of  the  new  organization  will  be  to  develop 
and  apply  the  new  technique  of  microphotography  to 
library,  scholarly,  scientific  and  other  material.  The 
board  of  trustees  elected  consists  of :  Dr.  Robert  C. 
Binkley,  Western  Reserve  University ;  Dr.  Solon  J. 
Buck,  Director  of  Publications,  National  Archives ; 
Watson  Davis,  Director,  Science  Service ;  Dr.  James 
Thayer  Gerould,  Librarian,  Princeton  University  Li- 
brary; Dr.  Ludvig  Hektoen,  Chairman,  National  Re- 
search Council. 

Such  a  national  organization  was  foreseen  as  an  out- 
come of  Science  Service's  documentation  activities 
when  they  were  begun  in  July,  1935,  implemented  with 
grants  from  the  Chemical  Foundation  and  conducted 
with  the  cooperation  of  the  U.  S.  Naval  Medical 
School,  the  U.  S.  Department  of  Agriculture  Library, 
the  Bureau  of  the  Census,  the  Works  Progress  Admin- 
istration, the  Library  of  Congress  and  other  agencies. 
Bibliofilm  Service  has  been  conducted  by  Science 
Service  in  cooperation  with  the  Library  of  the  U.  S. 
Department  of  Agriculture  as  a  service  to  research 
workers,  and  auxiliary  publication  through  microfilm 
has  been  conducted  by  cooperation  with  leading 
scholarly  and  scientific  journals.  In  the  first  years  of 
its  operation  this  service  shot  almost  one-third  of  a 
million  pages.  Science  Service's  documentation  ac- 
tivities will  be  transferred  to  the  new  American  Docu- 
mentation Institute. 

Annual  DeVry  Conference  Report 

The  Seventh  Annual  Session  of  the  National  Con- 
ference on  Visual  Education  and  Film  Exhibition, 
sponsored  by  Herman  A.  DeVry.  Inc..  was  given  in 
Chicago,  June  21-24,  1937,  at  the  Francis  W.  Parker 
School.  The  Conference  attracted  a  large  assemblage 
of  nationally-known  and  prominent  educators,  school 
officials,  superintendents  and  principals. 

One  of  the  most  important  features  of  the  Confer- 
ence was  the  close  co-ordination  of  educators  with  in- 
dustrials, who  furnished  a  number  of  excellent  films 
which  were  adapted  to  school  curricula.  Also  exhib- 
ited, were  outstanding  films  produced  during  the  cur- 
rent year  by  visual  heads  of  various  institutions,  and 
explanations  of  methods  of  producing  these  films  were 
given  before  the  Conference  audiences.  Among  films 
in  this  class  were  a  color  film  on  Mexico  which  gave 
unusual  views  of  ancient  .\ztec  civilization ;  The  King's 


Diary  and  Spinning  Spokes,  two  amateur  films  from  a 
Milwaukee  high  school,  the  U.  S.  Department  of  the 
Interior's  motion  ])icture.   The  Price  of  Progress,  and 

a  number  of 
other  out- 
standing 
e  cl  u  c  a  - 
tional  film 
successes. 

The  pro- 
g  r  a  ni  was 
spiced  with 
excel- 
ent  lectures 
on  the  use 
of  Visual 
Educa- 
tion and  its 
CO  -  ordina- 
t  i  o  n   with 

school     sys- 
Francis  W.  Parker  School  .         u  u 

temsbysuch 

authorities  as  Professor  L.  \\\  Cochrane,  Director 
Visual  Education  Service.  University  of  Iowa ;  Supt. 
W.  J.  Hamilton,  Oak  Park,  111. ;  Mrs'  Alma  B.  Rogers, 
Director,  Visual  Education.  St.  Louis  Co.  Schools,  and 
many  others. 

One  of  the  most  important  features  of  the  1937 
Session  was  the  election  of  the  Conference  Council, 
headed  by  Mr.  A.  P.  Hollis,  who  has  long  been  known 
in  educational  circles  as  an  outstanding  authority  on 
Visual  Instruction ;  L.  W.  Cochrane.  Director.  Visual 
Education  Service,  University  of  Iowa ;  L.  A.  Haw- 
kins, International  Harvester  Co. :  Mrs.  W.  H.  Ross, 
State  Chairman.  Visual  Education.  Congress  of  Par- 
ent-Teachers ;  Miss  Amelia  Meissner,  Curator.  Edu- 
cational Museum,  St.  Louis  Public  Schools.  This  Coun- 
cil has  already  begim  its  work  towards  formulation 
of  aggressive  plans  for  future  Conferences. 

Films  and  International  Understanding 

The  latest  Bulletin  of  the  International  Bureau  of 
Education  states  that  Mr.  M.  J.  Russell  Orr.  of  the 
Central  Information  Bureau  of  Educational  Films 
(London),  and  Professor  George  Green,  of  the  Uni- 
versity College  of  Wales,  have  developed  a  project  for 
the  production  of  educational  films  specially  planned 
to  serve  the  cause  of  international  understanding.  As 
a  start  they  are  concentrating  on  the  production  of 
films  not  exceeding  three  reels  in  length  and  portray- 
ing sympathetically  the  cultural  life  of  various  coun- 
tries. The  first  of  these,  dealing  with  life  in  Holland, 
was  produced  in  co-operation  with  the  National  Edu- 
cational Film  Institute  of  Holland.  Their  second  pro- 
duction, "Living  In  Wales,"  will  show  in  a  similar  man- 
ner its  customs  and  mode  of  life  and  its  aspirations, 
together  with  the  reasons  which  make  its  people  both 
different  from  and  similar  to  jieoples  of  other  coun- 
tries. They  believe  that  full  understanding  on  these 
lines  is  the  best  way  to  promote  international  sympa- 
thy and  they  hope  to  be  able  to  deal  with  each  country 
in  turn.  It  is  expected  that  these  films  will  be  shown 
both  at  the  public  cinemas  and  in  schools  throughout 
the  world. 


September,  1937 


Page  223 


Getting  Ready  for  Winter  —  In  Hand-Made  Lantern  Slides 


By    ANN    GALE 

ANIMALS,    birds    and    insects    all    prepare    for    winter    in 
ways    that   cliildren    in    the    primary    grades    can    observe. 
These  various  ways  of  getting  ready  for  winter  make 
interesting  material   for  science  stories.    The  six  pictures  may 
be  traced  on  slides  as  the  basis  for  science  stories  on  getting 
ready  for  winter. 

1.  Wild  geese  are  migrating  south  for  the  winter  keeping 
their  wedge  formation  just  like  airplanes  in  v  formation.  Their 
honking  is  heard  in  October.  2.  The  Oriole  has  changed  his 
attractive  black  and  white  suit  shown  in  the  upper  part  of  the 
slide  to  a   duller   streaked  traveling  suit.   He  needs  protection 


Art  Department,  Lindblom  High  School,  Chicago 
lor  his  winter  trip  to  Brazil  which  starts  in  August  or  Sep- 
tember. 3.  This  Chipmunk  is  carrying  corn  and  nuts  to  his 
storehouse  so  that  he  will  have  food  when  he  goes  into  his  nest 
in  October  for  his  winter  sleep,  4.  The  Bear  is  looking  for  a 
nice  hollow  tree  or  cave  to  climb  into  for  his  winter  hiberna- 
tion. S.  The  White  Tailed  deer  is  changing  his  red-brown  coat 
for  a  grey  one  which  will  be  less  conspicuous  in  the  leafless 
woods.  6.  The  larva  of  the  Tiger  Swallow-tail  butterfly  is 
stretching  a  web  across  the  hollow  of  a  leaf  for  his  winter 
bed.  Ne.xt  spring  he  will  wake  up  and  come  out  a  Tiger  Swal- 
low-tail like  the  one  in  the  top  of  the  picture. 


The  sim- 
plest type 
of  han  d- 
made  slide 
is  made  by 
drawing  or 
tracing  on 
finely  fin- 
ished etched 
glass  with 
0 r  dinar y 
medium  lead 
pencil.  Col- 
or, by  spe- 
cial crayons 
or  inks,  en- 
hances the 
slides  great- 
ly. Fine  ef- 
fects are  ob- 
tained by 
b  lending 
with  cray- 
ons. About 
one  -  third 
inch  margin 
should  be 
left  all 
around  the 
slide.  The 
slide  is  read- 
ily cleaned 
with  soap  or 
washing 
powder  to 
receive  a 
new  picture. 


Page  224 


AMONG   THE 
AND    BOOKS 


The  Educational  Screen 

MAGAZINES 

Conducted  by  Stella  Evelyn  Myers 


The  School  Executive  (56:  412-413,  June.  '37) 
"For  Users  of  the  Sound  Film,"  by  Mary  Louise 
Israel  and  Mary-Clint  Irion. 

Although  this  article  is  largely  a  review  of  Doc- 
tor Brunstetter's  book,  "How  to  Use  the  Educa- 
tional Sound  Film",  the  authors  have  enriched  the 
thought  content  from  the  wealth  of  their  own 
experience.  "The  sound  film  is  not  a  mere  supple- 
ment to  school  books,  but  is  a  student  experience, 
basic  for  determining  subject  matter,  and  thus  to 
modify  curricula.  It  stimulates,  adds  to  informa- 
tion, molds  attitudes  and  appreciations.  It  over- 
comes the  limitations  of  time,  of  space,  and  of 
reality.  The  unity  of  impressions  received  from 
the  sound  film  is  the  closest  approximation  to  re- 
ality which  indirect  experience  can  afford."  Mere 
observation  is  not  enough  for  learning;  the  ex- 
tension and  completion  comes  with  thinking  over, 
exploring,  and  verifying  that  which  the  film  has 
presented.  The  motion  picture  must  be  placed 
in  a  dynamic  learning  situation.  Perhaps  the  chief 
prol)Iem  for  the  administrator  is.  "How  to  inte- 
grate the  film  with  classroom  teaching."  The  film 
library  does  not  need  to  be  complete  in  its  initia- 
tion, but  should  be  added  to  in  accordance  with  a 
changing  curriculum  and  the  attainment  of  skill 
.in  teaching  with  films.  Five  qualifications  in  an 
instructor  after  receiving  training  in  visual  teach- 
ing, are  noted. 

Secondary  Education,  (6:  64-66,  March,  '37)  "A 
Cooperative  Film  Library  for  Schools",  by  Paul  G. 
Chandler,  State  Teachers  College.  Millersville,  Pa. 

Information  that  is  much  needed  for  the  organiza- 
tion of  local  motion  ])icture  units,  not  in  a  city  system. 
is  here  presented.  Twenty  years  ago.  the  marvel  of  life 
manifestations  and  processes  in  their  daily  develop- 
ment, simulated  on  a  screen,  was  hailed  as  a  vivifying 
influence  in  education.  Today,  this  educational  "giant" 
is  scarcely  found  beyond  the  large  cities  and  a  few  of 
the  weahhier  small  districts.  Many  teachers  have  never 
seen  an  educational  motion  picture  in  classroom  use. 
The  difficulty  is  not  in  a  lack  of  educational  films,  nor 
suitable  projectors,  but  in  the  fact  that  a  film  frequent- 
ly is  used  for  only  a  single  class,  once  a  year.  A  silent 
film  costs  twenty-four  dollars,  and  a  sound  film  costs 
forty-five  dollars.  If  a  school  should  buy  silent  films 
to  use  on  this  basis  for  four  years,  the  cost  would  be 
four  thousand  dollars.  How  the  cooperative  film  li- 
brary plan  is  solving  this  difficultv  in  southeastern 
Pennsylvania,  is  fully  presented  in  this  article. 

Education  (57:  486-489.  April,  '37)  "The  Value 
of  the  Visual",  by  Dorothy  Park  Latta,  New  York 
University. 

Visual  Education  is  being  dignified  by  the  claim  of 
the  classical  teachers,  who  say  that  they  were  in  the 
forefront  of  this  modern  movement.  Under  the  Serv- 


ice Bureau  for  Classical  Teachers,  the  use  of  pictorial 
and  graphic  material  has  been  spread  all  over  the 
United  States  in  striking  contrast  to  the  method  pur- 
sued in  European  schools.  "Whatever  is  being  done 
elsewhere,  we  in  the  United  States  are  convinced  that 
at  least  a  modicum  of  objects  to  see  and  touch  is 
necessary  for  the  vitalizing  of  our  world."  While  the 
science  and  manual  training  departments  are  being  pro- 
vided with  proper  equipment,  a  special  room  with 
murals,  furniture,  museum  cases,  colorful  and  use- 
ful, should  be  provided  for  the  classical  studies.  The 
book  publishers  are  helping  with  colorful  and  whim- 
sical maps  of  the  ancient  world.  The  students,  also,  are 
making  charts  showing  the  debt  our  modern  world 
owes  to  Rome,  or  are  putting  touches  on  murals. 
Models  of  a  Roman  theater  are  made,  and  plays,  based 
on  Latin  or  Greek  themes,  are  presented  with  puppets 
in  marionette  theaters.  Relief  maps,  towns,  and  battle 
plans  are  modeled  of  clay  or  plasterline  on  a  glass- 
topped  table. 

Visual  educators  will  recognize  the  claims  of  our 
classical  friends  as  well-founded  and  true.  Come  right 
into  the  fold.  We  only  wonder  why  you  have  been 
so  long  in  claiming  kinship. 

School  Management  (6:239  ct  al.  May  '37)  "Edu- 
cational Sound  Pictures  in  I'ublic  l-'ducation",  by 
N.  L.  Engelhardt,  Teachers  College,  Columbia. 

A  review  is  given  of  four  significant  experiments 
in  the  use  of  sound  pictures,  and  reference  is  made  to 
Brunstetter's  book  on  techniques  of  using  these  aids. 
More  and  more  the  school  is  reaching  out  and  trying 
to  bring  reality  to  the  child.  The  writer  gives  a  most 
interesting  and  intimate  account  of  his  ac(|uaintance 
with  peoples  acquired  by  means  of  the  sound  ])icture 
in  comparison  with  acquaintance  through  actual  visi- 
tation. The  superiority  of  the  former  means  is  ac- 
counted for  in  these  words :  "The  sound  picture  was 
prepared  with  a  purpose.  All  extraneous  matter  had 
been  eliminated.  There  was  one  objective  :  the  teach- 
ing of  the  ways  in  which  a  certain  peojjle  live.  Every 
well-prepared  educational  sound  picture  .  .  .  con- 
centrates, it  delimits,  it  focuses  attention,  and  it  pro- 
vides compelling  and  yet  pleasing  opportunity  for 
learning."  The  reviewer  is  sure  that  producers  of 
silent  films  will  think  that  their  case  has  been  stated 
well  for  them.  also. 

"Sound  Systems  for  Schools",  by  William  L. 
Moore  and  Librador  K.  Meola.  (pp.  242-243  et  al.) 

An  exhaustive  description  of  the  installation  of  a 
sound  system  in  a  wcll-equi])ped  school,  exclusive  of 
the  sound  motion  picture  rej^roduction.  which  is  a  sub- 
ject unto  itself,  will  be  heljiful  to  many  administrators. 

Michigan  Education  Journal  (14:397  et  al.  April 
'37)  ".Amateur  Camera  \''agabonds".  by  Irene 
Reindel. 

Even  if  you  are  not  an  artist,  you  can  portray 
Europe,  when  abroad,  in  all  its  life  and  color  if  vou 


September,  1937 


Page  22  5 


They  Ae^ne^9wet 
what  XhejAee/ 

Teach  more  effectively . . .  with  this  RCA 
equipment  that  makes  every  lesson  live! 

To  give  life  to  any  subject  is  to  make  it  more  inter- 
esting. That's  why  leading  educators  in  all  parts  of 
the  country  are  enthusiastic  about  RCA  teaching  aids. 
For  these  products  make  every  lesson  live — give  them 
that  vibrant  spark  that  stimulates  student  minds. 
Where  there's  life  there's  interest— and  an  interested 
pupil  is  one  who  learns! 

Two  of  RCA's  many  teaching  aids  are  shown  here. 
You  teach  by  sight  and  sound  with  the  RCA  Sound 
Motion  Picture  Projector,  PG-81.  And  with  an  RCA 
Victor  radio  and  record  player  sound  is  again  used 
to  great  advantage. 

These  products  are  well  made  and  reliable.  They 
bear  the  RCA  trademark— long  famous  as  the  sign 
of  the  finest  in  radio  and  sound.  Costs  are  remark- 
ably low.  Our  trained  experts,  familiar  with  school 
problems,  will  be  glad  to  make  recommendations, 
quote  prices,  for  your  school.  No  obligation. 


RCA  Sound  Motion  Picture  Projector,  PG-81 

. . .  One  of  RCA's  complete  line  of  Sound  Motion 
Picture  Projectors.  Designed  to  give  ample  illu- 
mination in  average  rooms  or  large  auditoriums. 
Equipped  with  the  same  RCA  Photophone 
Rotary  Stabilizer  Soundhead  used  in  nation's 
leading  motion  picture  houses.  Assures  high 
quality  performance. 


Send  for  New  Catalog 

"SOUND  SERVICE  FOR  SCHOOUS 

Thi^interestingbooklet^nswers^our 

questions,  ^^^  ^^  f.^  yoJr 
Educational  A^^s  wi  *-     .^„ 

school.  Write  now!   No  oblig 


RCA  Victor's  new,  1938 
radios  and  record  players 
are  the  finest  in  the  history 
of  the  company!  Here  is 
Model  811K,  a  world-wide 
radio  with  Electric  Tuning, 
Straight-Line  Dial,  Sonic- Arc 
Magic  Voice  and  a  host  of 
other  fine  features.  Ideal  for 
classroom  or  auditorium  use. 


^mae  for  schools 


EDUCATIONAL  DEPARTMENT 
RCA  Manufacturing  Co.,  Inc.,  Camden,  N.  J.     •     A  Service  of  the  Radio  Corporation  of  America 


Page  226 


Reasons  why 

HOLMES  16:  PROJECTORS 

run  films  two  or  three  times  as  long  without  sprocket 
hole  damage  —  run  quieter  —  need  less  service  —  can 
use  more  powerful  lamps,  including  arc  lamps. 


HOLMES  St":  PROJECTORS 

CHOICE  OF  PROFESSIONAL  OPERATORS  EVERYWHERE 
HOLMES    PROJECTOR    CO.,    1813    Orchard    St.,    Chicago 


The  Educational  Screen 

take  both  your  still  and  motion  picture  cameras.  Mr. 
Donald  McGuire,  a  Detriot  School  Principal,  has  had 
much  fun  and  valuable  experience  in  this  manner,  says 
the  writer.  On  one  jaunt,  he  made  "Irrig-ation"  his 
secondary  theme,  and  has  used  the  resulting  film  in 
his  science  classes  with  much  success.  The  writer  re- 
cords a  thrill  thus :  '"Behind  the  Shakespeare  theatre, 
I  happened  to  see  the  villagers  dancing  on  the  green. 
I  v/as  mad  with  excitement  and  I  crawled  over,  un- 
der, and  around  hedges  to  get  the  best  possible  shots. 
That  was  a  happy  day  for  me.  I  was  as  equally  elated 
when  I  caught  the  German  peasants  in  the  Black  For- 
est doing  their  folk  dances  in  their  picturesque  cos- 
tumes." 

Sight  and  Sound  (6:35-37,  Spring  '37)  "Teaching 
Physics  with  Films",  based  un  a  lecture  given  by 
R.  A.  Watson  Watt  at  the  Roval  Institution  on 
Jan.  21,   1937. 

The  use  of  five  kinds  of  film  lessons  is  described 
and  illustrated.  An  abstract  concept,  the  wave- 
form of  sound,  i.s  made  plain  by  the  film,  "How 
Talkies  Talk''.  The  powerful  artifices  of  animated 
diagram  are  revealed  in  the  film,  "The  Cathode 
Ray  Oscillograph",  when  the  parts  of  the  dissected 
oscillograph  are  labelled  and  used  with  chalk  dia- 
grams. By  animated  diagram  and  model,  time 
and  space  are  concentrated.  That  which  appears 
static  and  abstract  is  brought  into  the  realm  of 
visible  activity  by  the  use  of  the  film,  "The  Story 
of  a  Disturbance."  Isobaric  charts  for  short  suc- 
cessive intervals  during  a  day,  when  projected  give 
an  animated  picture  of  the  isobaric  system.  Sim- 
ilarly cloud  formation  views,  projected  with  ac- 
celeration, integrate  the  whole  process.  A  forty 
foot  length  of  film,  "Storm  over  Europe,"  repre- 
sents 30  seconds  in  the  storm  history  of  a  conti- 
nent. "The  diagrammatic  film,  'x-f-x=0',  is,  to  my 
mind,  the  fore-runner  of  a  new  epoch  in  education 
by  film,  .  .  I  know  of  no  method,  no  notation  which 
could  possibly  compress  into  three  and  a  half 
minutes  the  vivid  impression  which  this  film 
gives."  A  description  is  included  of  the  simplifi- 
cation of  radio  research  by  the  use  of  three  films. 

Building  America:  Conservation  (2:  No.  7,  1937) 
Published  by  the  Society  for  Curriculum  Study, 
Inc.,    New   York 

We  consider  this  one  of  the  very  best  of  this 
series  for  the  past  two  years.  What  is  happen- 
ing to  our  land  from  wind  and  water  erosion  is 
pictorially  and  graphically  presented  with  such 
force  as  to  alarm  the  citizen  least  aware  of  such 
despoliation.  The  tremendous  depreciation  in  all 
vegetable  products,  where  nature's  balance  is  not 
preserved,  is  vividly  pictured.  The  steps  in  the 
transformation  of  the  Great  Plains  from  a  Food 
Basket  to  a  Dust  Bowl  is  at  once  a  lesson  in  civics 
and  economics.  Looking  destruction  in  the  face, 
we  welcome  the  efforts  of  Uncle  Sam,  who  has 
seen  our  imminent  danger,  and  read  with  relief  of 
the  building  of  check  dams,  of  terracing  on  farms, 
and  of  contour  cultivation.  Forest  fires  have 
caused  a  vast  amount  of  loss  of  lumber,  and  dam- 
age by  floods,  but  nearly  one  hundred  million  trees 


September,  19)7 


Page  227 


have  been  jjlanted  annually  tor  the  last  four  years. 
We  are  trying  to  preserve  our  wild  life.  Stuart 
Chase  is  quoted  as  saying  that  our  oil  deposits 
will  last  only  fifteen  years.  Our  motto  seems  to 
be  to  drive  hard  and  fast  while  it  lasts.  One 
chapter  on  the  Tennessee  Valley  shows  how  a 
large  geographical  region  may  be  made  more  pro- 
ductive, and   its   natural  resources  conserved. 

The  High  School  Journal  (20:  188-193.  May  '37} 
"Use  of  Motion  Pictures  in  Instruction",  by  A.  M. 
Jordan. 

The  eye  as  a  sense  organ  is  treated  in  a  truly  in- 
spirational manner,  facts,  not  ordinarily  jjresented, 
being  incorporated.  Four  methods  by  which  the 
projector  aids  ocular  activity  are  mentioned.  Tests 
for  the  effect  of  the  general  film  on  factual  infor- 
mation and  upon  attitudes  and  emotions  are  re- 
counted with  their  findings.  The  silent  classroom 
film  in  geography  and  history,  and  the  sound  film 
in  general  science  and  music  are  ranked  according 
to  well-known  tests.  The  comparison  of  sound 
with  silent  film  lessons  showed  a  definite  advant- 
age for  the  sound  film. 

Two  Book  Reviews 

The  Audio-Visual  Handbook,  by  Ellsworth  C. 
Dent.  (160  pages)  ($1.25,  paper  bound;  $1.75  cloth 
bound)  Published  by  The  Society  for  Visual  Educa- 
tion,  Inc.,   327   South   LaSalle   St.,   Chicago,    1937. 

This  book  is  a  full  and  splendid  treatise  on  all 
phases  of  audio-visual  aids,  and  is  designed  for  teach- 
ers, supervisors,  and  executives,  as  well  as  for  stu- 
dents of  this  subject.  The  movement  having  passed 
beyond  the  initial  stage,  since  it  is  now  being  fostered 
by  many  leading  governments,  is  justified  by  experi- 
mental evidence  that  is  tersely  presented  in  a  form 
for  ready  reference. 

The  first  two  sections  of  the  handbook,  comprising 
over  a  himdred  pages,  deal  with  the  strictly  silent 
visual  aids  to  teaching.  There  is  considerable  de- 
scriptive matter,  and  some  very  illuminating  digests 
of  recorded  results  from  the  use  of  various  visual 
aids  in  different  combinations  with  other  teaching 
material  and  methods.  All  the  commonly  used  visual 
aids  are  discussed,  in  a  clear  and  readable  manner, 
with  strict  adherence  to  facts  and  authorities. 

Seven  advantages  of  the  school  journey  are  men- 
tioned, with  two  limitations.  Excellent  steps  are  de- 
veloped in  a  technique  for  organizing  and  conducting 
a  trip.  Plays  and  pageants,  the  school  museum,  charts, 
maps,  graphs,  and  the  sand  table  are  dealt  with  as  to 
their  unique  possibilities  and  their  limitations.  The 
construction  of  one  of  our  newer  attractions,  the  elec- 
tric map,  is  fully  outlined  and  pictured.  The  sources 
of  prints,  and  their  mounting  and  filing  are  very  fully 
considered.  The  stereograph,  bringing  us  closer  to 
reality,  perhaps,  than  our  other  aids,  provides  a  prob- 
lem in  physical  handling.  Three  full  pages  are  de- 
voted to  different  ways  of  sensing  the  third  dimension 
without  confusion  in  the  classroom  and  without  loss 
of  time  to  the  pupil.  The  various  materials  for  home- 
made slides  are  given  with  directions  for  using  them. 
Ways  of  using  slides,  and  four  points  on  how  to  look 

(Concluded  on  page  234) 


i^         16  MM 
SOUND-ON-FILM 


Walter  O.  Suflohn,  Inc.,  has  built  its  rep- 
utation on  carefully  selected  films  that  are 
suitable   for   auditorium    and    classroom    use. 


Instructional  Subjects 


HISTORY 
LITERATURE 
ART 

ECONOMICS 
MUSIC 

NATURE   STUDIES 
SCIENCES 
TRAVELS    AND    CUSTOMS 
WORLD  AFFAIRS 
SPORTS 

Outstanding  Producers 

B.  I.  P.  OF  ENGLAND 
RKO  —  VAN  BEUREN 
PATHE' 

FOX 

MASCOT 

PATHE  NEWS 

MONOGRAM 

Unusual  Productions 

THE  LAST  OF  THE  MOHICANS 
DRAKE  THE  PIRATE 

HOOSIER   SCHOOLMASTER 
LITTLE  MEN 

HISTORY  OF  AVIATION 
WE,  THE  PEOPLE 
HIS  DOUBLE  LIFE 

(based  on  the  book  by 
Arnold  Bennett,  "Buried 
Alive"). 


We    have   an 

RECESS 

outstanding    series 

PROGRAMS 

of 

that     are     available     on     an     attractive 
rental   basis.  Complete   information   up- 

on  request. 

1 

Send  for  detailed  information  regarding 
lease  or  rental  rates,  also  Catalogue  8 
listing    500    educational    and    entertainment 

films. 


Note:  a  number  of  our  sound 
subjects  are  available  on  silent 
1 6inm  Film. 


WALTER   o. 

GUTLOHN 


Dept.  E-9 

35  WEST  45TH  ST. 

NEW  YORK 


Page  228  The  Educational  Screen 

SCHOOL    DEPARTMENT 

Conducted  by  Wilber  Emmert 

Director  Visual  Education,  State  Teachers  College,  Indiana,  Pa. 


School-Produced  Film  Strips 

Editor's  Note :  After  several  years  of  research  work  in 
photography  and  development  of  pictures  for  projection, 
Mr.  Marx  Has  developed  an  inexpensive  process  for  instruc- 
tion by  means  of  photographs  taken  with  the  candid  camera 
using  35mm  motion  picture  film,  and  projected  on  small 
screens. 

When  Mr.  Marx  first  investigated  photography  for  pro- 
jection, it  was  expensive  and  required  technical  skill.  The 
greatest  difficulty  encountered  was  the  same  as  with  general 
photography — under  and  over-exposure.  Th,e  new  process 
devised  by  Mr.  Marx  makes  it  possible  to  correct  both  of 
these  difficulties.  Much  of  the  film  processing  equipment  is 
of  original  design  and  was  built  by  him  in  leisure  time. 


A  hnost  any  subject  can  be  photographed  on  econom- 
"^^  ical  strips  of  fihii  and  then  shown  in  the  school. 
Different  schools  can  cooperate  by  making  their  owm 
film  studies  and  exchanging  them  with  other  schools. 
In  this  way,  teachers  could  specialize  in  that  branch 
of  a  subject  in  which  they  are  most  skilled.  The  ex- 
change of  films  would  then  provide  the  best  possible 
course  in  visual  education,  combining  the  best  points 
of  all  the  teachers  in  the  system. 


f"  "  Entertoinment 

,     .^:es  homes, 
wU  "■>=«' l^iiSls.  Previews  a«^=  p,,„. 


*'»*■'*'     ;  revenue 


By      GUSTAVE     H.     MARX 

High     School,   Linden,   N.  J. 

By  means  of  the  films,  nuiseum  views,  exhibits, 
travel  scenes,  and  scientific  ajjparatus  can  be  projected  [ 
before  the  entire  class  and  easily  explained  because] 
each  member  of  a  class  may  see  it  at  the  same  time. 
The  picture  does  not  move,  so  there  is  less  eye  strain, 
and  it  may  be  retained  for  discussion  as  long  as  de- 
sired. The  films  are  less  expensive  than  ordinary 
motion  picture  films,  the  cost  of  a  strip  about  five  feet 
long  being  fifty  cents.  The  projection  equipment  is 
likewise  inexpensive  and  simple  to  operate. 

By  this  method  material  of  recent  local  origin  can 
be  quickly  and  economically  prepared  for  projection. 
For  instance,  a  photograph  of  a  pot  stove  which  caused  ■ 
an  explosion  in  Elizabeth  was  displayed  a  week  later 
to  our  students,  together  with  pictures  of  an  exhibit 
prepared  by  the  Elizabeth  Fire  Department,  taken  to 
show  the  fatal  results  of  improper  installation  and 
what  should  be  done  to  avert  a  similar  catastrophy. 

One  Saturday  a  group  of  students  from  the  Junior 
high  school  visited  points  of  interest  in  New  York  ; 
The  Museum  of  Science  and  Industry  and  The  Hay- 
den  Planetarium.  The  following  week  the  children 
who  visited  these  interesting  places  described  to  the 
others  some  of  the  outstanding  exhibits  which  they  se- 
lected for  the  writer  to  photograph.  By  using  this  new 
method  the  field  trip  taken  by  the  group  has  an  in- 
finitely greater  value  than  if  there  were  just  a  trip 
for  just  the  routine  check  up  which  ordinarily  follows 
such  a  trip.  By  permitting  children  to  select  the  ex- 
hibits which  appeal  to  them  we  may  be  assured  of 
their  interest.  When  we  have  the  interest,  we  also  have 
attention  and  under  the  guidance  of  a  competent 
teacher  a  profitable  lesson  may  be  taught.  The  girls  in 
the  group  were  interested  in  the  exhibit  depicting  the 
making  of  cloth  when  it  was  a  home  industry.  The 
boys  were  interested  in  the  machines  which  perform 
this  task  in  the  industrial  plants. 

Mr.  Bedrick  of  the  junior  high  school  made  ex- 
cellent  use  of  the  school  camera  by  taking  it  with  m 
him  on  a  trip  to  West  Point.  As  a  result  of  his  efforts 
the  children  he  teaches  have  a  much  better  under- 
standing of  this  interesting  place.  They  may  see, 
on  the  screen,  all  of  the  interesting  buildings,  statues, 
and  groimds.  Their  greatest  interest  was  in  the  pic- 
tures of  the  Cadets  on  parade.  They  may  have  seen 
some  of  these  in  the  movies,  but  never  before  have 
they  been  able  to  have  such  an  intimate  contact  with 
the    distant    points    which    they    study. 

Newark  Visual  Depar+ment 

The  Department  of  Visual  Education  in  the  New- 
ark, New  Jersey,  schools  has  been  merged  with  the 
Board  of  Education  Library,  under  the  direction  of 
Marguerite   Kirk,   the  librarian. 


September,  19  }7 


_More  Convenient 
•  _     for  Classroom 

Use 


Page  229 


1  HE  Model  VA  Spencer  combination  projec- 
tor, ideal  for  classroom  use  gives  you: 

•  Brilliant  screen  pictures  for  standard 
slides. 

•  Superior  projection  from  opaque 
materials  .  .  .  pictures  or  text  from 
books,  drawings  or  photographs. 

•  You  can  use  both  slides  and  opaque 
material  in  the  same  class  period  by 
turning  a  handle. 

•  Your  books  or  photographs  are  pro- 
tected from  the  heat  of  the  lamp 
by  the  Spencer  Cooling  Fan. 

•  With  the  new  elevating  device  you 
can  most  conveniently  center  the 
picture  on  the  screen. 

Write  for  complete   description   and   prices  of  Spencer 
Delineascopes  for  school  use.  Please  address  Dept.  R-7-9. 

Spencer  Lens  Company 


Buffalo 


New  York 


SEES  ALL-PLAYS  ALLI 

iiversaL 


Un' 

16  MM  SOUND 

PROJECTOR 

ALL  YOU  WANT  IS  HERE— Think 
over  the  things  you  want  most  in 
a  16  mm  Sound  Projector.  In  Uni- 
versal you  will  find  record-breaking 
tone  performance  and  brilliancy  in 
screen  image.  Economy  is  the 
boast  of  every  Universal  owner. 
The  advanced  Universal  has  won 
the  approval  of  leaders  in  every 
field.  This  ruggedly  constructed, 
precision  built  projector  embodies 
all  the  latest  features.  Throws  a 
clear,  brilliant  image  to  any  de- 
sired screen  size  and  reproduces 
sound  in  life-like 
and  true  tone 
quality. 

Finger-tip  con- 
trol instantly  ad- 
justs    amplifica- 
tion for  large  or 
small     audiences. 
Compactly    port- 
able in  two  carry- 
ing   cases,    it    is 
ready  for  quick  set-up.  Complete,  ready  to  plug  in. 
Universal  is  low  in  first  cost,  extremely  economical  in 
upkeep  .  .  .  AND  EASY  ON  FILMS. 

OUTSTANDrNG  FEATURES 

SOUND 
PROJECTOR 

•  750  Wa+t  Projector  Lamp.  Brilliant  pictures.  For  all  size 
reels.  Heavy  duty  construction.  Easy,  simple  operation.  Trained 
operator  not  necessary.  Adjustments  quickly  accessible.  For 
sound  or  silent  films.  Full  draft  ventilation.  Central  Oiling. 
Rausch  &  Lomb  sound  optical  unit.  Underwriter  approved.  Easy 
on    Film. 

AMPLIFIER 

•  Power  for  large  or  small  groups.  Phono  or  Michrophone  out- 
let. Tone  control.  Volume  control.  Connection  arranged 
so  that  error   in   operation   is   impossible- 

SPEAKER 

0  Dynamic  Type.  12-Inch  cone.  Special 
voice  balance.  50-ft.  voice  line.  Speaker 
contained  for  carrying  in  amplifier 
case. 


^t0i 


MAY  BE 
PURCHASED 

OIM  THE 
UIVIVERSAL 

BUDGET 
PLAl^ 


UNIVERSAL  SOUND   PROJECTOR 

Division    of 

SENTRY  SAFETY   CONTROL  CORP. 

Manufacturers   of    I6mm-35mm 

Sound     Projectors 

1921    Oxford    Street.    PHILADELPHIA.    PA. 

Paramount  Building.   N.  Y.  C. 

DEALERS     IN     PRINCIPAL     CITIES 

^k   Please    send    full    information   and    literature   on   your    16mm 
Sound   Projector. 

NAME 

ADDRESS  

CITY State 


Page  230 


The  Educational  Screen 


"LORN A     DOONE" 

and    many    other    16nini    educational    films 

Write    for    details    of    our    special    school    film    rental    offer    and 
sound   and    silent    fihn    catalogues. 

LEWIS      FILM      SERVICE 

105    EAST    1ST    ST.,    WICHITA.    KANSAS 


16MM.    SOUND    ON    FILM 

for 
RENT  —  EXCHAIVCE  —  SALE 

A  few  of  our  Large  Catalogue  of 
REIVTAL    SUBJECTS 

THE  LOST  JUNGLE  •  KEEPER  OF  THE  BEES  •  GALLANT 
FOOL  *  THE  GIRL  OF  THE  LIMBERLOST  ■*  I  CON- 
QUER THE  SEA  -k  MILLION  DOLLAR  BABY  •  IN 
OLD    SANTA    FE     •     EAT    'EM    ALIVE     *     CITY    LIMITS 

•  MAN'S    BEST    FRIEND     •*•     KENTUCKY    BLUE    STREAK 

•  SILENT  ENEMY  *  JANE  EYRE  •  KLONDIKE  * 
RUSTLER'S  PARADISE  •  HEARTS  OF  HUMANITY  * 
RETURN      OF      CASEY      JONES     *     MIDNIGHT    PHANTOM 

•  NOW  OR  NEVER  *  THIRTEENTH  GUEST  *  RED 
HAIRED  ALIBI  *  all  PETER  B.  KYNE'S  SUBJECTS  • 
all  TOM  TYLER.  JACK  PERRIN  and  JACK  HOXIE'S  WEST- 
ERNS if  all  RICHARD  TALMADGE'S  pictures  *  and 
RIN   TIN  TIN,  Jr. 

AltoKcther     150     Features    and    400     Shorts 

from       which      to      pick      your      programs 

Not  One  Mediocre  Picture  in   Our  Library 

Film   Rental   Catalogue  —   Film    Sale  Catalogue 

Write   for    them 

CINE  CLASSIC  LIBRARY 


1041    JEFFERSON    AVE. 


BROOKLYN.    N.    Y. 


WANT     TO     BUY 

16  MM.  SILENT  OR  SOUND-ON-FILM 

EDUCATIONAL   SUBJECTS 

Will  Buy  Complete  Library 

GENERAL     FILMS     LIMITED 

1924   ROSE  ST..  REGINA.  SASK. 


lOinm 

SOUXD  FILMS 


Al  AN  K I  MY^MK 

VOIINDIIIMIIhl^ADIIVISr 


I'*  IIWII^AI  AVI.,  1)AVII)N,4-)LIHT 


Bicycle  Club  Produces  Safety  Film 

By    H.    M.    KUCKUK 

King    High    School,    Mllwautcee,    Wis. 

^^ver  half  a  million  bicycles  a  year  added  to  our 
wheeled  population  have  brought  gasps  from 
many  a  motorist  and  deep  concern  to  parents  and 
everyone  else  interested  in  the  safety  of  children  on 
the  streets.  The  Bicycle  Club  of  Rufus  King  High 
School,  Alilwaukee,  raised  a  cry  last  year  for  a  movie 
to  hel])  in  the  constant  campaign  for  safety  among 
their  five  hundred  or  more  riders.  With  the  failure 
of  all  efforts  to  secure  a  film  which  had  anything  to 
do  with  their  problem,  they  iiromptly  obtained  per- 
mission from  their  principal  to  produce  one.  The 
equipment  of  a  teacher  in  the  advanced  stages  of 
photophobia  began  to  work,  late  in  April,  on  a  scenario 
weathered  by  months  of  writing  and  rewriting.  In- 
teriors were  shot  while  bare  branches  still  presented 
backgrounds  too  barren  for  outdoor  pictures,  and  the 
middle  of  June  found  the  camera  grinding  its  last 
grist — the  heart  of  the  picture,  in  which  Our  Hero 
watches  the  antics  of  the  bad,  bad  riders  ahead  of  his 
father's  car. 

"S/yiiining  Spokes"  was  ready,  after  a  fashion, 
before  school  closed  June  25th.  In  fact,  it  had 
made  its  modern  bow  somewhat  diffidently  at  the 
DeVry  conference  on  June  21.  It  suffered  many  vig- 
orous goings-over,  however,  before  it  was  really  ready 
to  go  to  work,  in  all  the  glory  of  its  superimposed 
titles,  on  the  lesson  that  "A  Careful  Rider  is  the  Best 
Safety   Device." 

Jack  Stewart,  who  insists  that  "Rules  are  for  Saps", 
gets  his  bike  smashed  on  the  way  home  from  school. 
He  is  indignant  when  his  father  suggests  that  he 
learn  to  be  careful  before  getting  a  new  bike,  and  is 
disgusted  by  the  interest  of  other  students  in  a  safety 
contest.  He  calls  it  a  "dirty  trick,"  however,  when 
he  hears  how  a  bicycle  rider  injured  a  lady  on  the 
sidewalk,  and  responds  to  the  suggestion  of  a  nice 
looking  high  school  girl  that  he  enter  the  safety  con- 
test and  win  back  his  dad's  confidence.  He  sees  both 
good  and  bad  riding  while  on  the  way  downtown  with 
his  father,  and  they  visit  a  bicycle  inspection  for 
messengers  together.  When  the  day  of  the  "Bike 
Carnival"  (an  annual  event  at  this  school)  arrives, 
a  grand  parade  is  followed  by  races,  riding  stunts, 
and  finally  Jack,  proud  winner  of  the  safety  contest, 
gives  his  "Rules  for  Safe  Riding."  Scenes  from  the 
earlier  part  of  the  picture  are  re])eated  as  he  gives  his 
rules,  serving  to  bring  home  the  lesson  in  a  natural 
manner.  Jack  receives  a  plaque  to  symbolize  the 
honor  of  winning  the  contest,  leaving  to  the  father 
his  rightful  position  in  furnishing  the  new  bike. 
"Learn  the  A  B  C  of  Safety— Always  Be  Careful" 
winds  up  the  picture  with,  we  hope,  the  audience  still 
wishing  to  emulate  Our  Hero  in  not  only  knowing 
how  to  ride  safely,  but  in  wanting  to  do  it  that  way. 

Prints  of  the  film  (550  feet,  16mm  silent)  are 
being  di.stributed  by  The  Marion  Studio,  Milwaukee. 
They  prefer  to  sell  copies,  however,  leaving  rentals 
wherever  possible  to  agencies  organized  for  that 
service. 


September,  19)7 


DeVRY 


Page  231 


MOTION 


PICTURE 


SOUND  CAMERAS  and 

PROJECTORS 


DeVry  manufacturers 
fhe  largest  and  most 
complete  line  of  mo- 
Hon  picture  sound 
equipment  in  fhe 
world. 


Code  FMZRU 
DeLuxe  Solid   Bate 
Theatre    Projector 
Specially      designed       for 
sound     projection.     Silent 
chain   drive.   Streamlined. 
Dustproof.     Fewer     Parts. 
Lower    Costs.     Either    low 
or     High     Intensity    Arcs. 
or    Mazda    Lamps.      New 
OeVry    "Brillante"    Lens. 
35   mm. 

CODE  FMZRI 
Theatre  Projector  with  Leg  Base 
Same  mechanism  as  solid  base  pro- 
jector. 2100-watt,  60  volt  Mazda  Lamp 
house,  or  low  Intensity  arc  may  be 
uesd.  Ned  DeVry  "Brilliante"  Lens. 
35     mm. 


Code  RODER 
The  Famous  DeVry  Stndio  Sound  Camera 
Here  is  the  supreme  camera  for  location  and 
news  reel  work.  In  a  single  unit  It  permits 
■ingle  and  double  system  recording,  silent  pho- 
tography  or  b(-pack  color  photography.  Im- 
proved motor,  silenced  gears,  precise  viewflnder, 
noiseless  high-fldelity  sound  recording.  Distin- 
guished by  greater  precision  and  ease  of  opera- 
tion.   Equipped    with    4    lens   turret.     35   and      ' 


Code    SMKAW 
16     mm.    Sprocket    Intermittent 
Sound    Projector 
The   ONLY    16    mm.    sound   projector 
using     rotary     sprocket     intermittent 
instead    of   claw    movement.      Double 
Exciter    Lamps.    Separate    amplifier. 
750   to    lOOO-watt   lamp. 


Code   MKORA 
16  mm.  "Challenger" 

Sound    Projector 
Below— 

The     claw     movement 
(multj-claw)      at     its 
best.     Lower    in    cost 
than  the  sprocket  in- 
termittent     projector 
but    includes    all    the 
exclusive  fea- 
tures—except 
the     sprocket 
istermittent 


Code  ABJK 
The    Portable   -,™ 
2000- Ft.    Mataxine 

The      favorite 

sound  unit  in  sohools 
and  business  flras  of 
the  U.  S.  A.  and  in  67 
other  conntrie*.  Cue 
\nd  magazine  aceonmo- 
date    2000-ft    reel. 


Code  XNORA 
The  Semi-Portable 
Holds  2000-ft  reels.  Same  full  ttieatrv 
mechansim  as  solid  base  projector. 
lOOO-watt  Mazda  Lamp  Sett  on  table 
or  stand..  New  DeVry  "Brillaate" 
Lens. 


DEVRY  SERVICE  ABROAD  IS 
VALUABLE  TO  DEALERS 
DeVry  service  on  sound  projectors  and  cameras 
extends  to  sending  expert  technicians  abroad  to 
aid  dealers  handling  DeVry  equipment.  These 
factory-trained  men  supervise  the  installation 
and  initial  operation  of  DeVry  units  on  a  cost 
basis.  DeVry  projector  and  caaiera  sale*  in  67 
foreign  countries  indicate  the  extent  and  val«e 
of    DeVry    service. 


Code  WRATL 

16    mm.    Projector 

The    DeVry    "6" 

Projects    silent    Alms.      Made    for 

electrical    or   hand    operaSlMi.    la 

expensive,  simple,  widely  wed. 


Code  LOMOZ 
DeVry    Silent 
Movip     Caaeras 
35   mm.   "AntOHatie** 
has    24-fraBe    speed. 
Holds     100    ft.    fliM. 
daylight    loadinp.    F: 
3.5    lens. 

16  mm.  "No.  60" 
practically  same  as 
above   except  sMaller. 

Holds  100  ft. 

nim.        black 

and   white  or 

color. 


Free    circulars   on    any   of   the    above    Items    on 
request;   also  the   following   booklets: 
Values  of  Movies  and  Talkies  in  Education. 
Glorify  Your  Product — (Use   of  Business   Films). 
Raising  Funds  With  DeVry  Talkies. 


HERMAN   A.   DEVRY   INC.,   1111   Armitage   Ave.,   CHICAGO 


Page  232 


The  Educational  Screen 


"SPIXiVIXtt     SPOKES" 

A    Snappy   film   story   on 

BIKE  SAFETY  ...  16  mm  silent— 1  reel 

Rent   from   your   usual   agency   or   write 

THE      MARION      STUDIO 

MILWAUKEE,    WISCONSIN 

TWO  NEW  SCIENCE  AIDS 

FOR       PROGRESSIVE       TEACHERS 

PRINCIPLES    OF    PHYSICS       PRINCIPLES   OF   CHEMISTRY 

The  visualization  of  hi<a;b  Bchool  The  core  of  the  year's  work  in 
physics  on  35  mm.  film  slides  for  chemistry  especially  adapted  for 
classroom  use.  review. 

Descriptive  literature  and  sample  strip  of 
typical  frames  sent  on  request.     Address : 

VISUAL    SCIENCES  —  Suffern.    N.T. 


MATURE  AGEGROUPS 

will  find  many  subjects  appropriate  for  use 
in    their    Cultural    and    Social    activities 

Write   for    catalog    "C" 

Y.    M.     C.    A.    MOTION    PICTURE  BUREAU 

347   MADISON   AVENUE,   NEW   YORK,   N.  Y. 


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THE     MANSE     LIBRARY 


2439    AUBURN     AVE 
CINCI  NN  ATI.     OHIO 


WK      Talk  firom  your 
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B      TYPEWRITTEN 
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■1819  Broadway,  Dept.  V.  New  York  City 

A  HANDBOOK  of  PRIVATE  SCHOOLS 

2l$f  edition.   May    1937.    1184  pages,  4000  schools.  250  illus- 
trations,   14  maps.   Round   corners,  silk  cloth,   $6.00 

More  than  a  gruidebook — it  is  a  discriminating  review  of  ed- 
ucation 88  it  is  and  as  it  may  be. 

"Not  only  does  it  state  clearly,  and  in  no  mincing  words, 
what  is  the  trouble  with  American  education,  but  it  is  an  in- 
valuable source  book  of  pregnant  quotation,  and  an  equally  in- 
valuable bibliography  of  liberal  writing  and  thought.  I  wish  to 
God  every  parent  could  read  it  understandingly,  anff  I  would  like 
to  stand  most  university  presidents  and  headmasters  of  schools 
in  a  corner,  dunce  caps  on  their  heads,  and  keep  them  there 
until  they  had  learned  your  book  by  heart.  It  is  a  magnificent 
production.  Strutkers  Burt,  Author.  Three  River  Ranch,  Wy- 
oming. 

"Should  be  read  and  pondered  by  every  would-be  intelligent 
parent  who  has  a  child  to  educate.  You  review  pithily  the  most 
invigorating  and  thought-provoking  matter  bearing  on  human 
problems  that  has  come  out  in  the  course  of  the  past  year.  You 
deserve  high  praise  for  transforming  what  might  seem  a  com- 
mercial venture  into  a  cultural  event."  E.  A.  Roma,  Emeritus 
Professor  of  Sociology,    riiiifrsity   of   Wisconsin. 

A      BRIEF      SCHOOL      GUIDE 
Lists  and  classifies  by  type  and  locality  the  more  important 
Boarding    Schools    and    Junior    Colleges — Boys,    Girls,    Coeduca- 
tional.   2d  edition,   1937,  132  pages.  700  schools.   14  maps,  97  il- 
lustrations,  cover   in   color.     Single  copy   25   cents. 
Write     for     Table     of     Contents 

PORTER  SARGENL   II   Beacon  St.,  Boston 


Students  Learn  Technique  of  Projection 

As  a  regular  part  of  the  work  in  Visual  Education 
at  the  Indiana,  Pennsylvania  State  Teachers  College. 
students  are  taught  the  techniques  of  operating  the 
various  types  of  projectors,  together  with  the  prin- 
ciples underlying  their  use  as  teaching  aids  in  the 
classrooms.  Students  in  their  training  are  given  the 
opportunity  of  setting  up  the  projector  for  use,  thread- 
ing the  film  through  the  machine,  and.  while  the  ma- 
chine is  in  operation,  required  to  make  the  proper  ad- 
justments for  a  clear  picture  on  the  screen  and  secur- 
ing the  proper  tone  volume  for  the  room  in  which  the 
device  is  being  used. 

For  fluencv  of  discourse  and  an  understanding  of 
the  literature  dealing  wnth  projectors,  it  is  imperative 
that  the  student-projectionists  have  a  ready  command 
of  the  vocabulary  of  the  profession.  The  following  list 
of  terms  as  usually  used  in  connection  with  projec- 
tion work  is  pretty  generally  mastered  during  the  con- 
duct of  the  course. 


Acetate 
Aberration 

Chromatic 

Spherical 
Absorption 
A.   C.    (Alternating 

Current ) 
Ammeter 
Ampere 
Aperture 
Amplifier 
Beam 

Binding  Post 
Booth 
Caption 
Condensers 

6  types 

Aspheric 

Fresnel 

Prismatic 
Condenser  Lens 
Conductor 
Current 
Direct  Current 
Dissolve 
Dull    Side 
Dupe 
E.  F. 

Emulsion   Side 
Exciter    Lamp 
Filament 
Film 

Acetate 

Acetate-Cellulose 

Infiammable 

Non-inflammable 

Nitrate 

Nitro-Cellulose 

16-mm. 

35-mm. 

Standard    Gauge 

Narrow  Gauge 


Safety 

Sound  on  film 
Film   Cement 
Fire  Screen 
Focus 

Focal    Length 
Frame 
Framer 
Fuse 
Gate 

Generator 

Heat    Absorbing    Glass 
Illumination 
Image 
Insulator 
Lamp 

Lamp  House 
Law  for  Size  of  Picture 
Leader 
Lens 

Loud  Speaker 
Magazine 

Feed 

Take-up 
Microphone 
Microphone   Jack 
Mirror 
Motor 
Negative 
Nitrate 
Object 

Objective  Lens 
Ohm 

Ohms  Law 
Photo  Electric  Cell 
Plug 
Positive 
Power 
Pre-centered 
Pre- focused 
Projector 
Projectionist 


Projector  Lens 

Reel 

Reflector 

Rheostat 

Resistance 

Re- wind 

Screen 

Screw  Base 

Shiny   Side 

Shutter    (Rotary) 

Sound   Gate 

Sound  Screen 

Sound  Track 

Spacing 

Distance 
Splicing 
Socket 
Sprocket 

Feed 

Intermittent 

Take-up 
Stereopticon 
Switch 
Tension 
Threading 
Throw 

Thumb   Mark 
Title 

Tone  Control 
Trailer 
Transformer 
Volt 
Voltage 
Voltmeter 
Volume  Control 
Watt 
25-Cycle 
60-Cycle 
.6795  inches 
.906   inches 
.28  inches 
.38  inches 


References: — Cameron. ^Motion   Picture   Projection.    (See  Glossary) 
Egeler  and  Farnham- -Mazda  Lamps  in  Projection. 
Richardson, — Handbook  of  Projection. 
Sipley, — Schoolman's   Handbook   of  Visual   Ed.    Projection. 

This  training  work  at  Indiana  is  done  by  Wilber 
Enimert.  Director  of  the  Visual  Education  department 
at  the  college.  Since  every  student  at  the  college  must 
pass  the  course  in  visual  education  before  a  permanent 
certificate  to  teach  in  the  public  schools  of  the  Com- 
monwealth is  granted,  Mr.  Emmert  trains  a^^proximate- 
ly  120  students  each  semester  of  the  school  term,  with 
an  additional  number  during  the  summer  session. 


In  the  class  rooms  of  Cleveland,  more  than  five 
thousand  film  lessons  are  used  each  month,  according 
to  an  article,  '^Cleveland  Schools  Use  Motion  Pictures 
to  Give  Pupils  Ideas,"  by  William  M.  Gregory,  Di- 
rector of  the  Educational  Museum,  appearing  in  the 
Cleveland  Clubn'oman  for  March. 


Prompt,  efficient  service 


Page  233 
Reasonable   rentals 


For  the  New  Semester's  Film  Needs 
Consult  Our  New 

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INSECT  LIFE 
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CHICAGO,  ILL 


Page  234 


The  Educational  Screen 


The  Chinese  Had 
a  Word-- 

WE  Have  the 
Pictures  for  it! 


"One  picture  is  worth  ten 
thousand  words,"  wrote 
the  sage  of  old  Cathay. 
He  had  the  right  idea 
about  education  and  en- 
tertainment. It  is  our  idea 
too,  with  these  pictures  to 
back  it  up   .   .   . 

STRANGER  THAN  FICTION;  GOING 
PLACES;  YOU  CAN'T  GET  AWAY 
WITH  IT;  OSWALD  CARTOONS; 
MEANY  Ml  NY  MOE  CARTOONS; 
MENTONE  SHORTS;  SERIALS; 
UNIVERSAL  NEWSREELS 

And  These  Features 
With  Many  Others, 

SHOW  BOAT;  MY  MAN  GODFREY; 
THREE  KIDS  AND  A  QUEEN 

Let  Us  Tell  You  More! 
Write    .    .    .    Phone 

NON-THEATRICAL  DEPARTMENT 

UNIVERSAL  PICTURES 
COMPANY,  INC. 

Rockefeller  Center  New  York,  N.  Y. 

CIRCLE  7-7100 


Among  the  Magazines  and  Books 

(Concluded  from   piuic  226) 

at  a  slide  are  given.  The  advantages  of  tlie  various 
types  of  lanterns  are  brought  forward,  and  the  prin- 
ciples of  projection  are  sinij^ly  hut  clearlv  and  ably 
treated.  The  advantages  and  limitations  of  the  single 
and  double  frame  filmslide  are  treated  without  bias. 
The  recent  adaptation  of  mounting  individual  frames  is 
said  to  have  considerable  po]nilarity  with  many  edu- 
cators. The  projectors  for  the  celluloid  slides,  and 
attachments  that  may  be  used,  are  fairly  appraised. 

The  limitations  as  well  as  the  advantages  of  both 
silent  and  sound  motion  ]Mctures  are  treated  without 
prejudice,  and  the  technique  of  film  projection  along 
with  a  description  of  standard  projectors  is  fully  cov- 
ered. P"orty-five  pages  present  the  very  latest  com- 
piled information  on  other  sound  aids  for  schools, 
such  as  the  phonograph,  radio  and  sound  amjilification, 
together  with  expert  advice  on  the  administrative  prob- 
lems involved  in  organizing  the  audio-visual  service 
in  a  school  or  a  school  system. 

Finally,  there  are  more  than  twenty  pages  closely 
packed  with  small-type  lists  of  sources  from  which 
seekers  may  secure  special  information,  equipment  of 
all  sorts  applicable  to  this  field,  and  services  either 
free  or  at  reasonable  rates. 

The  volume  is  profusely  illustrated.  It  can  be  se- 
cured either  in  a  very  durable  paper  binding  or  in  an 
especially  strong  cloth  binding.  Both  finishes  are  imi- 
tation leather,  in  heavy  red  with  gold  lettering,  an 
unusually  attractive  combination, 
■♦•    -f    ■♦■ 

Teaching  with  Motion  Pictures:  A  Handbook 
of  Administrative  Practice  by  Edgar  Dale  and  Lloyd 
Ramseyer  (60  i)ages).  Published  by  the  American 
Council  on  Education,  744  Jackson  Place,  Washing- 
ton, D.  C.   Price  40  cents. 

This  study,  which  is  the  second  of  a  series  in  the 
motion  picture  in  education,  is  designed  to  serve  the 
purpose  of  the  teacher,  principal,  or  administrator, 
wishing  an  introduction  to  the  problem  of  initiating 
and  administering  a  visual  education  program.  In 
fourteen  chapters  it  deals  with  the  selection,  procur- 
ing, and  storing  of  equipment :  sources  of  films,  and 
the  question  of  buying,  renting,  or  using  free  mate- 
rials ;  how  should  the  program  be  financed ;  should 
some  one  person  be  put  in  charge  of  the  field ;  serv- 
icing of  films  to  teachers  in  visual  technique;  and, 
finally,  an  excellent  chapter  on  how  to  evaluate  the 
whole   visual   procedure, — under   eighteen   criteria. 

The  above  survey  includes :  a  brief  summary  of  the 
outstanding  experiments  with  film  teaching ;  fourteen 
criteria  for  films  and  eight  criteria  for  screens;  the 
distinctive  field  for  the  sound  picture  and  for  the 
silent  films ;  seven  criteria  for  choosing  a  film ;  seven 
special  duties  of  a  Director  of  a  Visual  Department, 
and  nineteen  duties  listed  by  the  Los  Angeles  Schools  ; 
seven  things  that  may  go  wrong  with  a  projector  and 
what  to  do  about  them ;  recommendation  of  demon- 
stration programs  for  training  teachers  in  service, 
with  a  caution  appended ;  excellent  suggestions  on  the 
various  ways  of  teaching  with  a  film  followed  by 
certain  wise  cautions. 


September,  19  }7 


Page  23  5 


STILL  PICTURES 

Have  an  IMPORTANT  Place  in 

A  Modern  Program  of 

VISUAL  INSTRUCTION 


Take,  for  example,  Stereograph  or  Lantern  Slide  No.  37  from 
The  Land  of  the  ISile,  a  KEYSTONE  UNIT  IN  GEOGRAPHY. 


This  still  picture  of  the  valley  of  the  Nile  shows  very  effectively 

The  Nile  River,  fringed  by  trees  with,  as  the  natives  say,  their  feet  in  the  water  and 

their  heads  in  the  sun. 

A  narrow  strip  of  rich,  irrigated  arable  land  along  each  side  of  the  river,  completely 

under  cultivation — no  houses  on  the  land  that  may  be  cultivated. 

Back  of  its  rich  fields,  the  desert  sand,  where  the  villages  and  towns  are  built. 

And,  back  of  this,  the  high,  rocky  desert  hills. 

For  a  thousand  miles  and  for  a  thousand  years,  this  is  Egypt. 

What  a  STORY  in  ONE  UNUSUAL  STILL  PICTURE,  stereo- 
graph or  lantern  slide,  costing  at  the  most  50  cents. 

Keystone  View  Company 

MEADVILLE,  PENNA. 


Page  236 


The  Educational  Screen 


AMONG  THE  PRODUCERS  IdJU  tk 

rtxniA  anno^unce  new  pteduch  and  iieveLavtn.cnh  <?/  inteted  to  the  field. 


e  cc^fftntetcia 


I 


Novel  Travel  Material  Available 

Picturea  accompanied  by  personal  letters  mailed 
from  foreign  countries  directly  to  classes  in 
schools,  and  to  adult  study  groups,  are  avail- 
able this  year  through  the  Alvin  Lyons  International 
Expeditions,  612  North  Michigan  Avenue,  Chicago. 
Mr.  Lyons  and  his  associates,  O.  D.  Foster  (Ph.D. — 
Yale)  and  Joseph  E.  Elliott,  are  experienced  travelers, 
educators  and  lecturers.  This  expansion  of  their  per- 
sonal-travel-correspondence to  include  any  school, 
adult  class  or  P.  T.  A.  desiring  such  an  advantage, 
is  a  refreshing  addition  to  the  devices  for  holding 
interest.  It  provides  a  fresh  source  of  accurate  and 
up-to-date  teaching  material  in  geography,  history 
foreign  languages  and  literature. 

The  organized  work  has  grown  from  foundations 
unwittingly  laid  some  years  ago  by  Mr.  Lyons  when 
he  was  a  research  student  and  bicycle  traveler  through 
Europe.  At  that  time  he  sent  interesting  descriptive 
.'etters  and  pictures  back  to  the  schools  with  which  he 
had  been  connected.  Many  of  the  letters  were  writ- 
ten especially  for  the  pupils  in  the  upper  grades  and 
this  effective  method  of  writing  for  special  groups  is 
being  continued.  In  order  to  test  the  appeal  of  new 
material  for  grade  pupils,  an  active-minded  sixth 
grade  boy  is  accompanying  the  1937-38  exjiedition 
into  Central  and  South  America. 

The  16mm.  motion  pictures  taken  by  the  expedi- 
tions in  each  country  will  be  made  available  to  schools 
in  reels  and  in  shorter  stri])s  on  special  subjects.  Like- 
wise, the  still  pictures  will  be  available  in  ])rinted  form 
and  in  filmslides  for  projection,  and  can  be  secured 
in  glass  slides  when  so  desired.  Some  of  the  pictures 
will  be  in  color,  for  use  in  lecture  work  by  special  ar- 
rangement. 

Schools  or  adult  groups  joining  this  "visualized  cor- 
respondence" network  are  furnished  with  wall  maps 
on  which  to  check  the  location  of  the  items  of  inter- 
est photographed  and  written  about.  They  also  re- 
ceive a  monthly  illustrated  bulletin,  with  a  binder  to 
hold  bulletins,  detail  maps  and  the  weekly  personal 
letters. 

Readers  may  expect,  in  later  issues,  news  summar- 
ies of  the  motion  pictures  made  available  to  schoois 
this  autumn  and  winter  by  the  expedition  to  Latin 
America. 

Unique  Film  Teaches  Use  of  Books 

A  two-reel  silent  motion  ])icture  entitled  Found  in 
a  Book,  which  has  heretofore  been  circulated  by  the 
American  Library  Association,  is  now  available  from 
the  Bell  and  Howell  Company.  Originally  produced  as 
a  project  at  the  Library  School  of  the  University  of 
Illinois,  the  film  dramatizes  the  commonly-accepted 
library  tools,  such  as  the  encylopedia,  card  indexes, 
readers'  guides.  A  simple  story  effectiveh'  ties  up  the 


various  sequences  and  holds  interest  to  the  very  end. 
Class  is  dismissed,  two  boys  have  the  same  theme  to 
write,  on  "puppet  plays."  One  boy  goes  straight  home 
to  depend  Ujion  a  none-too-helpful  imagination ;  the 
other  stops  at  the  library  and  assembles  readily  ob- 
tainable facts.  So  many  readily  usable  notes  have  been 
assembled  that  the  student  instantly  puts  them  to- 
gether, right  at  the  library,  and  the  theme  is  finished, 
while  his  colleague  is  still  hopelessly  wrestling  in  a 
debris  of  crumpled,  discarded  first  pages. 

New  Historical  Sound  Subject 

A  great  historical  spectacle  portraying  the  career  of 
Sir  Francis  Drake  during  the  reign  of  Queen  Eliza- 
beth has  just  been  released  by  Walter  O.  Gutlohn,  Inc. 
under  the  title  Drake  the  Pirate,  on  16  mm.  sound- 
on-film. 

The  National  Board  of  Review  comments:  "Drake 
the  Pirate,  with  Charles  A.  Beard  of  Columbia  Uni- 
versity as  the  historical  authority,  deserves  mention 
for  its  authenticity.  The  historical  incidents  are  un- 
usually well-conducted,  making  for  lucidity  suitable 
for  family  and  juvenile  audiences." 

Authentic  speeches  by  Queen  Elizabeth  and  Francis 
Drake  are  inchided  in  the  film. 

New  Photographic  Itenns 

The  Central  Camera  Company,  230  S.  Wabash 
Avenue,  Chicago,  has  several  new  items  in  stock  which 
should  prove  very  popular  to  everyone  with  an  inter- 
est  in    photography. 

First,  they  have  introduced  a  new  inexpensive  re- 
flex camera  to  the  public.  The  camera,  the  Altiflex, 
follows  the  conventional  design  of  2;4x2'4"  two-lens 
reflex  camera.  It  uses  the  regular  2^4>^3j4  "  roll  film 
with  12  exposures.  It  operates  on  the  same  princijiles 
as  the  other  reflex  cameras,  and  rapid  focusing  is 
accomplished  by  simply  moving  a  small  protruding 
lever  up  or  down.  This  camera  ranges  in  j^rice  from 
$25.00  to  $40.00  and  may  be  had  in  five  different 
lens   and    shutter   combinations. 

Central  Camera  is  also  introducing  a  new  kind  of 
print  dryer,  blotter  and  straightener.  This  is  the 
Trojan  drying  press.  It  is  sturdily  and  compactly 
built  with  no  protruding  section  other  than  the  knurled 
knobs  which  apply  tension.  The  outstanding  feature 
is  the  knob  arrangement  which  is  so  made  as  to  elim- 
inate the  necessity  of  completely  removing  the  knobs 
for   print   placement. 

Another  new  article  is  the  6j/^x9  inch  Trojan  en- 
larger.  One  of  the  unusual  features  of  this  enlarger 
is  that  the  square  condensing  lens  assures  even  illum- 
ination of  the  negative,  thereby  rendering  an  abso- 
lutely flat  field.  Other  fine  features  are  rapid  and 
micro  focusing,  adjustable  bulb  height,  removable 
F  :4.5  anastigmat  lens,  counterweight  inside  enlarging 


September,  1937 


Page  237 


Publications  on  the  Visual  Field 


VISUAL  AIDS   IN   EDUCATION.     By  Joseph  J 
Weber,  Ph.  D. 

The  author's  final  and  finest  work  in  this  field,  being  "a 
balanced  summary  of  the  available  scientific  evidence  on 
the  values  and  limitations  of  visual  aids  in  education  and 
an  elaboration  upon  this  evidence  by  way  of  generalization 
and  application  so  as  to  inspire  the  progressive  educator  in 
making  common  sense  adaptation  of  visual  materials  and 
methods  to  the  purposes  of  the  school." 
220  pp.   Price  $2.00  ($1.50  to  subscribers  of  E.  S.) 

PICTURE  VALUES  IN  EDUCATION.  By  Joseph  1 
Weber,  Ph.  D. 

An  important  contribution  to  the  literature  of  the  visual 
field.  Presents  in  unusually  interesting  form  the  results 
of  extended  investigations  on  the  teaching  values  of  the 
lantern  slide  and  stereograph. 

156  pp.  illus.     Price  $1.00  (67c  to  subscribers) 

ACTIVITIES  OF  STATE  VISUAL  EDUCATION 
AGENCIES  IN  THE  UNITED  STATES.  By  Fannie 
W.  Dunn,  and  Etta  Schneider,  Teachers  College,  Colum- 
bia University. 

A  concise  and  discriminating  summary  of  total  results 
from  a  comprehensive  survey  of  24  of  the  26  states  having 
Departments  of  Visual  Instruction.  A  companion  article 
to  this,  "Practices  in  City  Administration  of  Visual  Educa- 
tion," by  the  same  authors,  appeared  in  EDUCATIONAL 
SCREEN  for  November  and  December,  1936. 
8  pp.     Net  price,  20c. 

THE  AUDIO  VISUAL  HANDBOOK.  By  Ellsworth 
C.  Dent. 

Presents  in  convenient  form,  practical  information  for 
those  interested  in  applying  visual  and  audio-visual  aids 
to  instruction.  The  six  chapters  include  discussions  on 
"The  Status  of  Visual  Instruction,"  "Types  of  Visual 
Aids  and  Their  Use,"  "Types  of  .^udio-Visual  .Mds  to 
Instruction,"  "Types  of  Sound  Aids  for  Schools,"  "Or- 
ganizing the  Audio-Visual  Service,"  "Source  List  of 
Materials  and  Equipment." 
180  pp.   Illus.    Paper  binding,  $1.25;   Cloth.  $1.75. 


BIBLIOGRAPHY   ON   THE    USE   OF    VISUAL    AIDS 
IN   EDUCATION.     By  Joseph   J.   Weber,   Ph.D. 

A  complete  bibliography  on  the  field  to  June  1930.  Over 
1,000  references  to  books  and  magazine  articles.  (Addi- 
tional references  by  Mr.  Weber  through  September,  1932, 
appear  in  EDUCATIONAL  SCREEN  for  October  1932.) 

24  pp.    Net  Price  30c. 


SIMPLE  DIRECTIONS  FOR  MAKING  VISUAL 
AIDS.  By  Lillian  Heathershaw,  Drake  University,  Des 
Moines,  Iowa. 

Directions  for  making  Etched  Glass  Slides,  using  Colored 
Pencils ;  Etched  Glass  Slides,  using  Colored  Inks ;  Paper 
Cut-out  Lantern  Slides ;  Ceramic  Lantern  Slides ;  India  Ink 
Lantern  Slides ;  Still  Films ;  Cellophane  Lantern  Slides ; 
Photographic  Lantern  Slides ;  Film  Slides ;  The  Electric 
Map;  Spatter  Work;  Pencil  Outlines  of  Leaves;  Carbon 
Copies  of  Leaves;  Leaf  Prints  from  Carbon  Paper;  Blue 
Prints ;  Sepia  Prints. 

24  pp.    Net  Price  25c. 


A  SYMPOSIUM   ON  SOUND  AND 
SILENT  FILMS  IN  TEACHING. 

A  stenotype  report  of  the  entire  afternoon  session  of  the 
winter  meeting  of  the  Department  of  Visual  Instruction 
of  the  N.  E.  A.  at  St.  Louis,  February  26,  1936.  Includes 
able  presentation  of  the  advantages  of  sound  films,  the  latest 
addition  to  the  family  of  visual  aids. 

8  pp.    Net  Price  20c 


COMPARATIVE  EFFECTIVENESS  OF  SOME  VIS- 
UAL AIDS  IN  SEVENTH  GRADE  INSTRUCTION. 
By  Joseph  J.  Weber,  Ph.  D. 

The  first  published  work  of  authoritative  research  in  the 
visual  field,  foundational  to  all  research  work  following  it. 
Not  only  valuable  to  research  workers,  but  an  essential 
reference  work  for  all  libraries. 

131  pp.    Price  $1.00  (67c  to  subscribers  of  E.  S.) 


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Your  copy  of  the  new  THIRTEENTH  annual  edition  of  the  famous  "1000  and  One  Blue 
Book  Film  Directory,"  the  recognized  standard  film  reference  source  for  educational  film 
users. 

Appears  this  year  in  enlarged  size,  includes  more  films  than  ever,  more  convenient  than 
ever  to  use.  OVER  4500  FILMS,  carefully  classified  according  to  subject — full  informa- 
tion on  every  film — whether  16  mm.  or  35  mm.,  silent  or  sound,  title,  number  of  reels, 
brief  synopsis  of  contents,  sources  distributing  the  films  (240  such  sources  given)  and 
'•ange  of  prices  charged. 
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1000  and  One  Films $  .75  Q    %  .26  0 

Visual  Aids   in  Education 2.0*0      1-60  O 

Picture  Values   in   Education 1.00  Q        .67  O 

Comparative  Effectiveness  of  Some 
Visual  Aids  in  Seventh  Grade 
Instruction     1.00  O         -67  0 

Bibliography  on  the  Use  of  Visual 

Aids    in    Education 80         Net  O 

Simple  Directions  for  MakinsT 

VUual    Aids    26         Net  O 

A  Symposium  on  Sound  and  Silent 

Films   in  Teachins 20         Net  O 

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\gencies  in  the  United  States  .20         Net  D 


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Page  238 


The  Educational  Screen 


head  rack,   large    lamp    housing,    heavy    utility    cord 
easel. 

Addiiions  to  Erpi  Film  Library 

ERPI  Picture  Consultants  has  recently  completed  19 
new  educational  sound  films  which  are  ready  for  im- 
mediate use  in  schools  and  colleges  throughout  the 
country..  Two  entireh'  new  series  have  been  inaugur- 
ated for  use  in  elementary  schools.  One  deals  with 
"Human  Geography"  and  includes  seven  films;  the 
other  series,  of  which  three  films  have  been  completed, 
is  intended  for  lower  primary  grade  levels.  Of  the 
remaining  nine  new  pictures  three  complete  the  series 
in  '"Physical  Science" ;  one  adds  to  the  series  on  "Hu- 
man Biology,"  another  deals  with  "Light"  and  four 
music  filrris  replace  those  previously  issued  on  this 
study. 

The  IJuman  Geography  series  which  was  produced 
under  the  direction  of  Dr.  James  A.  Brill  of  Erpi 
Picture  Consultants,  includes  the  following  subjects : 
O.ur  Earth,  Animals  in  Modern  Life,  Clothing,  Shel- 
ter, Water  Power,  Conservation  of  Natural  Resources 
and  A  Backward  Civilization.  They  are  intended  for 
use  in  the  fourth,  fifth  and  sixth  grades. 

Our  Earth,  filmed  in  collaboration  with  Dr.  Clyde 
Fisher  of  the  American  Museum  of  Natural  History, 
is  designed  as  an  introduction  to  the  entire  series. 
Animals  in  Modern  Life  also  planned  in  co-operation 
with  Dr.  Clyde  Fisher  provides  a  study  of  the  world 
wide  uses  to  which  domestic  animals  are  put.  Dr. 
Atwood,  President  of  Clark  University,  collabor- 
ated in  the  filming  of  Shelter  which  shows  how 
climate  and  available  raw  materials  of  the  environment 
have  influenced  types  of  shelter  in  all  parts  of  the 
globe.  Clothing,  another  film  produced  in  cooperation 
with  Dr.  Atwood,  shows  first,  how  primitive  peoples 
and  the  simple  civilizations  of  today  use  materials 
found  immediately  about  them  for  clothing.  Water 
Power,  produced  in  collaboration  with  Dr.  George 
T.  Renner,  Jr.,  of  Teachers  College,  Columbia  Uni- 
versity, begins  with  the  portrayal  of  the  cycle  through 
which  the  use  of  water  power  has  passed,  and  power 
development  in  the  United  States.  Scenes  in  the  Con- 
servation of  Natural  Resources,  another  film  produced 
under  the  supervision  of  Dr.  Renner,  are  confined  to 
conservation  in  America.  A  Backzvard  Civilization 
prepared  under  the  guidance  of  Dr.  Ellsworth  Hunt- 
ington, Yale  University,  is  a  two-reel  feature  giving 
a  comprehensive  study  of  Berbers,  an  isolated  civiliza- 
tion of  North  Africa. 

The  New  series  intended  for  lower  primary  grades 
so  far  include  Adventures  of  Bunny  Rabbit,  The  Poul- 
try Farm,  and  Farm  Animals,  directed  by  Dr.  L.  K. 
Eads  and  produced  in  cooperation  with  A.  I.  Gates, 
Ph.  D.,  Mrs.  Celeste  E.  Pearson,  M.  A.,  of  Teachers 
College  and  Ernest  Horn  Ph.  D.,  of  the  State  Uni- 
versity of  Iowa. 

The  Physical  Science  series,  produced  under  the 
direction  of  Dr.  Melvin  Brodshaug.  of  Erpi  Picture 
Consultants,  in  collaboration  with  the  Universitv  of 
Chicago,  is  now  comjjleted  with  the  three  new  films 
Velocity  of  Chemical  Reactions,  Catalysis  and  Col- 
loids. 


Reproduction  Among  Mammals,  the  new  addition  to 
the  Human  Biology  series,  was  produced  under  the 
direction  of  Dr.  Brodshaug  in  collaboration  with  Dr. 
H.  H.  Strandskov  of  the  University  of  Chicago.  The 
story  of  embryology  is  presented  in  this  film  by  means 
of  actual  photography,  animated  drawings,  microcine- 
matography  and  three  dimensional  animation.  The 
domestic  pig  was  selected  for  the  purpose  of  illustra- 
tion. 

Light,  produced  in  collaboration  with  Dr.  H.  H. 
Sheldon  of  New  York  University,  is  adapted  for  use 
on  the  High  School  level.  An  elementary  presenta- 
tion of  light,  it  includes  a  comprehensive  explanation 
of  the  reflection  with  plane,  concave  and  convex  mir- 
rors. .\niniation  is  employed  extensively  to  visualize 
otherwise  intangible  processes. 

The  four  music  films  listed  among  the  new  releases 
which  replace  the  former  series  on  this  subject  were 
supervised  by  Dr.  Brill  in  cooperation  with  Peter  Dy- 
kema.  head  of  the  department  of  Music  Education, 
Teachers  College,  Columbia  University. 

An  Instructive  Short  Subject 

The  Cloth  of  Kings,  a  recent  one-reel  release  in 
the  Going  Places  With  Lowell  Thomas  series,  produced 
by  Universal  Pictures,  is  an  informative  and  effective 
travelogue  showing  the  weaving  of  Irish  linen.  It 
received  the  Merit  Award  from  Associated  Publica- 
tions for  the  outstanding  short  subject  of  the  week. 
We  quote  a  review  of  it  from  the  Film  Daily:  "During 
the  process,  the  peasants  gather  and  prepare  the  flax, 
in  their  primitive  way.  for  the  weaving  machines. 
But  in  the  factory  ancient  methods  give  way  to  the 
new  and  the  fibers  are  processed  by  modern  technique. 
True  Irish  colleens  are  among  the  factory  workers, 
and  their  deft  fingers  create  the  designs  and  trace  the 
delicate  embroidery  that  completes  the  job.  During 
the  early  scenes  the  cameraman  captures  some  pictur- 
esque views  of  the  Irish  countryside  which  recall 
painted  landscapes.  The  subject  has  an  absorbing  in- 
terest throughout,  its  incidental  educational  value  de- 
tracting not  at  all  from  its  entertainment  qualities." 

An  Effective  Safety  Subject 

Educators  and  traffic  experts  have  endorsed  en- 
thusiastically the  safety-instruction  film,  America's 
Safety  City,  produced  by  P.  O.  Warren  of  Dayton  in 
cooperation  with  Evanston's  Bureau  of  .Xccident  Pre- 
vention. The  film  was  made  especially  for  children 
along  lines  suggested  by  officers  of  the  National  Edu- 
cation Association,  the  National  Congress  of  Parents 
and  Teachers,  and  the  National  Safetv  Council,  and 
contains  no  advertising  of  any  kind.  Most  of  the  ma- 
terial was  obtained  by  Evanston,  111.,  police  in  six  years 
of  movie-taking  on  the  streets  of  that  city,  and  shows 
candid  shots  of  children  encountering  traffic  hazards 
and  the  mistakes  thev  make. 

So  effectively  does  this  2-reel  sound  film  teach  right 
traffic  behavior  that  accidents  have  been  reduced  60% 
in  localities  where  children  saw  the  picture.  It  pre- 
sents traffic  safety  in  a  way  that  child-en  understand 
and  will  copy. 


Page  239 


I 


PICTURES  CONVINCE 


Doubting,  yet  wanting  to  believe,  young  minds  find  in  pictures 
convincing  proof  of  the  facts  that  words  teach  them. 
When  courses  are  supplemented  by  illustrated  Balopticon  lectures 
even  the  most  backward  and  hard-to-handle  pupils  take  an  active 
interest  in  their  studies.  Words  alone  are  dry  .  .  .  but  words  illus- 
trated ...  so  that  all  can  see,  command  attention. 
There  are  Balopticons  adapted  to  every  curricular  need  .  .  .  for  lan- 
tern slides  or  opaque  objects  or  pictures  .  .  .  for  projecting  on 
opaque  or  translucent  screens  .  .  .  for  large  auditoriums  or  small 
classrooms.  Write  for  booklet  E-ii  describing  B  &  L  Balopticons 
for  educational  use.  Address  Bausch  &  Lomb  Optical  Co.,  688  St. 
Paul  St.,  Rochester,  N.  Y. 

BAUSCH  &-  LOMB 


Above,  Model  KOSB  Balopticon  for 
both  lantern  slide  and  opaque  projec- 
tion. Designed  for  use  with  a  trans- 
lucent screen. 


....WE   MAKE   OUR   OWN   GLASS  TO 
INSURE  STANDARDIZED  PRODUCTION 


FOR  YOUR  GLASSES  INSIST  ON  B  &  L 
ORTHOCON  LENSES  AND  (  «  L  FRAMES  . . . 


Page  240 


The  Educational  Screen 


HERE  THEY  ARE 


FILMS 

Akin  and  Bagshaw,  Inc.  (6) 

1425  Williams  St.,  Denver,  Colo. 
Bell  &  Howell  Co.  (6) 

1815  Larchniont  Ave.,  Chicago 

(See  advertisement  on  inside  back  cover) 

Bray  Pictures  Corporation  (3,  6) 

729  Seventh  .\\e.,  New  York  City 
Cine  Classic  Library  (S) 

1041  Jefferson  Ave.,  Brooklyn,  N.  Y. 
(See   advertisement   on   page   230) 

Eastin  16  mm.  Pictures  (6) 

(Rental  Library)   Davenport,  la. 
(See  advertisement  on  page  209) 

Eastman  Kodak  Co.  (i,  4) 

Rochester,  N.  Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St.,  Pittsburgh,  Pa. 
Edited  Pictures  System,  Inc.  (6) 

330  W.  42nd  St.,  New  York  City 
Erpi  Pictures  Consultants,  Inc.        (2,  5) 

250  W.  S7th  St.,  New  York  City 

(See   advertisement   on   page   210) 

Film  Library  of  New  England  (5) 

239  Columbus  Ave.,  Boston,  Mass. 
(See   advertisement  on   page  228) 

Films,  Inc.  (5) 

330  W.  42nd  St.,  New  York  City 

64  E.  Lake  St.,  Chicago 

925  N.  W.  19th  St.,  Portland,  Ore. 
Walter  O.  Gutholn,  Inc.  (6) 

35  W.  45th  St.,  New  York  City 

(See   advertisement   on    page  227) 

Harvard  Film  Service  (3,  6) 

Biological   Laboratories, 

Harvard  University,  Cambridge,  Mass. 
Guy  D.  Haselton's  Travelettes      (1,  4) 

7901  Santa  Monica  Blvd.,  Hollywood, 
Cal. 
J.  H.  Hoffberg  Co.,  Inc.  (2,  5) 

729  Seventh  Ave.,  New  York  City 
Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago,  111. 

(See   advertisement  on   page   233) 

Institutional  Cinema  Service,  Inc.  (3,  6) 

130  W.  46th  St.,  New  York  City 
Lewis  Film  Service  (6) 

105  E.  1st  St.,  Wichita,  Kan. 
(See  advertisement  on   page   230) 

The  Manse  Library  (4,  5) 

2439  Auburn  Ave.,  Cincinnati,  O. 

(See   advertisement   on    page   232) 

Pinkney  Film  Service  Co.  (1,  4) 

1028   Forbes    St.,   Pittsburgh,   Pa. 
Alan  B.  Twyman  Sound  Film  Libraries 
Inc.  (5) 

29  Central  Ave.,  Dayton,  O. 
(See   advertisement  on   page  230) 

United  Projector  and  Films  Corp.  (1,  4) 
228  Franklin  St.,  Buffalo,  N.  Y. 

Universal  Pictures  Corp.  (3) 

Rockefeller  Center,  New  York  City 

(See   advertisement   on    page   234) 

Visual  Education  Service  (6) 

131  Clarendon  St.,  Boston,  Mass. 
Wholesome  Films  Service,  Inc.       (3,  4) 

48  Melrose  St.,  Boston,  Mass. 
Williams,  Brown  and  Earle,  Inc.      (3,  6) 

918  Chestnut   St.,   Philadelphia,   Pa. 
Y.M.C.A   Motion  Picture   Bureau   (3,6) 

347  Madison  Ave.,  New  York  City 

(See   advertisement  on   page   232) 


MOTION  PICTURE 
MACHINES  and  SUPPLIES 

The  Ampro  Corporation  (6) 

2839  N.  Western  .\venue,  Chicago 
(See   advertisement   on    page   208) 

Bell  &  Howell  Co.  (6) 

1815  Larchmont  Ave.,  Chicago 
(See  advertisement  on   inside  back   cover) 

Eastman  Kodak  Co.  (4) 

Rochester,  N.  Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 
606  Wood  St.,  Pittsburgh,  Pa. 

General  Films,  Ltd.  (3,6) 

1924  Rose  St.,  Regina  Sask. 

(See    advertisement   on   page   230) 

Herman  A.   DeVry,  Inc.  (3,  6) 

111  Armitage  St.,  Chicago. 

(See  advertisement  on   page  231) 

Holmes  Projector  Co.  (3,6) 

1813  Orchard  St.,  Chicago 

(See  advertisement  on   page  227) 

Ideal   Pictures   Corp.  (3, 6) 

28  E.  Eighth  St.,  Chicago 

(See   advertisement  on    page   233) 

International   Projector   Corp.  (3, 6) 

90  Gold  St..  New  York  City 
(See  advertisement  on  inside  front  cover) 

RCA  Manufacturing  Co.,  Inc.  (5) 

Camden,  N.  J. 

(See   advertisement   on    page   225) 

S.  O.  S.  Corporation  (3,  6) 

636  Eleventh  Ave.,  New  York  City 
Sunny  Schick  National  Brokers    (3,  6) 

407  W.  Wash.  Blvd.,  Ft.  Wayne,  Ind. 
United  Projector  and  Films  Corp.  (1, 4) 

228  Franklin  St.,  Buffalo,  N.  Y. 
Universal  Sound  Projector  (5) 

1921  Oxford  St.  , Philadelphia,  Pa. 

(See   advertisement   on    page   229) 

Victor  Animatograph  Corp.  (6) 

Davenport,  Iowa 

(See   advertisement   on    page   206) 

Visual  Education  Service  (6) 

131  Clarendon  St.,  Boston,  Mass. 

Williams,  Brown  and  Earle,  Inc.  (3,  6) 
918  Chestnut  St.,  Philadelphia,   Pa. 

PICTURES  and  PRINTS 

Colonial  Art  Company 

1336  N.  W.  First  St.,  Oklahoma  Citv, 

Okla. 
The  Photoart  House 
844   N.    Plankinton   Ave.,    Milwaukee, 

Wis. 

SCREENS 

Da  Lite  Screen  Co. 

2717  N.  Crawford  Ave.,  Chicago 

(See  advertisement  on   page  205) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut   St.,  Philadelphia,   Pa. 

606  Wood  St.,  Pittsburgh.  Pa. 
Williams,  Brown  and  Earle,  Inc. 

918  Chestnut   St.,   Philadelphia,  Pa. 

SLIDES  and  FILM  SLIDES 

Conrad  Slide  and  Projection  Co. 

709  E.  Eighth  St.,  Superior,  Wis. 


A  Tracde  Directory 
for  the  Visual  F\e\6 


Eastman  Educational  Slides 

Johnson  Co.   Bank  Bldg., 
Iowa  City,  la. 
Edited  Pictures  System,  Inc. 

330  W.  42nd  St.,  New  York  City 
Ideal  Pictures  Corp. 

28  E.  Eighth  St.,  Chicago,  111. 

(See   advertisement   on    page   233) 

Keystone   View  Co. 
Meadville,  Pa. 

(See   advertisement   on    page   235) 

Radio-Mat  Slide  Co.,  Inc. 

1819  Broadway,  New  York  City 
(See  advertisement   on    page   232) 

Society  for  Visual  Education 

327  S.  LaSalle  St.,  Chicago,  111. 

Visual  Education  Service 

131   Clarendon   St.,  Boston,  Mass. 

Visual  Sciences 
.Suffern,  New  York 

(See   advertisement   on    page   232) 

Williams,  Brown  and  Earle,  Inc. 
918   Chestnut    St.,    Philadelphia,    Pa. 

STEREOGRAPHS  and 
STERESCOPES 

Herman  A.  DeVry,  Inc. 
1111  Armitage  St.,  Chicago 

(See  advertisement  on   page  231) 

Keystone  View  Co. 

Meadville,  Pa. 

(See  advertisement  on   page  235) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 

Rochester,  N.  Y. 

(See  advertisement  on   page  239) 

Eastman   Kodak  Stores,   Inc. 

1020  Chestnut  St.,  Philadelphia,  Pa. 
606  Wood  St.,  Pittsburgh,  Pa. 
General  Films  Ltd. 
1924  Rose  St..  Regina,  Sask. 

(See  advertisement   on   page  230) 

Keystone  View  Co. 

Meadville,  Pa. 

(See   advertisement   on    page   235) 

Society  for  Visual  Education 

327   S.   LaSalle   St.,   Chicago,   111. 
Spencer  Lens  Co. 

19  Doat  St.,  Buffalo,  N.  Y. 

(See   advertisement   on    page   229) 

Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St..  Philadelphia,  Pa. 


REFERENCE  NUMBERS 

(1>  indicates    firm   BuppIieB 

35   mm. 

silent. 

(2)   indicates    firm   supplies 

35   mm. 

sound. 

(3)   indicates   firm   supplies 

35   mm. 

sound    and    silent. 

(4)   indicates    firm   supplies 

16  mm. 

silent. 

(5)   indicates   firm   supplies 

16   mm. 

sound-on-film. 

(6)   indicates    firm   supplies 

16  mm. 

sound  and  silent. 

Continuous  insertions  under  one  heading,  $1.50  per  issue;  additional  listings  under  other  headings,  75c  each. 


]  1  HI  (C  A  T I  (U  M"  A IL 


;  Magazine  Devoted  Exclusively 
the  Visual  Idea  in  Education 


IN  THIS  ISSUE 

Proceedings  of  the  Detroit 
Visual  Instruction  Meeting 
(Concluded  from  Sept.  issue) 


Lantern  Slide  Technique  in 
Geography  Instruction 

Complete  Learning  through 
Visual  Aids  in  Physics 

The  Motion  Picture  as  an 
Aid  to  Learning 

The  Teaching  of  Wild  Life 
Near  Home 


(Courtesy  of  Illinois  Central  Railroad) 

A  Municipal  Laundry,  Taxco,  Mexico 


OCTOBER,    1937 

VOLUME  XVI 
NUMBER  8 


A     COPY 


$2.00    PER    YEAR 


PROJECTORS  —  DISTRIBUTED     BY    NATIONAL   THEATRE    SUPPLY    COMPANY 


-      g^' 


Simplex  Sound   Projector 
Type  SP  —  Incandescent 


SOUND   PROJECTORS  TYPE   S  P 

/HADE    BY  THE    WORLDS    OLDEST   AND   LARGEST 
AiANLFACTURERS    OF  MOTION    PICTURE    EQUiPAiENT 

SIMPLEX  Sound  Projector  Type  S  P  is  particu- 
larly adapted  to  the  special  requirements  of  small 
theatres,  schools,  colleges,  churches,  hotels,  hos- 
pitals, commercial  organizations,  etc.  The 
characteristic  care  and  accuracy  which  have  given 
our  products  an  international  reputation  are 
maintained  throughout  in  the  manufacture  and 
assembly  of  Simplex  Sound  Projectors  Type  S  P. 
Superior  sound  and  visual  projection  can  be  se- 
cured under  any  conditions  with  adequate  equip- 
ment. Therefore,  we  give  an  absolute  assurance 
that  in  the  field  for  which  they  are  intended  the 
quality  of  results  obtained  with  Type  S  P  Sound 
Projectors  is  exactly  the  same  as  that  secured 
with  Simplex  Projectors  in  thousands  of  leading 
theatres  throughout  the  world. 


-     g^ 


"-ot 


PROFESSIONAL 
PROJECTION 

in 

SMALLER 
THEATRES, 

Cludiiotmms 
olc. 


Simplex   Sound   Projector 
Type  SP  —  Arc  Lamp 


INTERNATIONAL  PROJECTOR  CORPORATION 


88-96     COLD    ST. 


NEW  YORK,  N.Y. 


October,  19}  7 


"Jk 


Page  243 


£  EDUCATIONAL  SCREEN 


OCTOBER,  1937 


VOLUME  XVI 


Contents 

Lantern  Slide  Technique  In  Geography  Instruction. 

Villa  B.  Smith 247 

Complete  Learning  Through  Visual  Aids  in  Physics. 

O.  S.  Anderson .....249 

The  Motion  Picture  as  an  Aid  to  Learning. 

William  M.  Gregory 252 

The  Teaching  of  Wild  Life  Near  Home 

Frank   S.   Gehr .254 

Training  in  the  Operation  of  Sound  Projectors. 

Lloyd  S.  Ramseyer 256 

News  and  Notes.  Conducted  by  Josephine  hloffman 258 

Costume  Design — In  Hand-made  Lantern  Slides. 

By  Ann  Gale 259 

Among  the  Magazines  and  Books. 

Conducted  by  Stella  Evelyn  Myers 260 

Current  Film  Releases 264 

School  Department. 

Conducted  by  Wilber  Emmert 266 

Among  the  Producers 272 

Film    Estimates 274 

Here  They  Are!  A  Trade  Directory  for  the  Visual  Field 276 


NUMBER  EIGHT 


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Stella     Evelyn      Myers 
E.    C.    Waggoner 


Page  244 


The  Educational  Screen 


KEYSTONE  VISUAL  AIDS 

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within  five  years — twenty-five  Stereographs  or  twenty-five  Lantern  Slides  with  one 
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Page  246 


The  Educational  Screen 


Publications  on  the  Visual  Field 


VISUAL  AIDS  IN  EDUCATION.     By  Joseph  J. 
Weber,  Ph.  D. 

The  author's  final  and  finest  work  in  this  field,  being  "a 
balanced  summary  of  the  available  scientific  evidence  on 
the  values  and  limitations  of  visual  aids  in  education  and 
an  elaboration  upon  this  evidence  by  way  of  generalization 
and  application  so  as  to  inspire  the  progressive  educator  in 
making  common  sense  adaptation  of  visual  materials  and 
methods  to  the  purposes  of  the  school." 
220  pp.  Price  $2.00  ($1.50  to  subscribers  of  E.  S.) 

PICTURE  VALUES  IN  EDUCATION.  By  Joseph  J. 
Weber,  Ph.  D. 

An  important  contribution  to  the  literature  of  the  visual 
field.  Presents  in  unusually  interesting  form  the  results 
of  extended  investigations  on  the  teaching  values  of  the 
lantern  slide  and  stereograph. 

156  pp.  illus.    Price  $1.00  (67c  to  subscribers) 

ACTIVITIES  OF  STATE  VISUAL  EDUCATION 
AGENCIES  IN  THE  UNITED  STATES.  By  Fannie 
W.  Dunn,  and  Etta  Schneider,  Teachers  College,  Colum- 
bia University. 

A  concise  and  discriminating  summary  of  total  results 
from  a  comprehensive  survey  of  24  of  the  26  states  having 
Departments  of  Visual  Instruction.  A  companion  article 
to  this,  "Practices  in  City  Administration  of  Visual  Educa- 
tion," by  the  same  authors,  appeared  in  EDUCATIONAL 
SCREEN  for  November  and  December,  1936. 
8  pp.     Net  price,  20c. 

THE  AUDIO-VISUAL  HANDBOOK.  By  Ellsworth 
C.  Dent. 

Presents  in  convenient  form,  practical  information  for 
those  interested  in  applying  visual  and  audio-visual  aids 
to  instruction.  The  six  chapters  include  discussions  on 
"The  Status  of  Visual  Instruction,"  "Types  of  Visual 
Aids  and  Their  Use,"  "Types  of  Audio-Visual  Aids  to 
Instruction,"  "Types  of  Sound  Aids  for  Schools,"  "Or- 
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180  pp.  Illus.   Paper  binding,  $1.25;  Cloth,  $1.75. 


BIBLIOGRAPHY    ON    THE    USE    OF    VISUAL    AIDS 
IN   EDUCATION.     By  Joseph  J.   Weber,   Ph.D. 

A  complete  bibliography  on  the  field  to  June  1930.  Over 
1,000  references  to  books  and  magazine  articles.  (Addi- 
tional references  by  Mr.  Weber  through  September,  1932, 
appear  in  EDUCATIONAL  SCREEN  for  October  1932.) 

24  pp.    Net  Price  30c. 


SIMPLE  DIRECTIONS  FOR  MAKING  VISUAL 
AIDS.  By  Lillian  Heathershaw,  Drake  University,  Des 
Moines,  Iowa. 

Directions  for  making  Etched  Glass  Slides,  using  Colored 
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A  SYMPOSIUM  ON  SOUND   AND 
SILENT  FILMS  IN  TEACHING. 

A  stenotype  report  of  the  entire  afternoon  session  of  the 
winter  meeting  of  the  Department  of  Visual  Instruction 
of  the  N.  E.  A.  at  St.  Louis,  February  26,  1936.  Includes 
able  presentation  of  the  advantages  of  sound  films,  the  latest 
addition  to  the  family  of  visual  aids. 

8  pp.    Net  Price  20c 


COMPARATIVE  EFFECTIVENESS  OF  SOME  VIS- 
UAL AIDS  IN  SEVENTH  GRADE  INSTRUCTION. 
By  Joseph  J.  Weber,  Ph.  D. 

The  first  published  work  of  authoritative  research  in  the 
visual  field,  foundational  to  all  research  work  following  it. 
Not  only  valuable  to  research  workers,  but  an  essential 
reference  work  for  all  libraries. 

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Proceedings  of  the  Department  of  Visual  Instruction  Meeting 


Page  247 


Lantern  Slide  Technique  In  Geography  Instruction 


An  interesting  exposition  of  the  efficient 
use  of  lantern  slides  in  the  classroom. 

By    VILLA    B.    SMITH 

Western   Reserve  University,  Cleveland  Ohio 


PICTURES  and  maps  are  essential  tools  in  geography  in- 
struction. They  have  contributions  to  make  that  are 
as  essential  as  those  of  the  printed  page.  For  classroom 
use,  the  lantern  slide  is  an  invaluable  tool.  It  provides  a  large, 
clear  image  that  all  can  see,  and  may  be  displayed  for  as  long 
or  as  short  a  time  as  circumstances  require.  It  lends  itself  to 
many  uses  not  provided  by  other  aids. 

A  large,  clear  projection  is,  perhaps,  novifhere  more  needed 
than  in  map  study.  All  too  frequently  the  maps  in  elementary 
te.xts  are  small.  On  that  account,  they  are  ineffective  tools. 
Wall  maps,  likewise,  are  ineffective,  particularly  when  used  in 
the  study  of  individual  countries.  The  map  problem  is  a  serious 
one.  In  many  instances,  it  may  be  easily  and  cheaply  solved 
by  using  the  map  slide. 

The  first  slide  selected  (Fig.  1)  is  invaluable  in  sixth  grade 
geography.  Here,  the  Netherlands  is  actually  large  enough  to 


»     1/    n     r    H  A 


Courtesy 

Figure  1 

be  seen.  Such  a  map  is  large  enough  to  be  used  by  every  mem- 
ber of  the  class.  It  has  much  to  reveal  concerning  the  country. 
Its  facts  throw  considerable  light  upon  the  life  and  activities 
of  the  Dutch  people.  The  presence  of  two  kinds  of  low  land, 
that-  above  and  that  below  sea  level ;  the  concentration  of  large 
cities  on  the  lands  below  sea  level;  the  course  of  the  Rhine 
distributaries  across  the  country;  the  broad,  shallow  waters  of 
the  Zuider  Zee  are  some  of  the  things  to  be  observed  and  in- 
terpreted. The  Zuider  Zee  has  much  of  interest  when  viewed 
in  the  light  of  the  present  great  reclamation  project.  Map  facts 
are  as  important  as  the  facts  of  the  printed  page.  They  fre- 
quently aid  in  the  understanding  and  interpretation  of  textual 
materials. 

By  projecting  such  a  map  on  the  blackboard,  a  child  can 
quickly  trace  its  outline,  indicate  its  rivers  and  its  cities  of 
importance.  Such  a  blackboard  map  may  be  one  of  a  series.  It 
lends  itself  to  a  variety  of  uses.  When  traced  on  tag  board, 
it  may  become  part  of  a  permanent  collection. 

Maps  of  other  countries  lend  themselves  to  a  variety  of  uses. 
The  next  one  selected   (Physical  map  of  France)    is  essential 


in  the  introductory  lessons  on  F'rance.  Projected  on  the  black- 
board, it  may  be  the  basis  of  class  activity.  When  chalk  takes 
the  place  of  pointer,  the  map  grows  before  the  eyes  of  the 
class.  Lines  superimposed  on  the  projection  make  possible  the 
development  of  significant  ideas  from  a  mass  of  map  detail. 
When  the  lantern  is  disconnected,  the  blackboard  sketch  em- 
phasizes the  story  with  startling  clearness. 

While  the  map  slide  is  an  effective  teaching  tool,  it's  efficiency 
depends  largely  upon  the  teacher  who  has  h  to  use.  To  one 
trained  iv  map  techniques,  it  has  much  to  offer.  To  one  with- 
out training  it  offers  little.  Effective  map  technique  calls  not 
only  for  the  recognition  of  map  symbols,  but  for  their  inter- 
pretation and  translation  into  actual  landscapes.  The  teacher 
should  furnish  guidance,  so  the  child  finds  what  the  map  shows 
and  acquires  skill  in  using  these  facts  in  geographic  thinking. 

In  many  classrooms  the  lantern  slide  is  a  picture  rather  than 
a  map.  Pictures  have  universal  appeal.  They  are  a  substitute 
for  reality.  Carefully  selected,  they  are  invaluable  aids  in  the 
teaching  of  modern  elementary  geography.  There  is  great 
need,  however,  to  practice  a  technique  which  will  make  them 
function  effectively.  Such  directions  as  "study  the  picture" 
or  "look  at  the  picture"  are  out  of  place  in  modern  class  pro- 
cedure. These  directions  assume  that  ttie  child  instinctively 
knows  what  to  look  for  in  a  picture  and  how  to  use  the  informa- 
tion found.  The  ability  to  read  a  picture  is  acquired  only 
under  careful  guidance. 

Geography  introduces  the  pupil  to  a  strange  array  of  new 
words,  ideas  and  relationships.  Lest  it  develop  into  a  purely 
memory  subject,  it  is  necessary  that  these  words  have  mean- 
ing and  that  they  be  used  in  developing  and  expressing  ideas. 
That  pictures  put  meaning  into  words  is  illustrated  by  the  next 
slide  (Fig.  2).  Children  in  the  fourtti  grade,  when  studying 
the  Netherlands,  are  confronted  with  a  new  situation,  unlike 
any  with  which  they  are  familiar.  With  this  picture  before' 
them,  they  are  made  to  feel  that  they  are  in  the  Netlierlands. 
Under  guidance,  they  become  acquainted  with  the  things  they 


Figure  2 


Ewing    Galloway 


see  and   find   reasons   which   help  explain  the  landscape  upon 
which  they  are  looking. 

To  illustrate ;  Find  the  windmill  nearest  you  in  the  picture. 
Notice  the  narrow  road  that  leads  from  it  to  the  other  wind- 
mills in  the  distance.     In  many  places  there  are  tiny  houses 


Page  248 


Proceedings  of  the  Department  of  Visual  Instruction  Meeting 


The  Educational  Screen 


close  to  the  road.  Do  you  find  them?  The  windmills,  the 
road  and  the  houses  have  been  built  along  the  top  of  a  wall 
made  of  earth.  This  wall  is  a  dike.  Since  you  are  viewing 
the  wall  from  an  airplane,  it  does  not  appear  high.  If  you  were 
walking  along  the  narrow  dike  road,  however,  you  would  be 
on  the  highest  land  in  the  picture  and  able  to  look  down  upon 
the  broad  green  fields.  The  Dutch  people  have  builf  the  dikes. 
These  broad,  high  walls  enclose  the  low  fields. 

Find  the  narrow  ditch  filled  with  water,  to  the  right  of  the 
dike  nearest  you.    This  ditch  is  a  drainage  ditch.    Water  drains 


Figure  3 

into  it  through  smaller  ditches  fhat  cross  the  low  land.  These 
smaller  ditches  are  plainly  seen  in  the  low  land  near  the  upper 
left  hand  corner  of  the  picture.  Do  you  find  them  ?  Perhaps, 
you  can  find  drainage  ditches  crossing  the  low  land  nearest 
you.  The  water  that  soaks  into  the  ground  drains  into  the 
smalt  ditches.  From  these,  it  drains  into  larger  ones,  and 
finally,  into  the  large  ditch  next  the  dike. 

As  the  great  arms  of  the  windmills  turn  in  the  wind,  fhey 
pump  water.  They  pump  it  from  the  drainage  ditch  into  the 
canal  on  the  other  side  of  the  dike.  Do  you  find  the  canal? 
It  is  the  broad  waterway  to  the  left  of  the  dike  nearest  you. 
From  the  canals,  the  water  may  be  pumped  into  the  rivers 
or  carried  to  the  sea.  The  low  land  that  is  drained  is  called 
a  polder.  Polders  would  be  under  water  were  if  not  for  the 
dikes,  the  drainage  ditches  and  fhe  windmills.  Many  polders 
are  planted  to  crops.     Many  are  rich  grass  lands. 

A  presentation  such  as  this,  has  introduced  the  class  to  a 
number  of  words  necessary  for  an  understanding  of  the  Nether- 
lands. The  next  slide  (Fig.  3)  oflfers  a  helpful  device  for 
checking  this  vocabulary.  Members  of  the  class  are  either 
provided  with  a  typed  lisf  of  items  to  be  identified,  or  the  list 
is  written  on  the  board.  The  list  includes  such  words  as  dike, 
drainage  canal,  large  drainage  ditch,  small  drainage  ditches, 
dike  road,  windmills  and  polders.  All  these  are  numbered  on 
the  slide.  The  child  is  to  find  the  numbers  that  represent  each 
item  and  to  place  these  numbers  after  fhe  proper  word  in  the 
list.  This  is  a  check-up  on  a  play  level.  It  aflfords  excellent 
opportunity  to  check  the  understanding  of  the  landscape  under 
consideration.  A  sketch  slide  of  this  sort  can  be  easily  and 
quickly  copied  by  projecting  on  the  blackboard.  The  ways  in 
which  such  a  blackboard  copy  may  be  used  are  many.  They 
all  add  fo  the  child's  understanding  and  afford  opportunity  to 
use  words  and  to  develop  ideas. 

Vocabulary  and  ideas  may  be  checked  in  still  another  way. 
An  entirely  different  scene  may  be  used,  as  is  done  in  the  next 
slide  (Fig.  4).  Questions  such  as  the  following,  direct  the 
child's  attention  to  the  picture.  Can  you  tell  where  this 
narrow  road  has  been  builf?  What  reasons  can  you  give  that 
account  for  the  dike  being  higher  than  the  land  you  see  on  the 
right?     What  name   is   given   this  low   land?     How  are  the 


polder  lands  being  used?  Xotice  the  water  next  the  dike  on 
the  right.  Can  you  suggest  what  this  wafer  is  and  tell  from 
where  it  has  come?  Why  is  the  windmill  close  to  the  drainage 
ditch?  Into  what  does  the  windmill  pump  the  water?  What 
would  you  expect  to  find  along  the  dike  on  the  left?  The 
picture  suggests  one  reason  why  the  polder  lands  are  good 
for  dairy  cows.  What  reason  is  it?  What  other  sign  of  the 
dairy  industry  do  you  find  in  the  picture?  Why  docs  the  dog 
cart  seem  well  suited  for  milk  delivery  in  this  land  of  dikes? 

A  fourth  grade  Netherlands  unit  should  be  rich  in  pictorial 
aids.  The  few  slides  selected  merely  illustrate  some  of  the 
techniques  necessary  in  picture  presentation.  The  type  of  pro- 
cedure outlined  does  not  emanate  from  the  pupil.  It  is  part 
of  the  skilled  technique  of  the  ttacher.  It  directs  the  child 
into  the  picture,  introduces  him  to  those  things  that  are  new, 
affords  opportunity  for  him  to  recognize  things  that  are  familiar 
and  builds  ideas  essential  fo  geographic  thinking. 

In  pictures  of  high  geographic  quality  there  are  two  types  of 
things  to  be  recognized,  (1)  those  that  pertain  to  man  and 
his  activities  and  (2)  those  that  pertain  fo  nature.  The  task, 
however,  does  not  end  with  recognition.  The  recognition  step 
must  be  followed  by  that  of  interpretation,  which  calls  for  the 
finding  of  the  relationships  that  exist  between  man  and  his 
natural  environment.  In  the  elementary  school,  interpretation 
consists  largely  in  finding  the  simple  reasons  that  help  explain 
what  man  is  doing. 

In  the  next  picture  (Fig.  5),  the  child  observes  that  tiie 
people  live  in  tents  and  that  they  have  flocks  of  sheep.  He 
observes  that  the  land  in  which  they  are  living  has  very  little 
vegetation.  The  sheep  must  eat  and  the  scattered  bunches  of 
grass  supply  the  food.  Such  food,  however,  is  not  plentiful 
and  is  quickly  consumed.  On  that  account,  the  flock  must  move 
to  other  feeding  grounds.  This  constant  search  for  new  grass 
lands  and  food  makes  it  necessary  for  the  herdsmen  to  move 
with  their  flocks.  When  fhey  move  they  take  their  homes  with 
them.  Tents  are  the  best  shelters  for  such  people.  Tents 
are  light,  can  be  easily  taken  down  and  put  up,  and  can  be 
easily  carried.  The  wool  of  the  sheep  furnishes  the  material 
for  the  tents  as  well  as  clothing. 

Through  the  use  of  this  picture,  not  only  is  the  idea  of  a 
wandering  or  nomadic  life  developed,  but  such  a  life  is  directly 
related  to  the  natural  surroundings  in  which  the  people  live. 
Sparse  vegetation  is  a  suggestion  of  little  rainfall.  Lack  of 
trees  in  the  land.scape,  likewise,  suggests  little  rainfall.  From 
the  picfure  the  child  concludes  that  in  this  land  of  little  rain, 


Courtesy  of  Keystone  View   Co. 

Figure  4 

sheep  raising  is  one  type  of  work.  He  finds  that  this  work  can 
be  explained  in  part  by  several  factors  of  the  natural  environ- 
ment.   This  picture  has  been  the  basis  of  geographic  thinking, 


October,  19}  7 


Proceedings  of  the  Deparlment  of  Visual  Instruction  Meeting 


Page  249 


Figure  5 

since  in  using  its  materials,  the  child  has  been  able  to  relate 
human  activities  to  the  conditions  of  the  natural  environment. 

Frequently,  children  are  plunged  into  pictures,  and  without 
reasoning  from  picture  materials,  asked  Vo  state  ideas  that  are 
mature  generalizations.  What  does  this  picture  tell  you  about 
rainfall  is  a  type  of  question  often  asked.  The  fourth  grade 
child  finds  that  it  tells  him  nothing.  He  can  guess,  or  can 
make  use  of  stock  expressions  which  he  has  found  generally 
acceptable  when  such  a  ([uestion  is  asked.  What  in  the  picture 
suggests  that  this  is  a  land  of  little  rain,  would  be  a  far  better 
type  of  question  to  ask.  It  immediately  directs  the  child  into 
the  picture  and  calls  for  recognition  and  use  of  materials  that 
are  there.  Too  frequently,  questions  direct  the  child  away  from 
the  picture  and  encourage  wild  guessing. 

In  many  desert  pictures,  where  Hat  roofed  houses  are  shown, 


the  child  is  led  to  believe  that  such  roofs  are  built  because  there 
is  little  rainfall.  Time  is  not  taken  to  develop  the  idea  that 
in  a  land  of  little  rain  and  little  wood,  a  flat  roof  is  generally 
the  only  sort  physically  possible.  Such  a  roof  is  satisfactory 
since  there  is  little  water  to  stand  upon  it  and  cause  damage. 
The  roof  is  an  expression  of  materials  and  man's  ingenuity 
in  shaping  them.  Such  a  roof  may  suggest'  little  rainfall,  so 
also  may  the  thick  mud  walls  of  the  house  and  the  slit-like 
windows. 

The  ideas  a  picture  suggests  depend"  upon  the  background 
and  the  experience  of  the  class.  To  city  children,  a  picture  of 
a  large  barn,  silo  and  corn  crib  may  at  first  suggest  little.  Silo 
and  crib  may  have  to  be  introduced  and  their  use  explained. 
With  experience,  such  structures  acquire  deeper  meaning.  A 
silo  picture  comes  to  suggest  dairying,  even  though  a  dairy  herd 
is  not  shown.  It  may  even  suggest  a  growing  season  too  short 
for  corn  to  ripen  and  a  winter  too  long  and  cold  for  dairy 
cows  to  feed  in  the  open.  Since  pictures  are  buf  one  tool  in 
geography  instruction,  there  are  many  ways  in  which  infer- 
ences derived  from  them  may  be  checked.  There  is  real  purpose 
in  reading  when  picture  ideas  must  be  verified.  There  is  a 
real  satisfaction  when  the  printed  page  yields  ideas  that  check 
or  supplement  those  derived  from  the  picture. 

Lanltrn  slide  technique  does  not  differ  radically  from  that 
of  other  picture  or  map  techniques.  The  slide  places  the  map 
or  picture  before  the  entire  group.  It  brings  the  entire  group 
to  the  same  place  at  the  same  time  and  easily  focuses  attention 
upon  specific  things.  If  provides  opportunity  for  class  activity 
in  introducing  new  ideas,  in  recognizing  old  and  in  interpreting 
map  and  picture  facts.  With  proper  technique,  it  gives  the  child 
definite  concepts.  It  provides  means  for  effective  guidance. 
By  building  vocabulary  and  developing  ideas,  it  points  the  way 
to  more  purposeful  reading  and  a  clearer  understanding  of  the 
printed  page.  The  low  cost,  convenience  and  flexibility  of  the 
lantern  slide  commend  it  as  a  geographic  tool  worthy  of  care- 
ful consideration. 


Complete  Learning  Through  Visual 
Aids  in  Physics 


By      O.      S.      ANDERSON 

Central  High  School,  Fargo,  North  Dakota 


A  concrete  account  of  the  working  of  a 
carefully  planned  visual  aid  program. 


WHAT  I  have  to  say  does  not  pertain  entirely  to  the 
subject  of  physics,  for  we  know  without  question 
that  physics  is  not  the  only  subject  for  which  there 
is  a  need  for  a  more  complete  learning.  Today  many  gaps 
are  left  in  our  presentation  of  subject  matter.  The  individual 
student  is  left  to  conjecture  for  himself.  If  is  not  the  fault 
of  educators  nor  of  any  one  particular  group,  but  rather  because 
there  is  more  to  learn  and  society  demands  more  to  be  learned. 
Now,  to  fill  in  these  gaps  and  to  feach  more  readily  this 
matter  which  is  being  omitted,  there  is  one  solution — greater 
efficiency  through  the  use  of  visual  aids  to  cover  more  thor- 
oughly a  greater  amount  of  work.  There  are  some  things 
which  can  be  taught  in  a  few  minutes  with  the  use  of  a  picture 
while  it  might  take  a  week  by  the  regular  classroom  procedure. 
The  advantage  gained  by  the  use  of  visual  aids  cannot  much 
longer  be  generally  denied  if  we  are  to  keep  up  witli  the 
changing  world. 

We  must  first  recognize  some  general  outline  of  approach 
to  the  subject.  The  value  and  use  of  visual  aids  in  physics  as 
well  as  in  any  other  subject  can  be  guided  by  six  essential 
points  as  follows : 

1.     Resourcefulness  of  the  teacher. 


2.  Knowledge  of  the  use  of  visual  aids. 

3.  Systematic  planning  of  each  semester's  work. 

4.  Knowledge  of  contents  of  visual  aids  to  be  used. 

5.  Classroom  situation   set-up. 

6.  Application  of  contents  of  visual  aids  to  subject  matter. 
A  variation  of   method   is   necessary  to   meet  this   situation 

which  confronts  us.  A  teacher  should  no  longer  be  satisfied 
with  one  single  method  of  presentation  of  all  phases  of  subject 
matter.  Each  unit  or  part  of  a  unit  may  call  for  a  different 
presentation  to  insure  learning  with  a  minimum  amount  of 
time  and  effort.  We  cannot  say  that  one  method  will  hold 
for  all  teachers.  One  teacher  may  be  more  effective  in  the  use 
of  one  method  than  another.  This  is  somewhat  dependent  upon 
fhe  resourcefulness  and  personality  of  the  teacher.  A  salesman 
must  take  advantage  of  his  opportunities  to  say  and  do  the 
right  thing  at  the  right  time;  so  must  the  teacher  select  the 
right  procedure.  The  salesman's  volume  will  drop  in  terms 
of  dollars  if  he  misses  too  many  chances  to  make  use  of  his 
individual  personality  and  resourcefulness.  We  as  teachers 
cannot  measure  in  such  definite  values  as  money  but  we  can 
ascertain  to  some  degree  teaching  efficiency  by  the  use  of  a 
testing  program. 


Page  250 


Proceedings  of  the  Department  of  Visual  Instruction  Meeting 


The  Educational  Screen 


Before  making  use  of  a  visual  aid  program  the  teacher  should 
learn  as  much  as  possible  of  what  is  being  done  and  how  it 
should  be  done.  Much  time  of  student  and  teacher  alike  can 
be  saved  by  making  a  study  of  present  day  practices.  There 
are  a  number  of  sources  of  information  where  teachers  can 
secure  help  in  the  orientation  of  a  program. 

Each  semester's  work  should  be  carefully  planned.  This  helps 
to  keep  the  subject  matter  and  program  together.  An  accurate 
school  calendar  should  be  on  hand  to  insure  correct'  dates. 
For  example,  it  might  happen  pictures  would  arrive  during 
vacation  periods,  a  thing  which  is  embarrassing  and  inexcus- 
able. If  you  have  the  necessary  materials  in  stock,  of  course 
these  problems  are  reduced  to  a  minimum.  It  is  frequently 
convenient  to  have  the  number  of  the  school  week,  suljject 
matter,  picture  titles,  type  of  picture  and  distributor  on  such 
an  outline. 

The  outline  also  tends  to  keep  tlie  work  systematically 
organized  for  the  use  of  pictures.  Lack  of  organization  leads 
to  a  waste  of  motion  in  the  use  of  visual  aids.  It  may  lead  to 
false  conclusions  of  its  worth  as  a  teaching  aid.  It  may  even 
go  so  far  as  to  keep  the  teacher  from  any  further  work  in 
this  direction.  Setting  up  this  program  may  seem  to  some 
as  a  lot  of  extra  work  the  first  year  or  two,  but  after  that 
it  becomes  a  matter  of  routine,  especially  with  those  pictures 
you  decide  to  adopt  for  permanent  use. 

In  the  planning  of  the  program  and  the  continuation  of  its 
improvement,  caution  should  be  taken  not  to  go  too  rapidly. 
Try  out'  various  pictures  and  fit  them  into  the  course  of  study. 
Pick  out  several  the  first  semester  through  the  title  and 
description  if  no  better  way  is  possible.  In  the  semesters  which 
follow,  look  for  units  where  the  text  should  be  supplemented, 
community  needs  satisfied,  or  where  technique  can  be  improved. 
For  example,  there  are  parts  which  require  motion.  How 
can  you  teach  motion  properly  when  all  the  objects  are 
standing  still?  How  can  you  teach  properly  t'he  characteristics 
of  the  moving  electron  which  is  invisible?  How  can  you  teach 
properly  electrolysis  when  you  cannot  show  what  is  going 
on  inside  the  solution?  How  can  a  power  plant  be  studied 
properly  when  such  parts  as  the  generator,  turbine,  boiler 
are  enclosed?  How  can  you  teach  color  under  the  subject 
of  light  without  the  use  of  color?  Hundreds  of  other  examples 
might  be  enumerated,  but  it  is  hardly  necessary  as  this  is 
sufficient  to  make  us  conscious  of  the  possibilities  of  improving 
our  present  day  instruction. 

A  teacher  should  by  all  means  know  thoroughly  the  content 
of  any  picture  to  be  used  in  class.  For  example,  before  cor- 
rectly using  a  picture  one  should  be  able  to  determine  if  it  is 
fitted  for  a  purpose  of  motivation,  review,  information,  proj- 
ect or  the  like.  These  are  facts  which  should  be  known  when 
planning  the  program.  Again,  there  are  questions  you  may  not 
be  able  to  answer  accurately  unless  you  have  made  use  of  the 
picture  for  several  semesters.  One  picture  which  may  look 
equally  good  to  you  for  either  a  purpose  of  introduction 
or  review  may  prove  to  be  much  more  effective  as  a  review. 

The  teacher  must  be  responsible  for  the  building  up  of  the 
situation  to  make  use  of  a  picture.  The  students  should  be 
led  into  the  situation  through  their  own  curiosity  carefully 
guided  by  a  well  planned  program.  Care  should  be  taken  to 
keep  away  from  formalism  in  classroom  procedure. 

The  purpose  of  showing  the  picture  determines  the  procedure 
following  the  showing  to  the  class.  If  it  is  informational,  an 
informational  test  can  be  given.  If  it  is  preparing  for  the 
field  trip,  the  trip  should  follow.  If  it  is  answering  a  problem, 
the  application  should  be  made.  If  it  is  supplementing  an 
experiment,  the  connection  should  be  clearly  explained. 

Now  we  are  ready  to  consider  a  visual  program  in  physics 
mentioned  previously.  You  will  notice  at  the  bottom  of  this 
sheet  a  listing  of  the  various  purposes  to  which  these  pictures 
have  been  found  most  effective. 


In  preparation  of  field  trips — Coal  to  Electricity. 

Directly  in  connection  with  experiments — Beyond  a  Microscope, 
Refrigeration,  Wizardry  of  Wireless. 

Motivation — Rez-clation  of  X-Ray,  Compressed  Air,  Hot  Air 
Heating,  Energy  of  Sunlight. 

Supplement  to  the  text  or  to  show  application — Metric  System, 
Gears,  Friction,  Liquid  Pressure,  Strength  of  Materials, 
Efficiency.  Heat,  Steam  Power,  Four-Stroke  Cycle  Engine, 
The  Ear,  Light  and  Vision,  How  to  See,  Light. 

Review — Behavior  of  Light,  Magnetism,  Principles  of  Currents, 
Sound,  Induced  Currents,  Heat  and  Light  from  Electricity. 

We  will  now  turn  to  the  individual  merits  of  some  of  these 
pictures.  Among  the  16mm  motion  pictures  there  are  a  good 
many  parts  which  could  be  used  several  times  for  different 
purposes  if  they  were  in  stock.  Most  of  these  will  be  taken 
on  the  assumption  of  having  them  available  for  but  a  day  or 
two.  The  still  pictures  are  exceptions  to  this  since  they  are 
in  stock. 

The  Metric  System-  is  a  35mm  still  film  which  is  helpful 
in  the  teaching  of  the  metric  units  of  measurements  because 
of  the  many  explanations  of  the  derivative  prefi.xes  and 
suffixes  use  in  the  metric  system.  It  leads  to  a  quicker  and 
better  understanding  of  this  system  of  measurement  which 
it  seems  necessary  to  introduce  with  the  science  of  physics. 

Gears  is  a  still  film  which  brings  in  pictures  of  all  kinds  of 
wheel  and  axle  applications.  This  gives  the  student  a  better 
idea  of  the  many  uses  of  this  machine.  The  picture  can  take  the 
place  of  reports  by  students  of  their  observations  which  might 
mean  less  to  some  people  in  class.  A  few  additional  examples 
can  be  given  after  the  picture  is  shown  if  the  students  wish 
to  do  so.  The  students  become  more  interested  in  the  subject 
of  machines  and  likewise  the  problems  which  belong  to 
machines.  A  noticeable  increase  in  the  interest  of  working 
problems  pertaining  to  machines  is  evident  after  making  a 
study  of  this  picture. 

Friction  is  a  subject  which  can  be  defined  and  discussed 
in  class  but  not  nearly  so  well  as  when  the  class  can  see 
numerous  examples  in  pictures.  The  still  film  Friction  brings 
numerous  good  examples  and  shows  both  the  advantages  and 
disadvantages   of    friction. 

Liquid  Pressure  shows  a  number  of  practical  applications 
to  the  student.  The  class  can  work  out,  as  a  group,  problems 
shown  in  this  slide  with  a  picture  accompanying  them.  This 
gives  a  realism  and  practical  angle  when  associated  with  some- 
thing the  student  can  see  while  working  the  problem. 

The  16mm  motion  film  on  Compressed  Air  can  be  used 
effectively  for  the  purpose  of  supplementing  class  discussion  of 
the  application  of  compressed  air.  It  adds  interest  to  the  subject 
which  might  otherwise  be  passed  with  little  notice.  I  do  not 
use  an  equally  good  film  entitled  Air  Pressure  because  I 
have  the  apparatus  to  show  as  effectively  the  demonstration 
on   air   pressure. 

Strength  of  Materials  shows  many  pictures  of  its  importance. 
This  picture  supplements  for  the  student  a  good  many  inter- 
esting observational  facts  which  would  be  otherwise  overlooked. 

Hot  Air  Heating  is  a  good  film  from  which  to  teach  air 
currents.  Convection  currents  are  invisible  to  the  eye  and 
rather  difficult  to  teach  except  where  one  might  use  colored 
liquids  or  ribbons  or  the  like.  This  picture  traces  clearly 
air  currents  in  rooms  and  affords  an  easy  and  quick  way 
of  study. 

Energy  and  Sunlight  is  a  film  which  is  rather  elementary 
for  physics  but  nevertheless  can  be  used  very  nicely  to  study 
the  transformation  of  energy. 

The  still  film  Magnetism  is  a  good  review  because  it  covers 
in  a  series  of  pictures  rather  completely  the  subject  of  mag- 
netism. It  does  not  show  anything  new,  but  since  the  subject 
of  magnetism  is  covered  in  a  short  time  it  forms  a  quick  way 
of  going  over  ttie  material. 


October,  1937 


Procecdiiiys  of  the  Department  of  Visual  Instruction  Meeting 


Page  251 


Heat  and  Light  from  Electricity  is  a  film  which  covers 
generally  the  subjects  of  electric  circuits,  conductors  and 
insulators,  light  and  heat.  One  inight  conclude  from  this  that 
if  would  be  a  good  film  to  buy,  for  it  would  be  possible  to 
use  it  at  several  different  times.  It  also  appears  as  if  it  might 
be  a  good  review  or  introduction  film.  I  have  not  used  it 
enough  to  determine  under  what  procedure  it  might  be  mosf 
eflfective,  buf  it  apparently  is  a  good  teaching  film. 

A  film  entitled  Behanior  of  Light  is  an  excellent  review  film 
on  the  general  subject  of  light  as  taken  up  in  the  high  school 
physics  course.  Better  results  will  be  found  if  this  is  used 
after  the  subject  of  light  has  been  covered.  This  picture  contains 
too  many  parts  which  are  not  within  the  grasp  of  the  student 
before  the  study  of  light.  This  would  make  an  excellent  film 
to  have  in  stock  and  use  as  the  various  parts  of  light  were 
studied. 

Let   us   now  go   to   an   outline  of  the  procedure  in   making 
use   of    a    picture    in   the   classroom.    For    instance,   when   the 
following  problem  is  reached.  How  may  water  be  changed  to 
a    gas    without    boiling? — the    experiment    in    the    manual    or 
electrolysis  can  be  studied  as  to  objective  and  apparatus.  The 
apparatus  which  is  ready  to  be  used  is  connected  to  the  electric 
current.  The  student  sees  the  formation  of  the  gases  in  the  two 
tubes.   The  volume  of  the  gases   is   noticed  and  the   standard 
tests   for   oxygen   and    hydrogen   are   applied.    The    discussion 
finally  leads  to  the  question,  What  goes  on  inside  the  solution 
to  cause  this  formation?  Here  the  16mm  silent  picture  entitled 
Beyond  the  Microscope  can  be  used  to  a  decided  advantage. 
This  picture  shows  by  a  series  of  moving  diagrams  the  attrac- 
tion of  hydrogen  ions  to  the  cathode.  There  they  give  up  their 
charges  and  become  hydrogen  gas.  The  negative  SO4  radicals 
pass  to  the  anode  where  they  are  united  with  water  molecules 
to  form  more  acid,  and  oxygen  is  liberated.  Only  the  part  of 
the  reel  which  pertains  to  this  action  is  used.  The  class  now 
turns  to  answer  the  questions  in  the  manual.  If  questions  are 
asked  regarding  the  picture  which  indicate  it  had  passed  too 
rapidly  the  picture  can  be  shown  again.  In  this  particular  case 
if  gives  the  student  a  moving  picture  of  what  goes  on  inside 
of    the    solution.    This    picture    when    used    with    groups    as 
described   above   has    shown    improved   understanding   of    the 
process  of  electrolysis  over  groups  not  having  used  the  picture. 
A  second  sifuation  where  a  film  has  proved  to  be  of  decided 
help   is   in  a   field   trip  to  the  power  plant.   The   class  period 
can    be    opened    with    the    question    by    the    instructor,    where 
could  we  go  to  see  as  many  as  possible  of  the  applications  of 
what   we   have    studied   thus   far    in    physics?    Affer    a    short 
discussion    the    power    plant    becomes    the    center    of    interest 
because  there  we  can  find  good  examples  of  mechanics,  heat 
and   electricity.    The    class   is   then   given    a    list   of   questions 
and   a   diagram   of   fhe   plant.    They   look   this   over   and   ask 
questions  about  the  material  handed  out.  During  the  time  they 
are  looking  over  these  materials  the  projector  is  brought  into 
tne   room   ready  to   be   used.   The   instructor   then   makes   the 
explanation  that  since  it  is  difficult  to  hear,  the  plant  rather 
intricate    in    construction    and    parts    cannot    be    seen,    it    is 
necessary  to  study  the  power  plant  through  the  motion  picture 
before    making    the    journey.    The    picture    entitled    Coal    to 
Electricity    is    shown    which   explains   a    typical    steam    power 
plant   divided   into   four   parts   as   to    function.    It   also    shows 
what  goes  on  inside  of  the  turbine,  generator  and  boiler.  The 
class  takes  as  much  time  as  the  period  will  permit  to  discuss 
the  journey  to   the  plant.   The   next  day  the   power   plant   is 
observed  through  the  guidance  of  the  engineers  who  have  a 
full  plan  of  the  instructor's  objects.  The  day  after  the  journey 
questions    regarding   the   plant   are   discussed   briefly   followed 
by  a  written  test.    Students   in  classes   so  conducted  have  an 
excellent  attitude  toward  a  field  trip  and  show  a  good  under- 
standing of  the  applications  of  the  principles  involved. 

How  does  a  radio  work?  In  answer  to  this  question  a  demon- 


stration is  made  by  connecting  up  a  galvanometer,  batteries, 
reverse  switch  and  tube.  The  galvanometer  gives  various  read- 
ings under  the  different  hook-ups  from  which  conclusions  can 
be  drawn  as  to  the  effect  of  grid,  plate  and  filament  in  the 
tube.  Still  the  student  is  left  without  a  clear  and  permanent 
picture  of  the  electronic  action  inside  of  the  tube  which  causes 
these  results.  Since  it  is  impossible  to  see  the  electron  and 
its  action,  it  still  remains  an  abstraction  in  the  mind  of  the 
student.  By  bringing  into  this  demonstration  the  first  part  of 
the  second  reel  of  the  picture  entitled  Wizardry  nj  Wireless, 
this  can  be  clearly  explained  to  the  student.  This  motion 
picture  shows  the  electron  emitted  by  the  hot  filament,  attrac- 
tion of  the  electron  by  the  positive  plate,  and  the  control  of 
the  electron  by  the  grid.  This  cannot  help  but  leave  on  the 
mind  of  the  student  a  permanent  impression  which  is  clear 
and  definite.  Of  course  this  can  be  drawn  on  the  board  and 
thus  explained,  l;ut  still  you  are  using  a  stationary  picture 
to  explain  some  thing  which  is  in  motion. 

Sound  pictures  and  the  opaque  picture  have  not  been  left  out 
intentionally  but  rather  because  of  the  limited  amount  of 
experience  with  the  former  and  the  greater  amount  of  time 
necessary  to  discuss  the  latter. 

In  conclusion,  let  it  be  stated  that  we  hope  that  the  possi- 
bilities of  visual  aids  have  just  been  touched  and  that  we 
are  on  the  threshold  of  a  new  era  in  which  learning  will  be 
quicker  and  more  complete.  Teachers  should  be  encouraged 
to     do  more  in  the  line  of  visual  aids. 


Panel  Discussion  at  the 
Detroit  Visual  Meeting 

A  BRIEF  resume'  only  is  possible  of  the  panel  discussion  of 
"Recent  Trends  in  Use  of  Cinema  in  Education,"  led  by 
John  A.  Hollinger,  Director  oif'  Visualization,  Pittsburgh 
Public  Schools.  The  topic,  "Is  the  Cinema  Used  Effectively  in 
Classrooms?,"  was  presented  by  J.  E.  Hansen,  Chief  Bureau 
of  Visual  Instruction,  University  of  Wisconsin,  whose  con- 
clusions were  that  classroom  procedures  and  classroom  teachers 
should  have  conscious  methods,  making  the  motion  picture  an 
integral  part  of  the  lesson  plan.  He  felt  that  there  was  room 
for  considerable  improvement  along  this  line.  F.  Gardner 
Gillen,  Arsenal  Jimior  High  School,  Pittsburgh,  discussed  the 
subject,  "Is  the  Cinema  Used  Effectively  in  Assembly  Pro- 
grams?," stating  that  a  really  interested  individual  should  be 
assigned  to  this  particular  duty,  that  complete  cooperation  of 
all  teachers  and  the  supervising  principal  is  necessary  and  that 
problems  that  arise  can  be  solved  with  proper  care  and  atten- 
tion. The  motion  picture  is  used  effectively  in  many  assembly 
programs  and  when  so  used  is  a  valuable  asset  in  education. 
Presenting  the  topic,  "Has  Large  Group  Instruction  by  Vistial 
Aids  Proved  Effective?,"  it  was  the  opinion  of  J.  W.  C. 
Remaley,  Gladstone  Jr.  High  School,  Pittsburgh,  that  such 
instruction  had  been  proved  effective,  that  results  are  found 
satisfactory  when  problems  pertaining  thereto  had  been  prop- 
erly solved.  "How  to  Select  Films  and  Projection  Equipment," 
was  presented  by  Carleton  Erickson,  Director  of  Visual 
Education,  Public  Schools,  Greenfield,  Mass.,  whose  con- 
clusions were  that  carefully  trained  individuals  should  aid  in 
the  selection  of  visual  materials  in  a  democratic  manner,  and 
teachers  called  in  to  help  after  standards  have  been  indicated. 
"How  May  Producers  Meet  Demands  of  Education?,"  was 
discussed  by  Wm.  F.  Kruse,  Bell  and  Howell  Company, 
Chicago.  He  emphasized  the  desire  of  producers  to  cooperate 
stating  that  producers  can  meet  better  the  demands  of  ed- 
ucation as  those  demands  become  less  nebulous. 


Page  2  52 


Proceedings  of  the  Department  of  Visual  Instruction  Meeting 


The  Educational  Screen 


The  Motion  Picture  as  an  Aid  to  Learning 


Suggesting  methods  for  increasing  the 
effectiveness    of    films    in    instruction. 

By   WILLIAM    M.    GREGORY 

Director   Educational   Museum,   Cleveland    Public  Schools 


THE  motion  picture  has  been  given  plenty  of  glamour  from 
Edison  down  and  it  has  been  widely  used  without  skilled 
technique,  although  its  cost  and  short  life  make  it  the 
most  expensive  of  modern  aids.  Educators  too  frequently  have 
become  such  "showers"  of  pictures  that  they  have  lost  all 
common  sense  in  using  this  marvelous  aid. 

We  are  very  particular  in  the  selection,  adjustment  and 
use  of  the  still  picture  as  a  tool  of  instruction.  We  are 
not  so  choosey  about  the  motion  picture;  in  fact,  the  idea 
that  it  is  a  motion  picture  enables  poor  pictures  to  be  shown 
without  having  had  the  critical  inspection  of  the  teacher  who 
is  to  use  them.  There  is  very  little  value  in  such  showings 
and  considerable  damage.  In  the  pioneer  use  of  the  film 
most  anything  that  could  be  obtained  "free"  and  had  motion 
was  pushed  into  the  school.  It  is  an  indication  of  growing 
up  when  teachers  use  films  that  have  been  carefully  selected 
and  adjusted  to  the  lessons  presented. 

The  extensive  experiments  of  Freeman,  McClusky,  Davis, 
Clark,  Knowlton  and  Wood  prove  that  the  film  is  an  aid  to 
learning.  While  these  proofs  have  been  known  for  sometime, 
comparatively  little  of  their  essential  findings  has  been  ap- 
plied in  the  use  of  films  in  schools. 

What  educational  influence  does  the  film  have?  The  Payne 
Fund  found  that  theatrical  films  have  a  great  influence  upon 
conduct,  ideals  and  attitudes.  In  these  respects  present  educa- 
tional films  are  weak.  This  does  not  mean  that  theatrical 
films  would  be  best  as  teaching  aids.  But  it  does  mean  that 
some  of  their  technique  should  not  be  disregarded  in  the  pro- 
duction  of   educational    films. 

In  considering  the  problems  of  educational  films,  attention 
is   directed  to : 

1.  The  technique  of  the  teacher  and  the  attitude  of  the 
pupils. 

2.  The  film  content  in  relation  to  the  curriculum. 

3.  The  cost  of  the  equipment  and  films.  Free  films  and 
advertising  material. 

4.  The  practices  that  are  stalemating  progress  in  using 
films  as  aids  to  learning. 

The  Technique  of  the  Teacher 

Does  the  teacher  in  the  classroom  observe  the  following 
procedure?     If  not,  why  not? 

1.  The  film  must  be  previewed. 

No  film  should  be  shown  unless  it  has  been  carefully  pre- 
viewed. The  preview  enables  the  teacher  to  know  just  what 
the  film  has  to  contribute  and  to  note  those  things  that  are 
essential  for  its  understanding  and  interpretation.  The  pre- 
view provides  opportunity  to  create  an  attitude  for  the  picture 
and   makes   possible   intelligent   guidance   in   its    use. 

2.  The  film  ideas  must  be  adjusted  to  the  purpose  of  the 
unit  studied. 

No  film  should  be  shown  that  is  not  a  functioning  part 
of  the  lesson  unit  under  consideration.  The  fact  that  a 
film  is  interesting  or  free  should  not  be  the  basis  for  its  use 
in  a  class.  It  is  part  of  the  teacher's  technique  to  adjust 
the  film  to  the  lesson.  It  is  ridiculous  to  use  a  fine  film  on 
the  frog  in  a  class  studying  the  butterfly  or  a  butterfly  film 
when    mollusks    are   the   center   of   attention. 

3.  The  class   must  be   prepared. 

The    general    relaxed    and    passive    mind    common    to    the 


theatrical  movie  audience  is  most  undesirable  when  an  edu- 
cational film  is  used.  The  attitude  of  the  class  is  largely 
the  result  of  its  preparation  and  a  reflection  of  the  standards 
set  by  the  teacher.  The  pupil  should  be  quizzical  and  ready 
for  careful  observation.  He  should  be  given  opportunity  to 
use  the   facts  and   ideas   presented  by  the  film. 

One  method  of  class  preparation  to  receive  a  film,  is  to 
use  stills  in  lantern  slide  form.  In  this  way  ideas  por- 
trayed in  the  film,  are  easily  recognized  and  their  import 
fully  caught. 

Another  method  is  to  list  those  things  of  significance  that 
should  be  watched  for  and  carefully  observed.  Often  in  list- 
ing items,  questions  are  raised  and  the  class  asked  to  find  the 
answer  as  the  film  is  shown.  Well  directed  questions  create 
an  interest  in  the  film  and  guide  observations.  Most  films 
are  accompanied  by  good  synopses  which  should  be  used  by 
the  teacher.       Those  are  too  often  entirely  neglected. 

4.  The   film  must  be   followed   by   discussion   and   check-up. 
Check-up   sheets    for   each   pupil    should   be   used   after    the 

showing.  Questions  of  points  raised  by  the  film,  should  have 
careful  attention.  Opportunity  should  be  given  to  use  film 
facts   in   later   work. 

5.  The    film    presentation   must    be    carefully    recorded. 

A  record  should  be  kept  of  the  films  used  so  that  at  the 
next  presentation  of  the  unit,  procedure  may  be  based  on 
past  experience.  Questions  such  as,  "What  were  the  most 
desirable  outcomes  of  the  film  lesson?"  "How  were  worth- 
while results  obtained?"  should  be  constantly  asked  and 
their  answer  recorded.  Only  through  the  accumulation  of 
such  information  can  a  teacher  hope  to  improve  her  tech- 
nique. 

Film  Contents  and  Educational  Ideals 

How  closely  does  the  film  content  check  with  the  ob- 
jectives of  the  unit  under  study  by  the  class?  Is  the  fact 
true,  that  many  "free"  films  are  used  solely  because  they 
are  "movies?"  The  full  appreciation  of  the  value  of  the 
motion  picture  has  not  yet  reached  the  place  where  the 
majority  will  reject  poor  materials.  They  do  not  yet  know 
that  it  is  impossible  to  obtain  worthwhile  results  with  low 
grade  material. 

The  Cost  of  Equipment  and  Films 

Free  films  set  a  false  standard  in  cost  and  educational 
ideals.  They  form  a  large  and  extensive  group  which  has 
a  powerful  and  subtle  influence  in  film  showings.  More 
than  200  companies  supply  schools  with  motion  picture  films 
advertising  directly  or  indirectly,  foods,  clothing,  shoes, 
automobiles,  electrical  appliances,  refrigerators,  etc.  Free  films 
are  supplied  to  state  universities,  city  school  systems  and 
other  institutions,  with  a  large  amount  of  subtle  advertis- 
ing  material. 

One  city  visual  organization  had  a  large  film  library,  con- 
sisting entirely  of  advertising  films.  Without  these  there 
would  have  been  no  films  in  this  city.  Later  the  policy 
of  the  city  was  changed.  The  highest  types  of  educational 
films  replaced  the  free  films  in  the  film  library.  This  was 
a  drastic  and  most  necessary  change.  It  has  resulted  in  a 
large  increase  in  the  film  use  in  the  classrooms  of  the  city. 

It  is  true  that  large  industrial  concerns  have  been  quick 
to  see  the  advantage  of  the  motion  picture  as  a  subtle  sales- 


October,  1937 


Procccdiiujs  of  the  Dcfarlmeitt  of  Visual  Instruclioii  Meeting 


Page  2  53 


mail  of  their  product.  We  are  indelited  to  many  of  these 
large  concerns  for  starting  our  schools  and  teacliers  in  the 
use  of  fihns.  However,  those  companies  that  are  trying  to 
produce  educational  films  should  not  have  to  compete  with 
free  advertising  films.  It  is  most  unfortunate  if  teachers 
have  to  choose  the  advertising  material.  It  is  an  indication 
of  the  lack  of  educational  progress   in  their  community. 

It  is  a  questionable  policy  for  any  teacher  to  take  school 
time  to  show  motion  pictures  of  an  advertising  type.  The 
teacher  should  never  set  aside  regular  lessons  to  show  at  in- 
termittent times  and  in  an  irregular  manner,  advertising  ma- 
terial. This  is  widely  done  because  the  films  are  free.  In 
nearly  all  schools  such  material  is  shown  under  the  guise  of 
visual   education. 

The  showing  of  "free"  advertising  films  in  a  public  school 
is  sure  to  bring  strong  condemnation  from  parents  for  this 
false  visual  instruction.  For  the  person  in  charge,  the  "free" 
film  is  the  easiest  way,  for  in  the  pioneer  work  of  using 
films  in  instruction  it  requires  a  budget  which  is  established 
only  by  educating  your  community  to  the  value  of  the  film 
material  for  pupils. 

If  the  time  is  ever  to  come  when  the  motion  picture  is  to 
develop  citizenship,  aid  in  correct  living  attitudes,  and  give 
training  for  jobs,  we  must  begin  to  use  better  films  with  more 
intelligence.  Every    advertising    film    shown    as    a    lesson, 

weakens  confidence  in  the  school  as  an  educational  center. 
A  school  purge  of  free  films  would  benefit  the  progress  of 
educational   films. 

Practices  that  are  Stalemating  Progress  of  Educational  Films 

1.  Commercial    and    University    Extension    Circuits. 
Small    schools    that    do    not    own    projectors    or    films,    are 

supplied  by  subscribing  to  commercial  or  university  circuits 
which  supply  both  projecfors  and  films.  These  circuits  supply 
schools  with  a  variety  of  films  for  a  price  at  designated 
times.  These  films  are  for  one  day's  use.  This  method  of 
supplying  educational,  industrial  and  advertising  films  for  one 
day's  quick  showing,  is  questionable  as  the  time  and  circuit 
are  infle.xible,  and  the  pictures  are  not  integrated  into  any 
education  lesson  or  program.  The  material  is  not  previewed 
by  the  teacher  before  showing,  nor  are  the  groups  prepared 
in  any  way  for  its  intelligent  use.  Where  this  service  is 
used,  ttie  plea  is  that  its  cost  is  small  and  it  is  best  ob- 
tainable. It  is  time  that  these  organizations  put  more  effort 
in  having  their  films  adjusted  to  a  modern  school  program 
and  that  they  employ  spot  bookings,  so  that  schools  may  use 
films   at  the  opportune  time   and  for   the  frequency   required. 

2.  Poorly  Trained  Visual  Education  Directors. 

To  carry  forward  a  modern  program  in  visual  aids  in 
a  larger  school  requires  a  person  who  has  the  mechanical 
ability  to  operate  machines,  the  energy  to  carry  forward 
definite  plans,  a  working  knowledge  of  the  various  courses 
of  instruction  and  the  technique  of  using  modern  aids.  The 
application  of  all  aids  to  learning  should  be  done  with  such 
a  technique  that  worthwhile  results  are  obtained.  In 
some  schools  the  motion  picture  has  become  a  fetish  and 
no  attention   given   to  other  helpful   aids. 

In  one  high  school  where  a  large  number  of  films  are 
used,  analysis  shows  that  about  SO  per  cent  are  "free"  films, 
and  tile  remainder  governmental,  propaganda,  and  educa- 
tional. In  this  school,  films  are  not  well  timed  or  adjusted 
to  any  particular  course,  They  are  simply  "shown."  The 
person  in  charge  of  the  visual  materials,  all  too  frequently 
does  not  know  the  film  content.  There  is  no  class  intro- 
duction to  the  film.  There  is  no  check-up.  WiA  such  con- 
ditions prevailing,  skillful  educational  use  of  the  film  is 
impossible.  Such  practice  results  in  considerable  damage  to 
the  real  value  and  effectiveness  of  the  motion  picture  for 
educational   uses. 

3.  Operators  of  Machines  are  Untrained. 


It  is  true  that  a  16nim  projector  requires  but  little  skill 
and  care  in  its  operation.  .Ml  too  frequently  the  teacher  lacks 
both,  and  difficulties  arise.  To  remedy  this  defect  on  the  part 
of  the  teacher  who  needs  this  training,  movie  clubs,  photo- 
graphic clubs,  operators  clubs,  etc.  are  formed  among  the 
high  school  boys.  These  boys  are  trained  to  operate  the 
machine.  Upon  receipt  of  films,  the  boys  acting  as  operators, 
go  to  various  classrooms  at  the  appointed  time  and  show 
the  films.  The  weakness  here  is  that  emphasis  is  upon  the 
projection  and  the  showing,  rather  than  the  content  of  the 
picture. 

Let  each  teacher  become  skilled  with  the  simple  projector 
and  really  train  pupils  to  project  pictures  under  careful  super- 
vision. Let  pupils  use  a  projector  but  attempt  no  repairs  or 
adjustments.  The  final  result  should  always  be,  that  the 
teacher   has   the   film   projected   to   her  class   at   time  desired. 

4.  The  Sound  Film. 

Too  many  teachers  think  the  sound  pictures  will  do  the 
job  of  teaching  for  them.  This  is  far  from  the  real  con- 
dition as  the  sound  picture  requires  all  of  their  skill  in  its 
use,  or  it  is  a  misfit.  The  motion  picture  with  sound  is 
particularly  adapted  to  some  specific  lessons,  and  is  not  as 
flexible   as   the   silent   picture. 

The  sound  film  needs  far  more  careful  consideration  be- 
fore being  put  into  a  course  of  study,  than  the  silent  film. 
First,  because  the  sound  film  is  more  expensive,  and  also  be- 
cause its  vocabulary  is  frequently  too  difficult  for  the  pupil. 
New  words  are  not  properly  introduced  or  emphasized  and 
frequently  the  talk  is  too  rapid,  particularly  in  the  American 
films,  for  clear  comprehension  by  pupils.  Perhaps  the  Brit- 
ish Gaumont  film,  "The  Amoelia,"  is  the  best  example  of  a 
clear  voice  properly  spaced. 

5.  Poor    Adjustment    of    Film    Material    to    Instruction. 
The    educational    use    to    obtain    worthwhile    results    is    the 

real  test  of  any  aid  to  learning.  Any  plan  for  using  motion 
film  must  have  as  its  basis  a  curriculum  in  which  the  film  is 
necessary  in  presenting  some  of  the  fundamental  ideas  in  the 
units  studied.  Many  schools  present  films  for  various  units 
but  films  geared  to  the  various  subjects  are  yet  to  be  pro- 
duced. In  biology,  such  film  presentation  as  the  "Lung 
Fish"  is  an  almost  perfect  sound  motion  picture  for  the  high 
school  class.  In  elementary  geography,  Lowell  Thomas'  pre- 
sentation of  Colorado  is  excellent.  "The  Work  of  the  River" 
by  Erpi   is  adapted  to  college  physiography. 

The  time  has  arrived  in  the  use  of  educational  film  to  make 
a  careful  appraisal  and  adjustment  of  the  material  for  class 
use. 

Some  Standards  for  Motion  Pictures  for  Instruction 

L  The  film  should  give  clear  and  truthful  ideas  of  the 
subject  matter  at  the  grade  level  shown.  .\11  films  for  alt 
grades  ?     No,  never ! 

2.  All  titles  and  comments  should  be  simple,  accurate  and 
fully  within  the  comprehension  of  pupils  at  the  class  level  in 
which  it  is  used. 

3.  Titles  and  comments  should  contribute  to  clear  ideas  of 
subject  matter.  Music  and  wisecracks  when  used  ix>  elimi- 
nate monotony   should  be  ruled  out  of  all   school   films. 

4.  There  should  be  a  worthwhile,  understandable  con- 
tinuity. If  the  sequence  of  events,  processes  or  stages  is 
not  clear,  the  film  is  not  suitable.  The  continuity  should  be 
clearlx-  within  the  comprehension  of  the  child  at  the  grade 
level  used.  In  elementary  schools,  close-ups  of  events,  stages, 
processes,  or  central  idea  objects  should  be  frequent  and 
simple.  In  elementary  school  films,  one  central  idea  or 
object  should  occupy  the  film. 

5.  The  motion  and  changes  of  scene,  time  and  place  should 
be  easily  comprehended  by  the  group.  Unless  there  is  a  dis- 
tinct reason  and  advantage  for  motion  in  the  film,  a  motion 
picture  film  is  out  of  place  as  an  aid  to  learning. 

(^Continued  on  page  255) 


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Proceedings  of  the  Defarlmcnt  of  Visual  Instruction  Meeting  The  Educational  Screen 


The  Teaching  of  Wild  Life  Near  Home 


IN  my  travels  with  camera  and  flashlight  in  the 
woods  and  fields  near  home  I  have  found  that 
Mother  Nature  has  been  kind,  and  that  all  of  her 
little  subjects  found  there  have  been  more  than  willing 
to  pose  for  me.  Night  is  the  most  interesting  time  for 
nature  photographs  if  one  wishes  to  have  thrills  and 
pictures  that  are  considered  by  most  people  as  im- 
possible to  obtain.  All  girls  and  boys  of  school  age 
have  the  hunting  instinct.  With  a  little  coaching  this 
can  be  of  great  help  in  the  schoolroom.  On  their  hikes 
on  week-ends  and  during  summer  vacations  the  chil- 
dren may  learn  much  of  the  great  out-of-doors,  and 
with  a  little  patience  can  secure  many  interesting  and 
helpful  pictures  for  later  use  in  the  classroom. 

When  a  child,  while  on  some  trip,  is  able  to  secure 
a  nature  picture  of  a  little  wild  friend,  he  is  always 
ready  and  willing  to  show  it  and  to  tell  how  and  where 
it  was  obtained.  After  making  a  study  of  the  subject 
he  is  able  to  explain  the  value  which  he  and  others  may 
derive  from  it. 

Four  phases  of  hunting  must  be  employed  in  the 
photographing  and  study  of  any  outdoor  subject:  (1) 
where  and  how  to  find  the  subject;  (2)  how  to  photo- 
graph it;  (3)  what  its  values  are  to  mankind;  and 
(4)  its  natural  habits.  The  last  two  may  be  covered 
in  the  form  of  composition  and  thus  may  aid  us,  by 
combining  English  and  Science,  in  advancing  our 
modern  integrated  program.  The  first  is  a  matter  of 
research,  while  the  act  of  taking  the  picture  is  the 
most  thrilling  phase,  giving  an  opportunity  to  display 
and  develop  initiative,  ambition  and  patience. 

Most  people  have  the  idea  that  it  is  impossible  to 
make  a  systematic  study  without  expensive  equipment. 
On  the  contrary,  I  find  that  it  is  easy  to  take  good 
pictures  with  a  small  box  or  folding  camera.  Science 
of  today  has  developed  fast  films  with  a  wide  working 
latitude  and  also  special  lighting  equipment  that  makes 
it  possible  to  photograph  difficult  subjects  day  or  night. 
It  takes  very  little  study  or  preparation  to  be  able  to 
reap  a  harvest  of  helpful  information  while  studying 
wild  friends  with  the  aid  of  a  camera.  Besides  it  gives 
a  thrilling  experience  and  a  wonderful  satisfaction  of 
doing  something  most  people  think  impossible. 

Many  schools  have  their  own  camera  or  nature 
clubs  that  foster  the  nature  work.  The  combination  of 
the  two  can  soon  build  up  a  library  of  pictures  of  wild 
friends  photographed  on  their  trips  into  the  woods 
and  fields. 

One  of  the  easiest  subjects  to  start  with  is  the 
flowers  with  which  they  are  all  acquainted.  It  should 
be  remembered  that  a  collection  of  flower  pictures 
never  wilt ;  while  bouquets  of  flowers  themselves  would 
soon  disappear. 

A  picture  of  a  bird  or  a  flower,  without  some 
knowledge  of  what  it  is  and  what  good  it  does,  is 
rather  lost  but  the  owner  who  is  able  to  explain  dif- 


An  abstract  of  the  author's  lantern  slide  pres- 
entation of  his  work  in  nature  photography. 

By    FRANK    S.    GEHR 

Naturalist  and  Lecturer,  Yonkers,  N.  Y. 

ferent  phases  of  the  life  of  the  subject  has  the  satis- 
faction of  accomplishment  never  before  realized. 

It  must  not  be  forgotten  that  the  camera  has  but 
one  eye  and  gets  only  two  dimensions  in  the  picture — 
width  and  height ;  while  we  have  two  eyes  and  get 
three  dimensions — width,  height  and  depth.  That  fact 
alone  will  produce  views  dififerent  than  we  see  them 
with  our  naked  eye.  Not  only  that,  but  a  camera  used 
at  the  waist  level  will  give  a  different  view-point 
than  that  which  we  get  ourselves  at  eye  level.  Art 
work  may  be  utilized  to  a  great  extent  to  secure  cor- 
rect balance  and  composition  in  a  picture.  By  that  I 
mean  a  picture  that  is  pleasing  to  look  at  and  regard- 
less of  how  many  times  seen  will  hold  your  attention. 
A  beautiful  photograph  is  not  always  something  beau- 
tiful being  photographed,  but  something  photographed 
in  a  beautiful  way.  The  correct  lighting  on  many 
subjects,  not  in  themselves  beautiful,  will  produce  an 
effect  making  the  picture  pleasing  to  the  eye.  This 
should  be  studied  as  much  as  possible  in  order  to 
secure  desirable  picture  results. 

Let  us  consider  a  few  of  the  pictures  that  lie  within 
easy  reach  of  us.  Take  for  instance  the  skunk  cabbage. 
Seldom  do  people  consider  it  as  a  flower,  let  alone  as 
a  cannibalistic  plant  that  devours  insects.  We  know  it 
as  a  big  leaved  plant  that  we  are  able  to  see  all  summer. 
When  it  first  comes  up  thru  the  ground,  at  times  thru 
the  snow,  as  our  first  spring  flower,  we  find  nothing 
but  a  beautifully  colored  spathe  containing  a  fleshy 
spadix  covered  with  its  small  flowers.  Then  down  in 
the  bottom  of  that  spathe  is  a  poisonous  liquid  and 
the  insects  crawling  down  on  the  inside  become  drowned 
in  the  liquid  and  through  chemical  reaction  are  as- 
similated by  the  plant  itself.  Also,  in  the  spring  of  the 
year,  we  have  that  curious  little  songster,  the  spring 
peeper,  our  tree  frogs  which  are  trying  to  tell  us  with 
their  bell-sounding  peeping  that  spring  is  here.  Again 
the  opossum,  our  only  represenative  of  prehistoric  mam- 
mals, has  come  down  thru  the  ages  by  employing  a 
well-known  trick.  When  found  in  the  woods  at  night 
we  soon  find  that  they  are  rather  tame,  can  be  ap- 
firoached  very  closely  and  a  beautiful  picture  taken  by 
employing  the  photo-flash  lamp. 

When  taking  a  picture  at  night  the  camera  is  focused 
on  the  subject  and  when  all  is  ready  the  shutter  is 
opened,  the  bulb  flashed  and  the  shutter  closed,  the 
bulb  giving  about  one  half -million  candle  power  being 
sufficient  light  for  proper  exposure. 

You  may  wonder  how  I  locate  my  subjects  at  night. 
I  use  what  I  call  a  "Magic  Beam" — the  light  shaft  of  a 
big  flashlight.  By  using  the  five  cell  light  I  am  able  to 
locate  many  subjects  at  a  long  distance  from  me  and 
then  by  using  a  flash  lamp  I  am  able  to  secure  the 
pictures  I  am  after.  I  specialize  in  night  photographs 
because  those  are  the  ones  that  seem  to  give  me  more 
thrills  and  enjoyment.  Of  course,  we  have  an  entirely 


October,  1937 


Proceedings  of  the  Department  of  Visual  Instruction  Meeting 


Page  25  5 


different  form  of  wild  life  on  the  move  at  night  than 
we  have  during  the  day,  and  much  harder  to  find.  Some 
of  my  night  pictures  have  been  taken  by  setting  the 
camera  and  lighting  outfit  before  dark  and  then  wait- 
ing, sometimes  for  several  hours,  until  the  subject  is 
in  the  proper  position  to  photograph.  At  other  times  1 
prepare  and  set  an  automatic  device  which  lets  the 
animals  take  their  own  pictures  while  I  use  another 
camera  in  some  other  locations. 

A  small  set  can  be  made  and  assembled  in  the  class 
room  on  the  top  of  a  table  and  with  proper  lighting, 
subjects  like  the  frogs,  toads,  salamanders,  moths  and 
butterflies  can  be  placed  in  the  set  and  photographed 
seemingly  in  their  own  natural  habitat.  Study  has  to 
be  made  to  enable  a  class  to  prepare  the  proper  setup 
for  each  subject  they  intend  to  photograph  in  this  way. 
The  subjects  for  this  kind  of  photographic  art  can  be 
gotten  on  field  trips  by  individuals  or  small  groups.  If 
properly  cared  for  no  harm  can  come  to  the  different 
sujects  found. 

The  Motion  Picture  as  an 
Aid  to  Learning 

{Concluded  from  page  253) 

6.  A  film  should  be  up-to-date  and  accurate  in  its  sets. 
Modern  scenes  should  have  up-to-date  apparatus.  Present 
street  scenes  should  have  people  in  the  present  style  of 
dress,  modern  automobiles  and  other  appliances.  The  inten- 
tion of  Safety  films  frequently  miscarries,  because  of  ridicu- 
lous over-dramatized  situations.  Historical  themes  should 
have  the  touch  and  ttmpo  of  the  times — "The  Plainsman," 
16mm,  has  too   much   tempo. 

7.  What  attitude  will  this  film  create?  Consider  its  effect 
upon  class  group. 

8.  The  photography  of  a  film  is  of  paramount  importance. 
Its  artistry  and  perspective  ought  not  be  sacrificed  in  any 
manner.  Clearness  of  the  action  and  its  intent  should  easily 
register  with  the  group. 

9.  Each  film  must  be  accompanied  by  a  synopsis  of  still 
pictures  and  comments  that  reveals  the  exact'  contents  and  its 
nature.  The  suggested  lesson  plans  should  aid  the  class 
work.  The  material  issued  to  accompany  the  "Maid  of 
Salem"   is  a  good  model   of  the  guidance   sheets   needed. 

Have  the  Teacher  Test  and  Judge  the  Film 

The  time  has  passed  when  the  teachers  and  pupils  go  to 
the  auditorium  to  be  shown  films  without  very  much  regard 
as  to  the  content  of  the  film,  except  as  it  touches  in  a  broad 
way  some  school  subject.  This  was  pioneer  visual  education, 
and  very  bad  technique  on  the  part  of  any  visual  educator. 
It  should  not  continue.  There  should  be  an  effort  by  each 
school  executive  to  aid  the  teacher  to  judge  the  film  to  be 
used.  Some  schools  prepare  a  schedule  of  film  lessons  for 
an  entire  semester,  but  only  after  the  films  have  been  selected 
by  the  teachers.  In  a  large  school  system  all  films  should 
be  tried  in  an  experimental  school  before  becoming  part 
of  an  organized  school  curriculum.  Screening  of  films  by 
a  committee  is  not  enough,  it's  better  to  try  out  each  film 
with  a  group  of  pupils  under  normal  school  conditions. 

The  Motion  Picture  Made  by  the  Educator 

A  significant  movement  is  the  taking  and  projection  of  the 
motion  picture  by  the  pupils  and  teacher.  Teachers  are  not 
trained  directors  but  it  is  possible,  with  a  little  practice, 
for  them  to  record  on  the  film,  valuable  activities  for  the  in- 


terpretation of  their  locality  or  show  some  special  training. 
The  simple  motion  picture  camera  and  its  technique  is  well 
within  the  skill  of  any  teacher.  It  does  require  a  new  type 
of  thinking  to  produce  the  results  and  obtain  essential 
material. 

One  school  made  motion  pictures  of  its  various  activities. 
These  were  titled,  edited,  and  served  as  a  splendid  means  of 
bringing  together  all  interests  of  the  school.  The  cost  of 
this  was  very  easily  met  by  their  exhibition.  This  should  be 
only   a  beginning   in   the   use   of  the   motion   picture  camera. 

It  is  not  too  expensive  to  utilize  the  motion  picture  in  an 
effective  manner,  but  the  teacher  or  operator  must  do  more 
than  take  snap  shots.  Ideas  must  be  clear  and  some  simple 
technique  must  be  mastered  before  results  become  worth- 
while. 

It  would  be  an  exceedingly  profitable  investment  for  some 
of  our  great  Educational  Foundations,  to  apply  their  funds 
to  a  school  situation  where  films  might  be  made  and  used  by 
teachers  under  some  of  the  conditions  outlined,  so  that  the 
entire  country  might  benefit  by  the  experience. 

Our  schools  have  hardly  commenced  to  use  this  new  and 
powerful  means  of  communicating  ideas  and  giving  experiences 
in  the  mass.  The  needed  technique  will  develop  where  the 
school  will  experiment  with  films.  If  schools  are  to  give 
ideas  of  the  world  in  which  the  pupil  lives,  what  better  way 
than  with  excellent  pictures?  Many  of  the  problems  of  ad- 
justment to  work  would  be  easier,  if  clear  ideas  of  the  work 
could  be  brought  vividly  to  the  pupil  by  this  powerful  med- 
ium. Few  pictures  attempt  to  do  this,  but  motion  pictures 
can  be  produced  full  of  enthusiasm  for  work,  creating  right 
attitudes  and  providing  ideas  that  help  in  this  muddled  world. 

In  our  beginning  schools,  there  is  need  of  simple  habit- 
forming  pictures  with  clear  ideas  and  simple  vocabulary  of 
few  words.  Our  present  educational  pictures  are  out  of 
place  below  the  fourth  grade.  This  is  a  wide  field  waiting 
the  skilled  hand  of  an  educator  who  is  master  of  the  picture 
art  and  the  psychology  of  child  development.  This  aid  to 
learning  will  speed  the  early  learning  of  vast  numbers  of 
pupils   who  learn  slowly   from  the  printed   word. 

To  make  the  motion  picture  function  as  an  essential  aid  to 
learning  the  producer  and  the  educator  must  do  some  new 
thinking  and   act  with  more  courage  along  these   lines : 

1.  An  understanding  and  application  of  the  modern  tech- 
nique in  the  use  of  the  motion  picture  in  the  classroom. 
The   teacher   needs    this   opportunity. 

2.  The  educator  should  try  to  clearly  prescribe  what 
is  needed  in  the  classroom  in  sound  pictures — these  definite 
prescriptions  should  be  used  by  the  professional  motion  pic- 
ture producer  to  obtain  results. 

3.  A  cheaper,  more  durable,  simpler  projector,  free  of 
gadgets  and  low  in  light  cost. 

4.  Large  quantities  of  selected  and  organized  film,  to 
follow  the  development  of  subject  matter.  These  films  must 
be  ready  for  use  and  just  as  effective  as  a  modern  text  book. 
All  films  must  be  far  cheaper  than  any  at  present. 

5.  There  must  be  more  organized  courses  in  colleges  and 
universities  to  give  the  careful  training  that  so  many  teachers 
need  to  develop  their  appreciation  and  skill  in  the  field  of 
using,  not  showing  pictures.  Not  so  much  training  in  the 
mechanical  skills  but  more  understanding  of  the  educational 
technique    necessary    to    create    ideas    and    develop    attitudes. 

6.  A  combined  action  by  educational  authorities  to  pre- 
vent just  "showing"  film,  to  eliminate  "free  advertising  films," 
to  break  up  the  rigid  circuits,  to  use  definite  film  lessons  as 
part  of  the  daily  school  routine  and  to  employ  a  modern 
technique  in  the  mass  education  of  adults. 

7.  To  convince  producers  of  excellent  pictures  that  the 
educational  needs  are  becoming  as  important  as  the  motion 
picture  theatre.  To  make  easily  available  in  16mm  such 
classics  as  "Louis  Pasteur,"  "Little  Women,"  "Romeo  and 
Juliet,"  and  others. 


Page  256 


The  Educational  Screen 


Training  in  the  Operation  of 
Sound  Projectors 


IN  January,  1936,  there  were  over  ten  thousand 
motion-picture  projectors  in  use  in  the  schools 
of  the  United  States.  Evidence,  at  least  in  Ohio, 
indicates  that  there  has  been  a  rapid  increase  in  the 
number  of  projectors  in  the  schools  since  that  time. 
This  increase  in  the  use  of  motion  pictures  in  the 
schools  brings  with  it  a  variety  of  problems.  First, 
and  most  important,  is  the  way  in  which  films  are  to 
be  used  for  educational  purposes.  Another  problem 
of  major  importance  is  the  training  of  teachers  in  the 
techniques  of  the  operation  of  these  projectors.  With 
a  view  to  discovering  practical  techniques  for  teach- 
ing projection  with  a  minimum  of  time  and  effort,  the 
writer  carried  on  the  service  study  here  reported. 

One  of  the  objectives  in  a  six-weeks  summer  course 
in  visual  instruction  recently  given  at  the  Ohio  State 
University,  was  training  in  the  skills  of  the  opera- 
tion of  a  projector.  A  16-mm.  silent  motion-picture 
film  showing  the  operation  of  a  silent  projector  had  been 
made  at  Ohio  State  University  for  such  a  purpose. 
Similarly  several  glass  slides  had  been  made  to  teach 
some  of  the  skills.  The  film  was  approximately  150 
feet  in  length  and  showed  the  projector  being  taken 
out  of  the  case,  the  machine  leveled,  switches  ad- 
justed and  electric  cord  attached,  lens  and  aperture 
cleaned,  speed  regulated,  film  threaded  into  the  pro- 
jector, rheostat  adjusted,  focusing,  and  framing.  The 
slides  showed  the  threading  of  four  popular  makes  of 
sound  projectors,  the  optical  system  of  a  projector, 
and  a  number  of  slides  showed  sound  and  silent  film 
and  types  of  film  damage  and  splicing.  The  latter 
were  made  by  enclosing  samples  of  the  film  between 
two  cover  glasses. 

The  above  film  was  shown  without  comment  early 
in  the  summer  at  a  regular  meeting  of  the  class.  The 
slides  were  shown  later  in  the  course,  also  in  a  regular 
class  session,  and  were  accompanied  by  a  discussion. 

Each  member  of  the  class  of  seventy-five  members 
who  had  never  run  any  type  of  projector  or  who  had 
run  a  silent  projector  and  wanted  to  learn  to  operate 
a  sound  machine  was  given  an  opportunity  to  manipu- 
late one  of  the  two  sound  projectors  used.  In  all, 
sixty-two  members  of  the  class  were  given  training,  in 
some  cases  on  one  machine,  in  other  cases  on  both 
makes.  The  system  found  most  successful  was  to  have 
the  individuals  appear  for  instruction  at  fifteen-minute 
intervals.  In  arranging  the  schedule,  a  paper  bear- 
ing the  fifteen-minute  time  intervals  was  passed 
through  the  class  and  each  person  signed  for  the  time 
when  he  could  appear  for  training.  Although  coming  at 
fifteen-minute  intervals,  each  person  stayed  thirty 
minutes.  During  the  first  fifteen  minutes  he  would 
watch  the  person  who  preceded  him  thread,  start,  and 


A  practical  procedure  for  preparing  teachers 
in    the    use    and    care    of    such    equipment. 

By    LLOYD    L.    RAMSEYER 

Bureau  of  Educational  Research,  Ohio  State  University 

adjust  the  projector  and  rewind  the  film.  During  the 
last  fifteen  minutes  he  would  perform  the  activities 
while  the  next  person  observed.  The  instructor  added 
explanations  and  suggestions  as  they  seemed  to  be 
needed. 

We  discovered  (that  individuals  differ  greatly  in 
their  ability  to  learn  these  operations.  However,  most 
persons  could  perform  them  with  considerable  facility 
at  the  end  of  the  thirty-minute  lesson. 

Those  who  felt  a  desire  for  a  second  lesson  were  in- 
vited to  return  for  it.  The  term  was  drawing  to  a  close, 
however,  and  only  a  few  availed  themselves  of  this 
opportunity.  Judging  by  these  individuals,  it  seemed 
that  the  skill  was  retained  quite  well  over  the  period  of 
about  two  weeks  which  intervened  between  lessons. 
However,  the  number  returning  was  too  small  to 
generalize  concerning  the  retention  of  the  skill. 

.■\t  the  close  of  the  term  a  paper  and  pencil  test 
was  given  on  the  operation  of  projectors.  Results 
tabulated  below  relate  only  to  the  46  persons  who  had 
not  previously  operated  any  type  of  motion-picture 
projector,  had  received  the  training,  and  took  the  final 
test.     The  questions  and  results  follow. 

1.  Drmv  the  threading  of  the  film  in  either  of  the 
above  dratvings. 

One  of  the  drawings  was  poorly  made,  decreasing 
the  validity  of  the  result.  It  was  felt  that  more  stu- 
dents could  have  threaded  the  machines  correctly  than 
were  able  to  trace  in  the  threading.  Ten  of  the  46 
traced  the  threading  without  an  error.  It  is  doubt- 
ful whether  this  was  a  valid  test  of  the  ability  to 
thread  a  projector. 

2.  List  three  of  the  most  important  precautions 
which  should  be  taken  in  threading  a  projector. 

Precautions  which  were  most  frequently  mentioned 
and  the  per  cent  of  those  mentioning  each : 

a.  Be   sure   that   the   sprocket   teeth   fit   into   the  per- 
forations of  the  film— 100%. 

b.  Be  sure  that  there  are  loops — 93% 

c.  Try   the   machine   by   hand   before   turning  on   the 
motor — 17%,. 

d.  See  that  the  film  is  properly  fitted  into  the  aperture 
groove — 15%. 

e.  Be  sure  that  a  sound  film  is  not  used  on  a  silent 
projector — 13%. 

3.  List  the  steps  zvhich  you  zvotdd  fake  in  starting 
and  adjusting  a  projector  after  it  lias  been  threaded. 

Steps  mentioned  most  frequently  and  the  per  cent 
mentioning  each  were : 

a.  Start  the  motor   93% 

b.  Focus  projection  lens   91% 


October,  1937 


Page  2  57 


c.  Turn  on  sound   63% 

d.  Adjust    volume    control    57% 

e.  Turn   on   light    54% 

f.  Check  threading  to  be  sure  it  is 

O.   K.    . 39% 

g.  Regulate    speed    -^7% 

h.  Regulate    tone    22% 

4.  Label  the  foUoiving  parts  oil  one  of  the  projec- 
tors sketched  above. 

Below,  the  per  cent  correctly  labeling  each  part  is 
shown : 

Aperture     78% 

Projection   lens    98% 

Reel    arms    85% 

Take-up   reel    93% 

Lamp    house    78% 

Sprockets      93% 

5.  In  what  respects  does  a  sound  film  differ  from  a 
silent  film  in  construction  f 

a.  Sound  film  has  only  one  row  of 

perforations  70% 

b.  Sound  film  has  sound  track  on  one 

edge  61% 

The  remainder  of  the  test  was  for  the  purpose  of 
getting  criticisms  of  the  methods  used  and  suggestions 
for  improvement. 

6.  Discuss  briefly  your  reaction  to  the  effective- 
ness of  the  use  of  the  motion  picture  and  lantern 
slides  ivhich  zve  used  as  aids  in  teaching  the  opera- 
tion of  projectors. 

Twenty-two  per  cent  thought  that  the  aids  were 
effective,  17  per  cent  thought  that  they  were  of  some 
help,  20  per  cent  thought  that  they  were  of  little  or  no 
help,  while  41  per  cent  did  not  make  their  position 
clear.  Several  persons  mentioned  that  they  would 
have  helped  more  if  they  had  been  showed  more  than 
once.  The  general  opinion  seemed  to  be  that  the 
pictures  were  much  inferior  to  actual  manipulation  as 
a  teaching  technique.  Students  seemed  to  feel  that 
if  the  motion  picture  had  been  shown  more  than  once, 
with  comments,  and  after  they  had  manipulated  the 
machines,  it  would  have  been  more  effective. 

7.  Considering  the  number  of  individuals  to  be 
trained  and  the  time  available  in  zvhich  to  do  the 
work,  criticize  the  method  used  this  summer  in  teach- 
ing the  operation  of  projectors. 

Fifty-nine  per  cent  thought  the  method  satisfactory, 
17  per  cent  thought  it  satisfactory  but  gave  sugges- 
tions, 20  per  cent  did  not  commit  themselves  but  gave 
suggestions  for  improvement,  and  4  per  cent  did  not 
reply.  The  most  general  criticism  was  that  more  time 
should  have  been  provided  for  practicing  the  newly 
acquired  skill.  A  few  seemed  to  think  that  the  instruc- 
tor should  have  given  more  verbal  explanation  during 
the  course  of  the  lesson  of  the  reason  why  the  mach- 
ine should  be  operated  in  a  certain  way. 

8.  Do  you  feel  that  the  instruction  zvhich  you  have 
had  this  summer  in  operation  of  projectors  has  been 
of  any  practical  value?     If  so,  in  what  zvay? 

Eighty-nine  per  cent  said  the  instruction  was  of 
value,  9  per  cent  did  not  reply,  2  per  cent,  one  in- 
dividual, said  that  it  was  of  no  practical  value.  Ways 
mentioned  in  which  it  was  valuable  included,  (a)  stu- 
dent expected  to  use  the  skill  in  the  classroom,  (b) 
gained    familiarity    with   and    lost    fear   of   projectors, 


(c)     learned  cautions  of  which  one  should  be  aware 
in  manipulating  projectors. 

9.  Do  you  feel  that  all  students  in  a  visual  aids 
course  should  be  required  to  learn  to  operate  motion- 
picture  projectors? 

Eighty-five  ])er  cent  thought  that  the  acquisition  of 
this  skill  should  be  required,  nine  per  cent  thought 
that  it  should  be  optional  while  six  per  cent  did  not 
reply. 

10.  Should  more  technical  information  be  given 
about  the  operation  and  care  of  projectors? 

Thirty-three  per  cent  said  that  more  information 
of  this  type  should  be  given,  37  per  cent  said  no  more 
was  needed,  and  26  per  cent  thought  that  more  such 
information  should  be  made  available  to  those  who 
want  it.     Four  per  cent  did  not  reply. 

From  the  experience  gained  and  the  criticisms  re- 
ceived, the  writer  believes  that  certain  changes  should 
be  made  in  the  methods  used.  He  would  first  have 
group  meetings  of  not  to  exceed  tvventv-five  students 
in  each  group.  At  this  time  the  machines  themselves 
would  be  shown  and  demonstrated.  Precautions 
which  should  be  taken  would  be  mentioned  and  some 
information  given  concerning  the  operation  and  care 
of  projectors.  The  movie  on  projection  would  be 
shown,  with  comments.  The  projector  from  which 
the  movie  was  made  would  then  be  examined.  Ques- 
tons  would  be  answered.  The  movie  would  then  be 
shown  again.  Lantern  slides  would  be  used  to  show 
the  various  ways  in  which  different  machines  are 
threaded,  the  mechanical  operation  of  projectors,  the 
optical  system  of  projectors,  types  of  film  damage, 
and  differences  between  sound  and  silent  films.  The 
writer  believes  that  this  could  be  done  adequately  in 
two  fifty -minute  periods. 

Following  these  group  meetings,  the  same  system  of 
individual  instruction  would  be  used  as  was  used  this 
past  summer.  In  addition,  students  would  be  per- 
mitted to  practice  the  newly  acquired  skill  in  showing 
educational  films  to  interested  groups  in  the  class. 

It  is  believed  that  a  system  such  as  this  would  make 
the  student  familiar  with  the  chief  general  principles 
of  operation  of  projectors,  would  remove  whatever 
fear  of  projectors  existed,  and  would  make  it  possible 
for  him,  with  the  aid  of  threading  and  operation  dia- 
grams, to  operate  whatever  type  of  projector  he  would 
find  in  his  school. 

The  experience  this  past  summer  seems  to  indicate 
that  the  successful  operation  of  projectors  is  a  skill 
which  is  not  so  simple  that  it  can  be  successfully  ac- 
quired in  only  a  few  minutes,  nor  so  difficult  that 
each  teacher  cannot  acquire  it  in  a  reasonable  amount 
of  time.  A  system  such  as  the  above  could  be  used 
in  training  teachers  in  service  in  a  school  system  as 
well   as  in   connection   with   visual   aids   classes. 


We  regret  that  the  full  report  by  Mr.  Greene 
oil  the  Detroit  meeting,  as  promised  for  this  Oc- 
tober issue,  could  not  materialise  in  time  to  ap- 
pear herein.  It  is  definitely  scheduled  for  No- 
vember, together  zvith  complete  roster  of  D.V.I, 
membership. 


Page  2  58 


The  Educational  Screen 


NEWS  AND  NOTES   ^-^  /-/  .u.t. 

uanltlcant  JLalna^   uttJL   events   in   tke   vt&ual   ^Lcld 


Lom     on 


Conducted  by  Josephine  Hoffman 


French  Film  Contest 

Do  French  Films  Teach  French?  The  question  is 
very  simple  and  so  is  the  answer.  Using  it  as  a  sub- 
title to  its  nation-wide  French  Film  Contest,  the 
French  Motion  Picture  Corporation,  126  West  46th 
Street,  New  York  City  has  just  launched  a  campaign 
for  the  dissemination  of  French  in  High  Schools, 
Colleges  and  Universities. 

The  novelty  of  the  contest  lies  in  the  fact  that  very 
unlike  the  run-of-the-mill  contest  it  does  not  require 
the  participant  to  send  in  a  letter  of  praise,  for  some 
product  or  other,  but  it  is  a  lesson  in  French  itself. 
In  order  to  qualify  for  honors,  the  students  are  re- 
quested to  send  in  the  English  translation  of  a  series 
of  about  50  gallicisms  and  idioms,  which  have  been 
picked  out  of  the  dialogues  and  the  textbooks  of  the 
French  motion  picture  being  the  object  of  the  contest. 

There  is  no  entry  charge  in  connection  with  this 
contest.  Any  student  of  French  in  an  American  High 
School,  College  or  University  is  eligible  for  entry. 
Teachers,  coaches,  or  other  members  of  the  faculty 
are  excluded.  The  contest  opened  on  September  15, 
1937  and  the  closing  date  is  May  15.  1938.  Entries 
received  after  this  date  will  be  ineligible.  There  will  be 
two  prizes  consisting  of  trips  to  Paris  and  return 
aboard  the  French  Line  and  a  week  stay  in  Paris  as 
the  guests  of  the  French  Motion  Picture  Corp.  The 
judges  who  have  selected  the  English  counterparts  to 
the  50  idioms  are  heads  of  French  Departments  in 
American  Colleges  and  Universities.  Their  names  will 
be  revealed  at  the  conclusion  of  this  contest. 

For  complete  rules  and  details  of  the  contest,  write 
the  French  Motion  Picture  Corporation. 

Motion  Picture  Study  Courses 

Recognizing  :ne  motion  picture  as  "a  mass  art  pro- 
foundly characteristic  of  the  present  and  a  social 
force  of  growing  magnitude."  Columbia  University 
has  established  an  academic  division  to  be  known  as 
Film  Study.  The  new  unit,  starting  this  Fall,  will 
function  through  University  Extension,  of  which 
Dr.  James  C.  Egbert  is  director.  "It  will  be  within 
the  provinces  of  Film  Study  to  further  the  develop- 
ment of  motion  picture  study  and  appreciation,  to 
arrange  discussions  and  illustrated  lectures,  to  present 
special  showing  of  films  to  coordinate  such  work  in 
the  field  of  the  motion  picture  as  is  now  being  done 
in  various  parts  of  the  University  and  to  act  as  a 
clearing  house  of  information  for  those  departments, 
and  to  cooperate  actively  with  other  organizations  and 
groups  that  have  similar  aims."  Dr.  Egbert  explained. 

Film  Study  announces  for  its  first  year  the  "Motion 
Picture  Parade,"  a  series  of  twenty  Wednesday  even- 
ings devoted  to  the  motion  picture.  The  course 
beginning  October  27,  will  be  given  in  McMillan 
Academic  Theater,  Broadwav  at  116th  Street.     Spec- 


ially selected  films — old  and  new,  domestic  and  for- 
eign, fictional  and  documentary,  silent  and  sound — 
will  be  shown  at  these  meetings.  In  connection  with 
each  showing,  a  twenty-minute  discussion  will  be  led 
by  an  outstanding  actor,  director,  critic,  or  writer  of 
motion  pictures. 

Supplementing  this  popular  course.  Film  Study  will 
offer  a  twenty-eight  week  series  on  the  motion  pic- 
ture, beginning  this  month,  to  be  given  in  coopera- 
tion with  the  film  Library  of  the  Museum  of  Modern 
Art.  It  will  be  under  the  supervision  of  John  Abbott, 
Director  of  the  Film  Library,  and  Miss  Iris  Barry, 
its  curator.  Experts  in  the  movie  field,  including 
camera-men,  cutters,  laboratory  technicians,  and  di- 
rectors, will  give  lectures  and  demonstrations  for  this 
restricted  group.  The  entire  course  will  be  illustrated 
by  films  from  the  collection  of  the  Film  Library. 

♦ 

The  School  of  Education  of  New  York  University 
will  oflfer  again  this  year  its  well-known  course  on 
"The  Motion  Picture :  Its  Artistic,  Educational  and 
Social  Aspects,"  conducted  by  Professor  Thrasher 
and  other  distinguished  lecturers  on  Thursday  even- 
ings m  the  School  of  Education  auditorium.  The 
course  discusses  practical  problems  of  schools,  social 
agencies  and  community  organizations  in  relation  to 
films  of  both  entertainment  and   educational   types. 

♦ 

The  city  college  division  of  the  University  of  Den- 
ver is  ofiFering  a  course  in  motion  picture  appreciation. 
History  of  pictures,  esthetic,  social  and  economic  analy- 
sis ;  and  the  eflFect  of  motion  pictures  on  children,  will 
be  studied.   The  class  will  meet  once  a  week. 

WPA  Uses  Visual  Aids  in  Safety  Education 

More  than  3.300.000  children  have  been  given  safety 
instruction  in  New  York  City  through  a  Safety  Ed- 
ducation  project  of  the  Works  Progress  Administration 
and  the  New  York  Board  of  Education.  The  project 
was  placed  in  operation  in  1934  and  has  continued  ever 
since.  Pupils  in  more  than  26,700  classes  in  1446 
schools  have  received  instruction  and  some  48,323 
stereopticon  slides  have  been  exhibited,  12,948  ])oster 
talks  have  been  given,  and  951  motion  pictures  on 
safety  subjects  have  been  shown. 

Among  the  motion  pictures  shown  are  included  TJie 
Bad  Master,  demonstrating  fire  hazards ;  Saving  Sec- 
onds, which  deals  with  street  safety ;  and  Once  Upon 
a  Time,  fairy  tale  which  has  been  adapted  for  safety 
lessons. 

In  addition  to  the  safety  talks  and  demonstrations 
made  possible  by  this  project.  Safety  Patrols  have  been 
organized  among  pupils  under  regulations  set  up  by 
Harold  G.  Campbell,  superintendent  of  schools.  Traffic 
on  school  stairs,  in  corridors,  playgrounds,  gynma- 
siums  and  swimming  pools  is  directed  by  young  patrol 

{Concluded  on  page  269) 


October,  19  }7 


Page  259 


Costume  Design  ---  In  Hand-Made  Lantern  Slides 


By    ANN    GALE 


Art  Department,  Lindblom  High  School,  Chicago 


COSTUME  design   is  an   interesting  unit    for  general  art  classes  or  clothing  classes  in  high  schools.  Students 
of  this  age  not  only  are  interested  in  their  clothes  but  also  they  have  a  major  voice  in  their  selection.     They 
should  have  some  basis  for  choice  of  clothes.    A  series  of  slides  like  those  shown  below  demonstrate  good  and 
poor  use  of  lines  for  short,  heavy  and  tall,  thin  people. 

1.  Two  costumes  for  the  short  heavy  girl  are  shown.     The   first  emphasizes   the  horizontal   line.    The   second   shows   how 
much  better  such  a  person  looks  with  the  emphasis  on  the  vertical   line.    2.    Two   hats    for  the   person   with   the   round   wide 


face 


the  second  gives 
such  a  face. 
3.  Two  hats 
for  the  girl 
with  a  long 
thin  face.  The 
first  unfor- 
tunately em- 
phasizes the 
long  line  of 
her  face  while 
the  second 
with  the  hor- 
izontal em- 
phasis makes 
her  face  look 
less  long.  4. 
Two  dresses 
for  the  tall 
slender  girl. 
The  first  em- 
phasizes her 
height  and 
s  Icnderness 
because  of  the 
vertical  lines. 
The  second 
makes  her 
look  better 
because  of 
the  horizontal 
lines  of  the 
puffed  sleeves, 
collar,  belt 
and  jacket.  5. 
Two  suits  for 
the  short 
heavy  boy. 
The  double- 
breasted  suit 
with  horizon- 
tal emphasis 
on  shoulders, 
lapels  and  poc- 
kets makes 
him  look 
wider,  while 
the  second 
suit  with  the 
single  button, 
small  lapels 
and  unem- 
phasized  poc- 
kets is  more 
flattering.  6. 
Two  sweat- 
ers for  the 
tall  slender 
boy.  The  first 
makes  him 
look  taller 
because  of  its 
vertical  lines, 
whereas  the 
second  adds 
to  his  width 
with  the  hor- 
izontal lines 
over  the 
shoulders  and 
waist. 


Page  260 


The  Educational  Screen 


AMONG   THE 
AND    BOOKS 


MAGAZINES 


Conducted  by  Stella  Evelyn  Myers 


Asia  (37:644-648,  Sept.,  'i7)  "India-Made  Mov- 
ies", by  F.  M.  deMello. 

Although  the  cinema  has  in  the  main  misrepre- 
sented India's  culture,  it  is  appreciated  for  its  at- 
tempt to  banish  the  characteristic  sadness  of  the 
people.  The  first  successful  Indian  film  was  made 
in  1931;  the  first  cartoon,  in  1935;  and  educational 
pictures  and  news-reels  are  still  for  the  future. 
"Sacrifice",  adapted  from  Tagore's  play,  and  "Dev- 
adasi"  represented  the  re-action  of  the  present  gen- 
eration to  the  education  of  women  to  the  service 
of  the  gods  in  Hindu  temples.  M.  Bhavani,  director 
of  these  pictures,  hopes  that  India  will  repeat  their 
successes  abroad  in  the  sound  films,  not  only  to 
promote  international  understanding,  but  to  enter- 
tain and  instruct  in  the  East  Indian  way.  In  all 
India  there  are  six  hundred  and  seventy-five  thea- 
ters, less  than  half  being  wired  for  sound,  and  about 
a  hundred  producing  companies. 

The  sound  film  seems  to  prognosticate  linguistic 
unification  for  India.  The  silent  film  had  no  in- 
fluence in  this  direction  and  a  commentator  was 
always  employed  to  give  a  running  narrative  of  the 
plot  for  the  benefit  of  illiterate  audiences.  Hindu 
promises  to  displace  the  other  five  or  six  language 
groups  and  to  become  the  language  of  the  cinema 
as  it  is  understood  over  the  most  of  the  country. 

"The  Merry  Monkey"  is  India's  "Mickey  Mouse," 
and  judging  from  the  illustration  given,  we  hope 
that  it  will  be  imported.  Shakespeare  is  also  en- 
joyed, however.  As  the  harassed  Indian  director 
must  complete  ten  or  twelve  reels  in  a  few  months, 
anachronisms  do  not  worry  him.  The  Hindu  classics 
are  here  appreciated,  but  are  not  to  be  tampered 
with  in  an  up-to-date  form.  The  East  Indians  do 
not  want  their  Aesop  modernized.  Bombay  likes 
sociology,  Bengal  revels  in  sentiment,  and  the  Pun- 
jab is  fond  of  adventure. 

The  make-believe  of  the  screen  is  too  realistic  to 
tolerate  kissing,  hugging,  or  mixed  dancing  since 
such  intimacies  are  not  permitted  in  real  life,  or  if 
they  occur  are  best  not  mentioned.  While  the  puri- 
ty of  the  pure  is  thus  preserved,  the  producer  may 
introduce  loose  persons  to  test  the  strength  of  a 
"hero",  and  incidentally  to  enliven  the  plot.  The 
Indian  film  is  essentially  moral  in  tone.  The  scis- 
sors of  the  censors  are  sharp,  one  company,  at  least, 
having  been  forced  into  liquidation  for  this  reason. 
The  outstanding  example  is  that  of  a  picture  show- 
ing the  efifect  of  the  dissolute  life  of  a  mill-owner 
upon  the  work  and  wages  of  the  laborers. 

The  archeological  department  of  the  government 
and  sometimes  the  army  cooperate  with  producers. 
"There  is  unlimited  wealth  of  film  in  India,  in  its 
past  and  its  present,  its  natural  scenery  and  its 
varied  population,  which  still  awaits  intelligent 
use." 


Science  (86:63-64,  July  16,  'i7)  "A  New  Type  of 
Relief  Map",  l)y  Edward  L.  Troxell,  Trinity  College, 
Hartford,   Conn. 

Following  explicit  directions,  here  given,  you  will 
be  able  to  produce  a  relief  map  of  board  material. 
Also,  a  model  in  plaster  may  be  made  as  a  by-prod- 
uct. 

"The  Use  of  Motion  Pictures  in  Science",  by 
Watson  Davis  (Page  8).  Surgical  operations  filmed 
in  color  make  records  with  more  fidelity  than  form- 
erly. Chemical  experiments  with  color  reactions 
are  captured  in  color  as  a  record,  and  for  later 
study.  Softer  X-rays  than  the  ordinary  variety  per- 
mit the  filming  of  the  internal  functioning  of  crea- 
tures too  delicate  in  structure  to  be  caught  by  ordi- 
nary hard  X-rays.  In  Rochester,  a  woman's  di- 
gestive process  was  filmed  recently.  High  speed 
cameras,  with  film  moving  about  one  hundred  times 
faster  than  usual,  are  in  general  use  in  certain  re- 
searches. 

The  English  Journal  (26:374-378.  May  '2>7) 
"The  Movies  in  High  School",  by  Clifford  Brag- 
don.   Hawken    Private    School,    Cleveland,    Ohio. 

Films  are  used  for  setting,  as  Roman  ruins  for 
the  Julius  Caesar  play,  and  for  motion  where  mo- 
tion is  being  taught.  Movies  are  used  at  the  be- 
ginning or  end  of  a  unit,  as  the  writer  finds  them 
confusing  in  the  middle  of  a  development  where 
ideas  are  more  or  less  vague.  In  this  school  of 
boys,  noon  movies  are  a  compromise  between  edu- 
cation and  entertainment.  It  is  probably  a  good 
policy  for  all  schools.  Interesting  and  significant 
work  of  a  Photoplay  Club  is  described  fully. 

Building  America  (2 :  No.  8,  May,  '2>7)  "Movies". 

This  illustrated  issue,  of  thirty-one  pages,  deals 
with  the  evolution  of  the  art  of  simulating  motion 
starting  with  a  series  of  stills  in  1861,  when  the 
pictures  were  mounted  on  the  paddles  of  a  wheel, 
and  by  a  later  process  were  bound  to  the  circumfer- 
ence of  a  wheel.  Eighteen  views  of  the  horse,  of 
which  Leland  Stanford  had  an  engineer  and  a  pho- 
tographer take  pictures  at  frequent  intervals  as  the 
horse  raced,  form  a  frieze  across  two  pages.  The 
steps  in  adaptation  of  the  flexible  Eastman  film,  and 
finally  projection  on  a  screen,  carry  the  youthful  in- 
dustry from  an  individual  peep-show  stage  to  an 
extensive  communal  experience  starting  in  1896. 
Foreign  influence  is  considered  by  the  authors,  and 
the  technique  of  sound  production  is  presented  in 
clear  and  simple  steps.  Music  and  speech  synchron- 
ization with  action  is  a  big  business  in  addition  to 
actual  photography  since  thirty-five  miles  may  be 
the  length  of  film  actually  eliminated  from  a  single 
feature.  The  celluloid  used  in  a  year  equals  45 
times  the  equatorial  circumference  of  the  earth. 
This  makes  500  feature   films  and   twice  as   manv 


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VICTOR   CAMERAS 

World-renowned  for  reliability 
and  the  ultimate  in  ability  to 
get  finest  movie-making  results. 


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ANIMATOGRAPH  CORP 


D  AVEN  PO  RT.     IOWA 
NEW    YORK    CITY 


Page  262 


The  Educational  Screen 


The  Chinese  Had 
a  Word-- 

WE  Have  the 
Pictures  for  it! 


"One  picture  is  worth  ten 
thousand  words,"  wrote 
the  sage  of  old  Cathay. 
He  had  the  right  idea 
about  education  and  en- 
tertainment. It  is  our  idea 
too,  with  these  pictures  to 
back  it  up  .   .   . 

STRANGER  THAN  FICTION;  GOING 
PLACES;  YOU  CAN'T  GET  AWAY 
WITH  IT;  OSWALD  CARTOONS; 
MEANY  MINY  MOE  CARTOONS; 
MENTONE  SHORTS;  SERIALS; 
UNIVERSAL  NEWSREELS 

And  These  Features 
With  Many  Others, 

SHOW  BOAT;  MY  MAN  GODFREY; 
THREE  KIDS  AND  A  QUEEN 

Let  Us  Tell  You  Morel 
Write    .    .    .    Phone 

NON-THEATRICAL  DEPARTMENT 

UNIVERSAL  PICTURES 
COMPANY,  INC. 

Rockefeller  Center  New  York,  N.  Y. 

CIRCLE  7-7100 


shorts.  Cartoons  and  newsreels  are  given  a  chapter 
in  the  pamphlet.  The  various  organized  attempts 
of  society,  as  well  as  of  this  billion  a  year  industry, 
to  im])rove  moral  standards  are  all  impartially 
treated.  The  booklet  on  the  "Movies"  is  probably 
the  best  concise,  yet  sufficiently  exhaustive  treat- 
ment for  any  but  technical  purposes,  that  has  been 
produced. 

Wilson  Bulletin  for  Libraries  (12:  17-21,  Sept., 
'37)  "Hitch  Your  Wagon  to  the  Stars!  How  the 
Librarv  Mav  Profit  from  the  Movies",  bv  Maxine 
Block. 

The  writer  gives  an  account  of  various  schools  that 
have  profited  in  the  circulation  of  books  by  the  movie's 
advertisement  of  stories  filmed  from  books.  Panels 
are  furnished  free  by  Motion  Picture  Producers  and 
Distributors  of  America,  "Romeo  and  Juliet"  and 
"Maid  of  Salem"  being  among  the  educational  sub- 
jects. 

In  England,  Joan  T.  D.  \\'ebster,  librarian  at 
Rochdale  Public  Library,  projects  a  film  when  the 
children  are  gathered,  makes  a  few  remarks  at  the 
close,  and  then  calls  the  attention  of  the  children 
to  a  group  of  books,  which  further  elucidate  the 
film  subject,  arranged  on  a  table  accessible  then 
and  there,  the  children  thus  establishing  a  direct 
contact  which  is  invaluable.  Richard  James  Hur- 
ley, librarian  of  the  Roslyn  High  School.  New  York, 
advocates  a  Movie  Corner  and  the  use  of  the  cap- 
tion, "Read  the  Book — See  the  Movie."  An  English 
teacher  at  Seward  Park  High  School,  New  York 
City,  says,  "Miniature  sets  of  outstanding  picttires, 
reproduction  of  movie  lots  made  by  the  pupils  them- 
selves, original  properties  from  such  films  as  "The 
Crusader"  all  drew  a  tremendous  amount  of  atten- 
tion from  the  students.  A  print  of  the  Movie  Book 
Corner,  in  Brookline,  Mass.,  High  School  Library, 
shows  pictures  and  books  arranged  in  a  most  at- 
tractive manner. 

A  Superintendent's  Report — ".  .  .  of  the  people" 
is  the  title  of  Superintendent  Frank  Cody's  Annual 
Report,  the  first  pictorial  presentation  of  the  Pub- 
lic Schools  of  Detroit  in  nearly  one  hundred  years 
of  their  history.  The  prints,  in  size  usually  two- 
thirds  of  a  page,  or  a  full  page,  have  each  a  brief 
legend,  the  whole  being  very  informative  and  in- 
spirational. We  venture  to  say  that  more  is  being 
learned  from  this  report  by  the  public  than  has 
been  learned  about  the  operation  of  the  Detroit 
Schools  from  all  the  previous  reports  during  the 
century.  The  eight  subjects  treated  are,  "The 
Basic  Skills",  "The  Natural  \\'orld",  "Living  To- 
gether", "The  Fine  Arts",  "Abundant  Health", 
"Home  Making",  "Trade  Education  and  Industrial 
Arts",  "—And  By  Night". 

St.  Nicholas  (64:39.  Aug.,  '37)  "Young  Stars",  by 
Edith  Winter  McGinnis. 

Juveniles,  and  others  of  perennial  youth,  will  re- 
joice that  Shirley  Temple  has  impersonated  Heidi 
on  the  screen.  Although  Shirley  thought  that  it 
would  be  a  good  thing  for  all  the  characters  in  the 
play  to  take  a  trip  to  Switzerland,  only  the  camera 
crew  went.    The  Swiss  Alps  were  photographed  for 

{Concluded  on  page  270) 


October,  1937 


Page  263 


Always  more  for  your  money  .... 

Eastin  16mm.  Pictures 

"Headquarters  for  Entertainment  and  Educational  Rental  Films" 

506  PUTNAM  BUILDING -DAVENPORT,  IOWA 


1.  Lower  Prices 

2.  More  Desirable  Subjects 

3.  Excellent  Prints  Always 

4.  Good  Reels 

5.  Convenient  Shipping  Material 

(Light  weight,  to  reduce  shipping  costs.) 


No  matter  where  you  formerly  secured  films,  you'll  find  our  service  superior.  Get 
out  of  the  old  habit  and  into  the  new.  It  will  pay  big  dividends  in  money  saved,  trouble  free 
programs  and  general  satisfaction. 

Some  school  near  you  is  already  using  our  pictures  regularly — ask  them  about  us. 

Our  catalogue  costs  you  nothing,  send  for  it  today. 


Eastin    16mm.   Pictures 
Putnam  Building 
Davenport,  Iowa 

Please    send    us,    without    obligation,    your    new    catalogue    of     16mm.    sound    and    silent 
rental  films. 

We    have    a    projector    and    wish    to    make    use    of 

(State  make  and  whether  sound  or  silent) 
films   for   the   following    purposes: 

(      }      Regular  weekly  complete  entertainment  programs    [about  90  minutes) 

(      )      Occassional   complete    entertainment    programs    (about   90    minutes) 

(      }      Recess   entertainment,    or   combination    entertainment-educational    programs    (about 

3S  to  40  minutes) 
(      )      Instructional   films  for  classroom   use 

School     

by  - Superintendent — Principal 

Street  and    Number   _ 


■City 


State.. 


Page  264 


The  Educational  Screen 


IDEAL  PICTURES  CORPORATION 
proudly   announces 

the  release  in  16  mm  sound-on-fllm,  of 
ten  outstanding  entertainment  features 
with     hlollywood's     best     major     stars: 


ABRAHAM  LINCOLN,  with  Walter  Huston.  Una 
MerkeL  Ian  Keith 

PUniN"  ON  THE  RITZ.  with  Joan  Bennett,  Harry 
Richman 

INDISCREET,  with  Gloria  Swanson,  Ben  Lyon,  Ar- 
thur Lake 

REACHING  FOR  THE  MOON,  with  Douglas  Fair- 
banks, Bing  Crosby,  Edward  Everett  Horton, 
Bebe  Daniels 

DU  BARRY,  with  Nornna  Talmadge,  Conrad  Nagel, 
Allison  Skipworth,  William  Farnum 

CORSAIR,  with  Chester  Morris,  Ned  Sparks,  Frank 
McHugh 

THE  BAD  ONE,  with  Delores  Del  Rio,  Edmund  Lowe 

THE  LOTTERY  BRIDE,  with  Jeanette  McDonald.  Joe 
E.  Brown,  Zasu  Pitts,  John  Garrick 

BE  YOURSELF,  with  Fanny  Brice,  Robt.  Armstrong, 
Harry  Green 

NEW  YORK  NIGHTS,  with  Norma  Talmadge.  Gil- 
bert Roland 

And    Seven    MUSICAL    CLASSICS,    produced    by 
Hugo  Reisenfeld: 

IRISH  FANTASY.  ZAMPA,  AMERICANS  COME 

OVERTURE  OF  1812,  THE  GLORIOUS  VAMP 

SECOND   HUNGARIAN   RHAPSODY 

WIZARD'S  APPRENTICE 

Rental  Prices  on  Application 


Current  Film  Releases 


Send  for  our  72-page  rental  catalog,  listing  and  de- 
scribing thousands  of  16  mm  talking  and  silent,  and 
35  mm  silent  films  for  education  and  entertainment. 
Wo  sell  new  and  used  talking  and  silent  motion  pic- 
ture equipment  also  cameras,  screens  and  all  motion 
picture  accessories.  Whatever  your  film  needs,  or 
your  equipment  needs,  IDEAL  PICTURES  CORPORA- 
TION  CAN   SERVE  YOU. 


IDEAL  PICTURES  CORPORATION 


28  East  Eighth  Street 


Chicago.  III. 


A  Valuable  Astronomy  Film 

A  new  film  of  Astronomy,  Seeing  the  Universe 
through  the  World's  Largest  Telescope,  in  five  reels, 
has  recently  been  released  by  Educators  Film  Library, 
1600  Broadway,  New  York  City.  This  subject  is  a 
complete  outline  of  descriptive  Astronomy  coordinated 
with  standard  text  books  and  made  especially  for  class- 
room use.  It  is  also  highly  recommended  for  assembly 
and  general  entertainment  purposes.  Enthusiastic  com- 
mendations of  noted  astronomers  and  educators  indi- 
cate the  merit  and  application  of  the  film.  It  is  avail- 
able in  either  16mm.  or  35mm.  sound  or  silent  versions. 

Pan  American  Union  Produces 

The  Section  of  Motion  Pictures  of  the  Pan  American 
Union  of  Washington,  D.  C.  announce  that  several 
new  talking  pictures  are  now  available  on  Central  and 
South  American  Republics  for  the  use  of  schools, 
women's  clubs  and  other  study  groups.  This  new  series, 
titled  Union  of  American  Republic  Productions,  is  be- 
ing produced  by  William  B.  Larsen,  the  chief  of  the 
Section  of  Motion  Pictures.  The  films  are  available  on 
both  16mm.  and  35mm.  sound,  and  are  loaned  free  of 
charge  except  for  tranportation  costs. 

The  following  two-reel  subjects  are  now  ready :  The 
Story  of  Bananas,  RoUin'  Dozvn  to  Mexico,  Native 
Arts  of  Old  Mexico,  Black  Gold  Beyond  the  Rio 
Grande,  Where  Seas  Are  Joined,  Havana  the  Siren 
City,  and  Picturesque  Guatemala.  A  16mm.  silent  two- 
reel  film,  The  West  Coast  of  Mexico,  and  a  one-reel 
35mm.  sound  film.  Ashore  at  Panama,  are  also  avail- 
able. There  are  several  new  films  in  prejiaration  for 
release  later  in  the  year. 

It  is  requested  that  bookings  for  these  films  be  made 
at  least  three  weeks  before  date  of  showing.  A  choice 
of  three  pictures  is  required  in  case  one  is  not  available 
an  alternate  may  be  selected. 

Ernest  Hemingway  Spanish  Film  Released 

Prometheus  Pictures  at  1600  Broadway,  New 
York  City,  announces  the  release  of  Ernest  Hem- 
ingway's new  feature  film  made  in  Spain  —  "The 
Spanish  Earth,  available  on  16mm  and  35mm  sound- 
film  for  limited  territories.  The  film  was  produced 
by  Joris  Ivens,  famous  Dutch  director.  Narrative 
was  written  and  spoken  by  Ernest  Hemingway. 
Story  was  written  in  collaboration  with  Archibald 
MacLeish  and  Lillian  Hellman. 

An  Important  Historical  Short 

Servant  of  the  People,  one  of  a  series  of  historical 
two-reel  subjects  produced  by  Metro-Goldwyn-Mayer, 
is  an  important  illustration  of  the  educational  possi- 
bilities of  films  not  primarily  designed  for  classroom 
use.  The  film  depicts  the  adoption  of  the  Constitution  of 
the  United  States  and  the  conditions  which  led  to  the  fa- 
mous Federal  Convention  at  Philadelphia  in  1787.  It 
visualizes  the  "fathers  of  the  Constitution",  in  their 
picturesque  colonial  dress,  as  they  labored  at  their 
arduous  task.  The  film  commemorates  the  150th  an- 
niversary of  the  framing  of  the  Constitution. 


October,  1937 


Page  265 


RECESS  PROGRAMS  in  1 6  mm.  Sound-on-Film 

We  have  assembled  a  large  group  of  excelien-l'  RECESS  PROGRAMS,  selected  with  great  care  by 
a  special  committee,  and  available  for  your  use  on  an  unusually  attractive  rental  basis. 

These  half  hour  programs  possess  entertainment  appeal,  yet  have  definite  instructional  value.  They 
are  particularly  recommended  for  classroom  and  auditorium  use  in  primary  and  secondary  schools. 
We  will  be  glad  to  send  an  outline  of  these  programs  upon  request. 


CLASSICS  OF  LITERATURE 

•         FEATURE  SUBJECTS         • 
Memorable  stories  from  the  pens  of  famous  au- 
thors, faithfully  portrayed  in    16  mm.  Sound-on- 
Film. 

LITTLE  MEN     *      JANE  EYRE 

GIRL  OF  THE  LIMBERLOST 

HOOSIER  SCHOOLMASTER 

KEEPER  OF  THE  BEES 


Special    Release! 

An    Historical    Masterpiece! 

DRAKE  THE  PIRATE 

Acknowledged  one  of  the  finest  achievements, 
distributed  in  16  mm.  Sound-on-Film.  A  realistic 
picturization  of  the  career  of  Sir  Francis  Drake, 
including  scenes  showing  the  defeat  of  the  Span- 
ish Armada.  Historical  background  authentica- 
ted by  Dr.  Charles  A.  Beard  of  Columbia 
University. 


I 


^Q1"^.         With   History   In   the   making,   our  Travel   Subjects   are   tlnnely   for   Current   Events       1 
study.  They  show  past  and   present  conditions  in   European  and   Asiatic  countries.       m 


There  are  over  500  Educational 

and  Entertainment  subjects  list- 
ed In  our  Catalog.  Send  for 
your  copy  today! 


WALTER   O.  GUTLOHN,  Inc. 

35  West  45th  Street  Dept.  E-IO  New  York,  N.  Y. 


New  Series  of  Films 

A  special  showing  was  recently  given  by  The  Film 
and  Photo  League,  New  York  City,  of  the  first  of  a 
series  of  films  called  Getting  Your  Money's  Worth. 
The  films,  one  reel  in  length  have  sound  commentary 
as  well  as  a  musical  background.  The  subject  matter 
deals  with  the  frauds  and  misrepresentations  practised 
upon  the  public.  The  films  show  how  articles  and 
commodities  are  tested  to  determine  their  actual  value 
— and  advice  is  given  on  how  to  guard  against  mis- 
leading advertising  statements.  Technical  supervision 
of  the  series  is  in  the  hands  of  Arthur  Kallet.  author 
of  "100  Million  Guinea  Pigs."  16mm  sound  prints 
will  be  made  for  schools  and  educational  institutions. 
The  films  serve  a  two  fold  purpose  inasmuch  as  they 
educate  the  parents  as  well  as  the  children. 

WPA  Film  Productions 

The  Motion  Picture  Production  Division  is  rapidly 
becoming  of  increasing  importance  in  the  scheme  of 
things  at  the  WPA  Federal  Art  Project.  The  Divi- 
sion is  made  up  of  professional  cameramen,  continuity 
writers,  film  editors  and  technicians,  and  functions  on 
the  same  basis  of  co-sponsorship  as  the  other  depart- 
ments of  the  Federal  Art  Project ;  that  is,  the  co-spon- 
sor defrays  the  material  costs.  On  this  basis,  the  di- 
vision is  able  to  make  films  for  any  public  tax-sup- 
ported institution  or  government  agency  on  any  sub- 
ject relative  to  the  activities  of  the  co-sponsor  or  other- 
wise. 


Among  the  films  turned  out  by  the  moving  picture 
unit  to  date.  The  Technique  of  Fresco  Painting,  a 
three-reel  film,  illustrating  the  method  of  painting  a 
fresco  mural,  has  been  shown  to  a  number  of  schools, 
museums,  union  organizations,  and  various  assem- 
blages throughout  the  country.  The  film  was  made 
under  the  direction  of  Leo  Seltzer.  He  chose  the 
mural,  "The  Evolution  of  Western  Civilization,"  which 
James  Michael  Newell  executed  for  Evander  Childs 
High  School,  New  York  City,  as  a  basis  for  the  film. 

The  film  is  introduced  with  a  picture  of  a  Stone  Age 
carving  demonstrating  the  historical  roots  of  mural 
painting.  It  ends  by  coordinating  the  art  of  fresco 
with  modern  civilization  through  a  panoramic  montage 
of  industrial  activities  and  developments  of  our  age. 

A  film  on  the  technique  of  ceramics  is  now  planned. 
The  film  will  be  built  about  the  fountain  design  which 
Waylande  Gregory  is  now  in  process  of  building  for 
Roosevelt  Park,  Raritan  Township,  N.  J.  The  foun- 
tain is  being  made  in  Perth  Amboy  which  has  long 
been  the  center  of  the  ceramics  industry  in  New  Jer- 
sey. All  the  aspects  of  ceramics  will  be  portrayed  in 
the  film,  which  also  will  trace  the  history  of  the  art 
of  ceramics  and  show  the  modern  potentialities  of  the 
medium. 

The  plans  for  another  film  on  the  subject  of  lith- 
ography, are  also  well  under  way,  and  several  other 
films  dealing  with  various  phases  of  art  work  are 
contemplated  by  the  Motion  Picture  Production  Di- 
vision. 


Page  266 


The  Educational  Screen 


SCHOOL    DEPARTMENT 


Conducted  by  Wilber  Emmert 

Director  Visual  Education,  State  Teachers  College,  Indiana,  Pa. 


Aids  for  the  Photographer 

A  MATEUR  photographers  who  wish  durable  tanks 
for  their  developer  and  fixing  bath  materials  will 
find  the  hard  rubber  cases  from  old  automobile  storage 
batteries  very  satisfactory.  They  will  hold  over  a  gallon 
of  liquid,  and  their  depth,  length  and  width  are  of 
such  dimensions  that  they  will  easily  care  for  the 
various  types  of  film,  such  as  roll,  film  pack,  and  cut- 
film.  They  do  not  crack,  chip,  corrode,  or  break 
readily.  Most  battery  owners  gladly  give  them  away 
as  an  easy  means  of  disposing  of  the  cast-oflf  material. 
A  scheme  which  has  proved  very  helpful  for  the 
amateur  photographer  consists  in  using  a  pyrex  dish 
for  the  developing  tray,  underneath  which  the  "safe- 
lights"  have  been  placed.  With  the  light  coming  through 
the  tray  it  is  possible  to  examine  the  film  as  it  is  being 
developed  to  determine  when  the  process  is  at  the  right 
point  for  the  stopping  the  action  of  the  developer.  A 
switch  can  be  arranged  on  the  floor  so  that  the  light 
can  be  turned  on  and  off  with  the  foot,  leaving  the 
hands  free  to  hold  the  film.  A  switch  could  be  located 
on  the  side  of  the  bench  and  operated  by  pressing  it 


lOmm 

SOUXD  FILMS 


SQSEIH^aS 


\<)IINI)lll/i4III^IPAMI\IN< 


II*  IIWH^AI   A'Vt.,  DAVIDN.IliJIlT 


with  the  knee.  Both  the  red  and  the  green  "safelights" 
can  be  placed  in  the  device,  thus  making  it  serve  for 
the  various  kinds  of  films  being  used.  This  "thru- 
vision"  plan  serves  three  definite  purposes,  namely,  it 
facilitates  the  examination  of  the  film,  it  prevents 
dripping  the  developer  solution  over  the  table  between 
the  tray  and  the  light,  and  sinearing  the  light  and  light- 
switch  key  with  the  fluid. 

A   Brief   Bibliography  on  Photography 
Photography,   A    Syllabus   and   Guide   for    Teacher    Training; 
How  to  Make  Good  Pictures;  Elementary  Photographic  Chem- 
istry; Cine-Kodak  News;  Fundamentals  of  Photography.  C.  E. 
K.  Mees, — all  available  from 

Eastman  Kodak  Company,  Rochester,  N.  Y. 
Photography,  C.  E.  K.  Mees, 

Macmillian  Company,   New   York   City,   \.  Y. 
Photography,  C.  B.  Neblette, 

D.  Van  Nostrand  Co.,  New  York  City,  N.  Y. 
Basic  Photography,  U.  S.  Army  Manual,  No.  2170-S, 

Superintendent  of  Documents,  Washington,  D.  C. 
Elements  of  Photography, 

American  Pliotographic  Publishing  Co.,  Boston,  ^fass. 
Composition   Simplified,  Hermon  Gabriel, 

Fomo  Publishing  Co.,  Canton,  Ohio. 
A  Beginners  Guide  to  Photography.  Robert  Goudsall. 

American  Photographic  Publishing  Co.,  Boston,  Mass. 
Elementary  Photography.  Neblette,  Brehm,  Priest, 

Macmillian  Company,  New  York  City,  N.  Y. 
Practical  Amateur  Photography.  W.  S.  Davis, 

Little,  Brown  and  Company,  Boston,  Mass. 
The  Kingdom  of  the  Camera.  T.  Thome-Baker, 

Isaac  Pitman  &  Sons,  New  York  City,  N,  Y. 
Filmo  Topics, 

Bell  and  Howell  Company,  Chicago,  Illinois. 
Consult — The  local  Photographer;  the  local  Drug  Store;  Mag- 
azines on  the  News  Stands ;  the  local  camera  shops. 
See — Educational      Screen      Magazine,      Educational      Screen, 

Chicago,  111.,  for  the  addresses  of  equipment  companies. 
Get  catalogues  from — Eastman  Kodak  Co. ;  Agfa-Ansco ;  Bass 

Camera  Co.,  Chicago,  111.;  Central  Camera  Co.,  Chicago; 

and  others. 

A  Sundial  Project 

T'HE  construction  and  use  of  a  sundial  can  be  made 
a  worthwhile  project  in  a  number  of  different 
grades  in  the  schools,  with  a  number  of  educational 
outcomes,  such,  as:  learning  to  tell  the  time  of  day; 
understanding  some  problems  connected  with  the  rev- 
olution of  the  earth  around  the  sun,  and  the  rotation 
of  the  earth  on  its  axis ;  changes  in  the  jxisition  of  the 
sun  at  different  times  of  the  day,  and  at  different 
times  of  the  year;  about  the  equinoxes  and  solstices; 
months  of  the  year;  changes  in  the  length  of  days;  etc. 
The  construction  of  a  sundial  is  a  simple  matter,  and 
possible  on  most  school  grounds  and  recreation  camps. 
The  flagpole  may  serve  as  the  object  to  cast  the 
shadow.  A  number  of  stones  placed  in  a  semi-circle 
of  ten  to  fifteen  foot  radius  may  be  used  to  mark  the 
hour  divisions  for  the  day.  If  the  stones  are  painted 


October,  1937 


Page  267 


The  extreme  accuracy 
of  precision  machined 

HOLMES  Projectors 

assures  rock  steady  brilliant 
pictures  at  all  times. 


Accurate  projector  speed. 


Clear    toned    and    powerful 
sound     reproduction 

Minimum  annoyance  to  audience 
because  of  film  breakage,  illumi- 
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Built  with  the  me- 
chanical precision  of 
largest  projectors, 
yet  costs  no  more 
than   portables. 


16   mm    HOLMES   Ball   Bearing 

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sprocket. 

Many  exclusive  features  found  only  in  a 
HOLMES  is  the  reason  it  is  favored  by 
professional  operators  for  portable  uses. 

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UNIT  TEACHING 

Simplified  by 
Opaque  Projection 


•  Material  accumulated  by 
students  and  instructors,  in 
developing  a  unit  of  study, 
may  include  small  objects, 
photographs,  illustrations  in 
books  and  newspaper  clip- 
pings— objects  too  small  for 
group  study.  Opaque  pro- 
jection is  the  ideal  aid  in 
such  a  program,  making 
graphic  demonstrations 
possible. 

The  Spencer  Model  VA 
Delineascope  is  a  combina- 
tion instrument  which  will 
project  lantern  slides  as 
well  as  opaque  materials. 
An  object  six  inches  square 
or  a  six  inch  square  of  a 
larger  object  can  be  pro- 
jected in  full  color. 

A  built-in  fan  cools  the 
light  chamber.  A  new  ele- 
vating device  makes  it  sim- 
ple to  center  the  picture  on 
the  screen.  Modem  projec- 
tors are  easy  to  use. 


MAP  from  EiKycloptdio 


OBJKT-$«ction  of  Sugor  Cone 


NEWSPAPER  CUPPING-Cargo  Steamship 


Spencer  Lens  Company 

Buffalo  S  New  York 


Page  268 


The  Educational  Screen 


Personal   Letters   direct  from  foreign  countries;  Motion  and  Still  Pictures;    Voluminous 
Supplementary   Materials;    Up-to-the-minute   Reports,  Projects  and  Quiz  Sheets;  are  features  of 

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—  The  Most  Practical  Visual  Aid 
for  Daily  Lessons. 

There  is  no  delay  getting  ready  to  show  pictures  when 
teachers  use  S.  V.  E.  Picturols.  The  teacher  or  a  student 
merely  switches  on  the  lamp  of  a  light-weight  S.  V.  E.  Pro- 
jector inserts  a  Picturol  and  starts  showing  the  pictures, 

changing  from  one  pic- 
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merely  turning  a  knob. 
Picturols — short  strips 
of  35  mm  film  —  are 
available  for  all  fields 
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white,  or  whitewashed  and  the  hour  numbers  painted 
on  them  it  will  be  possible  to  read  the  time  of  day 
from  some  distance.  The  proper  placing  of  the  stones 
for  the  hours  is  simply  a  matter  of  watching  the  po- 
sition of  the  shadow  from  the  pole  "on  the  hour"  and 
placing  the  stone  at  its  proper  place  on  the  circle.  Vari- 
ations in  the  hour  markings  can  be  made  by  using 
small  stakes  with  the  numbers  on  them ;  flowers  or 
shrubs ;  metal  or  concrete  numbers.  The  greatest  value 
of  the  project  is  not  in  the  construction,  but  in  the 
continued  and  proper  use  of  it  by  the  arithmetic, 
geography,  nature  study  and  science  classes. 

Spatter  Work  in  Color 

One  of  the  interesting  bits  of  nature  study  work  is 
the  spatter  work  project  to  stress  the  shape  of  the 
leaves  as  a  method  of  identifying  the  trees  and  plants. 
This  is  usually  done  by  using  printer's  ink  (black) 
thinned  with  turpentine,  "spattered"  from  an  old  tooth- 
brush over  the  leaf  and  the  paper.  Upon  removing  the 
leaf,  a  clear  section  with  the  outline  of  the  leaf  is  dis- 
covered on  the  paper.  Some  advantages  of  the  printer's 
ink  are  that  it  dries  rapidly,  does  not  spread  or  smear, 
and  is  permanent.  Show  card  paints,  while  not  fully 
meeting  the  requirements  just  mentioned,  do  allow  a 
wide  range  of  color.  Colored  paper  with  the  approp- 
riate color  of  showcard  paint  for  the  spatter  make 
surprisingly  attractive  pieces  of  work.  If  these  are 
framed  under  glass,  they  make  splendid  decorations 
for  the  walls  of  the  classroom.  It  will  help  appreciably 
to  secure  sharp  and  distinct  outlines  if  the  leaves  are 
pinned  closely  to  the  paper.  Ordinary  pins  will  not  do 
because  they  are  not  thin  enough.  The  long,  thin,  sharp 
insect  pins  used  in  fastening  the  insects  to  their  mounts 
are  admirably  suited  to  this  work  with  the  leaves. 
Pupils  and  teachers  will  have  to  experiment  consid- 
erably to  find  the  most  satisfactory  colors  or  paper  and 
paints  for  this  work.  White  paint  on  black  paper  has 
been  the  most  popular  in  classes  recently  visited  by 
the  writer. 


In  six  years,  according  to  Alan  H.  Nicol,  director  of 
visual  education,  the  Buffalo  schools  have  developed 
the  use  of  16mm  film  from  none  in  1929-30,  to  14,605 

films. 


October,  I9i7 


Page  269 


Notes  and  News 

(Concluded  frovi  page  258) 

officers  who  are  identified  by  conspicuous  belts  and 
arm  insignia.  The  patrol  officers  are  stationed  at  street 
intersections  adjacent  to  schools  and  there  they  direct 
the  children  across  the  streets  when  traffic  conditions 
are  safe. 

Surveys  have  indicated  that  the  majority  of  accidents 
to  children  in  school  occur  in  the  gymnasium.  Next  to 
the  gyni,  the  stairs  and  corridors  are  the  scenes  of 
more  accidents,  with  vocational  shops  as  the  third  most 
dangerous  location.  The  least  number  of  accidents 
occur  in  class  rooms. 

The  Board  of  Educatif)n,  which  sponsors  the  Safety 
Education  project,  insists  that  all  instruction  on  safety 
shall  take  positive  form,  placing  the  emphasis  on  "Do" 
rather  than  "Don't."  No  horror  tales  such  as  "And 
Sudden  Death"  are  included  in  the  pamphlets  and 
motion  ])ictures  which  are  distributed. 

Safety  lessons  include  talks  of  the  various  hazards 
encountered  in  homes,  schools,  playgrounds,  and  streets. 

So  successful  has  been  the  New  York  Safety  Ed- 
ucation project  that  word  of  it  has  spread  to  distant 
places.  Inquiries  have  been  received  by  project  officials 
from  many  cities  which  wish  to  institute  similar  safety 
instructions.  One  WPA  project  for  safety  education 
established  in  Boston  is  patterned  exactly  after  the 
New  \ork  City  program. 

Classroom  Moves  to  Rails 

The  iron-horse  couldn't  be  brought  to  school,  so  the 
students  of  Spring  Street  School,  Atlanta,  Ga.,  go  to 
Terminal  Station  for  first-hand  information  on  the 
locomotive  and  air-conditioned  cars  of  the  Robert  E. 
Lee,  famous  train  of  the  Seaboard  Railway.  The  group 
shown  plans  to   build   a  miniature  train  and   railroad 


station  as  part  of  a  community  life  project.  Sunilar 
scholastic  tours  on  the  Seaboard  provide  practical  ed- 
ucation in  many  southern  cities. 


In  the  Rochester,  New  York  public  schools  the  cir- 
culation of  films  has  increased  from  five  films  in 
September,  1930— or  one  film  to  each  of  the  sixty 
Rochester  public  schools  every  twelve  days — to  fifty- 
seven  films  a  dav  in  March,  1936. 


USEES  ALL-PLAYS  ALL  I 
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PROJECTOR 

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tone  performance  and  brilliancy  in 
screen  image.  Economy  is  the 
boast  of  every  Universal  owner. 
The  advanced  Universal  has  won 
the  approval  of  leaders  in  every 
field.  This  ruggedly  constructed, 
precision  built  projector  embodies 
all  the  latest  features.  Throws  a 
clear,  brilliant  image  to  any  de- 
sired screen  size  and  reproduces 
sound  in  life-like 
and  true  tone 
quality. 

Finger-tip   con- 
trol  instantly  ad- 
justs    amplifica- 
tion for  large  or 
small     audiences. 
Compactly    port- 
able in  two  carry- 
ing   cases,    it    is 
ready  for  quick  set-up.  Complete,  ready  to   plug  in. 
Universal  is  low  in  first  cost,  extremely  economical  in 
upkeep  .  .  .  AND  EASY  ON  FILMS. 

OUTSTANDING  FEATURES 

SOUND 
PROJECTOR 

•  750  Watt  Projector  Lamp.  Brilliant  pictures.  For  all  siie 
reeU.  Heavy  duty  construction.  Easy,  simple  operation.  Trained 
operator  not  necessary.  Adjustments  quickly  accessible.  For 
sound  or  silent  films.  Full  draft  ventilation.  Central  Oiling. 
Rausch  &  Lomb  sound  optical  unit.  Underwriter  approved.  Easy 
on    Film. 

AMPLIFIER 

#  Power  for  large  or  small  groups.  Phono  or  Michrophone  out- 
lot.  Tone  control.  Volume  control.  Connection  arranged 
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Division    of 

SENTRY  SAFETY  CONTROL  CORP. 

Manufacturers   of    I6mm-35mm 

Sound    Projectors 

1921    Oxford    Street,    PHILADELPHIA,    PA. 

Paramount  Building,  N.  Y.  C. 

DEALERS     IN     PRINCIPAL     CITIES 

^   Please    send    full   information   and    literature    on   your    16mm 
■^^     Sound  Projector. 

NAME 

ADDRESS  

CITY 


State. 


Page  270 


The  Educational  Screen 


ASTRONOMY    IN    MOTION    PICTURES 

SEEING     THE 
UNIVERSE 

through  the 
WORLD'S  LARGEST  TELESCOPES 

Five  reels  of  Descriptive  Astronomy.  Highly  com- 
mended   by    noted    Astronomers    and    Educators. 

16  mm  and  35  mm.    Rental  or  Sale 


EDUCATORS  FILM  LIBRARY 


1600  Broadway 
NEW  YORK 


TWO  NEW  SCIENCE  AIDS 

FOR       PROGRESSIVE       TEACHERS 

PKINCIPLES    OF    PHYSICS       PRINCIPLES   OF   CHEMISTRY 

The  visualization  of  bi^h  school  The  core  of  the  year's  work  in 
physics  on  35  mm.  film  slides  for  chemistry  especially  adapted  for 
classroom  use.  review. 

Descriptive  literature  and  sample  strip  of 
typical  frames  sent  on  request.     Address ; 

VISUAL    SCIENCES  —  Suf  fern,    N.Y. 


WANT     TO 

BUY 

16  MM.  SILENT  OR  SOUND-ON-FILM 

EDUCATIONAL   SUBJECTS 

Will  Buy  Complete  Library 

GENERAL     FILMS 

LIMITED 

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SASK. 

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for 
REIVT  —  EXCHANGE  —  SALE 

A  few  of  our  Large  Catalogue  of 
RENTAL     SURJECTS 

THE  LOST  JUNGLE  *  KEEPER  OF  THE  BEES  *  GALLANT 
FOOL  *  THE  GIRL  OF  THE  LIMBERLOST  *  I  CON- 
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OLD    SANTA    FE     *     EAT    'EM    ALIVE     •     CITY    LIMITS 

*  MAN'S    BEST    FRIEND     *     KENTUCKY    BLUE   STREAK 

•  SILENT  ENEMY  *  JANE  EYRE  *  KLONDIKE  ■* 
RUSTLER'S  PARADISE  •  HEARTS  OF  HUMANITY  * 
RETURN  OF  CASEY  JONES  *  MIDNIGHT  PHANTOM 
■k  NOW  OR  NEVER  *  THIRTEENTH  GUEST  *  RED 
HAIRED  ALIBI  *  all  PETER  B.  KYNE'S  SUBJECTS  • 
all  TOM  TYLER,  JACK  PERRIN  and  JACK  HOXIE'S  WEST- 
ERNS •  all  RICHARD  TALMADGE'S  pictures  *•  and 
RIN  TIN  TIN,  Jr. 

Altosether    150     Features    and    400    Shorts 

from       which      to      pick      your      programs 

Not  One  Mediocre   Picture  in   Our  Library 

Film   Rental   Catalogue  —  Film   Sale  Catalogue 

Write   for    them 

CINE  CLASSIC  LIBRARY 


1041    JEFFERSON    AVE. 


BROOKLYN,    N.    Y. 


MAKE  YOUR  OWN 

TYPEWRITER     SLIDES 

For    Screen    Projection 

USE        RADIO        MATS 

on   sale  by   Theatre   Supply   Dealers 
Write  for  Free  Sample 

RADIO-MAT  SLIDE  CO.,  Inc. 

1819  Broadway.  Dept.V.  New  York  City 


Among  the  Magazines  and  Books 

(Concluded  front  I'agc  262) 

background.  Carved  objects,  all  about  the  hut,  at- 
test to  the  verity  of  Swiss  craftsmanship.  Even 
Shirley's  wooden  shoes  are  hand-carved,  portraits 
of  the  goats,  Swanli  and  Bearli,  painted  thereon. 
No  practicing  of  goat-milking  was  permitted  until 
we  see  .Shirley's  first  attempt  in  the  motion  picture. 

Book  Review 

On  the  Road  to  Civilization,  by  Dr.  Albert  Kerr 
Heckel  and  Dr.  James  G.  Sigman.  Published  by 
John  C.  Winston  Company,  Copyright  1936,  Price 
$2.40. 

Here  is  man's  parade  from  Cro-Magnards  of  the 
Old  Stone  Age  to  the  present  Spanish  Revolution, 
told  with  a  dramatic  continuity  that  probably 
transcends  any  former  attempt,  and  we  are  mindful 
of  the  magnificent  production  of  H.  G.  Wells.  This 
book  of  over  800  pages  is  written  from  the  view- 
point constantly  of  the  interdependence  and  the 
common  humanity  of  all  peoples  and  races  versus 
the  stereotyped  narrations  of  each  nation  or  group 
of  nations  within  its  own  narrow  limits  of  space 
and  time.  We  have  here  the  complete  panorama  of 
man's  development  seen  in  the  light  of  trends  of 
thought  which  make  events  inevitable.  Only  thus 
can  the  student  acquire  the  historical  sense  requisite 
for  interpreting  contemporary  events. 

The  style  is  marked  by  vivid  description  includ- 
ing fascinating  stories  of  individuals,  sidelights 
strong  in  human  interest,  and  a  modern  viewpoint 
always.  Even  paragraph  headings  are  fresh  and 
colorful  as,  "Out  of  the  tombs  came  the  story  of 
life,"  "Greece  fails  to  build  a  nation  but  achieves 
a  civilization,"  and  "Black  Death  speeds  decay  of 
feudalism".  Among  the  350  illustrations  of  the  book 
are  copies  of  rare  prints,  stills  from  motion  pic- 
tures, and  contemporary  cartoons,  all  of  real  human 
interest. 

The  ideal  of  democracy  as  a  way  of  life  underlies 
the  whole  of  "On  the  Road  to  Civilization".  The 
authors  feel  that  under  our  liberal  government  not 
sufficient  stress  is  placed  upon  this  objective,  quite 
contrary  to  the  propaganda  methods  used  in  edu- 
cation in  many  undemocratic  countries.  Of  the  re- 
view questions,  ninety-one  percent  refer  to  social 
and  cultural  contributions  to  civilization.  A  con- 
structive attitude  is  induced  in  the  student  by  the 
stress  on  arts  and  sciences,  rather  than  on  wars. 

The  whole  historical  account  is  developed  through 
fifteen  cores,  or  units,  each  being  preceded  by  a 
statement  of  "Aim"  and  a  "Preview".  An  essential 
part  of  each  unit  is  "Suggested  Activities",  over 
550,  in  all.  These  are  greatly  varied,  being  adapted 
to  all  sorts  of  pupil  interests.  Dr.  Sigman,  Director 
of  Visual  Instruction,  in  Philadelphia,  has  added  to 
each  unit  an  exhaustive  reference  to  correlated  films, 
filmslides,  stillfilms,  and  historical  photographs  with 
duplicate  slides.  The  book  of  good  print  and  paper, 
is  bound  in  washable,  vermin-proof  cloth.  It  is 
strongly  recommended  for  High  School,  as  it  is 
simply  written,  and  for  college  classes. 


October,  1937 


Page  271 


with  the  '>""«"\i'?°^hooTlife;  religious  ceremonies. 
Ks  Sde^s' onr.^!  motion  picture  camera  can 
record  them.  2  reels-$48. 


new  geography 

films . . .  important 

additions  to 

every  school 

library 


TURKEY     The  new  Turkey  evolving  u^n^er  the  mo^^ 

prnizing  influence  of  the  ^°^"y- ,  .j    j     Ankara,  the 
3V"f-7ctive  act.^^^^^^^^^^^ 

^:rtu?a^'a^ti^^t1^s^reels-S48. 


■  S.A  Its  people;  us  Puhlic^^^es^n-^^^i 
conditions  in  the  c.t.es  «  ^e^^^^  objective  camera 
Sy'  oTarexprr^enra«ecting  one-seventh  of  the 
world's  land  area.  3  reels-$72. 


rian  tundra.  2  reels-$48. 


Order  now  for  prompt  delivery,  or  write  for  further  details  .  .  . 
Eastman  Kodak  Company,  Teaching  Films  Division,  Rochester,  N.  Y, 

Eastman  Classroom  Films 


Page  272 


The  Educational  Screen 


AMONG  THE  PRODUCERS  yi'L.iL 


c  cotnntetcia 


I 


/'• 


LtntA  aititaunce  new 


ptcJLiict^  and  AcveiapincntA  cr  mtetc^t  to  tke  field. 


New  DaLite  Screens 

Da-Lite  Screen  Company,  Inc.,  Chicago,  announces 
important  improvements  in  the  manufacture  of  its 
Glass-Beaded  Screens.  A  new  method  of  applying 
beads  to  the  surface  of  the  screen  provides  more  uni- 
form distribution  of  the  beads,  greater  smoothness, 
greater  density  of  beads  per  square  inch  and  perfect 
adhesion.  As  a  result  of  these  improvements,  the  re- 
flected light  is  more  diffusive  and  the  picture  is  free 
from  sparkle  and  glare.  Graininess  is  eliminated.  Color 
tones  are  brought  out  brilliantly  and  faithfully.  Details 
are  sharply  defined.  The  nevif  process  not  only  improves 
the  quality  of  pictures  but  increases  the  life  of  the 
screen.  The  fabric  stays  white  and  pliable  indefinitely. 
The  beads  adhere  tightly  and  are  guaranteed  not  to 
shatter  off  even  when  exposed  to  excessive  humidity. 

DaLite  Glass-Beaded  Screens  are  available  in  many 
styles — box  type,  table  models,  hanging  wall  screens 
and  the  popular  Da-Ute  Challenger,  which  has  a  tripod 
attached  to  the  case  and  can  be  set  up  instantly  any- 
where. Da-Lite,  with  more  than  a  quarter  of  a  century 
of  experience  in  making  screens  for  all  requirements, 
recommends  the  glass-beaded  surface  for  most  users — 
but  also  makes  screens  with  mat  white  and  silver 
surfaces  for  special  requirements. 

Fourth  Annual  Leica  Exhibit 

Prints  are  now  being  received  by  E.  Leitz,  Inc., 
for  the  Annual  Leica  Exhibit  which  will  be  held  in  the 
early  part  of  next  year.  As  in  previous  years,  this  ex- 
hibit is  planned  to  show  the  progress  and  advance 
made  in  photography  with  the  Leica  camera.  It  is, 
therefore,  open  only  to  pictures  made  with  the  Leica. 

There  is  no  entry  fee  and  all  owners  and  users  of 
the  Leica  camera  are  urged  to  send  in  as  many  pic- 
tures of  exhibit  quality  as  they  desire.  Pictures 
should  not  be  smaller  than  8x10  inches  in  size  and  may 
be  sent  mounted  or  unmounted.  If  mounted  they 
should  be  on  light  colored  mounts  conforming  to  one 
of  the  following  sizes:  8x10  in.  prints — 133^x17  in. 


The   New   DeVry   Manufacturing   Plant 


mounts;    11x14   in.   prints — 16x20   in.   mounts;    16x20 
in.  prints  22x28  in.  mounts. 

Pictures  to  be  submitted  to  the  exhibit  should  be 
sent  to  E.  Leitz,  Inc..  730  Fifth  Avenue.  New  York 
City,  and  the  word  "Exhibit"  should  be  plainly  mark- 
ed in  the  lower  left  corner  of  the  package.  The  clos- 
ing date  for  the  receipt  of  pictures  is  November  30. 
Complete  details  on  the  submission  of  pictures  to  the 
exhibit  may  be  had  by  writing  E.  Leitz,  Inc. 

News  fronn  Ampro 

The  .'\mpro  Corporation,  Chicago.  Illinois,  man- 
ufacturers of  silent  and  sound  motion  jiicture  project- 
ors, has  announced  the  appointment  of  \\'.  F.  Scranton 
as  Advertising  Manager.  IMr.  Scranton  formerly  was 
advertising  and  sales  promotion  manager  of  Victor 
Adding  Machine  Company  of  Chicago. 

Another  interesting  news  item  comes  to  us  from  this 
organization.  They  report  the  shipment  of  one  hundred 
and  ten  projectors  to  the  Detroit  Public  Schools.  This 
is  believed  to  be  the  largest  single  school  order  for 
16mm.  equipment  ever  placed  by  any  public  school  in 
this  countr}'.  The  shipment  was  made  in  time  for  this 
current  school  year  and  is  indicative  of  the  steady 
progress  made  in  the  educational  field  in  the  use  of 
projection  equipment.  Last  year  eighty-three  Ampro's 
were  purchased  by  the  Detroit  Board  of  Education. 

DeVry  Acquires  Another  Factory  Building 

Next  year  the  DeVry  firm  celebrates  its  25th  an- 
niversary, and  the  opening  salvo  of  the  anniversary  is 
the  purchase  of  the  new  Ashland  Avenue  plant,  only 
a  few  blocks  from  the  present  DeVry  factory.  It 
is  a  modern  two  story  brick  "U"  shaped  structure 
with  a  central  court  opening  to  the  street.  This  building 
will  just  about  double  the  existing  manufacturing 
facilities  of  the  DeVry  Company.  It  will  house  several 
departments  now  overcrowded  in  the  Armitage  .A. venue 
plant,  and  will  house  also  the  rapidly  growing  De- 
Forest    Training.    Inc. — another    Educational    Service 

under    DeVry    s])onsorship. 

The  last  five  years  have 
witnessed  the  entrance  of 
Mr.  DeVry  into  the  profes- 
sional motion  picture  equip- 
ment field  with  his  DeLuxe 
Theare  Projector,  and  The 
DeVry  Sound  Recording 
Camera.  These  completed 
his  regular  line  of  35mm. 
and  16mm.  sound  projec- 
tors, which  have  attained 
enviable  sales  records  in 
school  and  business  circles. 
DeVry  sound  units  are  now 
operating  in  68  countries  of 
the  world. 


October,  19)7 


Page   273 


THE  B  &  L  OVERHEAD  ATTACHMENT  enables  you  to 

operate  your  own  Balopticon  and,  at  the  same  time,  face  your 

class. 


THE  B  &  L  FILM  PRO- 
JECTOR ATTACHMENT 
converts  your  lantern  slide 
Balopticon  into  a  still  film 
projector. 


THE  B  &  L  MICRO-PRO- 
JECTOR ATTACHMENT 
when  attached  to  a  Balopticon 
allows  you  to  use  microscope 
slides  for  projection  material. 


HOW  TO  INCREASETHE  USEFULNESS 

of  £fauf  i(^a&^ptu2oyi 

The  Balopticon  is  a  very  adaptable 
teaching  tool.  Many  schools  are  finding 
that  with  very  moderate  expenditures  for 
Balopticon  Accessories  they  can  increase 
the  range  of  usefulness  many  times — can 
handle  additional  subjects  and  present 
old  ones  in  new  and  attractive  fashion. 
Bausch  &  Lomb  has  designed  a  wide  va- 
riety of  interesting,  valuable  and  con- 
venient Balopticon  Accessories  to  meet 
specific  teaching  problems.  They  will 
help  you  do  a  better  job.  They  are  fully 
described  in  Catalog  E  1 1  which  is  yours 
for  the  asking.  Write  for  details  to  Bausch 
&  Lomb  Optical  Co. ,  688  St.  Paul  Street, 
Rochester,  N.  Y. 

Bausch  &  Lomb 


ADDITIONAL  PROJEC- 
TION LENSES  enable  you 
to  obtain  an  image  of  the 
proper  size  even  though  you 
must  use  your  Balopticon  at 
fixed  or  limited  projection 
distance. 


A  BALOPTICON  TABLE 
provides  a  substantial,  con- 
venient support  for  the  instru- 
ment. Saves  time  and  trouble. 


....WE  MAKE  OUR  OWN  GLASS  TO 
INSURE  STANDARDIZED  PRODUCTION 


FOR  YOUR  GLASSES  INSIST  ON   B  a  L 
ORTHOGON  LENSES  AND  B  «  L  FRAMES  . . . 


Page  274 


The  Educational  Screen 


THE    FILM    ESTIMATES 


Annapolis  Salut«(James  Ellison,  Marsha  Hunt) 
(RKO)  Fairly  srood  little  picture  of  Annapolis 
life,  background  and  traditions,  and  simple  ro- 
mance involving  rivalry  of  two  midshipmen 
over  heroine.  When  circumstances  almost  lose 
hero  his  commission,  rival  comes  through  for 
him    in    fine   shape.  9-21-37 

(A)  Perhaps  (Y)  Good  (C)  Good 

Back  In  Circalation  (Joan  Blondell.  P.  O'Brien 
(War.)  Fast,  violent,  overdrawn  arraignment 
of  unscrupulous  tabloids,  with  thoroly  despic- 
able editor-hero  and  reporter  heroine,  whose 
dirty  tactics  bring  near-tragedy  to  innocent 
victim  of  circumstances.  Amusing  bits  buried 
under  unsavory  whole.  9-28-37 

(A)    Unpleasant  (Y)    Sordid  (C)    No 

Bad  Guy  (Bruce  Cabot,  Virginia  Grey)(MGM) 
Depressmg,  lurid  stuff.  Despicable  "hero"  first 
does  biutal  murder,  escaping  gallows  thru  per- 
jured testimony.  Back  to  work,  aided  by  weak 
but  loyal  brother  whose  girl  he  tries  to  take 
More  trouble  with  police,  his  attempts  to  escape 
bringing  grisly  end.  10-5-37 

(A)  Unpleasant         (Y)  Unpleasant         (C)  No 

Baltic  Deputy  (Russian  Film)  ( Amkino)  Skillful, 
touching,  powerfui  character  study  of  distin- 
guished scientist  who  is  ostracized  by  fellow- 
professors  but  honored  by  the  Bolshevists  when 
he  supports  the  Revolution.  Finely  acted,  with 
propaganda  subordinated  to  biography.  Based 
on    authentic    facts.  10-12-37 

(A)Very  good   (Y)Good  but  mature  (C)No  int. 

Biff  City.  The  (L.  Rainer,  S.  Tracy)  (MGM) 
Waste  of  stars  in  incredulous,  obscure  story. 
Taxidriver's  immigrant  wife,  with  motherhood 
imminent,  is  unjustly  accused  of  garage  bomb- 
ing in  taxi-war,  but  saved  from  deportation  in 
ridiculous  climax  involving  fllying  fists  of 
famous  ring  champions.  9-28-37 

(A)    Fair  (Y)    Unsuitable  (C)    No 

Big  Shot.  The  (Guy  Kibbee)(RKO)  Another 
homespun  role  for  Kibbee,  as  guileless  veteri- 
narian who  inherits  fortune  from  unknown 
uncle  and  uses  it  to  crusade  against  racketeers, 
not  knowing  uncle  had  been  their  chief.  Arti- 
ficial but  fairly  diverting  comedy  with  a  little 
suspense   and    romance   injected.  9-21-37 

(A) Perhaps    (Y)Prob.    amusing    (C) Unsuitable 

Breakfast  for  Two  (Barbara  Stanwyck,  Herbert 
Marshall,  Eric  Blore)(RKO)  Dizzy,  slapstick 
farce,  built  solely  for  laughs.  There  are  many, 
but  much  is  silly.  Dazzling  settings,  and  girl- 
chase-man  motif  with  preposterous,  sophisti- 
cated situations.  A  merry-mad  rampage— hardly 
the  kind  of  thing  for  Marshall.  10-12-37 

(A)Amus.   of  kind(Y)Amus.   but  mature(C)No 

Bulldfg  Drummond  Comes  Back  (J.  Barrymore. 
John  Howard)  (Para.)  Diverting  mixture  of  ex- 
citing thrills,  suspense  and  comedy.  Howard 
lacks  color  for  adventurous  hero  who  matches 
wits  with  sinister  villains,  but  Barrymore  does 
expert  role  as  Inspector  Nielson,  and  E.  E. 
Clive's  comedy  is  amusing  feature.  10-5-37 

(A)  Good  of  kind       (Y)  Good  thriller       (C)No 

Califomian,  The  (Ricardo  Cortez)  (Fox)  Lively 
semi-historical  melodrama  interesting  chiefly 
for  background.  Concerns  early  days  of  Cali- 
fornia and  seizure  of  land  from  Spanish  by 
unscrupulous  Americans  in  power.  Spanish 
hero  turns  bandit  to  restore  property  to  right- 
ful owners  and  exposes  crooks.  9-21-37 
(A)Fairof  kind      (Y)  Rather  good      (C)  Perhaps 

Charlie  Chan  on  Broadway  (Warner  Oland, 
Joan  Marsh,  Donald  Woods)  (Fox)Good  Chan 
mystery,  with  Broadway  night  life  and  charac- 
ters for  background.  Attempts  by  various  per- 
sons to  gain  possession  of  an  incriminating  di- 
ary result  in  two  murders,  solved  by  Chan  in 
his  usual  quiet,  masterful  manner.  10-12-37 
(A)Good  of  kind  (Y)    Good  (C)Doubtful 

Dangerous  Adventure  (Don  Terry,  Rosalind 
Keith)(Col.)  Elementary  story  with  steel  mill 
operations  as  background.  Heroine  inherits 
father's  plant,  is  immediately  in  conflict  with 
loyal  and  husky  foreman-hero,  but  he  detects 
crooked  management  in  time  to  save  her  in- 
terests. Smashing  fisticuffs  for  climax.  9-21-37 
(A)  Hardly  (Y)  Perhaps  (C)  No 

Forever  Yours  (Benj.  Gigli  &  English  Cast) 
(Grand  Nat'UMuch  of  poignant,  human  appeal 
in  halting  story  about  marriage  of  fine  little 
heroine  to  adoring  husband,  which  is  threatened 
momentarily  when  wife's  former  sweetheart  re- 
appears. GigH's  glorious  voice  compensates  for 
his  poor  acting.  10-12-37 

(A)PleaRing  (Y)Good  (C)Beyond    them 


Being  the  Combined  Judgments  of  a   National  Committee  on  Current  Theatrical  Films 

(A)  Discriminating  Adults  (Y)  Youth  (C)  Children 

Date    ot    mailing    on    weekly    service    is    shown    on    each    film. 

(The  Film  Estimates,  In  whole  or  in  part,  may  be  reprinted 

only  by  special  arrangement  with  The  Educational  Screen) 


Hideaway  (Fred  Stone,  Emma  Dunn)  (RKO) 
Poor  comedy  material  but  Stone  gives  capable 
characterization  of  lazy,  ne'er-do-well  father  of 
family,  living  in  deserted  farm  house  used  as 
refuge  by  gangsters.  Their  presence  starts  hec- 
tic complications  leading  to  gang  battle  and 
elimination   of   racketeers.  10-12-37 

( A )  Mediocre  (Y)  Passable  ( C )  No 

High,  Wide  and  Handsome  (Irene  Dunne.  Ran- 
dolph Scott)  (Para.)  Lively,  long,  colorful  mu- 
sical melodrama,  authentically  set,  well-acted, 
with  delightful  music,  combining  the  factual  and 
the  make-believe  in  story  about  beginning  of 
oil  industry  in  1859,  with  preposterous  but 
riotously  funny  climax.  10-5-37 

(A)    Verj  good     (Y)  Very  good     (C)   Exciting 

I  Cover  the  War  (John  Wayne)  (Univ.)  Undis- 
distinguished  film  about  ace  newsreel  camera- 
men sent  to  Arabia  for  photographs  of  mys- 
terious rebel  chieftain.  The>'  discover  heavy 
villainy,  are  taken  captive,  but  escape  in  time 
to  reach  British  outpost  and  send  reinforce- 
ments to  desert  battle.  9-21-37 
(A)  Hardly            (Y^  Passable            (C)  Exciting 

King  Solomon's  Mines  (Roland  Young,  John 
Loder,  et  alKGau-British)  Mostly  splendid 
filming*  of  Haggard's  sensational  adventure.  Au- 
thentic backgrounds.  Some  incongruities  and  ro- 
mantic element  weaken,  but  worth  while  for 
vigor,  sweep  and  fine  realism  achieved  in  scenes 
of  Zulu  tribes.  Tense  thrills  for  climax.  10-12-37 
(A)Good  of  kind    (Y)If  not  t=o  strong    (C)No 

Lancer  Spy  (George  Sanders,  Dolores  Del  Rio) 
(Fox)  V/ell-acted  spy  story,  commendably  omit- 
ting war  scenes.  But  far-fetched,  incredible  sit- 
uations, glorifying  German  heroine  who  betrays 
her  own  Government  to  aid  English  hero  ob- 
tain German  military  secrets  which  prove 
war's  turning  point.  10-5-37 

(A)  Good  of  kind  (Y)  Perhaps  (C)  No 

Life  Begins  in  College  (Gloria  Stuart,  N.  Pen- 
dleton) (Fcx)  Another  stupid  film,  distorting 
college  life,  with  ridiculous,  often  offensive  bur- 
lesqued characters  and  situations,  and  meager 
values  buried  under  the  dizzy  antics  of  Ritz 
Bros.,  running  rampant  throughout  to  pre- 
posterous climax.  10-5-37 
(A)    and    (Y)    Stupid                                      (C)    No 

Love  Takes  Flight  (Bruce  Cabot,  Beatrice  Rob- 
erts) (Grand  Nat'l)   Dull,  unconvincing  triangle 

situation.  Self-satisfied  transport-pilot-hero  and 
long-suffering  heroine  skyrocket  to  fame,  he  be- 
coming movie  star  and  she  famous  aviatrix. 
She  wins  him  from  rival  when  she  undertakes 
daring  solo  flight.  10-12-37 

(A)    Hardly  (Y)    Perhaps  (C)    No  value 

Man  Who  Cried  Wolf.  The  (Lewis  Stone,  Tom 
Brown)  (Univ.)  Original,  fairly  interesting 
tale,  but  with  sympathy  wholly  for  murderer- 
hero,  whose  uniquely  planned  killing  of  black- 
guard proves  boomerang,  when  own  son  is  ac- 
cused of  crime.  Melodramatic,  suspenseful, 
fairly  convincing,  finely  acted  by  Stone.  9-21-37 
(A)  Good     of     kind         (Y)  Doubtful         (C)  No 

Meet  ti.e  Boy  Friend(D.  Carlyle.  Carol  Hughes) 
(Repub.)  Lightweight,  hackneyed  story  of  ro- 
mantic complications.  Radio  crooner,  insured 
by  sponsors  against  marriage,  falls  in  love  with 
insurance-agent-heroine  who  first  beguiles  him 
to  protect  policy,  but  love,  of  course,  wins 
out  10-5-37 

(A)    Thin  (Y)    Perhaps  (C)    No  interest 

Music  for  Madame  (Nino  Martini)  (RKO)  Mar- 
tini's vo'ce  outstanding  feature.  Engaging  as 
immigrant  Italian  tenor  who  becomes  innocent- 
ly involveo  in  necklace  theft,  causing  success 
to  be  postponed  until  capture  of  crooks.  Rather 
original  story  but  weakened  by  repetitious, 
stupid  comedy.  10-5-37 

(A)   and   (Y)   Good  (C)   Little  interest 


100  Men  and  a  Girl  (Deanna  Durbin,  A.  Men- 
jou)  (Univ.)  Splendidly  produced  film  distin- 
tinguished  by  glorious  music  and  Deanna 's 
singing.  Simple,  but  stirring  story  of  jobless 
musicians  and  charming  heroine  by  whose  ef- 
forts they  are  organized  into  symphony  or- 
chestra, and  get  Stokowski  to  conduct.  9-21-37 
(A)  and   (Y)   Very  good   (C)Yes,  if  it  interests 

On  Such  a  Night  {Karen  Morley,  Grant  Rich- 
ards) (Para.)      Sensational,     largely     incredible 

thriller  with  Mississippi  flood  for  background. 
Hero  fifes  unjust  murder  charge,  is  caught  in 
flood  waters  with  menacing  villian  who  framed 
him.  When  drowning  imminent,  hero  saves  all, 
and   happy  ending   results.  9-28-37 

(A)    Hardly  (Y|    Better    not  (C)    No 

Paradise  Isle(Movita,  Warren  Hull  (Monogram) 
Agreeable  little  South  Sea  Island  romance  be- 
tween blind  painter,  shipwrecked  on  way  to 
eye  specialist,  and  lovely  native  girl,  enhanced 
by  authentic  picturesque  settings  and  native 
dances.  Some  heavy  villainy  before  hero's  sight 
is  restored  for  happy  ending.  9-28-37 

(A)    Perhaps  (Y)    Perhaps  (C)   No 

Prisoner  of  Zenda.  The  (R.  Colman,  M.  Carroll 
and  fine  cast)  (U. A.)  The  familiar,  fanciful  ro- 
mantic adventure  story  filmed  with  great 
beauty  and  skill.  Expert  cast,  with  Colman 
perfect  in  dual  role.  Delightful,  refreshing  en- 
tertainment, that  could  hardly  have  been  done 
bettor.  10-5-87 

(A)    Excellent        (Y)    Excellent        (C)    Mature 

Rustler's  Valley  (Wm.  Boyd,  George  Hayes) 
(Para.)  Quite  good  Western  in  Hopalong  Cas- 
siday  series.  Lovely  scenery  and  characters  and 
situations  much  as  usual,  but  violence  not  over- 
done or  prolonged,  as  hero  and  faithful  pal 
"Windy"    again    outwit    cattle    rustling    gang. 

9-28-37 
(A)   Hardly  (Y)   Good  (C)   Prob.  Good 

Shadow  Strikes,  The  (Red  LaRoque)  (Grand 
Nat'l)  Feeble  murder  mystery  of  some  suspense, 
but  hero  is  colorless  and  wooden,  the  action  is 
often  obscure,  acting  poor,  dialog  and  charac- 
ters generally  pretty  dull  and  solution  hardly 
convincing.  Plot  and  situations  of  the  pulp- 
magazine-author  variety.  10-12-37 
(A)Hardly                 (Y)    Passable  (C)    No 

Sing  and  Be  Happy  (Tony  Martin.  Leah  Ray) 
(Fox)  Trivial,  lively  stuff,  combining  romance, 
comedy  and  crooning.  Gay,  irresponsible  hero 
would  rather  sing  than  work  in  father's  ad- 
vertising business  but  for  love  of  heroine  in 
rival  agency,  goes  to  work  and  lands  big 
contract  9-28-37 

(A)    Ordinary  (Y   and   C)    No  value 

That  Certain   Woman    (Bette  Davis,  H.   Fonda, 

Ian  Hunter )  ( MGM )  Heavy,  involved,  well- 
acted,  directed  drama  about  virtuous  heroine 
pursued  by  sordid  past.  Marries  weak,  but  en- 
gaging hero ;  his  fathsr  annuls.  Follow  birth  of 
child  and  frequent  crises  straining  credulity, 
but  happy  ending  finally  achieved.  9-21-37 

(A)    Good  of  kind        (Y)    Unsuitable        (C)   No 

Wife.  Doctor  and  Nurse  (W.  Baxter,  L.  Young, 
V.  Bruce)  (Fox)  Refreshingly  different  triangle, 
involving  intelligent,  considerate  women,  who 
work  out  situation  amicably.  Some  intimate,  oc- 
casionally absurd  action,  whole  interesting,  but 
drunken  spree  climax  somewhat  inconsistent 
with  hero's  character.  9-28-37 

(A)    Very   good   of   kind    (Y)    Mature    (C)    No 

Wild  and  Wooly  (Jane  Withers,  Walter  Bren- 
nan)  (Fox) Ridiculous,  artificial  concoction,  with 
the  precocious  Jane  again  as  "little  Miss  Fixit," 
who  hears  all,  knows  all  and  solves  all.  As 
self-appointed  detective  she  exposes  political 
grafters,  foils  bank  robbery,  settles  a  feud  and 
all  else.  9-28-37 

(A)    Y()   and    (Ci    Poor 


October,  1957 


Page  275 


Give 

Every  Lesson 

New  Life! 


Here  are  two  new  RCA  Victor  record  playing 

instruments  that  help  you  make  every  subject  more 

interesting — and  easier  to  learn! 


TIME  and  again  we  have  said : 
"Lessons  that  live  are  easy  to 
learn"!  And  with  each  passing 
month  more  and  more  teachers 
are  agreeing.  For  they  have  tried 
teaching  this  modern  way — with 
excellent  results! 

You'll  get  more  knowledge 
into  students — better  marks  out 
of  them — if  you,  too,  use  the 
teaching  aids  RCAVictor  offers. 
For  they  give  lessons  new  life— 


Get  New  Catalog 
"SOUND  SERVICE  FOR 
SCHOOLS" 

This  interesting  illustrated  book- 
let answers  your  questions  about 
modern  educational  methods  — 
shows  how  RCA's  many  educa- 
tional tools  will  help  your  school. 
Write  for  your  copy  today.  It's  free. 


make  them  more  interesting  to 
pupils. 

There  are  Victor  Records  to 
help  you  teach  many  subjects — 
and  the  two  record  playing  in- 
struments shown  on  this  page 
will  reproduce  these  records  as 
truly  and  clearly  as  they  repro- 
duce the  music  of  the  world's 
greatest  artists. 

Made  by  RCAVictor,  the  only 
company  in  the  world  engaged 
in  every  phase  of  radio  and  sound, 
these  instruments  bri  ngyou  every 
modern  feature  necessary  to  as- 
sure high  quality  performance. 

Plan  now  to  get  one  of  these 
fine  record  players  for  your 
school — and  join  the  parade  to 
modern  education.  Your  local 
RCAVictor  dealer  will  be  glad  to 
provide  full  details  about  these 
instruments  and  arrange  a  dem- 
onstration at  your  convenience. 


SOUND  SERVICE  for  SCHOOLS 

Educational  Department,  RCA  Manufacturing  Co.,  Inc.,  Camden,  N.  J. 
A  Service  of  the  Rtxdio  Corporation  of  America 


RCA  Victor  Magic  Voice  Phonograph-Radio 
Model  (J.105.  This  powerful,  10-tube  Phonograph- 
Radio  combination  offers  exceptionally  fine  tone  fi- 
delity. The  phonograph  plays  10"  or  12"  records, 
changes  10"  records,  and  repeaU  12"  records  auto- 
matically. Has  cushion  mounted  motor  board,  con- 
stant speed  motor,  light-weight  balanced  tone  arm 
and  sensitive,  magnetic  pickup.  Ideal  for  the  large 
classroom  or  school  auditorium  where  its  volume 
will  be  appreciated.  Its  radio  features  Magic  Voice. 
Magic  Brain,  Magic  Eye  and  RCA  Metal  Tubes.  Gets 
domestic  and  foreign  programs  as  well  as  police,  avta* 
tion  and  amateur  calls. 


RCAVictor Eleclrola  Model  K-96.  Thiasmall, com- 
pact record  playing  instrument  reproduces  10"  or  12" 
records  with  surprising  fidelity.  It  has  4.5  watt  output, 
high  quality  electrodynamic  speaker,  tone  control, 
automatic  lone  compensation,  volume  control,  self. 
starting  motor,  and  other  fine  features. 


Page  276 


The  Educational  Screen 


HERE  THEY  ARE 


FILMS 

Akin  and  Bagshaw,  Inc.  (6) 

1425  Williams  St.,  Denver,  Colo. 
Bell  &  Howell  Co.  (6) 

1815  Larchmont  Ave.,  Chicago 
(See  advertisement  on  inside  back  cover) 

Bray  Pictures  Corporation  (3,  6) 

729  Seventh  Ave.,  New  York  City 

Cine  Classic  Library  (5) 

1041  Jefferson  Ave.,  Brooklyn,  N.  Y. 

(See  advertisement  on   page  270) 

Eastin  16  mm.  Pictures  (6) 

Davenport,  la. 

(See  advertisement  on   page  263) 

Eastman  Kodak  Co.  (1,  4) 

Rochester,  N.  Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Co.  (1,4) 

Teaching  Films  Division 
Rochester,  N.  Y. 

(See  advertisement   on   page  271) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St.,  Pittsburgh,  Pa. 
Edited  Pictures  System,  Inc.  (6) 

330  W.  42nd  St.,  New  York  City 
Educators  Film  Library  (3,6) 

1600  Broadway,  New  York  City 
(See   advertisement  on   page  270) 

Films,  Inc.  (6) 

330  W.  42nd  St.,  New  York  City 
64  E.  Lake  St.,  Chicago 
925  N.  W.  19th  St.,  Portland,  Ore. 

Walter   O.   Gutlohn,  Inc.  (6) 

35  W.  45th  St.,  New  York  City 

(See  advertisement  on  page  265) 

Harvard  Film  Service  (3,  6) 

Biological   Laboratories, 

Harvard  University,  Cambridge,  Mass. 
Guy  D.  Haselton's  Travelettes      (1,  4) 

7901  Santa  Monica  Blvd.,  Hollywood, 
Cal. 
J.  H.  Hoffberg  Co.,  Inc.  (2,  5) 

729  Seventh  Ave.,  New  York  City 
Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago,  111. 

(See  advertisement  on   page  264) 

Institutional  Cinema  Service,  Inc.  (3,  6) 

130  W.  46th  St.,  New  York  City 
Lewis  Film  Service  (6) 

105  E.  1st  St.,  Wichita,  Kan. 

(See  advertisement  on   page  268) 

Alvin    Lyons    International    Expedition 
612    N.    Michigan    h\e.,    Chicago    (6) 
(See  advertisement  on   page  268) 

The  Manse  Library  (4,  5) 

2439  Auburn  Ave.,  Cincinnati,  O. 

(See  advertisement   on   page  268) 

National  Cinema  Service  (6) 

3  W.  29th  St.,  New  York  City 

Pinkney  Film  Service  Co.  (1,  4) 

1028   Forbes    St.,   Pittsburgh,    Pa. 

Alan  B.  Twyman  Sound  Film  Libraries 
Inc.  (5) 

29  Central  Ave.,  Dayton,  O. 

(See  advertisement  on   page  266) 

United  Projector  and  Films  Corp.  (1,  4) 
228  Franklin  St.,  Buffalo,  N.  Y. 

Universal  Pictures  Corp.  (3) 

Rockefeller  Center,  New  York  City 

(See  advertisement  on    page  262) 

Visual  Education  Service  (6) 

131  Clarendon  St.,  Boston,  Mass. 
Wholesome  Films  Service,  Inc.        (3,  4) 

48  Melrose  St.,  Boston,  Mass. 
Williams,  Brown  and  Earle,  Inc.      (3,  6) 
918  Chestnut  St.,  Philadelphia,  Pa. 


MOTION  PICTURE 
MACHINES  and  SUPPLIES 

The  Ampro  Corporation  (6) 

2839  N.  Western  Avenue,  Chicago 

(See  advertisement  on   page   241) 

Bell  &  Howell  Co.  (6) 

1815  Larchmont  Ave.,  Chicago 

(See   advertisement  on    inside  back   cover) 

Eastman  Kodak  Co.  (4) 

Rochester.  N.  Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St.,  Pittsburgh.  Pa. 
General  Films,  Ltd.  (3,6) 

1924  Rose  St.,  Regina  Sask. 

(See  advertisement  on   page  270) 

Herman  A.   DeVry,   Inc.  (3,6) 

111   Armitage  St.,  Chicago. 

(See    advertisement   on    page   242) 

Holmes  Projector  Co.  (3,  6) 

1813  Orchard  St.,  Chicago 

(See  advertisement  on   page  267) 

Ideal   Pictures   Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago 

(See   advertisement  on   page  264) 

Institutional  Cinema  Service,  Inc.  (3,  0) 

130  W.  46th  St.,  New  York  City 

International   Projector   Corp.  (3,  6) 

90  Gold  St.,  New  York  City 

(See  advertisement  on   inside  front  cover) 

RCA  Manufacturing  Co.,  Inc.  (5) 

Camden,  N.  J. 

(See  advertisement  on   page  275) 

S.  O.  S.  Corporation  (3,6) 

636  Eleventh  Ave.,  New  York  City 
Sunny  Schick  National  Brokers    (3,  6) 

407  W.  Wash.  Blvd.,  Ft.  Wayne,  Ind. 
United  Projector  and  Films  Corp.  (1, 4) 

228  Franklin  St..  Buffalo,  N.  Y. 
Universal  Sound  Projector  (5) 

1921  Oxford  St.  , Philadelphia,  Pa. 

(See  advertisement  on  page  269) 

Victor  Animatograph   Corp.  (6) 

Davenport,  Iowa 

(See  advertisement  on   page   261) 

Visual  Education  Service  (6) 

131  Clarendon  St.,   Boston,  Mass. 
Williams,  Brown  and  Earle,  Inc.    (3,  6) 

918  Chestnut   St.,  Philadelphia,   Pa. 

PICTURES  and  PRINTS 

Colonial  Art  Company 

1336  N.  W.  First  St..  Oklahoma  Citv, 
Okla. 
The  Photoart  House 
844   N.    Plankinton   Ave.,    Milwaukee, 
Wis. 

SCREENS 

Da  Lite  Screen  Co. 

2717  N.  Crawford  Ave.,  Chicago 

(See  advertisement  on   page   245) 

Eastman  Kodak  Stores,  Inc. 

1020   Chestnut   St.,   Philadelphia,   Pa. 

606  Wood  St.,  Pittsburgh,  Pa. 
Institutional  Cinema  Service,  Inc. 

130  W.  46th   St.,   New  York  City 
Williams,  Brown  and   Earle,  Inc. 

918  Chestnut  St.,   Philadelphia,  Pa. 

SLIDES  and  FILM  SLIDES 

Conrad  Slide  and  Projection  Co. 
709  E.  Eighth  St.,  Superior,  Wis. 


A  Trade  Directory 
for  the  Visual  Field 


Eastman  Educational  Slides 

Johnson  Co.   Bank  Bldg., 
Iowa  City,  la. 
Edited  Pictures  System,  Inc. 

330  W.  42nd  St.,  New  York  City 
Ideal  Pictures  Corp. 

28  E.  Eishth  St..  Chicago,  111. 

(See  advertisement  on   page  264) 

Keystone   View   Co. 

Meadville,   Pa. 

(See  advertisement  on  page  244) 

Radio-Mat  Slide  Co.,  Inc. 

1819  Broadway,  New  York  City 
(See   advertisement  on   page  270) 

Society  for  Visual  Education 

327  S.  LaSalle  St.,  Chicago,  III. 

(See  advertisement   on   page  268) 

Visual   Education  Service 

131   Clarendon   St.,   Boston,   Mass. 

Visual  Sciences 
Suffcrn,  New  York 

(See  advertisement  on   page  270) 

Williams,  Brown  and  Earle,  Inc. 

918   Chestnut    St.,    Philadelphia,    Pa. 

STEREOGRAPHS  and 
STERESCOPES 

Herman  A.   DeVry,  Inc. 

1111   -Armitage  St..  Chicago 

(See   advertisement  on   page  242) 

Keystone  View  Co. 
Meadville,  Pa. 

(See  advertisement  on  page  244) 

STEREOPTICONS  and 

OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 
Rochester,  N.  Y. 

(See  advertisement   on   page  273) 

Eastman   Kodak  Stores,   Inc. 

1020  Chestnut  St.,  Philadelphia,  Pa. 
606  Wood  St.,  Pittsburgh,  Pa. 
General  Films  Ltd. 

1924  Rose  St..  Regina,  Sask. 

(See  advertisement  on    page  270) 

Keystone  View  Co. 

Meadville,  Pa. 

(Se  advertisement  on  page  244) 

Society  for  Visual  Education 

327   S.   LaSalle   St.,   Chicago,   111. 

(See  advertisement  on   page  268) 

Spencer  Lens  Co. 

19  Doat  St.,  Buffalo,  N.  Y. 

(See  advertisement  on   page  267) 

Williams,  Brown  and  Earle,  Inc. 

918  Chestnut   St.,   Philadelphia,   Pa. 


REFERENCE  NUMBERS 

(1)   indicates    firm   supplies 

35    mm. 

silent. 

(2)   indicates    firm  Bupplies 

35   mm. 

sound. 

(3)   indicates   firm   supplies 

35   mm. 

sound    and    silent. 

(4)   indicates   firm   supplies 

16   mm. 

silent. 

(5)   indicates    firm,  supplies 

16   mm. 

sound-on-film. 

(6)   indicates    firm   supplies 

16   mm. 

sound  and  silent. 

Continuous  insertions  under  one  heading,  $1.50  per  issue;  additional  listings  under  other  headings,  75c  each. 


_. W**^*?  titof Jlfy 


he  Magazine  Devoted  Exclusively 
)  the  Visual  Idea  in  Education 


NOVEMBER,  1937 


VOLUME  XVI.  NUMBER 


Pilgrims  Going  to  Church,  by  George  H.  Boughton  (Cc.urusv  ..i   i_. 

IN    THIS    ISSUE 

The  Motion  Picture  Policy  of  The  United  States  Department 
of  Agriculture 

The  Movie  Club  as  a  Visual  Education  Project 

Natural  Color  Lantern  Slides  for  School  and  Home 


25c    A    copy    *     $2.00    PER    YEAR 


^JjQ  PROJECTORS  —  DISTRIBUTED    BY    NATIONAL   THEATRE    SUPPLY   COMPANY 


-         ^^ 


QUNO  PROJECTORS 

TYPE    SP  ^ 

ffhe  characteristic  care  and  accuracy 
prliich  have  giveu  our  products  au  i 
outstanding  international  reputation  | 
are    maintained    throughout    in    the  1 
manufacture  and  assembly  of  Sim- 
plex Sound  Projectors  Type  S  P  \ 
"iuperior  Sound  and  Visual  projec-  i 
'on  can  be  secured  with   Simplex  ] 
>uiid  Projectors  Type  S  P      An  I 
•solute  assurance  that  in  the  field  i 
ror  which  they  are  intended  the  qual-  ] 
ity  of  results  is  exactly  the  same  as  j 
'lat  secured  with  Simplex  Projectors  ) 
I    thousands    of    leading    theatres  I 
tlu-oughout  the  world.  \ 
implex   Sound     Proj€^cto^  Type  * 
P  is  particularly  adapted  to  the  spe-  | 
cial  requirements  of  small  theatres,  i 
schools,    colleges,    churches,    hotels,  i 
hospitals,  commercial  organizations,  ? 
etc.     If  you  are  contemplating  the 
installation  of  motion  picture  equip-  | 
ment  we  would  be  very  glad  to  have 
you    write    to    us    or    the    National 
Theatre  Supply  Company  for  full  in- 
formation regarding  our  products. 


PROFESSIONAL 
PROJECTION 


SMALLER 
THEATRES. 

(Schools,  Got  leges, 

Cluaitctiwns 

olc. 


INTERNATIONAL  PROJECTOR  CORPORATION 

88-96     COLD    ST.  NEWYORK,  N.Y. 


November,  19)7 


Page  279 


I  nil 


z  EDUCATIONAL  SCREEN 


N0VEMBER,  1937                                                         VOLUME  XVI 

NUMBER  NINE 

Contents 

The  Motion  Picture  Policy  of  the  United  States 

Department  of  Agriculture.  Raymond  Evans 283 

The  Movie  Club  as  a  Visual  Education  Project. 

Loren  C.  Spires            285 

Natural  Color  Lantern  Slides  for  School  and  Home. 

Ellis  C.  Persing ___   _ .__ 286 

Visual  Aids  in  the  Service  of  the  Church   287 

Foreign  Films  for  Educational  Institutions 

Conducted  by  Marie  Zoe  Mercier 289 

Film   Estimates _                                                 290 

Among  the  Magazines  and  Books 

Conducted  by  Stella  Evelyn  Myers 291 

The  Department  of  Visual  Instruction ^                       292 

News  and  Notes.     Conducted  by  Josephine  hloffman        296 

School  Department. 

Conducted   by  Wilber  Emmert 298 

Current  Film  Releases 302 

Among  the  Producers - 304 

Here  They  Are!  A  Trade  Directory  for  the  Visual  Field..   308 

The    EDUCATIONAL    SCREEN,    published    monthly    by    The    Educational    Screen. 
Inc.    Publication    Office,    Pontiac,     Illinois;    Executive    Office,    64    East    Lake    St., 
Chicago,   Illinois.  Entered   at  the   Post  Office  at   Pontiac.   Illinois,  a  Second   Class 
Matter.    Copyright,    November,    1937    by   The    Educational    Screen,    every    month 
except  July  and  August 

$2.00  a  Year                (Canada,  $2.25;  Foreign,  $3.00)               Single  Copies,  25  cts. 

THE  EDUCATIONAL  SCREEN,  Inc. 

Directorate   and   Staff 

Nelson    L.    Greene,    Editor       Josephine     Hoffman 
Evelyn    J.    Baker                         ^'ar  e    Zoe    ft^ercier 
Wilber    Emmert                           F.    Dean     McCiusky 

Ann   Gale                                    Stella     Evelyn      Myers 
Stanley    R.    Greene                    E.    C.    Waggoner 

Page  280 


The  Educational  Screen 


A  NEW  VISUAL  APPROACH 
AN  OLD  PROBLEM 

For  the  Teacher  of  Manual  Arts 

-f    -f    -f 

100  Lantern  Slides— 

50  slides  devoted  to  the  cultural  backgrounds  of  woodworking 
as  a  vocation. 

50  slides  to  facilitate  the  vivid  presentation  of  technical  problems 
of  instruction  in  woodw^orking. 


Vivid 

Discussible 

Interesting 


HOW  LONG 

Does  it  take  you  to  demonstrate  eflFectively  the  above-pic- 
tured facts  by  the  usual  methods? 

Are  those  methods  satisfactorily  interesting? 

Would  you  like  to  try  this  new  visual  method  of  approach? 

Further  Information  Will  Be  Sent  on  Request 

Keystone  View  Company 

MEADVILLE,  PENNA. 


November,  1957 


Page  283 


The  Motion  Picture  Policy  of  the  United 
States  Department  of  Agriculture" 


By    RAYMOND    EVANS 

Chief,   Division  of  Motion   Pictures,   Extension  Service, 
U.  S    Department  of  Agriculture 

ONCE    LONG    ago.    J.    I'loctor    Knoll    made    a 
speech  in  the  Congress,  on  the  general  subjea  of 
the  then   struggling  village  of    Duluth.     It   was 
such  a  splendid  example  of  satirical  oratory  that  it  has 
become  a  classic.     No  anthology  of  famous  American 
speeches  is  complete  without  it. 

Pretending  that  he  couldn't  even  find  Duluth  on 
the  map,  and  moutiiing  the  name  with  the  skill  of  the 
trained  orator,  he  spoke  of  his  quest  in  a  strain  of 
high  and  flowing  irony.  "I  knew,"  he  said,  "it  was 
bound  to  exist  in  the  very  nature  of  things  ;  that  the 
symmetry  and  perfection  of  our  planetary  system 
would  be  incomplete  without  it,  that  the  elements  of 
material  nature  would  long  since  have  resolved  them- 
selves back  into  original  chaos  if  there  had  been  such 
a  hiatus  in  creation  as  would  have  resulted  in  leaving 
out  Duluth."  Then  we  have  this  bracketed  com- 
mentary from  the  House  l^eporter  of   1871 : 

"Roars  of  laughter." 

Well,  we  all  know  how  Duluth  has  belied  that 
speech  and  the  applause  it  evoked.  Today  Duluth  is 
indeed  the  "Zenith  City  of  the  Unsalted  Seas,"  every- 
thing that  J.  Proctor  Knott  so  eloquently  implied  she 
never  could  be — and  who  would  now  remember  the 
orator  but  for  the  fact  that  he  once  made  a  great 
speech  poking  fun  at  Duluth  ? 

And  thus,  for  all  its  effectiveness  as  an  example  of 
irony  in  oratory,  in  the  candid  eye  of  history  this 
speech  remains  merely  a  striking  example  of  the  lui- 
savory  art  of  the  demagogue. 

Now,  according  to  Noah  Webster,  who  is  generally 
right,  a  demagogue  is  "one  who  controls  the  multitude 
by  specious  or  deceitful  art."  This  is  an  art  that  can 
find  expression  orally  through  oratory — witness  the 
speech  we  have  just  cited — it  can  find  expression  in 

the   written    word witness   many   of   the   editorials 

we  read  and  practically  all  the  advertisements — and  it 
can  find  expression  through  motion  pictures — witness 
the  propaganda  film  of  the  extreme  ex  parte  type  in 
which  too  often  specious  and  deceitful  arts  are  more 
or  less  skillfully  used  to  further  causes  that  cannot 
so  well  be  furthered  by  truth  and  candor.  This  is  a 
type  of  film  that  the  Department  of  Agriculture  has 
sedulously  tried  to  exclude  from  its  lists.  Never- 
theless, I  suspect  that  in  spite  of  our  best  efforts  some 
of  our  films  will  be  found  to  be  vitalized  by  a  lack  of 
complete  frankness  and  sincerity.  Not  that  we  cus- 
tomarily practice  duplicity  con.sciously  and  with  nialije 
aforethought,  but  when  a  film  is  fresh  from  the  as- 
sembly table  you   can   never  know   how   specious  and 


•  Paper  read   before  the  DeVry   National   Conference  on   Visual    Educa- 
lion.    ChiraKo.    June   23.    1937. 


A   concise  exposition  of  the  aims  and  film 
production    activities    of    this     department 

misleading  it  may  look  when  it  has  cooled  off  a  few- 
years. 

W  ith  this  confession  of  too  frequent  failure  to  live 
ujj  to  our  own  ideals — a  not  uncommon  human  ex- 
]:)erience — 1  wish  to  outline  briefly  the  creed  that  we 
have  tried  to  follow  in  the  motion  picture  work  of  the 
United  States  Department  of  Agriculture. 

In  the  first  place,  as  already  indicated,  we  do  not 
believe  that  the  Federal  government,  in  its  information 
service,  which  includes  official  motion  pictures,  should 
stoop  to  the  use  of  the  specious  tricks  of  the  dem- 
agogue. Thus  we  do  not  believe  that  official  pictures 
should  be  designed  to  sway  people  merely  by  an  appeal 
to  the  emotions,  but  rather  by  an  appeal  to  reason  by 
jiresentation  of  facts.  We  do  not  favor  the  technique 
of  the  preacher,  but  rather  that  of  the  teacher.  We 
believe  that  an  official  film  should  tell  the  truth,  and 
tell  it  candidly — that  it  should  present  the  whole 
truth  and  nothing  less  than  the  whole  truth — and,  of 
course,  nothing  more  than  the  truth.  We  believe  that 
no  lies  are  as  dangerous  as  those  that  are  effected  by 
telling  half  the  truth. 

We  do  not  believe  that  the  Federal  government 
should  compete  in  the  entertainment  field,  except  in- 
sofar as  the  subject  matter  of  our  educational  films, 
properly  ])resented  for  the  information  of  the  public, 
may  be  entertaining.  I  don't  mean  by  this  that  we 
do  not  try,  as  best  we  can  with  our  equipment,  to 
keep  our  standard  of  photography  and  sound  record- 
ing up  to  some  approximation  of  the  high  .standard 
set  by  Hollywood,  but  certainly  we  do  not  believe  that 
the  fact  that  Hollywood  sometimes  spends  a  million 
or  more  on  a  single  entertainment  picture,  is  in  any 
sense  a  reason  why  the  government  should  spend 
money  in  the  same  lavish  fashion  on  its  educational 
productions. 

Indeed  we  do  not  believe  that  the  educational  field 
and  the  entertainment  field  have  anything  important  in 
common.  In  purpose,  methods  and  ethical  standards 
they  are  as  different  as  night  is  from  day,  and  we  feel 
that  the  tendency  on  the  part  of  uninformed  persons  to 
discuss  them  both  in  one  breath  and  in  the  same  cate- 
gory serves  no  useful  pur]50se  whatever.  I  have  at- 
tended conferences  on  the  problems  on  the  educational 
motion  picture  field  in  which  much  of  the  time  was 
consimied  in  bitter  denunciation  of  the  Will  Hays 
organization.  To  my  mind  such  criticism  is  wholly 
out  of  place  in  this  connection.  It  is  not  our  business 
to  reform  the  commercial  movies,  but  rather  to  build 
along  our  own  lines  in  an  effort  to  fill  the  void  that 
exists  in  the  educational  field. 

By   the   .same   token    we    feel   that    seldom,   if   ever, 


Page  284 


The  Educational  Screen 


should  federal  funds  be  expended  S])ecitically  for  the 
purpose  of  securing  presentation  of  our  films  in 
theaters.  If,  as  may  happen  occasionally,  we  have 
scientific  or  scenic  films  that  are  inherently  interesting 
enough  to  appeal  to  the  general  public,  and  the  theaters 
find  it  to  their  advantage  to  use  them,  we  of  course 
welcome  any  cooperation  that  they  may  volunteer  in 
the  presentation  of  our  subjects.  But,  in  the  main, 
the  circulation  of  our  films  is  carried  on  through  the 
2900  county  agricultural  agents  who  are  the  represent- 
atives of  the  Department  of  Agriculture  in  agri- 
cultural communities  throughout  the  country,  through 
representatives  of  the  State  Colleges  of  Agriculture, 
and  through  the  visual  education  departments  of 
schools.  However,  since  our  service  is  part  of  the 
organization  set  up  for  agricultural  extension  work. 
we  cannot,  as  a  rule,  serve  schools  to  any  great  extent, 
simply  because  we  don't  have  funds  to  provide  enough 
copies  to  meet  the  school  demand.  Hence,  we  would 
not  consider  expenditure  of  Department  of  Agriculture 
funds  for  theatrical  circulation  as  proper,  so  long  as 
the  extension  and  school  fields  remain  wholly  unsatis- 
fied in  spite  of  our  best  efforts  to  provide  enough 
films  for  their  use. 

We  do  not  believe  that  the  educational  film  activities 
of  the  Federal  executive  departments,  such  as  the  De- 
partment of  Agriculture,  should  ever  be  drawn  into 
the  field  of  partisan  politics.  That  way  lies  the  de- 
struction of  all  the  possibilities  for  service  to  science 
that  such  organizations  as  ours  may  have.  Politics 
and  science  do  not  mix.  Try  to  mix  them  and  you 
get  an  unsavory  emulsion — nothing  more. 

We  do  believe  that  the  motion  picture  is  potentially 
the  most  efTective  of  all  media  for  the  wide  dissemin- 
ation and  quick  inculcation  of  knowledge,  and  wt 
cannot  make  it  too  emphatic  when  we  say  that  we  feel 
that  the  educational  motion  picture  field  has  been 
lamentably  neglected. 

As  for  mode  of  presentation,  we  believe  that  the 
treatment  of  the  educational  film  should  be  determined 
largely  by  the  educator  or  the  scientist,  rather  than  in 
accordance  with  the  known  reaction  of  the  public  to 
the  entertainment  film.  By  this  I  mean  that  an  edu- 
cational picture  should  be  prepared,  primarily,  to  pre- 
sent clearly  the  subject  in  hand,  and  that  the  sugar- 
coating,  or  the  lubrication,  or  whatever  you  may  call 
the  artifice  used  to  make  the  dose  easy  for  the  public 
to  swallow,  should  be  of  secondary  importance. 

We  feel  that  the  majority  of  government  films,  at 
least,  should  be  of  the  direct  rather  than  the  oblique 
and  diffuse  type — ^that,  in  general,  the  use  of  footage 
for  purely  artistic  atmosphere  should  be  subject  to 
restraint.  If  we  take  "Man  of  Aran"  as  an  example 
of  the  highest  type  of  the  so-called  "documentary" 
films,  we  have  cited  a  type  that,  in  our  opinion,  it 
would  be  inexpedient  as  well  as  presumptous  for  a 
government  organization  to  take  as  its  model.  "Man 
of  Aran"  is  essentially  a  work  of  art,  and  the  govern- 
ment has  no  business  spending  the  taxpayers'  money 
on  forms  of  pure  art  while  there  remains  a  crying 
need  for  instructional  films  on  the  control  of  syphilis, 
of  malaria,  of  hog  worms,  of  the  Japanese  beetle  or 
the  boll  weevil. 


In  ])assing  let  me  express  my  profound  aversion  to 
the  dry  and  pedantic  term  "documentary"  as  currently 
used  to  describe  such  work  of  art  as  "Man  of  Aran". 
"Moana",  or  "Grass".  "Man  of  Aran"  is  no  more 
"documentary"  than  is  the  Moonlight  Sonata.  It  is  a 
poem  in  picture,  while  some  of  the  uninspiring  but 
necessary  films  that  we  make  are  perhaps  the  true 
documentary  pictures — if  we  must  use  that  word. 

These  are  our  beliefs.  Briefly  summarized,  our  aim 
has  been  to  present,  for  the  information  and  better- 
ment of  all  classes,  the  results  of  the  scientific  research 
of  the  greatest  research  organization  in  the  world,  and 
to  do  it  without  recourse  to  the  art  of  the  demagogue, 
without  competing  with  the  commercial  ])roducers. 
and  without  becoming  involved  in  partisan  jxjlitics. 
As  I  said  before,  we  have  not  always  been  able  to  live 
up  to  our  ideals,  but  we  have  consistently  resisted 
efforts  to  direct  our  activities  into  channels  not  in 
harmony  with  these  principles. 

In  this  connection,  I  would  like  to  add  a  word  about 
the  cost  of  our  films.  We  are  getting  rather  tired  of 
reading  in  the  newspapers  and  trade  journals  stories  to 
ihe  effect  that  the  government  has  spent  millions  of 
dollars  for  films  in  the  past  three  or  four  years,  with 
ihe  implication  that  the  Department  of  Agriculture  i^ 
involved  in  a  program  of  lavish  expenditure  for  motion 
picture  work.  A  recent  syndicate  article  had  the  total 
figure  loosely  from  five  to  ten  million,  and  stated  that 
"more  than  forty"  government  agencies  were  "exten- 
sively" engaged  in  making  motion  pictures.  As  a 
matter  of  fact,  four  old  line  departments  and  three  or 
four  of  the  New  Deal  organizations  may  truthfully  be 
said  to  be  engaged  regularly  in  making  motion  pictures. 
As  for  the  Department  of  Agriculture,  at  the  present 
rate  of  expenditure  for  our  Division  of  Motion  Pic- 
tures, it  will  be  over  one  hundred  and  twenty  years 
from  now  before  we  shall  have  expended  as  much  a.^ 
ten  million  dollars  for  motion  pictures.  To  date,  in  the 
more  than  twenty  years  since  the  Department  began 
making  pictures,  we  have  expended  just  about  one 
million  dollars  in  all  on  this  score,  and  for  that  exfjen- 
rliture  we  have  made  and  circulated  copies  of  over  five 
hundred  educational  pictures. 

Now  one  million  dollars  will  buy  just  one  outstand- 
ing Hollywood  feature  film.  We  make  about  twenty 
modest  pictures  each  year.  Figure  for  yourself  what 
the  cost  to  the  tax-payer  might  be  if  these  were  paid 
for  at  the  scale  prevalent  in  Hollywood.  And  yet  we 
are  frequently  criticized  severely  because  our  films 
are  not  as  entertaining  as  those  that  come  from  the 
West  Coast  studios. 

We  have  no  delusions  of  grandeur  as  regards  our 
capacity  for  making  pictures,  comparable  to  the  Holly- 
wood product  in  entertainment  appeal.  Entertainment 
is  not  our  business,  so  why  worry  about  it?  In  the 
main  the  material  that  we  have  to  work  with  fall.'- 
into  what  might  be  called  the  category  of  the  sow's 
ear.  Now  from  a  sow's  ear  it  is  quite  possible  to 
make  a  plain  but  serviceable  purse  of  hog's-hide,  but 
seldom  or  never  anything  comparable  to  the  proverbial 
silk  purse.  In  this  connection,  I  dare  say  the  most 
useful  picture  we  have  made  this  year  is  one  on  the 
control  of  .screw  worms — a  picture  as  simple  as  the 
first    reader    and    whollv    lacking    in    l)eautv    and    sex 


tiovember,  1937 

appeal,  but  with  the  saving  merit  of  having  a  message 
to  the  farmer.  It  tells  him  how  to  save  his  stock  from 
being  eaten  alive  by  maggots  and  points  the  way  to  a 
potential  saving  of  ten  million  dollars  a  year.  This 
picture  cost  the  tax-jjayer  not  more  than  three  thous- 
and dollars  all  told — travel,  including  two  long  field 
trips  for  director  and  cameraman  from  Washington  to 


Page  285 

Texas  and  return,  raw  stock,  processing,  editing, 
matching,  scoring  with  sound,  and  printing  cojjies  for 
use  in  the  current  campaign  for  screw  worm  control. 
This  is  the  kind  of  picture  that  pays  dividends  to  the 
taxpayer  even  though  it  may  not  rate  very  high  with 
the  connoisseur  in  documentarv  films. 


The  Movie  Club  As  A  Visual  Education 
Project 


Wri'll  the  development  of  16mm.  equipment 
ihe  motion  picture  has  rapidly  taken  its  place, 
along  with  glass  slides,  film  strips,  and  0f)aque 
materials,  as  an  educational  medium.  The  projectors 
are  giving  increasingly  efficient  performances,  while 
educational  films  have  been  produced  that  are  the 
equal  of  regular  commercial  films.  We  are  informed 
by  a  reliable  source  that  there  are  more  than  9000 
etlucational  films  in  the  United  States,  a  vast  number 
of  them  obtainable  at  no  rental  charge,  while  the 
reinainder  may  be  rented  at  a  nominal  rate. 

With  this  wealth  of  material  it  would  seem  that 
every  school  might  make  full  use  of  this  very  essential 
branch  of  the  visual  educational  program.  Unfor- 
tunately, the  material  is  not  well  organized  for  the 
teacher  or  principal  to  scrutinize. 

Believing  that  an  organization  of  such  material 
would  be  a  worth-while  project  for  our  science-minded 
students  and  realizing  the  fact  that  there  was  much 
material  in  our  locality  for  film  presentation,  we 
organized  a  movie  club  in  our  school  with  a  two  fold 


Recording  the  Scene  Number  in  a  Sequence 

aim:  (1)  To  organize  the  sources  of  16mm.  ma- 
terial for  a  more  efficient  utilization.  (2)  To  perfect 
an  organization  for  the  filming  of  educational  material 
in  our  own  immediate  vicinity. 

In  September,  1935  we  organized  our  club  in  a 
manner  similar  to  a  regular  motion  picture  company. 
For    charter    members    we    selected    outstanding    stu- 


A  few  ways  in  which  a  student  activity  can 
contribute    to    the   school's    teaching    needs. 

By    LOREN    C.    SPIRES 

Community   High   School,   Carterville,    Illinois 

dents  in  the  fields  of  Art,  Mechanics,  Physical  Science, 
and  Typing.  These  members  were  then  divided  into 
staflfs  for  which  their  various  aptitudes  best  adapted 
them.  Our  staffs  were:  Art,  Camera,  Editing.  Dark 
Room,  Technical,  and   Advisory. 

The  Art  stafT  studied  the  building  of  movie  sets, 
the  prejjaration  of  artistic  titles  for  our  films,  mo- 
tion ])icture  make-up,  and  the  making  of  animated 
drawings.  An  especially  interesting  and  valuable  film 
depicting  the  step  by  step  method  of  making  Geomet- 
ric constructions  was  a  realization  of  their  efforts. 

The  Camera  staff  was  concerned  with  the  actual 
filming  of  scenes  about  the  school  and  community. 
They  collected  data  concerning  camera  angles,  length 
of  scenes,  types  of  film  for  camera  use.  len.ses,  light- 
ing, and  color  filters. 

The  Editing  staff  adapted  material  to  filming  and 
later  spliced  the  scenes  together  into  a  continuous 
sequence.  Theirs  was  an  important  assignment.  Un- 
related scenes  and  titles  came  to  them  from  the  de- 
veloping room  and  continuity,  interest,  and  educational 
value  was  dependent  upon  their  skill  in  handling  the 
subject. 

The  Dark  Room  staff  mastered  a  technique  where- 
by we  developed  all  our  film  thereby  saving  about  75 
percent  over  regular  amateur  motion  picture  film  cost, 
and  enabling  us  to  project  our  films  within  two  hours 
after  they  were  taken.  Thus  a  football  game  might 
be  filmed  one  afternoon  and  shown  at  the  school 
carnival  the  same  night.  In  a  surprisingly  short  time 
we  were  able  to  develop  films  that  were  comparable 
to  those  of  the  commercial  finishing  stations. 

The  Technical  staff  constructed  the  apparatus  used 
by  the  other  departments  such  as,  developing  reels 
and  tanks,  camera  tripods,  title  making  apparatus,  and 
projection  screens. 

The  Advisory  staff  catalogued  many  of  the  free 
and  rental  films  as  to  nature  of  the  film,  source  from 
which  it  might  be  obtained  and  rental  fee.  This  list 
would  enable  any  classroom  teacher  desiring  a  film 
on  any  sjiecific  subject  to  find  it  with  a  minimum  of 
searching  film  lists. 

Our  first  project  was  a  short  film  of  school  life  to 
be  shown  at  the  home-coming  carnival.  It  was  re- 
ceived  with  great   enthusiasm  and   with  the  proceeds 


Page  286 


The  Educational  Screen 


we  were  able  to  undertake  larger  prujects  including 
Home  Geograph}'  films,  local  industries,  Physics  films, 
and  animated  Mathematics  films.  In  May,  1936,  we 
filmed  a  four  reel  feature  entitled  "The  Old  Home 
Town"  in  which  the  town,  the  schools,  the  industries, 
and  the  citizens  were  depicted.  Again  our  efforts 
were  enthusiastically  received  by  our  audience.  A 
more  effective  means  of  school  publicity  would  have 
been  difficult  to  conceive. 

The  equipment  for  producing  16  mm.  films  is  not 
elaborate  or  costly.  Excellent  cameras  may  be  pur- 
chased for  about  the  same  price  as  a  good  snapshot 
camera.  All  of  the  other  accessories  including  tri- 
pods, tilting  stands,  developing  reels  and  tanks,  can 
be  made.  Our  total  outlay,  exclusive  of  camera  and 
projector,  was  less  than  five  dollars.  This  outlay 
enabled  us  to  film  pictures  suited  to  our  own  particular 
needs  which  could  not  be  procured  elsewhere  at  any 
price.     The  possibilities  are  practically   unlimited. 


Conclusions 

Is  this  filming  of  school  pictures  a  burdensome 
expense  on  the  school  budget  ?  Our  public  showings 
of  films  has  enabled  us  to  jay  our  own  way  without 
receiving  aid  from  the  school  budget.  Is  it  within  the 
scope  of  high  school  boys  and  girls?  The  films  are 
of  vital  interest  to  them  and  they  take  pride  in  the 
making  of  their  own  movies.  Has  the  club  any  value 
to  the  school  and  to  the  boys  and  girls  of  the  club? 
The  films  are  educational  in  nature  and  are  produced 
to  meet  the  particular  needs  of  the  classroom  teacher. 
It  would  be  difficult  to  over-estimate  the  value  to  the 
club  members.  If  they  are  willing  to  devote  hours 
of  their  time  after  school  to  their  hobby  it  must  be 
one  of  interest  and  lasting  value.  In  pursuing  their 
hobby  they  are  learning  much  concerning  art,  chem- 
istry, problem  solving,  and  motion  picture  appre- 
ciation. The  club  is  an  effective  means  of  bridging 
the  gap  between  the  school  and  the  community. 


Natural  Color  Lantern  Slides 
for  School  and  Home 


By  ELLIS    C.    PERSING 

School  of  Education,  Western  Reserve  University,  Cleveland 

THE  problem  of  natural  color  photography  may 
at  first  seem  difficult  for  the  amateur  or  the 
teacher  but  one  need  no  longer  be  disturbed  about 
the  possibilities  of  making  and  showing  pictures  in 
color.  Recent  developments  make  it  extremely  simple 
to  obtain  natural  color  transparencies.  It  is  true  that 
the  making  of  prints  in  natural  color  is  more  difficult 
and  may  be  left  to  the  more  advanced  worker  and  for 
that  reason  will  not  be  discussed  here.  For  the  bene- 
fit of  the  beginner,  the  teacher,  and  the  student  we 
shall  discuss  only  the  procedure  of  natural  color  pho- 
tography which  deals  directly  with  the  making  of 
records  in  natural  color  for  the  home  or  the  school. 

A  new  medium  for  color  photography  has  been 
made  available  in  35mm  films  which  seems  very  well 
adapted  to  general  use,  namely,  the  new  Kodachrome 
film  offered  for  the  miniature  camera.  Tests  made 
with  the  Kodachrome  A  type  show  results  which 
seem  to  surpass  already  existing  standards  of  achieve- 
ment in  the  field  of  color  photography.  The  color 
rendering  qualities  and  the  emulsion  speed  are  about 
all  that  one  needs  for  general  use. 

The  film  is  available  in  daylight  loading  magazines 
ready  to  be  placed  in  the  camera.  There  are  18  ex- 
jx>sures  to  the  magazine.  The  exposures  are  made 
and  the  magazine  removed  from  the  camera.  It  is 
then  placed  in  a  container,  supplied  with  the  film,  for 
mailing  to  Eastman  Kodak  Co.  It  is  returned  to  the 
owner  as  positive  transparencies,  the  use  of  which 
ie  explained  below. 

Using  The  Film  With  Artificial  Light 
One  who  can  make  a  good  black  and  white  negative 
will   not   have   any   more   of   a   task   confronting   him 


Offering  some  concrete  directions  for 
making    colored    film    transparencies 

with  the  Kodachrome  A  type  film  in  the  camera.  As 
evidence  of  this,  several  persons  were  selected  at 
random  from  a  group  of  students.  Each  was  given 
the  camera  loaded  with  Kodachrome  and  an  assign- 
ment to  be  made  in  color.  One  exposure  of  the  18 
was  a  failure  because  the  camera  was  moved.  Other- 
wise the  transparencies  were  sharp,  with  good  color 
rendering  and  without  grain.  The  exposures  were 
made   with   controlled   lighting — photoflood   lamps. 

It  is  not  difficult  to  have  a  corner  of  the  basement 
with  a  table  for  the  smaller  specimens  and  lights  ar- 
ranged ready  for  use.  With  some  such  equipment 
available  on  a  moment's  notice  one  is  more  likely  to 
photograph  specimens  such  as  fruits,  seeds,  butter- 
flies, and  other  small  objects.  With  such  a  simple 
outfit  one  can  easily  make  exposures  which  will  yield 
delightfully  colored  lantern  slides    (transparencies). 

Illumination  requirements  for  color  photography 
are  somewhat  different  from  those  for  black  and  white 
work.  It  is  essential  to  remember  that  flat  lighting  is 
important  for  exposures  made  with  photoflood  lamp 
as  well  as  for  those  made  outdoors.  It  is  also  im- 
portant that  deep  shadows  be  avoided. 

The  uses  which  one  can  make  of  Kodachrome  are 
numerous  about  the  home  and  school.  Recently  a 
teacher  had  a  series  of  charts  made  by  an  outstanding 
pupil.  The  work  had  been  done  by  crayon  and  was 
not  in  permanent  form.  The  teacher  wished  to  keep 
a  record  of  the  boy's  work  since  it  showed  the  efforts 
of  a  near  genius.  The  Art  Supervisor  wished  to  use 
the  charts  as  illustrations  for  publication.  With 
Kodachrome  and  a  simple  equipment  such  as  already 
described  for  the  basement  corner,  the  work  of  repro- 


November,  19)7 


Page  287 


ducing   the    charts    in    color    is    a    coiiiparativelv    fas\ 
procedure. 

Using  The  Film  In  Daylight 
We  have  just  shown  the  simple  procedure  for  the 
use  of  Kodachrome  with  artificial  light.  An  equall)' 
simple  method  is  followed  for  making  color  trans- 
parencies with  daylight.  Again  it  should  he  said  that 
one  who  can  make  hlack  and  white  negatives,  can 
ea;sily  use  the  Kodachrome  outdoors.  Follow  the  ex- 
posure table  or  u.se  a  reliable  exposure-meter  in  mak- 
ing the  exposures.  Kee]5  in  mind  that  the  lighi 
should  be  flat. 

Records  in  color  of  the  summer's  travel.  m(;untains, 
lakes,  trees,  flowers,  people,  and  totem  jioles  are 
further  possibilities  for  outdoor  exposures.  Children 
at  play  about  the  home  are  comparatively  ea.sy  to  get 
with  the  faster  emulsion  speeds  in  the  new  film. 
Making  Transparencies  or  Lantern  Slides 

If  you  had  your  camera  loaded  with  Kodachrome 
and  made  the  ordinary  exposures,  with  a  little  more 
work  you  have  your  transparencies  ready  for  use. 
The  wild  flowers,  the  children,  and  innumerable  sub- 
jects, are  photographed.  The  film  is  processed  by 
Eastman  and  returned  to  the  owner  with  the  objects 
in  natural  color.     All  extremely  simple  operations. 

The  next  procedure  to  make  the  lantern  slides  is 
just  as  easy  to  do.  The  separate  pictures  are  cut 
from  the  film  strip.  The  single  exposure  is  placed  be- 
tween two  cover  glasses  two  inches  by  two  inches, 
with  a  mat  to  fit  the  picture,  and  bound  with  tape. 
By  this  method  the  film  is  protected  from  dust  and 
can  not  be  scratched.  The  lantern  slide  is  ready  to 
use.  All  of  these  operations  can  be  easily  done  by  the 
lay  person.  These  small  transparencies  are  filed  and 
handled  just  as  any  other  slides. 

For  a  small  simi  an  adapter  for  the  regular  size 
lantern  slide  projector  can  be  obtained  so  that  the 
2"  by  2"  slides  can  be  shown ;  but  it  will  be  more 
satisfactory  to  use  one  of  the  projectors  made  espe- 
cially for  the  2"  by  2"  slides.  A  few  of  the  better 
known  makes  are  the  Kodaslide  Projector  (Eastman 
Kodak  Co.)  The  Picturol  (Society  for  Visual  Edu- 
cation) and  the  Leica  line  of  projectors  (E.  Leitz. 
Inc.).  With  these  comparatively  inexpensive  devices 
one  can  obtain  jiictures  entirely  satisfactory  for  regular 
use. 

The  projector  for  2"  by  2"  slides  is  likely  to  become 
standard  equipment  for  school  and  home  because  of 
the  low  initial  cost  and  the  apparent  possibilities  for 
the  small  size  transparencies  in  natural  color.  For 
educational  purposes  this  natural  color  picture  seems 
to  meet  all  needs  for  the  classroom  according  to  the 
reaction  of  teachers  in  recent   test  showings. 

The  need  for  pictures  in  natural  color  has  long 
been  felt  but  equipment  and  cost  have  been  items  to 
consider.  The  development  of  the  miniature  camera 
makes  it  possible  to  obtain  a  sharp  clear  picture  and 
with  the  new  Kodachrome  film  the  picture  can  be  pro- 
jected to  a  size  suitable  for  classroom  or  lecture  room 
without  grain  and  loss  of  detail  at  a  comparatively 
small  cost.  A  roll  of  Kodachrome — 18  exposures  for 
the  Leica  camera  is  available  at  $2.50  present  price. 
ready  to  use.     If  you  wish  to  protect  the  jiicture  from 


scratches  one  must  add  the  cost  of  mats,  cover  glass 
and  binding  tape  which  brings  the  total  cost  to  hardly 
20c  per  slide. 

For  the  school  and  the  home  the  miniature  camera 
slide  seems  to  meet  a  real  need  at  the  present  time. 
Until  other  processes  are  evolved  one  should  make  use 
of  the  splendid  materials  and  equipment  for  making 
natural  color  available  to  the  children  in  our  schools 
and  for  the  enjoyment  of  the  ])arents  in  the  home. 

Visual  Aids  in  tiie  Service 
of  the  Church 

'Y  HIS  IS  the  title  of  a  very  valuable  handbook  for 
churches  and  clubs  which  has  been  produced  from 
the  experience  of  members  of  the  class  in  Visual 
Education  of  Yale  Divinity  School  under  the  guidance 
of  Professor  Paul  H.  Vieth  with  the  cooperation  of 
the  llarmon  Foundation. 

Educators,  both  secular  and  religious,  have  long 
utilized  prints,  charts,  and  exhibits  to  give  more  of  a 
sense  of  reality  to  their  teaching.  Since  the  develop- 
ment of  pictures  in  motion,  the  inference  has  usually 
been  that  they,  also,  should  be  adopted.  As  with  other 
tools,  the  more  finely  wrought  one  is,  the  more  clearly 
marked  nuist  be  its  limitations.  Many  churches  have 
failed  in  this  procedure  because  they  expected  the 
expressive  picture  to  do  the  whole  work.  We  must 
know  the  contents  of  our  film,  and  carefully  adapt  it 
to  the  theme  that  is  being  presented.  "Poor  technique 
in  projecting,  poor  quality  of  supporting  program, 
careless  handling  at  any  point,  will  all  tend  to  convince 
people  that  this  thing  is  not  for  the  church."  The 
task  of  the  church  is  to  refine  desires,  and  to  motivate 
aspirations  for  higher  values.  Pictures  make  vivid 
and  real,  often  creating  more  accurate  thought  images 
than  speech.  Pictures  are  a  means  of  providing  vicar- 
ious experience,  since  the  spectators  live  in  the  thought 
and  action  of  the  characters.  The  feelings  are  stimu- 
lated with  the  determination  "to  do  something  about 
it".  The  church  need  wait  no  longer.  Slides,  films, 
and  equipment  are  available  from  private  concerns 
and  denominational  headquarters. 

If  a  standard  for  evaluation  of  pictorial  material  is 
wished,  what  better  one  can  be  applied  than  that  for 
religious  drama,  viz.,  that  the  audience  departs  "ex- 
alted in  spirit  and  with  a  deepened  sense  of  fellowship 
with  God  and  man"?  Six  kinds  of  pictures  are  named 
as  coming  up  to  this  standard ;  objections,  sometimes 
heard  to  the  use  of  visual  aids  in  the  church,  are 
answered ;  and  nine  principles  to  be  followed  in  the 
use  of  projection  material  are  given. 

Types  of  projected  pictures  are  treated  and  sources 
included  from  which  they  may  be  secured.  About 
fifty  motion  pictures  are  described,  and  recommended 
for  certain  church  groups.  This  list  should  fill  a 
great  need.  Several  complete  service  programs  are 
outlined,  the  picture  always  being  made  subordinate 
to  the  main  theme.  In  great  detail,  all  the  main  fea- 
tures in  the  preparation  of  a  program  are  described. 
Also,  the  technique  for  selling  the  entire  visual  aids 
program  to  the  church  is  scientifically  developed,  and 
methods  of  financing  are   suggested.     Very   practical 


Page  288 


The  Educational  Screen 


methods  for  providing  trained  operators  in  cnarc 
charge  of  tiUns  are  listed.  Three  pages  are  devoted 
to  hand-made  slides,  and  making  your  own  films. 

"A  worship  service  including  good  visual  material 
promotes  an  atmosphere  conducive  to  maximum  par- 
ticipation by  the  individual  in  the  group.  Attention 
is  concentrated  .  .  .  Visual  and  auditory  interruptions 
are  at  a  minimum  ...  A  room  in  semi-darkness,  with 
one  focal  point  of  attention,  is  by  common  consent  ihc 
most   worshipful   environment." 

Two  Thanksgiving  services  are  reprinted  here  from 
this  eminent  treatise. 

A  Thanksgiving  Service 
Prelude 

Call  to  Worship 
Unison  prayer 

Hymn  ("Come,  Ye  Thankful  People,  Come") 
Responsive   reading    (musical    background;    "Anieii.a 

the  Beautiful") 
Scripture  lesson,  Psalm  100 
Prayer 

Lord's  Prayer 

Governor's  Thanksgiving  Proclamation 
Offering 
Doxology 

Hymn  ("O  Bless  the  Lord,  My  Soul") 
Movie:  "The  Puritans" 
Hymn  ("Be  Still,  My  Soul") 
Benediction 

Here  the  whole  service  is  welded  together  into  a 
unity.  No  part  is  more  significant  than  any  other.  It 
makes  an  ideal  service.  The  reader  will  note  that  the 
film  is  the  only  visual  aid  in  the  program.  We  now 
turn  to  a  more  extended  use  of  visual  aids.  In  this 
second  sample  program,  slides  are  used  as  well  as  a 
film,  and  musical  background  is  furnished  throughoui 
the  service  by  turntable  and  records. 

A  Thanksgiving   Service 
(Room  is  darkened  throughout) 
Prelude:  Beethoven's  Sixth  Symphony  (second  move- 
ment,  "By  the  Brook") 
Slides:  "Sunset  on  the  Bay",  "Sunrise  on  Galilee" 
Call  to  worship  (flashed  on  the  screen) 
Hymn  slide :   "O   God   Beneath   Thy   Guiding   Hand  ' 

(organ   accompaniment) 
Scripture  lesson  and  prayer,  on  slides 
Slide:  "Pilgrims  Going  to  Church" 
Hymn  slide:  "God  of  Our  Fathers" 
Briej  talk  on  the  Pilgrims 

Slides :      "Pilgrim     Fathers    Face    the    Unknown", 
"Mayflower  at  Sea" 
Motion  Picture:    "The  Pilgrims" 

Slide  in  closing:     "Departure  of  the  Mayflower" 
Hymn  slide:   "America  the  Beautiful" 

Slide :     "The  Builder" 
Offering 
Benediction 
Postlude 

This  program  of  course  requires  careful  detailed 
preparation.  Nevertheless  it  suggests  the  possibilities 
of  a  theme-centered  worship  service.  The  simplicity 
or  complexity  of  the  program  must  be  determined  by 
the  amount  of  physical  equipment  available.  The 
general  outline  of  the  services  given  above  can  easil}- 


be  used  in  planning  a  simpler  but  still  elifective  pro- 
gram. 

The  following  suggestions  are  offered  for  further 
efifective  use  of  films  and  slides  in  church  work. 

SPECIAL  SITUATIONS — There  are  occasions  other  than 
the  regular  youth  services  already  mentioned  where 
visual  aids  may  be  used  to  tremendous  advantage.  At 
least  three  are  worthy  of  our  attention  :  with  an  ad- 
dress, with  a  luncheon,  with  interest  groups. 

With  an  Address — At  a  victory  dinner,  it  is  in- 
teresting and  illustrative  to  use  movies  of  football 
games,  of  track  events,  of  baseball  and  basketball 
contests.  After  a  speech  by  the  coach  of  the  local  col- 
lege or  high  school,  a  film  actually  showing  what  is 
meant  by  sportsmans'i-p.  skill,  or  stamina,  makes  an 
enormous  appeal  to  tlic  imagination. 

.vt  missionary  auuresses,  Uw  im].ortance  of  the  work 
is  effectively  brought  home  by  films  or  slides  taken  in 
Africa,  China,  Burma,  or  India.  Where  words  fail  to 
communicate  the  message,  visual  aids  swiftly  plant 
unforgettable  images  in  the  mind. 

At  civic  betterment  addresses,  films  graphically  show 
dire  needs  in  the  slums,  happiness  among  children  at 
municipal  playgrounds,  or  the  beautifying  effects  of 
parks. 

With  a  Luncheon — Where  church  organizations 
have  monthly  meetings  or  fellowship  groups  which 
convene  periodically,  it  is  helpful  to  use  visual  aids. 
A  film  or  slide  sequence  is  thrown  on  the  screen  before 
the  group  sits  down  to  lunch  or  dinner.  At  the  fellow- 
ship of  the  meal  and  interplay  of  mind  with  mind,  the 
theme  of  the  picture  is  brought  up  and  "worked  over." 
This  "free  talk"  method  gives  the  atmosphere  of  in- 
formality and  gives  direction  more  or  less  to  random 
conversation.  This  use  of  visual  aids  will  stand  a 
great  deal  of  experimentation,  since  it  will  jsrovide 
variety  in  conventional  programs. 

With  Interest  Groups — Frequently  at  week-end 
retreats,  or  at  opening  sessions  of  youth  conferences, 
or  at  winter  institutes  of  young  people,  leaders  of  the 
program  find  it  helpful  to  present  a  thought-provoking 
moving  picture  which  fits  into  the  theme  of  the  con- 
ference. S.  E.  M. 


Our  Cover  Picture 

{Pilgrims  Going  to  Church) 
IN  THIS  picture  of  early  settlers  of  New  England  going 
to  worship  in  spite  of  the  fact  that  death  may  come  at 
any  moment  from  Indians  lying  in  ambush,  Boughton  has 
caught  the  feeling  of  winter  along  the  seacoast  of  Massa- 
chusetts. A  fall  of  snow,  not  deep,  but  moist,  a  soft  gray 
light  and  chilly  atmosphere  that  are  prophetic  of  other  snow- 
Tiakes  ready  to  descend.  He  has  expressed  silence  throughout 
this  scene.  No  conversation  may  be  carried  on  among  these 
friends;  strict  observance  of  the  day  may  forbid,  fear  of  the 
enemy  certainly  will. 

Many  of  our  Puritan  and  Pilgrim  forefathers  came  from 
Boughton's  birthplace  in  England,  and  that  fact,  no  doubt, 
lielpcd  his  sympathetic  portrayal  of  them  in  many  of  his 
pictures,  making  him  what  one  writer  has  called  "The  in- 
terpreter and  illuminator  of  New  England  life  in  the  seven- 
teenth century." 

Boughton  was  born  in  Norwich,  England,  and  died  in 
London.  He  came  to  America  when  three  years  old  and  re- 
ceived his  art  training  under  distinctly  American   influence. 

The  original  hangs  in  the  Lennox  Gallery  in  New  York. 


November,  19}  7 


Page  289 


FOREIGN   FILMS   FOR 
EDUCATIONAL   INSTITUTIONS 


Conducted  bv  Marie  Zoe  Mercier 


With  this  issue  tht-  department  is  being  taken  over 
liy  Marie  Zoe  Mercier  who  has  been  instructor  in 
l-"rench  at  the  Girls  Latin  School,  Chicago,  for  three 
years.  She  has  had  experience  in  previewing  French 
tilnis  in  France  and  in  using  dialogue  selections  in  the 
classroom.  For  some  time  she  has  published  occasional 
reviews  and  articles  on  art  subjects  and  is  now  special- 
izing in  the  study  of  photography  and  film  at  the  New 
Bauhaus,  American  School  of  Design,  Chicago. 


The  Use  of  Film  Dialogue  in 
Language  Teaching 

¥  T  HAS  been  the  purpose  of  this  department  over  a 

period  of  several  months  to  offer  a  guide  for  the 
use  of  foreit^^ii  fihiis  in  schools  and  colleges.  In  doing' 
this  it  lia.>  had  two  functions  in  mind:  (1)  that  of 
reviewing  at  some  length  or  evaluating  with  a  passing 
mention  in  a  general  critical  review  the  several  cur- 
rent foreign  films  released  every  so  often  to  the  edu- 
cational market  in  the  16mm.  size  at  a  rental  price 
most  convenient  to  the  average  school,  and  (2)  that 
of  discussing  methods  of  presentation  and  reporting  in 
detail  on  the  advances  and  experiments  which  are 
continually  being  made. 

Cinema  leagues  in  university  centers  and  cultural 
groups  in  many  other  cities  are  now  making  consistent 
use  of  the  best  foreign  films  for  entertainment  pro- 
grams, choosing  among  the  older  classics,  or  the  one 
or  two  new  films  that  top  the  New  York  critics'  list 
for  the  year.  In  school  or  department  programs  where 
entertainment  value  is  not  the  first  requisite  of  a  film, 
although  it  should  remain  as  nearly  uppermost  as 
possible,  selection  is  made,  (1)  among  films  that 
cover  several  languages  and  countries  with  elements 
of  definite  cultural  interest  and  world  understanding, 
or  (2)  among  several  films  in  one  language  that  offer 
special  advantages  for  practice  in  that  language. 

Demonstration  of  the  value  of  using  foreign  film 
for  modern  language  classes  has  been  undertaken  by 
many  schools  and  colleges  recently  and  has  proved  on 
the  whole,  so  successful  that  discussion  of  the  issue 
involve<l  can  now  be  limited  to  particular  techniques 
of  presentation.  Even  here  these  are  governed  neces- 
sarily by  the  purpose  for  which  a  foreign  film  is 
shown  to  a  language  class,  and  three  major  distinctions 
are  apparent:  (1)  the  use  of  film  dialogue  for  prac- 
tice in  conversational  skills,  (2)  the  presentation  of 
film  inaterial  for  building  up  background  and  asso- 
ciation, and  (3)  the  use  of  film  for  teaching  a  foreign 
literature. 

The  use  of  film  dialogue  for  practice  in  conver- 
sational skills  fulfills  a  function  which  few  activities 
of  the  language  class  have  yet  been  able  to  supply.    It 


is  a  cominon  experience  to  have  a  child  say  "l  am 
going  to  Europe  with  my  parents  this  summer  so  1 
must  learn  to  speak  well"  and  to  find  that  his  interest 
needs  no  further  artificial  prodding  and  reinains  high 
for  an  entire  ten  months.  But  for  the  child  or  even 
the  older  student  who  is  not  going  to  Europe  in  the 
immediate  future,  every  help  must  be  employed  to- 
wards obtaining  a  permanent  and  satisfying  motiva- 
tion. This  is  where  a  talking  film  can  do  more  than 
any  other  mediimi.  The  student  is  confronted  with  a 
change  of  environment  sufficiently  forceful  to  challenge 
his  reactions  as  authentically  as  if  he  were  suddenly 
dropped  into  a  German  backyard  and  abruptly  asked 
the  password  for  admittance  to  the  gang.  However, 
if  experiments  in  the  use  of  prepared  dialogue  are  to 
have  any  permanent  value,  they  must  be  conducted 
with  films  that  gain  the  respect  of  the  student  audi- 
ence for  technical  excellence.  A  tiresome  first  ex- 
jDerience  with  this  type  of  activity  would  seriously 
affect  the  possibility  of  further  interest. 

In  the  case  of  Emil  Und  Die  Detektive  last  year, 
short  selections  of  the  dialogue  were  edited  by  William 
Kurath,  then  of  the  University  of  Chicago,  now  head 
of  the  German  department  at  the  University  of 
Arizona.  The  dialogue  was  purposely  abridged  so 
that  its  preparation  before  the  film  could  take  any- 
where from  one  class  period  to  two  weeks  intensive 
drill  and  the  cost  to  each  student  would  remain 
nominal.  This  year  Henry  Holt  &  Co.  has  published 
the  entire  script  of  Merlusse  by  Marcel  Pagnol,  noted 
French  playwright  and  film  producer,  and  edited  by 
Lucius  G.  Moffatt  of  Syracuse  University,  a  project 
which  I  believe  has  been  in  preparation  for  some  time. 
With  a  long  background  of  teaching  in  the  lycees  of 
southern  France  and  in  Paris  and  much  literary  ex- 
perience it  has  been  Pagnol's  conviction  that  film 
scripts  should  have  as  high  a  literary  quality  as  the 
written  drama  and  should  deserve  publication  as  such. 
The  script  of  Merlusse  was  first  published  in  France 
in  1935  in  La  Petite  Illustration.  The  school  edition 
is  a  reader  of  one  hundred  seventeen  pages  with  illus- 
trations from  the  film.  A  reader  of  this  length  be- 
cause of  content  and  of  cost  to  the  student  is  usually 
apportioned  to  at  least  several  weeks  of  work  in  the 
student's  program.  There  will  probably  be  much  need 
for  experiment  before  the  satisfactory  proportion  of 
written  material  to  film  is  settled  in  such  a  way  that 
the  visual  and  aural  elements  retain  the  primary 
emphasis.  Most  film  distributors  however  will  send 
dialogue  sheets  upon  request  from  which  the  indi- 
vidual teacher  can  prepare  her  own  classroom  material 
when  the  choice  of  a  film  has  been  based  on  its  cine- 
matic value. 

Film  critics,  on  the  whole,  agree  that  a  film  is  apt  to 
suffer  if  it  is  originally  conceived  from  any  other  than 

(Concluded  on  Page  301) 


Page  290 


The  Educational  Screen 


THE    FILM    ESTIMATES 


Alcatraz  Inland  (John  Litel,  Ann  Sheridan  J 
(Warner)  Wealthy  racketeer-hero  (made  to 
appear  lees  culpable  because  he  n.ver  kills) 
avoids  jail  by  fixing  juries,  but  is  finally  con- 
victed for  tax  evasion  and  sent  to  Alcatraz 
where  gangster  enemy  makes  further  troubl-'. 
Quite  flat,  unsuspenseful  melodrama.  11-9-37 
(A)  Mediocre  (Y)  Better  not  (C)  No 

All  Baba  Goes  to  Town  (Eddie  Cantor, 
Roland  Young)  (Fox)  Elaborate,  colorful  musi- 
cal spectacle  and  goodhumored.  hilarious  po- 
litical satire  which  ma.v  offend  some.  Typical 
Cantor  gags,  and  wisecracks,  some  vulgarity, 
as  h"ro  dreams  he  is  transported  to  ancient 
Bagdad,  introduces  New  Deal  policies.  11-2-37 
(A)  D  pends    on    taste     (Y)  Doubtful     (C)  No 

AnKel  (M.  Dietrich,  H.  Marshall,  M.  Douglass) 
(Para)  Sophisticated  triangle  theme,  embell- 
ished with  lavish  sets.  Smooth  direction  by 
Lubitsch  but  lacks  human  appeal.  Illogical, 
cheap  situation — supposedly  neglected  wife  al- 
most leaves  busy  diplomat  husband  for  romance 
with  other  man.   Some  deft  humor.  11-9-37 

(  A)Depends  on  taste        (Yiand'C  )C:'it-inly  not 

Blonde  Trouble  (Eleanore  Whitney,  Johnny 
Downs)  (Paia)  Amateurish,  insipid  offering 
about  small-town  song  writer  confidently  seek- 
ing fame  in  New  York — and  getting  it — an 
honest  littU-  working-girl  heroine,  a  tiouble 
making  gold  digger,  and  various  crude  charac- 
ters. Strained  humor.  10-26-37 
(A)     (Y)    and    (C)    Poor 

Bride  Wore  Bed,  The  (Crawford,  Tone,  Robert 
Young)  (MGM)  Good  direction  and  acting,  at- 
tractively set,  but  situation  incredible.  Singer 
in  Trieste  dive  masqu-rades  as  lady  at  fash- 
ionable lesort,  schemes  to  marry  for  money, 
but  when  identity  discovered,  she  finds  love 
with  village  postman-hero,  11-2-37 

(A)  Fair  (Y)  Too    Mature  (C)  No 

Balldog  Drummond  at  Bay  (John  Lodge,  Dor- 
othy Mackaill)  (Rep)  Some  diverting  mom.^nts 
and  many  of  grim  suspense  as  hero  goes  into 
action  and  apprehends  gang  of  arch  criminals 
after  many  hair-breadth  escapes.  Motivation 
not  always  clear,  heroine's  role  rather  in- 
credible, and  with  ghastly  climax.  10-19-37 
(A)    Perhaps  (Y)    Exciting  (C)    No 

Counsel  for  Crime  (Otto  Kruger,  D.  Montgom- 
ery) (Colum)  Forceful  indictment  of  unscrupu- 
lous trial  practices.  Kruger  splendid  as  a  bril- 
liant criminal  lawyer,  ''mouthpiece"  for  under- 
world, who  is  prosecuted  and  innocently  con- 
victed by  his  own  high-principled  son,  tiie  lat- 
ter ignorant  of  their  relationship.  10-26-37 
(A)  Fair               (Y)  Too    mature  (C)  No 

Danseroiuly  Yours  (Cesar  Romero,  Phyllis 
Biooks,  Jane  Darwell)  (Fox)  Trite,  unimpor- 
tant, well-produced  crook  melodrama,  occasion- 
ally interesting,  but  characters  and  action 
largely  unconvincing.  Baby-faced,  little  hero- 
ine levealed  as  thi.f,  but  avowed  reformation 
justifies  romance  with  detective-hero.  11-2-37 
(A)  Hardly  (Y)  Doubtful  (C)  No 

Doctor  Syn  (George  Arliss,  Jno.  Loder)  (Gau- 
Brit)  Strong,  co'orful,  skilfully  don?  adventure 
film  of  18th  Century  England  and  smuggling 
days,  made  plausible  by  good  acting.  Notable 
atmosphere,  settings,  characterizations.  One 
extremely  frightful  role  and  some  karrowing 
action,    but   whole   entertaining.  11-9-37 

(A)  Very  gd.  of  kd.    (Y)  Strong    (C)  Too  strong 

Double  Wedding  (Myrna  Loy,  Wm.  Powell) 
(MGM)  Fast,  ridiculous,  overdrawn  nonsense, 
often  amusing,  but  d  generating  into  incon- 
gruous slapstick.  Hero,  as  irresponsible,  im- 
pecunious artist  living  in  trailer,  decidedly 
overdoes  the  eccentricities  and  teeth-revc-aling 
grins.  Violent  two-reel  comedy  finish.  11-2-87 
(A)  Depends  on  taste  (Y)  Piob.  Amos.   (C)  No 

Fight  for  Your  Lady  (J.  Boles,  J.  Oakie,  I.  Ln- 
pino)  (RKO)  Merry,  lively  nonsense  comedy, 
much  slapstick,  concerning  romarvtic  adventures 
of  American  tenor  who,  disappointed  in  love, 
deliberately  provokes  duel  with  best  swordsman 
in  Europe.  Incredible,  ridiculous  stuff,  but  not 
intended   to   be   realistic.  10-26-37 

(A)  and  (Y)  Amusing  (C)  Perhaps 

Forty  Naughty  Girls  (James  Gleason,  Zasu 
Pitts)  (RKO)  Mildly  diverting,  routine  murder 
mystery  with  back-stage  setting,  suspense 
weakened  by  slapstick  comedy.  The  irascible 
In»p.ctor  Piper  pursues  the  usual  false  clues  . 
while  the  fluttering  Zasu  as  Miss  Withers 
adroitly    tracks    down    killer.  10-19-37 

(A)    Fair    (Yl    Prob.  entertaining    (C)  Exciting 


Being   the  Combined  Judgments  of  a   National  Committee  on  Current  Theatrical   Films 

(A)  Discriminating  Adults  (Y)  Youth  (C)  Children 

Date    of    mailing    on    weekly    service    is    shown    on    each    film. 

(The  Film  Estimates,  in  whole  or  in  part,  may  be  reprinted 

only  by  special  arrangement  with  The   Educational  Screen) 


Golem,  The  (Harry  Bauer  &  foreign  cast)  (Mc- 
tropolis)Grim,  finely-acttni,  artistic  production, 
overcrowded  with  incident,  based  on  medieval 
legend  about  monstrous  statue,  giv.n  life,  and 
saving  Jews  from  persecution  of  mad  King 
Rudolph  II,  vividly  portrayed  by  Bauer.  Fre.ich 
and  Hebrew  dialog.  English  titles.  11-9-37 
1  A)Very  gd.  of  kd      (Y)Strong,  exciting    (C)No 

Heidi  (Shirley  Temple,  Jean  Hersholt,  A.  Trea- 
cher) (Fox)  The  famous  child  story  beautifully 
produced,  directed,  acted  and  mounted.  Shirley 
delights  as  the  little  orphan,  and  appealing 
humor  lightens  th.--  melodramatic  action  which 
unfortunately  becomes  too  harrowing  in  final 
scenes    for   oversensitive   children.  10-26-37 

(A)  Good      (Y)  Very  good     (C)  Total  effect  good 

Here's  Flash  Casey  ( Eric  Linden,  Boots  Mal- 
lory)  (Grand  Nat'l)  Elementary,  loosely-woven 
film  about  newspaper  photographers  and  unim- 
pressive hero  who  becomes  innocently  involved 
in  sordid  extortion  racket,  but  aided  by  pal, 
captures  the  blackmailers.  The  usual  love  in- 
terest included.  10-26-37 
(A)  Mediocre               (Y)  Mediocre  (C)  Nc 

Hoosier  Schoolboy,  The  (Mickey  Rooney,  Anne 
Nagel)  (Monogram)  Simple  little  story  of  touch- 
ing human  appeal.  Mickey  excellent  as  loyal, 
misunderstood  lad,  helped  by  the  understanding 
sympathy  of  fine  teacher.  Good  family  pictur 
but  scene  of  truck  smash-up  may  prove  exciting 
to    sensitive    children.  10-26-37 

(A)  Good  (Y)  Good         (C)  Good  but  mature 

It  Happened  in  Hollywood  (Richard  Dix,  Fay 
Wray)  (Col)  Naive,  sentimental  story  with  some 
novel  touches,  of  especial  appeal  to  boys.  Cow- 
boy star  of  silent  movies,  is  out  and  goes  broke 
when  talkies  come  in.  Illness  of  a  loyal  boy  fan 
motivates  some  unconvincing  action  restoring 
hero  to  stardom.  10-26-37 

(A)  Elementary         (Y)Fair         (C)  Fairly  good 

Life  Begins  With  Love  (D.  Montgomery,  Jean 
Parker)  (Col)  Far-fetched  farce  comedy,  with 
some  appealing  action.  Wealthy  hero  flees 
crude,  domineering  fiancee  and  finds  worth- 
while romance  with  simple  heroine,  after  im- 
pish child  causes  complications.  Small  tots  in 
cast  add  interest.  A  bit  of  bad  taste.  11-2-37 
I  A)  Perhaps  (Y)  Fair  (C)  Doubtful 

London  By  Night  (George  Murphy,  Rita  John- 
son) (MGM)  Rather  lurid  murder  tale,  with 
tension  heightened  by  effective  photography  in 
creating  eerie,  foggy  settings.  Reporter-hero, 
struggling  with  off-again,  on  again  Irish  ac- 
cent, traps  vicious  killer  of  two,  with  aid  of 
appealing    little    dog.  10-19-37 

(A)    Fairly    good  (Y)    Grim  (C)    No 

Madame  X  (Gladys  George,  Warren  William) 
I  MGM)  Commendably  producer!  and  acted  ver- 
sion of  famous  play,  probably  too  outdated  to 
have  much  appeal.  Distressing,  unbelievable 
drama  of  sordid  career  of  heroine,  discarded 
by  husband  for  unfaithfulness.  Miss  Georges 
makeups  and  performance  expert.  10-19-37 
(A)    Good    of    kind  (Y)    No  (C)    No 

Over  the  Goal  (Jun?  Travis,  Wm.  Hopper) 
(First  Nat'l)  Elementary,  fairly  pleasing  foot- 
ball yarn.  Some  appealing  human  action  and 
humour,  interspersed  with  mild  villainy  seek- 
ing to  keep  star  player  out  of  crucial  game. 
He  arrives,  of  course,  in  time  to  win  game 
in    spectacular    fashion.  11-9-87 

(A)  Perhaps  (Y)  Good  (C)  Fairly  good 

Perfact  Specimen,  The  (Flynn.  Blondell.  Rob- 
son)  (Warner)  Fine  cast  in  fast,  spirited 
comedy.  Hero  rebels  at  wealthy  grandmother's 
domination  after  meeting  gay  heroine,  with 
whom  he  has  some  merry,  unconventional  ad- 
ventures while  family  think  him  kidnappe<d. 
Disagreeable   shouting   minor   flaw.  11-2-87 

(A)  Very  Amus.  (Y)  Amus.,  but  mature  (C)  No 


Renfrew  of  the  Royal  Mounted  (Jas.  Newill, 
Carol  Hughes)  (Grand  Nafl)  Lively  picture 
with  lovely  outdoor  backgi-ounds  and  pleasant 
singing  by  Newill  as  the  "Mountie"  who  un- 
covers a  gang  of  counterfeiters  smuggling 
mon  y  across  the  border.  Some  hokum  but  will 
probably   appeal  to  boys.  11-9-37 

I  A)  Elementary  (Y)Fair  (C)  Perhaps 

Saturday's  Heroes  (Van  H.flin,  M.  Marsh) 
I  RKO  I  Inferior  football  film.  Poor  ent  rtain- 
nient,  but  has  serious,  thought-provoking 
theme.  Conceited  but  good-hearted  gridiron 
heio,  expelled  for  .scalping  tickets,  condemns 
secret  subsidizing  of  college  pla.vers,  and  ad- 
vocates It  be  done  openly  instead.  10-19-37 
(A)     Perhaps     (Y)     Doubtful     (C)     Better    not 

Sea  Racketeers  ( Weldon  Heyburn)  (Republic) 
Second-rat  •  thriller  with  rough  characters  and 
gutter  English.  Features  activities  of  Coast 
Guard  and  ring  of  fur-smugglers  whose  head- 
quarters is  gambling  night-club  ship.  Hero 
and  buddy  constantly  battle  over  women. 
Heroine's    acting    painful.  11-9-37 

(A)  Waste  of  time  (Y)  Poor  (C)No 

She  Asked  for  It  (William  Gargan)  (Para) 
Thin  comedy  mystery  told  in  the  light  manner 
now  in  vogue.  Successful  writer  of  mystery 
stories  turns  detective  hims. If  and  exposes  mur- 
derers in  series  of  baffling  crimes.  Far-fetched 
story  with  occasional  amusing  moments.  Title 
puzzling.  10-J6-37 

lAl  and  (Y)  Mediocre  (C)  No 

Something  to  Sing  About  (J.  Cagney,  Eve'yn 
Daw)  (Grand  Nafl)  Cagney  engagingly  domi- 
nates in  new  type  of  role,  showing  dancing 
skill.  Rather  thin  story,  concerning  sensation- 
al success  of  band  leader  in  the  movies,  whose 
marriage  is  almost  wrecked  by  studio  publicity. 
Direction  unev:n,  but  fairly  pleasing.  10-19-37 
I  A)    and    (Y)     Fairly    good         (C)    Unsuitable 

Sophie  Lang  Goes  West  (Gertrude  Michael) 
(Para.)  Mild  little  crook  melodrama,  lacking 
in  suspense.  Rambling,  involved  plot,  and 
characterization  of  heroine  perplexing — a  no^ 
torious  jewel  thief  who  declares  she  has  re- 
formed but  hero,  also  an  ex-thief  turned  writ- 
er, and  audience  aren't  sure  till  end.  10-19-37 
(A)     Perhaps         (Y)    Not    the   best        (C)    No 

There  Goes  the  Groom  (B.  Meredith.  A.  So- 
thern,  M.  Boland)  (RKO)  Diizy  farce  with 
silly  slap-stick  antics  in  climax  scenes  in 
sanitarium  where  hero  is  confined  when  he 
feigns  amnesia  to  get  out  of  marriage  pro- 
moted by  heroine's  conniving  mother.  Lively, 
but  of  slight   merit.  11-2-37 

(A)  Thin  (Y)    and    (C)  No   value 

Victoria,  the  Great  (Anna  Neagle,  Anton  Wal- 
brook )  ( RKO )  A  moving,  impressive  and  ab- 
sorbing human  and  historical  document,  pro- 
duced in  England  and  finely  acted.  Miss  Neagle 
notable.  Masterly  portrayal  of  Victoria's  char- 
acter, life ;  and  highlights  of  her  memorable 
reign.   A  fine  and  significant  film.  11-9-37 

(A)  Outstanding    (Y)  Excellent    (C)    Very  good 

Vogues  of  1938  (Joan  Bennett,  Warner  Bax- 
ter) (U.A.)  Ijuxurious,  ostentatious,  and  tir- 
ing Fashion  spectacle  in  latest  Technicolor, 
achieving  some  brilliant  pictorial  effects.  Trite, 
musical  comedy  "plot  with  pert  heroine  pursu- 
ing and  finally  getting  married  hero  when 
wife  divorc.«  him.  Amusing  touches.  10-19-37 
(A)   Gix)d  of  kind       (Y)   Better  not       (r\   i>t„ 

West  of  Shanghai  (Boris  Karloff,  Beverly  Ro- 
berts) (Warner)  The  satirical  play  "The  Bad 
Man"  now  laid  in  China.  Settings,  atmosphere 
and  Karloff  interesting  as  guileless  bandit  who 
solves  triangle  by  shooting  husband  of  heroine, 
freeing  her  for  man  she  loves,  but  whole 
seems  artificial  and  unconvincing.  11-2-37 

(A)  Perhaps  (Y)  Doubtful  (C)  No 


November,  1937 


Page  291 


AMONG    THE    i 
AND    BOOKS 


AGAZINES 


Conducted  by  Stella  Evelyn  Myers 


The  Clearing  House  {12:  37-38,  Sept.,  '37)  "San 
Antonio  Schools  Supplement  and  Correct  Poor  Teach- 
ing Films  by  Demonstration,"  by  Dr.  C.  L.  Gutzeit. 

A  lesson  plan  is  described  for  using  a  film,  not  only 
incomplete  in  factual  material,  but  containing  errors, 
when  no  other  film  was  available.  Description,  and 
particularly  demonstration,  made  the  facts  more  evi- 
dent than  a  good  film  usually  does. 

(P.  11)  "Comic  Strips  'Sell'  School  Library 
Books,"  by  lilmer  R.  Smith. 

When  the  teachers  of  English  at  Central  High 
School.  Providence,  Rhode  Island,  noticed  that  a  con- 
siderable number  of  pupils  read  nothing  but  the  comic 
strips  regularly,  they  decided  to  meet  the  pupils  at 
their  own  level  and  capitalize  a  more  or  less  universal 
interest.  The  colored  comic  page  was  pasted  on  card- 
board and  ten  large  orange-colored  circles  were  pasted 
thereon,  each  circle  containing  a  book  description. 

Pupils  flocked  to  the  gay  posters  and  found  such 
sprightly  prods  to  reading  as  these:  "Popeye  is  an 
amateur  compared  with  Captain  Blood.  Read  all 
about  the  daring  exploits  of  this  sea  rover  in  Saha- 
tini's  novel,  a  copy  of  which  awaits  you  in  the  school 
library."  "Sea  stories  in  our  school  library  that  put 
to  shame  the  imaginary  deeds  of  Popeye,  the  Sailor  Man. 
include  Hurricane  Weather,  Wind  in  the  Rigging, 
All  Sails  Set,  and  Magic  Portholes."  Because  of  the 
excessive  demands  upon  the  library,  the  posters  had 
to  be  withdrawn  temporarily. 

(pp.  39-43)  "Hampden's  Course  in  Appreciation  of 
Movies  and  Radio,"  by  Kent   Pease,  Hamden,  Conn. 

Although  the  movies  and  the  radio  provide  the  chief 
"intellectual"  entertainment  of  vast  numbers  of  stu- 
dents, teachers  of  English  mostly  teach  books.  If  we 
can  not  convince  the  students  that  we  are  in  sympathy 
with  their  points  of  view,  we  can  do  nothing  for  them. 
There  are  courses  in  appreciation,  approached  vari- 
ously, but  often  stressing  the  wrong  point  of  view  as 
the  Hamden  teachers  see  the  situation.  While  we 
have  succeeded  in  imposing  an  adult  standard  in  re- 
gard to  books,  it  may  be  quite  impossible  in  the  newer 
fields  of  entertainment  because  of  the  great  strength  of 
the  forces  that  repel  and  attract.  As  a  preventive 
measure,  it  has  been  well  to  reduce  the  number  of  bad 
pictures,  but  as  an  educational  activity,  it  means 
nothing.  The  youth  still  prefers  the  bad  picture  when 
he  can  find  it.  The  best  discipline  is  imposed  by  one's 
self  from  his  own  tastes  and  thinking.  The  writer 
contends  that  learning  the  essential  diflference  be- 
tween a  stage  play  and  a  movie  of  the  same  name 
does  not  necessarily  induce  appreciation ;  nor  does 
becoming  aware  of  the  backgrounds  from  which  the 
author  took  the  story,  or  being  able  to  explain  cer- 
tain technical  tricks  in  the  picture  lead  to  appreciation. 
"Generally  such  evaluations  degenerate  into  a  set  of 


ir.cre  finical   prejudices  rather  than  a  maturing,  prac- 
tical, usable  judgment." 

For  testing  the  foregoing  opinions,  as  to  their  truth 
or  falsity.  Hamden  High  School,  in  1936-'37,  set  up 
an  experimental  class  in  the  appreciation  of  movies 
and  radio.  Tliere  was  no  thought  of  a  standardized 
final  product.  It  was  hoped  that  each  pupil  could  be 
helped  to  discover  why  he  liked  what  he  liked.  There 
is  constantly  ])roof  that  children's  tastes  in  this  form 
of  entertainment  change  rapidly.  "If  we  can  give 
them  reasons  for  discrimination  and  standards  below 
which  they  will  not  willingly  accept  their  entertain- 
ment, we  have  done  all  that  any  appreciation  course 
can  or  ever  has  done  for  anyone."  There  was  through- 
out the  course  perfect  freedom  of  discussion,  the 
teacher's  prejudices  weighing  no  more  than  those  of 
the  pupils.  ''We  found  out  that  appreciation  based  on 
commonly-arrived  at  judgments  can  be  gained  and 
gained  with  profit  to  all." 

The  School  Executive  (56:485,  Aug.,  '37))  "Fi- 
r'ancing  the  Audio-\  isual  Program",  by  Supt.  Har- 
old C.  Bauer. 

Several  very  wise  suggestions  are  made  to  show 
how  a  comnumity  spirit  may  be  worked  up  for  the 
purchase  of  audio-visual  aids.  Definite  procedures 
are  given  for  raising  fimds  and  for  arranging  easy 
terms  with  commercial  supply  houses. 

The  North  Dakota  Teacher  (17:  111-112,  Sept., 
'i7)  "X'isual  .Aids  as  an  Economy  in  Teaching,"  by 
O.  S.  Anderson. 

W'hile  we  have  talked  much  about  economy  in  edu- 
cation, we  have  said  little  about  economy  in  classroom 
proceditre.  Why  not  save  time  and  money  by  energiz- 
ing the  pupils  with  actual  things  and  with  pictures 
relative  to  what  is  being  taught?  A  more  real  experi- 
ence will  raise  efificiency,  and  efificiency  in  the  class- 
room should  mean  as  much  as  it  does  in  industrv. 
Economy  will  come  through  efficiency  in  lessening 
teacher  effort,  time  for  motivation,  and  time  for 
review,  checking  retardation,  and  increasing  perman- 
ence of  learning.  Because  of  interest  and  concreteness 
in  the  use  of  visual  aids,  pupils  read  more  books,  and 
correlate  their  work  more  closely  with  other  subjects. 
The  retarded  student  is  assisted  by  an  easier  and 
quicker  method  of  learning.  When  retardation  is  re- 
duced crime  is  reduced,  an  advance  in  finances  as 
well  as  in  character.  The  cost  of  visual  aids  is  much 
less  per  pupil  than  in  subjects  requiring  individual 
material  for  each  pupil.  The  failure  to  recognize  the 
advantages  of  visual  education  will  become  more  and 
more  evident  until  a  demand  will  be  generally  made 
for  teachers  trained  in  this  field.  Greater  use  will 
mean  greater  efficiency  and  greater  efficiency  will  mean 

greater  economy. 

(.Cfinctudcd  on  />(j(/c  306') 


Page  292 


The  Educational  Screen 


DEPARTMENT  OF  VISUAL  INSTRUCTION 


OROSPECTS  for  growth  and  expansion  of  the 
Department  of  Visual  Instruction  during  the  com- 
ing school-year  could  not  be  brighter.  We  state  this 
deliberately,  although  the  fall  campaign  for  member- 
ship is  already  months  late  in  starting.  There  a.  e 
reasons. 

The  Detroit  meeting  last  June  impressed  many  as 
particularly  successful.  The  arrangements  for  head- 
quarters and  assembly  were  ideal,  attendance  was 
notably  good,  enrollment  of  new  members  was  un- 
usually high,  and  exceptional  interest  and  fine  enthusi- 
asm seemed  all-pervasive.  New  officers  were  chosen 
to  take  over  the  promising  work  and  carry  on  to  better 
things.  Then  came  two  unforeseen  incidents.  The 
new  President,  Rupert  Peters  of  Kansas  City,  found 
himself  compelled  by  cogent  considerations  to  decline 
the  appointment.  The  retiring  President  was  sud- 
denly and  seriously  incapacitated  soon  after  the  De- 
troit meeting,  was  not  allowed  even  to  know  of  Mr. 
Peters'  decision  for  two  months,  nor  to  lift  a  linger 
to  do  anything  about  it  for  another  month.  Now  at 
last,  all  difficulties  seem  resolved  when  the  new 
Executive  Committee  instructs  the  first  Vice-Presi- 
dent, Edgar  Dale,  to  take  over  the  presidential  duties 
at  once.  Under  Dr.  Dale's  dynamic  direction  notable 
progress  may  be  confidently  predicted  for  the  De- 
partment this  year. 

A  LL  PAPERS  and  addresses  from  the  Detroit  pro- 
gram, with  a  single  exception,  were  reprinted  in 
the    September   and    October    issues.      It    remains    to 
give  here  merely  a  brief  summary  of  action  taken  at 
the  business  sessions. 

The  Business  Luncheon  on  Tuesday  noon  was 
occupied  by  comments  by  the  President  on  the  Depart- 
ment's status,  and  especially  by  a  showing  of  the  film 
on  Child  Safety  in  Traffic,  produced  by  the  Metro- 
politan New  York  Branch,  for  official  approval  by 
the  Department  of  Visual  Instruction.  The  discussion 
following,  pro  and  con,  was  long  and  vigorous,  lasted 
far  beyond  luncheon  time,  and  was  ended  only  by 
placing  the  matter  in  the  hands  of  a  newly  appointed 
Resolutions  Committee,  with  John  A.  Hollinger  as 
Chairman,  for  resubmission  at  the  Business  Meeting 
Wednesday.  (Final  conclusion  appears  in  Resolu- 
tions VI  and  VII  below.)  The  Nominations  Com- 
mittee was  also  appointed  at  this  time,  with  George 
E.  Hamilton  as  Chairman,  and  the  160  ballots  by  mail 
from  members  unable  to  be  at  Detroit  were  turned 
over  to  this  Committee  for  full  consideration  in  their 
preparation  of  nominations  for  submission  at  the 
Wednesday  meeting. 

At  the  regular  Business  Meeting  on  Wednesday, 
Chairman  Hollinger  read  the  Resolutions  prepared  by 
his  Committee.  They  were  passed  individually,  with 
occasional  discussion  from  the  floor.  They  are  printed 
here  in  full : 

Resolntiona    Passed    at    the    June    (193T)    Meeting    of    the    Department 
of    Visual    Instruction    of    the    National    Education    Association 

I  Resolved,  that  the  Department  of  Visual  Instruction  of  the 
National    Education     .\ssooialion    herfby    expre.sses    to    the    Ciinvention 


Bureau  its  appreciation  and  gratitude  for  the  e.\ceedingly  satisfactory, 
pleasant  and  convenient  headquarters  and  meeting  places  provided; 
to  the  IJetroit  News  for  the  courtesies  extended  through  the  use  of 
the  WW.I  broadcasting  studio  for  its  meetings  and  the  notably 
efficient  service  rendered  by  its  entire  staff;  to  the  Detroit  scho<^  lor 
the  gracious  courtesies  extended  through  its  system,  the  inspiration 
given  Dy  Superintendent  Frank  Cody,  and  the  exceedingly 
efficient  services  rendered  by  Mr.  W.  W.  Whittinghill  and  hU  staff  in 
handling  all  details  of  local  arrangements:  :ui(l  to  the.  !:einr(psity  of 
those  individuals  and  organizations  who  so  kindly  provided  and 
operated  projection  equipment  at  our  meetings. 

II  Wherean,  Mr.  Nelson  L.  Greene  has  for  many  years  devoted 
untiring  efforts  and  given  generously  his  time  and  energy  to  the 
cause  of  visual  instruction  and  the  work  of  this  department  and  has 
during  the  past  two  years,  served  as  the  President  of  the  Department 
and  in  that  capacity  has  worked  without  stint  and  given  the  utmost 
of  his  outstanding  ability  to  the  growth  and  welfare  and  acomplish- 
ment  of  the    Department, 

Therefore,  Be  It  Resolved  that  we  extend  to  him  our  sincere  grati- 
tude and  deep  appreciation  for  the  most  efficient  performance  of 
the  duties  of  his  office,  the  excellent  work  he  has  accomplished  and 
the  outstanding  results  which  have  been  attained  under  his  leader- 
ship; and  be  it  further  resolved,  that  the  Department  of  Visual 
Instruction  hereby  extend  to  The  Educational  Screen,  its  editor,  Mr. 
Nelson  L.  Greene,  Miss  Evelyn  Baker  and  other  members  of  its  staff, 
its  sincere  thanks  for  their  efficient  and  helpful  services  to  the  work 
of  the  Department  and  in  aiding  in  the  success  of  the  meetings  of 
the  two  years. 

III  Whereas,  economy,  simplicity,  availability  of  materials  and 
safety  from  fire  hazards  justify  the  use  of  16  mm.  motion  pictures 
as    a    standard    for    instructional   use, 

Therefore  Be  It  Resolved,  that  the  use  of  16  mm.  motion  pictures 
be   considered   as  standard   for   educational   purposes. 

IV  Whereas,  there  is  urgent  need  in  the  Visual  Instruction  field 
for  standard   terminology, 

Therefore,  Be  It  Resolved  that  a  committee  of  three  members  of 
this  Department  be  appointed  by  the  Executive  Committee  to  prepare 
and  submit  to  the  Executive  Committee  a  list  of  terms  generally 
used  in  this  field  that  may  comprise  a  standard  glossary  of  Visual 
Instruction    terms. 

V  Resolved,  that  the  Department  of  Visual  Instruction  strongly 
advocates  that  boards  of  education  provide  in  their  annual  budgets 
adequate  appropriation  for  visual  auditory  equipment,  materials  and 
supplies,  and  for  the  salaries  of  personnel  engaged  in  the  work  of 
visual  auditory   instruction. 

VI  Whereas,  the  Safety  Committee  of  the  Automotive  Industry 
has  made  a  grant  to  the  New  York-Metropolitan  branch  of  the  De- 
partment of  Visual  Instruction  of  the  National  Education  .Vi-socia  ion, 
for  the  production  of  a  silent  motion  picture  on  child  sefety  in 
traffic  for  elementary  grades  and  its  national  distribution,  free  of 
cost  to  the  users,   and 

Whereas,  the  Executive  Committee  of  the  Visual  Instruction  De- 
partment have  approved  of  the  production  and  national  distribution, 
free  to  schools,  of  said  film  on  child  safety  in  traffic,  for  elementary 
grades,  as  a  presentation  of  this  Department,  under  the  supervision 
of  the  New  York   Metropolitan   branch,    and 

Whereas,  the  New  York-Metropolitan  branch  has,  under  said  grant, 
had  the  film  produced  under  its  supervision  and  arranged  for  its  free 
national  distribution,   and 

Whereas,  the  said  film  has  been  complclwl  and  submitted  to  this 
Department   for   approval,    and 

Whereas,  a  full  accounting  of  the  expenditure  of  the  grant  for 
the   production   and   distribution   of   this   picture    has   been    made. 

Therefore,  Be  It  Resolved,  that  the  Department  hereby  compliment 
the  New  York-Metropolitan  branch  for  its  excellent  work  and  approve 
of   the    film   as   a   presentation   of   this    Department,    and 

Be  It  Further  Resolved,  that  the  Department  hereby  express  to 
the  Safely  Committee  of  the  Automotive  Industry  its  appreciation  for 
the  grant  which  has  made  possible  the  accomplishment  of  this  project, 
and 

Be  It  Further  Resolved,  that  copies  of  these  resolutions  be  sent 
to  the  Safety  Committee  of  the  Automotive  Industry  and  to  the  New 
York-Metropolitan    branch    of    this    Department. 

VII  Resolved,  that  a  committee  of  this  Department  be  appointed 
by  the  President  to  set  up  and  submit  to  the  Executive  Committee 
standards  and  requisites  for  the  approval  by  the  Department  of  any 
educational  motion  picture  production  or  production  project  here- 
after submitted  to  it  for  approval,  said  standards  and  requirements, 
when  accepted  by  the  Executive  Committee,  to  become  the  policy  of 
the  Department  with  reference  to  the  approval  of  such  production 
or  production  project.  It  is  recommended  that  there  be  included 
in    such    standards    and    requisites    the    requirement    that    no   film    shall 


November,  1937 


Page  293 


bi-  approved  which  (1)  is  designed  to  advertise  any  commercial 
organization  or  promote  the  sale  of  any  commodity  or  service,  or  (2) 
is  in  direct  competition  with  any  satisfactory  existing  production 
available  for  rental  or  sale;  that  a  full  accounting  be  made  to  the 
Department  for  the  expenditure  of  any  grant  made  to  the  Depart- 
ment for  the  production  or  distribution  of  a  film  so  approved ;  that 
the  approval  of  the  film  be  conditional  on  its  acceptance  by  the 
Executive  Committee  on  completion,  and  that  members  of  the  Depart- 
ment be  properly  informed,  through  the  official  organ  or  otherwise, 
of    the    approval    of    such    a    production    or    production    project. 

VIII  Resolved,  that  the  Department  of  Visual  Instruction  urges 
the  wider  dissemination  of  accurate  information  concerning  the 
proper  educational  use  of  visual-auditory  materials  and  that  teacher 
training  institutions,  in  particular,  give  greater  attention  to  the 
problem  of  training  prospective  teachers  and  teachers  in  service  in 
the   skillful   use   of   these   materials, 

IX  Whereas,  the  Visual  Instruction  Department  deplores  the 
indiscriminate    use    of    motion    pictures    in    the    school. 

Therefore,  Be  Ji  Resolved,  that  it  urges  greater  attention  be  given 
l)y  the  school  toward  securing  and  using  only  those  motion  pictures 
which    are   suited   to   the   mental    and   maturity   levels   of   pupils,    and 

Be  It  Further  Resolved,  that  the  Department  recommend  that 
,'reater  care  be  taken  to  distinquish  more  clearly  between  motion 
pictures  used  for  specific  classroom  purposes  and  those  more  general 
motion    pictures    useful    for    auditorium    or    assembly    activities. 

X  Resolved,  that  the  Department  of  Visual  Instruction  suggest 
Ihat  greater  attention  be  given  by  its  members  to  the  functions  of 
the  Department  as  a  clearing  house  of  information  on  visual-auditory 
materials    and    instructional    methods,    and 

Be  It  Further  Resolved,  that  the  Department  recommends  that 
Its  members  survey  the  possibilities  of  developing  local,  state  and 
regional  groups  for  better  achieving  the  purposes  of  this  organization, 
and  that  they  make  their  findings  available  to  the  Executive  Com- 
mittee,   and 

Be  It  Further  Resolved,  that  the  Executive  Committee  explore  the 
|)ossibility  of  giving  additional  services  and  benefits  to  members  in 
order   to   increase   the   size    and   efTectiveneas   of   the   organization. 

XI  Whereas,  the  Department  of  Visual  Instruction  considers  that 
visual  aids  should  possess  the  following  characteristics,  (1)  they  should 
be  accurate  and  authentic  as  to  factual  content,  (2)  they  should  be 
pedagogically  suited  to  the  groups  or  grade  levels  for  which  they  are 
designed,  and  (3)  they  should  be  technically  and  artistically  of  a 
liigh   order. 

Therefore,  Be  It  Resolved,  that  this  Department  urge  upon  all 
producers    of    visual    aids    the    necessity    for    effective    collaboration    of 


subject    matter    specialists,    of    practical    classroom    teachers    or    super- 
visors,   and   of    competent    production    technicians,    and 

Be  It  Further  Resolved,  that  a  standing  committee,  to  be  known  as 
"The  Committee  on  Standards  of  Visual  Materials,"  be  appointed  by 
the  Executive  Committee  and  that  its  first  duties  shall  be  the  setting 
uji    of    standards    of    instructional    motion    pictures. 

Chairman  Hamilton  read  the  recommeiitlations  of 
the  Nominations  Committee  as  follows : 

For  President,  Rupert  C.  Peters  of  Kansas  City. 

For  First  Vice-President,  Edgar  Dale  of  Ohio 
State  University. 

For    Second    Vice-President,    Rita    Hochheimer   of 

New  York  City. 

For  Executive  Committee,  Robert  Collier,  Jr.  of 
l^enver;  William  H.  Dudley  of  Chicago;  Marian 
Evans  of  San  Diego ;  H.  A.  Henderson  of  Indian- 
apolis ;  John  A.  Hollinger  of  Pittsburgh ;  Abraham 
Krasker  of  Boston. 

From  the  floor  was  made  an  additional  nomination 
iif  J.  E.  Hansen  of  Madison  as  member  of  the  Ex- 
ecutive Committee.  Mr.  Hollinger  immediately  with- 
drew in  favor  of  Mr.  Hansen  and,  thus  modified,  the 
entire  slate  was  unanimously  elected.  (The  later 
withdrawal  of  Mr.  Peters,  who  was  not  present  at 
Detroit,  has  been  explained  above.) 

'pHE  FOURTH  Official  Rosier  of  members  is  here 
presented.  In  order  to  put  it  on  a  school-year  basis, 
all  members  are  included  who  expire  from  September 
1937  to  June  1938  inclusive.  It  consists,  then,  of  the 
June  roster  (352)  less  the  26  June  expirations  (326) 
plus  the  89  new  and  renewed  memberships  received 
since  the  June  roster,  or  a  total  paid  membership  of 
415  as  of  Setember,  1937.  N.  L.  G. 


Fourth  Official  Roster  ----   November  1937  ----  Department  of  Visual  Instruction 

(Showino  cxpira;ion  month  of  current  school  yoar  -^  July    and  August  not  includsd  —  the  \  indicates  two  years) 


Expiiinff    September      t«      Jane 
SONDJ    PMAMJ 


Adams.    E.    D.  . 
Akins.    Lillian 
Alleman.    C.    C. 
Allwein.    Mary    . 
Althouse.    A.    D. 
Amson.    Emily 
Anderson.    C.    D, 
Anderson.    D.    P. 


(Ohio)   . 
(Wis.)   . 

(Wis.)   . 

..    (Pa.)    . 

(Mich.)   . 

..(N.Y.)   . 

(Cal.)    . 

(Utah)    . 


Anderson.  E.  W.  (111.) 
Anderson.  O.  S.  (N.D.) 
Appenzellar.  J.  L.(Pa.) 
Arbuckle.     Mabel  (Mich.) 

Arnold.     E.     J (Ohio) 

Astell.      L.     A.  (111.) 

Aughinbaugh.B.A.  (Ohio) 


Anstin.     F.     H. 
Austin.    Scott    ,,, 
Avery.    Anne 
Backus.     A.    H. 
Baker.     E.     J.    . 
Balcom.   A.   G.  ... 
Ballon.     Ethel 
Bardy.     Jo<^ph 
Barnard.  Elic. 
Barrett.      Wilson 
Barrv.      A.     J. 
Bashkowitz.   P.    . 
Bauer.    H-    C. 
Bedell.     Ralph 
Bell.    Ca  1    S. 
Benham. 
Berg.     E 


Bernays.  Mrs.  E. 
Bert.    Reese    E. 
R>-ttenconrt.    W. 
ni'ch.   C.   E 


(Ohio) 

(Mass.)   t 

.      (111.)   . 

.    (Ind.)    . 

(III.)    . 

(N..I.)   t 

(Wis.)   . 

(Pa.)    t 

(Mich.)   . 

(N.Y.)   . 

.  (Mass.)    . 

..    (N.Y.)   . 

(Mmn.)    . 

C.    (Mo.)    t 

,     (S.A.)    . 

S.    Mae   (N.Y.)   . 

L. (N.Y.) 


t  . 
t  . 
t   . 


t 

(N.Y.)   .    t 

(Cal.)   .    t ■ 

(Mass.) T 

(Kan.)   t  .    •    • 


Expiring   September      to      June 
SONDJ    FMAMJ 

Bittel.    W.    H. (Ind.)   .    .    .    t 

Blair,   Maude  (Mich.) i 

Bonwell,    W.    A.      (Kan.) t   .     .     ■ 

Bow.    Warren    E.(Mich.) i 

Bowen.    Ward    C   (N.Y.)   t 

Bowmar.    SUnley    (N.Y.)    .    .     1 

Brewer.    K.    M (Pa.) f  . 

Briner.     G     C (N.Y.)   .    .    .    .    t 

Brodshaug.    M.        (N.Y.I   t -^ 

Browe.     Herman  .(Mich.) t 

Brown,    C.    A (Ore.  I   t 

Brown.    Ma-y   M.(Mich.) t 

Brown.    O.    E (Cal. I t  . 

Buckingham.    B.   (Mass.)   .    .    .    t 

Buisson.    J.    A (La.)   t 

Bullington.  J.  R...(Ark.)   t 

Burke,    H.    A (Neb.)   .    .    .    t 

Burns.    Suzette   ....(N.Y.)    .    t 

Burns.    Val    Jean   (N.Y.)   .    ■    ■    t 

Byers.     B.     H.  (Pa.) t  - 

Canfield,    B.    R.   (Mass.) 

Cannavan.  P.  D... 

Ca  lyon.    E.    L. 

Carrick.    Guy    R. 

Carter.    J.    M. 

Cawelti.    D.    G. 

Childs,  Henry  E. 

Christiansen,    F.   (M-ss.l    .     .  .... 

Clark.    Ella    C.     (Minn.)   -    •    •    t 

CTereland.    W.    R.      (III.)    ...    t   ...    ■ 
Clifford.     William    iNY.l    .     .    t   . 

Cody.     Frank         (Mich.) 

Cohen.  Frances     ..(N.Y.)   .*...-- 
Collier.     R.     Jr.     (Co'.o.)   ...     i    ...    ■ 

Conlon.    Cheater    (Mass.) T 

Conger.     H.    G (III.)   ...    t   ...    . 


(Ohio)   .    .    .  t 
..(III.)   .... 

(Pa.)   .... 

(HI.)   t  •    •    • 

(III.) 


(R.I.) 


t  .    .    .    . 


Bxpiting   September      to      June 
SONDJ    FMAMJ 


Conn,    M.    Z. (Ohio)   .    .    . 

Cook.  Dorothea  (D.C.)  t  .  ■ 
Cook.  Dorothy  (N.Y.)  .  .  . 
Cook.    G.    S.  (Fla.)   .    . 

Crawford.  E.  M.  (Ohio)  .  . 
Crawford.    E.    W.   (N.J.)   .    . 

Crouse.    T.    R. (Mich.)   .    . 

Crumbling.  C.  S.  ..(Pa.)  .  . 
Cummings.  O.  G.  (Cal.)  .  . 
Cunliffe.    Bessie    (Mass.)    .    . 

Cushing.    Lena      (Mass.)   .    t 

Dale.    Edgar  (Ohio)    .    . 

Dalrymple.   C.   V.  (Mich.  I   .     . 

Darlington.    E.    H.   (Pa.)   .    J 

Davis,    M.    E. (Cal.)   .    . 

Davia,    R.    H (Kan.)   t  ■ 

Day.  M.  M.  (Ind.)   .    . 

Dennis.     S.     C.       (Ohio)   .    . 

Dent.    E.    C (N.J.)    t   . 

Devereux.   F.   L.  ...(N.Y.)   .    . 

Doane.    Donald   C.   (Cal.)   t  - 

Doidge.    R.    W.     (N.Y.)   .    . 

Dolan.    John    J.      (N.J.)    .     . 

Dreve-.     W.     E. (III.)    .     • 

Dudley.    W.    H.         (III.)   .    . 

Dugdale.    L.    A.     (Colo.)    .    . 

Dunne.  Fannie  W. (N.Y.)     .    . 

Dwerlkotte.    F.    D.(Pa.) 

Dyer.    J.    E 

Dyer,    W.    C 

Eaton,   Ann     .  . 
Fby,     George 
E-lwards,    C.    E. 
Edwards.   B.   T. 
Eirhel.     C.     G. 
Elliot.    Keith 


(D.C.)  t 

(Ohio)  t 

(N.Y.)  .    T . 

(Cal.) t  . 

(Ohio)  .    .    .    .    t 

(N.Y.) '   :        • 

(N.Y.) t    .    . 

(Mich.) t 


Page  294 


The  Educational  Screen 


Expiring    September      to      June 
S  O  N  D  J    F  M  A  M  J 


Ellis.    Don    Carlos(N.y.  I 
Elwell,    J.    W.         (Ohio)   . 
Emmert.    Wilber        i  Pa.  i 
Brickson.    C.    W.(Mass. )   . 
Erickson,     H.     E.    .(M"-i 
Farwell,    M.  (M;.as.  I 

Feldstein,  M.  E.  (N.Y.I 
Ferguson.    B.    W.    (N.    .| 

Finley,    R    D (111.) 

Fish,    Gladys  (Micii  )    . 

Fisk,  Ha;ri8on  ..(Mass.) 
Flint.     Anne  (Wis.)   . 

Fortington,  H.  A. (N.V.I 
Frances.  C.  B.  .  (Ind.i 
Frankel,  Louis  (N.V.I 
Freeman.  F.  N.  (111.) 
Freeman,  P.  Q...  (Ohio/ 
Fritsche,  H.  E.  (Cal.i 
Gallup,  Anna  .  (N.Y.l 
Gambach,  J.  C.  (Ui  I 
Gar.ity,  Helen  .  (Mass.l 
Gehan.  Claire  (M.Y., 
Gibbony.  Hazel  (Ohit  I 
f;iering.  E.  J.  Jr.  (La,  I 
Gillen.     F.     G.  (I'a  » 

Gleckler.    Brycc      (Kan.) 
31c  nw  ight.    W.  C.  I  Ohic  I 
Glick,    Annette        (Cal.) 
Go  man.    Alice       (JVia.s.)   : 
Gramet,    C.    A.        (N.Y. ) 
Gray,    Rebecca    J. (D.C.I   t 
Greene,    Nelson    L.    (Ili.l 
Greene,    Mrs.    R.        (la.) 
Greenwald,     Alma  ( N. Y.  I 
Grego  y.     W.    M.    (Ohio) 
Gunnell.    Frank      (N.Y.)   , 
Hamilton.     George  (  Pa. )    . 
Hanna,     B.     M.     (Ohio) 

Hansen.    J.    E (Wis.  I 

Hardcastle.    R.  (Mo.) 

Haworth,  H.  H.  (Cal.l 
Hayes,  Mrs.  D.  (111.  I 
Healey.  Gerhude  (N.Y.  I 
Hebert.  A.  O.  (Mass.)  . 
Heinaman,  F.  S.  (Pa.) 
Helstcrn.  R.  F.  (Ohio)  . 
Henderson.  H.  A.dnd. ) 
Hea-sberg.    Lena      (N.Y.) 

Hethershaw,     L (la.) 

Hill.  G  ace  A.  (Mich.) 
Hill.  Ned  W.  (Ariz.) 
Hillegass.    W.    F.  ..(Pa.) 

Hissong.     R.     D. (la.)   , 

Hoban.    C.     F (D.C.) 

Hoban.    C.    F.   Jr.    (D.C.) 
Hachheimer.     Rfta(N.Y.) 
Hodgkins.    G.    W...(D.C.) 
Hoefling.     C.     E.      (N.Y.) 
HolTman.     J.  (III.) 

Hollinger.  J.  A.  (Pa.) 
Holton.  Mrs.  C.  (III.) 
Hunt.     F.     L.  (N.J.) 

Irwin.  Manlev  E.(Mich. ) 
Jansen.  William  (N.Y.) 
Jensen.    J.    H.  (S.D.I 

Jones.     A.     H.  (Ind.i 

Jones.     A.     L.  I  N.Y.) 

Katz.     Elias  (N.Y.I 

Kaufman.  M.  E.  (Neb.) 
Ko-stetter.     N.  (Pa.  I 

Killey.  Lorene  iCal. ) 
Knowlton.  D.  C.  (N.Y.I 
Koch.    I  illian  (N.Y.I 

Koon.  Cline  M.  (D.C.) 
Kooser.    H.    L.  (la.) 

Kottm^n.  W.  A.  (N.Y.) 
Kradel.    J.    C.  (Pa.) 

Kr-'sker.     A.     (Mass.) 

Kraas.    J.    F (Wis.) 

Kru»e.     W.     F.  (I'l.) 

Kunce,  W.  C.  (Ohio) 
Lain.     Dolph  (III.) 

laing.     R.     T.  (Pa.) 

lamping.    S.  (Ohio) 

Lanni-».     G.  (Mich.) 

L*»  Ande  son.  R  (Mi"h.) 
LeFaTour.  Hclen(Mich.) 
Lci^ro.    Edna  (Mass.) 

LeSourd.  H.  W.  (Mass.) 
I.ewin.  William  (N.J.) 
Lewis.  D.  K.  (Minn.) 
Lieberman.  M.  (N.Y.) 
Lindstrom.  C.  A.  (D.C.) 
I  inton.    Alma  (Cal.) 

Lowe.  C.  E.  ..  lOh'o) 
l.uccock.  Natalie(Mich.) 
Lvons.  John  H.  (Conn.) 
Machan.  W.  T.  (Ariz.) 
MacHarg.  J.  B.  (N.Y.) 
MacRae.  F  ed  A. (N.Y.  I 
Middock.  W.  H.  (N.Y.I 
Mahaffey.  C.  E.  (Ohio) 
Mallon.  Arthur  (N.Y.I 
Mpnn,     Paul     B.     (N.Y.) 

Marble,    A.    L. (Cal.)   : 

Martin,     R.     W.      (Ohiol 
Martinez.     Nettie  (Mich.)    . 
Mayer.    Rachel         (N.Y.l    . 
McCarthy.     Julia  (Mich.  I    . 
McCltt  e.     Mrs.     R.    (III.)    . 


Expiring    September      to      June 
SONDJ    FMAMJ 


Expi-ing    September      to      June 
SONDJ    FMAMJ 


McClusky,  F.  D.  (N.Y.) 
McDaniel,  Nettie(Mass.) 
Mclntire,     George  .(Ind.) 

Mclsaac.    J.    S. (Pa.) 

McKeown,  M.  J.  (N.Y.) 
McMahon.  Mrs.  T.( Ohio) 
McMaster,  W.  H.  (Cal.) 
McMullan,  D.  S.  (Can.) 
McSwyny.  Mary..  (N.Y.) 
Meissner.  Amelia.  (Mo.) 
Mcola.     L.    K.  (Ohiol 

Millar.  Laura  ....(Mich.) 
Miller.  W.  C.  (Ohio) 
Montross.     Ceola   (Mich.) 

Moyer.    J.    A. (Mass.) 

Mueller,  J.  H.  (Mass.) 
Muerman.  J.  C.  (Okla.) 
Mullen,    Sarah  (Cal.) 

Nelson.    Paul  (Wis.) 

Newman.     H.    T.    (N.Y.  I 

Nichol.     R.     J (111.) 

Nichols,    F.    W (III.) 

Nicol.    Alan    H.      (N.Y.) 

No:  man.    M.    A (111.) 

Northcott.    J.    W.lMass. ) 

O'Brien.     W.     S (Wis.) 

O'Gorman.    D (N.Y.) 

Olekhovsky.  V.  (N.Y.) 
Palmer.  Mary  ..(Mich.) 
Palmer,     W.     C.   ..(N.D.) 

Parizak,    Liel     (Wis.) 

Pakes,  G.  H.  (Conn.) 
Pence.    A.    C.  (Ohio) 

Peters.    Rupert    (Mo.) 

Peterson.    C.   W.    (Mass. ) 

Piatt.    H.    H (Mass.) 

Pontev,    Agnes    ..(Mich.) 

Powell,    W.    T. (Tex.) 

Pratt,    M.    W. (III.) 

Purdon,    A.    (Mass.) 

Quinn.    Eleanor       (N.Y.) 

Rabenort,    W (N.Y.) 

Rakest'aw,  B.  B.  (Cal.) 
Ramsey.  Grace  ....(N.Y.) 
Ramseyer.  L,  L...(Ohio) 
Randolph.  C.  F.  (N.J.) 
Rankin,    Mrs.    V.    (Ind.) 

Reagan.    C.    R (Ga.) 

Redmond.    Marie   (Mich.) 

Reed.    Paul    (N.Y.) 

Reilly.     F.     J.  (N.Y.) 

Reitze.    A.    W.  (N.J.) 

Remaley.  J.  W.  (Pa.) 
Remer.     T.     G.  (III.) 

Renton.    Janet    ..(Mich.) 

Rhodes,    H.    K (Pa.) 

Rhuland,  F.  A.  (Mass.) 
Rich.     L.     H.  (Mich.) 

Ricklefs,  R.  U.  (Cal.) 
Riordan.  Helen  ..  (D.C.) 
Ritter.    Karl  (N.J.) 

Roberts.  Gilbert  (Ohio) 
Robinson.  R.  E.  (Mich.) 
Robison.  Alice  (Mich.) 
Rodge-s,  Myrtle  (La.) 
Roethke,    Louise    (Mich.) 

Rogers,    T.    N (Cal.) 

Rooney.  M.  C.  (N.Y.) 
Ross,    Herman         (N.Y.) 

Roper.    A.    E. (Ohio) 

Rontzahn.  E.  G.  (N.Y.) 
Ruch.    H.    R.  (Pa.) 

Rummel,     Paul     (Mass.) 

Sargent,    T.       (Mass.) 

Schaper,  Mamie  ..(Tex.) 
Schmidt,    C.    E.        (N.J.) 

Selden,    J.    P. (Mich.) 

Selle-s.    O.    E (Ohio) 

Seltzer,    Jack    ....(Mass.) 

Shapiro,    A.    (111.) 

Shaver.    John    H.    (N.J.) 

Shedd.    H.    P. (la.) 

Siegel.    A.    S.  (Mich.) 

Silverman.   E (N.Y.) 

Simpson.  M.  L.  (N.Y.) 
Sims.  Stephen  (N.T.) 
Siasler.    C.    T.  (N.Y.) 

Slauson.    V (la.) 

Sm»ll.    L.    G.  (Mass.) 

Smith.  Go- aid  W.  (111.) 
Smith,  H.  A.  (Mass.) 
Smith.  H.  N.  .  (N.Y.) 
Smith.    Mrs.    H.        (Cal.) 

Smith,     R.     B (Vt.) 

Snodgrass.  Mrs.  H.(Ohio) 
Sondheim.  Mabel  (N.Y.) 
SpafTord.    B.    M.   (N.Y.) 

Stabler.    E.    F (Pa.) 

Stackhouse.  J.  M.(N.C.) 
Stamm.  Harold  (Wis.) 
States,    EnrI    C.      (Ohio) 

Steiner.     F (N.Y.) 

Stemmelen,  O.  (Mich.) 
St  acke.  G.  A.  (Mich.) 
Sullivan.  J.  V.  (N.Y.) 
Swarthout.  W.  E.  (III.) 
Swingle.    Earl  (Cal.) 

Sylvia.  Sister  M.  (Pa.) 
Tangney.  Homer  (Wis.) 
Taylor.  Florence  (N.Y.) 
Taylor.  Roy  H.  (111.) 
Temple.  E.  H.  (Mass.) 
Theobald.    Jacob     (N.Y.) 


(Pa.) 


Thomas.  J.  F.  (Mich.)  i 
Thomas,  J.  S.  (Mich.)  . 
Timings.  Claire  (N.  J.i  . 
Tomlin.  Fred  (N.  Y.)  . 
Trace.  Charles  T.(N.Y. )  . 
Trachsel.  R.  E.  ..(Ohio)  . 
Trolinger.  Leiia  (Colo.)  . 
Troxel.    R.    B.  (111.)    . 

Trudell.  Pearl  (Mich.  I  . 
Tuttle.  Earl  B.  I  N.J.  I  t 
Twichell.  L.  M.  (Mass.)  . 
Twogood.  A.  P.  ..  (la.)  . 
Uhrlaub.    R.    R.      (Kan.  I    . 

Uhte.    J.    C (Cal.l    . 

Van    Aller.    H.H.  (N.Y.)    . 
Van  Loenen.  C.  A.(Cal. ) 
Varnedoe.    Ashton    (Ga.)    . 
Vaughan.    H.    B.     (Tex.)    . 

Vernor.    P.    H (111.)    . 

Volk.    J.  (Ohiol    . 

Waggoner.  E.  C.  (11.)  . 
Walker.     D.  (Ttx.  I    . 

Walter.  Mary  R  (Tex.  I  . 
Wardlaw.    J.    C.        (Ga.  I    . 

Warren.    H.    (Mass.)    . 

Wavrunek.    G.    M.(Wis.) 
Weaver.    Paul    H.  (Ohio)    . 
Weedon.     Vivian     (Ohio)    . 

Welchons.    J.    S (Pa.)    . 

Wells,     Bessie     F.  (Ohio) 
White,     J.     H.  (Pa.  I    . 

White.    J.    Kay  (111.)    . 

Whittinghill.  W.  (Mich.)  . 
Williams,  A,  B.  (N.Y.l  . 
Williams.  Don  (Mont.)  . 
Williams.  P.  T.  (N.Y.)  . 
Williamson,    P.        IN.Y. )    . 

Wilson,    E.    H (Wis.)    . 

Wilson,  H.  W.  (N.Y.l  . 
Winchell,     L.     R.    (N.J.)    t 

Wise.    H.    A.    (Mo.  I    t 

Witt.    Margaret         (Pa.  I    . 

Wright,    G.    W (N.J.)    . 

Yeager,    W.   A.  ( Pa.  I    . 

(Paid  Memberships  iviCf^o 

Admin.    Lib  ary. 

Pittsburgh, 
Brigham   Young 

Ifniv.,    (Utahl   . 

Chardon    Community 

Pub.  Schools  (Ohiol  . 
Cleveland  Lib..  (Ohiol  . 
Columbus 

Y.M.C.A.,      (Ohiol    . 

Dean    Academy, 

Franklin      (Mass.l    . 

Evanston    High 

School,  (III.)    t 

Fairview    High    Sch.. 

Cleveland.  (Ohiol    . 

Fresno  Schools. 

Visual  Dept..  (Cal.l  . 
General  Film.s  (Can.  I  . 
Geo.   Peabody  Coll.. 

Nashville.  (Tenn.)    . 

Into' national   Library. 

Visual  Aids  (N.Y.l  . 
la.  State  I'niv.  .  (la.  I  . 
John    Burroughs  Sch. 

Columbus       (Ohio)    . 

Kent    College  (Ohio)    . 

Mt.   Union 

College  (Ohiol    . 

Naperville  Board  of 

Education  (III  ) 

Noble  School. 

Detroit  I  Mich.  I    . 

Notre  Dame  H.  S.. 

Hamilton  (Ohiol    . 

Pedagogical    Libr., 

Philadelphia  (Pa.)    . 

Pub.  Sch.  No.  43  (N.Y.)  j 
Ridgewood  Schools. 

Visual  Com.  (N.J.)  . 
Rorer   Bacon    H.   S.. 

Cincinnati  (Ohiol    . 

Roosevelt   Jr.    High. 

Cleveland  Hgts.(Ohio)  . 
State    Normal    Univ., 

Normal  .  ml.)    . 

State  Teachers  Colleges 

at     Chico  (Cal.)   1 

at     Kearney     ...Nebr.  I    . 

at    San    Diego         (Cal.)    . 

at  Terre  Haute  (Ind.)  . 
Summitville  Sch.  (Ohio)  . 
Univ.   of    Hawaii 

Library  (T.H.)    . 

Visual  Se  V.  (T.H.)  . 
Lfniv.  of   Kentucky 

Exten.    Div.  iKy.  1    . 

Univ.  of  Minnesota. 

Library         (Minn.)    . 

I'niv.  of  Oklahoma. 

Exten.  Div.  (Okla.)  . 
West   Tex.   State 

Teachers  Oil.  (Tex.  I  . 
Whitmer  H.  S.  Camera 

Club.  Toledo  (Ohio)  . 
Wm.   McGuffey   H.   S.. 

Oxford  (Ohio)    . 

Wilson    Teachers 
Col (D.     C.)    .    . 


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D  AVEN  PORT,    IOWA 
NEW    YORK    CITY 


Page  296 


The  Edui  ational  Screen 

NEWS  AND  NOTES   ^-.^  /..■/  .-././-.,»  «, 

iigiupcant  laiii^^   aiuL   evenU   in   tke    vUnai  pell. 

Conducted  by  Josephine  Hoffman 


Minnesota  Institute  in  Visual  Education 

On  Thursday,  Friday  and  Saturday,  December  2, 
3  and  4,  1937,  the  University  of  Minnesota  Center 
for  Continuation  Study  will  offer  a  regional  institute 
in  Visual  Education,  the  first  of  its  kind  in  the  North- 
west. On  Saturday,  December  4,  the  Center  will  hold 
a  conference  on  the  Class-room  Use  of  Radio. 

The  chairman  of  the  faculty  for  the  Institute  will 
be  Professor  Robert  Kissack,  Jr.,  head  of  the  Uni- 
versity Visual  Education  Service.  The  instruction 
staff  of  the  Institute  as  now  arranged  includes  such 
well  known  experts  in  the  field  as  Dr.  Edgar  Dale  of 
Ohio  State  University,  Charles  Hoban  of  the  Ameri- 
can Council  on  Education,  H.  B.  McCarty,  Program 
Director  of  WHA  at  the  University  of  Wisconsin,  J. 
E.  Hansen,  Chief  of  the  Bureau  of  Visual  Instruction 
at  the  University  of  Wisconsin,  Ella  Clark  of  the  S  ate 
Teachers  College  at  Winona,  and  H.  L.  Kooser.  Head 
of  the  Visual  Instruction  Service,  Iowa  State  College. 
It  is  probable  that  other  educators  who  have  made  a 
conspicuous  success  in  the  use  of  radio  and  visual 
aids  will  also  be  asked  to  assist. 

In  brief,  the  program  will  deal  with  teaching  meth- 
ods (with  demonstrations),  teacher  training  in  visual 
education,  equipment,  distribution  of  visual  aids,  pre- 
paration of  visual  aid  materials,  application  of  visual 
aids  in  the  new  concepts  of  learning,  and  administra- 
tive problems  (such  as  securing,  budgeting  and  set- 
ting up  visual  aid  programs  in  rural  and  urban 
schools). 

"Thousands  of  teachers  in  the  Northwest  are  now 
making  use  of  visual  aids",  says  J.  M.  Nolte,  Director 
of  the  Center,  "but  there  is  a  widespread  opinion 
among  them  that  such  use  is  not  always  as  effective 
as  it  might  be  made.  This  institute  is  offered  at  the 
suggestion  of  teachers  who  seek  to  know  the  best 
practices  in  employing  visual  aids.  It  will  attempt  to 
present  to  institute  members  the  experience  of  those 
who  have  been  most  successful  in  this  field,  and  it 
will  give  the  teachers  attending  full  opportunity  to 
'^discnsy  their' own  problems  in  relation  to  the  subject." 

The  institute  is  offered  for  professional  educators 
in  the  Northwest.  All  applications  will  be  sent  to  each 
applicant  by  the  Director  of  the  Center.  Details  as  to 
registration,  tuition  and  accommodations  are  available 
from  the  Center  for  Continuation  Study. 

The  Motion  Picture  on  Willlamstown  Program 

The  influence  of  the  motion  picture  on  public  opinion 
in  the  United  States,  particularly  from  the  point  of 
the  relation  of  the  movies  to  ethics  and  the  spirit  of 
Am.erica,  was  ithe  subject  of  extended  discussion  at 
the  1937  Williamstown  Institute  of  Human  Relations 
at  Williams  /^College,  Williamstown.  Mass.,  from 
A  -igust  29  tot  September  3.     The  Institute  was  held, 


as  in  1935,  under  the  auspices  of  the  National  Confer- 
ence of  Jews  and  Christians,  of  which  Dr.  Everett  R. 
Clinchy  is  director. 

Three  co-chairmen  of  the  Institute — Newton  D. 
Baker,  Prof.  Carlton  J.  H.  Hayes  and  Roger  Williams 
Straus— represented  the  Protestant,  Catholic  and 
Jewish  faiths.  Dr.  Harry  A.  Garfield,  president  emer- 
itus of  Williams  College,  presided  at  the  sessions  Aug. 
30  and  Aug.  31,  during  which  the  motion  picture  was 
the  topic  of  discussion. 

Edgar  Dale,  Ohio  State  University,  spoke  on  ''The 
Motion  Picture  and  Inter-Group  Relations."  At  the 
second  day's  session,  Gerald  B.  Donnelly,  Associate 
Editor  of  America,  Fred  Eastman  of  Chicago  Theo- 
logical Seminary,  and  Rabbi  Morris  S.  Lazaron  of 
Baltimore  spoke  on  "The  Motion  Picture  and  Its 
Public  Responsibilities." 

Atlanta  Audio-Visual  Conference 

The  first  Southern  Conference  on  Audio-Visual 
Education,  held  last  month  in  Atlanta,  was  a  marked 
success,  attracting  a  large  attendance  at  the  three-day 
meeting,  which  was  under  the  chairmanship  of  Dr.  J. 
C.  Wardlaw,  Director  of  the  University  System  of 
Georgia  Division  of  General  Extension.  The  principal 
speakers  and  their  topics  were: 

"The  Motion  Picture — A  Great  Teaching  Medium," 
by  Dr.  B.  H.  Darrow,  educational  director,  Buffalo 
Evening  News  Radio  Station ;  "Seeking  New  Educa- 
tional Objectives  Through  the  Use  of  Films,"  and 
"Teaching  Motion  Picture  Discrimination  to  Children 
and  Youth,"  by  Dr.  Edgar  Dale,  Ohio  State  Univer- 
sity, Columbus,  Ohio;  "Teacher  Training  and  Audio- 
Visual  Education,"  by  Dr.  Walter  D.  Cocking,  Dean 
Peabody  College  of  Education,  University  of  Georgia ; 
"Recent  Developments  in  the  Use  of  Visual  Aids  to 
Instruction,"  by  Dr.  Ellsworth  Dent,  educational 
director,  Victor  Division,  Radio  Corporation  of  Amer- 
ica ;  "The  History  and  Present  Status  of  Instructional 
Sound  Films,"  by  Dr.  H.  A.  Gray,  Research  Associate, 
Erpi  Picture  Consultants,  Inc.  "The  Educational  Mo- 
tion Picture  Policy  and  Program  of  the  United  States 
Department  of  the  Interior,"  by  Fanning  Hearon. 
director.  Division  of  Motion  Pictures,  U.  S.  Depart- 
ment of  the  Interior,  Washington,  and  "New  Develop- 
ments in  Educational  Motion  Pictures,"  by  Donald 
P.  Bean,  director.  University  of  Chicago  Press. 

The  conference  closed  with  a  resolution  to  make  a 
permanent  organization  of  the  association,  which  was 
organized  in  August  by  a  group  of  thirty  southern 
educational  organizations. 

The  October  meeting  of  this  association  was  prob- 
ably the  most  significant  educational  meeting  that  has 
been  held  in  the  state  in  ten  vears. 


November,  1937 


Page  297 


Noted  English  Producer  Visits  U.  S. 

Paul  Jxotha.  author  of  several  books  on  motion  pic- 
tures and  an  authority  on  documentary  films,  has  ar- 
rived from  England  for  a  five  months'  stay  during 
which  he  will  cooperate  with  the  Museum  of  Modern 
Art  Film  Library,  New  York  City,  in  the  production 
of  a  film  on  the  technique  of  motion  pictures,  which 
will  illustrate  technical  and  artistic  progress  with  ex- 
cerpts from  films  in  that  library. 

His  other  activities  while  in  the  United  States 
will  include  a  series  of  lectures  at  several  Eastern 
colleges  and  universities,  and  the  showing  of 
several  representative  English  documentary  films, 
which  are  considered  by  many  in  England  the  most 
significant  type  of  film  at  present  made  there.  Mr. 
Rotha  is  production  supervisor  of  Strand  Film  Com- 
pany and  has  produced  most  of  the  films  he  has  with 
him. 

College  Inaugurates  Film  Course 

Dartmouth  College  started  the  ex])eriment  (jf  de- 
veloping motion  picture  script  writing  with  the  recent 
arrival  in  Hanover,  N.  H.,  of  Walter  Wanger,  pro- 
ducer. He  will  promote  instruction  in  this  field 
as  a  memorial  to  the  late  Irving  Thalberg.  The  project 
will  he  carried  on  in  upper-c!as,s  courses  of  the  Eng- 
lish department  under  direction  of  Professor  William 
B.  Presscy,  who  will  he  assisted  by  writers,  directors, 
actors,  actresses,  producers,  censors,  camera  men  and 
editors  sent   from   Hollywood  bv   Mr.   Wanger. 


Educational  and  Entertainment  Sound  Films  for  Schools 

"Spirit  of  the  Plains"  "Trees" 

'Stephen  Foster"  "Beautiful  Blue  Danube" 

Write  for  complete  list  of  sound  and  silent 
16  mm  films  for  schools 

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105  EAST  FIRST  ST.  WICHITA.  KANSAS 


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•  Animated-map  sound  film  showing  geographicaT 
changes  in  Europe  resulting  from  the  World  War. 
English   narrative.  2/3   reel. 

•  Film  will  be  sent  on  approval  or  for  preview  by 
prospective  purchasers.  Copy  of  narrative  free  on 
request. 

16mm.  35mm. 

•  For  sale  , $17.50  $35.00 

For    rental    1.25  3.00 

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Announcing  a  Different  Type  of  Primary  School  Program 


Distributed  in  16  mm.  Sound-on  Film 

WALTER  O.  GUTLOHN,  Inc.,  announces  the  release  of  a  series 
of  one  reel  films  specifically  adapted  and  edited  for  children  in 
the  6  to  1 2  year  age  group. 

These  pictures  are  both  instructional  and  entertaining.  The  sub- 
jects consist  of  a  film  entitled  "Adventures  of  Bunny"  and 
seven  "Children's  Hour  Programs",  which  are  variety  films  com- 
posed of  nature  study,  marionette  and  novelty  material,  taken 
from  Pathe's  World  in  Review  series. 


RECESS      PROGRAMS 

of  half-hour  length,  containing  entertain- 
ment and  instructional  value,  are  avail- 
able on  attractive  rental  basis. 


SEND     FOR    CATALOG 

listing  over  900  Entertainment  and  Edu- 
cational subjects.     A  great  source  book 
of  Information. 


Special  Rates  on  Recess  and  Feature  Program  Combinations 


WALTER  O.  GUTLOHN,  Inc. 


35  West  45th  Street 


Dept.  E-l  I 


New  York,  N.  Y. 


Page  298 


The  Educational  Screi 


'«l«fl 


SCHOOL    DEPARTMENT 


Conducted  by  Wilhrr  Einniorl 

Director  Visual    Educat'on.   State   Teachers  College,    Indiana,   P( 


\ 


The  Camera  Serves  the  Schools 

^CCTITH  the  arrival  of  the  so-called  "Candid  Camera 
Era".  ])eo])le  of  all  ages  have  been  fascinated  by 
the  hobby  of  i)hotography.  The  interest  is  not  re- 
stricted to  the  camera  itself  as  such,  but  includes  all 
phases  of  photography,  the  taking  of  pictures,  the 
chemicals  u  jd  in  making  prints,  the  print  itself,  opti- 
cal princi])k-s  involved,  various  grades  of  photographic 
papers  and  emulsions,  camera  angles,  and  the  like. 
In  fact  all  those  elements  which  enter  into  the  making 
of  an  artistic  finished  product,  the  print,  challenge  the 
interests  of  the  addicts  to  the  fascinating  hobby. 

This  interest  can  readily  be  turned  to  advantage 
for  educational  purposes.  Camera  clubs  can  be 
formed  and  courses  in  photography  offered  in  the 
high  schools.  Pupil  and  parent  influence  in  this  mat- 
ter have  reacted  in  many  cases  so  that  school  adminis- 
trators have  discovered  that  they  could  find  in  the 
school  budget  an  allotment  of  money  and  rooms  for 
photographic  work.  Administrators  have  also  found 
that  pictures  of  school  activities  when  used  in  lo"al 
papers  have  been  of  inestimable  value  in  building 
favorable  attitudes  toward  securing  community  co- 
operation for  the  school  and  its  program.  A  creative 
teacher  might  greatly  vitalize  the  study  of  the  funda- 
mental subjects  by  photographing  the  activities  during 
the  conduct  of  a  unit  of  work,  thereby  creating  greater 
interest  on  the  part  of  the  pupils  and  also  showing 
the  principal,  the  supervisor,  and  the  parents  the 
eiTects  of  these  dynamic  techniques  in  a  functional 
curriculum. 

The  following  illustrations  show  how  the  camera 
was  turned  to  educational  use  in  the  regular  conduct 
of  class  work  in  the  schools.     In  some  cases  it  was 


54" X  72" 

PORTABLE 

SOUND    SCREENS 

VALUE  —  $22.50 

While    150  last 

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SPECIFICATIONS 

•  Perforated     l*ro*es»ii:.nal         •    Portable     Constructions 

C'oth                                               «    Sound     or     Silent 

•  Wood    Struts                                       Projection 

•  Fibr«   Container                         •   Guaranteed    Sat'sfaction 

K  Gr<>at  Value  for  Classroom,  Auditorium  or 
as  a  Secondary  Screen  for  Emergency  Use 

HORNSTEIN 

PHOTO    SALES 

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2« 

E.    MADISON    ST. 

CHICAGO.    IM, 

used  to  record  acconiplishnients ;  in  another  it  served 
to  indicate  techniques ;  in  other  instances  it  pointed 
the  way  to  possible  activities  to  enrich  the  subject 
matter  of  the  curriculum. 

A  Mural  of  Mexico 

TIURING  the  regular  conduct  of  the  geogra])hy  unit 
on  Mexico  in  the  seventh  grade  in  the  Training 
School  of  the  State  Teachers  College.  Indiana,  Pa., 
the  jHipils  expressed  a  desire  to  add  something  of 
their  own  making  to  the  increasing  quantity  of  visual 
materials  in  their  classroom,  .\fter  due  deliberation 
they  decided 
to  execute  a 
mural,  stress- 
i  n  g  certain 
features  o  f 
Mexico  and 
Mexican  li  f e. 
This  project 
was  turned 
over  to  Alma 
Gasslander, 
A  r  t  Su])cr- 
visor,  who 
had  each  pupil 
submit  a  de- 
s  i  g  n  on  a 
large  sheet 
of  wrapping 
paper.  A  vote 
was  taken, 
and  the  two 
murals  shown 
in  the  picturt 

were  made  on  cloth,  with  crayons  and  in  color,  as 
class  projects.  These  now  adorn  the  walls  of  the  class- 
room. 

When  the  murals  were  al.nost  completed  the  camera 
was  called  into  use  and  this  picture  taken,  primarily 
to  indicate  techniques  employed  in  this  integrated  and 
functional  curriculum  of  the  college.  The  picture  tells 
better  than  words  can,  how  the  project  was  executed. 
One  sees  at  the  right  a  group  of  pupils  sketching  and 
making  the  designs;  while  the  center  foreground  in- 
dicates that  in  the  initial  stages  the  work  on  the  mural 
was  done  with  the  cloth  spread  on  the  floor,  making 
it  possible  for  quite  a  number  of  students  to  work  on 
it  simultaneously.  "Finishing  touches"  were  added 
with  the  mural  in  place  on  the  wall,  thus  giving  the 
proper  perspective  and  making  it  convenient  to  add 
a  bit  here  and  there  to  give  the  correct  shades  and 
proper  tone  values  to  the  whole  picture. 

This  picture  has  been  made  into  a  lantern  slide  and 
serves  admirably  at  institute  meetings  to  inform  teach- 
ers in  service  of  projects  and  techniques   which   will 


Pupils  at  work  on  murals 


Tovember,  1937 


Page  299 


api)rL-ciably  enrich  their  teaching.  Used  in  the  college 
paper,  tlie  local  daily  paper,  and  in  the  college  cata- 
logue, it  informs  tlie  comnnniity  at  large  of  the  type 
of  work  being  done  in  the  modern  type  of  school. 
Thus  the  camera  serves  the  school. 

y       4-H  Guernsey  Calf  Club  Rouud-Up 

A  NOTHER  instance  in  which  the  camera  came  into 
play  to  serve  education  was  in  connection  with 
the  4-H  calf  club  work  carried  on  during  out  of  school 
time.  In  June  1935  a  number  of  boys  and  girls  of 
Purchase  Line,  Penna.,  joined  the  4-H  Guernsey  Calf 
Club  under  the  sponsorship  of  County  Agent  John 
Warner,  knowing  that  such  an  undertaking  was  a 
long-term  project.  .\t  that  time  each  member  entered 
a  six-months-old  calf  in  the  contest.  Approximately 
two  years  later,  when  the  animals  were  fresh  and  milk- 
ing, they  were  entered  in  the  judging  contest  at  the 
annual  field  day  and  live  stock  round-up.  On  this 
day,  which  marked  the  culmination  of  the  project 
started  two  years  previously,  the  sixth  photograph  in 
a  long  pictorial  record  of  the  project,  was  taken  to 
commemorate  the  event.  The  series  of  pictures  tells 
very  graphically  the  story  of  progress  and  achieve- 
ment. The  camera  did  its  work  well  and  proved  to 
be  an  invaluable  servant. 

Mr.  Warner  used  the  pictures  in  newspapers  to 
inform  the  people  of  the  work  of  the  young  people,  to 
promote  community  spirit  of  cooperation,  to  enlist  the 
interest  of  other  youngsters  in  such  club  work,  and 
to  arouse  people  to  a  desire  for  better  dairy  herds  in 
their  communities.     Some  of  the  pictures  were  made 


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*  SILENT  ENEMY  *  JANE  EYRE  *  KLONDIKE  * 
HUSTLER'S  PARADISE  *•  HEARTS  OF  HUMANITY  * 
RETURN      OF      CASEY      JONES     •     MIDNIGHT    PHANTOM 

*  NOW  OR  NEVER  *  THIRTEENTH  GUEST  *  RED 
HAIRED  ALIBI  *  all  PETER  B.  KYNE'S  SUBJECTS  • 
all  TOM  TYLER,  JACK  PERRIN  and  JACK  HOXIE'S  WEST- 
ERNS *  all  RICHARD  TALMADGE'S  pictures  •  and 
RIN   TIN  TIN.  Jr, 

Altogether     130     Features     and     400     Shorts 

from       which      to      pick      your      progrrams 

Not  One  Mediocre  Picture  in  Our  Library 

Film   Rental   Catalogue  —  Film   Sale  Catalogue 

Write   for    them 

CINE  CLASSIC  LIBRARY 

1041    JEFFERSON    AVE.  BROOKLYN,    N.    Y. 


cZaiiLu    C( 


d 


DA-LITE    STANDARD    CHALLENGER 

It  isn't  necessary  to  clear  a  desk  or  a 
table  for  this  unit.  It  has  a  tripod 
pivotally  attached  to  the  case  and  con 
be  set  up  instantly  anywhere.  AcHust- 
able  In  height.  4  sizes.  30"  by  40" 
to   52"    by  52".      From  $15.00  up. 


QUICKLY    SET-UP 

Where  projection  screens  must  be  carried  from 
classroom  to  classroom,  the  conven'ent  operation 
of  Da-Lite  portable  Screens  is  especially  appreci- 
ated. The  Model  F  in  metal  case  (shown  below), 
the  New  Deal  in  handsome  leatherette  -  covered 
box  and  the  popular  Challenger  (shown  at  left) 
have  a  telescoping  rear  support  that  locks  auto- 
matically in  place  when  extended. 

Unless  mat  white  or  silver  is  specified,  Da-Lite 
Screens  are  supplied  with  glass-beaded  surfaces, 
which  reflect  the  brightest,  clearest  pictures  with- 
out glare  or  sparkling.  The  beads  are  guaranteed 
not  to  shatter  of?.  Ask  your  dealer  about  Da-Lite 
Screens  or  mail  the  coupon  below. 

Da-Lite  Screens 

AND      MOVIE      ACCESSORIES 


DA-LITE  MODEL  F— In 
a  metal  case.  6  sizes, 
22"  b^  30"  to  52"  by 
72"  inclusive.  From 
$12.00  up. 


DA-LITE   SCREEN   CO..    INC. 
Dept.    E.    S..    2717    N.    Crawfnnl    A 
Send    FREE   literature   on    Da-L:te 

re..   ChieaEo. 
Screens   and 

ni. 

Accessories. 

School 
A  d  d  :  esa 
City 

State 

Page  300 


The  Educational  Screen 


SEEING 

IS  BELIEVINGI 

No  matter  what  the  subject 
taught  .  .  .  the  mind  receives 
fullest  significance,   understands 
with  greatest  clarity  —  if  the  les- 
son has  been  conveyed  by  the  eyes! 

YOU  WILL   EDUCATE   BEST 

IF  YOU  EDUCATE 

PICTORIALLYI 


FOR   ENTERTAINMENT. 

NO 

GREATER  PICTURES 

ARE 

AVAILABLE  THAN   THESE: 

Merry-Go-Round  of  1938 

Show  Boat 

My  Man  Godfrey 

Three  Kids  and  a  Queen 

The  Road  Back 

— and  Deanna  Durbin's  great  picture — 

THREE  SMART  GIRLS 

100  MEN  AND  A  GIRL 

(Catalogue    15] 

Write    to    Universal's    Non-Theatrical 

Department  for  further  information 

regarding  short  and  feature-length 

pictures,  travelogues,  cartoons 

and  other  motion  pictures. 

UNIVERSArPICTURES 
COMPANY,  INC. 

Rockefeller  Center  New  York,  N.  Y. 

CIRCLE  7-7100 


into  lantern  slides  and  used  at  the  various  live  stock 
and  agricultural  meetings.  Some  of  the  prints  were 
used  in  the  opaque  projector  at  such  meetings.  He 
contends  that  the  camera  is  his  "right  hand  man"  in 
the  conduct  of  his  work  as  County  Agent  under  the 
U.  S.  Agricultural  Extension  Service  in  this  com- 
munity. 

This  article  enters  a  plea  for  the  use  of  the  camera  in 
the  regular  conduct  of  classroom  work.  It  has  been 
shown  that  the  ramifications  of  the  photographic 
hobby  are  multitudinous,  invading  practically  every 
phase  of  every  school  subject — art,  science,  history, 
geogra])hv.  etc.  Only  a  few  instances  have  been  cited. 
It  would  be  of  interest  to  all  to  have  a  full  word 
description  and  a  pictorial  presentation  of  the  case  in 
which  a  student  in  the  college  here  sjjent  several 
months  time  and  considerable  money  in  photographing 
the  few  remaining  i>arts  of  the  old  portage  railroad  in 
his  county.  His  pictures  were  made  into  lantern 
slides  and  used  in  a  number  of  county  institutes  and 
historical  society  meetings  to  recreate  that  historical 
epoch  in  American  history.  Several  historical  societies 
of  the  state  have  made  attempts  to  secure  these  pic- 
tures, but  it  is  his  intention  at  some  future  date  to 
present  them  to  the  State  Museum.  Highway  con- 
struction, and  the  ravages  of  time  have  practically 
obliterated  this  particular  strip  of  the  old  railroad 
and  hence  no  other  pictures  can  be  made  to  commem- 
orate the  enterprise.  His  photographic  work  serves 
as  a  monumental  achievement,  and  thus  again  the 
camera  serves  the  schools.  W.  E. 


STATEMENT    OP     OWNERSHIP.     MANAGEMENT.    CIRCULATION. 
ETC..  REQUIRED  BY  THE  ACT  OF  CONGRESS 
OF  AUGUST  24.  1912 
Of    The    Educational    Serrcn    and    Visual    Instnictlon    News,    pnblished 
monthly  except  July  and  August,  at  Pontiac,   111.,   for  October   1,    1937, 
State  of  Illinois,  County  of  Cook,  ss. 

Before  me.  a  notary  public  in  and  for  the  State  and  county  afore- 
said, personally  appeared  Nelson  L.  Greene,  who,  having  been  duly 
sworn  according  to  law,  deposes  and  says  that  he  is  the  editor  of  The 
Educational  Screen,  and  that  the  following:  is,  to  the  best  of  his 
knowledge  and  belief,  a  true  statement  of  the  ownership,  management 
(and  if  a  daily  paper,  the  circulation),  etc.,  of  the  aforesaid  publica- 
tion for  the  date  shown  in  the  above  caption,  required  by  the  Act  of 
August  24,  1912,  embodied  in  section  411,  Postal  Laws  and  Regulations, 
printed  on  the  reverse  of  this  form,  to-wit ; 

1.  That  the  names  and  addresses  of  the  publisher,  editor,  manag- 
ing editor,  and  business  managers  are:  Publisher,  The  Educational 
Screen,  Inc..  64  E.  Lake  Street.  Chicago,  111. :  Editor,  Nelson  L.  Greene, 
64  K  Lake  Street,  Chicago,  III. 

2.  That  the  owner  is ;  The  Educational  Screen,  Inc..  64  E.  Lake 
Street,  Chicago,  111.  Katherine  Slaught,  6139  Kenwood  Ave..  Chicago: 
Nelson  L.  Gr  ene.  5836  Stony  Island  Ave.,  Chicago;  Estate  of  Dudley 
G.  Hays,  1641  Estes  Ave.,  Chicago:  Estate  of  Frederick  J.  Lane.  6450 
Kenwood  Ave..  Chicago :  Marguerite  Orndorff,  1617  Central  Ave., 
Indianapolis,  Ind. :  Frank  Green?,  Ocala.  Fla.  ;  Marie  Craig,  Bangor, 
Me. ;   Estate  of  J.  J.   Weber,   Bay  City,   Texas. 

3.  That  the  known  bondholders,  mortgagees,  and  other  security 
holders  owning  or  holding  1  per  cent  or  more  of  total  amount  of  bonds, 
moitgages.  or  other  securities  are:    (If  there  are  none,  so  state.)   None. 

i.  lliat  the  two  paragraphs  next  above,  giving  the  names  of  the 
owners,  stockholders,  and  security  holders,  if  any.  contain  not  only 
the  list  of  stockholders  and  security  holders  as  they  appear  upon  th« 
books  of  the  company  but  also,  in  cases  where  the  stockholder  or  se- 
curity holder  appears  upon  the  books  of  the  company  as  trustee  or 
in  any  other  fiduciary  relation,  the  name  of  the  person  or  corporation 
for  whom  such  trustee  is  acting,  is  given  ;  also  that  the  said  two  para- 
graphs contain  statements  embracing  affiant's  full  knowledge  and  be- 
lief as  to  the  circumstances  and  conditions  under  which  stockholders 
and  security  holders  who  do  not  appear  upon  the  books  of  the  com- 
pany as  trustees,  hold  stock  and  securities  in  a  capacity  other  than 
that  of  a  bona  fide  owner :  and  this  affiant  has  no  reason  to  believe 
that  any  other  person,  association,  or  corporation  has  any  interest 
direct  or  indirect  in  the  said  stock,  bonds,  or  other  securities  than 
as  so  stated  by  him. 

B.  That  the  average  number  of  copies  of  each  issue  of  this  pub- 
lication sold  and  distributed,  through  the  mails  or  otherwise,  to  paid 
subscribers    during    the    six    months    preceding    the    date    shown    above 

is  .      (This  information   is  required  from  daily  publications  only.) 

NELSON  L.  GREENE. 
Signature   of   editor,    publish  r.    business    manager   or   owner. 
Sworn    tu   and   subscrib  d   before   me   this    1st  day   of   October,    1987. 
(SEAL I  HELEN    NOONAN 

(My    commission    expires    October,    1940) 


November,  1937 


Page  301 


DESIGNED     FOR    A     PARTICULAR     USE 


To  meet  the  definite  needs  of  certain  educators,  the 
Spencer  Lens  Company  has  designed  a  number  of  special 
purpose  projectors.  These  are  in  addition  to  the  line 
of  popular  classroom  instruments  which  satisfy  most 
requirements.  For  the  lecture  table  there  is  a  lantern 
slide  projector.  For  the  natural  color-plate  enthusiast 
there  are  air-cooled  instruments  to  accommodate  various 
sires  of  plates. 


For  exceptionally  large  classrooms  or  auditoriums, 
opaque  object  and  lantern  slide  projectors  with  larger 
lamps  and  longer  focus  lenses  are  available. 

For  small  groups  there  are  economically  priced  film- 
slide  projectors. 

These  projectors  and  others  are  described  and  illustrated 
in  the  Spencer  Delineascope  Catalog  K-78.  Address 
Dept.  R-7-11. 


Spencer  Lens  Company 


MICROSCOPES 
MICROTOMTS 
PHOTOMICROGRAPHIC 
EQUIPMENT 


REFRACTOMETERS 
COLORIMETERS 
SPECTROMETERS 
PROIECTORS 


Foreign  Films  for 
Educational  Institutions 

(Cnmhided  from  page  289) 

the  inirely  cinematic  point  of  view  although  the  fihned 
play  has  a  place  of  its  own  in  certain  programs.  Al- 
though the  acting  of  the  children  is  not  at  all  as  suc- 
cessful in  Merlusse  as  in  Emil  Und  Die  Detektive  or 
in  La  Maternelle,  the  atmosphere  is  accurately  rendered 
As  one  British  reviewer  puts  it  "This  is  a  real  lycee — 
the  hollow  corridors,  the  playground,  the  dining-hall, 
the  classroom,  the  bare  dormitory  are  absolutely 
authentic ;  one  is  almost  aware  of  the  peculiar  smell 
which  such  places  invariably  give  out."  It  is  to  be 
hoped  that  the  future  creation  of  sound  film  primarily 
for  language  clcisses  will  lie  rather  in  the  direction  of 
the  universal  child  classic  than  in  any  other. 

Suggested  Films 

La  Kermesse  Heroique :    French  dialogue.    Recom- 
mended for  mature  classes. 

Merlusse :    French  dialogue. 

Razumov:  French  dialogue.     Story  by  Conrad. 

Singende  Jugend :     Austrian-made,     German     dia- 
logue.    The  Vienna  choir  boys  singing  and  at  play. 

Tsar  to  Lenin:     Russian  history  1912-22.     English 
narrative. 

The    Wave:      Mexican.       Photographed    by    Paul 
.Strand  with  Spanish  dialogue. 

Spanish    Earth :      English    narrative.      Best    of    the 
several  films  on  events  in  Spain. 

The  Golem  :     French  and  Yiddish  dialogue. 


TWO  NEW  SCIENCE  AIDS 

FOR       PROGRESSIVE      TEACHERS 

PRINCIPLES   OF   PHYSICS       PRINCIPLES  OF   CHEMISTRY 

The  viaualization  of  hi.<th  Kbool  The  core  of  the  year's  work  In 
physics  on  35  mm.  film  slides  for  chemistry  especially  adapted  for 
classroom   use.  review. 

Descriptive  literature  and  sample  strip  of 
typical  frames  sent  on  request.     Address; 

VISUAL    SCIENCES  —  Suf  fern.    N.Y. 


P 


CENSORED    FILMS 


SILENT— 16mm  — SOUND 

Church    and    School    Rental    Specialist 

LADY    OF    THE    LAKE    -       Sir    Walter    Scotfs 

Classic- -Sound    on    Film. 
UBANGI     —     Amazing     African     Trav  1     Film- 
Sound    on    Film. 
ALICE    IN    WONDERLAND    —    ALL   TALKING 

FAIRY    TALE. 
SILENT     ENEMY     —     A     Living     Record    of     a 

Dying    Race   —    The    Story    of    the    Indians — 

Sound   on    Film. 
DANGERS    OF    THE    ARCTIC    —    Story    of    the 

Esltimo  —  Sound  on  Film. 
JESUS    OF    NAIARETH    —    A    beautiful    Sound 

Presentation. 
THE     CHRISTUS— The     Life     of     Christ— Sound 

on    Film. 
CROWN    OF    THORNS    —    Outstanding    Passion 

Plar — Sound    on    Film. 

OVER     100    SILENT    PROGRAMS 
100    REELS   SOUND 

Rentals   East   of   Miss.    Only — Catalog    on    Request 


Visual  Instruction   Supply  Corporation 


1TS7  Broadway 


Brooklyn.   N.   Y. 


^quest  I 

MoiT        I 

N.  Y.  I 


Page  302 


The  Educational  Screen 


II 


II 


SEEING    is    Bellevins 
VisuaUze  With 

PICTUROLS 

and  Speed  Up  Learning! 

Lengthy  explanations  are  unnecessary  when 
teachers  illustrate  important  facts  of  chem- 
istry, Keography,  history  and  other  courses 
with  S.V.E.  Picturols.  These  strips  of  35mm 
film  contain  40  or  more  pictures,  and  are 
avaiJable  for  all  fields  of  study.  They  arc 
compiled    by    praminent    authorities    and    are 

supplied  with 
either  captions  or 
a  separate  man- 
ual, elaborating 
on  each  view. 
A  wide  variety 
of  light  weight 
S.V.E.  Projectors 
includes  a  style 
and  size  for  every 
school  require- 
r-ont.  Write  for 
I'fc'urol  and  f'ro- 
j  e  c  t  o  r  catalogs 

S.V.£.  PictuToi  Projector,  Model  F.         ""'^  ' 

SOCIETY/^VISUAL  EDUCATION.^ 


^ 


'Tianufacturerx,  Producers,  and Diftributonr  of  /i/ual iid/^^ 

DEPT.   E.  327  SOUTH   LA  SALLE  STREET. 
CHICAGO.   ILLINOIS 


^kink  .  .  . 


After  your  next  motion  picture  program — 

Your    movie    dollars    will    go    further    when    you 
change  to 

EASTIN    16mm.    PICTURES 

Davenport,  Iowa 


Send    coupon    today   for   our    big   free   catalog 


n 


Ea&tjn    I6min.    Pictures 
OavenEort.    Iowa 

Pleaie  send    us.    without   obligation,    your   new   catalogue   of    16mm. 
and    silent    rental    films. 

We      have     a projector      and 

wish  to   make   use   of  films  for  the   following    purposes: 

(State    make    and    whether    sound    or    silent) 
(       )      Regular    weekly    complete    entertainment    programs    (about    90 

minutes) 
(       )     Occas-onal      complete      entertainment      programs      (abcut      90 

minutes) 
(       )      Recess    entertainment,    cr    combination    entertainment    educa- 
tional   programs    (about    35    to    40    minutes) 
)      Instructional    films    for    classroom    use 


( 
Sshool 


by     

Street     and     Number 
City      


Prinsipa) 


State. 


Current  Film  Releases 


New  Service  from  Sutlohn 

The  16  iiini.  Soiind-on-Film  Recess  Programs  whicli 
are  being  introduced  by  Walter  O.  Gutlohn,  Inc.,  have 
aroused  great  interest  because  of  their  value  in  sup- 
plementing classroom  visual  instruction.  Many  schools 
arc  using  these  Recess  Programs  as  an  aid  in  formulat- 
ing their  visual  instruction  activities.  The  programs 
are  appro.xiniately  half-hour  in  length  and  have  been 
carefully  edited  and  arranged  by  a  special  committee 
whose  work  in  this  field  has  won  widespread  recog- 
nition. 

Garrison  Films  on  China 

After  releasing  three  films  dealing  with  the  back- 
ground and  war  in  Spain,  Garrison  Film  Distributors, 
Inc.,  New  York  City,  announces  it  is  releasing  three 
sound  films  on  the  backgroimd  and  war  in  China. 

The  films  on  Sjjain  are:  In  Old  Madrid  (1  reel), 
Heart  of  Spain  (3  reels).  The  Spanish  Earth  (6 
reels).  The  new  sound  films  on  China  are:  China  (1 
reel),  study  of  the  background;  Thunder  Over  The 
Orient  (2  reels),  scenes  of  the  actual  war;  China 
Strikes  Back  (3  reels),  a  dramatic  study  of  the  unifi- 
cation of  China  in  defense  against  Jajjanese  aggres- 
sion. The  latter  film  was  produced  by  I'rontier  Films, 
Inc. 

Foreign  Films  In  1 6mm. 

The  International  Film  liureau,  Chicago,  announces 
the  acquisition  of  the  16min.  rights  to  four  foreign 
films:  Carnival  in  Flanders  (La  Kerniesse  Hcroiqtte), 
Singende  Jugend,  Kiniiko  and  Tsar  to  Lenin.  In  addi- 
tion, the  Bureau  has  purchased  the  35mm  rights  to 
Song  of  China,  which  is  being  handled  in  16mm  by 
Bell  and  Howell.  All  the  films  distributed  by  the 
International  Film  Bureau  have  English  sub-titles,  ex- 
cept Tsar  to  Lenin  which  has  an  Fnglish  narrative. 
EHstribution  for  the  entire  United  States  is  being 
handled  from  the  Chicago  office  of  the  Bureau,  ex- 
cept in  the  case  of  Wisconsin.  Minnesota,  North  Da- 
kota, South  Dakota,  and  Montana — which  states  are 
being  handled  by  the  University  of  Wisconsin.  Can- 
adian distribution  for  the  Bureau  is  being  handled  ex- 
clusively by  the  University  of  Alberta. 

Timely  Subjects 

Pictorial  Film  Library,  New  York  City,  announce 
they  have  secured  the  exclusive  16mm.  rights  to  the 
just  completed  film,  Thunder  over  the  Orient.  Deal- 
ing with  the  Sino-Japanese  \\'ar,  this  two-reel  sound 
film  is  authentic  current  news,  portraying  both  China 
and  Japan  ])revious  to  the  W'ar,  events  leading  up  to 
the  present  crisis  from  1891  to  the  disastrous  events 
of  the  present. 

Sea  oj  Strife,  another  two-reel  subject,  traces  the 
history  of  the  Mediterranean  Sea  back  to  the  Cretes, 
Greeks  and  Romans,  up  to  the  present  with  the  strug- 
gle for  supremacy  among  the  nations  of  today,  show- 
ing how  Italy,  England,  Spain,  France  and  Germany 
are  involved  in  the  conflict. 


November-,  19)7 


Page  303 


The  NEW  EAST 


in  10  new  reels 


The  Kremlin  — 
symbol  of  both 
the  old  and  the 
new  Russia. 


JAPAN  in  2  Reels  —  Modern,  western- 
ized urban  life  contrasted  with  the  ancient 
modes  and  methods  that  persist  in  farm 
areas.  Public-school  life;  religious  cere- 
monies. Facts  recorded  as  only  the  motion 
picture  camera  can  record  them.  2  reels, 
$48  complete. 

MANCHUKUO  in  1  Reel— Native  Chinese 
life.  Harbin  and  the  Russian  influence. 
Japanese  occupation.  The  mechanization  of 
industry.  Activities  in  coal  mines,  iron 
mines,  steel  mills — in  trade  centers  and  on 
the  farm.  Government  buildings;  new 
housing  projects;  railroads.  1  reel,  $24. 

TURKEY  in  2  Reels— The  new  Turkey, 
evolving  under  the  modernizing  influence  of 
the  Young  Turks,  is  shown   in  highly  in- 


structive action  scenes.  Life  in  Ankara,  the 
new  capital.  Rapid  strides  in  industrializa- 
tion. Agricultural  activities.  2  reels,  $48 
complete. 

RUSSIA  in  3  Reels — Its  people;  its  public 
buildings,  old  and  new;  conditions  in  the 
cities,  in  the  factories,  on  the  farms.  An 
intimate,  objective  camera  study  of  an  ex- 
periment affecting  one-seventh  of  the 
world's  land  area.  3  reels,  $72  complete. 

SIBERIA  in  2  Reels — Developments  in  this 
vast  country  under  U.S.S.R.  policies. 
Schools,  hospitals,  collective  farms,  and  the 
fishing  industry.  The  Lake  Baikal  region. 
The  primitive  Buryat  Mongolians.  Life 
among  the  Tungus  in  the  great  Siberian 
tundra.  2  reels,  $48  complete. 


Order  now  for  prompt  delivery,   or  write  for  further  details  .  .  , 
Eastman  Kodak  Company,  Teaching  Films  Division,  Rochester,  N.  Y, 

Eastman  Classroom  Films 


Page  304 


"ABRAHAM  LINCOLN"  —  10  reels 

Just    released   as   a    16   mm    talkini;  picture. 

A   United  Artists     pniduction  starring 

WALTER  HUSTON 

Rental    prices    on    request. 

IDEAL    PICTURES    CORPORATION 

28  EAST  EIGHTH   STREET.   CHICAGO.   ILL. 


Educators 


BUY 


School 
Systems 

YOUR  OWN  TRAVEL  FILMS 

1st  RELEASE 

VENICE 

One    Reel   Approximately   400   feet    Silent 

$8.75  Full  Price 

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Next   Release   "CAIRO"  —    I    Reel  —  Orders 

Accepted    Now 

Buy   One    Reel    Each    Month    and    Create    Your 

Own    Educational    Library 


Visual  Instruction  Supply  Corporation 

1757   Broadway 


Only  the  Best 

16mm     SOUND     FILM     16mm 

Low    rental    rates    include    transportation    charsres. 

Write  for  our  new  double  size  Hat. 

Our  rates   remain   at  their  former  low   level. 

THE     MANSE     LIBRARY      ^Vn'c ^"u\"j''i'!  o*h\'o 


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BUY 

1«  MM.  SILENT  OR  SOUND-ON-FILM 

EDUCATIONAL   SUBJECTS 

Will  Buy  Complete  Library 

GENERAL     FILMS 

LIMITED 

1924  ROSE  ST..  REGINA. 

SASK. 

8654   REELS 

of 

EDUCATIONAL    AND 

ENTERTAINMENT 

MOTION    PICTURES 

SILENT-SOUND 

FREE 

And 

RENTAL 

WRITE  FOR  CATALOG 

"E" 

MOTION  PICTURE  BUREAU  Y.  M.  C.  A. 

347  Madison  Ave.                            19  So.  LaSalle  St. 

New  York,  N.  Y.                               Chicago.  III. 

The  Educational  Screen 

AMONG  THE  PRODUCERS 

New  Ampro  Sound  Projector 

The  Ampro  Corporation  of  Chicago  announces 
iheir  Model  "L",  a  new  16mni  sound-on-fihn  projector 
designed  to  give  theatre  quality  performances  to 
larger  than  ordinary  audiences.  The  Model  "L"  is 
shapely  designed,  sturdily  constructed,  and  entirely 
portable,  being  completely  contained  in  two  compact 
carrying  cases,  the  projector  in  one,  with  amplifier 
and  speaker  in  the  other.  In  position,  the  projector 
rests  firmly  on  top  of  the  amplifier  and  may  be  oper- 
ated either  open  or  closed.  It  is  so  designed  that 
when  the  projector  is  being  used  for  silent  films  alone, 
the  accompanying  amplifier  and  s]>eaker  may  be  used 
separately  to  provide  microphone  talk  and  entertain- 
ment. All  oper- 
ating controls  of 
the  projector  and 
amplifier  are  cen- 
tralized and 
mounted  on  two 
panels.  W  hen 
switching  on  the 
amplifier,  i  t  s 
panel  is  illumin- 
ated which  noi 
only  facilitates, 
manipulation  but 
indicates  the  cur- 
rent is  on. 

Permanently 
attached  arms, 
capable  of  tak- 
ing reels  up  to 
1600  feet  of 
16mm    film    are 


Th3   New   Ampro    Model   "L"' 


swiveled  to  enable  instant  movement  in  various  posi- 
tions without  detaching.  Ample  forced  ventilation  pro- 
tects all  standard  pre-focused  base  projection  lamps 
up  to  and  including  the  750  watt.  A  triple  movement 
engages  three  sprocket  holes  in  the  film  simultaneous- 
ly which  enable  the  film  to  be  fed  properly  even 
though  two  of  the  three  sprocket  holes  engaged  are 
torn  and  useless.  A  rotary  type  shutter  is  multi- 
bladed  thus  affording  maximum  light  efficiency.  A  still 
picture  button  will  permit  the  exposing  of  one  frame 
at  a  time  on  the  screen,  if  desired,  without  injury  to 
the  film.  The  amplifier  with  five  tubes  operating  on 
50-60  cycles  A.C.  100-120  volts  provides  an  undis- 
torted  output  of  40  watts  with  a  maximum  out])ut  of 
SS  watts. 

New  Products  from  Central  Camera 

Central  Camera  Company,  Chicago,  have  ready 
several  articles  of  their  own  manufacture,  namely,  a 
lighting  unit  called  "Realite,"  a  Film  Chest  Negative 
File  and  Photopure  Acid  F'ixer.  Their  new  stream- 
lined "Realite"  lighting  unit  which  has  no  clamps,  no 
nuts,  no  bolts,  should  appeal  to  those  photographers 
who  are  seeking  to  make  their  work  easier,  to  produce 
better  lighting  and  better  pictures  at  lower  cost.     The 


November,  1937 


Page  305 


patented  lock  coiistructicjn  locks  the  stand  instantly 
to  any  desired  height  from  30  inches  to  80  inches. 
Donble  legs  eliminate  wabbling  and  insure  firmness 
and  rigidity.  Twin  arms  swing  through  a  complete 
arc — as  low  as  the  floor  and  as  high  as  80  inches — 
and  stay  put  at  any  angle.  Reflectors  swing  in  all 
directions  on  a  universal  ball  joitit.  It  weighs  very 
little  and  folds  down  to  38^2   inches  for  carrying. 

The  Film  Chest,  complete  for  $2.75.  affords  a  con- 
venient system  for  filing  as  many  as  3600  35mm.  neg- 
atives or  a  correspondingly  large  quantity  of  negatives 
of  other  sizes  up  to  and  including  2>^x4i4  films. 
Humidifier  pad  and  bottle  of  humidifying  solution  are 
included,  the  application  of  which  keeps  the  film  in 
good  condition.  Film  Chest  provides  also  a  means  of 
preserving  negatives.  It  contains  100  envelopes  with 
imprint  jiroviding  for  data  on  each  negative  stored 
therein. 

The  Photopure  Acid  Fixer  is  a  new  rapid  acting 
acid  fixing  hypo  power  for  all  papers,  film  and 
plates.  It  contains  hardening  as  well  as  acidifying 
chemicals  which  help  to  prevent  blisters  and  frilling. 

Complete  details  are  described  in  Central's  latest 
Bargain  l^ook  of  Cameras  and  Photographic  Supplies, 
which  will  he  sent  upon  request. 

RCA  Victor  Sound  Catalogue 

'ilk-  lirst  ciini])lctc  catalogue  listing  RC'A  Victor 
sound  services  available  for  school  use  has  just  come 
from  the  press. 

Included  in  the 
catalogue  is  RCA 
Victor  equipment, 
from  music  appre- 
ciation books  and 
catalogues  to  ela- 
borate school-wide 
sound  installations, 
one  of  which  is  ac- 
curately diagram- 
med on  a  double- 
page  spread  in  the 
center  of  the  cata- 
logue. Such  a  sys- 
tem permits  an- 
nouncements to  be 
made  to  the  entire 
school  at  the  same 

time    while    classes  ,,^.   ^  .  , 

RCA  Catalog  Cover 
are    m    session    by 

Utilizing  loudspeakers    in    the    classrooms. 

The  catalogue  lists  uses  of  Victor  Records  for 
teaching  elementary,  intermediate,  high  school  and 
college  classes  in  music  rhythm,  instrumental  combin- 
ations and  music  appreciation,  as  well  as  for  instru- 
mental instruction.  It  is  beautifully  illustrated  with 
pictures  of  phonographs,  radio-phonograph  combin- 
ations and  radios  which  are  adapted  to  school  use,  as 
well  as  the  latest  RCA  Photophone  motion  picture 
projectors  and  Victor  Recording  Equipment.  A  sec- 
tion is  devoted  to  battery  sets  and  equipment  for  rural 
schools  and  portable  sound  systems. 


L 


SOUHD  SERVICE 
FDR  SCHOOLS 


J 


USEES  ALL-PLAYS  ALL 
NIVERSA 

16  MM  SOUND 

PROJECTOR 

ALL  YOU  WANT  IS  HERE— Think 
over  the  things  you  want  most  in 
a  16  mm  Sound  Projector.  In  Uni- 
versal you  will  find  record-breaking 
tone  performance  and  brilliancy  in 
screen  image.  Economy  is  the 
boast  of  every   Universal  owner. 

The   advanced    Universal   has  won 
the  approval   of  leaders  in   every 
field.    This    ruggedly    constructed, 
precision  built  projector  embodies 
all   the   latest   features.   Throws   a 
clear,    brilliant   image   to   any  de- 
sired  screen   size   and   reproduces 
sound    in   life-like 
and     true     tone 
quality. 

Finger-tip  con- 
trol instantly  ad- 
justs amplifica- 
tion for  large  or 
small  audiences. 
Compactly  port- 
able in  two  carry- 
ing cases,  it  is 
ready  for  quick  set-up.  Complete,  ready  to  plug  in. 
Universal  is  low  in  first  cost,  extremely  economical  in 
upkeep  .  .  .  AND  EASY  ON  FILMS. 

OUTSTANDING  FEATURES 

SOUND 
PROJECTOR 

9  750  Waft  Projector  Lamp.  Brilliant  pictures.  For  all  size 
reels.  Heavy  duty  construction.  Easy,  simple  operation.  Trained 
operator  not  necessary.  Adjustments  quickly  accessible.  For 
sound  or  silent  films.  Full  draft  ventilation.  Central  Oiling. 
Rausch  &  Lomb  sound  optical  unit.  Underwriter  approved.  Easy 
on    Film. 

AMPLIFIER 

#   Power  for  large  or  small  groups.  Phono  or   MIchrophone  out- 

Connectlon      arranged 


let.      Tone     control.       Volume     control. 
so  that   error   In   operation   is   impossible- 

SPEAKER 

#  Dynamic  Type.  12-inch  cone.  Special 
voice  balance.  50-ft.  voice  line.  Speaker 
contained  for  carrying  in  amplifier 
case. 


MAY  BE 
PURCHASED 

ON  THE 
UNIVERSAL 

BUDGET 
PLAN 


UNIVERSAL  SOUND   PROJECTOR 

Division    of 

SENTRY  SAFETY  CONTROL  CORP. 

Manufacturers   of    I6mm-35mm 

Sound    Projectors 

192!    Oxford    Street,    PHILADELPHIA.    PA. 

1600  Broadway,  New  York  City 

DEALERS     IN     PRINCIPAL     CITIES 

^k   please    send    full    Information   and    literature   on   your    16mm 
Sound  Projector. 

NAME 

ADDRESS  

CITY  


State 


Page  306 


Have  You 


ordered  your  copy  of  the  new 
THIRTEENTH  edition  of  the  famous 

"1000  and  ONE  BLUE  BOOK  FILM  DIRECTORY" 

Tliis  standard,  indispensable  film  reference  source  ap- 
pears this  year  in  enlarged  format,  includes  more  films 
than  ever,  iiMire  convenient  than  ever  to  use.  OVER 
4500  FILMS,  elaborately  classified  according  to  subject, 
with  full  information  given  on  each  film  —  whether  16 
mm.  or  3  mm.,  silent  or  sound,  title,  number  of  reels, 
synopsis  of  contents,  sources  distributing  the  films  (240 
such    sources    listed!)    and    prices    charged.    Price    75e. 

(•Only  2Se  to  subscribers  of  EDUCATIONAL  SCREEN) 

OTHKR    PUBL'CATIONS    ON    THE    VISUAL    F'ELD 
AVAILABLE    FROM    EDUCATIONAL    SCREEN 

PICTURE  VALUES  IN  EDUCATION.  By  Joseph  J. 
Weber,  Ph.  D. 

An  important  contribution  to  the  literature  of  the  visual 
field.     Presents    in   unusually   interesting    form    the   results 
of   extended   investigations   on   the   teaching   values   of   the 
lantern  slide  and  stereograph. 
156  pp.  illus.    Price  $1.00  (67c  to  subscribers) 

COMPARATIVE  EFFECTIVENESS  OF  SOME  VIS- 
UAL AIDS  IN  SEVENTH  GRADE  INSTRUCTION. 
By  Joseph  J.  Weber,  Ph.  D. 

The  first  published  work  of  authoritative  research  in  the 
visual  field,  foundational  to  all  research  work  following  it. 
Not  only  valuable  to  research  workers,  but  an  essential 
reference  work  for  all  libraries. 

131  pp.     Price  $1.00  (67c  to  subscribers  of  E.  S.) 

BIBLIOGRAPHY  ON  THE  USE  OF  VISUAL  AIDS 
IN  EDUCATION.     By  Joseph  J.  Weber,   Ph.D. 

A  complete  bibliography  on  the  field  to  June  1930.  Over 
1,000  references  to  books  and  magazine  articles.  (Addi- 
tional references  by  Mr.  Weber  through  September.  19.52. 
appear  in  EDUCATIONAL  SCREEN  for  October  1932.) 

24  pp.    Net  Price  30c. 

SIMPLE  DIRECTIONS  FOR  MAKING  VISUAL 
AIDS.  By  Lillian  Heathershaw,  Drake  University,  Des 
Moines,  Iowa. 

Directions  for  making  Etched  Glass  Slides,  using  Colored 
Pencils ;  Etched  Glass  Slides,  using  Colored  Inks ;  Paper 
Cut-out  Lantern  Slides;  Ceramic  Lantern  Slides;  India  Ink 
Lantern  Slides ;  Still  Films ;  Cellophane  Lantern  Slides ; 
Photographic  Lantern  Slides;  Film  Slides;  The  Electric 
Map;  Spatter  Work;  Pencil  Outlines  of  Leaves;  Carbon 
Copies  of  Leaves;  Leaf  Prints  from  Carbon  Paper;  Blue 
Prints;  Sepia  Prints. 

24  pp.    Net  Price  25c. 

SUBSCRIPTION  AND  ORDER  BLANK 
Check  material  desired  and  fill  in  coupon  below 
EDUCATIONAL  SCREEN        1  year  $2.00  D 

2  years  $3.00  D 

To  Bub- 
Price     scribers 

1''00  and  One  Films t  .76  Q    %  .JS  Q 

Picture  Values   in    Education 1.00  n        .67  Q 

Ctimparative  Effectiveness  of  Some 
Visual  Aids  in  Seventh  Grade 
Instruction     1.00  Q         .67  □ 

.     .30         Net  D 

.     .25         Net  a 

Educational  Screen 

64  E.  Lake  St..  Chicago 

I  have  indicated  items  desired  and  enclose  check  for  $ 

Name 

School  or  Street 

City State 


Bibliography  on   the  Use  of  Visual 
Aids    in    Education   

Simnle    Directions    for    Makinflr 
Visual     Aids     


The  Educational  Screen 

The  catalogue  is  fle.signed  to  put  before  the  edu- 
cators of  the  country  information  concaming  advances 
in  the  field  of  commercial  sound  and  radio.  Use  of 
records,  phonographs  and  radio  in  education  has 
steadily  increased  for  many  years.  Recent  improve- 
ments in  recording  and  sound  reproduction  are  ex- 
pected to  make  .sound  service  of  «vcn  greater  import- 
ance to  the  school. 

Stereographs  and  Slides  on  China 

In  response  to  numerous  requests  for  material  on 
China,  Keystone  View  Company,  Meadville,  Pa.,  has 
assembled  a  set  of  fifty  .stereographs  and  lantern  slides 
(jn  that  country.  The  pictures  include  scenes  in  the 
leading  cities — Hong  Kong,  Canton,  .Shanghai,  Nan- 
king, Peiping — and  Maiichukuo,  scenes  of  river  life, 
industries  and  native  life  in  the  rural  districts,  and 
other  places  prominent  in  the  news  of  the  dav.  An 
im]M)rtant  i^art  of  the  set  is  the  political  maj)  slide  on 
China  that  accompanies  the  pictures. 

Helpful  Source  List  of  Visual  Materials 

Spencer  Lens  Company,  Buffalo,  New  York,  has 
compiled  and  offers  free,  three  source  lists  of  visual  ma- 
terial suitable  to  use  in  Spencer  Delineascopes.  These 
lists  q-ive  25  Sources  of  Pictures,  24  Sources  of  Lan- 
tern Slides,  and  14  Sources  of  Filmslides.  They  are  con- 
veniently classified  by  subject,  and  each  source  is  keyed 
to  show  the  type  of  material  available.  The  Subjects 
include  Science,  Geography.  Indusiries.  liisldrv.  .\rt. 
Literature,  Hygiene,  Agriculture,  Religion,  Nature, 
Sculpture.  Music,  Travel,  .Architecture,  and  Juvenile 
Encyclopedia. 

Among  the  Magazines 

(Concluded  from  page  291) 

Teachers  College  Record;  English  Number  (39: 
55-64,  Oct.,  'i?)  "Children's  Standards  in  Judging 
Films",  by  Mary  Allen  .\bbott.  Teachers  College, 
Columbia  University. 

Mrs.  Abbott  has  collected  in  Horace  Mann  School 
since  1927  reasons  given  by  Junior  and  Senior  High 
School  pupils  for  liking  or  disliking  films.  In  1936, 
High  Schools  in  Greenwich,  Conn.,  East  Orange,  N. 
J.,  carried  on  a  similar  investigation  to  that  in  Horace 
Mann  School.  The  results  in  the  two  periods  are 
compared.  Five  pages  are  devoted  to  li.sts  of  films  that 
were  liked  or  disliked  and  the  reasons  therefor  on  the 
part  of  boys  and  of  girls  in  the  years  nine  to  twelve  of 
the  High  School.  This  tabulation  should  he  interest- 
ing to  teachers  of  classes  in  film  appreciation.  The 
writer  points  out  the  bases,  suggested  by  the  students 
themselves,  that  may  serve  as  a  means  for  enlarge- 
ment and  refinement  of  criteria.  Teachers  of  English, 
history,  art,  and  music  as  well  as  literature  teachers 
may  find  much  that  is  suggestive  in  their  fields.  Con- 
siderable stress  is  placed  by  the  pupils  on  adventure 
throughout  the  studies  and  on  \Aot  that  is  dynamic. 
Mrs.  Abbott  believes  that  it  is  time  we'.l-invested  to 
help  young  ])u])ils  find  heroes  that  are  worth  iinitalinsj. 


J 


November,  19  }7 


BALOPTICON  TEACHING  MEANS  BETTER 

Report  Cards 

Pictures  projected  with  a  B  &  L  Balopticon  make  lessons  easier  to  remember  for  pupils  in  all  grades. 
Concrete  evidence  of  enhanced  comprehension  is  apparent  in  the  reports  pupils  take  home  at  the 
end  of  the  month. 

The  Balopticon  enables  the  most  effective  use  of  visual  education 
methods.  Various  models  adapted  to  every  need  permit  greater  flexibil- 
ity in  selection  of  subjects.  Lantern  slides,  films,  photographs,  text- 
book or  notebook  illustrations,  magazine  articles  and  pictures  may  be 
projected.  They  are  built  for  class  room  use — sturdily,  precisely,  yet 
simple  enough  for  proper  operation  by  the  most  inexperienced  operator. 
Your  request  will  bring  an  illustrated  catalog  and  complete  price  list. 
Write  Bausch  &  Lomb  Optical  Co.,  688  St.  Paul  St.,  Rochester,  N.  Y. 

BAUSCH  S-  LOMB 


....WE  MAKE  OUR  OWN  GLASS  TO 
INSURE  STANDARDIZED  PRODUCTION 


FOR   VOUR   GLASSES   INSIST   ON    B  *  L 
ORTHOGON  LENSES  AND  B  »  L  FRAMES  .  . . 


Above,  Model  KOSB  Balopticon 
for  both  lantern  slide  and  opaque 
projection.  Designed  for  use 
with  a  translucent  screen. 


Page  308 


The  Educational  Screen 


HERE  THEY  ARE 


FILMS 

Akin  and  Bagshaw,  Inc.  (6) 

1425  Williams  St.,  Denver,  Colo. 
Bell  &  Howell  Co.  (6) 

1815  Larchniont  \\t.,  Chicago 
(See  advertisement  on  inside  back  cover) 

Bray  Pictures  Corporation  (3,  6) 

729  Seventh  .^ve.,  New  York  City 
Cine  Classic  Library  (5) 

1041  Jefferson  Ave.,  Brooklyn,  N.  Y. 

(See  advertis:ment  on    pa^e  299) 

Eastin  16  mm.  Pictures  (6) 

Davenport,  la. 

(See  advertisement  on   page  302) 

Eastman  Kodak  Co.  (l,  4) 

Rochester,   N.  Y. 
(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Co.  (1,4) 

Teaching  Films   Division 
Rochester,  X.   Y. 

(See  advertisement  on   page  303) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St.,  Pittsburgh,  Pa. 
Edited  Pictures  System,  Inc.  (6) 

330  W.  42nd  St.,  New  York  City 
Films,  Inc.  (6) 

330  W.  42nd  St.,  New  York  City 

64  E.  Lake  St.,  Chicago 

925  N.  W.  19th  St.,  Portland,  Ore. 
Garrison    Film   Distributors  (3,   6) 

730  Seventh  .Ave.,  New  York  City 
(See  advertisement  on  page  299) 

Walter  O.   Gutlohn,  Inc.  (6) 

35  W.  45th  St.,  New  York  City 
(See  advertisement  on   pase  297) 
Harvard  Film  Service  (3,  6) 

Biological   Laboratories, 
Harvard  University,  Cambridge,  Mass. 
Guy  D.   Haselton's  Travelettes      (1,  4) 
7901   Santa   Monica  Blvd..  Hollywood, 
Cal. 
International  Library  of  Visual  Aids 
RKO   Bldg.,   Radio  City,  New  York. 

(See  advertisement  on  page  277) 

J.  H.  Hoffberg  Co.,  Inc.  (2,  5) 

729  Seventh  Ave.,  New  York  City 

Ideal  Pictures  Corp.  (3   6) 

28  E.  Eighth  St.,  Chicago,  111. 

(See  advertisement  on   page   804) 

Institutional  Cinema  Service,  Inc.  (3,  6) 

130  W.  46th  St.,  New  York  City 
International  Film   Bureau  (2,  5) 

59  E.  Van  Buren  St.,  Chicago 

(See  advertisement  on  page  297) 

Lewis  Film  Service  (g) 

105  E.  1st  St.,  Wichita,  Kan. 

(See    advertisement   on    page   297) 

The  Manse  Library  (4,  5) 

2439  Auburn  Ave.,  Cincinnati,  O. ' 

(See  advertisement  on   page  804) 

National  Cinema  Service  (6) 

3  W.  29th  St.,  New  York  City 
Pinkney  Film  Service  Co.  (1,  4) 

1028   Forbes    St.,   Pittsburgh,   Pa.' 
United  Projector  and  Films  Corp.  (1,  4) 

228  Franklin  St.,  Buffalo,  N.  Y. 
Universal  Pictures  Corp.  (3) 

Rockefeller  Center,  New  York  Citv 
(See  advertisement  on  page  300) 

Visual  Education  Service  (6) 

131  Clarendon  St..  Ro.ston.  Mass. 
Vianal  Instruction  Supply  Corp.         (8) 

1757  Rroadwav.  Brooklvn,  N.  Y. 

(Sa*  »*wi  HiMiant  on   pages    8oi,    804) 
Wholesome  Films  Service,  Inc.       (3,  4) 

48  Melrose   St.,  Boston,   Mass. 
Williams,  Brown  and  Earle,  Inc.      (3   6) 

918  Chestnut  St.,  Philadelphia.  Pa. 
Y.M.C.A.  Motion  Picture  Bureau  (1,  6) 

347  Madison  Ave.,  New  York  City 


MOTION  PICTURE 
MACHINES  and  SUPPLIES 

The  Ampro  Corporation  (6) 

2839  N.  Western  Avenue,   Chicago 
(See  advertisement  on   page  281) 

Bell  &  Howell  Co.  (e) 

1815  Larchmont  Ave.,  Chicago 

(See   advertisement  on    inside   back    cover) 

Eastman  Kodak  Co.  (4) 

Rochester,  N.  Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 
606  Wood  St.,  Pittsburgh,  Pa. 

General  Films,  Ltd.  (3,6) 

1924  Rose  St.,  Regina  Sask. 

(See  advertisement  on   page   304) 

Herman  A.  DeVry,  Inc.  (3, 6) 

1111    Armitage    St.,    Chicago 

(See  advertisement  on   page   278) 

Ideal  Pictures   Corp.  (3, 6) 

28  E.  Eighth  St.,  Chicago 

(See  advertisement  on   page  304) 

Institutional  Cinema  Service,  Inc.  (3,  6) 

130  W.  46th  St.,  New  York  City 
International  Projector  Corp.  (3,  6) 

90  Gold  St.,  New  York  City 

(See  advertisement  on   inside  front  cover) 

RCA  Manufacturing  Co.,  Inc.  (5) 

Camden,  N.  J. 

(See  advertisement  on   page   282) 

S.  O.  S.  Corporation  (3,6) 

636  Eleventh  Ave.,  New  York  City 
Sunny  Schick  National  Brokers    (3,  6) 

407  W.  Wash.  Blvd.,  Ft.  Wayne,  Ind. 
United  Projector  and  Films  Corp.  (1,  4) 

228  Franklin  St.,  Buffalo,  N.  Y. 
Universal  Sound  Projector  (5) 

1921  Oxford  St.  .Philadelphia.  Pa. 

(See  advertisement  on   page  305) 

Victor  Animatograph  Corp.  (6) 

Davenport.  Iowa 

(See  advertisement  on   page   295) 

Visual  Education  Service  (6) 

131  Clarendon  St.,  Boston,  Mass. 
Williams,  Brown  and  Earle,  Inc.    (3, 6) 

918  Chestnut  St..  Philadelphia.   Pa. 

PICTURES  and  PRINTS 

Colonial  Art  Company 
1336  N.  W.  First  St.,  Oklahoma  Citv, 
Okla. 
The  Photoart  House 
844   N.    Plankinton   Ave.,   Milwaukee, 
Wis. 

SCREENS 

Da  Lite  Screen  Co. 

2717  N.  Crawford  -Ave.,  Chicago 

(See   advertisement    on    page    299) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut  St.,  Philadelphia,   Pa. 

606  Wood  St.,  Pittsburgh,  Pa. 
Hornstein  Photo  Sales 

29  E.  Madison  St.,  Chicago 

(See  advertisement  on  page  298) 
Institutional  Cinema  Service,  Inc. 

130  W.  46th  St.,  New  York  City 
Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia,   Pa. 

SLIDES  and  FILM  SLIDES 

Conrad  Slide  and  Projection  Co. 
709  E.  Eighth  St.,  Superior,  Wis. 


A  Tra(de  Directory 
for  the  Visual  Field 


Eastman  Educational  Slides 

Johnson   Co.   Bank   Bldg., 
Iowa  City,  la. 
Edited  Pictures  System,  Inc. 

330  W.  42nd  St.,  New  York  City 
Ideal  Pictures  Corp. 

28  E.  Eighth  St.,  Chicago,  III. 

(See  advertisement  on    page   304) 

Keystone   View  Co. 

Meadville,   Pa. 

(See   advertisement    on    page    280) 

Radio-Mat  Slide  Co.,  Inc. 

1819  Broadway,  New  York  City 
(See  advertisement   on   page   297) 

Society  for  Visual  Education 

327  S.  LaSalle  St.,  Chicago,  111. 

(See  advertisement  on  page  302) 

Visual  Education  Service 

131   Clarendon   St.,   Boston,   Mass. 
Visual  Sciences 
Suffern,  New  York 

(S;e   advertisement  on   page   301) 

Williams,  Brown  and  Earle,  Inc. 
918   Chestnut    St.,    Philadelphia,    Pa. 

STEREOGRAPHS  and 
STERESCOPES 

Herman  A.  DeVry,  Inc. 

1111  Armitage  St.,  Chicago 

(See  advertisement  on   page  278) 

Keystone  View  Co. 
Meadville,  Pa. 

(See   advertisement    on    page    280) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 

Rochester,  X.   ^■. 

(See    advertisement   os    page    807) 

Eastman   Kodak  Stores,   Inc. 

1020  Chestnut  St..  Philadelphia.  Pa. 

606  Wood  St.,  Pittsburgh,  Pa. 
General  Films  Ltd. 

1924  Rose  St..  Regina,  Sask. 

(S:e  advertisement  on   page   304) 

Keystone  View  Co. 
Meadville,  Pa. 

(See   advertisement   on    page    280) 

Society  for  Visual  Education 

327  S.   LaSalle   St.,   Chicago.   111. 

(See  advertisement  on  page  808) 

Spencer  Lens  Co. 

19  Doat  St.,  Buffalo,  N.  Y. 

(See  advertisement  on   page  301) 

Williams,  Brown  and  Earle,  Inc. 
918  Chestnut   St.,   Philadelphia,  Pa. 


REFERENCE  NUMBERS 

(1) 

indicates 
silent. 

firm 

supplies 

35 

mm. 

(2) 

indicates 
sound. 

firm 

supplies 

36 

mm. 

(8) 

Indicates 

firm 

supplies 

35 

sound    an 

d    silent. 

(4) 

indicates 
silent. 

firm 

supplies 

16 

mm. 

(6) 

indicates 
sound-on 

firm 
film. 

supplies 

16 

nun. 

(6) 

indicates 

firm 

supplies 

16 

mm. 

sound  an 

d  silent. 

Continuous  insertions  under  one  heading.  $1.50  per  issue;  additional  listings  under  other  headings.  75c  each. 


E  m  M  (C  ATIOMAL 


The  Magazine  Devoted  Exclusively 
to  the  Visual  Idea  in  Education 


DECEMBER.  1937 


_     VOLUME  XVI,  NUMBER  10 


IN  THIS  ISSUE 

* 

The      Present      Status      of 

Teacher    Training    in 

the  Use  of  Visual 

Aids 

mt^^ 

Standards      for     Selecting 

and    Evaluating    Still 

Pictures 

\ 

Enriching    Child    Learning 

m 

Factual  Films  for  History 
and  Social  Study 

W' 

Photo   by   James   H.    Sedgwiol 
(Courtesy  of  Nature  Notes] 


25c    A    COPY    *     $2.00    PER    YEAR 


PROJECTORS  —  DISTRIBUTED     BY    NATIONAL   THEATRE    SUPPLY    COMPANY 


^S^f' 


TRAOE        MAUK,        RKfl^O 


SOUND  PROJECTORS 

TYPE    SP 

We  realize  that  the  purchase  of  motion 
picture  equipment  requires  long  and  serious 
consideration,  and  that  in  many  instances 
decisions  cannot  be  quickly  made.  We, 
therefore,  ask  you  to  write  to  us  or  any 
branch  of  the  National  Theatre  Supply  Com- 
j"  pany  for  full  information  regarding  SIMPLEX 
SOUND  PROJECTORS  TYPE  S  P  or  any  of 
the  other  products  of  this  Company.  Our 
wide  experience  enables  us  to  understand 
the  needs  for  schools,  colleges,  churches, 
hospitals,  private  and  public  institutions, 
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to  guide  in  selection  of  equipment  our  com- 
plete line  of  35  mm.  SIMPLEX  PROJECTORS 
places  us  in  a  position  to  impartially  advise 
regarding  the  kind  of  equipment  best  suited 
to  meet  the  specific  requirements  of  any 
proposed  installation.  SIMPLEX  SOUND 
PROJECTORS  TYPE  S  P  are  an  absolute  as- 
surance that  in  the  field  for  which  they  are 
jintended  the  quality  of  results  is  exactly  the 
ie  as  that  secured  with  SIMPLEX  PRO- 
ECTORS  in  thousands  of  leading  theatres 
[throughout  the  world. 

SOUND  PROJECTORS  TYPE  S  P 

PROFESSIONAL 
PROJECTION 

SCHOOLS,  COLLEGES. 
AUDITORIUMS, 

<^mallet  Jneakes, 
6tc. 


NTERNAT'ONAL  PROJECTOR  CORPORATION 


88-96    COLD   ST. 


NEW  YORK,  N.Y. 


December,  1937 


Page  311 


Dl^ 


z  EDUCATIONAL  SCREEN 


DECEMBER,   1937                                                   VOLUME  XVI 

NUMBER  TEN 

Contents 

The  Present  Status  of  Teacher  Training  in  the 

Use  of  Visual  Aids.    W.  Gayle  Starnes .315 

Standards  for  Selecting  and  Evaluating 

Still  Pictures.  Wilber  Emmert 317 

Enriching  Child  Learning.    F.  Serrit  Hoek 319 

Use  of  the  "Film  Estimates"  by  Civic 

Organizations.     Mary  Belle  Powell 320 

Foreign  Films  for  Educational  Institutions 

Conducted  by  Marie  Zoe  Mercier 32! 

Among  the  Magazines  and  Books 

Conducted  by  Stella  Evelyn  Meyers .....322 

The  Department  of  Visual  Instruction ..324 

Christmas  in  Other  Countries — In  hIand-Made 

Lantern  Slides.     By  Anna  Gale 328 

News  and  Notes.    Conducted  by  Josephine  Hoffman 330 

School  Department. 

Conducted  by  Vv'ilber  Emmert 332 

Current  Film  Releases 334 

J 

Film    Estimates 336 

Among  the  Producers.. 337 

Here  They  Are!  A  Trade  Directory  for  the  Visual  Field.    338 

Index  to  Volume  XVI ...339 

The  EDUCATIONAL  SCREEN,  published  monthly  except  July  and  August  by  The 
Educational  Screen,   Inc.   Publication  Office,   Pontiac,   Illinois;   Executive  Office,   64 
East  Lake  St.,  Chicago,   Illinois.  Entered   at  the   Post  Office  at  Pontiac,   Illinois,   as 
Second    Class    Matter.    Copyright,    Decennber,    1937,    by   The    Educational    Screen. 

$2.00  a  Year                (Canada,  $2.25;  Foreign,  $3.00)                Single  Copies,  25  cts. 

THE  EDUCATIONAL  SCREEN,  Inc. 

Directorate  and  Staff 

Nelson    L.    Greene,    Editor          Joserh=ne    Hoffman 
Evelyn    J.    Baker                           Marie  Zoe   Mertier 
Wl'er    Emmert                             F.    Dean    McClusliy 
Ann     Gale                                      Stella    Evelyn     Myers 
Stanley    R.    Greene                       E.    C.    Waggoner 

Page  312 


The  Educational  Screen 


A  NEW  VISUAL  APPROACH 
AN  OLD  PROBLEM 

For  the  Teacher  of  Manual  Arts 

-♦•-♦->- 

100  Lantern  Slides — 

50  slides  devoted  to  the  cultural  backgrounds  of  woodAvorking 
as  a  vocation. 

50  slides  to  facilitate  the  vivid  presentation  of  technical  problems 
of  instruction  in  ^woodworking. 


Vivid 

Discussible 

Interesting 


HOW  LONG 

Does  it  take  you  to  demonstrate  effectively  the  above-pic- 
tured facts  by  the  usual  methods? 

Are  those  methods  satisfactorily  interesting? 

Would  you  like  to  try  this  new  visual  method  of  approach? 

Further  Information  Will  Be  Sent  on  Request 

Keystone  View  Company 

MEADVILLE,  PENNA. 


December,  1937 


Page  315 


The  Present  Status  of  Teacher  Training 
in  the  Use  of  Visual  Aids 


By      W.     GAYLE     STARNES 

Department  of  University  Extension, 
University  of  Kentucky,  Lexington 


Presenting    some    interesting    data    obtained 
from  a  survey  of  visual  instruction  courses. 


THE  PURPOSE  of  this  study  is  to  determine 
the  present  status  of  visual  instruction  courses 
in  teacher  training  institutions  in  the  United 
States.  Since  the  first  course  in  visual  instruction  was 
offered  only  fifteen  years  ago,  the  movement  is  still 
in  the  pioneer  stage.  Tiie  instructors  in  these  courses 
have  had  little  to  guide  them  in  preparing  their  syllabi. 
The  average  course,  as  revealed  l~-y  the  tabidation  of 
the  data,  is  not  offered  as  a  model  for  all  visual  in- 
struction courses;  it  merely  gives  a  cor.iposite  picture 
of  the  practices  of  those  institutions  in  which  such  a 
course  is  being  offered.  It  is  believed  that  this  report 
will  be  of  value  to  those  who  are  now  teaching  visual 
instruction  and  to  those  who  plan  to  offer  such  a 
course  in  the  near  future. 

The  writer  recognizes  the  fact  that  this  study  does 
not  represent  all  the  teacher  training  in  the  use  of 
visual  aids.  For  many  years  there  have  been  teachers 
in  teacher  training  institutions  who  have  given  their 
students  instruction  in  the  use  of  various  visual  aids 
as  they  pertained  to  a  particular  subject  matter  field. 
He  also  recognizes  that  part  of  the  regular  course  for 
elementary  teachers  contains  much  training  in  the  use 
of  certain  visual  aids. 

It  was  impossible  to  secure  absolutely  accurate  data 
regarding  the  amount  of  time  devoted  to  each  topic  in 
the  course.  However,  it  is  believed  that  the  estimates 
received  are  sufficiently  reliable  to  give  a  reasonable 
true  picture  of  existing  practices.  Due  to  the  fact 
that  some  of  the  respondents  said  that  they  could  not 
give  even  an  estimate  of  the  amount  of  time  devoted 
to  each  topic,  this  part  of  the  study  had  to  be  based  on 
the  fifty -three  responses  in  which  time  allotment  was 
indicated. 

Previous  Studies.  The  only  other  similar  study  in 
so  far  as  the  w'riter  has  been  able  to  ascertain,  was  the 
the  one  made  in  1932  by  George  A.  Stracke.'  who  en- 
deavored to  find  out  what  was  being  taught  at  that 
time  in  courses  in  visual  instruction.  Each  of  the 
eighty-six  institutions  listed  in  the  1931  Directory  of 
the  National  Academy  of  Visual  Instruction  was  asked 
for  a  detailed  outline  of  its  course  in  visual  instruc- 
tion. Forty- four  institutions  replied.  Of  this  number 
eleven  stated  they  offered  no  such  courses.  (The  data 
contained  in  the  present  study  show  that  there  were 
fifty-six  institutions  offering  courses  in  1931.)  Out- 
lines were  submitted  by  thirty-three  institutions.  Anal- 
ysis of  these  outlines  revealed  a  total  of  fifty  topics. 
Results  of  Mr.  Stracke's  study  show  the  diversity  of 
opinion    existing    among    instructors    in    visual    aids 

1    George    A.    Stracke,    "What   is    Being   Taught    in    Courses    in   Visual 
Instruction  ?'    Educational    Screen,    11:    204,    September,    1932. 


courses  as  to  what  should  be  included  in  such  a  course. 
The  present  study  shows  that  this  diversity  still  exists. 

Method.  The  data  concerning  the  courses  were  col- 
lected by  sending  (questionnaires  to  the  154  institutions 
reported  to  be  offering  courses  in  visual  aids.  This 
mailing  list  was  taken  from  the  Visual  Instruction  Di- 
rectory, published  by  the  National  Academy  of  Visual 
Instruction  in  1931,  supplemented  by  the  list  which 
appeared  in  the  May  (1935)  issue  of  the  Educational 
Screen.  This  latter  list  consisted  of  the  names  of  the 
institutions  offering  visual  aids  courses  in  the  1935 
summer  session. 

Of  the  154  questionnaires  sent  out,  140  replied,  about 
a  90  per  cent  response.  Eighty  institutions  stated  that 
they  offered  separate  courses  in  visual  aids.  The  reply 
from  one  of  these  institutions  came  in  too  late  to  be  in- 
cluded in  the  study.  The  seventy-nine  replies  on  which 
the  study  is  based  represent  Hawaii  and  the  following 
twenty-three  states:  Arizona,  California,  Colorado, 
Connecticut.  Georgia,  Illinois,  Indiana,  Iowa,  Kansas, 
Kentucky,  Massachusetts,  Michigan,  Minnesota,  Mis- 
souri, New  Jersey,  New  York,  North  Carolina,  North 
Dakota,  Ohio,  Oklahoma,  Pennsylvania,  Utah,  and 
Wisconsin.  Twenty-five  teachers  colleges,  twenty-one 
liberal  arts  colleges,  twenty-one  municipal  and  private 
luiiversities,  and  twelve  state  universities  are  included 
in  the  study. 

Analysis  Of  The  Data 

The  questionnaire  was  divided  into  fourteen  items, 
four  of  which  requested  preliminary  information,  such 
as  the  names  and  addresses  of  the  institutions  and 
responding  staff  member.  This  blank  was  very  care- 
fully prepared  in  an  effort  to  be  able  to  mirror  ex- 
isting conditions  in  the  tabulated  results.  Of  course, 
many  other  interesting  questions  could  have  been  ask- 
ed, but  the  writer  realized  that  educators  today  are 
deluged  with  questionnaires ;  with  this  in  mind,  he  con- 
fined his  to  what  he  considered  the  minimum  informa- 
tion necessary  to  make  an  accurate  study  of  the  sub- 
ject. 

When  Course  Was  First  Offered.  The  first  signifi- 
cant item  in  the  questionnaire  asked  for  the  date  a 
separate  general  course  in  visual  aids  was  first  offered 
in  the  institution.  Since  1921,  when  the  first  course  was 
offered,  the  number  of  institutions  offering  such 
courses  has  increased  at  the  rate  of  an  average  of  about 
four  each  year,  until  there  are  at  the  present  time,  ac- 
cording to  the  information  received  for  this  study,  sev- 
enty-nine (eighty,  including  the  reply  that  was  re- 
ceived too  late  to  be  classified)  institutions  offering 
courses  in  visual  instruction. 

Number  of  Students  Completing  Course.  About  26,- 


Page  316 

800  students  liad  completed  a  course  in  visual  aids  by 
June.  1936.  At  the  time  the  replies  were  received,  the 
second  .semester.  1935-36.  the  seventy-nine  institutions 
reported  that  about  23.2.?0  had  completed  the  course 
and  that  2.572  were  at  that  time  enrolled  in  visual  in- 
struction courses. 

Title  of  the  Course.  Twenty-six  different  titles  are 
given  to  the  general  course  in  the  different  institutions. 
Fifty  per  cent  of  the  replies  gave  as  the  title  Visual 
Education.  The  other  titles  listed  were:  Visual  Aids, 
\'isual  Instruction,  Visual  and  Sensory  Technique,  Vis- 
ual and  Other  Sensory  Aids.  Methods  in  Visual  Edu- 
cation, Movie  Operation,  Visual  and  Auditory  Educa- 
tion, New  Sensory  Aids  in  Teaching.  Supervision 
Through  Visual  Aids.  Visual  Aids  to  Education,  Vis- 
ual Education  and  Illustrative  Technitjue,  Visual  Aids 
in  Instruction,  The  Use  of  Teaching  Aids.  Visual  Aids 
in  Teaching,  Materials  and  Methods  in  Visual  Instruc- 
tion, Methods  in  Visual  Instruction,  Visual  and  Sen- 
sory Aids.  Methods  in  Use  of  Visual  Aids,  Visual 
Education  and  Sensory  Technique,  Materials  and  Meth- 
ods in  Visual  and  Auditory  Education,  Visual  Aids 
and  Sensory  Techniques,  Sensory  Aids,  and  Visual- 
Sensory  Aids. 

Table  I  shows  the  number  of  institutions  offering 
the  course  on  various  grade  levels. 

TABLE    1 

Number  of  Per 

Level                                     Institutions  Cent 

Senior  College  and  Graduate   Level   Only 40  54.05 

Senior  College  Level  Only   17  22.98 

Junior  and  Senior  College   Level  Only   7  9.46 

Junior   College,   Senior   College   and 

Graduate   Level   Only    4  5.41 

Junior   College    Level    Only    4  5.41 

Graduate    Level    Only     2  2.70 

Laboratory  Materials  Used.  Table  2  shows  the  ex- 
tent to  which  the  various  laboratory  materials  are 
used  in  the  different  courses.  In  addition  to  these  list- 
ed there  were  eighteen  others  given  by  one  or  more 
respondents. 

TABLE  2 

Number  of 

Courses  Using  Per 

Materials  Cent 

Flat  pictures,  charts,  maps,  globes,  etc 7Z  100.00 

16mm.  motion  picture  projector   (silent) ...  .71  98.61 

Glass   slide   projector    70  97.20 

Stereoscope    70  97.20 

Collection   of  object-specimen-model 

materials     70  97.20 

Film  slide  projector  65  90.26 

Opaque   projector    65  90.26 

35mm.  motion  picture  projector  (silent)   ....46  63.88 

16mni.  motion  picture  projector  (sound) ...  .31  43.05 

35mm.  motion  picture  projector  (sound) ....  18  25.00 

Cameras,  (motion  and  still)    18  25.00 

Topics  Covered  in  Course.  The  eleventh  item  of  the 
questionnaire  endeavored  to  ascertain  what  is  being 
taught  in  the  general  course  in  visual  instruction  and 
the  amount  of  time  alloted  to  each  tojiic.  In  addition  to 
the  twenty-eight  topics  listed  in  the  data  blank  one  of 
more  of  the  respondents  named  fifteen  others.  Four 
of  these  were  mentioned  by  a  sufficient  number  to  be 


The  Educational  Screen 

included  in  the  tabulations.  These  forty-three  topics 
cither  included  or  implied  the  fift}-  subjects  named  in 
Stracke's  study. 

It  will  be  noted  that  the  following  twelve  topics  are 
covered  in  from  75  to  93  ])er  cent  of  the  courses  in  both 
studies : 

1.  History  of  visual  education. 

2.  Psychological  justification  for  the  use  of  visual 
aids. 

3.  Value  of  the  school  journey. 

4.  Techni(iue  of  conducting  the  school   journey. 

5.  Technique  in  the  use  of  the  stereoscope. 

6.  Advantages    and    disadvantages    of    the    stereo- 
scope. 

7.  Techniqtie  in  the  use  of  lantern  slides,  film  slides 
and  o]5aque  projectors. 

8.  Advantages  and  disadvantages  of  lantern  slides. 

9.  Advantages   and   disadvantages   of   opaque   pro- 
jectors. 

10.  Technique   in   the   use   of   motion    pictures. 

11.  Advantages   and    disadvantages   of    motion    pic- 
ttires. 

12.  Mechanics  of  jjrojectors  and  projection. 

Time  Given  to  Each  Topic.  Table  3  shows  the  aver- 
age time  given  to  each  of  the  thirty-two  topics  included 
in  the  tabulation.  The  average  course  was  calculated 
on  the  basis  of  a  three  credit  course,  meeting  three 
times  a  week  for  eighteen  weeks. 

TABLE   3 

Topic                                                        No.  His. 

Technique  in  the  use  of  motion  pictures   3.80 

Technique   in  the   use   of   lantern    slides,   film    slides. 

opaque    projectors     3.75 

Sources  of  visual  aids  materials  :  film  slides,  stereo- 
graphs,   projection     apparatus,     objcct-specimen- 

model  materials,  etc 3.75 

Mechanics  of  projectors   and  projection    3.33 

Result  of  scientific   studies    regarding   use   of   visual 

aids     2.42 

Psychological  justification  for  the  use  of  visual  aids..  2.12 
Technique  in  the  use  of  flat  pictures,  cartoons,  maps. 

globes,  etc 2.12 

Value  of  flat  pictures,  cartoons,  maps,  globes,  etc 2.00 

.Administration  of  a   visual   aids   program    1.90 

Technique  in  the  use  of  object-specimen-model   vis- 
ual   aids    1.90 

Photography    1.75 

.Advantages  and  disadvantages  of  motion  pictures    ....  1.75 

History  of  visual  education    1.67 

-Advantages  and  disadvantages  of  lantern  slides    1.50 

Value  of  object-specinien-niodel  aids    1-50 

Present  status   of  visual  education    1.50 

Verbalism   1.33 

Value  of  school  journey   L33 

Technique  of  conducting  the   school  journey    1.33 

Evaluation   of  te.xtbook   photographs    and    illustrations  1.33 

Technique  in  the  use  of  the  stereoscope   1-33 

.Advantages    and    disadvantages    of    opaque    projectors  1.33 

Photoplay    appreciation     1.33 

.Advantages   and  disadvantages  of  the  stereoscope 1.25 

Advantages  and  disadvantages  of  film  slides  1.25 

Value  of  blackboard  and  bulletin  board   L20 

Technique  in  the  use  of  the  materials  named  above..  1.20 

Radio  and  television  education   1.10 

Value  of  dramatics  as   a  visual   aid    80 

Teacher  and  pupil-made  slides   50 

Reproducing    devices;    mimeograph,    hectograph,    etc...  .40 

Mounting   and   cataloging   pictures    30 

(Concluded  on  payc  331) 


December,  1957 


Page  317 


Standards  for  Selecting  and  Evaluating 


Still  Pictures 


IN  the  bej^inninj;;.  k'arninjj  grew  only  nut  of  actual 
experience.  With  the  development  of  language, 
learning  came  to  be  transferred  through  the  medium 
of  a  symbol,  the  word.  Verbal  transfer  was  possible, 
however,  only  when  the  two  ]iarties  to  the  exchange 
had  a  common  experience.  The  invention  of  the  print- 
ing press  provided  an  instrument  for  rapidly  record- 
ing verbal  symi)ols  for  communication.  Verbal  transfer 
is  however,  an  indirect  method  of  communication  and 
often  results  in  lack  of  understanding  and  numerous 
misconceptions,  especially  when  new  concepts  are  be- 
ing developed. 

The  invention  of  photography  and  the  perfection  of 
the  camera  have  provided  a  visual  recording  device  of 
the  most  expressive  form.  Since  visual  imagery  is 
fundamental  to  much  of  our  thinking,  the  photograph 
from  the  camera  provides  one  of  the  most  effective 
methods  of  communication.  The  still  photograjih  ])re- 
sents  a  cross-section  of  a  visual  experience  at  the  in- 
stant it  occurs.  It  stops  motion,  shows  line  and  color, 
indicates  spatial  relationshi]\s,  and  portrays  people,  ob- 
jects, and  scenes  in  which  motion  is  not  an  essential 
feature.  When  taken  from  place  to  place,  and  present- 
ed to  various  groups,  linguistic  limitations  are  not 
])laced  upon  the  observers  and  it  is,  therefore,  an  ef- 
fective means  of  communication.  This  is  also  true  of 
the  artist's  ])ainting  or  drawing. 

The  flat  picture  (used  here,  for  lack  of  a  standard- 
ized term,  to  mean  an  unprojected  picture)  is  the  most 
fanu'liar  form  of  pictorial  presentation  today,  existing 
as  it  does  in  a  variety  of  forms,  as  in  the  newspaper, 
the  magazine,  the  textbook,  the  photographic  print, 
lantern  slide,  the  billboard,  the  window  displays,  trans- 
parent plates,  etc.  It  is  destined  to  become  a  necessary 
part  of  our  symbolic  language  of  education.  Since  it  is 
the  least  abstract  of  symbols,  it  ])ortrays  scenes  out- 
side the  child's  view  in  such  a  manner  that,  vicariouslv. 
he  can  readily  and  etiFectively  develop  the  proper  men- 
tal images  for  the  situation  depicted. 

Since  pictures  are  so  dynamic  in  their  eiTects  in 
teaching,  those  selected  for  classroom  purposes  should 
be  considered  as  materials  for  study,  and  selected  be- 
cause of  their  relationshijjs  to  the  course  of  study. 
Teachers,  supervisors,  principals,  and  school  sy.stems 
should  have  definite  standards  for  selecting  and  ap- 
praising pictorial  materials,  and  these  should  be  rigid- 
ly applied  in  the  acquisition  and  purchase  of  pictures 
for  school  use.  A  number  of  research  studies  have 
been  conducted  to  determine  the  characteristics  of  pic- 
tures suitable  for  classroom  use.  Other  persons,  out  of 
long  experience  in  teaching,  have  drawn  up  standards 
for  selecting  and  evaluating  flat  pictures  for  teaching 


An  answer  to  the  teacher's  question — what 
constitutes  suitable  pictures  for  class  study? 

By     WILBER     EMMERT 

State  Teachers  College,  Indiana,  Pa. 

pur]3oses.  In  general  they  emphasize  the  necessity  of 
having  pictures  that  fit  into  the  curriculum,  that  are 
strong  in  contrast,  contain  a  chief  center  of  interest, 
strong  artistic  rhythm  of  lines,  build  up  a  background 
or  atmosphere  for  the  topic  under  consideration,  stimu- 
late aesthetic  feelings,  and  are  truthful.  A  number  of 
sets  of  standards  which  have  been  developed  are  sub- 
mitted herewith  in  an  etifort  to  help  teachers  improve 
their  instruction  through  the  use  of  pictures.  It  will 
be  observed  that  a  set  of  common  elements  runs 
through  the  lists  given,  and  in  addition  each  author 
makes  meaningful  contributions  to  the  problem. 

For  in.stance.   Branom*   states  that : 

A  picture  if  wisely  selected, 

1.  Enables  a  pupil  to  take  in  at  a  glance  a  complex 
relationship    economically    and    accurately. 

2.  Recalls  a  concrete.  s])ecific  situation. 

3.  Gives,  through  its  re])roduction  of  the  original, 
an  api^earance  of  reality. 

4.  Is  easily  understood. 

5.  Arouses  questions  which  lead  the  pupil  far  be- 
yond the  immediate  scope  of  the  picture. 

Gregory^  emphasizes  the  following  functions  of 
pictures : 

1.  Pictures   are   not   merely   illustrative  aids,   but 
valuable  sources  of  information. 

2.  Pictures  create   ideas   which   are  the   basis   of 
thinking  and  action. 

3.  Pictures    must    bring   a    close    relationship   be- 
tween the  abstract  idea  and  the  material  thing. 

4.  The  picture  is  a  partial  substitute  for  the  con- 
crete material. 

5.  The  picture  must  exhibit  the  subject  of  a  les- 
son as  it  appears  in  real  life. 

In  his  standards  for  selection  of  pictures  for  instruc- 
tion Gregory  states : 

1.  All  pictures  should  be  clear  and  distinct. 

2.  The  ])icture  must  show  clearly  the  points  de- 
sired. 

3.  Simple  pictures  are  best  for  teaching  ]iurposes. 

4.  Pictures  must   show   actual   conditions   and   be 
of  high  ])ictorial  quality. 

5.  .V  picture  should  contain  one  principal  subject. 

6.  Pictures  should  be  selected  so  that  a  series  of 
views  is  obtained. 

Hoban'  contends  that  in  considering  pictures  for 
school  use  one  must  keep  in  mind  the  fundamental  art 
principles  of  contrast,  comparison,  and  continuitv  so 
that  the  abstractions  represented  in  the  picture  may  be 

•Braiiom  &   Branom:    Teaching   of  Geography   p.    114. 
2Gregory,  William:  Visual  Aids  in  School,  pp.  114-115. 
^Hobaii.    Hoban    &    Zisman :    Visualising   the    Curriculum, 
pp.   185-193. 


Page  318 


The  Educational  Screen 


made  real  by  meaningful  deductions.     These  abstrac- 
tions are : 

1.  Moliou  :  The  pose  of  the  subject,  its  relation  to 
gravity,  its  probable  changes  in  position  and 
method  of  movement,  suggest  clues  to  be  fol- 
lowed. 

2.  Size :  The  sense  of  size  is  often  related  to  the 
scale  of  the  human  figure,  and  the  inclusion  of 
objects  of  known  size  give  the  clue  to  this  ele- 
ment. 

3.  Distance  and  Depth :  Lines  of  perspective  carry 
the  eye  to  distance  points  as  they  tend  to  con- 
verge. 

4.  Weight:  Weight  may  be  interpreted  from  the 
nature  of  the  material  used. 

5.  Color:  Color  is  a  matter  of  association,  such 
as  the  changing  of  colors  of  the  day  with  the 

sun,  clothing,  etc. 

6.  Temperature:  This  is  indicated  by  the  amount 
of  vegetation,  amount  and  type  of  clothing 
worn,  etc. 

7.  Taclility.  Sound,  Odor,  and  Taste:  Present 
specific  problems  and  both  pupil  and  teacher 

must    spend    considerable    time    in    developing 
skills  and  habits  to  secure  the  proper  responses 
to  these  abstractions  in  flat  pictures. 
Hoban  further  states  that  in  making,  selecting,  and 
using  pictures,  certain  standards  of  quahty  and  guides 
for  intelligent  and  efficient  application  should  be  fol- 
lowed, as  indicated  below: 

1.  Truth:  Pictures  should  be  true  and  accurate. 

2.  Clarity :  Only  clear,  high  quality  pictures  should 
be  used. 

3.  Composition:  Simplicity  of  composition,  and 
dramatic  elements  should  feature  the  picture 
selected. 

4.  Action :  People  and  animals  should  be  shown 
in  performance  at  work  or  play. 

5.  Grade  Level :  The  content  should  fit  the  age  or 
grade  level  of  the  individual  or  class. 

6.  Relevancy :  Pictures  must  relate  directly  to  the 
lesson  and  contain  a  minimum  of  irrevelant  ma- 
terial. 

7.  Sice :  The  size  is  conditioned  by  the  use  as  for 
individual  or  group  study. 

8.  Number:  A  few  well  selected  pictures  should 
be  used  at  a  time. 

9.  Finishes  and  Processes  of  Reproduction :  These 
depend  upon  the  use  to  which  the  pictures  are 
to  be  put. 

In  a  research  study  conducted  at  the  University  of 
Colorado,  Boulder  Colorado,  Lelia  Trolinger  develop- 
ed a  score  card  for  evaluating  flat  pictures  based  upon 
Technical  and  Instructional  Qualities,  as  follows : 

Technical  Qualities — 40  Points 
A  picture  should  be : 

Artistic.  Of  Practical   Size. 

Free  from  Blemishes.  Properly  Colored. 

Clear  and  Distinct. 

Instructional   Qualities — 60    Points 
A  picture  should  be: 

Truthful.  Significant. 

Authentic.  Stimulative. 

Relevant.  Suggestive  of  Size. 


While  this  is  a  mechanical  device  for  arriving  at  a 
score  for  evaluation,  it  may  achieve  its  most  beneficial 
results  in  the  stimulation  it  provides  in  arousing  the 
teacher  to  carefully  scrutinize  and  evaluate  pictures  se- 
lected for  classroom  use. 

In  addition  to  the  general  standards  which  apply  to 
all  flat  pictures  for  school  use,  there  are  specific  con- 
siderations applicable  to  the  separate  subjects  or  re- 
lated subjects. 

For  the  selection  of  geography  pictures,  Gregory 
gives  the  following  suggestions,  although  they  apply 
in  general  to  such  subjects  as  history,  agriculture,  in- 
dustry, etc.  The  pictures  should  show  clearly : 

1.  The  features  of  the  landscape  which  influence 
man's  activity. 

2.  Some  aspect  of  the  climate  of  the  places 
studied. 

3.  How  man  makes  use  of  and  adjusts  himself  to 
the  environment. 

4.  Each  picture  should  have  a  clear  statement  as 
to  its  location,  activity  of  man,  time  taken,  etc. 

Thralls^     summarizes     the     rules    for    selection    of 
geographic  pictures  by  stressing: 
1.  Their  geographic  quality. 

2. Their  contribution  to  an  understanding  of  the 
relationships  developed  at  a  specific  teaching 
level. 

3.  The  maintenance  of  a  proper  balance  so  that 
children  will  not  secure  a  one-sided  view  of 
man's  adjustment  in  a  specific  region. 

4.  The  inclusion  of  key  items,  natural  and  cul- 
tural, characteristic  of  a  given  region. 

Merton^  recommends  the  following  lechniciue  be 
used  in  the  analysis  of  pictures. 

1.  Set  down  all  you  see  in  the  picture.  Do  not 
depend  altogether  iiijon  what  you  are  told  to 
see  in  the  caption. 

2.  Read  the  caption  connected  with  the  picture 
and  note  just  how  the  picture  illustrates  it.  Do 
you  see  in  the  picture  what  the  writer  of  the 
caption  points  out? 

3.  What  is  there  new  or  strange  in  the  picture? 

4.  What  other  pictures  or  scenes  does  it  call  to 
mind  ?  Why  ?  How  ? 

5.  Does  it  recall  anything  you  have  read?  How? 

6.  Look  up  the  city,  country,  or  person  ])ictured 
and  note  exactly  what  the  picture  by  itself  tells 
you  of  these. 

7.  This  picture  has  probably  been  selected  from 
a  large  number.     Why  ? 

8.  If  you  are  dealing  with  a  related  group  of  pic- 
tures, note  just  what  added  bit  of  information 
each  contributes  and  how  well  the  group,  as  a 
whole,  illustrates  the  city,  country,  event,  or 
whatever  is  featured  by  them. 

9.  Try  to  imagine  yourself  part  of  the  scene  in 
every  case.  Would  the  ex]ierience  be  a  strange 
one  or  one  that  was  familiar?  In  what  ways? 

10.  Remember  that  studying  a  picture  means  more 
than  merely  looking  at  it.  It  means  seeing  and 
interpreting  it. 

^Thralls,  Zoe:  "Selection  and  Use  of  Pictures"  in  X.E.A. 
Journal.  Nov.  1932,  p.  248. 

BMerton,  Elda:  Visual  Instruction,  p.  25. 


December,  1957 


Page  319 


Enriching  Child  Learning 


By     F.     GERRIT     HOEK 

Supervising   Principal,   Public  Schools,   Haledon,   N.  J. 

ALTHOUGH    the    economic    situation    for    the 
past  few  years  has  had  its  effect  in  somewhat 
retarding  the   introduction   and   use   of  visual 
aids  in  our  educational   institutions,  an   increasing 
number  of  schools  have  found  ways  and  means  of 
establishing    a    visual    teaching    program. 

There  continues  to  exist  to  some  extent  the  idea 
that  visual  teaching  consists  solely  in  the  use  of 
the  motion  picture.  But  the  motion  picture  is  only 
a  part  of  the  visual  aids  program.  Although  we 
now  have  the  souud-on-film  equipment  in  which 
schools  are  finding  increasing  values,  we  must  not 
forget  the  many  other  desirable  and  valuable  teach- 
ing aids  which  exist.  For  example,  I  believe  that 
more  use  could  be  made  of  that  very  fine  visual  aid, 
the  stereograph,  which  affords  excellent  means  for 
close  observation  and  study  of  a  jjicture.  One  ex- 
cellent use  for  the  stereograph  would  be  in  the  pres- 
ervation and  future  study  of  outstanding  works  ot  art. 
The  motion  picture  does  not  afford  this,  in  spite  of 
some  strong  claims  by  manufacturers  of  such  pro- 
jectors for  their  "still  projection."  Detailed,  unuur- 
ried  study  can  be  made  of  a  subject  by  the  use  of 
the  stereograph. 

The  combination  lantern  slide  and  opaque  projector 
also  provides  means  for  careful  detailed  study  of  pic- 
tures both  throtigh  the  lantern  slide  and  through  the 
enlargement  of  flat  pictures  and  prints.  Field  trips  and 
visits  to  museums,  manufacturing  plants,  art  gal- 
leries, educational  exhibits,  also  constitute  a  very 
important  part  of  a  visual  instruction  program. 
These  are  all  agencies  that  should  be  definitely  in- 
corporated in  a  well-rounded  curriculum. 

When  I  was  appointed  to  my  present  position 
some  two  years  ago  I  found  that  no  definite  plan 
for  the  use  of  visual  aids  existed  in  this  school 
system.  Any  one  initiating  a  visual  aids  program 
will  encounter  various  difficulties  —  their  variety 
and  degree  depending  to  a  great  extent  upon  the 
understanding  and  the  attitude  of  faculty,  board  of 
education,  parents  and  community,  and  by  the  kind 
of  equipment  which  may  be  available,  or  funds  for 
its  purchase.  Fundamentally  these  problems  are 
the  same  throughout  the  country  so  I  shall  review 
briefly  my  experiences  in  the  hope  that  those  to  whom 
this  field  of  didactics  is  a  new  venture  may  be  benefited 
thereby  and  perhaps  find  in  it  a  solution  to  their 
problems. 

In  beginning  my  visual  aids  program  my  liabil- 
ities greatly  outnumbered  my  assets,  of  which  I  had 
but  two :  first,  my  conviction  of  their  values,  and 
my  determination  to  incorporate  them  in  my  school 
work,  secondly  the  help  of  certain  outstanding  edu- 
cational and  industrial  agencies.  The  task  before 
me  was  no  easy  one,  as  there  were  neither  equip- 


A  brief  report  of  the  writer's  experiences 
in  developing  a  visual  instruction  program. 

ment  nor  funds  available,  and  neither  the  Board  of 
Education,  the  faculty  nor  the  community  in  gen- 
eral w-ere  famil'ar  with  this  type  of  education. 
There  was  one  thing  to  do  —  simply  begin  the  pro- 
iect  and  educate  them  to  it.  1  was  convinced  that 
familiarity  with  the  method  and  its  benefits  would 
be  a  more  efficacious  means  of  winning  them  over 
to  its  merits  than  any  talking  I  might  do.  My  ex- 
perience proved  this  to  be  the  case.  A  means  for 
raising  funds  was  imperative  and  plans  were  laid  for 
a  school  circus,  another  new  venture  for  this  com- 
munity. Enough  money  was  raised  to  purchase  a 
silent  projector. 

In  the  past  few  years  rapid  progress  had  been 
made  in  developing  sound-on-film  pictures  and 
equipment.  After  considerable  time  spent  on  a  sur- 
vey of  the  possibilities  in  sound  equipment,  I  felt 
justified  in  purchasing  a  sound  projector.  The 
library  of  good  educational  sound  films  is  growing 
rapidly,  and  the  16  mm  sound  projectors  have  been 
so  perfected  and  simplified  that  there  need  be  no 
difficulty  in  their  operation,  whether  in  classroom 
or  auditorium.  The  research  which  has  been  done 
on  the  values  of  the  sound  film  in  education,  I  be- 
lieve, has  conclusively  demonstrated  its  effective- 
ness and  efficiency  as  a  teaching  aid.  Recent  ex- 
periments by  Arnspiger,  Rulon,  Westfall,  and 
University  of  Chicago  seem  to  have  shown  that 
there  is  a  very  definite  place  in  classroom  pro- 
cedure for  sound  film.  In  Dr.  Westfall's  report  on  a 
study  made  of  results  with  silent  and  sound  pictures 
he  stated  that  the  pupils  expressed  a  five  to  one 
preference  for  sound  films.  I  do  not  feel  of  course 
that  the  student's  own  choice  should  be  a  basis  for 
selection,  but  tests  that  have  been  made  show  in 
many  instances  a  greater  learning  power  and  re- 
tentiveness  on  the  part  of  the  pupil  through  the 
use  of  sound  films.  We  here  at  Haledon  have  watch- 
ed the  classes  closely,  observing  the  increased 
amount  of  interest  in  the  pictures  shown,  in  subject 
matter,  and  the  greater  responsiveness  and  accuracy 
in  replies  to  questions  based  upon  the  pictures 
shown. 

We  use  our  sound  pictures  in  social  science,  mu- 
sic, art,  science,  literature,  manual  training  and  we 
also  use  it  to  show  pictures  suitable  for  the  pri- 
mary grades.  It  might  occur  to  some  to  ask  if  the 
silent  films  are  used  as  frequently  now  since  the 
purchase  of  sound  equipment.  The  regular  film 
schedule  as  organized  for  this  school  year  consists 
only  of  silent  pictures  as  we  had  only  the  silent 
projector  when  this  schedule  was  prepared.  The 
pictures  chosen  fitted  into  the  subjects  being  taught, 
and  the  teachers  who  had  had  previous  experience 
with  these  films,  knew  their  contents  and  their 
adaptability  to  our  program  of  studies.  However,  we 


Page  320 


The  Educational  Screen 


are  sup])leineiiting  this  list  with  the  new  sound  fihns 
wherever  ])ossibIe. 

When  we  feel  that  the  situation  warrants,  we 
combine  classes  for  auditorium  showings.  We  do 
not  encourage  this  method,  however,  as  1  am  a  firm 
believer  in  the  effectiveness  of  classroom  instruction. 
There  are  times,  however,  when  grouping  will  ex- 
pedite matters.  Some  additional  labor  is  required  in 
the  setting-up  of  the  sound  equipment  for  audi- 
torium use,  but  these  efforts  are  more  than  repaid 


when   results   show  increased   pupil  knowledge. 

In  our  system  no  child  is  permitted  to  operate  the 
projector.  It  is  felt  that  this  is  teaching  equipment 
and  as  such  to  be  used  by  the  teacher. 

Taking  into  consideration  the  results  of  experi- 
ments of  leading  workers  in  the  visual  aids  field, 
and  my  own  experiences  for  the  ])ast  ten  years,  I 
have  come  to  the  conclusion  that  the  sound-on-film 
instructional  picture  is  one  of  the  best  teaching  medi- 
ums. 


Use  of  ^'^The  Film  Estimates"  by  Civic  Organizations 


By    MARY    BELLE    POWELL 

THE  Beaumont  ( Texas j  Motion  Picture  Council 
is  an  organization  composed  of  representatives 
from  about  forty  civic  organizations,  eighteen  of 
which  are  parent  teacher  groups.  This  Council  is  in 
the  fourth  year  of  its  existence  and  has  made  a  record 
in  Texas. 

It  has  been  chiefly  interested  in  considering  the 
movie  as  a  factor  in  the  child's  and  adolescent's  recre- 
ational life.  To  us  (members  of  the  coimcil)  the  best 
long  time  solution  for  the  matter  lies  in  a  motion 
picture  appreciation  project  in  the  schools ;  and  in 
study  groups  for  adults. 

So  far  schools  are  doing  too  little  with  the  motion 
picture  appreciation  idea.  Over-loaded  teachers, 
cramped  budgets,  and  a  certain  amount  of  inertia,  ac- 
counts for  this  situation.  On  the  adult  side  the 
Motion  Picture  Council  for  the  months  of  February, 
through  June  of  1937,  conducted  a  series  of  lessons  in 
Motion  Picture  .\])preciation.  To  these  lessons  were 
invited  members  of  other  groups  such  as  literary  so- 
cieties, professional,  educational,  and  religious  organ- 
izations. 

However,  the  motion  picture  appreciation  work  is 
somewhat  a  long-range  solution,  and  we  have  been 
confronted  with  the  need  for  an  immediate  aid  of 
some  sort.  Therefore,  all  parent-teacher  groups  in 
Beaumont  have  placed  the  Film  Estimate  Weekly  in 
all  school  and  public  libraries  in  our  area — twenty- 
two  libraries.  The  following  information  is  given  to 
each  librarian  : 

Use  of  Film  Estimate  Weekly 
A  im : 

1.  To  make  available,  early  enough  and  often  enough, 
for  every  boy  and  girl,  and  interested  parents,  a  dependable 
estimate  of  motion  pictures. 

2.  To  assist  the  child  in  forming  the  liabit  of  choosing 
pictures  suitable  for  his  age  group. 

3.  To  furnish  means  for  cooperation  between  school  and 
hpme  in  doing  something  about  this  social  problem  of  choos- 
ing correct  movie  fare  for  the  youth. 

Thinking  parents  have  realized  many  pictures  are  unsuit- 
able for  children  and  adolescents,  and  most  parents  would 
like  to  have  a  dependable  way  of  choosing  pictures  for  the 
children. 

It  is  physically  as  well  as  financially  impossible  for  the 
parent  to  see  all  pictures  before  permitting  attendance  by 
their  children.  Many  would  not  know  how  to  advise  even 
though  they  could  perform  such  a  miracle.     There  are  good 


Describing  a    constructive    use    of   a   film 
review    service    for    schools    and    homes. 

reviews  in  some  magazines,  but  these  come  monthly  and 
thus  are  too  late  for  many  pictures  coming  lierc.  Then  too 
the  older  boy  and  girl — the  adolescent — must  learn  to  make 
choices  for  himself.  Usually  he  does  not  want  to  depend 
upon  choices  made  by  h,i.s  parents. 

The  reviews  now  handed  you  come  weekly  and  are  recent 
enough  to  cover  i)ractically  all  the  pictures  coming  to 
Beaumont.  It  is  hoped  tl'.ey  will  create  the  habit  of  shop- 
ping for  pictures.  The  reviews  include  all  feature  pictures 
released  through  the  year. 

These  "Film  Estimates''  are  published  by  the  Educational 
Screen,  a  magazine  devoted  to  visual  education,  and  official 
organ  of  the  Department  of  Visual  Instruction  of  the  Na- 
tional Education  .Association,  They  are  composite  esti- 
mates by  experienced  judges,  and  the  service  is  now  in  its 
eleventh  consecutive  year. 

Suggested    Plan    For    Use 

Cut  the  reviews  apart,  pasting  one  review  on  a  card —  the 
kind  used  in  regular  library  filing.  Thus  each  week  there 
will  be  eight  cards  to  prepare,  since  there  are  eight  reviews 
on  each  card. 

File  the  cards  alphabetically  according  to  title. 

When  the  system  is  begun,  show  the  child  how  to  use  the 
file  and  card,  explaining  the  information  given.  The  most 
important  item,  the  age  grouping,  will  need  careful  explan- 
ation of  terms,  also  the  remarks  that  will  be  given  as  to 
suitability,  or  unsuitability,  for  each  group.  (.\)  is  Dis- 
criminating .Adults;  (B)  is  Youth  or  Adolescent;  (C)  is 
Child. 

Then  try  children  out  to  see  if  they  can  find  a  review 
desired  and  see  if  they  can  understand  the  card. 

After  the  librarian  is  sure  the  child  knows  how  to  use  the 
review,  if  she  occasionally  asks  pupils  if  they  are  looking 
to  see  that  the  pictures  they  had  thought  of  seeing  are  suit- 
able for  their  age  group,  her  work  is  done  except  for  seeing 
the  reviews  are  always  prepared  for  filing  upon  arrival. 
There  will  be  a  few  pupils  who  will  be  glad  to  make  this 
their  duty — and  it  should  become  a  project  for  the  children. 

It  is  the  parent's  duty  to  ask  his  child  (when  the  ques- 
tion of  movie  attendance  comes  up)  if  he  has  looked  to  see 
if  the  picture  is  suitable  for  his  age  group.  The  motion 
picture  chairman  will  explain  these  cards  and  their  use  to 
the  parent-teacher  group  and  will  occasionally  ask  parents 
if  they  are  doing  their   follow-up   work   with   the   child. 

These  reviews  are  not  to  be  used  as  an  advertisement  for 
certain  pictures,  or  something  by  which  one  can  censor 
pictures.  They  are  a  means  of  getting  information  about 
pictures  as  one  gets  information  about  books  or  plays.  The 
child  is  not  told  what  he  must  choose. 

In   the   elementary   schools   the   librarians   j^lace  the 

{Concluded   on    /'age    326) 


December,  19)7 


Page  321 


FOREIGN   FILMS   FOR 
EDUCATIONAL   INSTITUTIONS 


Conducted  bv  Marie  Zoe  Mercier 


Factual  Films  For  History 
And  Social  Study 

l^ACTUAI.  films  of  several  kinds  are  more  and 
more  at  the  complete  disposal  of  social  science 
and  history  classes  to  an  imusually  effective  degree 
though  there  are  still  many  gaps  in  a  school  pro- 
gram which  must  he  filled  in  other  ways.  Even 
the  presence  of  film  material  in  certain  subjects  docs 
not  exclude  the  necessity  of  text  and  lecture  with  it. 
The  use  of  film  here  as  in  other  class  room  subjects 
is  only  justified  as  a  short  cut  inasmuch  as  it  allows 
the  ground  so  cut  to  be  covered  more  than  once  in 
the  same  allotment  of  time  merely  by  running  the 
film  again. 

Current  releases  of  newsreel  films  are  as  often 
the  object  of  despair  as  high  hope  both  among  thea- 
tre audiences  and  in  the  columns  of  the  critic.  What 
with  the  limitations  im])osed  by  the  problems  of 
censorship,  propaganda  and  editorial  bias,  the  pub- 
lic usually  goes  home  with  the  innocuous  consola- 
tion of  the  speed  race  in  some  form  or  other  and 
grumbles.  The  several  thousand  feet  of  anonymous 
and  interchangeable  Chinese  or  Loyalist  soldiers 
dead  on  the  edge  of  ditches  no  longer  offer  the  same 
startling  antidote  after  the  first  few.  However  it 
may  well  be  that  the  result  of  all  the  intrepid  cam- 
era shooting  by  newspaper  men  and  free  lance 
adventurers  that  always  turn  up  when  history  is  on 
the  point  of  being  made,  will  find  itself  several  years 
later  in  a  type  of  film  composition  represented  by 
the  feature  length  Tsar  to  Lenin  with  Max  Eastman 
as  editor  and  commentator. 

Tsar  to  Lenin  is  a  skilfully  edited  succession  of 
shots  culled  from  innumerable  film  libraries  and  pri- 
vate collections.  It  starts  out  with  scenes  taken  of 
the  Tsar's  family  in  recreational  moods  by  the  Tsar 
himself  and  found  in  the  Winter  palace  after  the  as- 
sasination  of  the  whole  family.  Carefully  and  re- 
peatedly the  important  faces  of  Lenin,  Stalin,  Trot- 
sky, Kerensky,  Kropotkin,  John  Reed,  Radek,  the 
Tzarevich,  Zinoviev  and  many  others  are  flashed  on 
the  screen  until  they  grow  familiar  with  a  certain 
impact  of  personality  which  must  always  be  a  little 
less  ]50werful  in  a  text.  The  present  Lenin  sym- 
pathizers have  objected  strongly  to  bias  on  the  side 
of  Trotsky  in  the  commentary.  In  fact  when  ob- 
jectors became  articulate  along  about  the  second 
week  of  its  New  York  run  the  Filmarte  theatre  put 
up  a  sign  "Please  respect  our  pickets."  But  on  the 
whole  it  represents  a  technicpie  of  newsreel  editing 
which  commands  respect.  \N'ith  only  slight  traces  of 
bitterness  the  tightlocked  dilemna  before  Tsar  and 
Church,  the  gay  unconcern  of  the  baronial  classes, 
the    abysmal    dififerences    between    possession    and 


want  in  a  country  where  the  problems  of  organiza- 
tion had  become  almost  superhuman,  all  of  these 
elements  are  presented  calmly  and  with  a  pervading 
sympathy  and  recognition  of  the  necessarily  inexo- 
rable contrast  of  facts  in  history  and  life.  In  any 
film  designed  for  study  of  the  deeper  historical  and 
social  conflicts  it  is  imperative  to  establish  in  some 
way  the  admission  that  each  side  acts  as  it  does  ac- 
cording to  its  own  voices  and  not  because  one  is  of 
heaven  and  the  other  of  less  than  earth.  If  direction 
and  comment  depart  from  this  initial  position  the 
essential  drama  of  human  conflict  is  never  lost  and 
something  of  the  character  of  a  universal  work  of 
art  has  crept  into  a  difificult  production.  Tsar  to 
Lenin  for  this  reason  achieves  something  of  that 
quality. 

The  Kincj's  People,  edited  by  John  Drinkwater,  is 
also  an  edition  of  newsreels  which  takes  u]5  half  of 
its  feature  length  from  early  shots  of  the  coronation 
of  Queen  Victoria  to  that  of  George  VI.  Unfortun- 
ately, to  the  point  where  we  hesitate  to  recommend 
it,  an  amateurish  flavor  is  introduced  by  the  fictional 
treatment  of  ^Ir.  Drink  water's  procedure  in  collect- 
ing the  material,  with  shots  of  his  family  and  a  tea 
party  or  two.  However,  the  conviction  of  passages 
recording  conversations  with  George  Bernard  Shaw 
and  Lady  Astor  only  strengthen  the  point  that  un- 
adorned personalities  of  this  kind  in  natural  setting 
on  the  screen  will  always  have  interest.  If  there  is 
an}-  bias  at  all  here,  it  is  the  mild  one  for  which 
somehow  or  other  we  repeatedly  forgive  the  English. 

Spanish  Earth,  inimitably  photographed  by  Joris 
Ivens  with  a  running  comment  written  and  spoken 
by  Ernest  Hemingway,  is  an  entirely  different 
thing.  Beautifully,  sympathetically,  ]3robingly  one- 
sided it  shows  the  sun-hardened  face  of  the  Spanish 
peasant,  the  plow,  the  symbolic  irrigating  water 
flowing  suddenly  on  parched  land,  enemy  planes 
poised  in  the  burnished  sky  of  a  defenseless  hill 
town,  all  of  these  with  a  lyrical  rhythm  of  contrast 
which  of  itself  is  one  of  the  components  of  a  real 
work  of  art.  Perhaps  in  a  few  years,  when  sides  are 
less  vociferously  taken,  if  we  have  as  deeply  human 
a  documentary  film  of  the  motives  and  hardships 
incurred  by  adhesion  to  the  rebel  cause  and  both  are 
edited  and  mounted  with  the  insight,  creative 
thought  and  human  sympathy  which  makes  litera- 
ture and  painting  enduring,  we  will  have  something 
infinitely  more  engrossing  in  the  art  of  recreating 
history  than  anything  even  as  notable  from  the 
point  of  view  of  pure  cinema  as  The  Life  of  Eniilc 
Zola. 

Yelloiv  Cruise  is  a  feature  length  travel  film  with 
a  running  comment  in  English,  following  the  ex- 
pedition of  a  fleet  of  specially  designed  French  Cit- 

(Concludcd  on  page  340) 


Page  322 


The  Educational  Screen 


AMONG   THE 
AND   BOOKS 


MAGAZINES 


Educational  Method  (17:65-69,  Nov.  '2,7)  "Radio 
Guidance  for  Geography  Instruction  in  the  Cleve- 
land Elementary  Schools,"  by  W.  M.  Gregory, 
Cleveland  Educational  Museum. 

The  inauguration  of  a  new  geography  course  in 
Cleveland  has  been  aided  by  radio  broadcasts  and 
slides.  Five  classes  in  each  of  120  schools  were 
served  with  sixteen  to  eighteen  weekly  radio  les- 
sons, the  other  lessons  for  the  week  carrying  out  the 
suggestions  made  during  the  broadcast.  The  scheme 
required  the  production  of  100  or  more  sets  of  dup- 
licate lantern  slides,  about  5,000  for  each  grade 
division.  By  this  method,  the  teacher  was  assisted 
in  the  proper  selection  of  material,  and  also  in  the 
proper  use  of  the  slides.  All  needed  materials,  in- 
cluding the  projector,  are  delivered  to  the  class- 
room at  the  beginning  of  the  semester.  An  outline 
of  the  lessons  for  Grade  4A  for  one  semester  is  in- 
cluded in  the  article,  as  well  as  the  script  for  one 
radio  lesson.  The  radio  geography  lessons  have 
been  broadcast  since  September,  1930,  and  have 
clearly  proved  their  value  according  to  the  author, 
who  is  well  capable  of  judging  from  his  long  ex- 
perience in  the  field  of  visual  instruction.  This  tech- 
nique seems  to  be  an  excellent  one  for  introducing 
a  new  course,  as  it  saves  teachers,  otherwise  busy. 
from  floundering  about  with  materials  difficult  to 
correlate  with  daily  lessons. 

(pp.  60-64).  "Surmounting  Barriers  to  Human 
Learning,"'   by  Howard  A.   Gray. 

An  interesting  survey  of  the  history  of  human 
aids  to  learning  reaches  its  climax  with  the  visual- 
auditory  picture.  It  overcomes  tremendous  l)arriers 
to  learning,  such  as  space,  seasonal  limitations, 
reading  disability,  limited  range  of  vision,  opaque- 
ness of  most  matter,  the  minute  scale  of  much  or- 
ganismic  functioning,  and  rate  of  speed,  often  too 
slow,  or  too  rapid  to  be  visible.  We  do  not  have  to 
take  turns  in  using  projection  mechanism,  but  great 
groups  may  see  simultaneously.  In  the  film,  every- 
thing goes  ofT  as  planned.  No  experiments  fail, 
or  keep  us  waiting.  Historical  continuity,  also,  is 
presented  in  a  minimum  of  time.  The  selective 
quality  of  a  good  educational  film  and  the  excellent 
organization  of  material,  all  made  dynamic  on  a 
fitting  emotional  basis,  preclude  ambiguity  and  con- 
fusion. Words  alone  are  often  uncertain  in  their 
meaning,  but  when  used  carefully  to  aid  concrete- 
ness,  misunderstanding  is  obviated.  The  picture  has 
the  power  to  raise  the  general  level  of  learning, 
but  those  most  in  need  of  learning  are  most  ben- 
efited. 

•  This  article  is  one  of  the  most  concise,  compre- 
hensive, keenly  analytical,  and  logical  in  its  deduc- 
tions, of  all  our  contributions  to  film  literature. 

Cinema  Progress  (2:15-17,  Oct.  '37)  "How  Moral 
are  the  Movies?"  by  Dr.  Edwin  D.  Starbuck. 

During  the  past  summer  at  the  University  of 
Southern    California,    the    author    tried    to    obtain    a 


Conducted  by  Stella  Evelyn  Myers 


cross-section  of  the  opinion  of  cultivated  people  in 
regard  to  the  present  status  of  the  movies  as  an  in- 
fluence in  civilization.  There  is  probably  nothing  in 
all  history  to  match  their  invasion.  The  tremendous 
influence  of  the  movies  is  accounted  for  on  the 
ground  that  we  think  with  our  muscles,  not  only 
with  the  skeletal  muscles  that  have  to  do  with  action 
and  reaction,  but  with  the  smooth  or  visceral  mus- 
cles involved  in  breathing,  digestion,  glands,  and 
blood  circulation. 

Most  of  the  students,  responding  to  the  question- 
naire submitted,  were  High  School  and  University 
instructors,  assuring  mature  judgment.  Many  type 
questions  are  included  in  the  article  with  the  various 
ratings  each  received.  On  the  whole,  it  was  held 
that  the  motion  picture  does  seem  to  cultivate  and 
dignify  the  art  appreciation  of  the  public.  On  about 
half  of  the  items,  the  cinema  suffers  disapproval. 
"There  seems  to  be  a  heartache  for  the  wholesome 
simplicity  and  the  sincerity  of  a  Will  Rogers  or  a 
Marie  Dressier.  .  .  We  shall  not  get  very  far  in  the 
long  stretch  of  years  with  all  this  until  art  and  art 
appreciation  are  made  central  and  fundamental  in- 
stead of  incidental  in  all  the  schools  of  .\merica." 

The  American  Scholar  (6:435-444,  Autumn,  '2>7) 
"Let  the  Movies  be  Natural,"  by  Mark  Van  Doren. 

The  movies  were  successful  long  before  we  rec- 
ognized them  as  an  art,  and  before  schools  con- 
ducted classes  in  screen  appreciation.  Movies  can 
be  most  dignified  by  being  themselves,  and,  since 
they  are  very  truly  an  art,  by  being  interesting.  The 
interesting  is  the  good.  Denying  this  is  harmful 
both  to  the  art  and  to  the  people  enjoying  it. 

The  movie  was  invented  to  tell  stories  and  its  one 
main  means  is  by  photography.  Sound  has  come  in, 
but  it  has  been  absorbed  by  the  primary  function. 
The  most  interesting  picture  could  be  followed 
without  serious  loss  by  a  deaf  spectator.  The  movie- 
goer has  gone  to  see  a  story  told,  not  to  hear  it 
told.  The  movie  is  a  unique  art  and  it  cannot  be 
elevated  by  attempting  to  reproduce  the  work  of 
another  art.  such  as  a  literary  masterpiece.  The  as- 
sumption is  that  the  limits  of  the  movie  art  are 
ignored,  and  no  art  can  be  elevated  by  ceasing  to  be 
itself.  A  movie,  made  from  a  novel,  may  be  an  ex- 
cellent movie  if  the  director  has  his  eye  on  the 
movie  and  not  on  the  classical  writer,  which  is  usu- 
ally not  the  case.  He  forgets  his  own  art  in  bor- 
rowing another.  A  novel  or  a  play  must  be  trans- 
formed almost  beyond  recognition  if  it  is  to  be  made 
into  a  veritable  movie.  There  are  many  qualities 
of  a  play  that  do  not  come  over  into  the  art  of  the 
screen  directly.  The  play  deals  with  a  fixed  scene 
while  the  observers  of  the  picture  have  learned  to 
expect  that  the  point  of  view  and  the  amount  of 
anyth'ng  being  seen  will  change  constantly.  Mr. 
Van  Doren  claims  that  this  difference  is  of  great 
significance. 


December,  1937 


Page  323 


Educat;on  (58:  65-69,  Oct.,  '37)  "New  Under- 
standing- Through  X'isual   Aids",   by    Edgar   Dale. 

That  UKist  deadly  malady  of  all  teaching,  verbalism, 
has  been  shown  to  prevail  to  an  alarming  extent  in 
even  our  best  city  schools.  Pedagogy  seems  wedded 
to  catechetical  methods,  irrespective  of  childish  in- 
terests and  needs.  Verbal  reflexes  are  often  met  with, 
such  as.  "The  Chinese  people  worship  their  aunts' 
sisters."  These  evils  may  be  reduced  to  a  large  extent 
by  concrete  experience.  Actual  contacts  with  things 
in  their  natural  environment  probably  provide  the  best 
means  for  concrete  experience.  "Less  direct,  yet  only 
])artially  abstract,  are  contacts  with  experience  through 
the  use  of  ])ictorial  materials."  Six  types  of  such  ma- 
terials are  mentioned,  but  the  author  limits  his  dis- 
cussion to  the  motion  picture.  Prof.  Hogben,  of  the 
University  of  London,  is  quoted  as  saying,  "What  wc 
have  still  to  realize  is  that  (the  cinema)  can  explain 
many  things  which  many  people  can  never  understand 
at  all,  if  they  have  to  rely  on  the  printed  word."  A 
still  picture  shows  products  or  results ;  it  can  only 
suggest  action.  The  motion  picture  shows  processes, 
development,  change ;  it   pictures  action. 

Objectives  figure  largely  in  the  selection  of  a  film 
as  well  as  the  method  used.  The  number  of  times  a 
fdm  should  be  projected,  the  technique  of  using  it  in 
instruction  and  the  place  of  discussion  in  using  a  mo- 
lion  ])icLure  are  fully  treated. 

The  Educational  Outlook,  London  ( 14 :  67-58, 
Summer,  '37)  "Pupijetry  in  Schools",  by  J.  W. 
Marriott. 

This  excellent  treatise  on  the  educational  use  of 
glove-puppets  includes  not  only  a  practical  description, 
but  stresses  the  psychological  basis  by  which  many 
retiring  pupils  are  helped  in  a  release  of  a  cramped 
personality.  The  reviewer  has  felt  for  many  years 
that  most  educators  are  overlooking  several  unique 
advantages  of  puppetry,  consequently  this  article,  say- 
ing what  she  has  wished  to  say,  is  heartily  recom- 
mended. 

Book  Review 

Our  Country  From  The  Air,  by  Edna  E.  Eisen. 
Kent  State  University,  Kent,  Ohio,  W'heeler  Publish- 
ing Co.,  Chicago,  224  pages,  cloth-bound.     Price  $1.20. 

The  two  hundred  and  twelve  views  from  the  air, 
reproduced  in  this  new  publication  with  descriptive 
and  prodding  reading  matter  opposite  each  picture,  are 
truly  revealing  of  our  country  in  a  scenic  and  indus- 
trial way.  The  imaginary  journey  extends  from 
coast  to  coast  via  Texas  and  the  central  states.  A 
scene  from  the  air,  because  of  the  extended  range  of 
the  camera's  eye,  is  an  intermediary  step  between  a 
surface  photograph  and  a  map.  Hence,  it  may  well 
be  used  in  introducing  map  symbolism.  The  reading, 
however,  in  this  work  is  adapted  for  more  advanced 
geographical  study.  While  looking  at  the  full-page 
picture,  7)'2  by  9^  inches,  one  readily  makes  appli- 
cation of  the  story  on  the  page  to  the  right.  The 
photography  is  remarkably  clear  and  well-defined 
throughout  the  book.  The  child's  love  of  adventure 
is  strongly  appealed  to,  in  this  method  of  learning  to 
interpret  a  landscape, — to  see  the  use  made  of  land, 
and  the  work  done  bv  water.  S.  E.  M. 


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.An  miportant  contribution  to  the  literature  of  the  visual 
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lantern  slide  and  stereograph. 

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By  Joseph  J.  Weber,  Ph.  D. 

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IN  EDUCATION.     By  Joseph  J.  Weber,   Ph.D. 

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AIDS.  By  Lillian  Heathershaw,  Drake  University,  Des 
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Pencils;  Etched  Glass  Slides,  using  Colored  Inks;  Paper 
Cut-out  Lantern  Slides;  Ceramic  Lantern  Slides;  India  Ink 
Lantern  Slides;  Still  Films;  Cellophane  Lantern  Slides; 
Photographic  Lantern  Slides;  Film  Slides;  The  Electric 
Map;  Spatter  Work;  Pencil  Outlines  of  Leaves;  Carbon 
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Visual    Aids    in    Seventh    Grade 

Instruction     1.00  Q         .67  □ 

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Aids    in    Education 30         Net  O 

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Page  324 


The  Educational  Screen 


DEPARTMENT  OF  VISUAL  INSTRUCTION 


Presidential  Letter 

¥  T  is  unnecessan-  for  me  to  state  at  the  outset  the 
••■    feeling  I  have  in  regard  to  the  very  great  honor  that 
has  been  conferred  upon  me  by  my  election  as  Presi- 
dent  of    the    Visual    Instruction    Department    of   the 
National    Education    Association.      We    have    a   large 
department  and  a  growing  department.     We  have  a 
department  that  stands  at  the  forefront  in  the  field  of 
educational    ])rogress.    Perhaps   more   than    any   other 
department  in  the  National  Education  Association,  we 
have  the  problem  of  interpreting  the   impact  of  new 
technological  instruments  u]X)n  school  policy  and  school 
material.  Becaufe  of  that  responsibility  it  is  exceedingly 
important  that  we  clarify  our  thinking  in  this  whole 
field.     May  I.  therefore,  very  briefly  indicate  the  four 
major   areas    in    which    we    must    think    through    our 
problems.     These  areas,  as  they   relate  to   visual   in- 
struction are  stimulation,  production,  distribution  and 
utilization.   I   shall  comment  briefly  on  each  of  them. 
Stimulation.     If  we  may  accept  the   report   of   Dr. 
Cline   Koon   as   roughly   accurate,   approximately   one 
school  in  twenty-five  in  the  United  States  was  equip- 
ped with  a  motion  picture  propector  in  1936.    Approxi- 
mately one  .school  in  fifteen  was  equipped  with  a  lan- 
tern    slide    projector.     Other     data     show     that     the 
extent  of  use  of  visual  materials  in  schools  is  roughly 
proportional  to  the  size  of  the  school.     As  the  school 
gets  larger,  the  amount  of  visual   materials   used   in- 
creases.    This     means     that     in     large     cities     there 
is  today  quite  extensive  and  intelligent  use  of  visual 
materials.      But    at   the    other   extreme,    especially   in 
our  rural   areas,   good  materials   of  this   sort  as   well 
as  other  teaching  materials  are  extremely  scarce. 

What  methods  stimulate  schools  to  utilize  increas- 
ingly these  better  teaching  materials? 

The  first  of  these  methods  is  stimulation  by  in- 
forming. Extensive  studies  have  already  been  made 
which  have  demonstrated  the  value  of  visual  materials 
in  certain  fields.  Excellent  articles  point  out  how 
visual  materials  can  be  best  used.  This  informattion, 
however,  has  not  gotten  down  to  the  rank  and  file 
of  our  teachers.  This  can,  perhaps,  be  best  passed 
on  through  a  much  wider  and  better  distribution  of 
the  many  excellent  articles,  books,  and  magazines  nov.- 
available  which  treat  the  problems.  Happily  the  amount 
of  available  material  is  increasing  rapidly.  Much 
of  this  material  has  been  drawn  together  and  digested 
in  the  volume  recently  jniblished  by  the  H.  W,  Wilson 
Company,  Motion  Pictures  in  Education :  A  Summary 
of  the  Literature.  This  book  shows  very  clearly  that 
uj)  to  1936  mo.st  of  the  significant  articles  in  this  field 
have  appeared  in  the  Educational  Scrkk.v.  This  is 
an  excellent  showing  for  the  magazine. 

However,  we  must  also  have  articles  prepared  and 
niade  available  in  all  types  of  educational  journals. 
There  ought  to  appear  each  year  literally  hundreds 
of  articles  in  the  various  state  journals,  teachers  jour- 
nals, newspaper  articles  and  the  like.  This  is  a  chal- 
lenge to  every  member  of  the  society.     Not  only  must 


\vf  w  lUf  more  fxtensivel}'  for  an  increasinglv  large 
number  of  journals  but  demonstrations  and  discus- 
sions of  these  newer  techniques  in  education  must 
receive  a  jilace  on  national  programs,  educational  \tro- 
grams,  on  programs  of  subject  matter  groups. 

Stimulation  directly  from  the  members  of  tiie  Vis- 
ual Instruction  Department  of  the  National  Educa- 
tion Association  is  another  important  method  of  in- 
creasing interest  in  the  field.  Our  present  membership 
is  415.  If  we  could  increase  this  to  one  thousand 
members  by  January  1,  1939,  the  range  of  our  ef- 
fectiveness would  be  enormously  ex])anded.  The 
organization  of  branch  divisions  of  our  dei^artment,  no- 
tably the  Massachusetts  branch  and  the  Metropolitan 
branch  in  New  York  City,  are  a  forecast  of  what  can 
be  done  to  stimulate  further  growth  and  thinking 
along  the  line  that  I  have  suggested. 

Production.  We  need  more  and  better  jjroduction 
of  visual  materials.  In  the  ])ast  we  have  depended  far 
too  much  upon  free  materials — jjosters.  exhibits,  slides 
and  motion  pictures.  We  can  make  no  real  progress 
in  this  field  until  we  have  an  am])le  supply  of  visual 
materials  competently  made  by  producers  who  utilize 
excellent  techniques  of  ]iroduction  and  w^ho  are  closely 
in  touch  with  the  best  thinking  in  the  curriculum  and 
teaching  field. 

The  rapidly  increasing  ])articii)ation  of  teachers  in 
the  production  of  their  own  visual  materials  is  a  happy 
jjortent.  I  do  not  believe  for  a  minute  that  this 
kind  of  production  will  take  care  of  fmr  needs.  It 
will,  however,  have  three  very  excellent  results.  First 
of  all,  it  will  develop  a  com]ietent  grou])  of  teachers 
who  also  are  specialists  in  production. 

Second,  it  will  care  for  specialized  needs  which  can- 
not be  met  on  a  national  production  basis.  Third, 
it  will  niake  available  to  those  who  produce  for  na- 
tional consumption  a  group  of  technical  assistants  who 
will  know  clearly  the  needs  of  the  school  and  will  liave 
sufficient  technical  training  to  know  what  can  and 
cannot  be  done  in  production  in  these  various  fields. 

I  look  upon  film  production  by  the  national  govern- 
ment as  an  especially  ausi)icious  omen.  Through  films 
we  can  sensitize  our  citizenry  to  the  ])roblcms  of  soil 
erosion,  crime  and  juvenile  delin<|ncncy,  housing,  flood 
control,  national  recreation  facilities  as  exemplified 
in  the  national  ]iarks.  Such  films  can  and  should  be 
l)roduced  l)y  our  national  government.  In  such  ]:ro- 
duction  again  the  government  needs  the  guidance  and 
council  of  experts  in  these  various  fields,  especially 
those  who  see  the  problems  in  terms  of  its  teaching 
])ossihilities  and  needs. 

Distribution.  Under  the  heading  of  distribution,  I 
am  thinking  about  the  jjroblem  of  obtaining  and  dis- 
tributing the  materials  once  they  have  been  produced. 
This  problem  has  been  solved  in  our  larger  cities  by 
excellent  libraries.  It  has  not  been  .solved,  however, 
for  the  majority  of  schools  in  the  United  States.  There 
has  been  a  great  deal  of  interest  in  the  co-operative 
film  library  plan  which  was  first  discussed  in  the 
Educational  Screen.  Certainly  development  of  state- 


December,  19  i  7 


Page  32  5 


owned  film  libraries  which  would  rent  or  make  films 
and  slides  available  free  to  schools,  as  is  done  in  Ohio, 
needs  extensive  promotion. 

We  shall  not  have  solved  our  problem,  however, 
until  every  school  can  get  the  films  or  slides  or  flat 
])rints  or  exhibits  at  the  time  when  they  need  them  in 
their  teaching.  This  means  far  more  extensive  city, 
county,  village  and  state  libraries.  It  also  means,  it 
seems  to  me,  much  lower  cost  per  unit  than  we  have 
at  the  ])resent  time.  When  we  reflect  on  the  fact  that 
the  German  government  has  made  as  high  as  1,250 
])rints  of  one  of  their  science  films,  with  undoubted 
savings  in  cost  due  to  mass  production,  we  see  the  dis- 
tance that  we  must  and  can  travel. 

Utilization.  One  of  the  major  problems  now  con- 
fronting teachers  is  how  to  use  visual  materials  satis- 
factorily. There  is  much  bungling  use  of  these  ma- 
terials. Perhaps  this  is  inevitable  as  we  learn  new 
teaching  techniques.  P>ut  if  we  set  about  working 
on  this  ])robleni  right  now  and  do  the  job  well,  much 
of  this  inept  use  can  be  eliminated  at  the  outset.  Cer- 
tainly we  now  know  how  to  dis])el  the  show  or  en- 
tertainment idea.  No  educational  film  program  worthy 
of  the  name  conceives  of  the  use  of  visual  materials 
as  an  entertainment.  Certainly  there  is  no  longer  any 
excuse  for  not  having  satisfactory  projection  in  a 
classroom.  Certainly  there  is  no  need  now  for  the 
method  which  assumes  that  by  exposing  children  to 
the  viewing  of  a  large  number  of  slides,  they  are  auto- 
matically educated.  Yet  these  three  errors  in  the  use 
of  visual  materials  are  frequently  made.  What  can 
we  do  about  it  ? 

Clearly  we  need  an  extension  of  teacher  training. 
First  of  all  we  need  in-service  training.  Second,  we 
need  improved  training  in  teacher-training  in.stitu- 
tions.  There  are  today,  in  the  United  States,  more 
than  one  million  teachers.  Of  this  number  I  doubt 
whether  more  than  twenty-five  thousand  have  receiv- 
ed any  training  at  all  in  the  adequate  use  of  visual 
material.  Penn.sylvania  has  led  all  of  us  By  making 
such  training  a  state  requirement  for  a  teacher's  cer- 
tificate. Other  states  plan  to  follow  suit.  Our  prob- 
lem then,  is  first,  to  develop  techniques  for  in-service 
training,  and  second,  to  see  that  instruction  in  the  use 
of  these  new  teaching  tools  is  given  in  the  teacher- 
training  institutions. 

The  introdtiction  of  courses  or  units  of  instruction 
in  this  area  is  not  really  so  difficult  as  it  sounds.  It 
is  largely  a  question  of  outlining  the  problem  to  teach- 
er-training institutions,  showing  them  what  needs  to 
be  done  and  how  to  do  it.  One  eflfective  method  for 
introducing  this  problem  to  educators  generally  is  to 
have  literally  hundreds  of  institutes  on  visual  instruc- 
tion throughout  the  country.  These  have  already  been 
held  in  a  number  of  places.  The  Ohio  State  Univer- 
sity, the  University  of  Georgia,  the  University  of  Flor- 
ida, the  University  of  California,  the  University  of  In- 
diana and  many  others  have  held  such  institutes.  Most 
of  them  have  been  reported  in  this  journal.  Even  now 
one  state  is  planning  a  two-weeks  seminar  to  be  at- 
tended by  the  faculties  of  teacher-training  institutions 
as  a  device  for  acquainting  them  with  this  problem. 

Certainly  there  are  many  opportunities  for  demon- 
strations in  the  use  of  these  materials.     Paul  Reed  at 


Rochester.  Xew  York,  for  example,  is  holding  a  series 
of  Saturday  classes  at  which  one  teacher  from  every 
school  attends  a  two-hour  session  on  visual  instruction. 
This  kind  of  training  can  and  must  be  extended. 

One  es])ecially  important  problem  which  we  musl 
attack  and  solve  is  the  gearing  of  visual  instruction  into 
progressive  methods  of  teaching.  There  has  been  too 
much  use  of  such  materials  as  instruments  to  do  better 
what  ought  not  to  be  done  at  all,  to  increase  the  amount 
of  subject  matter  emphasis,  to  increase  the  emphasis 
on  mformation.  There  has  been  a  corresponding  fail- 
ure to  see  visual  materials  as  devices  for  raising  prob- 
lems, stimulating  interest,  awakening  curiosity,  sensi- 
tizing students  to  major  social  |)roblems. 

In  conclusion,  may  I  say  that  the  size  of  the  problem 
should  not  dismay  us  in  the  least.  I  have  had  an  op- 
portunity to  meet  and  know  a  large  number  of  the  men 
who  are  leading  the  thinking  in  the  visual  instruction 
field.  They  are  doing  an  excellent  job.  They  under- 
stand the  opportunities  in  and  the  limitations  of  these 
materials.  They  do  not  believe  that  visual  materials 
are  the  be-all  and  the  end-all  of  education.  They  see 
these  materials,  however,  as  providing  certain  concrete 
experiences  without  which  any  program  of  progres- 
sive education  will  inevitably  fail.  Enc.AK  Dale. 

The  First  Educational  Film  Of  The 
Visual  Instruction  Department 

The  Visual  Instruction  Department  released  its  first 
educational  film  at  the  Detroit  meeting  when  it  ap- 
proved as  its  own  presentation  the  film.  Speaking  of 
Safety,  which  had  been  produced  under  the  direction 
of  the  New  York  Metropolitan  Branch  of  the  Depart- 
ment. The  film  is  a  one-reel,  silent  picture  on  the 
subject  of  child  safety  in  traffic.  Its  production  and 
distribution,  free  to  the  educational  field,  was  made 
possible  by  the  Automobile  Safety  Foundation,  which 


,,  Somewhere    in    this 

^.g^j        country,    every    time 
that    clock    ticks    off 
THREE  MINUTES,  one 
iinss  child   is    injured    in    an 
automobile    accident    — 


From  the  film  "Speaking  of  Safety'' 

financed  the  project  as  a  contribution  to  the  teaching 
of  safety  in  elementary  grades.  The  Highway  Educa- 
tion Board  collaborated  in  its  preparation. 

The  ])lan  for  the  film  was  pre])ared  by  a  committee 
of  elementary  school  principals,  supervisors  and^  teach- 
ers and  visual  instruction  authorities,  working  with 
the  ]M-oducers,  and  was  tested  with  ]>upils  in  the  ele- 
mentary grades  in  schools  in  New  York  City  :  Garden 
Citv,  N.  Y. :  and  the  Scarsborough  School,  Scars- 
borough,  N.  \.     Their  reactions  were  used  as  a  guide 


Page  326 


SEEING 

IS  BELIEVINGI 

No  matter  what  the  subject 
taught  .  .  .  the  mind  receives 
fullest  significance,   understands 
with  greatest  clarity  —  if  the  les- 
son has  been  conveyed  by  the  eyes! 

YOU  WILL   EDUCATE   BEST 

IF  YOU  EDUCATE 

PICTORIALLY! 


FOR   ENTERTAINMENT.   NO 

GREATER  PICTURES  ARE 

AVAILABLE  THAN   THESE: 

Merry-Go-Round  of  1938 

Show  Boat 

My  Man  Godfrey 

Three  Kids  and  a  Queen 

The  Road  Back 

— and  Deanna  Durbin's  great  picture — 

THREE  SMART  GIRLS 

100  MEN  AND  A  GIRL 

(Catalogue    15) 

Write    to    Universal's    Non-Theatrical 

Department  for  further  information 

regarding  short  and  feature-length 

pictures,  travelogues,  cartoons 

and  other  motion  pictures. 

UNIVERSAL  PICTURES 
COMPANY,  INC. 

Rockefeller  Center  New  York,  N.  Y. 

CIRCLE  7-7100 


The  Educational  Screen 

in  the  production  of  the  picture.  The  horror  element 
was  entirely  avoided  in  the  film.  Its  purpose  is  to 
motivate  children  in  the  habit  of  carefulness  in  traffic. 
It  presents  several  typical  traffic  danger  situations  to 
children  in  highway  traffic.  This  is  done  by  ordinary 
traffic  scenes  and  by  talking  automobiles,  the  fronts 
of  which  turn  into  cartoon  faces  with  titles  coming 
out  of  their  mouths  as  they  tell  of  the  toll  being  taken 
in  children  injured  and  killed  in  automobile  accidents, 
warn  the  children  against  carelessness  in  crossing 
streets,  urge  them  to  "remember  not  to  forget  to  be 
careful  always,"  and  exact  a  promise  of  carefulness. 

A  teaching  guide  with  scenes  from  the  him  has  been 
prepared  to  accompany  the  film. 

The  picture  was  produced  by  F"ilms  of  Connnerce 
and  is  meeting  with  enthusiastic  reception  on  the  part 
of  schools  throughout  the  country,  the  demand  being 
greater  than  can  be  taken  care  of  by  the  100  larints  now 
in  circulation.  About  200,000  children  are  seeing  the 
film  each  month.  Prints  have  been  deposited  with  the 
visual  instruction  departments  of  state  universities, 
museums,  and  state  department  of  education  and  sev- 
eral commercial  exchanges  from  which  schools  may 
borrow  prints  without  cost,  except  for  transportation 


Another  scene  from  the  him 


charges.  Applications  should  be  made  to  Films  of 
Commerce  Co.,  21  West  46th  Street,  from  which  they 
will  be  referred  for  filling  to  the  depository  nearest 
the  applicants. 

Use  of  the  "Film  Estimates" 

{Concluded  from  page  320) 

reviews  of  those  pictures  appearing  for  the  week  of 
bulletin  boards  either  in  the  library  or  the  main  hall. 
In  the  junior  highs  the  librarians  have  given  lessons 
in  the  use  of  the  reviews  and  this  has  stimulated 
interest  in  more  lengthy  reviews  such  as  can  be  found 
in  Scholastic  magazine,  Boy's  Lije,  Literary  Digest, 
and  Life.  In  the  senior  high  the  students  have  been 
informed  about  the  service,  and  the  sponsor  of  the 
school  pajjer  intends  to  carry  some  news  notes  about  it. 
To  each  parent  group  the  use  of  the  reviews  has 
been  explained  and  the  importance  of  follow-up  work 
on  the  part  of  the  home  has  been  stressed.  Some 
elementary  schools  have  felt  the  service  will  jjossibly 
be  of  more  value  to  the  parent  than  to  the  child  of 
these  years ;  Therefore,  these  school  principals  make 
mention  of  the  system  when  such  groups  meet  in  regu- 
lar or  executive  sessions. 


December,  1937 


Page  327 


The  NEWimportance  of  the  EAST 


m 


h 


/  m 


:^^iȣ 


THE  eyes  of  the  world  are 
looking  toward  the  east.  .  .  . 
An  undeclared  war  between 
China  and  Japan.  ...  In  Siberia, 
a  vast  region  coming  to  life.  .  .  . 
Soviet  Russia — a  nation  engaged 
in  a  tremendous  experiment  in 
government.  .  .  .  Turkey  throw- 
ing off  the  garments  of  the  past 
and  changing  to  modern  modes 
of  life.  .  .  .  Manchukuo  and  its 
still  doubtful  destiny.  .  .  .  Geog- 
raphy, Industry,  and  History — 
allofthesethings  become  clearer 
when  pupils  see  these  five  im- 
portant classroom  films,  edited 
from  a  wealth  of  pictures  made 
by  the  famous  American  ex- 
plorer-traveler, Julien  Bryan. 

Order  now  to  insure  early  delivery 
Eastman  Kodak  Company,  Teaching 


'Mi. 


-'---■  3  ree,s,  $72  21^-'^'^'^^^  of  Th''  '''""^  "^  an 
^'^^'»'A.  .-n  2  „        "'"•^^''-  "  ""••"'''<  'and 

^^e  tt  ""^'-^-^^ouZTr''  °'  ''''•^  vast  c 


1 


Films  Division,  Rochester,  N.  Y. 


Eastman  Classroom  Films 


Page  328 


The  Educational  Screen 


Christmas  in  Other  Countries  —  In  Hand -Made  Lantern  Slides 


By  ANN  GALE 

'T'  HK  celebration  of  Christmas  includes  a  mixture  of  pagan 
•■•  and  Christian  customs  that  vary  according  to  the  coun- 
try. Children  in  intermediate  grades  are  interested  in  the 
ways  Christmas  is  celebrated  in  other  countries.  For  chil- 
dren of  those  grades  these  slides  could  form  the  background, 
for  stories  about  various  kinds  of  Christmas  celebrations. 

1.  Children  in  provincial  l'>ance  putting  their  wooden 
shoes  before  the  hearth  on  Christmas  eve  to  receive  presents 
from  "father  Christmas." 


Art   Department,    Lindblom    High   School,    Chicago 

2.  Children  in  Italy  receiving  their  gifts  from  a  large 
vase — the  urn  of  fate.  In  the  background  on  the  table  is  a 
miniature   representation  of  the  nativity. 

3.  German  children  on  Christmas  eve  looking  at  their 
Christmas  tree  decorated  only  in  lights  and  bon-bons. 

4.  Xorweigan  children  looking  in  all  kinds  of  hiding  places 
for  their  Christmas  presents. 

5.  Christmas  carol  singers  in  England. 

6.  An  American  child  looking  at  his  Christmas  tree  and 
stocking  full  of  presents. 


The  sim- 
plest type 
of  han  d  - 
made  slide 
is  made  by 
drawing  or 
tracing  on 
finely  fin- 
ished etched 
glass  with 
0 r  dinar  y 
medium  lead 
pencil.  Col- 
or, by  spe- 
cial crayons 
or  inks,  en- 
hances the 
slides  great- 
ly. Fine  ef- 
fects are  ob- 
tained by 
b  lending 
with  cray- 
ons. About 
one  -  third 
inch  margin 
should  be 
left  all 
around  the 
slide.  The 
slide  is  read- 
ily cleaned 
with  soap  or 
washing 
powder  to 
r  c  c  e  i  v  c 
a  neiu  pic- 
ture. 


December,  1937 


Page  ik9 


,.Mt 


dc 


anu  excLu6nre 
HOLMES  ^e&tute5 

never  before  thought  possible 
on    a    16mm    projector. 

The  HOLMES  16  mm  projector  welcomes  a 
comparison  test  based  on  picture  quality  — 
quietness  of  operation — size  and  brilliancy 
of  picture  —  volume  and  quality  of  sound 
reproduction.  L,et  any  professional  operator 
make  your  test  for  you. 


A  mechanically 
superior  projec- 
tor that  costs  no 


LAMPHOUSE— Adaptable  to  500,  750 
or  1000  Watt  Lamps.  DYNAMIC 
SPEAKER— With  12"  cone.  AMPLIFIER 
—15  Watts  Output.  WEIGHT— Com- 
plete equipment  approximately  70 
pounds.     REELS— 400  to  1600  feet. 

The  HOLMES  16mm  and  35mm  Projectors 
are  used  by  world  renowned  lecturers  and 
professional  motion  picture  operators  all 
over  the  world  and  in  the  better  class  of 
schools,  colleges  and  scientific  institutions. 

Write    for    full    information    and    technical    details. 

HOLMES  »::  PROJECTORS 

CHOICE      OF      PROFESSIONAL      OPERATORS         EVERYWHERE 

HOLMES  PROJECTOR  CO..  1813  Orchard  St.,  Chicago 


'/ 


The  Epic  of  the  Orient 

6  Reel  Feature  16mm  Sound 

A  graphic  spectacle  of  China's  struggle 
against  ignorance,  famine,  poverty,  pestilence 
and  superstition.  With  vivid  and  striking  con- 
trasts it  gives  a  nev^  and  unforgettable  under- 
standing of  Chinese  life,  culture  and  traditions. 

An  Authentic  Document  of  China's 
Teeming  Millions 


// 


"First  rate  documentation  to  a  crisis  . 
struggle  .  .  .  lucid  .  .  .  rich  in  contrasts 


"Vivid  .  . 
"Unique 


striking  . 
.  .  marvelously  done 


an  epic 

N.  Y.  World  Telegram 

genuine  pictorial  beauty" 

N.    Y.    Herald    Tribune 


extraordinary" 

N.   Y.    Post 


"Vividly  and  unforgettable  he  has  recorded 
anachronistic  China  from  bare  bleek  Gobi  Desert 
and  shaggy  Inner  Mongolia  to  shiny  modsrn 
skyscraping  Shanghai"  cue  Magaiine 

Rental  Prices  and  Full  Information 
Upon  Request 

All      necessary     sound      projection      equipment 
supplied   if  desired. 


200  New  Sound  Features 

Special  school  assembly  programs 

"Robinson  Crusoe" 

NOW  A  TALKING   PICTURE 


Exclusive  Distributors 
COMMONWEALTH 
PICTURES    CORP. 

729  Seventh  Ave.  New  York,  N.  Y. 


Page  330 


The  Educational  Screen 


NEWS  AND  NOTES   ^-^  ^-/  w./, 

nanlpcunt  laln^^   and  evenU   In   the   vi^naL   peid. 


Lom     on 


Conducted  by  Josephine  Hoffman 


New  University  Visual  Services 

To  the  rapidly  growing  list  of  University  Extension 
Divisions  serving  their  state  with  visual  aids,  must  be 
added  the  Bureau  of  Visual  Instruction  recently  estab- 
lished at  the  University  of  North  Carolina,  Chaj^el 
Hill.  This  Bureau  will  rent  16mm.  silent  and  sound 
films,  and  lantern  slides,  to  schools  and  other  organiz- 
ations. The  Extension  Division  of  the  University  of 
Alabama,  and  Western  State  Teachers  College  of 
Kalamazoo,  Mich.,  also  plan  to  distribute  films  and 
other  visual  aids  on  state-wide  bases. 

A  cooperative  film  library  is  being  established  by 
the  Extension  Division  of  the  University  of  Michigan, 
and  another  by  the  General  Extension  Division  of  the 
University  of  Florida.  In  Massachusetts,  the  Boston 
University  School  of  Education  is  organizing  a  co- 
operative specialized  film  library  in  addition  to  their 
regular  Free  Films  Service. 

Reports  indicate  that  the  Wyoming  Visual  and 
Radio  Conference  which  was  held  at  the  university 
recently  may  lead  to  the  establishment  of  a  state  visual 
service  to  the  schools  of  Wyoming. 


Teamwork  . . 


It  is  our  aim  to  cooperate  with 
the  Educator  in  making  16mm. 
Sound-on-Film  more  valuable  for 
Audio-Visual  Education. 

Let  us  send  you  detailed  infor- 
mation on  nev/  movements  in  this 
direction. 

Among  our  recent  outstanding 
contributions  in  this  field,  are: 

1.  CHILDREN'S  HOUR  PROGRAMS 

(lor   primary   grades) 

2.  RECESS  PROGRAMS 

(sound  and  silent) 

3.  OUR  WORLD  IN  REVIEW 

(edited  from  Pathe  News  material) 

4.  SECRETS  OF  NATURE 

(British   Instructional   Films) 


WINTER    SPORTS     FILMS 

ICE   HOCKEY   -  SKI-ESTA   -  SNOW   FUN 
For  Sale  or  Rental 


Catalog  of  900  Entertainment  and  Edu- 
cational   subjects    sent     upon    request. 

WALTER  0.  GUTLOHN,  Inc. 

35  W.  45th  St,  Depl.  E-12  New  York,  N.  Y. 


Survey  Reveals  Growth  in  16mm.  Field 

The  Motion  Picture  Division  (>f  the  U.  S.  Depart- 
ment of  Commerce  is  making  a  survey  of  the  16mm. 
and  8mm.  equipment  field  to  secure  accurate,  worth- 
while information  on  this  jjarticular  branch  of  the 
motion  picture  industry  for  the  comparative  years 
1932  and  1937.  Early  returns  from  this  questionnaire 
show  a  steady  development  in  the  use  of  16mm.  film 
in  industrial  and  educational  work. 

Inquiries  were  sent  to  producers,  manufacturers, 
laboratories,  libraries  and  camera  and  projector  com- 
panies to  establish  capital  investment  in  1932  and  the 
current  year,  and  comparative  employment  totals  for 
those  years.  Additional  questions  were  asked  on  the 
number  of  industrial,  educational  and  advertising  sub- 
jects made,  average  number  of  prints  per  picture, 
average  production  costs  per  foot  and  methods  of 
distribution. 

Notes  from  Abroad 

South  Africa.  Since  the  recent  establishment  of  a 
National  Film  Library  in  the  Union  Department  of 
Education,  use  of  educational  films  in  the  schools  of 
South  Africa  has  been  increasing  steadily.  In  response 
to  this  demand,  £2600  will  be  available  for  the  pur- 
chase and  production  of  new  films,  as  compared  with 
£800  in  1936.  The  Union  Library  films  are  rented 
to  member-schools  at  a  nominal  fee  and  are  restricted 
to  use  with  projectors  approved  by  the  Film  Division. 
The  loan  of  films  from  foreign  industrial  firms  is  re- 
quested by  the  Director  of  the  National  Bureau  and 
Social  Research  for  South  African  schools. 


Germany.  During  the  three  years  since  its  founda- 
tion, the  National  Education  Film  Bureau  has  fur- 
nished German  schools  with  17,000  16mm.  projectors. 
In  the  near  future  70,000  German  schools  and  uni- 
versities are  to  be  supplied  with  such  apjiaratus,  ac- 
cording to  a  report  from  the  U.  S.  Motion  Picture 
Division  of  the  Department  of  Commerce.  The 
Bureau  is  interested  in  foreign  educational  films  and  in 
the  exchange  of  its  own  similar  films  with  interested 
organizations  in  the  United  States.  So  far  the  Bureau 
has  produced  about  300  educational  films. 

*  *  * 

Great  Britain.  According  to  an  analysis  of  incom- 
plete replies  received  by  the  British  Film  Institute, 
there  are  only  540  projectors  in  use  in  the  schools  of 
England  and  Wales,  and  140  in  Scotland,  or  approx- 
imately one  school  in  500.  Although  England  is  far 
behind  other  countries  in  the  use  of  the  film  in  edu- 
cation it  is  a  leader  in  the  production  of  fine  documen- 
tary films. 


December,  1957 


Page  331 


Teacher  Training  in  Visual  Aids 

{Concluded  from  page  316) 

Although  the  final  tabulation  indicates  what  the 
writer  considers  to  be  a  reasonable  safe  guide  (not  a 
model)  in  preparing  a  syllabus  for  a  course  in  visual 
instruction,  he  does  not  mean  for  this  tabulation  to 
imi)ly  that  all  visual  aids  instructors  agree  on  the 
amcjunt  of  time  to  be  devoted  to  each  topic.  There  is 
extreme  divergence  of  opinion  in  this  regard.  In  all  of 
the  thirty-two  topics,  except  one,  technique  in  the  use 
of  motion  pictures,  the  number  of  hours  given  each 
topic  in  one  or  more  courses  is  zero.  In  one  topic, 
photography,  the  variation  between  the  number  of 
hours  devoted  to  it  in  two  difTerent  courses  is  thirteen. 

Course  Instructors.  In  view  of  the  variation  in  topics 
covered  in  the  course  and  the  time  devoted  to  each,  it 
might  be  of  interest  to  know  something  of  the  instruct- 
ors in  the  courses.  The  seventy-six  instructors  have 
a  total  of  twenty-nine  titles,  only  one  of  which  is  Pro- 
fessor of  Visual  Education.  Only  twenty-seven  of  the 
seventy-six  instructors  had  titles  that  indicated  their 
connection  in  any  way  with  teacher  training.  Table 
shows  the  distribution  of  these  titles. 


TABLE  4 

Title 

Professor   of    Education    

.\.ssistant   Professor   of   Education    

.Associate   Professor  of   Education    

Professor  of  Visual   Education    

Consultant    in    Education     

Director   of  Teacher  Train'ng   and   Personnel 

Dean  of  College  of  Education    

Secretary  of  Bureau  of  Visual  Instruction*  . . . . 

Director  of  Visual  Instruction   

.'\ssistant   Director  of  Visual   Instruction    

Director  of   Museum*    

Director  of   University   Extension*    

Lecturer   on   Visual    Education    

.'\s.sistant   Director  of  University   Extension*    , 


No.  of 
Instructors 

....11 


One  of  the  following  fifteen  titles  was  held  by  one  or 
more   of   the  remaining   forty-nine   instructors: 

Professor   of    Business    Administration 
Associate   Professor  of   History 
Professor  of   History 
Professor  of  Physics 
Professor  of  Bacteriology 
Associate  Professor  of  Physics 
Professor  of  Geography  and   Social 

Science 
Professor  of  Agriculture 
.Associate   Professor  of   Industrial   .Arts 
Assistant  Professor  of  Biology 
Instructor  of   Photography 
Professor  of  Mathematics 
Professor  of  Science 
Professor  of   Handwriting 
Professor  of  Home  Economics 

Credits  Offered  for  the  Course.  The  number  of 
credits  offered  varies  from  one  to  four,  with  about  40 
per  cent  of  the  institutions  offering  two  credits,  35  per 
cent  offering  three,  and  the  remaining  25  per  cent 
being  about  equally  divided  between  one  and  four. 

(To  be  concluded   in  January) 


Perhaps  there  is  one  illustration  that 
has  extraordinary  educational  value  and 
you  would  like  to  discuss  it  with  the  en- 
tire class,  while  all  can  see  it  clearly.  The 
Spencer  Model  VA  Delineascope  pro- 
vides the  means  of  enlarging  the  illus- 
tration easily  and  quickly. 

The  Model  VA  illustrated  above  is  a 
combination  instrument  which  will  pro- 
ject lantern  slides  as  well  as  opaque  ma- 
terials. 

A  built-in  fan  cools  the  light  chamber. 
A  new  elevating  device  makes  it  simple 
to  center  the  picture  on  the  screen.  It  is 
a  modern  projector  and  modem  projec- 
tors are  easy  to  use. 

Write  for  complete  description  and 
list  of  sources  of  pictures  and  slides. 
Address  Dept.  R-7-12. 


Spencer  Lens  Company 


Buffalo 


New  York 


Page  332 


The  Educational  Screen 


SCHOOL    DEPARTMENT 


Conducted  by  Wilber  Emmert 

Director  Visual  Education,  State  Teachers  College,  Indiana,  Pa. 


The  Place  of  the  Motion  Picture 
in  an  Arts  Exhibit 

By  F.  M.  WORRELL 

Director  Visual  Education,  Public  Schools,  Englewood,  N.  J. 

rk  L'KING  the  recent  depression  many  administra- 
■*-^  tors  found  to  their  dismay  that  although  their  ad- 
ministration of  school  business  had  been  conscientious- 
ly and  intelligently  managed,  they  had  neglected  a  very 
im|x>rtant  part  of  the  educational  program,  namely — 
selling  the  school  to  the  community — with  the  direct 
result  that  many  school  activities,  classed  by  certain 
public  groups  as  "fol-de-rols  of  education,"  were  sub- 
ject to  much  public  censor,  in  many  cases  cut  from  the 
curriculum  entirely. 

Unfortunately,  as  many  of  these  courses  furnished 
the  sole  interest  and  opportunity  for  a  large  part  of 
the  less  gifted  children,  their  elimination  forced  the 
])upils  to  study  materials  beyond  their  scope  and  in- 
terests, dooming  them  to  failure  in  an  educational  sys- 
tem which  should  have  provided  for  their  successful 
devclo|)mcnt  in  suitable  fields. 

One  of  the  best  ways  to  enlighten  the  i)ublic  as  to 


Alvioys  More 
For  Your  Money 

from 

EASTIN  16  mm. 
PICTURES 

Davenport,  Iowa 

Change  today  to  our  superior  entertainment 
film  service — sound  or  silent.  Send  coupon  today 
for  our  big  free  catalogue. 

JEastin    I6mffl.    Pictures  j 

iDavfnpart,    Iowa  ' 

I         Pleaw    send    us,    without    obligation,    your    new    catalogue    o(    I6mni.  I 
land    silent    rental    films. 

I  wish   to   malie   use   of   films  for  tiie  following   purposes:         °'"  "''     ^" 

(State    make    and    whether    sound    or    silent)  I 

(       )      Regular    weekly    complete    entenainment    programs    (about    90  i 

I  minutes)  I 

I         (  )     Oceasional      complete     entertainment      programs      (about     90  I 

I  minutes)                                                                                              I 

I          (  )     Recess    entertainment,    or    combination    entertainment    educa- 

I  tional    programs    (about    35    to    40    minutes)                                   I 

I         (  )     Instructional    films    for   classroom    use                                          ' 

Uehcol      I 

,   *     Prlndpall 

|Stre(t     and     Number     I 

jciiy    stirt^''''''^^!^''!!!!'"!! 


the  value  of  these  new  school  activities,  reducing,  there- 
by, the  ]50ssibility  of  adverse  ])ublic  opinion  in  the  fu- 
ture, is  through  the  medium  of  the  school  exhibit. 

Parents  and  friends,  viewing  the  ])roducts  of  their 
children's  activities  in  art,  manual  training,  domestic 
science,  printing  and  the  various  clubs  now  considered 
part  of  a  progressive  school's  ])r()grani.  cannot  help 
but  feel  a  sense  of  pride  in  their  accomplishments  and 
an  appreciation  of  the  educational  opportunities  which 
made  these  results  possible. 

But  a  school  exhibit  that  creates  in  the  observer  a 
self-satisfied  frame  of  mind  has  only  accomplished  half 
its  possibilities.  To  be  truly  constructive  it  must  show 
him  not  only  the  end  products  but  also  the  conditions 
under  which  these  were  ]iroduced,  indicating  not  only 
the  school's  strength  but  also  its  weaknesses,  outlining 
what  must  be  done  to  bring  about  improvements  and 
suggesting  ways  in  which  his  sui)]X)rt  and  co-operative 
activity  may  bring  about  their  consumation. 

The  observer  should  leave  the  exhibit  feeling  that 
although  the  schools  have  done  well  with  their  avail- 
able facilities  there  is  much  room  for  improvement, 
that  conditions  are  far  from  ])erfect  and  that  through 
his  efforts  in  advancing  the  educational  program  in  his 
city  much  good  can  still  be  accompli  shed. 

In  other  words,  a  school  exhibit  should  stimulate  a 
desire  for  a  continuous  improvement  of  educational  op- 
port  imities,  in  the  minds  of  the  citizenry,  rather  than 
supine  satisfaction  with  present  conditions. 

This  idea  was  carried  out,  to  a  very  slight  extent, 
in  a  recent  Arts  exhibit  of  the  Englewood  Public 
Schools.  An  English  teacher  of  the  Junior  High 
School,  owner  of  an  inexpensive  motion  picture  cam- 
era, acting  in  conjunction  with  members  of  the  staff, 
planned  and  produced  an  eight  hundred  foot  film  de- 
picting the  Board  of  Education,  schools  of  the  city  and 
their  respective  faculties,  and  activities  of  the  Jimior 
High  School. 

The  ])roduction  involved  no  expensive  "settings." 
Real  situations  were  used.  The  "acting"  was  the  nor- 
mal activity  of  the  groups  pictured.  The  expense — 
less  than  twenty-five  dollars.  Although  the  picture 
was  not  planned  with  the  idea  in  mind  of  creating  a 
dynamic  urge  in  the  mind  of  the  observer  to  aid  in 
furthering  an  educational  program,  it  did  show  the  ac- 
tual making  of  many  of  the  objects  on  exhibit  and 
pictured  a  number  of  school  activities  which  could  not 
have  been  exhibited  otherwise. 

A  booth  was  set  up  at  the  exhibit  for  the  showing 
of  the  film.  Student  ojierators.  working  in  relays,  pre- 
sented a  continuous  "show."  Other  students,  using 
our  jniblic  address  system,  described  the  activities  as 
they  were  ]iictured. 

The  crowd  around  the  booth  was  so  great  that  many 
times  we  wished  we  had  planned  for  more  space.  Ob- 
servers were  not  content  to  view  the  picture  once,  they 
stayed  and  saw  it  several  times.     After  thev  had  tired 


MAKE    YOUK    OWN 

TYPEWRITER     SLIDES 

For    Screen    Projection 

USE         RADIO         MATS 

on    sale   by    Theatre    Supply    Dealers 
Write  for   Free  Sample 

RADIO-MAT  SLIDE  CO.,  Inc. 

1H19  Broadway.  Dept.V.  New  York  City 


Page  333 


ABRAHAM  LINCOLN"  —  10  reels 

Just    released    as    a    16    mm    talking   picture. 

A   United   Artists      production   starring 

WALTER  HUSTON 

Rental    prices    on    request. 

IDEAL    PICTURES    CORPORATION 

28   EAST   EIGHTH    STREET.   CHICAGO.    ILL. 


of  this  pan  of  the  cxliihii.  they  went  to  inspect  the  ar- 
ticles themselves.  api)rcciatinjj  them  more  because  they 
had  seen  the  coiuhtions  under  which  they  had  been 
made. 

The  old  sa\ing  "Tiie  proof  of  the  pudding  is  in  the 
eating"  holds  good  also  when  a))plied  to  an  exhibit.  The 
week  following  the  exhibit  the  town  paper  ran  an  edi- 
torial on  the  value  of  the  Arts  Courses  in  education 
ending  with  a  statement  to  the  effect  that  when  a  re- 
duction of  public  funds  because  of  low  tax  returns 
requires  educational  ciu-tailment.  the  arts  courses  must 
be  left  in  the  curriculum. 

Junior  Walton  League  Film 

A  school-made  picture  on  the  Junior  I::aak  Walton 
League,  produced  by  R.  L.  Swanson  of  Wilson  Junior 
High  School,  Appleton,  \\'isconsin,  is  available  from 
the  Bureau  of  Visual  Instruction  of  the  University  of 
Wisconsin.  The  film  thoroughly  portrays  the  worth- 
while activities  carried  on  by  the  Junior  W'altonians, 
such  as,  planting  shrubs  and  flowers,  caring  for  birds 
and  other  wild  life,  reforestation  jjrojects,  soaji  carv- 
ing of  animals,  and  other  studies  of  outdoor  life. 


16MM.    SOUND    ON    FILM 

for 
RENT  —  EXCHANGE  —  SALE 

A  few  of  our  Large  Catalogue  of 
RENTAL    SIJRJECTS 

THE  LOST  JUNGLE  *  KEEPER  OF  THE  BEES  •  GALLANT 
FOOL  *  THE  GIBL  OF  THE  LIMBERLOST  *  I  CON- 
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OLD    SANTA    FE     •     EAT    'EM    ALIVB     •     CITY    LIMITS 

*  MAN'S    BEST    FRIEND     *     KENTUCKY    BLUE    STREAK 

•  SILENT  ENEMY  *  JANE  EYRE  •  KLONDIKE  * 
RUSTLER'S  PARADISE  *  HEARTS  OF  HUMANITY  * 
RETURN      OF      CASEY      JONES     •     MIDNIGHT    PHANTOM 

♦  NOW  OR  NEVER  *  THIRTEENTH  GUEST  *  RED 
HAIRED  ALIBI  *  all  PETER  B.  KYNE'S  SUBJECTS  • 
all  TOM  TYLER,  JACK  PERRIN  and  JACK  HOXIE'S  WEST- 
ERNS *  all  RICHARD  TALMADGE'S  pictures  *  and 
RIN   TIN  TIN,  Jr. 

Altogether     150     Features    and    400    Shorts 

from      which      to      pick      your      programs 

Not  One  Mediocre  Picture  in  Our  Library 

Film   Rental   Catalogue  —  Film   Sale  Catalogue 

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CINE  CLASSIC  LIBRARY 


1041    JEFFERSON    AVE. 


BROOKLYN,    N.    Y. 


16mm   SOUND  OR  SILENT 

NEWSREEL  Service  for  Schools 

Latest    releases    once    a    month 
Write    for    complete    information    and    free    list    of    latest    titles. 

LEWIS  FILM  SERVICE 

105   EAST  FIRST   STREET  WICHITA,   KANSAS 


*The  Da-Lite  Challenger  consists  of  a 
roHer-mounfed  screen  in  a  metal  case 
to  which  a  tripod  is  pivotally  attached. 
The  extension  support  of  the  Standard 
Challenger  locks  automatically  In  place. 
The  De-Luxe  Challenger  models  have 
crank    and    gear    lifts. 


Show  Movies  or  Stills 

The  Easy,  Timc'Saving  Way! 

With  a  Da-Lite  Challenger  Screen,  getting  ready  to  show  pictures  is 
no  problem  for  the  teacher.  This  screen  has  a  tripod  and  can  be  set 
up  instantly,  anywhere. '•■  No  delay  clearing  books  from  a  table  or 
desk!  The  screen  is  also  adjustable  in  height  to  the  projection  re- 
quirements of  any  room.  The  Challenger  is  only  one  of  many  types 
in  the  Oa-Lite  line,  which  includes  box  table  models,  hanging  wall 
screens  and  stationary  auditorium  screens. 

Da-Lite  portable  Screens  have  glass-beaded  or  mat  white  surfaces. 
The  glass-beaded  surface  is  usually  best  for  classroom  use  as  it  gives 
the  brightest,  clearest  pictures.  For  auditoriums,  Da-Lite  theatre- 
type  stationary  screens  are  also  available  w^ith  silver  surfaces  and  in 
seamless  form. 

DA-LITE  SCREENS 

AND     PROJECTION     ACCESSORIES 


FREE  Literature 

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DA-LITE  SCREEN   CO..   INC.  1237 

Dept.  E.S.  2717  N.  Crawford  Ave..  Chicago.  III. 

Send  FREE  literature  on  Da-Lite  Screens  and  Accessories. 

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Address 

City      


Page  3  34 


The  Educational  Screen 


"SPINNING   SPOKES" 

One  snappy  16  mm  silent  reel  on 

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THE    MARION    STUDIO 

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Will  Ruv  Complete  Library 

GEIVERAL     FILMS     LIMITED 

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16MM.     SOUND     ON     FILM 

FOR 

SCHOOL  AND  CHURCH  USE 

SKULL    AND    CHOWN— with    Rin-Tin-Tin    Jr. 

BLACK  BEAUTY— with    Esther    Ralston    and    Alexander 

Kirkland. 
SILENT   ENEMY — A   Living   Record  of   a    Dying   Race — 

The  Story  of  the   Indians. 
DANGERS    OF   THE   ARCTIC— Story    of   the   Eskimo. 
LADY  OF  THE  LAKE— Sir  Walter  Scott's  Classic. 
UBANGI — Amazing   African   Travel   Film. 
ALICE  IN  WONDERLAND— ALL  TALKING. 
THE  CHRISTUS— The  Life  of  Christ. 
CROWN  OF  THORNS— Outstanding  Passion  Play. 

OVER    100    SILENT    PROGRAMS 
100    REELS   SOUND 

Rentals   East   of   Miss.    Only — 

Visual  Instruction   Supply  Corporation 

1757  Broadway  Brooklyn.  N.  Y. 


TWO  NEW  SCIENCE  AIDS 

FOR       PROGRESSIVE       TEACHERS 

PRINCIPLES    OF    PHYSICS        PRINCIPLES   OF    CHEMISTRY 

The  visualization  of  hish  Bchool  The  core  of  the  year's  work  in 
physiL--  nn  ;v.  iiini.  film  slides  for  chemistry  especially  adapted  for 
flassrnoin    use.  review. 

Descriptive  literature  and  sample  strip  of 
typical  frames  sent  on  request.     Address: 

VISUAL    SCIENCES  —  Suffern,    N.Y. 


Another  Film  On  China 

To  the  list  of  timely  motion  pictures  on  China 
should  be  added  the  6- reel  feature.  This  Is  China, 
available  in  16inm  sound  from  Commonwealth  Pic- 
tures Corporation,  New  York  City.  This  film  is  an 
interesting  and  informative  travelog  covering  con- 
siderable territory,  from  Inner  Mongolia  and  the 
bleak  Gobi  Desert  to  modern  Shanghai,  giving  vivid 
glimpses  of  the  customs  and  pursuits  of  China's 
teeming  millions  and  their  struggle  against  disease, 
famine  and  poverty.  There  are  maps  charting  the 
Japanese  invasion  and  sequences  of  marching  Jap- 
anese troops.  A  good  commentary,  written  by  Jack 
Foster  and  narrated  by  Alois  Havrilla.  accompanies 
the  picture. 

Releases  fronn  Nu-Art 

Mr.  Gordon  W.  Hedwig,  president  of  Nu-Art 
Films,  Inc.,  has  signed  contracts  with  Artcinema  Asso- 
ciates, Inc.,  for  exclusive  16  mm.  distribution  rights 
on  the  following  films :  Abraham  Lincoln.  The  Lot- 
tery Bride,  The  Bad  One,  Corsair,  Dii  Barry,  Reach- 
ing for  the  Moon,  Indiscreet,  and  New  York  Nights, 
plus  seven  Hugo  Reisenfeld  Musical  shorts. 

These  productions  were  formerly  released  through 
United  Artists,  and  star :  Jeanette  MacDonald,  Joan 
Bennett,  Gloria  Swanson,  Zazu  Pitts,  Dolores  Del  Rio, 
Fannie  Brice,  Bebe  Daniels,  Walter  Huston,  Bing 
Crosby,  Chester  Morris,  Harry  Richman,  Conrad 
Nagel,  Joe  E.  Brown,  Douglas  Fairbanks  and  others. 

Primary  School  Film  Programs 

An  innovation  in  the  film  service  offered  by  Walter 
O.  Gutlohn,  Inc..  is  the  introduction  of  "Children's 
Hour  Programs,"  which  are  specifically  adapted  and 
edited  for  children  in  the  6  to  12  year  age  group  and 
are  distributed  in  16  mm.  sound-oii-film.  The  ijrogram 
consist  of  one  reel  films  with  instructional  and  enter- 
tainment material  selected  from  Pathe's  World  in  Re- 
view series,  and  contain  nature  studies,  marionettes 
and  novelties.  For  primary  school  work,  the  Children's 
Hour  Programs  fill  a  long-felt  need  and  should  find 
widespread  use   in   schools   throughout  the  nation. 

Additions  to  Filmo  Library 

The  following  new  16  mm.  films  are  announced  by 
Bell  &  Howell  Company :  The  Toy  Shop  ( I  reel  sound ) , 
a  Christmas  story  in  color  with  musical  background ; 
One  Metre  Board  (I  reel  sound  and  silent)  and  Three 
Metre  Board  (I  reel  silent),  which  give  instruction 
in  mechanics  of  spring-board  diving  by  the  Olympic 
champion,  "Dutch"  Smith ;  Cobbler  Captain  of  Koe- 
pcnick  (6  reels  sound),  a  German  language  comedy- 
drama  with  English  titles  superimposed ;  Siamese 
Journey  (2  reel  sound),  a  Huntington-White  travelog. 


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Indirate  on  coupon  the  information   you  wish  c<oi^o. 

5    St.    Augustine's    Parade,    Bristol    1.    EnRland. 

Please  send  me  information  on: 

n  New  Ampro  Model   L 

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Page  33  6 


The  Educational  Screen 


THE   FILM    ESTIMATES 


Adventurous  Blonde  (Glenda  Farrell,  Barton 
MacLane)  (Warner)  Another  in  the  "Torchy 
Blane"  90m edy- mystery  series,  about  aa  usual. 
Fast,  breezy  action— somewhat  incoherent  at 
times— as  the  incredibly  clever  newspaper-hero- 
ine must  asain  side-track  h^-r  wedding  for  the 
eolvinj?  of  another  murder.  11-30-37 

(A)  Perhaps  (Y)  Fair  of  Kind  (C)  No  Value 
Awful  Truth,  The  (Irene  Dunne,  Gary  Grantl 
(Col  J  Fast,  hilarious  farce-comedy  op--ning 
with  breezy  divorce  and  ending  with  inevitable 
reconciliation.  Notably  fine  for  subtle  character 
acting  by  stars.  Clevtr  mixture  of  genuine 
comedy,  rowdy  farce,  and  near  burlesque. 
Risque  bits  strive  to  be  inoffensive  11-30-37 

(A)  Excellent  of  kind  ( Y)Sophisticated  (Ct  No 
Barrier,  The  (L.  Carrillo.  J.  Parker.  Jas.  Elli- 
son) (Para)  Rex  Beach's  melodrama  of  reven- 
ge in  an  Alaskan  outpost  intermingled  with 
love  of  young  lieutenant  for  a  supposed  half- 
breed  girl.  Although  fists  fly  film  lacks  >  xpect- 
ed  vigor.  Chief  merits  are  Carrillo's  fine  char- 
acter role  and  beautiful  scenery.  11-23-37 
(A)  Perhaps  (Y)  Fair  (C)  No 
Borrowing  Trouble  (Jed  Prouty,  Spring  Bying- 
ton)(Fox)  One  of  the  best  to  date  in  Jones 
Familyeeriesof  domestic  comedy  dramas.  Natural 
boy  action  and  wholesome  family  relationships 
depicted  with  simple  realism,  humor  and  sympa- 
thetic understanding.  Good  social  values.  Over- 
drawn climax  doesn't  seriously  detract.  12-7-37 
(A(  Fair  (Y)  and  (C)  G::od 
Carnival  Queen  (Robt.  Wilcox,  Dorothea  Kent) 
(Universal)  Mediocre  Class  B  film  whose  carni- 
val background  might  have  been  made  interest- 
ing, but  which  succeeds  in  merely  being  stupid. 
Feebly  directed  and  acted,  the  empty-headed 
little  heroine  being  especially  painful  and  un- 
convincing. 12-7-3  r 
( A I  and  ( Y)  Mediocre  (C )  No 
Conquest  (Garbo.  Boyerj  (MGM)  Gorgeous  ro- 
mantic melodrama  dotted  with  history,  elabo- 
rately set,  done  with  power,  dignity  and  b  auty 
by  a  notable  cast.  Makes  Napo'eon's  whole  career 
center  round  one  colorful  love  affair.  Beyer  and 
Garbo  do  outstanding  roles.  Long  and  tf-mp') 
slow  at  times.  12-7-37 
(A)  Notable  (Y)  and  (C)  Very  Mature 
Damsel  in  Distress  (Fred  Astaire.  Joan  Fon- 
taine) ( RKO )  Light,  pleasing  entertainment, 
absurd  far-fetched  story,  but  charact  ts  and 
situations  make  it  quite  amusing.  Rather  more 
story,  less  dancing  than  usual.  Some  excellent 
photography,  novel  camera  effects  and  settings. 
Gracie  Allen  very  funny.  11-30-37 
(A)  Amusing  (Y)  Amusing  (ClAmusing 
Ebb  Tide  (Milland,  Homolka.  Farmer)  (Paral 
Stevenson's  thrilling  adventure  drama  of  three 
der  licts  in  the  South  Seas,  notable  for  excel- 
lent characterisation  by  Homolka  and  Barry 
FiUgerald.  Unpleasant,  slow-moving  storv,  but 
grippingandsuspensoful.  Impressivesea  photog- 
raphy in  Technicolor,  11-30-37 
(A)  Interesting  (Y|  Strong  (C) Absolutely  Not 
First  Lady  (Kay  Francis.  Preston  Foster) 
(Warner)  Literal  screening  of  stage  play  satir- 
mng  Washington  politics,  expertly  done  by 
notable  cast  which  makes  the  most  of  th^ 
character  comedy  and  witty  dialog,  but  the 
theatnealized  "society"  and  artificial  plot  are 
merely  amusing  not  convincing.  11-30-37 
(A)  Very  gd  of  kd  (Y|  P.ihaps  (C)  Little  Int. 
Gangway.  (Jessie  Matthews,  Nat  Pendleton ) 
(British-Gaumont)  Handsom  dy  staged  and  pho- 
tographed with  appealing  song  and  dance  n  u  m- 
bers  by  engaging  little  star.  Fast,  breezy  action. 
but  combination  of  musical  comedy,  mystery 
drama  and  burlesque,  not  very  convincini?.  Achie- 
ves some  suspense,  and  occasional  humor.  11-23-37 
(A»   Perhaps                     (Y)   Fair  (C)   No 

Great  Garrick.  The  (Brian  Aherne.  deHaviland, 
^rton)  I  Warner  I  Skilfully  prod'ueed.  finelyact- 
tHfthoroIydelightfuIandamusingsatirebasedon 
imaginary  episode  in  life  of  England's  great 
18th  Century  actor.  Authentic  seta,  costumes. 
atmosphere.  Aherne  does  title  role  with  humor 
and   charm.  11-23-37 

(K\    and    lY)    Excellent    (C)    Good   if   inte  ests 

Hold  'Em  Navy  (L  w  Ayres.  Mary  Carlisle) 
(Para)  Lively  Annapolis  picture  emphasising 
its  ruU-s  and  traditions.  Story  not  new  ;  con- 
cerns rivalry  of  two  midshipmen  over  girl  and 
troubles  of  spoiled  hero  until  he  learns  dis- 
cipline. Features  fcM>tbaII  with  a  novel  twist-- 
hero  doesn't  even  play  in  big  gam  !  11-30-37 
iA)    Fair      (Y)    Good      (C)    Prob.  Entertaining 

Hot  Water  (Jed  Prouty.  Spring  Byington) 
(Fox)  Plr^sing  addition  to  the  Jones  Family 
series,  realistic  in  characters,  incidents  and 
family  life.  Mr.  Jones  is  elected  mavor  on  the 
reform  ticket  after  exposing  crookedn  ss  of 
his  opmment  with  aid  of  his  two  boys.  Whole- 
some family  entertainment.  11-16-37 
'Al    Fuir                                      (Yi    and    (C)    Good 


Being  the  Combined  Judgments  of  a   National  Committee  on  Current  Theatrical   Filnr»« 

(A)  Discriminating  Adults  (Y)  Youth  (C)  Children 

Date    ot    mailing    on    weekly    service    is    shown    on    each    film. 

(The  Film  Estimates,  in  whole  or  in   part,   may   be   reprinted 

only   by   special   arrangement  with  The   Educational   Screen) 


In  the  Far  Eiast  ( Russian,  English  Titles ) 
( Amkino)  Bewildering,  incoherent  melodrama 
of  espionage  in  a  Soviet  camp  on  the  Eastern 
border  between  Siberia  and  Manchukuo,  where 
preparations  are  made  to  blast  road  through 
mountains  despite  Japanese  and  Trotsky  spies. 
Little  story   or  character   value.  11-16-37 

(A)  Hardly  (Y|  Poor  (C)  No 

It's  Love  I'm  After  (Leslie  Howard,  B.  Davis) 
(Warner)  Delightful,  gay  satiric  comedy,  tx- 
pertly  directed,  acted.  Clever  dialog,  brisk 
tempo,  and  vtry  amusing  situations  as  actor- 
hero  tries  to  disillusion  infatuated  debutante 
who  brazenly  pursues  him,  and  almost  loses  his 
leading  lady,  whom  he  really  loves.  11-16-37 
(A)  Very  entertaining    (Y)  Sophisticated    (C)No 

Lady  Fights  Back,  The  (Irene  Hervey.  Kent 
Taylor)  (Universal)  Engine. r-hero,  and  hero- 
ine operating  fine  fishing  club,  battle  over  pro- 
posed dam  construction  which  will  cut  off  sal- 
mon supply.  Situation  solved  by  "salmon 
ladder"  arrangement.  Thin,  lightly  amusing, 
far-fetchc^i.  Appealing  backgrounds.  11-16-37 
(A)  Hardly     (Y)  Fairly  good     (C)  Doubtful  int. 

Last  Gangster,  Tho  (Edward  Robinson)  (MGM) 
(Irim  study  of  ruthless,  egotistic  "big  shot" 
gangster,  confined  to  Alcatraz.  Upon  release 
seeks  son  and  revenge  on  wife  who  marrif-d 
again,  but  contact  with  boy  stirs  him  to  self- 
sacriiiCe  instead.  Unpleasant  but  absorbing, 
well-told    and    acted.  11-23-37 

(Al    Good  of  kind  (Y)    Strong  (C)    No 

Live.  Love  and  Learn  (Montgomery,  Russe'I. 
Benchley)  (MGM)  Smoothly  acted  combination 
of  breezy,  exaggerated,  sophisticated  whimsy, 
slapstick  and  serious  drama.  Penniless  artist, 
catapulted  to  fame  and  riches,  temporarily 
loses  sense  of  values  and  his  wife :  recovers 
both  before  too  much  damage  done.  11-16-37 
(A)  Amusing  of  kind     (  Yi  Prob.  enter.     (C)  No 

Merry-Go-Round  of  1938  (Lahr,  Savo,  Auer, 
et  al)  (Univ.)  Crazy,  hilarious  stuff  made 
thoroly  funny  by  able  performers  and  direc- 
tion. Substantial,  human  stfjry  of  vaudeville 
quartette's  d  votion  to  their  adopted  daughter, 
deftly  interwoven  with  good  comedy  acts  and 
song    numbers.      Clean    fun.  1 1-16-37 

(Al  and  (Yl  Very  good  of  kind     (C)  Prob.  amus. 

Mr.  Boggs  Steps  Out  (Stuart  E  wm.  H-len 
Chandler)  (Grand  Nat'l)  Homey,  quiet  little  com- 
edy concerning  business  endeavors  of  ingenious 
statistical  clerk  who  acquires  tottering  barrel 
factory  and  makes  success  of  it.  Erw'n  well- 
cast,  and  village  character  roles  and  romantic 
element  add   interest.  12-7-.'i7 

(A)   Fairly  good  (Y)   Amusing  (C)   Fair 

Mv  Dear  Mi)*s  Aldrich  (Maureen  O'SuUivan. 
Walter  Pidgeon  >  (MGM  I  Rather  labored 
comedy  with  much  absurd,  meaningless  action, 
and  incredible  situations.  Edna  May  Oliver 
provides  a  few  laughs  as  the  dominating  aunt 
of  heroine  who  inherits  newspaper  run  by  sun- 
po.sedly  woman-hating  managing  editor.  11-30-37 
(A)    Hardly      (Y)    Passable      (C)    Doubtful   Int. 

Murder  on  Diamond  Row  (Edmund  Lowe.  Se- 
bastian ShawXU.A.)  Settings  and  photography 
interesting,  but  rather  clumsily  to'd  story  pro- 
vi3es  onlv  mild  suspense  Action  rambling,  char- 
acters quite  colorless,  and  Lowe  hardly  con- 
vinces as  a  rehabilitated  Scotland  Yard  defec- 
tive who  must  and  does  get  his  man.  12-7-37 
(A)   and   (Y|    Fairly  good  of  kind            (C)   No 

Murder  in  Greenwich  Village  (Richard  Arlen 
Fay  Wray)  (Col)  Inane,  loosely-knit  combina- 
tion of  mystery,  melodrama,  stormy  romance, 
f'^ebh-  comedy,  extraneous  situations  and  gen- 
erally h  ctic  action.  Arrogant,  wealthy  heroine 
is  extricated  from  murder  mess  by  far-fetched. 
clumsv  solution   of  crim^.  11-30-37 

(A)    Hardly  (Y)    No   Value  (C)    No 

Nothing  Sacred  (Lombard.  March  Winninger, 
Connolly)  MGM)  Lavish, well-acted. crazy. farce 
about  big.  bad  newspaper  exploiting  country 
heroine  supposedly  dying  of  radium  poisoning. 
Hilarious  mess  of  brazen  faking,  comic  drunken- 
ness, wisecrack  dialog,  socks-to-th  e-jaw,  burl'S- 
<iued  absurdities  -  and  all  technicolor!!  11-23-37 
lA)  Depends  on  taste       (Y)     Doubtful        (C)  No 


Partners  in  Crime  ( Lynne  Overman,  Roscoe 
Karns,  Muriel  Hutchinson)  (  Paramount)  Cheap 
and  thoroly  unsavory  mess,  aptly  tiued,  offered 
as  comedy,  and  peopled  by  undesirable  and 
disr-^putable  characters  concerned  in  black- 
mailing, crooked  polities  and  generally  dis- 
tasteful goings-on.  11-16-37 
(A)  (Y)  and  (C)  Stupid 

Return  of  Maxim  (Russian,  English  Titles) 
( Amkino )  Second  in  trilogy  of  propaganda 
films  glorifying  early  Bolshevist  paity.  Com- 
plex and  slow-moving,  finely  acted.  Vividly 
portrays  activities  of  secret  organizers  and 
Bolshevist  press,  striking  workers,  mass  march- 
ing, riots,  grim  deaths  for  "the  cause."  11-16-37 
(A)   Interesting       (Y)   If  it  interests       (Cl   No 

Second  Honeymoon  (Loretta  Young,  Tyrone 
Power)  (Fox)  Elaborate,  sophisticated  comedy, 
embroidered  with  hilarious  slapstick  as  money- 
flinging,  playboy  hero  re-woos  and  re-wins  e  x- 
wife  from  her  second  husband.  Latter  is  a  "stuff- 
ed shirt"  so  it's  all  very  gay.  and  right  and 
proper  !  Appealing  subordinate  roles.  11-23-37 
(A)   Good  of  kind        (Y|    Better  not       (C)    Nj 

Sheik  Steps  Out,  The  (Ramon  Novarro,  Lola 
Lane)  (Republic)  Poor  choice  for  Novarro's  re- 
turn to  Screen.  Innocuous  but  naive,  outdated 
love  story  of  desert  sheik,  who  is  really  a  Span- 
ish count,  and  si)irited  American  heiress  whom 
he  "tames."  Pleasingly  acted  by  star,  and  some 
good    desert    scenes.  12-7-37 

(A)    Hardly        (Y|    Perhaps        (C)    No   interest 

Spanish  Earth  (Contemporary  Historians)  Stir- 
ring, vivid  portrayal  of  Loyalist  Army's  defense 
of  Madrid  and  environs.  Emphasizes  need  of 
good  soil  to  guarante.'  food  supply  and  shows 
work  on  irrigation  project  along  with  war 
scenes.  Partisan  but  effective  narration  by  Hem- 
ingway, impressive  photography.  11-23-37 
(A)  Fine  of  kind            (Y)  Doubtful  (C)  No 

Stand-in  (  Leslie  Howard.  Joan  Blondell)  (U.A.) 
Sprightly,  frank  satire  on  film  industry.  How- 
ard delightful  as  unsophisticated  financial  ex- 
pert sent  to  Hollywood  to  save  movie  company. 
Enjoyable  blend  of  comedy,  hilarious  farce,  se- 
rious drama,  interesting  backgrounds,  deft  di- 
rection and  acting.  12-7-37 
(A)  Very  good     (Y)  Good     (C)  Doubtful  interest 

Submarine  D-1  (Pat  O'Brien.  Wayne  Morris. 
Doris  Weston.  McHugh)  (Warner)  Routine  plot 
of  romantic  rivalry  subordinated  to  absorbingly 
informative  aspects  of  U.S.  submarine  service 
and  newly  developed  rescue  apparatus.  Striking 
sea  and  underwater  photography.  Avoids  grim- 
ness  and  impossible  h-^roics,  12-7-37 

( A )  Interesting    ( Y )  Very  gd.  of  kd.    ( C )  Prob.  gd. 

This  Way.  Please  (Buddy  Rogers,  B.tty  Grable, 
Ned  Sparks  (Para)  Largely  ridiculous  hodge- 
podge set  backstage  o  f  large  movie-theatre,  p  a  d  d- 
ed  out  with  slapstick  and  acts  by  popular  ra- 
dio stars.  Tiresome  action  concerns  romantic 
complications    besetting   hero   and   heroine. 

11-23-37 
(A)  Mediocre      (Y)  Passable      (C)  Doubtful  int. 


Christmas  Seals 

are  here  again! 

They  protect  your  home 
from    Tuberculosis 


December,  1937 

AMONG  THE  PRODUCERS 


DcVry  Adds  New  Services 

Herman  A.  DeVry,  Inc.,  of  Chicap^o,  has  just  re- 
cently announced  a  local  newsreel  jilan  in  which  a 
beneficial  tie-up  is  created  between  ne\vs];apers  and 
local  theatres.  While  the  newsreel  is  not  intended  in 
any  way  to  compete  w-ith  the  features  or  shorts  in 
theatres,  it  is  offered  as  substitute  for  free  gifts  and 
bank  night  promotions.  The  plan  has  already  been  tried 
in  several  communities  and  has  been  found  especially 
successful  in  towns  having  smaller  populations  where 
there  is  a  strong  local  interest  in  affairs. 

The  16mm  newreel  being  produced  by  the  Stadium 
theatre  in  Evanston,  111.,  is  an  example  of  the  develoj)- 
nient  in  the  Chicago  area.  Interest  in  the  weekly 
showing  has  been  growing  rapidly,  according  to  the 
manager  of  the  threatre.  The  newsreel  is  worked  out 
in  cooperation  with  the  Evanston  Nnvs-Index.  daily 
news]ia])er.  which  supplies  the  cameraman  with  infor- 
mation regarding  news  events  in  the  territory. 

In  order  to  make  it  jiossible  for  theatres  who  so  de- 
sire to  produce  their  own  newsreel,  the  DeVry  com- 
])any  has  set  up  a  plan  whereby  the  exhibitor  may 
lease  the  equipment.  i\  camera,  projector,  exposure 
meter,  reels,  splicing  machine  and  other  necessary 
])araphernalia  are  included  in  the  outfit. 

Amateur  cameramen  are  invited  to  write  to  the 
DeVry  Company   for  further  particulars. 

.\nother  addition  to  the  DeVry  list  of  services  is  the 
recently  announced  Special  Centralized  System  De- 
]5artment,  headed  by  J.  R.  Cowan,  which  offers  free 
consultation  service,  layout  plans,  and  advice  on  such 
installations.  The  DeVry  Company  now  has  available 
school  centralized  systems,  which  include  public  ad- 
dress features,  single  or  two-way  communication  sys- 
tems between  principal's  ofifice  and  classrooms,  and 
other  features. 

Leica  Deferred  Payment  Plan 

I="or  those  people  who  wish  to  extend  their  i^hoto- 
graphic  scope  with  a  Leica  camera  or  wish  to  add  to 
their  present  Leica  equipment  but  who  do  not  find  it 
convenient  to  make  a  substantial  cash  outlay  at  one 
time,  E.  Leitz,  Inc.,  announce  the  creation  of  a  Leica 
Finance  Plan.  Under  this  plan  the  purchase  of  cameras, 
new  lenses,  enlargers,  projectors,  or  any  other  item  of 
Leica  equipment  including  Leitz  Binoculars  may  be 
paid  for  over  a  period  of  time. 

Screen  Bargain 

Hornstein  Photo  Sales,  29  E.  Madison  St..  Chicago, 
distributors  of  projectors,  cameras  and  photographic 
accessories,  is  offering  a  special  bargain  in  sound 
screens.  A  54"x72"  perforated  screen,  with  good  struts, 
usable  for  silent  or  sound  projection,  in  fibre  container. 
is  offered  at  less  than  half  the  original  price. 


Page  337 


SEES  AIL-PLAYS  ALL 


VSyi 


16  MM 


SOUND  PROJECTOR 


New  All-Purpose  Model 

Now,  for  the  first  time,  an 
ALL-PURPOSE  16  MM 
Sound  Projector  is  offered 
to  you.  Completely  flexible 
for  the  varied  demands  of 
classroom   and   auditorium 


Adjustable  as  easily 
and  as  quickly  as  your  radio 
to  tone  quality  for  small 
group  work  but  with  plenty 
of  built-in  reserve  power  for 
large  audiences.  Clear, 
steady  image  projected  to 
any  desired  size.  No  com- 
plicated threading.  Easy  on 
film.  Requires  no  trained 
operator.  Handsome  mod- 
ern case  design.  Can  also 
be  used  for  silent  films. 
A  Universal  comes  to  you 
complete,  ready  to  operate. 
No  extras  to  buy.  May  be 
purchased  on  the  Universal 
Budget  Plan.  See  yourdealer 
or  write  for  further  details  to 

Universal  Sound  Projector 

Division  o/ 
SENTRY  SAFETY  CONTROL  CORP. 

1921  Oxford  St.,  Phila..  Pa. 

Show  Room  —  1600  Broadway,  N.  Y.  C. 


Page  338 


The  Educational  Screen 


HERE  THEY  ARE 


A  Trade  Directory 
for  the  Visual  Field 


FILMS 

Akin  and  Bagshaw,  Inc.  (6) 

1425  Williams  St.,  Denver,  Colo. 
Bell  &  Howell  Co.  (6) 

1815  Larchmont  Ave.,  Chicago 
(See  advertisement  on  inffide  back  cover) 

Bray  Pictures  Corporation  (3,  6) 

729  Seventh  Ave.,  New  York  City 
Cine  Classic  Library  (5) 

1041  Jefferson  Ave.,  Brooklyn,  N.  Y. 
(See  advertisement  on   page  333) 

Commonwealth    Pictures    Corp.  (5) 

729   Seventh   .'\ve.,    New   York   City 

(See  advertisement   on  page  329) 

Eastin  16  mm.  Pictures  (6) 

Davenport,  la. 

(See  advertisement  on  page   332) 

Eastman  Kodak  Co.  (1,  4) 

Rochester,  N.  Y. 

(See  advertisement  on  outside  baclc  cover) 

Eastman  Kodak  Co.  (1,4) 

Teaching  Films   Division 
Rochester,  N.  Y. 

(See  advertisement  on   page  337) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St.,  Pittsburgh,  Pa. 
Edited  Pictures  System,  Inc.  (6) 

330  W.  42nd  St.,  New  York  City 
Films,  Inc.  (6) 

330  W.  42nd  St.,  New  York  City 

64  E.  Lake  St.,  Chicago 

925  N.  W.  19th  St.,  Portland,  Ore. 

General   Films,    Ltd.  (3,6) 

1924  Rose  St.,  Regina,  Sask. 
156  King  St.,  W.  Toronto 

(   See  advertisement  on  page  335) 

Walter  O.  Gutlohn,  Inc.  (6) 

35  W.  45th  St.,  New  York  City 

(See  advertisement  on   page  830) 

Harvard  Film  Service  (3,  6) 

Biological  Laboratories, 

Harvard  University,  Cambridge,  Mass. 
Guy  D.  Haselton's  Travelettes      (1,  4) 

7901  Santa  Monica  Blvd.,  Hollywood, 
Cal. 
J.  H.  Hoffberg  Co.,  Inc.  (2,  5) 

729  Seventh  Ave.,  New  York  City 
Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago,  111. 

(See    advertisement    on    page    333) 

Institutional  Cinema  Service,  Inc.  (3,  6) 
130  W.  46th  St.,  New  York  City 

Lewis  Film  Service  (6) 

105  E.  1st  St.,  Wichita,  Kan. 

(See    adve- tisement    on    page    333) 

The  Manse  Library  (4,  5) 

2439  Auburn  Ave.,  Cincinnati,  O. 

(Sc  advertisement  on   page  334) 

National  Cinema  Service  (6) 

3  W.  29th  St.,  New  York  City 
Pinkney  Film  Service  Co.  (1,  4) 

1028   Forbes    St.,   Pittsburgh,   Pa. 
United  Projector  and  Films  Corp.  (1,  4) 

228  Franklin  St.,  Buffalo,  N.  Y. 
Universal  Pictures  Corp.  (3) 

Rockefeller  Center,  New  York  City 

(See  advertisement  on   page   326) 

Visual  Education  Service  (6) 

1.11  Clarenrinn  St..  Boston.  Mass. 
Visual  Instruction  Supply  Corp.         (6) 
1757  Broadway,  Brooklyn,  N.  Y. 

(Sej  advertisement  on   page  334) 

Wholesome  Films  Service,  Inc.  (3,  4) 
48  Melrose  St.,  Boston,  Mass. 

Williams,  Brown  and  Earle,  Inc.  (3,  6) 
918  Chestnut  St.,  Philadelphia,   Pa. 


Y.M.C.A.  Motion  Picture  Bureau  (1,  6) 
347  Madison  Ave.,  New  York  City 
19    S.    LaSalle    St.,    Chicago 

MOTION  PICTURE 

MACHINES  and  SUPPLIES 

The  Ampro  Corporation  (6) 

2839  N.  Western  Avenue,  Chicago 

(See  advertisement  on   page   335) 

Bell  &  Howell  Co.  (6) 

1815  Larchmont  Ave.,  Chicago 

(See   advertisement  on    inside   back    cover) 

Eastman  Kodak  Co.  (4) 

Rochester,  N.  Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St.,  Pittsburgh,  Pa. 
General  Films,  Ltd.  (3,6) 

1924  Rose  St.,  Regina  Sask. 
156   King    St.,   W.   Toronto 

(See  advertisement  on    page   334) 

Herman  A.  DeVry,  Inc.  (3,6) 

1111    Armitage    St.,    Chicago 

(See  advertisement  on   page   310) 

Holmes    Projector    Co.  (3, 6) 

1813    Orchard    St.,    Chicago. 

(S:e  advertisement  on    page   329) 

Ideal  Pictures  Corp.  (3,  6) 

28  E.  Eighth  St.,  Chicago 

(See   advertisement  on   page   333) 

Institutional  Cinema  Service,  Inc.  (3,  6) 

130  W.  46th  St.,  New  York  City 
International   Projector   Corp.  (3, 6) 

90  Gold  St.,  New  York  City 

(See  advertisement  on   inside  front  cover) 

RCA  Manufacturing  Co.,  Inc.  (5) 

Camden,  N.  J. 

(See   advertisement  on   page  313) 

S.  O.  S.  Corporation  (3,6) 

636  Eleventh  Ave.,  New  York  City 
.Sunny  Schick  National  Brokers    (3,  6) 

407  W.  Wash.  Blvd.,  Ft.  Wayne,  Ind. 
United  Projector  and  Films  Corp.  (1,  4) 

228  Franklin  St..  Buffalo,  N.  Y. 
Universal  Sound  Projector  (5) 

1921  Oxford  St.  .Philadelphia,  Pa. 

(Se;?  advertisement   on   page   337) 

Victor  Animatograph  Corp.  (6) 

Davenport,  Iowa 

(See   advertisement  on   page   314) 

Visual  Education  Service  (6) 

131   Clarendon  St.,  Boston,  Mass. 
Williams,  Brown  and  Earle,  Inc.    (3,  6) 
918  Chestnut   St.,  Philadelphia,   Pa. 

PICTURES  and  PRINTS 

Colonial  Art  Company 

1336  N.  W.  First  St.,  Oklahoma  Citv, 
Okla. 
The  Photoart  House 
844   N.   Plankinton   Ave.,    Milwaukee, 
Wis. 

SCREENS 

Da  Lite  Screen  Co. 

2717  N.  Crawford  Ave.,  Chicago 

(See  advertisement  on   page  333) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut  St.,  Philadelphia,   Pa. 
606  Wood  St.,  Pittsburgh,  Pa. 
Hornstein  Photo  Sales 
29  E.  Madison  St.,  Chicago 

(Se=   advertisement  on    page  334) 

Institutional  Cinema  Service,  Inc. 

130  W.  46th  St.,  New  York  City 
Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 


SLIDES  and  FILM  SLIDES 

Conrad  Slide  and  Projection  Co. 

709  E.  Eighth  St.,  Superior,  Wis. 
Eastman  Educational  Slides 

Johnson  Co.  Bank  Bldg., 
Iowa  City,  la. 
Edited   Pictures  System,  Inc. 

330  W.  42nd  St.,  New  York  City 
Ideal  Pictures  Corp. 

28  E.  Eighth  St.,  Chicago,  111. 

(Se.    advertisement  on   page   333) 

Keystone   View  Co. 

Meadville,   Pa. 

(See  advei  tisement  on   page   312) 

Radio-Mat  Slide  Co.,  Inc. 

1819  Broadway.  New  York  City 

(Se'  advertisement   on   page   333) 

Society  for  Visual  Education 

327  S.  LaSalle  St.,  Chicago,  111. 
Visual  Education  Service 

131   Clarendon  St.,  Boston,  Mass. 
Visual  Sciences 

Suffern,  New  York 

(See  advertisement  on   page   334) 

Williams,  Brown  and  Earle,  Inc. 
918   Chestnut    St.,    Philadelphia,    Pa. 

STEREOGRAPHS  and 

STERESCOPES 

Herman  A.  DeVry,  Inc. 
1111  Armitage  St.,  Chicago 

(S  e  advertisement   on   page   310.) 

Keystone  View  Co. 

Meadville,  Pa. 

(S..e  advertisement  on   page   312) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 

Rochester,  N.  Y. 

(See  advertisement   on   page  309) 

Eastman   Kodak   Stores,   Inc. 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St.,  Pittsburgh,  Pa. 
General  Films  Ltd. 

1924  Rose  St.,  Regina,  Sask. 

156   King    St.,    W.,    Toronto 

(See  advertisement   on   page   334) 

Keystone  View  Co. 
Meadville,  Pa. 

(S-e   advertisement  on   page   312) 

Society  for  Visual  Education 

327   S.   LaSalle   St.,   Chicago,   111. 
Spencer  Lens  Co. 
19  Doat  St.,  Buffalo,  N.  Y. 

(Se.'   advertisement   on    page   331) 

Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 


REFERENCE  NUMBERS 

(1)  indicates   (irm  supplies  36   mm. 
silent. 

(2)  indicates    (irm   supplies    36    mm. 
sound. 

(3)  indicates   firm   supplies   36   mm. 
sound    and   silent. 

(4)  indicates    iirm   supplies    16   mm. 
silent. 

(6)   indicates    firm   supplies    16    mm. 

sound-on-film. 
(6)   indicates    firm   supplies    16   mm. 

sound  and  silent. 


Continuous  insertions  under  one  heading,  $1.50  per  issue;  additional  listings  under  other  headings.  75c  each. 


BELL  &  HOWELL 


..  coi^'"-*^*  „ 


The  new  two-case  Filmosound  138,  for 
both  silent  and  sound  film  projection, 
offers  the  complete  film  protection  of  all 
Bell  &  Howells.  Especially  quiet,  due  to 
the  sound-proofed  blimp  case  in  which 
the  projector  mechanism  operates, 
Filmosound  i  38  is  ideal  for  classroom 
or  small  auditorium  operation.  Other 
models  for  larKer  audience  requirements 


•  Better  pictures  result  from  scratch-free  films  that  are  kept  so  by  the  complete  film  _„ 
protection  which  is  characteristic  of  all  Bell  &  Howell  projectors,  sound  and  silent.  ^^ 
Film  protection  is  an  especially  important  consideration  for  schools  which  have  any 
film  library  of  their  own,  for  these  films  will  be  quickly  injured  and  soon  destroyed 
unless  they  are  used  only  on  projectors  that  are  designed  to  protect  the  film. 

Complete  film  protection  is  obtained  in  Bell  &  Howell  Projectors  by  such  superior 
desifcn  features — most  of  them  exclusive — as  the  following: 


1.  FLOATING  FILM — The  sound  and  picture  record 
areas  do  not  touch  any  stationary  part  of  the  pro- 
jector mechanism,  so  that  even  the  softest  film 
cannot  be  scratched. 

2.  JERKING  OF  FILM  IS  ELIMINATED— Harmonic  cam 
moves  film  at  aperture  with  correct  steady  accel- 
eration without  "clawing"  or  jerking. 

3.  "SAWING"  ACTION  IS  AVOIDED  — Shuttle  teeth 
move  in  a  rectangular  path  and  parallel  to  the  film; 
perforation  wear  is  reduced  to  a  minimum. 

4.  ACCURATE  TEETH  — Shuttle  teeth  and  sprocket 
teeth  are  accurately  machined  to  distribute  pres- 
sure over  the  full  edge  of  the  perforation. 

5.  STRAIGHT  LINE  FILM  TRAVEL— Film  is  not  twisted 
at  any  point.  All  film-carrying  parts  are  perfectly 
aligned.  Twisting  film  opens  splices,  causes  tearing. 


6.  AUTOMATIC  SNUBBER— Bent  take-up  reel  or  acci- 
dental stopping  of  reel  will  not  cause  film  injury. 
A  spring  snubber  on  1600-foot  reel  models  auto- 
matically compensates — absorbs  shocks. 

7.  SELF-MONITORED  REWIND  —  £>amage  from  care- 
less rewinding  is  avoided  by  correct  automatic 
tension  on  reel  spindles. 

8.  ROTATING  SOUND  DRUM- Rotating  ball-bearing 
sound  drum  (on  sound  models)  prevents  perfora- 
tion strain  and  scratching  liable  to  result  from 
stationary  sound  drums. 

For  complete  information  about  Bell  &  Howell 
projectors — information  on  how  they  qualify  in  all 
requirements  of  perfect  projection  as  they  do  in 
complete  film  protection — mail  the  coupon  below. 
Bell  &  Howell  Company,  Chicago,  New  York. 
Hollywood,  London.  Estahlished  1907. 


THE  BASIC  REQUIREMENTS  OF 
PERFECT  PROJECTION 

1*  Rock-steady  pictures,  free  from  jump 
and  weave  (see  our  steadiness  test). 

2.  Brilliant,  uniformly  illuminated  pic- 
tures. 

3.  Flickerless  pictures,  eliminating  eye- 
strain. 

4.  Simple,  errorproof  operation. 

5.  A  long  life  of  constant  dependability. 

6.  Ease  of  maintenance  .  .  .  simplicity  of 
oiling,  cleaning,  replacing  lamps. 

7.  Complete  film  protection. 

ane/  also,  in  sound  film  projectors — 

8.  Clear,  crisp  speech  reproduction. 

9-  Pleasant,  natural  musical  quality. 

The  advertisements  of  this  series  tell  how 
Bell  &  Howell  Projectors  meet  these  re- 
quirements. 


ALL-COLOR  CHRISTMAS  SOUND  FILM  RELEASE.  "The-Toy  Shop'— A  one-reel,  16  mm. 
sound  film  in  natural  color — printed  from  Technicolor  negative — that  depicts 
a  toy  shop  in  a  French  Village  on  Christmas  Eve.  The  toys  "come  to  fife," 
unfolding  a  delightfully  gay  and  entertaining  film  story.  Rental,  S2.50.  Out- 
right purchase.  S50. 

• 

TWO-REEL  ATHLETIC  FEATURE.  "Mechanics  0/  Springboard  Diving:'— A  16  mm. 
film  in  two  reels  by  "Dutch"  Smith.  Olympic  champion.  Reel  i— One-Metre 
Board;  Reel  2 — Three-Metre  Board.  These  films  are  silent,  fully  titled.  Rental 
$1  per  reel  per  day:  purchase,  $50  per  reel.  The  One-Metre  Board  teaching 
film  is  also  available  in  sound  with  verbal  instruction  by  Mr.  Smith.  Rental, 
$1.50  per  day;  purchase  price,  $36. 


BELL  &  HOWELL  COMPANY  es  12-37 

1817  Larchmont  Avenue,  Chicago,  Illinois 

Please  send  me  full  information  on  (  )  Filmo- 
sound Projectors,  (  )  Silent  Filmo  Projectors, 
(  )  Bell  &  Howell  Payment  Plans,  <  )  Silent 
films  for  school  use,  (  )  Sound  films  for  school 
use. 

Name 

Address 

City State 


BELL   &    HOWELL 


SAFE  PROJECTION 


TO  SHOW  35-111111.  pictures  safely  with- 
out a  projection  booth  . . .  and  to  comply 
with  fire  underwriters'  requirements  . . . 
project  only  film  of  the  "safety"  type. 
Specify  Eastman  Safety  Film  whenever 
you  order  35-iiiiii.  movies,  and  look  for 
the  words  Eastman  .  .  .  Safety  .  .  .  Kodak 
throughout  the  margins  of  each  reel. 
Eastman  Kodak  Company,  Rochester,  N.  Y. 
(J.  E.  Brulatour,  Inc.,  Distributors,  Fort 
Lee,  Chicago,  Hollywood.) 


EASTMAN 

SA  FETY  FiLM 


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