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From the collection of the
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San Francisco, California
2007
[R im Tin (l^ iS\ Ti
he Magazine Devoted Exclusively
0 the Visual Idea in Education
^"^
IN THIS ISSUE
A Desirable Foiir-PDhit
Visual Program for
Vocational Schools
Microscopic-Projection and
Micro-photographic
Slide Making
Instructional Sound
Film Utilization
Motion Pictures —
Not for Theatres
JANUARY, 1939
Public Library
Kansas City, Mo.
Teachers Library
<V^
VOLUME XVIII, NUMBER I ^
WHOLE NUMBER 168
Phiilo by James H. S<nig»irk (CourtMy of N'atvbi Notks)
Whife-Breasfed Nuthatch at Feeding Station
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projector will run film with torn sprocket
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side sway and fluttering sound. A single
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CHICAGO
Bound
Piriodical 1009341
Name
School
City State
Ap 21 '40
December, 19)9
Page 385
Index to Volume XVIII (1939)
EDITORIALS
No. Psf*
No. P«(*
A NVw F'roject for Kvaluation of Kducalional Films Jan. 19
Alfred J. Sloan Foundation and Department of YiauAl In-
Mruction Mar. 84
Tbe "Annual" Korum of the Mid-WeMt — The Cominfc Summer
CounieK — Another LeKialative Threat — Still Following
Hollywood — The Film Kvaluation Project Apr. 126
The National Film Kvaluation Project — The Midwestern
Forum on Visual Teaching Aids June 209
The Film Kvaluation Project — An .\ddition — An Kniargement
— HomethinK New in "Surveys" — -Airlines and Schools —
The Film K»tinial4'» Sept. 234
The Editorial Advisory Board — The Film Estimates Oct. 276
Editorial Advisory Board — School-M^de Movies — The Film
Evaluation Project Nov. 322
A Suggestion for the D. V. I Dec. 356
FORMAL ARTICLES
(.Arranged Alphabetically by Authors)
Burrill, Meldrim, and Oardinrr, Gtmn, Dana Airwaves Nov. 323
Carroll, John S., A Cooperative Plan for Visualizing
Kducation Feb. 48
Chapman. Lrlanil H., What I Expect of the Administrators .. Nov. 328
C'OKle. *'. J.. A Desirable Four-Point Visual Program for
\ ocaiional Schools Jan. 7
Edwariln, Paul G., The Administration of Visual Aida in a
City System Mar. 77
Ulliotl, Uoilfrey M., A County Film Library Not. 325
yrteman, O. L., Adult Preferences in Educational Film
Programs Oct. 279
Qirubtrg, Walttr, Electrifying English Hay 149, June 187
Oray, It. A., Instructional Sound Film Utilisation Jan. 10
artfforii, ir. J/., The Radio and Visual Aids Sept. 235
Hetr, A. L., Using Visual Aids in Teacher Training Apr. 118
Kindrr, Jcinrt .v., Kesi'urch in Audiovisual Education Dec. 360
Krowt. Arthur £divin. Motion Pictures — Not for Theatres
J«o. 13. Feb. 49, Mar. 85, Apr. 121, May 153, June 191
.Sept. 242, Oct. 234, Nor. 829, Dec. 882.
Lake, Charlet H., Adapting Visual Materials to Instruction .. Apr. 113
Uvermon, Ruth, An Elementary School Makes a Utilisation
*"'ln> Oct. 280
Mahoney, Agnet, and Uarnhman, II. L., Sound-Film Experi-
ment with Handicapped and Retarded Pupils Dec. 869
Uarlin, .\orral L., Interpreting the Public Schools through
■Motion Pictures Kay 161
ililler, Paul S.. and Kchmek, Mildred A., A Case for
Integration through Slides June 189
Hixon, Robert B., A Pupil Constructed Scenario Mar. 79
OJifs, Bdaard B., The Candid Camera in a Classroom Sttjdy
of Housing Feb. 46
Pater,on. Grant, Diethylphalate for Hand-Made Lantern
Slides Oct. 283
Ramnener, Lloyd L., Measuring Some InUngible EffecU of
Motion Pictures Sept. 287
Ray, Annr, and Maribel Riehardton, Streamlining Education .. Dee. 867
RoberU, All-in B., The Status of Visual Instruction bv
Projection in Illinois Sept. 239
Sherman, U. U., Experiencing College on Location Oct. 277
Spilde, Lulu, Audio-Visual Aids in Teaching American
Literature • Apr. 118
TAvmoi, Wendell, The Perceptual Stream of Teaching Nov. 826
TroHnger, Leiia, Evaluation of Still Pictures for Instructional
l^"« Mar. 81, Apr. 116, May 157
Fon Nete, Paul B., A Plea for the Magic lantern Feb. 48
WiUiam; Don O., Movie Theater Comee to School Feb. 45
Wimmer, Uerle, Microscopic Projection and Micro-photo-
graphic Slide Making Jan. 8
THE DEPARTMENT OF VISUAL INSTRUCTION
(Conducted by the Editorial Couiiittxe]
We Grow Up — Query of the Month — New Jersey Vinul
Meeting ^ Jan. 17-18
Ptogram — Annual Convention of American Association of
School Administrators — Our Members in Action — Report
on Safety Film Feb. 84-6
Bifleclions on the Cleveland Meeting: An Open Letter— (Juery
of the Month — Answers to Previous Query— New England
Section to Meet — New Jersey Meetings Mar. 89-91
After Clfveland: What! — High Points of Business Meetings
of the Department— Meeting of New England Branch —
Our .Members in Action Apr. 126-7
What Are We Teaching in Our Audio-Visual Aids Courses This
Summerl (by W. Qayle Stamet) — New Englanders in
the News — Address by Mr. C. A. Lindstrom May 1601
Visual Instruction at the NEA Convention in Jolv —
Experimental Production Carried out by Metropolitan
Branch — Are You Meeting the Responsibilities of Your
Profession f — They, Too. Are Serving Our Cause lune 21012
A Word from the President (by J. B. Haiurn) — News
Item — The San I'Vancisco Meeting Sent. 246-7
Photoplay Appreciation at Collinwood (by Corda B. Peck) . .Oct. 289
To Members of the Department (by / E. //onsen) — Our
Human Resources — Freeman Leaves Chicago — News
Note — Meetings Nov. 335-38
Consttlntion and By-Laws o( the Department of Vianal
Instruction — Audio-Visual Department Loaiaiana State
Teaehera Meeting Dec. 866
THE LITERATURE IN VISUAL INSTRUCTION
(formerly "Among the Magaxines and Books")
Conducted by Etta SciiNiCiDKS
Ft7m Appreciation in Orrat Britain (Ernest Dyer), Bnllv
mood and Pedagogy (Ralph Jester). The Cinema Explodet the
Stork Uyth (Oeraldine Sartain), The Motion Picture Program
and Policy of the U. S. Government (Fanning Hearon),
Som* Recent Developmentt in the Kducational Film Field
(HilK WeUberg), The Potiibilitiet of Teaching French uiith
Motion Picture! (Cybele Pomerance) — (in Jl. of Ed. Soc.) —
Moviecation (.1. Harry Adams in Mich. Ed. Jl.) — What Chil-
dren See in Picturet (Wm. Miller in Elem. Sch. Jl.) —
Second Qradere Learn Photography (Elmer Finch in Jl. of
N.E.A.) — A High School Ooet Ilnllywood (J. A. Smith in
Western Jl. of Edae.) Feb. 60-2
Vuruol Aid* to Instruction Then and .Vote (Katherine Cook
in Sch. Life) — Making Vee of Motion Picturee in Teaching
Science (Walter Bennett in Sci. Ed.) — An Introduction to
Visual Aids (Alvin Roberts in Sch. Activities) — Qermanu's
Leadership in School FUms (John B. Mason in Cal. Jl.
Sec. Ed.) Mar. 100
Making Slides in Elementary School (Delia .\ngell in
3oc. Ed.) — A Teacher Considers Visual Aids (Helen MacManus
in High Sch. Jl.) — Movie Making Mores In to Stay (Roy
F. Scott in Sch. Activities) Apr. 186
Proceedings of Conference on School-Made Films^A Visual
Education Monograph (James P. Fiuwater) 188
A Prtview of an Investigation of Motion-Pielurt Class and
Club Aetinties (Constance McCullough in Eng. Jl.) — Using
Films and Slides Effectively (Edward O. Bernard) and French
by Sound Pictures (Clifford S. Parker) (in Mod. Lang.
Jl.) — A Director of Visual Education in Science (Kenneth
Edwards and H. 8. Busby in Ed.) — A XewType Visual
Commencement (C. C. Logan and Hal Hall in III. Teacher) —
The Use of Toy Projection Aids <n the Teaching of Geography
(Harold Gluck in Jl. of Oeog.) — Proceedings of Pennsylvania
Conference May 178-4
The ViswU Radio Lesson in Cleveland Schools (W. M.
Gregory in New Era) — The Relative Value of Sound Motion
Pictures and Study Sheets in Science Teaching (Roy V.
Maneval in Sci. Ed.) — School Films with o Purpose (Godfrey
M. Elliott in Sec. Ed.) — A Science Teacher Looks at the Class-
room Film (H. E. Brown in Sch. .Sci. & Math.) — The School
Library Adopts Mot-ies (Phyllis Raymond and Eleanor Child
in Lib. Jl.) — School Tours (Carl A. Jessen in Sch. Life) —
Selected Historical Photoplays ond .Scenarios as Eztracur-
ricvlar Aids in Elevejith Grade Social .Studies — a Dissertation
(Arthur L. Marble) Jone 220-1
Films in the Learning of Foreign Languages (W. 8. Hen-
drix in Jl- Higher Ed.)— TAc .Moir-Jfofion Picture as a
Coaching Device (Roy E. Priebe in Sch. Rev.) — Au<lio-7in«i{
/nstruction: Possibilities in Borne-Making Education (Mary
Booth in Prac. Home He.)— Manual for Educational Sound
Film, "Living and Learning in a Rural School" (Anne Hop-
pock) — Teacher-Made Visual Aids (Ellis Persing in Sci.
Ed.) — Show the Public through Movies (J. H. Hull in Sch.
Exec.) — Visual Education in Rural Elementary Schools (R.
L. Davis in Sierra Ed. News)— T*« Effectiveness of Edu-
cational Motion Pictures (A. W. Reitte in Ind. Arts and
Voc Ed.) — Visual Education in Modern Education (Gardner
L. Hart in Childhood Ed.) — Morini; Picture GoaU (Eric
Knight in Theatre Arts Mo.) — Teaching Social Awareness with
Motion Pictures ( L. L. Ramseyer in Ed. Admin. A Sup.) —
Unrieling History (James Milh'r in Cur. Hist.) — Children's
Museum of Indianapolis (Grace B. Golden) and The OhOd
Biplores Bis World (Catherine Kneeland) (in Childhood
Ed.) — Troimnff Film Taste in America (Ernest Dyer in Sight
& Sound) — The Movie as an Agency for Peace or war
(Albert Benhsm in .11. of Ed. Soc.) — The Movies as a Sew
Educational Tool fMuriel T. Bain) and Using New Educa-
tional Tools (Edgar Dale) (in Educ. Meth.) — An Experi-
mental Course in Cinema Appreciation (S. P Lawton in Eng.
Jl.) — Refersnses, Motion Picture Reviews, Stw Catalogs and
Source Lists Sept. 250-4
The Use of Visual Materials in Zoology (John W. Price
in Jl. Higher Ed.) — Vi««il Aids Program (W. A. Miller in
Tex. Outlook) — Teaching Social Studies thru Documentary
Films (Arch Mercey in Jl. Higher Ed.) — We Get into the
Movies (Harriet Montague in VolU Rev.) — New Materials
and Equipment in the Teaching of Mathematics (B. R.
Ullsvik in Sch. Sci. £ Math.)— Rodio nnd Visual Aids in
Elementary School (W. M. Gregory in Soc. Ed.)^ — Neglected
Areas of Curriculum Implementation (Floyd E. Brooker in
Educ. Record) — CrilicoJ Problems in School-Made Films
(Edgar Dale in Am. Sch. Bd. JD^Motion Pictures in
Physical Education (Thurston .\dams) — Expanding the (lass-
room (Harriet Woods in Mid. .Sch.) — Trips in an Experience
Currictdum (Nelle Morris in Childhood Ed.) — Are Field Trips
Doomed in Wisconsin ( Haym Kruglak in Wis. Jl. Ed.) —
Gradations in Mao Learning (Clara Shryock in Jl. of Oeog^
— The Map in Modern Education (George T. Renner in T.
C. Record) — Elementary Principles nnd Techniques of Cine-
matographic Analysis as Aids in Athletic Research (T. K.
Cureton, Jr. in Res. Qu. of Amer. Assn. for Health, Phys.
Ed. A Rec.) — Effectiveness of a Sound Motion Picture in
College Physics (C. J. Lapp in Amer. Phys. Teacher) ... .Oct. 398-8
Page 386
The Educational Screen
No. Page'
The Classroom Tihn (R. E. Davis in Sch. Sci. & Math.) —
Films for Human Relatio}is (James P. Mitchell in Am.
Teacher) — Visual Aids and Mathematics (M. M. Watson
in Tex. Outlook) — The Place of the Film in Education
(Louis Kusinitz in High Points) — Neuter Educational De-
vices Available to Home Economists (Ida Sunderlin in Jl.
of Home Ec.) — Visual Aids for General Science Classes
(Winifred Perry in Sci. Ed.) — Accounting for the School's
Maps and Globes (Ruth Samson in Am. Sch. Bd. Jl.) — •
M.E.A. Movie Interprets Growth of Teaching Profession in
Michigan (Mich. Ed. J!.) — Motion Picture and Radio: an
English Elective (Eleanor Child and Hardy Finch in Cur.
Jl. ) — I'ihn S" views — Sources of Free and Inexpensive Teach-
ing Aids ( Bruce Miller) Nov. 333-4
Beginning First Grade with the Sound Film (Ruth Liver-
mon in Va. Jl. of Ed.) — Teaching English with the Audio-
Vtsiiil Aids (Edward G. Bernard) and Visual Aids and the
English Teacher (Dorothy Byrns) (in High Points) — Music
Appreciation through Motion Pictures (Glenn M. Tindall in
Sec. Ed.) — I'se of Visual Aids in Schools (in Volta Rev.)^
The Excursion as n Teaching Technique (Henrv C. Atveo in
T. C. Bur. of Publications) — Through the Eyes (Elizabeth
Topping in Western .11. of Ed.) — The Small High School
Can Afford a Visual Aid Program (Sterling Ambrosius in
Sch. Activ.) — Some Aspects of a Program of Visual Edu-
cation for Cincinnati Public Schools (thesis by Mendel
Sherman) — An Introduction to the Evaluation of Motion
Pictures in General Education (M.P. Proj., Amer. Council of
Ed.)- — Motivation hy Visual Aids (Hope Chase in Wis. Jl.
of Ed.) — Making Motion Pictures in the School (Eleanor
Child in Eng. Jl. ) — Visual Education Advances (Ruth Wagner
;n Instructor) — Photos or I)rawin(js? (Arthur Selke in Sch.
Exec.) — Report of the Visual Methods Committee (A.L.A.
Bull.) — Propaganda. Good and Bad, for Democracy (Clyde)
E. Miller and Louis Minsky in Survey Graphic) — The Movie
Picture in the Public Schools (Douglas Fairbanks. Jr. in
Natl. Elem. Prin.) — Source Materials Dec. 369-72
BOOK REVIEWS
leaching with Motion Pictures (Mary E. Townes) — Safety
Education Through Schools (Bes. Div. of N.E.A.) . . . . Feb. 62
Motion Pictures and Radio (Elizabeth Laine) — The Use of
Visual Aids in Teaching (Ella Callista Clark) — Visual
Review (The Soc. of Vis. Ed.) Mar. 101-3
One Reel Scenarios: For Amateur Movie Makers (Margaret
Mayorga)- — Tl>e Documentary Film, History and Prin-
ciples (Edward H. Schnstack) — Indian Children of the
Eastern Woodlands (Cornelia H. Dam) — Actuality in
School (G. J. Cons and Catherine Fletcher) Apr. 136-8
films of Everyday Life (Hilla Wehberg) — The School Trip
(Elem. Supt. Bui.) May 174
An Alternative for Revolution and War (Albert E. Osborne)
— The Audio Visual Handbook (Ellsworth C. Dent) ... Sept. 274
THE FEDERAL FILM
(Conducted by Arch A. Mercet)
Pan-American Films —Xew Maritime Film — Public Health
Service Film Mar. 92-3
Soil Conservation Filmstrips '.'.'.'.'. Apr. 128
Government Filmstrips — In-Service Training Film Stiidi'es-^
How ."Vre Government Films Shipped ? May 164
Government Films Exhibited at Two Fairs — New Directory
Lists Seventeen New Pictures — Baltimore Theater ti>
Show All Government Films—NBC Televises Federal
Films at Fair June 214
Changes in Government Motion Picture Divisions and New
Films Sept. 256
U. S. Army Training Films . . . !Oct. 291
U. S. Army Air Corps Films — New Film on Housing
Available — M'P.\ Films Nov. 339
Words (and Pictures) That Won the War Dec. 374
NEWS and NOTES
(Conducted by Josephi.sk HorrM.ix)
Audio-Visual Aids in English jg„ oQ
Motion Picture-Con.'-umer Education Program 20
Historical Film for 1939 Fairs .',,', 20
Indiana Plans Regional Conference 21
Oklahoma Progress 21
Bell & Howell Visual Education Forum! .....[....[[[[' 21
Texas Educator Films Class Activities . . . Feb 56
Progressive Education Association Meets ' 56
Visual Aids Used by Chicago Schools . 59
History in Three Dimensions at World's Fair . . 56
Proposed 16mm Restrictions Dropped in Denver 57
The American Film Center '.*.'. Apr 132
Courses on Motion Pictures .'.'.'.'.'.'.' .' .* ' .' .' .' ,*,'*.'.'""* 132
Dr. Otto Neurath Visits U. S. . ............ lao
Foreign Film Showings at New York Fair '. 133
National Conference on Vi.>^ual Education 133
Denver Schools Produce Films .May 166
Educational Motion Pictures at Horace Mann School 166
New Director for Los Angeles 167
Indiana Visual Meeting -jg-y
School-Made Public Relations Films '. 167
WPA Film Bibliography igg
Visual Meeting in Oklahoma June 213
Central Jersey Visual Institute 213
Launch Radio Series on Federal Exhibits 213
Motion Pictures and Art 213
Film Screenings at Columbia 219
Ohio School-Made Films 219
Hollywood Motion Picture Forum 219
ICmm Sound Film in Color Shown in Public Theatre 219
Theatrical Shorts for School Use Sept. 258
Human Relations Film Series 258
Motion Picture Equipment Survey 259
New York University Courses 259
No. Page
Document-iry Film Makers Organize 259
Florida Film Session 260
SMPE Fall Convention 260
Progress in Wyoming 260
American Education Week Oct. 302
Southern Conference on Audio-Visual Education 302
Visual -Vids on English Teachers Program 302
Visual Progress in the CCC 303
Films Instruct Adults 303
Polaroid Motion Picture 303
News from Abroad 304
Free Moving Pictures for Children and Adults at .\rt
Museum 304
Two More College Film Libraries Nov. 340
New York University Film Institute 340
New Photoplay Study Guides 340
.\ Report from Illinois 340
Northwestern Hispanic Film Programs 341
American Labor Film Alliance 341
Conference on Film Distribution Dec. 376
State Meetings 376
Report on Southern Conference 377
200 Projectors for Los Angeles Schools 383
HAND-MADE LANTERN SLIDES
(Conducted by Ann Gai.e)
Courtesy (Jan., 30) — Composition in Line and Form (Feb.,
53) — .4 Farm Program (Mav, 163) — Teaching Funda-
mentals of Blocking (by K. X. Southard) (Sept.. 249) —
Thanksgiving (Oct., 292)
CURRENT FILM NEWS
This department is devoted to announcements and brief descriptions
of new films, with sources, and film producing and distributing
services. It appears on the following pages: 24 (Januarv), 64
(February), 104 (March), 140 (.\prin. 178 (Mav). 222 (.lune),
266 (September), 299 (October), 346 (November), 380 (December).
IN AND FOR THE CLASSROOM
(Conducted by Wii.rer EM.\fKRT)
Electrical Problems Clarified through Trip to Power Plant.. Jan. 27
Film Production in Schools Increasing .- 29
Projectors and Projection Techniques Improved through
Department Regulations Feb. 66
Inexpensive Lettering .\ids for Teachers (Bryan Emmert)
Mar. 94, Apr. 130
Pennsylvania College Conference Mar. 97
.\ Synchronized Visual-Sensory Experience (Ruth S. Bastian)
■ ; May 171
Method for Holding Slides (Max R. Klein) 172
Improvement of Instruction through Graphic Presentations . .June 216
A Convenient Film Carrier (Burdette Buckingham) 218
Teach with Comparison (Bryan Emmert) Sept. 262
Making Wall Charts for Class Use Oct. 306
Colored Lantern Slides Aid in Teaching Drawing (M. R.
Klein) Nov. 344
A Geograohv Vocabularv Experiment with — and without —
the Use of Visual Aids (W. .1. Day) Dec. 378
Club Activities and Visual .\ids (Frieda Zimmerman) Dec. 379
AMONG THE PRODUCERS
Anipro .Announces Two N"w iro<l»K — T.nw p.-'ced Projec'or
announced by Spencer Lens — RC.\ School Cat.nlo? — DeVry
Centralized Svstem — T^ni'-er'^^l 1 6mni Smmd Projectors
Licensed by Erni — B'U & Howell Film Book — New 100
Watt Leitz Projector Jan
16mm Projector without Bel's or Chains — RCA New F.Ih-
cntional Division .nnd Products — S.O.S. Test Reel —
Selectroslide Projection Equinnipnt — Film Directories . .Mar.
New Da-Lite Catalog — Kodaslide Ready-Mount Changer .\nr.
16mm .Association Formed — Bell & Howell New Models and
Price Reductions May
New .\mprosound Model — Pic'ure Units for Classroom I^se —
Victor -Vnnounces .Ml-Purnose Projector — New Eastman
Product — B, & H. Installs Vanoratin^ Laboratory in
Hollywood — DeVry Arc Projector — Micro Attachment
for Leitz Projector .Tune
Film Slide Story of the Clock — Slide Set on Safetv — New
SVE Equipment — Kodak Data Books — Sound Slide-Film
for Photographers — Revised DeVry Catalog — B, & TT
8mm. Accessories Sept.
Eastman Enlarger — New Victor Silent Projector Oct.
Spencer Lens Plant Comnleted — New .Ampro Achievement —
16mm Title and Trailer Service Nov.
An Aid to S'ide-Making — Selectroslide Equipment — New
Catalogs Dec.
34 5
107
139
268
299
MISCELLANEOUS
.Association of School Film Libraries Meets Mar. 91
Summer Courses in Visual Instruction, 1939
Apr. 119, May 168. June 218
The Next Step in Visual Education (Donald P. Bean) —
Preliminary Program of The First Mid-Western Forum
on Visual Teaching Aids -Apr. 134
Program of National Conference on Visual Education and
Film Exhibition May 170
Proceedings of the Midwestern Forum on Visual Teaching
Aids .Tune 195
Warning to All Superintendents (B. A. Aughinbaugh) Sept. 263
DfL
£ EDUCATIONAL SCREEN
JANUARY. 1939 VOLUME XVIII
Contents
A Desirable Four-Point Visual Program for
Vocational Schools. F. J. Coyte
Microscopic Projection and Micro-photographic
Slide Making. Merle Wimmer
Instructional Sound Film Utilization
H. A. Gray
Motion Pictures — Not for Theatres.
Arthur Edwin Krows
Among Ourselves — Notes from and by
The Department of Visual Instruction.
Conducted by The Editorial Committee
Editorial Page..
News and Notes
Conducted by Josephine Hoffman
Current Film Releases
In and For the Classroom
Conducted by Wilber Emmert
Courtesy — Presented in Hand-Made Lantern Slides
By Ann Gale
Film Estimates „
Here They Are! A Trade Directory of the Visual Field.
NUMBER ONE
13
17
19
20
24
26
30
34
36
The EDUCATIONAL SCREEN published monthly except July and August by The
Educetlonal Screen, Inc. Publication Office, Pontiac, Illinois; Enecutiva Office, M
East Lake St., Chicago, Illinois. Entered at the Post OfRce at Pontiac, Illinois, as
Second Class Matter. Copyright, January, 1939, by The Educational Screen.
Address communications to Executive Office, 64 East Lake St., Chicago, III.
$2.00 a Year (Canada, $2.25; foreign, $3.00) Single Copies 25 cH.
THE EDUCATIONAL SCREEN, Inc.
Directorate and Staff
N«lwn L. Grecnr. Editor JsMphine HaffMan
Evelyn J. Baker F. Dean McClutky
Wilber Emmert Stanley B. Greeet
Ann Gale 8telta Evelyn Myan
Page 4
The Educational Screen
Publications on the Visual Teaching Field
EDUCATIONAL SCREEN
The only magazine in the field of visual and audio
visual instruction. Official organ of the Department of
Visual Instruction of the National Education Association.
Discusses methods, procedures and results with various
types of visual teaching aids to instruction, and provides
up-to-date information on progress and developments
generally. A clearing-house of thought, fact and ex-
perience on all phases of the field. Published monthly
except during July and August.
Subscription : $2.00 one year ; $3.00 two years.
VISUALIZING THE CURRICULUM.
By C. F. Hoban, C. F. Hoban, Jr., and S. B. Zisman.
Presents in theory and in practice the basic methodology
of visual instruction in relation to classroom procedure.
Throughout the text the theory of visual aids is applied
to textbook illustration. "Visualizing the Curriculum",
itself a splendidly "visualized text", provides an abundance
of technical guidance in the form of illustrative drawings
of photographs, reports of school journeys, suggestions
for mounting materials, for making slides, film strips, etc.
It incorporates up-to-date material, provides a fine balance
in the treatment of various teaching aids, evaluates various
types of aids, and defines the functions and values of each
in the learning process.
320 pp. illus. Price $3.50.(20% discount to schools)
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-
ganizing the Audio-Visual Service," "Source List of Ma-
terials xnd Equipment."
"1000 AND ONE" FILM DIRECTORY
"1000 and One"— the Blue Book of Non-Theatrical
Films, published annually, is famous in the field of visual
instruction as the standard film reference source indis-
pensable to film users in the educational field. The current
(14TH) edition, recently published, lists some 4500 films,
carefully classified into 147 different subject groups (In-
cluding large group of entertainment subjects). Shows
whether 16 mm or 35 mm, silent or sound, title, number
of reels, summary of contents, sources distributing the
films, and range of prices charged.
104 pp. Price 75c (25c to subscribers of E. S.)
THE EDUCATIONAL TALKING PICTURE.
By Frederick L. Devereux.
Presenting preliminary solutions of some of the more
important problems encountered in adapting the talking
picture to the service of education. The first six chapters
deal with the development of fundamental bases of pro-
duction, with the experimentation which has been con-
ducted, and with suggested problems for future research.
The remaining chapters are devoted to the practical prob-
lems involved in utilizing the film effectively in educa-
tional programs.
220 pp. Illus. Price $2.00.(20% discount to schools)
HOW TO USE THE EDUCATIONAL SOUND FILM.
By M. R. Brunstetter, Ph. D.
Discusses the utilization of the educational sound film,
and lists and illustrates techniques for placing the film
into effective service in the classroom. The procedures
suggested are based upon extended experience in studying
teachers' use of sound films and in helping to organize
programs of audio visual instruction in school systems.
Two valuable Appendices and a full index round out the
volume.
180 pp. Illus. Paper binding, $1.25; Cloth, $L7S. ^^S pp. Illus. Price $2.00. (20% discount to schools)
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 E. S. 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.)
MOTION PICTURES IN EDUCATION IN
THE UNITED STATES. By Cline M. Koon.
A report on the instructional use and indirect educa-
tional influence of motion pictures in this country, divided
into nine units covering (1) the educational influence of
motion pictures ; (2) the motion picture in the service of
health and social hygiene; (3) the motion picture in
governmental service and patriotism ; (4) the use of motion
pictures in vocational education; (5) the motion picture
in international understanding; (6) motion picture legis-
lation; (7) the technique of making and exhibiting motion
pictures ; (8) the systematic introduction of motion pictures
in teaching; and (9) educational problems of a general
nature resulting from the introduction of motion pictures
in teaching.
106 pp. Price $1.00. (20% discount to schools)
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January, 19)9
Page 7
A Desirable Four-Point Visual Program
For Vocational Schools
'l^t) what extent does your visual prograiu serve the
■■• needs of your school ? True, the educational ob-
jective and view]X)int are |)araniount, hut there may be
additional scIkxjI activities that automatically Ix'come
a part of a well-developed visual ])rograni.
We at Connelley V^ocational High School feel that
our present program serves our school in four dis-
tinct ways: curricular, extra curricular, student activi-
ties, and administrative. For the reader to readily
understand these divisions, one must first Ik; familiar
with tiie nature and type of scho-)! to which this pro-
gram is most api)licable. Connelley High School is a
modern. well-equip[>ed boy's Vocational High School,
located near the downtown district of Pif.sburgh.
equipped with thirty shops offering instruction in
seventeen different trades. The shops are housed in a
saw-tooth roofed section of the school plant which joins
the five-story Academic building. The school operates
on a weck-about plan with an enrollment of 1700 stu-
dents ec|ually divided between shops and academic. The
cafeteria or auditorium accommodates one-half of the
students at one time, necessitating two lunch periods.
The weekly assembly and daily noon movies also re-
quire two sessions. The auditorium seats 850 ; the cafe-
teria 750, and the gymnasium and swimming pool are
adequate in size.
Silent educational films and .slides are shown in class-
rooms and lecture rooms, and sound pictures, in two
widths, in the auditorium. Three individual visual re-
quisitions are made up each semester to cover all visual
needs ; namely, silent classroom films and slides ; sec-
ondly, auditorium sound pictures covering all available
educational film in two widths, including educational
feature pictures and serials, and thirdly ; activities
feature pictures — strictly entertaining — rented by the
school from local exchanges. All regular films are sup-
plied by the Visualization Department, borrowed or
rented from other sources, through this department. All
films are received at the school Supply Office, although
many rental films from local film exchanges are picked
up by the Activities Director as scheduled. Shipment
III out-of-town rentals or loans are dispatched by Rail-
way Express, prepaid, and charged to the Board of
Education.
Present available visual equipment is as follows :
Classroom use — three 16mm silent projectors, two
500 watt, one 750 watt, two delineascopes, 500 watt,
one 35mm Acme Projector, 500 watt, six Baloptican
500 watt Lanterns ;
Auditorium use — 35mm Simjilex sound projector
with carbon arc, and a 16mm Bell & Howell sound
projector, 1000 watt.
Suggestive evidence that films can be used to ad-
vantage over a wider range of school activities.
By F. J. COYTE
Director of Activities, Connelley Vocational
High School, Pittsburgh, Pa.
.A general outline and use of visual material is here
given, with explanations following.
Fiequency
1. Weekly
(Curricular)
Occasion
Academic,
related and
shops
Type of
Pictures
Technical
Informative
Skills
Scientific
PUce of
Showing
Classrooms
Lecture Rooms
Shop Lecture
Rooms
Auditoriums
— special
2. Monthly
(Extra-
curricular)
3. Monthly
(School Ac-
tivities
funds)
4. Daily
(Adminis-
trative)
2 Assembly
periods
2 Assembly
periods
2 Noon
movies
Feature and Auditorium
educational 2 Assemblies
Feature (en-
tertaining)
Serials
Educational
News Reels
Auditorium
2 Assemblies
Auditorium
2 Assemblies
Curricular Use
The films and slides used by the related and academic
teachers in the cla.ssrcMjms or lecture rooms, are chosen
by the teachers. Each semester, the related teachers list
all desirable educa.ional films that can be scheduled to
fit in with their class work. These lists are then checked
and combined into one complete requisition, to avoid
duplications, and then typed on regular forms and sent
1
H
■1
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m
l^pkspi
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^P^^^H
i 1
T\
o
I
B9
Im
2|
Ik
Bki^l
^^Rfl
m
Iw^P
^H^ '^^1
^^hI
^^^^1
i
' Tr
^^VcjK
fiSiifl
^^H
J
'M
^■1
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The Student Movie Crew at Connelley High School
to the Visualization Department, two mon'.hs in ad-
vance of the new semester. Films are chosen from the
Pittsburgh School Visualization Catalogue, and other
catalogues that require s]iecial Ixioking and handling.
(Continufd on page 22)
Page 8
The Educational Screen
Microscopic-projection and Micro-
photographic Slide Making
Showing that limited resources for micro-
projection apparatus need not prevent val-
uable results from minimum equipment.
MICROSCOPIC projection is one of the most
efficient tools for teaching suljjects which
are adapted to the use of the microscope.
The materials for its use are unlimited. Whether or
not the teacher can be sure that the child is getting
the desired view as he looks through the micro-
scope has long been a problem. This ceases to be
a problem when microscopic projection is employed.
Views of almost any microscope slide may be flashed
on the screen before the entire class. Magnification
may be increased many thousand times.
Procedure
In event the school system does not own a reg-
ular micro-projector, the teacher can easily devise
one by combining an ordinary microscope with a
stereopticon. With the underside of the stage of
the microscope placed directly against the focusing
lens of the lantern, the machine is ready for use.
(The microscope must be bent backward to a ninety
degree angle.)
Very dark rooms give best results. Usually a
basement room is more easily darkened. With the
room darkened and the machine ready for use, place
any temporary or permanent microscope slide on
the stage of the microscope. Turn the lantern on
and the image can be seen on the screen, which has
been placed a few feet in front of the microscope.
Both living and dead structures may be used with
equal success. Two examples of living structure
which, I think, bring invaluable results are proto-
zoa from hay infusia. and circulation of blood in the
tail of a tadpole.
While projecting protozoa on the screen it is easy
to bring out the value of antiseptics, disinfectants,
and other materials in inhibiting growth and killing
micro-organisms. Merely dip a small glass rod
into any of the solutions, gently touch the drop of
water containing the protozoa, and watch the re-
sults. In many cases the protozoa can actually
be seen to explode.
Circulation of blood has a new meaning to a
child when he has seen it on the screen. To dem-
onstrate this I have found that I get the best
results by using the tadpole. Other animals, such
as small fish, adult frogs etc., may be used. If a
tadpole is used, it should first be wrapped in a wet
By MERLE WIMMER
Center Grove High School, Bargersville, Indiana
cloth, leaving only a small portion of the tail ex-
posed. Place the exposed part of the tail on the
stage of the microscope and focus properly by
watching the screen while working the adjustments.
Now you can see the network of capillaries with
the blood surging through. The myriads of red
corpuscles are easily seen. A drop of water can be
applied to the tail every few seconds, by use of a
medicine dropper. This will prevent the tail from
drying and burning. After the regular circulation
has been observed, a hemorrhage may be produced
by pressing a sharp instrument against the tail
of the tadpole while it is still on the microscope.
This observation brings many valuable questions
from the child and gives him information which he
will never forget. Capillaries are now real things
rather than something imaginary.
Prepared slides are very valuable when used in
this type of work, but they are usually not as in-
teresting to the children as actual living structures
which show motion. Examples of materials espe-
Onion tissue, showing the nucleus in each cell. The pic-
ture was taken directly from the microscope without a
camera, as explained in the article.
January, 19)9
PaKC 9
cially ailai)tcd for projection are: slides showing tis-
sues, parts of insects, algae plants, small insects,
protozoa, flower parts, vinegar eels, etc.
Making Photographic Lantern Slides
The value of making these slides lies in the possi-
t>ilit\ of ki'e])iiig a permanent record of what has
been obstTved. They can conveniently be used to
recall the observations without the trouble of setting
up the micro-projection machinery over again.
The cost of production of these slides amounts
to a little more than the cost of the sensitive plate>
which may be purchased for a few cents each. The
major cost is eliminated by the fact that no camera
is needed.
These slides may cither be made while the class-
room projection work is in progress or at some
other convenient time. A board can be prepared,
to stand in front of the microscope, with special
arrangements for supporting a sensitive plate where
the i)rojected image will strike it as desired. The
magnification may be controlled by moving the
board toward or away from the microscope. While
getting the proper focus a piece of white paper
should be placed on the board where the sensitive
])Iate is later to be placed. When everything is in
readiness, the room should be darkened. Place the
sensitive plate on the board and turn the lantern on.
Since the light is so strong, the exposure will be
very short. The count should ordinarily not be
more than one or two. The slide is now ready to
devclo]) as an ordinary photograph is developed.
This slide is a negative except when stained slides
are used. If you wish to make a positive you can
accomplish this by allowing the negative to dry
and ])ut it back in place with an unexposed slide
behind it. Take the microscope slide off and turn
the light on again. The exposure should be slightly
longer than in making the negative.
Less expensive records of these projected images
can be made by using sensitive photograph paper.
However, the.se are not as valuable as slides.
Student Activity Involved
Much interest can be added to this work by pro-
viding for pupil participation. The pupil may begin
his contribution bj- securing and preparing ma-
terials for observation.
The entire class Can make photographs for their
notebooks while the projection machinery is set
up. This can be accomplished in the same way as
permanent slides are made. .\ simpler way to pro-
duce these pictures would be to make contact prints
from the negative slides that have already been
made. Negatives may also be made from com-
mercial slides, by the contact method, and can be
used by the pupil at any time to produce a photo-
grai)h for his notebook.
Only a little eflfort is required to train one or
more helpers to set up and operate the projection
machinery. This leaves the teacher free to point out
Hydrodictyon, a genus of i;''Cd spored algae, remarkable
for beauty and peculiarity of structure. (A microscopic
lantern slide made directly from the microscope).
Structures on the screen and lead discussions about
them. Before I adopted the practice of a pupil
helper I often missed excellent opportunities to
point out interesting and valuable things which
were happening on the screen.
When j)rotozoa are being shown on the screen
the teacher should be free to point out the parts
and explain their function. We have often observed
certain kinds of protozoa ingesting and digesting
food. At this time, it is necessary to have the un-
divided attention of the class if they are to see
the contracting vacuoles and cilia in operation. No
quantity of still pictures could be as profitable as
this.
Advantages of Projection Work
(1) It eliminates the need for more than one
microscope.
(2) It eliminates the possibility of faulty focus-
ing on the part of the pupil.
(3) The attention of the entire class can be fo-
cused on one image at the same time.
(4) Much of the pupil's and teacher's time is
saved.
(5) The pupil realizes that he is observing some-
thing real rather than a picture.
(6) Class discussion can go on while observation
is being made.
(7) There is no limit to the observations that
can be made by many pupils at one time.
(8) One prepared microscope slide will do the
work of twenty, and will, at the same time,
do it more effectively.
I have developed and used this method of teach-
ing microscopic studies over a period of ten years.
I find that it is very interesting to children and has
outstanding value as a teaching aid. Each time the
machine is set up I learn something new, as to ma-
terials and procedure.
Page 10
The Educational Screen
Instructional Sound Film Utilization
IN REFERRING to the instructional sound film,
differentiation is made between sound motion pic-
tures having general educational values and those
prepared specifically for use in the classroom. The
instructional sound film is here defined as a type of
audio-cinematography treating a specific body of sub-
ject ma.ter making up course of study or curriculum
content. As such, the techniques of its assembly, the
methods of its distribution, and the objectives of its
use differ from those of the entertainment, industrial,
or novelty types of films now available to schools. Ob-
viously, all motion pictures have educational values, if
education is thought of in terms of the Deweyan phil-
osophy that education is life experience. Such a broad
conception of an educational motion picture, however,
is confusing since it does not distinguish between the
pedagogical film and other cinema products. To many
laymen, and even to some educators, the term "edu-
cational film" is .synonymous with the trade name of
a theatrical product, or with any motion picture which
does not follow the Hollywood run-of-mill procedure.
Therefore, it seems desirable to emphasize that, while
all films may be educational to some quantitative or
qualitative degree, not all films educate or teach cur-
riculum concepts directly or capitalize on the many
advantages of the motion picture medium for the
presentation of concepts difficult to communicate by
other media of thought transmission.
In considering how the instructional sound film
can be used most advantageously, the problem may
be thought of from two viewpoints: (1) How can the
film vitalize curriculum concepts previously studied,
those being developed, or those about to be initiated in
the regular instruction program ; and (2) how can
the medium be used to best advantage on a purely
experimental basis, conditions permitting individual
teachers to engage in such activities and to extend the
knowledge of learning phenomena.
Relative to the first viewpoint, the instructional
sound film has been found to have definite value for
the purpose of summarizing a unit of instruction; it
obviously has a contribvition to render as a direct teach-
ing aid by making available classroom learning ex-
periences of a realistic nature difficult or impossible
to provide by other means ; it also serves as an interest
motivating device for introducing a new unit of in-
struction and as a means of enriching a unit of study
by opening up related areas for the student's investiga-
tion. Other uses to which it may be put are: (a)
Extra-curricular activities including club work and
other special projects, (b) Professional activities such
as demonstration lessons and Parent-Teacher programs
A trenchant discussion of the particular advan-
tages to be sought from sound film, and of
school activities benefitting most by their use.
By H. A. GRAY, Ph.D.
Director of Field Studies,
Erpi Classroom Films Incorporated
to acquaint the community with the effective use of
modern teaching aids. These possibilities offer innum-
erable opportunities for the teacher to adapt a particular
film to local needs and to do creative work with the
medium.
To realize the values inherent in a sound film, pre-
pared for instructional purposes, the teacher should
plan in detail for its use. Attention should be given
to adapting the content of the film to the current in-
terests, needs, and abilities of the class ; how the idea
of the film showing can be built up to put the pupils
in a receptive frame of mind for its initial viewing ;
how additional showings may be arranged to answer
questions which have arisen from study activities in-
itiated as a result of the first showing ; in general, how
the film can motivate learning throughout the study of
a unit's work. To do these things adequately requires
careful study of the content of the unit of instruction
and the relation of the film to that subject matter. The
latter can be done only by carefully studying the film
prior to its viewing by the class, either by previewing
the picture or by s'.udying a .scene by scene description
of its continuity. Teachers wisliing to familiarize them-
selves with studies which have been made of instruc-
tional sound film utilization, will find Brunstetter's
book' of value.
Regarding opportunities to use the classroom film
for experimental purposes, the teacher will be able
to isolate problems for study in every instructional
sound film. There are four components which should
be given attention. All of these will afford material
for experimental treatment and analysis.
The first component to be mentioned includes all
visual elements inherent in a film, including animate
and inanimate objects and their relationships in in-
dividual scenes, sequences of scenes and throughout
the entirety of the film. Associated with these are effect
factors such as attention-focusing devices, continuity,
montage and transition devices known as, fades, dis-
solves, wipes, spins, and other optical effects employed
to punctuate the film language in a manner similar to
the way in which a written composition is treated to
relate thought units and to provide for continuity flow
and clarity of expression. These visual elements pro-
vide graphic learning cues and constitute the visual
learning experience which the pupil undergoes.
In order for such experience to be meaningful so
that effective learning can occur, the need for an ap-
perceptive basis or learning readiness appears in terms
of the objectives of the unit of instruction and the
' Brunstetter, M. R. Ho7v to Use the Educational Sound Film.
Chicago : University of Chicago Press, 1937.
fauuary, I9}9
Page 11
relation of the picture to those objectives. By develop-
ing technicjiies of manipulating the film's use so as to
study the contribution which visual conijxjnents make
to learning achievement as defined in the unit's ob-
jectives, the tcachcT will find an abundance of ex-
perimental opportunities. However, it does not seem
feasible lo study such learning cues in isolation. Rather,
they should be analyzed in conjunction with the other
components of the instructional sound film, since the
pupil is reacting to all components, not only with his
organs of sight, but through other [Kirts of his nervous,
muscular and glandular systems as well.
A second component which should be given consider-
ation as a learning cue may be described as environ-
mental and interpretative sounds. These consist of all
aural elements inherent in a natural situation recorded
by the sound film to provide a realistic presentation
of that situation. In other words, the learning ex-
perience is enriched or vitalized by the cues which
natural sounds, associated with the visual components,
provide. Related to these, of course, are auxiliary
sounds which are employed to emphasize aspects of the
visual-auditory presentation by way of stimulating a
mode of reaction or of focusing attention on particular
features of the situation. For example, selected music,
exaggerated or invented sounds, immediately preceding,
during, or following a |»rticular scene, may be used
to command attention or to promote other desirable
psychological reactions. Such stimuli, together with
environmental sounds, obviously are experimental va-
riables for possible investigation. But probably a
more important sound element than those just referred
to is the carefully prepared verbal interpretation of
the scenes unfolding before the observer. This makes
the presentation as complete as modern communication
devices can do at the present time. Proper verbal in-
terpretation synchronized with the action of the picture
guards against salient pictorial features escaping from
the observer's attention and makes possible the elim-
ination of distracting elements within the scene. In
spite of the criticism currently directed against ver-
balism, words are learning cues and should not be cast
into discard. The paramount need is for the judicious
use of words such as is made in the carefully prepared
instructional sound film. Everyday examples of the
unreliability of testimony relative to what existed or
occurred in a purely visual experience, or even in ex-
periences where both visual elements and sounds were
present, point to the need for pictorial interpretation.
Then, too, inflections or other patterns of voice quality
may be planned to command attention, hold interest,
emphasize important details, or help stimulate mood
receptivity or learning readiness in general.
The visual-aural factors discussed by the foregoing
go to make up a third component of the instructional
sound film, namely that of audio-visual concepts. These
may be described as thought units or ideas formulated
by elements of sight and sound and identified by both
the narration interpreting the .scene and by the visual
elements constituting it. Such concepts may be thought
of as "line" parts of the film in that they are comparable
in a sense to the unit parts added to an automobile
chassis as it moves along the factory assembly line. The
film may be compared to the chassis as a carrier of
parts which grow into a gradually completed whole as
it passes along. The audio-vi.sual conce])ts are the unit
parts out of which the ob.server fornudates generaliza-
tions as the film is shown.
Such generalizations and their concomitant attitudes
constitute the fourth instructional sound film com|X)nent
to be described. Generalizations determine attitudes
which, in turn, characterize the type of mental adjust-
ment the individual makes to the immediate learning ex-
jx-Tiencc. and to subsequent situations having similar
elements, other conditioning not intervening. Certainly
then, concepts and generalizations depicted and fostered
by the instructional sound film elements should be of
major interest and concern in utilizing the medium.
For the purjxjse of exemplifying the foregoing ideas,
the instructional sound film, Water Power, will be
analyzed into its comjxjnent elements and suggestions
offered for their use in facilitating learning. The items
listed in each cohnnn of the following table may be
thought of as learning cues since they are the stimuli
which act on the learner's receiving mechanisms, mod-
ifying them by effecting electrical and chemical changes
in the neuro-muscular-glandular systems. Where such
modifications occur in a normal manner, the growth of
ideas begins ; the learner is made conscious of the
existence of objects and relationships ; he associates
these with previous learnings and his knowledge grows
with the acquisition of additional concepts upon which
he can build generalizations as the sound film elements
continue to act upon him.
The film. Water Pmver, was prepared primarily for
use at the intermediate grade level as part of a series
on human geography. However, its value is not re-
stricted to this level or subject, since, obviously, the
subject matter treated also will be found in general
science counses of the junior high school, the study of
physiography at both the junior and senior high school
levels, and where the relation of governmental agencies
to the development of natural resources is considered
in the social science courses of the senior high school
grades the film also can be used advantageously. De-
pending upon what level and for what purpose the
initial showing of the film is made, teaching procedure
will vary somewhat, but for the first, second or third
showing, for any purpose, at any level, the teacher
should see that the group is properly prepared to view
the film with definite objectives in mind. These should
have to do with any or several of the four sound film
components previously described and should be em-
phasized immediately before the film is shown.
Following the first showing, the teacher may well
devote some time to questioning the pupils about the
concepts and generalizations depicted by the film, not-
ing deficiencies which can be remedied by discussions,
reading, subsequent showings of the film, or study
projects planned in accordance with the objectives of
the unit and the film showing. •'\ccompanying each
film should be a study guide containing information
pertaining to the objectives and subject matter of the
unit, suggested study projects of enough variety to
meet different regional conditions, and bibliographical
references for both teacher and pupil. Consideration is
Page 12
The Educational Screen
Visual Elements
Interpretative Sounds
Clouds
Thunder
Falling
rain
Wind
Rivulet
Creek
Running water
Stream
(Symphony Orchestra
Sea
for background music
Sun
at appropriate inter-
vals throughout).
Potomac
: Falls
Falling water
Natives poling dugout
Niagara Falls
Niagara Rapids
Early grist mill
Old water wheel
Grinding grain
Animated Maps of
North America
Modern factory exterior
Boiler room
Coal train
Animated Maps of
N. E. United States
Canadian Falls
Niagara Power Plant
Animation of water
turbine operating
Electrical generators at Niagara
High voltage transmission wires
Machine shop interior
Electrical transformer
Family living room
Clothes washing machine
Woman washing clothes by hand
Learning Cues in The Instructional Sound Film, "Water Power"
Generalizations and Attitudes
Audio-Visual Concepts Fostered
Rain comes from clouds The water cycle plays an important
Water runs from high to low part in man's life
ground
Small streams make large
rivers
Rivers flow to the sea
The sun causes water to
evaporate and form clouds
Running water is a perpetual
source of power
Waterfalls and rapids have
retarded man's progress
Centuries passed before man
learned to harness falling
water for power
American colonists built dams
for water power and used
water wheels
Coal supplanted water as a
source of power as industry
developed
Industrial centers were es-
tablished near American
coal fields
Our coal is being used up
rapidly
Water power may be changed
into electrical power by
means of turbines
Electrical power can be
distributed over large
areas by wires
Electrical power has reduced
hand labor in home and
factory
The federal government is
building many dams to in-
crease the nation's elec-
trical power
Water wheel turning
Grist mill turning
Stoking fire box
Coal sliding in chute
Water turbines
turning
Electrical generators
Automatic machine
tools
Electric washing
machine
Clothes rubbing
washboard
The natural elements can aid as
well as obstruct civilization's
progress
The development and wise use of
natural resources is in keeping
with the machine age
Labor saving devices are being
invented with greater frequency
than ever before and effect na-
tional economy
Conservation of our fuel resources
is desirable in view of a dimin-
ishing supply
Natural resources and industries
are closely linked geographically
The transformation of energy from
one form to another is a major
scientific project of great social
and economic significance
The problem of government vs.
private development of power re-
sources requires extended study
Boy churning butter by hand
Electric churn in operation
Man lighting lantern
Boulder Dam
Animated Maps of South America
South American Falls
Animated Maps of Europe
Dnieperstroi Dam
Animated Map of Africa
Victoria Falls
Sawing logs by hand
Animated Map of Asia
Buzz saw cutting log
Seashore
Electric churn turning
Hand sawing
Buzz saw operating
Ocean waves beating
shore
Dams store water for
irrigation and drinking
purposes
Water power projects are not
developed in South America as
well as in the United States,
due to the unsettled nature of
the country and the simple
wants of the people
Europe has developed water
power more than has the United
States
Africa has more water power
but has developed less than any
other continent
More than one-half the world's
people still labor at tasks which
could be done by machines
The power of the ocean's waters
remain to be developed for the
benefit of mankind
The needs, geographical location
and customs of people determine
to some extent the rate of their
technological progress
Water power resources through-
the world can undergo extended
development for the benefit of
humanity
As additional electrical and me-
chanical energy are made avail-
able, new life problems will be
created for the thinking minds
of tomorrow's men and women
to solve
given to the preparation of inexpensive supplementary
study materials for the individual pupil. Such materials
would effect time and effort economies in study ac-
tivities and assure adequate consideration of the salient
features of the film unit by each pupil.
When the instructional sound film is used by pro-
fessionally-minded teachers along the lines suggested
by the foregoing, it is likely that optimum learning
benefits will accrue. Such classroom utilization does not
make the film showing an extrinsic or entertainment
feature. It is not given as a reward for good behavior
or for the purpose of providing a period of relaxation
for either teacher or pupils. Rather, it provides a vivid,
dynamic learning experience for both teachers and pu-
pils, an experience identified with classroom procedure
and made functional in the lives of the pupils by careful
teacher planning to meet local and individual pupil
needs. Only when such utilization is practiced con-
sistently can a program of audio-visual aids be con-
sidered as an improved professional teaching technique.
January, 1939
Motion Pictures —
Not For Theatres
By ARTHUR EDWIN KROWS. Editor of "The Spur," New York City
Hpro is till' Fifth Installment. It seems that in 1914
many relifiioiis, social service and educational agen-
cies tcere mcakening to problems of screen presentation.
01" COL'RSK, there were many
other less spectacular trade ex
hihitioiis where films played a part.
I recall screenings in improvised, canvas-
draped projection rooms at the old
Sportsman's Shows in New York's
original Madison Square Garden. Those
particular pictures happened to be rail-
road films ; but there were many other
occasions, in other convention circum-
stances, for showing other subjects.
I'ilms of the lumber industry proved
drawing-cards in 1914, at two Forest
Products Expositions, one in the Chi-
cago Coliseum and the other in the
Grand Central Palace of New York.
.\ highly important showing, occur-
ring in the late spring of 1910, was ar-
ranged by the former National Board of
Censorship in St. Louis at the National
Conference of Charities and Corrections.
The program there consisted of repre-
sentative films of several types, but
"educationals" were included. To make
the impression completely satisfactory,
the Board also provided charts and statis-
tics to show the motion i>icture's social
effects and opportunities. The entire pro-
gram, under the same auspices, was
shown again a little later, at Oiautau-
qua. New York.
Reverting to the San Francisco Ex-
position, one is curious to know how the
exhibitors there came into the use of
films at all. Some circumstances enlist-
ing the interest of the railroads have
been sketched; but, to go further into
that general picture one would have to
trace the ideas of public relations as
changed and developed by the public
utility corporations over the next suc-
ceeding twenty years. That is scarcely
necessary here.
Ai this particular time, in 191S, the
railroads, as representative utilities,
were still highly competitive, and had
not progressed in point of public rela-
tions much further than the attitude of
the small shopkeeper who tries to per-
suade his customers that every day is
bargain day. For this they were not
much to blame. The whole nation was
going through a great, tumultous period
of gestation, trying to absorb new in-
ventions and new population ; and the rail-
roads were too interwoven in the national
fabric to try dangerous experiments.
The significant railroad experiments
with films were to be found, therefore.
mainly in conduct of the local traction
companies where problems were in
easier perspective, rather than in the
statewide systems where officials were
generally content to say in their propa-
ganda pictures : "Come to astounding
Yellow-stone Park" ; "Come to sunny
California"; "Come to the primitive
snake dances of the Hopis." I refer
specifically to only two of the local
traction developments, just to indicate
how their forward step was being taken.
In the autumn of 1913, when Coroner
Hoffman of Chicago conferred with the
Board of Education in that city on the
need of teaching safety, the Chicago
Railways Company offered to produce
an hour's film program on how to avoid
street car accidents, and also stood ready
to present it freely in the schools, with
projection machine, operator and lecturer.
In December, the same year, the Pacific
Electric Railway of Los .Angeles, was
using films to train its motormen and
conductors. But, while assigning the
palm for picture progress to the local
companies, we must not overlook the
use of films at this same time by the
Georgia Central Railroad to teach its
men the causes of wrecks and safe-
guards against them.
The coming of pictures for employee
training was foreshadowed by many
small happenings, such as when, in 1915,
the executives of the National City Bank
of New York decided that it would
benefit their workers to view Para-
mount's thirty-five reels on South
.America called, "The Land of Oppor-
tunity." These particular films, inci-
dentally, had lieen produced by two
cameramen, one H. D. Blauvelt, opera-
ting under the supervision of C. L.
Chester, who, himself, was former
travel lecturer on the Pond circuit and
maker of most of the early travel sub-
jects for the Edison Company.
Mention of the National Cash Register
Company's exhibit at the World's Fair
suggests more important symptoms. It
may be that employee training pictures
began in some place other than Dayton,
Ohio; but I doubt that they ever started
with more vigor than in the plant there
situated, of the National Cash Register
Company. That concern was headed then
by the doughty John H. Patterson, its
founder and probably the greatest ex-
ponent of paternalism in .American in-
Thomas A. Edison not only made mo-
tion pictures practical, but he was one
of the very first in America to produce
mms expressly for classroom showings.
dustry. Patterson is said even to have
had a talking picture in his educational
demonstrations before 1909, devised ex-
pressly for the purpose by his experi-
mental engineers, C. F. Kettering and
William Chryst.
Wei-come to the Churches
.•\t the San Francisco Exposition was
a projection room for the Federation of
Churches. Even bearing in mind the
awakened film interest of ecclesiastical
institutions in the United States before
that time, this seems a bold step. But
since 1910 the churches had broadened
considerably in their view of motion
picture possibilities. It already has t)een
reported that in 1913 the Presbyterian
Board of Publications had arranged with
the Edison Company for films and pro-
jectors, and that in the following year
there is said to have been a heavy in-
crease in projector sales to the churches
of the Middle West. Well, the revised
and compressed reissue of Kleine's edu-
cational catalogue in 1915 throws some
light on all this. The great spectacles,
"Quo Vadis?" "Ben-Hur" and "Cabiria"
are now suggested in its pages for many
congregations.
Humbler efforts available through
other channels, were : Kalem's "From
the Manger to the Cross, or Jesus of
Nazareth," five reels produced in Pales-
tine and Egypt ; a two-reel life of Christ,
a two-reel "Story of Esther" and "The
Feast of Belshazzar," Gaumont produc-
tion shown by Elisabeth Marbur>' as a
Holy Week program at the Berkeley
Theatre, New York, in 1913; and the
Hochstetter-Pierson Company's picture,
made in 1912, "Pilgrim's Progress, or
the Life of John Bunyan," presented
with the inevitable lecture. And, very
lovely indeed for the time, was "The
Life of Our Saviour," a nine-reel sub-
ject in color produced by the Paris
Pathe Company in Jerusalem. It was
shown publicly in America first at the
Manhattan Opera House, New York,
in April, 1914.
Of course, much of this material was
of decided interest to the Catholic
churches; and many priests were asking
Page 14
The Educational Screen
why it was that theatrical producers be-
lieved that there was more drama in
clumsy "original" plays of contemporane-
ous life than in certain stirring biograph-
ies out of Holy Writ. Those unworked
possibilities were to be realized in time
by Cecil Blount De Mille, although in a
slightly different manner than those
clergymen had anticipated. Late in 1912
appeared an unauthorized, short Catholic
subject, legitimate enough in its provo-
cation to interest, but surely distasteful
to many churchmen because of the
brazenly advertised circumstances of its
production. An Eclair cameraman had
smuggled his camera into the Vatican,
so 'twas said, and had photographed the
new Pope. His Holiness had been com-
pletely unaware of what was going on.
This short film in hand, the culprit had
then built up his subject by photograph-
ing the Pontiff's birthplace and other
scenes of his secular life. These, how-
ever, were not the first papal pictures ;
those were legitimately produced in
1898 by William K. L. Dickson, pioneer
cameraman for Edison.
But probably this unhappy incident
had much to do with the production of
a more up-to-date, authorized picture,
"Pope Pius and the Vatican,"
by James Slevin. This re-
verent film was shown at the
New York Hippodrome in
October, 1914. The same cir-
cumstances may have been
responsible, also, for two per-
tinent announcements in
August, 1914. One stated that
there had just been incor-
porated, under the laws of
New York State, the Catholic
Film Association, capitalized
at $500,000, to buy and dis-
tribute educational and amuse-
ment pictures to Catholic
churches. The other said that
the Emerson-Currier Cinema-
tograph Corporation would
start issuing, September 7,
"The Animated Catholic
Magazine" for churches, par-
ish houses and schools of that
faith.
The Catholic Film Associa-
tion named, among its direc-
tors, F. A. Cavanagh, Dr.
Conde B. Fallen and Roy L. McCardell,
the writer. About a month later the list
of new business ventures presented The
Religious Pictures Corporation, but in
all probability the intention of that one
was to serve churches of all faiths and
denominations. The Sacred and Historic
Film Company, incorporated April, 1914,
was probably of the same sort. I have
what seems to be more than faint
recollection that the Sacred and Historic
Film Company was an enterprise of
Eustace Hale Ball, who was editor and
publisher of a racy little magazine called
Broadway Buzz.
Even the elders of Salt Lake City
were stirred to consider the potentialities
of the film. In October, 1912, the Utah
Moving Picture Company was announced
to produce a feature called, "One Hund-
red Years of Mormonism." The news
report suggested that the impulse may
have come from enterprising film folk
outside the church. But, anyway, the
company was capitalized at $100,000 and
production, scheduled to be comjileted in
a month, was set at a cost of $30,000.
The executives began by taking over a
California concern known as the EUayc
(probably "Los Angeles") Moving Pic-
ture Company which held the rights to
the picture to be made ; and November
27 word came that direction would be
by Norval MacGregor and the well
known stage and screen star, Hobart
Bosworth. In December, 1912, it was
heard that the versatile Nell Shipman
was to rewrite the scenario and then to
do a few shorter scripts of other Mormon
subjects.
September, 1913, is the next date of
consequence, when it appears that "One
Hundred Years of Mormonism" is being
produced along with other films of not
too religious a character, by the Golden
State Motion Picture Company, headed
by H. M. Russell of Los Angeles. The
general manager is Ernest Shipman,
energetic husband of the talented Nell,
and the same gentleman who in years
following was to organize many local
film producing companies throughout the
From "The Capture of Fort Ticonderoga," Edison reel of 1911.
The above "patriotic" scene showed the allegedly scandalous
behavior of the British garrison before the dramatic en-
trance of Ethan Allen, Jehovah and the Continental Congress.
United States and Canada. He was
probably the "outside impulse."
In 1914 alone, Ernest Shipman repre-
sented no less than seven separate en-
terprises, including the Colorado Motion
Picture Company, the Rocky Mountain
Picture Company, Arthur J. Aylesworth
Pictures, Ltd., the Pan-American Mo-
tion Picture Company and the Capital
Film Company. Concerning "One
Hundred Years of Mormonism," how-
ever, the rest apparently is silence.
Those who wish to understand the odd
calling of Ernest Shipman more clearly,
are referred to the film trade papers of
1917, where advertisements built around
his portrait describe him as a "business
representative for independent producers,"
and offer to finance, buy, sell or exploit
pictures. Three years before, he had been
in charge of the "Special Feature Book-
ing Department" of Universal ; and he
now evidently was turning early exper-
ience to excellent account for himself.
For the Ills of Society
R.MLRO.^DS and churches were not
alone in using the silver screen for
propaganda, which is notoriously hydra-
headed. American social service agencies,
in another line, were still young and
flexible cnougli to appreciate new ave-
nues of usefulness ; and they speedily
adopted films for their own purposes. In
1912 the New York City Department of
Health, in association with the Com-
mittee on the Prevention and Cure of
Tuberculosis, — was showing the public
free motion pictures on the best ways to
withstand and to remedy the ravages
of the White Plague. During the sum-
mer of 1913 they presented twenty-four
open air shows in the same number of
metropolitan public parks. The Ameri-
can Museum of Safety, in its 1913 con-
vention at Grand Central Palace, in New
York, exhibited films on the dangers of
the city streets. In November, 1912, the
Republic Tlieatre, of New York, gave an
especial showing of motion pictures of
the Floating Hospital and the Seaside
Hospital for Babies for the benefit of
St. John's Guild.
The .American Red Cross
was using films of its own in
1910. Edison produced "The
Red Cross Seal," endorsed by
the American Red Cross and
the National Association for
the Prevention and Cure of
Tuberculosis, in November
of that year. And I suppose
that one may consistently in-
clude under the heading of
social service two prison films
designed to show modern
humanitarian treatment of
criminals — the four-reeler
produced in the spring of
1914 by the Abo Feature
Films Company at the Illinois
State Prison at Joliet, and the
picture made by World Film
in the fall of 1915. at New
York's Sing Sing Prison to
show the much discussed
methods of Warden Thomas
Mott Osborne.
In contrast with "The City
of Boys," produced by Selig in 1910 and
dealing with a Michigan summer camp
for wayward youths, mentioned earlier,
it is pleasanter to note that in September,
1913, the Wedepict Motion Picture Com-
pany was producing at Glen Cove, Long
Island, a seven-reeler called "The Mak-
ing of a Boy Scout," to be used nationally
before Boy Scout audiences. Edison dis-
tributed this film, so "Wedepict" prob-
ably meant, in some anagramatic way,
"Edison Pictures."
As early as December 28, 1910, the
New York Dramatic Mirror published an
editorial on social service productions like
these, hailing them as powerful instru-
ments in warding off that perpetual bug-
bear of the film industry, censorship. And,
as events of later years amply proved,
so they were — making that editorial re-
markable for its prophetic insight.
Social service may be quite sensational ;
January , 19}9
Page IS
and that quality is always attractive to
the small showman. So September, 1915.
the Park Theatre, in New York, was
used for an engagement of a German
film entitled "Twilight Sleep," presented
with a lecture by Dr. Kurt E. Schlos-
singk of F-'rielnirg and concerning a
much touted new anaesthetic used in
parturition. No matter how sacred the
phase, sex in the theatre seems to be sex.
In the same month two years earlier,
an extensively discussed Rockefeller
Foundation report on American social
conditions had been seized upon by a
New York concern calling itself the
Moral Feature Film Company, and used
as a basis for an especially sordid pro-
duction, the scenario of which was al-
legedly written by Samuel H. London,
a Manhattan newspaperman.
A rumor was started, and not con-
tradicted by the concern, that the under-
taking was financed by John D. Rocke-
feller, Jr., in cooperation with the
Society for the Suppression of Vice, and
tliat the first showing of the completed
l)icturc would be held at Columbia Uni-
versity. The management sent out a
director, Frank Beal, a cameraman and
a company of actors, to make certain
scenes in the alleged "red light" district
of New Orleans ; but being virtually
run out of that scandalized city, they
completed their "takes" at El Paso,
Texas. By this time the notoriety was
too great to be ignored and, in Decem-
ber, 191.^, Mr. Rockefeller, himself,
denied that the films of the declared
"traffic" had his sanction or support in
any way.
The National Government itself was
as interested in using films in social
service as any private welfare agency.
The Bureau of Mines of the Depart-
ment of Commerce, and the Department
of Agriculture were both very early in
production of their own pictures. The
former, it will be recalled, had its own
theatre at the Pan-.\merican Exposition.
In the summer of 1913, the latter had
been making a strong drive to educate
farmers through motion pictures. In
September, 1911, the Commissioner of
Indian .'Vflfairs, of the Department of the
Interior, was plaiming to save his
charges by showing them films on proper
living. Two months later it was an-
nounced that the national Department of
Health was making a long series to in-
struct citizens everywhere in sanitation.
DRAFTEn BY THE GOVERNMENT
The second decade of the century was
probably when the federal Government
really became ambitious to produce films
better adapted to its needs than the oc-
casional theatrical and industrial sub-
jects which might cliance to fall in its way
from outside. .Apparently the officials
experimented at first by contracting
for commercial production ; then, no
doubt, they found their slender appropria-
tions depleted too soon to include the
costs of distribution and general main-
tenance, obliging them to work the prob-
lem out for themselves, without pro-
fessional assistance.
In November, 1911, the Selig Company,
which had been making a number of
non-theatrical subjects, chiefly under the
direction of Frank Heal, announced that
it had contracted with the National
Government for "the exclusive right" to
film the various Government activities —
army, navy, plant and animal culture,
Indian afTairs, road building, forestry,
fishing and whaling, customs and revenue
services and so forth.
Now, this sounded very impressive ;
but on second thought, the very scope
of the claim and the limitation of the
contract to merely the exclusive "right
to photograph" (which is not to say that
the departments named actually were lo
he photographed), made the matter seem
less important. Besides, there was no
single authority with %vhoni Selig could
have made a binding contract of this
sweeping character, while it had long
Ijecn the federal custom to give all quali-
fied citizens a chance at public work,
with the corollary that the given job
should go to the lowest bidder meeting
the specifications. Whatever the intent
of the original arrangement with Selig,
his organization played a much smaller
part in fiovernment film activities than
was originally indicated. However, in
the spring of 1914, his men did pro<luce
a three- or four-rceler under the aus
pices of the War Department, "showing
the preparedness of the U. S. Army."
It may have been that this Army film
was a more practical outcome of the
original wishes of the War Department
which had led to an arrangement with
the Kinemacolor Company in the fall of
1913. Kinemacolor had then announced
that it would produce a series entitled
"The Making of a U. S. Soldier," start-
ing with the raw recruit and ending with
the fully-disciplined man. This company's
expressed claim was broad enough, too.
It stated that it would make for the
.same Department a series on the uses of
high explosives and on military evolu-
tions— reckless claims, indeed, for a color
process one of the main difficulties of
which was the unsatisfactory picturiza-
tion of rapid movement. Kinemacolor
already had produced a medical series
Alfred H. Saunders believed passionately
in school films, but would not compromise
in ideas of production and distribution.
which had l>een exhibited successfully at
.American recruiting stations; and it now
announced that the. U. S. Government
had contracted with the company for
further films of that type. "The Making
of a Soldier" was released by the U. S.
War Department in April, 1916; but
Kinemacolor did not make it.
Other nations had been employing
films for military training for some time.
One of the most ingenious uses was by
the French army in 1912. Here the prac-
ticing soldiers were confronted with pic-
tures of an approaching enemy; and it
was their duty to fire upon the foe at the
most approved moment. An adaptation
of this device was imported to America
in 1913 by Al Woods, the stage producer,
as a rifle-range novelty called "The Life
Target." In this scheme, when a "hit"
was made, the picture stopped on the
screen and a mark showed where a real
bullet would have struck.
Progressive American States were be-
coming more conscious of propaganda
values generally; and they soon turned
to films for development of their re-
sources and markets. A number of such
productions was displayed prominently
at the San Francisco Exposition. January,
1914, the Seven Hundred Thousand
Booster Club of Southern California had
a seven- reel feature on the wonders of
the State, said to have been the result
of two years' incessant work by Fred L.
BorufT. In July, 1914, the Industrial Mo-
tion Picture Company of Chicago, was
engaged in making a World's Fair sub-
ject illustrating "all important aspects" of
the State of Michigan.
In June, 1916, there occurred at the
Indianapolis State House the first show-
ing of "Historic Indiana," a ten-reel
feature written by Gilson Willetts and
produced by Frank Beal of Selig. Edi-
son made the Exposition pictures for the
New York Commission, including two
for the New York State Department of
Health, as well as a series for Massachu-
setts. In 1914-1915, Vitagraph shot some
70,000 feet on activities of the various
New York municipal departments.
International trade and social effects
of the regular theatrical motion pictures
released abroad were quickly remarked
as soon as the tide of production shifted
and American films had begun their
a.scendency in Europe. The social effects
previously had not been noticeable, un-
less someone had detected that travel
films from overseas had stimulated the
profitable American tourist trade. Films
originating in the United States, on the
other hand, were of a life less bound by
tradition, and represented, besides, an
actual land of opportunity about which
foreign curiosity had been aroused for
many years. As long as this sittiation
redounded to the advantage of American
institutions and manufacturers, Uncle
Sam was not disposed to limit it; but
Europe soon began counterblasts.
At Berlin, November, 1913, at a con-
ference of representatives of the iron
and steel trades, it was decided to start
a vigorous German motion picture cam-
paign for foreign markets, particularly
to overcome the competition of Great
Britain and the United States in the Far
East. When the World War began, how-
Page 16
The Educational Screen
ever, European propaganda films changed
their attitude toward the United States,
seeking to prove that America should
lend its support to one side or the other,
or even to remain neutral.
As Uncle Sam's embroilment in Europ-
ean troubles became more and more in-
evitable, the propaganda became bolder,
and the appeal to reason was swept away
in the usual wartime circumstances for-
bidding anything but an exaggerated re-
flection of popular sentiment. The pic-
ture-makers were generally quite willing
to conform with this condition, for it was
extremely profitable to them : and looking
backward, it is a little appalling to realize
how far the film industry was responsible
then for stirring up hatreds, despite the
fact that it all was done with full Gov-
ernment approval and connivance.
In the early years of the century,
Calif ornian immigration troubles and re-
percussions of the Russo-Japanese War
had given rise in the United States to
fear of a vague but ominous "Yellow
Peril." When that had become very
positive, Pathe produced a film called
"Patria," in which the villains were Japs.
Then we had our troubles with Villa
beyond the Rio Grande, and public sen -
timent put aside the Yellow Peril in
favor of a Mexican menace. The pro-
ducers of "Patria," with their ears to
the groimd for signs of public preference,
thereupon obligingly changed their vill-
ains to "greasers."
In the same deplorable fashion, when
it finally became clear that America was
anti-German, most of the procedure
hastened to transform their hateful char-
acters into "Huns" and "Beasts of Ber-
lin." And after the War they just as
cheerfully produced features in which the
villains were "malefactors of great
wealth" who built fortunes by selling
munitions at high prices during the na-
tional emergency. But then, most busi-
ness men are like that ; it is no exclusive
characteristic of traders in motion pic-
tures. In Revolutionary days the Yankee
makers of fire-irons profited handsomely
from the popular American desire to
spit on the mercenaries sent by George
III to conquer the "upstart colonials,"
by producing fire-dogs in the shapes of
Hessian soldiers.
In June, 1915, Pathe introduced the
first official war pictures from France,
edited by the French Cinematograph
Chamber of Commerce. In the spring of
1916 Charles Urban arrived at New York
with the first official British pictures
entitled "How Britain Prepared." Pathe
released these also, and a couple of
months later they were taken in hand by
a new concern called Official Govern-
ment Pictures, Inc., headed by William
K. Vanderbilt.
In the autumn of 1919, Count von
Bernstoflf, onetime German ambassador
to the United States, testified before a
war inquiry board that, during the period
of America's neutrality, he had tried
vainly to persuade the German officials
to send films to this country to counter-
act the British eflforts. Actually some had
come. In the summer of 1915, M. E.
Claussen, Edward Lyell Fox and some
other enterprising New Yorkers, had
founded the American Correspondent Film
^ext Month
Part Six will concern early appli-
cations of photography made
from airplanes and diving-bells,
through microscopes and by
means of compressed action.
Then the reader is plunged sud-
denly into the World War to
witness the extraordinary effect
of a national emergency in
(drawing the many non-theatrical
loose ends together.
Back issues beginning with Part
One in the September number
are still available.
Company, arrangements being made with
journalists stationed by their papers in
European danger zones, to have pho-
tographed and sent to headquarters the
newsiest films possible ; and this com-
pany's first releases, appearing in No-
vember, 1915, had included official Ger-
man and Austrian pictures.
Politics
To all of these proved advantages of
film propaganda political leaders could
not be indifferent; and there were many
attempts to profit from the opportunity.
The press, in 1913, carried what surely
was an amusing hoax, about a small
French politician who obtained votes
with a film showing him shaking hands
with all comers, kissing the babies, leav-
ing his auto to assist an old woman with
a load of wood, and visiting a bedridden
old man ; but the underlying thought
surely presented a workable formula.
Compaign managers of Theodore
Roosevelt's "Bull Moose" party in 1912,
arranged with General Film to produce
pictures of their candidate. Other films
of the strenuous ex-President — apparently
a collection of newsreel shots made by
Pathe — were used by Hiram Johnson,
along with his own fiery speeches, to
further the cause of the Progressive
Party. In that same interesting and tu-
multous campaign, films — not only
straight photographs but animated car-
toons— were used also to elect the winner,
Woodrow Wilson. It is said that this
was the first national political campaign
in which propaganda pictures had been
used; but there must have been many
persons, within earshot of the claim, who
remembered that in the national election
campaign of 1896 motion pictures entitled
"William McKinley at Home" had been
widely exhibited. Of course, lantern slides
had been employed for like purposes for
years.
In January, 1914, when universal fe-
male suffrage was still an issue, the
Women's Citizenship Committee in Chi-
cago, announced that films would teach
members of their sex to vote in the
spring elections. Of late years, to be
sure, the screen has been used extensively
in even small municipal elections. Presi-
dent Taft never strongly favored cam-
paign films, probably because of the
unending caricatures of his stoutness ; but
a far more pronounced conservative, Cal-
vin Coolidge. believed so confidently in
films that he even contemplated the mak-
ing of campaign speeches over De For-
est's newly- invented Phonofilm.
But then Coolidge, who is said to have
been kept in the presidential seat, first
given him by accident, largely because
he had taken advantage of the new med-
ium of radio to talk intimately to citizens
at their own firesides, would naturally
have a high regard for recent inventions.
I myself, liad a hand in making the
Coolidge pictures, having edited the two
short subjects which were directed and
produced personally by Frank A. Tich-
enor. They were called "Visiting 'Round
at Coolidge Corners" and "Over the
Hills to Plymouth," and they were shown
in thousands of theatres over the United
States — the used prints subsequently be-
ing given as souvenirs to faithful Re-
publican leaders. One of these subjects
contained the much discussed scenes of
Calvin pitching hay on his father's farm.
ExPRESsi-V FOR Schools
I HAVE remarked that in earlier years
the term "educational" indicated to an
exhibitor just a kind of theatrical pic-
ture, and did not necessarily mean a
film for school use. Thomas A. Edison,
however, self-made, self-educated, had a
fond vision of his marvelous inxention in
the role of a great educational force. In
describing that vision he was extreme,
no doubt, for lie repeatedly stated in his
interviews that films were destined to
replace textbooks ; but, apart from his
confusion over the respective functions
of a teacher and a textbook, he was really
one of the best friends educators have
ever had in their w-ork of developing the
science of visual education. It was Edison
who made some of the very first out-and-
out school pictures ever to be produced
in this country. On the w'hole, his at-
titude toward the educational system was
forgiving and handsome, for as a lad
he was thrown out of school on the ground
that he was too stupid to learn.
Early in 1911 the Edison Company an-
nounced a series of historical films to
cover important phases of the American
Revolution. The first, released in July,
was entitled "The Minute Man." Num-
ber Two, soon to follow, was "Ticon-
deroga." And there were more. The first
of another series, on natural and physical
science, "Crystals : Their Making, Habits
and Beauty," "produced under the per-
sonal supervision of Mr. Edison," was
released early in December, 1914.
Others forthcoming were listed as,
"The Cabbage Butterfly," Cecropia
Moth," "Life History of the Silkworm,"
"Magnetism" (in four parts), and "Mi-
croscopic Pond Life." A collection of
negatives under the same working title
as the last-named, came into possession
of Erpi Picture Consultants, Inc., about
1932; but I was assured then that it was
not the Edison production. Six Edison
reels, entitled ''Magnetism and the Elec-
tro-Magnet," were being released by
Kleine as late as 1923.
(To be continued)
January, 19 }9
Page 17
AMONG OURSELVES
Notes from and by the Department of Visual Instruction, N.E.A.
We Grow Up
I T IS iiulccd licartciiiiig for ihose of us interested in
lironioting the visual nicdiuni of expression, to note
the tremendous growtli of interest in our field through-
out the coinitry. We plan to bring to your attention each
month a resume of activities to date. At this time we
should like to review briefly the growth and develop-
ment of our national organization, the Department of
Visual Instruction of the N.E.A.
The graph which apjx-ars Mow will indicate at a
glance how we came to be. By way of explanation,
we should like to describe briefly each of the agencies
listed :
The Natiottal Academy of Visual Instruction was
established in 1920. Its first president was Mr. William
H. Dudley of the University of Wisconsin. According
to its prospectus this organization was established by
40 of the leading University Extension Divisions of
the country in which film libraries had been organized.
Its |)urpoi>es read as follows: a) To establish and main-
lain an organization thru which .schools and other edu-
cational institutions, churches, parent-teacher associa-
tions, clubs, welfare organizations, and other societies
p^v.i^LOPm<rnTOFT-H-^ pvi Of T«^ n.-^.-fl.
n.Qvi
1920
PVI
1%3
PVI
Of
PVI
X\^^L
Of
and
r\k^
^f-C
193a
1936
engaged in educational or semi-educational work may
cooperate in furthering l)etter jirotluction of and a more
intelligent and systematic u.se of visual aids such as
motion picture films, lantern slides, charts, art collec-
ticns, exhibits, and models; b) To prosecute research
in visual instruction methods and materials, make edu-
cational tests, make and publish observations on the
Conducted by the Editorial Committee
Etta Schneider, Chairman
socializing influence of the 'movies,' etc. ; c) To investi-
gate sources of supply and put members in touch with
the best films and slides, etc. suited to their purposes
as rapidly as such materials become available; d) To
maintain an authentic clearing house of information on
all matters pertaining to visual education, such as pub-
lications, inventions, and discoveries whose worth has
been established, etc. ; e) To devise metluxls of co-
operative buying, renting andbargaining; f) To promote
in every way jjossible the knowledge and use of lietter
films and slides and other visual education aids ; g) To
promote universally the cause of, and equipment for
visual instruction service
Membership in this Academy was limited to persons
affiliated with educational institutions. For the most
part these were members of State University Extension
Dejjartments.
At its first national convention, held on the campus
of the University of W^isconsin in July of 1920, the
speakers were the Commissioner of Education of the
U. S. Bureau of Education (P. P. Claxton), and
Governor of Wi.sconsin (Emanuel Phillip).
In 1927 the Academy published a Visual Instruction
Directory. After its merger with the Department of
Visual Instruction, this Directory was published under
the sponsorship of the latter organization (1933).
The Visual Instruction Association of America was
organized in 1922. Its first president was Ernest L.
Crandall of New York City. This organization was to
serve the needs of local directors of visual education,
especially those in the East who could not actively par-
ticipate in the activities of the "Western-inspired" Aca-
demy of Visual Instruction. Representatives from com-
mercial companies were encouraged to take active part
in this organization, which the Academy did not per-
mit. Two handbooks on visual instruction, published
by the Association, were distributed without charge.
After the fusion of the Academy with the N.E.A.
Department of Visual Instruction, the Association con-
tinued to operate as a separate organization. However,
in 1932 it applied for affiliation with the Department
and has more or less retained its identity as the Metro-
politan Branch of the D. V. I.
The Visual Instruction Department of the National
Education Association was establisiied upon the recom-
mendation of a Committee on Visual Education in
1923. Its first president was H. B. Wilson. Through
this group there was greater opportunity for classroom
teachers and other educational workers to study the
possibilities for visual instruction.
One of the most ini|X)rtant contributions of the De-
partment has been its leadership in the W'ood-Freeman
Page 18
The Educational Screen
experiments, which Eastman Kodak Company financed.
After fifteen years the Department is still active in
promoting the ideals set forth by its predecessors. Its
members have done much to promote a wholesome in-
terest in the educational values of visual aids. It is
perhaps time, however, that certain of the original ob-
jectives should be revised to meet changing educational
needs. This is a problem for the immediate future.
The Association of School Film Libraries was estab-
lished early in the Fall of 1938, under the sponsorship
of the American Council on Education's Motion Pic-
ture Project, with a grant from the General Education
Board. Its director is Fanning Hearon, recently of the
U. S. Department of the Interior Film Division. It
has as its chief purpose the creation of a systematic
channel for distributing non-theatrical films on a non-
profit basis, faintly reminiscent of the 1920 objective of
the early National Academy of Visual Instruction, 'to
devise methods of cooperative buying, renting and
bargaining.'
In close connection with the Association, there has
been established an American Film Center under the
direction of Mr. Hearon, Donald Slesinger, and Alice
V. Keliher, through which producers of motion pictures
will be advised and directed along educationally de-
sirable lines.
PROGRAM
DEPARTMENT OF VISUAL INSTRUCTION
Annual Convention of the American Association of
School Administrators
February 27— March 1, 1939, Cleveland, Ohio
Department Headquarters — Hotel Carter
Monday, February 27, 1939
1. Regi.-;tration — Blue Room, Hotel Carter
2. Opening Luncheon, 1 :00 P. M.— Hotel Carter
3. General Meeting, 2:00 P. M.— Ball Room. Hotel
Carter
The Stiperintciuient of Schools Looks at P'isual
Instruction
A symposium by representative superintend-
ents of schools.
4. Dinner Meeting. 6:30 P. M. — Rainbow Room,
Hotel Carter
Greetings by Dr. Reuben A. Shaw, President of the
National Education Association
Motion pictures and filmslides of the New
York City meeting of the N.E.A. will be
shown.
Query of the Month
In this issue we should like to initiate some discus-
sion among our members regarding issues or problems
over which there appears to be difference of opinion.
Please communicate with the chairman of the Edi-
torial Committee, so that your judgment on the question
may be printed next month.
A recent news item in a Sunday edition of one of
America's greatest newspapers stated that there are
no good educational films on the market. Perhaps the
author of this article has a new product to launch, and
is quick to assert that his films are the best ever made.
In the light of your experience with motion pictures
for education, do you agree that there are no good edu-
cational films on the market?
New Jersey Visual Meeting
The New Jersey Visual Education Association held
an "Exhibit-Conference-Demonstration" on Audio-
Visual Aids in Education at State Teachers College,
Jersey City, Monday, January 16, 1939. A half-hour
of conferences and clinics on "Uses of Visual Aids in
the Subjects of the Curriculum" preceded the regular
program which covered the following topics : "Advant-
ages of the New Type Stereographs," "Movies of the
Making of Home-Made Glass Slides," "Modern Uses
for Opaque Projection," "Review of a Recent Teach-
ing Sound Film," and "Stepping up Silent Movies —
Scenes taken in Picturesque China."
Dr. Walter F. Robinson, President, N. J. Visual
Education Association, presided as chairman of the
meeting.
Tuesday, February 28, 1939
1. General Meeting, 9:30 - 12:00 noon — Ballroom,
Hotel Carter
Demonstration of Nezv and Significant Visual Aids
This will include materials suitable for social
science, natural science, primary reading,
and other subjects on the elementary, junior
high.senior high, and college level.
2. Inforn^al Luncheon, 12 :30— Hotel Carter ($1.25)
3. Business Meeting, 2:00 P. M.
Reports of Committees, etc.
4. Dinner Meeting
Wednesday, March 1, 1939
1. General Meeting, 9:30 - 12:00 noon
The School Journey As an Aid to Instruction
Speaker: Mr. S. B. Zisman, Texas A. and M.
College "Studying Community Resources
through the School Journey"
Opportunities for school journeys will be pro-
vided through visits to outstanding points
of interest in Cleveland.
2. Luncheon Meeting, 12:30— Hotel Carter ($1.25)
Jointly with the Department of Secondary
Education of the N.E.A.
3. Joint Meeting with the Department of Secondary
Education— 2 :00 P. M.
Visual Education In Secondary Schools
Speaker: Dr. A. J. Stoddard, Superintendent
of Schools, Denver, Colo.
New motion pictures for education will be
shown.
January, 19 }9
Page 19
EDITORIAL
A New Project For Evaluation of Educational Films
TIIK national tcacliiiiK sitiiatinii today, with specilic
regard to tlie use of motion picture films, is as
follows: (1) There are thousands of "educa-
tional films"' available from several hundred sources ;
(2) these films are of very uneven value for teaching
puqioses ; (3) and out of these thousands of films,
thousands of teachers are selecting from ten to a hun-
dred films annually for classroom use — are often making
these selections, perforce, without adequate data at
hand for determining value — and results, therefore,
are all too frequently disapjwinting. The primary need
in such a situation is for significant and trustworthy
evaluations of existing films, and of new films as they
appear, which will promptly reduce and ultimately
eliminate guesswork in film selection for teachers,
schools and school systems. .\ substantial fraction of
American teachers have the benefit of an efficient State
or City bureau of visual instruction which does the
evaluation and selection for them, but the great ma-
jority of classrooms must still endure the trial-and-error
method.
This vital need for film evaluation has been keenly
felt for years. Resolutions, proposals, plans, projects,
conmiittees, with countless "score cards," rise and fall
like the tides, but anything like a national service within
reach of the teachers seems to be still unrealized. The
two chief difficulties in the problem are, first, to secure
evaluations more meaningful and reliable than any in-
dividual's opinion and, second, to make these evaluations
readily accessible to the teaching rank-and-file through-
out the country. Full solution of a problem of this
magnitude will require a systematic effort more power-
fully financed than any yet made. But The Educa-
tional Screen now has a project under way which it
believes will prove of immediate value to the field and
a definite step toward ultimate solution of the problem.
Preparations Completed
THE plan involves (1) gathering concise evaluations
of educational films by teachers as they actually
use them in classroom or auditorium, (2) achiev-
ing thereby a steadily larger consensus of professional
opinion on each film, (3) deriving therefrom an average
judgment that will constitute the truest possible evalu-
ation of the film as a teaching tool, and (4) keeping
these cumulative results regularly and easily available
to the teaching profession throughout the country.
The essential first step was to devise a "score card"
that would not be an endurance test — that could be
filled out with minimum eflfort and in three minutes
average time by a figfure or two and the mere under-
lining of italicized words — and yet yield data of real
value. To accomptany the card, a full presentation of
the plan, detailed explanations of questions, and direc-
tions for procedure were prepared.
The full material in printed form was then submitted
for critical reaction to some twenty leading directors
and executives of State and City visual bureaus circu-
lating tens of thousands of reels annually to their
schools. Such bureaus, having already "evaluated" with
extreme care the films in their own libraries, might be
expected to consider further evaluating to be of doubt-
ful value. The reaction, however, was beyond our most
sanguine expectations. A nearly complete response not
only showed practical unanimity in approval of the
plan but the majority expressed enthusiasm for seeing
it put in operation. Most helpful comments and sug-
gestions were included. All promised the cooperation
we asked. Several offered much more than we asked,
and it will be gratefully accepted. The result fortifies
our confidence that the project has genuine worth for
the visual field as a whole and it therefore starts now,
January, 1939.
The Working Plan
IT IS planned as a national, cooperative effort —
evaluation of films by Teachers, costs and handling
by The Educational Screen. Any teacher using
films in classroom or auditorium, in any subject or
grade, is invited to join the work. The cooperation
between teacher and magazine is clearcut :
The teacher fills out a card for each film as used, and
mails it without cost or further obligation.
The Magazine supplies the cards, (Business Reply),
in booklets of ten, with full explanations and directions
accompanying ; pays return postage ; files all returns
permanently, with guide card for each film behind
which all cards on that film w^ill accumulate ; analyzes,
averages, tabulates and prints the findings in monthly
issues of the magazine and in the next annual edition
of "1000 and One Films" (Septemlx-r, 1939).
Next — Action!
SUCCESS of the project will hinge entirely upon the
simple but vital cooperation by the teachers. The
supreme inducement for such volunteer service
must necessarily be the satisfaction of pioneering in a
service of such indubitable value to the nation's
schools, both immediate and jwtential.
// you are a teacher using films, tell us by postal
that you will join the national effort. Full material will
be sent to you at once, prepaid.
// you are an official in charge of few or many
schools, let us tell you how heads of other school sys-
tems are coojierating in the project.
// voii know of teachers actively using films, send us
their names and we will invite their cooperation by
letter. Nelson L. Greenb.
Page 20
The Educational Screen
NEWS AND NOTES
\eLHi
ptier
no
IdL
lon^ on ^LaitLtica-n
iTicant Xi
outa^ and eventi^ in tlic vnuuL tuLA,.
Conducted by Josephine Hoffman
2.
3.
Audio- Visual Aids in English
A committee of Newark English teachers, under the
chairmanship of \\'illiam Lewin, has prepared the fol-
lowing six-point plan for the development of audio-
visual aids in connection with a revision of the Newark
course of study in English :
1. That there be a permanent advisory committee on
the evaluation of new audio-visual materials to be
used in the teaching of English.
That audio-visual materials be segregated and
classified in relation to subject-matter areas, so
that teachers may know exactly what aids are
available in each of the units of instruction.
That the field be defined to include photoplays,
stage plays, radio programs, lantern slides, maps
(including literary maps, outline maps, etc.), wall
pictures, charts, models, film strips (picturols, film
slides and still films), phonograph records and
phonographs, speakophones, natural objects to illus-
trate references in literature, field trips, miniature
pictures for notebooks, vocal solos and instrumental
aids needed to correlate music and poetry, period
costumes, period objects, photographs, pictorial
magazines, rotogravure section, bulletin boards,
and blackboards.
That emphasis be placed on pupil activity— pupils
to operate motion-picture projectors, stereopticons,
phonographs, etc. ; pupils to develop the use of
bulletin boards, to make their own lantern slides,
charts, posters, etc.
That a permanent, but ever-changing, exhibit of
new and standard audio-visual materials and de-
vices be maintained in the department of visual
instruction and that a traveling exhibit of such ma-
terials be routed through the schools.
4.
5.
WANTED
The following back issues
of EDUCATIONAL SCREEN
1928: April. October
1929: April, May
1930: February. March. October
February, March. April. May, June, September,
October
January. February. March, April, May. June,
December
1933: February, May. September. October. November.
December
January, February, May. June. September
January. February. March. April. May. June.
September
1936: January. February, Mar<-h, April, May. June,
September. December
1937: January. October
If any of our readers have these issues
to spare, we will pay a fair price for
all copies received in good condition.
EDUCATIONAL SCREEN'chUtV"
1931:
1932:
1934:
1935:
6. That a frontier group within the committee be
assigned to investigate new sources of materials,
new methodologies, and new techniques in this
field, with a view to keeping teachers informed of
the rapid develo]Mnent of new aids and of places
where good work in this field may be seen.
Motion Picture — Consumer Education Program
The Department of Commerce has undertaken to
sponsor and provide national distribution for a series
of talking pictures dramatizing the aims, processes,
achievements, and ideals of American industry, and the
contribution of industry to our national development.
These programs will consist chiefly of feature films on
industrial subjects such as "Aircraft," "Aleat Pack-
ing," "Automobiles," "Construction," "Clothing," "Of-
fice Equipment," "Canning." "Glass making." "Insur-
ance," etc. There will be industries which will warrant
briefer stories of one and two reels.
The Department plans with the assistance of the
U. S. Chamber of Commerce and its affiliated Chambers
and other business organizations, to set up in each
city a permanent Committee on Consumer Education
to sponsor the showing of these pictures to consumer
groups in all cities. These film subjects will also be
supplied to schools, clubs, churches, and other groups
using films.
Historical Film for 1939 Fairs
More than 2,000,000 feet of film has been screened
to select material for use in a motion picture on Ameri-
can history to be exhibited at the New York and San
Francisco Fairs, according to an announcement by
\\'ill H. Hays, President of the Motion Picture Pro-
ducers and Distributors of America. When it is com-
pleted this feature-length picture will present a graphic
story of the highlights of American history as the
Motion Picture Industry's exhibit at the New York
World's Fair. The picture will be shown in the
Federal Building at the Fair under the auspices of the
United States Commission, of which Edward J. Flynn
is U. S. Commissioner. Another pictorial history, which
will emphasize the development of the West, is being
made for similar exhibition at the 1939 International
Golden Gate Exposition in San Francisco. From the
vast amount of film available, 211 feature photoplays
and 24 short subjects were selected as likely source
material. The final picture will be assembled in fifteen
main episodes as outlined by Dr. James T. Shotwell,
director of the Division of Economics and His'.ory of
the Carnegie Endowment for International Peace. Al-
though the outline was prepared without any reference
to available film, the committee has found such a wealth
of material in films already made that it will be neces-
sary to produce few new sequences.
January, 19}9
Indiana Plans Regional Conferences
A comniittfc lium ilic \ isual Instruction section
of the Indiana Teachers' Association met in Indian-
apohs on Saturday. Deceml)er 10. Mr. Virgil Mul-
lins. State Director of School Insjjection provided a
nu-ctinfj ])Iace and assisted in every way jxissihle to
make the meeting a successs. \ tentative program made
out by the committee provides for two regional con-
ferences to l)e licld in Lafayette and Bloomington. The
jirograms are to consist mainly of demonstrations of
tlic use of visual aids in the classroom. Regular classes
will lie taught hy classroom teachers thus affording visit-
ing teachers the opportunity for the observation of
regular school work with the effective u.se of audio-
visual aids. Ray J?. Linville and I'rof. Justus Rising
are in charge of the Lafayette meeting. Pauline Ellis
and Loren .Xshbaucher assume leadership for the
Bloomington con f erence.
The commif.ee also formulated plans whereby they
hope to make the Indiana Visual Instruction group an
affiliated organization with the Visual Instruction De-
partment of the National Education Association.
Oklahoma Progress
With an all time high of 500 Iwokings of 16 milH-
mcter films during the month of Novemljer, the depart-
ment of visual education of the extension division of
the University of Oklahoma is feeling a need for a
larger and more complete collection of visual aids,
Royd Gunning, department director, announces.
The more than 400 reels of films that made up these
bookings are listed and described in detail in the new-
illustrated visual education bulletin tiiat is just off press.
Among these educational sound motion pictures, 17
subject matter areas covered include primary, second-
arv and college levels.
Since beginning of school, the department has photo-
graphed hundreds of athletic and general activity
events. Continuing his explanation of the new produc-
tion unit of the department. Gunning says that they
have been working on two or three motion picture
films. The one nearest completion is a nursery school
film produced in cooperation with the school of home
economics.
Bell & Howell Visual Education Forum
406 prominent educators and principals of Chicago
area schools assembled during December as guests of
Rell & Howell Company. The event was an invitational
to Chicago's first Visual Education Forum, following
the i«ittern originated by Bell & Howell on the West
Coast and carried out successfully in various other
sections of the country.
Prominent educators apjjearing as speakers were, in
program order: Guest speaker, Dr. Harvey B. Lemon,
Professor of Physics and Director, Introductory Gen-
eral Course Physical Science, University of Chicago ;
Paul G. Edwards. Director, Science and Visual In-
struction. Chicago Board of Education; Mrs. R. M.
McClure. President. Better Films Council of Chicago-
land ; E. C. Waggoner, Director. Science and Visual In-
struction, Elgin High Schot)l ; J. C. Hansen. Chief, Bu-
Page 21
y [Jew
Ui Altai J eackii^a aiJi
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Its Spencer optical system projects images of
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You will find in this instrument, special ad-
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Film protection is assured. A large, well ven-
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enough to handle at all times. This new pro-
jector is ideal for the classroom, home or club.
To appreciate the full value of this new
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Write Dept. N12 for a demonstration and descriptive literature.
Spencer Lens Company
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Page 22
The Educational Screen
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In addition the Tri-Purpose has a slide carrier for showing
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Write today for catalog containing the world's largest listing
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Donald Bean. University of Chicago Press ; and P. W.
Fitzwater. Science Department, Lake View High School,
Chicago. The talks, including impromptu comments
by Chicago Board of Education President James B.
Mulcahey, covered all phases of Visual Education and
the need for its continuance and amplification in schools
everywhere.
.\ much commented upon variation in the program
was the premier showing of the new Bell & Howell
sound film How Motion Pictures Move and Talk.
Later the Erpi film Bring the World to the Classroom
furnished another interesting picture interlude.
Near the close of the meeting Mr. Bean anticipated
the closing remarks of Bell & Howell's F. G. Roberts
by suggesting that the Visual Education Forum be
taken over by the educators themselves, making it a
permanent educators' organization holding an annual
Midwest meeting. Mr. Roberts confirmed this sugges-
tion as summing up Bell & Howell's purpose in conduct-
ing the first Chicago forum. The meeting closed upon
the probability that the Visual Education Forum for
the Cen'.ral West would be perpetuated along the lines
suggested, and enthusiastically approved by all in at-
tendance.
A Visual Program for
Vocational Schools
(Concluded from page 7)
Regular Visual-library films are scheduled for one
week, while the out-of-town films are scheduled on de-
finite days, and are returned on specific dates. All films
received are listed on the Daily Bulletin to the teachers.
Special industrial films (silent and sound) of general
interest to combined groups are also shown in the audi-
torium, when the sealing capacity of the lecture room
is inadequate. The students from thirty shops receive
their related work from nine related teachers, or in
combination groupings, where the trade subjects are
closely associated. These larger groups see special sound
pictures in the auditorium during academic week. .Shop
teachers also use selected films and exhibit them in the
shop lecture room, located in the shop building.
Extra Curricular Use
One educational, and occasionally two feature pic-
tures, of one hour length, are supplied by the Visualiza-
tion Department for assembly programs each month.
These feature pictures are chosen for their cultural, his-
torical, and educational content, to balance the industrial
and technical films used in the classrooms. The Frick
Education Commission supplies one guest speaker each
month, leaving two assembly dates open for school pro-
grams.
Student Activities Use
One feature picture, strictly entertaining, is booked
every month by the school for Activities fund-raising
purposes, since no appreciable receipts are derived from
athletics. The student enrollment and turnover in the
Vocational Schools permit only Varsity participation in
Junior Soccer ; Senior Swimming, Golf and Basketball,
with other Pittsburgh High Schools. Football — -gen-
erally the major source of revenue — has been found to
be too expensive, and the competition with four-year
January, 19 }9
Page 23
THE OUTSTANDING TRAVEL SUBJECTS
"PORT O' CALL" FILMS
Produced by Deane H. Dickason
Noted Lecturer and Traveler
AVAILABLE IN 16 MM.
SOUIVU SILE]\T
POST PICTURES CORP.
723 Seventh Ave. New York City
VICTOR REFUSED
to ^^Xe^ MreJJ enouffh alone''
standard lligli Schools unequal on a basis of yearly
attendance and development. Another factor eliminat-
ing the use of our older atid e.\iH!rienced students is our
Cooperative Employment system, rendering these stu-
dents physically unable to compete, and unavailable
during the two-week period at work. Activities tickets
are purchased on the installment plan and no monies
are received at the auditorium doors. These tickets
jjermit students to attend all basketljall and soccer
games, see feature movies, and receive the school news-
paper. Practically all funds are raised through motion
])ictures.
Administrative Use
One of the real problems of the modem High School
is the noon lunch period, with its characteristic loiter-
ing and congestion of corridors and hallways. This
problem was solved several years ago at Connelley with
the introduction of noon moving pictures during the last
ten minutes of the lunch period. Several of the large
Junior and Senior High Schools, in Pittsburgh, are
now showing noon movies to eliminate this congestion.
The idea originated at Connelley.
This entire visual program now serving the school
in four distinct ways, requires the services of the fol-
lowing teachers and shop instructors to suf)ervise the
ordering, receiving, shipping, bulletin notices, operation
and maintenance of all films, projection and sound
equipment.
1. Preliminary requisitions
Completed requisition
Receiving, checking, and
bulletin to teachers
Projection maintenance and
service, also 16mm-sound
5. Sound equipment
Related teachers
Director of Activities
Mr. Fogg and movie
crew
Movie crews from
Electric Power Shop
Mr. Black and Sound
crew
(Western Electric) also
35mm-sound
6. Scoring and forms
(Curricular)
7 Scoring features, serials,
and news reels
8. Film projection supervisors
(35mm films)
9. Awards to Movie and Sound
Crews for service rendered
(Monogrammed emblems
designating service)
The writer submits this mere outline as evidence that
definite organization contributes greatly to the effective
functioning of a visual program in a public school.
Mr. Fogg
Director of Activities
Mr. McKerahan and
Mr. Evancho
Director of Activities
So, THE WORLD'S MOST WIDELY USED
16 MM SOUND PROJECTOR GETS A
New, Super Endurance *Mechanismi
ANIMATAPHONE Leadership dates from al-
most the very beginning of 16 mm sound. Con-
tinuation of that leadership has been made
secure, for LOOKING AHEAD, Victor has cre-
ated for TODAY'S 16 MM PROJECTOR USERS
a Super-Endurcmce 'Mechanism that anticipates
the performance demands of the future!
Not only does this epoch-making advcmce in
mechanism design provide definite assurance
of UNPRECEDENTED PERFORMANCE, but it
dwarfs service and parts-replacement problems
to a mere nothing I A five year study of servic-
ing records and user reports ... on machines
definitely known to have seen greater than
average use . . . served as the guiding influence
in the creation of this new Master 'Mechanism.
New EFFICIENCY — Greater ENDURANCE
to MORE than meet modern-user needs
for heavier duty Projection Equipment
* * •
Jatt a few of the hiehlights of VICTOR'S
new SUPER ENDURANCE MECHANISM arot
FEWER MOVING PARTS . . . "STRIP-PROOF" GEARS
. . . UFE-TIME BEARINGS that nood NO OILING ... 300
PERCENT STRONGER CAM-ASSEMBLY ... NO FUCKER
even at sub-normal speeds . . . INCREASED FLATNESS
OF FIELD without loss of light . . . INCREASED
SMOOTHNESS and CLARITY in sound reproduction due
to Improvements in Filter and Optics.
So ... UP goes the efficiency curve and DOWN goes
the upkeep cost— if you choose the new ANIMATOPHONE
. . . priced at $275 upl Demonstrations, without obligation,
gladly arranged. Write today I
* Available now in the New, Improved Model ii,
31 and }6 Animatophonei. Soon available in all
Animatopbones and VICTOR SILENT Projectors.
VICTOR ANIMATOGRAPH CORPORATION
DAVENPORT. IOWA
Chicago Los Angeles N«r Yorit
Page 24
The Educational Screen
NEW RELEASES!
BEACON MOVIES
"DICTATORS or
DEMOCRACY?"
A sensational scoop! A photographic com-
parison of true conditions under enslaving
Dictatorship vs. the Freedom of Democracy
between which the world must choose. Musso-
lini, Stalin, Hitler and Battista — or the
American Way. Enlightening, historical, and
fascinating entertainment.
Current Film Releases
"WHY HITLER?"
Exciting inside story of Hitler's rise to
power! Evidence of underground plotting of
revolt, secret drills, true conditions never
before shown on any screen.
"WINTER CARNIVAL"
See an ice race behind horses! 80 miles an
hour on skis! Hair-raising tobogannlng. Spills!
Thrills! Graceful skating by champions — an un-
ending wonderment!
"STRANGE AFRICA"
Wild game hunting under terrific heat of
jungle and desert. Familiar and strange
animals in their natural haunts. Sights seldom
seen by man.
"WORLD BY-WAYS"
A tour of little known places and pastimes
from the corners of the world. Egypt, Algiers,
Italy, Norway, Sweden, the Sierras — a stimu-
lating journey of great Instructive value.
"FUZZYS
SHOPPING SPREE"
Rollicking shopping adventures of Fuzzy and
his pals — the comical, trained chimpanzees.
Grand entertainment for everyone!
PRICES
8mm-50' $1.75; ISO' $5.50. 16mm-IOO' $3.50;
360' $10.00. Sound on Film -350' $17.50.
At Your Dealer or
if your dealer has not as yet received his
supply, order direct.
Beacon Films
43 E. Ohio St., CHICAGO, ILL.
BEACON FILMS
43 East Ohio St., Dept. lOE, Chicago, III.
Please send me the following Beacon Filmi.
I enclose $ in check or money order.
Title Length
Title Length
Title Length
N ame
Address
Classroom Film on Poland
Tlie newest addition to tlie Eastman
library classroom films is Poland Today,
a particularly timely subject since this
country is an important factor in the
present European situation. The film
shows various scenes in the capital city
of Warsaw — buildings, parks, market
place, shops and new housing projects —
and in Gdynia, a seaport city on the
Baltic, where Poland's principal exports,
lumber and coal, are loaded. Two types
of farming are portrayed — the large
wealthy estates with their overseers, and
a typical small farm operated by the
peasant owner. The home life, customs
and occupations of the peasants are
shown. Also included in this interesting
reel are various types of Polish schools
— a kindergarten and primary grade,
handicraft, wood carving and sculpture.
Poland Today may be purcha,sed from
the Eastman Kodak Company, Teaching
Films Division, Rochester, New York.
Gutlohn Announcements
Walter O. Gutlohn Inc. have arranged
to release another Bobby Breen picture
in 16mm. sound entitled Rainbozc On
The River, which deals with the after-
math of the Civil War in the strife-torn
South. This new musical feature boasts
of a strong supporting cast for the sing-
ing youngster, including such well-
known stars as May Robson and Charles
Butterworth. Particularly effective is the
singing of the famous Hall Johnson
choir.
As the result of a conference held in
Chicago last month between Walter O.
Gutlohn Inc. and Ideal Pictures Inc.,
arrangements have been made to have
Ideal Pictures Inc. distribute all the
Gutlohn 16mm. sound and silent educa-
tional subjects in conjunction with the
Gutlohn organization. Under this new
arrangement, film users have the con-
venience of dealing with either firm on
an identical rental or purchase basis.
The British Documentary films for
which Walter O. Gutlohn Inc. possess
exclusive distribution rights will like-
wise be available through Ideal Pic-
tures Inc. as they are released.
College Produces Two Movies
With plans announced for two films
to be produced this year on the campus,
Carleton College at Northfield, Min-
nesota, becomes one of the first colleges
in the country to make a movie with
sound. The drama department will make
a color film, A Tour of Carleton Col-
lege, to be used l)y the office of ad-
missions. The other picture will be a
full-length feature. The story will be
pure fiction acted by Carleton students.
The camera equipment will be complete
in every detail. A large assortment of
set-lights will be utilized and a micro-
phone boom with a special mike will
pick up the actors' voices. The sound
booth will have a glass front and will
be of special construction. A camera
truck with wheels will carry the photo-
graphic equipment so that scenes, and
even dolly shots, may be taken at prac-
tically any locale on the campus.
Bell & Howell
Technicolor Subject
.Another very recent addition to the
Bell & Howell sound film library is a
color film which is the first direct re-
duction by Technicolor of a major Holly-
wood cartoon production. The first re-
lease is Jolly Little Elves, the charming
fairy-tale of the poor cobbler who be-
friended a hungry elf, and was repaid
by the nocturnal labors of the whole
elfin clan until fame and wealth were his.
Other titles in the series include Candy-
land, Fox and Rabbit, Sprinytime Seren-
ade, Three Lazy Mice and Toyland
Premiere. All are Universal releases,
exclusively distributed in 16nim. by the
Filmosound Library.
Travel Series
Post Pictures Corporation, 723 Seventh
.Avenue, New York City, now control
exclusively the 16mm rights, sound and
silent, on the well-known series of travel
pictures. The Port O' Call, made by
Deane H. Dickason, noted traveler and
lecturer. These thirty-one single reel sub-
jects are intimate studies of the peculiar
habits and customs of people in foreign
lands — romantically entertaining as well
as instructive. Countries visited include
India, Japan, Ceylon, Siam, Cambodia,
China, Egypt, Palestine, Singapore,
Samoa, Bali, Philippines, Java, Papua,
Fiji, New Zealand, Australia, Havana,
Panama, Palma de Mallorca.
New Educational Science
Subjects
Ufa Films Inc., 729 Seventh Avenue,
New York City, announce the release of
four new short subjects. The Sensitivity
of Plants, Plant Power, Moi'ing X-Rays,
Liquid Air, in 16mm sound and silent as
well as 3Smm. The pictures may be
purchased or rented. With the aid of
delicate recording instruments and time-
lapse photography, in The Sensitivity of
Plants, reactions of plants over a 24-hour
period are made visible. The amazing
energy of plants is studied and analyzed
in Plant Poiver. The remarkable proper-
ties of X-rays are portrayed in Moving
X-Rays, followed by the use of X-Ray
photography and X-Ray treatment of di-
seases. The structure and functioning
of the inner organs of human beings are
shown. Liquid Air demonstrates how air,
oxygen, neon, hydrogen and helium, are
liquified. Eggs and other subjects are
{Concluded on page 35)
January, 1939
Page 25
.
^
DA-IITE MODEL D
^
WHAT ARE YOUR
Projection Problems?
1. Clear Pictures in Semi-Darit Rooms?
For classrooms, difficult to darken, many schools
use the Da -Lite Da -Tex rear -projection silk
screen. It is absolutely free from graininess and
assures a uniform diffusion of light, so essential
to bright, clear pictures. Sizes range from
15"x20" to 36" X 48". The screen is mounted in
a sturdy frame which fits onto a Da-Lite tripod.
3. Bri{;iiter Pictures Witiiout Glare?
For average projection conditions, leading edu-
cators, more and more, are using Da-Lite Glass-
Beaded Screens. Da-Lite's advanced process of
applying the beads to the fabric results in maxi-
mum brilliance without sparking or glare. Avail-
able in many styles — hanging models, table
models, including the Model D in leatherette-
covered box, and the convenient Challenger.
3. Less Confusion Getting Ready?
Convenient operation has characterized Da-Lite
Screens for 29 years. Da-Lite portable screens
are light in weight, easily carried, and can be
quickly set up. The Challenger, consisting of
screen, metal case anfi tripod can be set up any-
where in 15 seconds. For large classrooms and
auditoriums, Da-Lite's new electrically operated
Electrol Screen combines the utmost convenience
with maximum protection for the screen fabric.
With Da-Lite Screens, you can solve any projection
problem readily. Write for literature and name of
nearest dealer!
DA-LITE SCREEN CO., Inc.
Dcpt. 1ES, 2723 North Crawford Ave. Chicago. III.
SCREENS
REG. U.S. PAI. Off.
Meef Every Requirement
yi I.M. I Kim ;/.-. M,.i,nu il»rhl'~ih. u'-'l uld day,
juMt afltr thm tMtrn of the cmntury,
Dont miss it!
A vivid, dramatic portrayal of the
development of transportation —
"THIS MOVING WORLD"
"rrWIS Moving World" already has been
J. shown to more than 600,000 school
children throughout the country. The use of
this dramatic, 30-minute sound motion pic-
ture is offered free* to directors of visual
education, and is available in both 16 mm.
and 33 mm. sizes.
An interesting, fast-moving and historically
accurate Hollywood production, "This Mov-
ing World" is based upon the "Outline His-
tory of Transportation" edited by Dean
Archibald L. Bouton, of New York University.
The film tells vividly the thrilling tale of
man's conquest of time and distance from the
discovery of the wheel to the introduction of
the streamlined passenger train, the trans-
oceanic airliner and other modern forms of
conveyance.
*Th« only rharRv for tb« loan of lbt> film i* |>«Tinrnt
€»f lh«- nominal ntpprp** rhargr* to and from Drlroit.
For further informaliim trrile
FISHER BODY DIVISION
General Motors Corporation
Detroit, Mich.
Wkrn yon »rilr, a.k about thr"Klr.t trnlury of Ba»»ball" an.! "I^t'a G«
Fi-hing." two olhrr KUIwr Body film. «.on to W rrlraaed on •imilar Irima.
Page 26
The Educational Screen
IN AND FOR THE CLASSROOM
Conducted by Wilber Emmert
Director Visual Education, State Teachers College, Indiana, Pa,
Electrical Problems Clarified Through Trip To Power Plant
'T'HE General Science Unit, "Generating and Using
Electricity," presents many difficulties to the Junior
High School pupils, due to their lack of experiential
background in this area, the persistent shroud of mys-
tery surrounding "anything electrical," and the difficulty
many minds experience in gaining basic concepts
through the use of miniature, model generating devices
used in most school laboratories. Fundamentally, the
laboratory apparatus and the commercial electrical ap-
pliances are identical, but many persons, young and old,
fail to see such relationships, and experience difficulty
in transferring their "laboratory thinking" to life situa-
tion set-ups.
If, however, a power plant is easily accessible, and
a well planned school journey is taken to the institu-
tion, the resulting sensory experiences will form bases
for a better understanding of electrical phenomena
through the textbook study and the accompanying labor-
atory work.
For maximum results the trip must be well planned.
Universal lb
SOUND PROJECTORS ^
New All-Purpose Model
Combined utility is offered in this
newly designed 16MM Sound Pro-
jector. Precision built. Completely
flexible for the varied demands
of classroom and auditorium.
\
This involves a consideration of the advantages of the
school journey over other types of class activities, the
purposes of the lesson, a survey of the plant and the
preparation of a laboratory sheet of directions and sug-
gestions, making arrangements with the school authori-
ties and those in charge of the plant, pupil preparation
for the visit, taking the trip, and plans for correlaling
the school journey lesson with the other activities of
the unit.
The trip may serve as an introduction to the unit, or
it may be taken at a later point in the study of the
problem. The sequence-placement of the school journey
lesson, will, however, materially affect the plans for this
activity. The accompanying lesson plan is designed for
use after some progress with the work of the unit.
Teacher's Aims
1. To give the children a chance at directed observa-
tion of the generation and use of electricity.
2. To aid the pupils in understanding how some trans-
formations of energy may be made.
3. To teach the pupils how to study materials in their
natural settings.
4. To form bases for understanding the science ma-
terial studied.
5. To give the children some appreciation of the work
of unseen "servants of the people," and our de-
pendence on ihem.
6. To lead the pupils to an appreciation of the place
of electricity in our daily lives.
Pupil's Aims
1. To satisfy a natural curiosity about electricity and
electrical phenomena.
2. To better understand the problems of generating and
using electricity by mechanical means.
3. To better understand the "vocabulary of the elec-
trician," through a first-hand study of electrical
devices, their parts, and their uses.
4. To better understand the science material studied.
Initiating the Journey
In the study of the unit, "Generating and Using
Electricity," it was discovered that energy transforma-
tions may be effected so that electricity may be pro-
duced through : use of the static machine, chemical
action, use of the dynamo, and through photo-electric
effects. Since the power plant is only a few hundred
yards from the school building, it was suggested that
the class visit the plant and secure first-hand informa-
tion about electricity and electrical problems. Acting
upon the suggestion, committees were appointed and
plans formulated for the trip. One committee secured
the permission of the school principal for the class to
make the visit; another called on the superintendent of
January, I9i9
Page 27
HISTORICAL
ACTION FIOIS
and ENTERTAINING
Trail • Old Louisiana
EDI'CATIONAL
Kebollion • Glory
WriU' for ri ntHt priri-s ant] catalog li.stine
selected ShortH, Features and Recess Projframs.
ALDIO-FII.M LIBRARIES
/£nvw. Sound Excluiively
•CI Bloomadd Are. D«pt. E Bloorofield,
N.
the power plant, who granted his permission, and co-
operated with tlie group in developing a guide sheet
for use during the inspection tour ; a third made dupli-
cate copies of the guide sheet and distributed them to
members of the class.
Pupil Preparation
A |)icturc of thi- inlcriur of iht- ])lant, loaned by the
lK)wer ])laiit superintendent served to excite interest and
as an orientation device ; while a review of a unit
previously studied, "How the Energy from Steam is
Put to Work," showed ihe source of power for running
the generators and indicated energy transformations
from coal, through heat, steam, electricity, heat, and
light. Magnetism, magnetic fields, and magnets consti-
tuted the earl}- problem of this unit, and hence, pre-
pared the pui^ils for the trip. During the class work on
this problem, a vocabulary of electrical terms was built
up. Considerable attention was given to diagrams of
generators, motors, electric circuits, and control de-
vices.
At the Plant
Upon arriving at the plant, the pupils use the guide
sheet and proceed as in any other laboratory period.
The teacher, superintendent, and attendants at the plant
assisted the pupils when asked to do so. The guide sheet
calls for definite recording of certain items, the study
and observation of other things without written an-
swers.
Trip to the Power Plant
i'lOicrating and Using Electricity
The field trip will consume one hour,
sary to work rapidly, observe carefully
Make your records while at the plant,
much out of the trip as is possible. Make your own records, do
your own work. Return to class with a great number of
(jiiestions.
The trip will involve an inspection of the two parts of the
power plant, the electrical room and the boiler room. The major
portion of the period will be spent in the study of the electrical
apparatus.
On the lack of this sheet summarize the trip to the power
plant.
The Electrical Plant
The source of power
Locate the steam pipe which leads to the engines.
Study the steam engine. Locate such parts as : the cylinder,
piston, flywheel, eccentric, crank shaft, oiling system,
the piston roon.
Observe how the engine is connected with the generator.
How many hours per day does the plant run? .
How many men are employed? . How long shifts
do the men work? . Are accurate records
kept? .
hence it will be neces-
and record accurately.
Determine to get as
The Alternating Current Generators
The plant contains (one) (two) (three) (four) A. C.
generators.
The .Alternators produce (.\. C.) (D. C.) current.
SEEING
IS BELIEVING!
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
LEHER OF INTRODUCTION
MAD ABOUT MUSIC
100 MEN AND A GIRL
THREE SMART GIRLS
THE RAGE OF PARIS
MERRY GO ROUND OF 1938
YOU'RE A SWEETHEART
SHOWBOAT
(and many others)
Write to Universal's Non-Theatrical
Department for further information
regarding short and feature-length
pictures, travelogues, cartoons
and other motion pictures.
CATALOGUE 16
UNIVERSAL PICTURES
COMPANY, INC.
Rockefeller Center New York. N. Y.
CIRCLE 7-7100
Page 28
The Educational Screen
What voltage i.s developed ?
Many unusual bargains offered in Central's
■40th Anniversary Clearance Sale Book —
just outi Everything photographic — new
and used. Write for Free Copy NOW!
CBWEnW CO.
230 so. WABASH. DEPT. 51. CHICAGO (Est. 1899)
16MM. SOUND ON FILM
for
REIVT — EXCHAIVGE — SALE
A few of our Large Catalogue of
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Altogether 150 Features and 400 Shorts
from which to pick your proErams
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.
35 mm. General Science, 11 rolls, $20
FILM Principles of Physics, 7 rolls, $12
SLIDES Principles of Chemistry, 8 rolls, $14
Order on approval or send for tree folder and sample
VISUAL SCIEIVCES, Suffem, New York
Talk from your
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TYPEWRITTEN
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THE MANSE LIBRARY
2439 AUBURN AVE
CINCINNATI, OHIO
How manv R. P. M.?
How many amperes?
Locate the field magnets, rotor, slip rings, brushes, outlet for
current.
What purpose is served by the direct current generator on the
same shaft as the rotor of the alternator?
Read the name plate on the alternator, and on the D.C. generator
with the alternator.
The Motor-Generators
Locate the motor-generator sets. \\'hy arc they so named?
For what purjjose are they used ? .
Read the name plate of the motor and the generator of the
motor-generator set.
Motor: Horsepower (H, P.) Volts ,
.'\mperes , Cycle , R. P. M.
Kind of Motor
Generator : \'olts
(no load).
Amperes
The S:
Of what material
Why ?
, Volts (full load)
, R.P.M. .
Kind (A.O) (D.C.)
Locate : Armature, commutator, lirushes, field
magnets, cables.
tell Board
s the switch board made? .
Observe the various instruments on tlie switch board. Take
the readings of the .Ammeters Volt-meters
Watt-hour meters Recording
meter
Svnchronizer meter
Read the name plates where the cables leave the power house
for the various buildings of the campus.
Read the name plates to determine the switches for the various
Iniildings.
Ill the Boiler Room
How many furnaces and boilers are there? .
How many used at one time ? .
Note the recording devices. Observe how the coal is taken to,
and fed into the furnaces. How is the draft for the fires
obtained? .
How much coal is used per day? . For what is
the heat used? .
Note the generous use of electrical devices in the furnace
room.
The Ash Pit
How are the ashes disposed of? .
Thru the Tunnel
Note the location and arrangement of the steam pipes. The
electric cables.
[n the Distributing Room
What voltage is delivered to the main lines in the distributing
room? .
What purpose is ser\ed by tlie emergency lighting plant? How
operated ?
Checking the Results
Clas.s discussion
At the next class hour the discussion was based
upon the experiences of the trip.
From the written stinimaries on the backs of the
g'uide sheets, important points were stressed and
misunderstandings clarified.
The blackboard was used to diagram some of the
circuits, connections, and relationship of parts
of the devices.
The electrical terms previously studied were listed
on the blackboard, together with new words
acquired dtiring the visit. Attention was given
to the correct spelling and i)ronunciaiion of
these words.
Several members of the class recounted some of the
"side lights" on electricity secured while talking
to members of the staff at the plant.
January, 1939
2. '1"1k' following test was given :
a. Electricity is generated by a (dynamo) (niotor)
1). The power plant contains (one) (two) (three)
(four) A. C. generators,
c. The alternators produce (alternating current)
( direct current )
(I. The commutator is a f>art of the (A.C.) (D.C.)
generator
e. The motor is run by (steam) (electricity)
f. The usual house lighting voltage is (60) (110)
(220) volts
g. The voltage uf a circuit is measured Ijy (a volt-
meter) (an ammeter) (a watt-hour meter)
h. The generator of the motor-generator set pro-
duces (A.C.) (D.C.) current
i. Tlie hoists, stokers, draft fans, and coal crushers
are ojx^rated by (dynamos) (motors)
j. Electrical circin'ts are opened and closed by
( rheostats ) ( switches )
Correlation
Using the general outline of the textbook, the im-
portant |)()ints stressed in the .school journey lesson
were further studied and amplified. Lights, switches,
motors, fuse boxes, insulators, extension cords, fuses,
conduits, and light fixtures in the classroom and around
the school buildings were noted and studied. These items
serve as topics for si>ecial reports by members of the
class, the information being secured from science books
in the science library and the junior high school library.
References
1. Pieper and Beauchamj) — Everyday Problems in
Science; 2. Wood and Carjx-nter — Our environment ;
3. Lake, llarley. and Welton — Exploring the World
of Science; 4. Van V'uskirk. Smith. Nourse — Science
of Everyday Life; 5. Hunter and Whitman — Problems
in General Science; 6. Other General Science text-
books; 7. The World Book; 8. High School Physics
Books ; 9. Science Xews Letter Magazine ; 10. Other
Science magazines.
Film Production in Schools Increasing
Within a few years, every school in the country will
l)e making films of its own. Hardy K. Finch of the
(Ireenwich. Connecticut. High School predicted at the
annual meeting of the National Council of Teachers
of English in St. Louis November 24-26. 19.38. He
based his statement uiwu a survey which showed that
today over 200 schools are engaged in production of
films. The productions have included literary works,
student-written scenarios, and pictures based on school
and comnuniity activities, local his'.ory, imaginary trips,
health, safety, and guidance.
Roger Hill, headmaster of the Tcxld School for Boys,
Wixwlstock, Illinois, suggested that schools film their
Shakesjjearean prcxluctions. using a silent camera. Sound
recordings could be made separately and .synchronized
with the ])icture, he added. "The chief educational
value of the talking picture technique," Mr. Hill said,
"is that a good jierfonnance is jelled. It is available
for the inspiration of hundreds of other directors and
thousands of other youngsters. I believe it can and will
l)e a gn'eat new educational tool."
Page 29
STUDENTS. SCIENCE TEACHERS
By These Magical Educational Films!
Natural Sciences Explained with Aid
of Scientific Cinennatography
P RE-VIEW audiences of tttudentM and prominent American educators
have literally applauded these remarkable educatiunal filmH. Bejnff
products of patience, akill. and love for the natural sciences, they
reveal months of enUshtonins: laboratory demonstrations performed by
eminent European scientists. With the use of scientific cinematography,
plants actually assume the characteristics of human beinfrs. Experi-
ments in physics disclose facts never before demonstrated in the
school lab.
UFA Educational Films are the newest achievement in the dramattra-
tion of science. Now available for purchase or rental in silent or
sound in 16 MM or 35 MM. Write immediately for literature describing
"Plant Powrer." "Sensitivity in Plants." "Liquid Air." "Moving X-Ray.**
UFA EDUCATIONAL FILMS
729 Seventh Avenue • New York City
hear and compare
HOLMES SOUND ON FILM PROJECTORS
Holmes machined projectors soeak for themselves in quietness
of action — clear cut definition ol tone — and quality of picture.
READY TO .^^ttS^9^T^^ Holmes distributor. we|.
CARRY ^^^^^^^^Br^^^ come a chance to let you
compara a Holmes vrith
any projeclor costing up to
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not even theat-e equipment
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Page 30
The Educational Screen
Courtesy-- Presented in Hand-made Lantern Slides
By ANN GALE
Art Deparfmenf, Lindblom High School, Chicago
¥ N these days of over-crowded schools, courtesy is an im-
*portant attitude to develop. In secondary schools the courtesy
lesson could be given during the division period or in English
classes. These slides could be traced and used as the basis
for a discussion of ordinary courtesy observed in school.
1. Always keep to the right in halls and staircases.
2. Don't push. You may injure someone or something.
3. Yelling is out of place in school.
4. Paper spoils the appearance of your school. Pick it up
even though you did not drop it.
5. Always escort visitors to the door of the room they wish
to visit. A modern school is large and confusing to a stranger.
6. Remove your hat as you enter the school building.
The sim-
plest t y p c
of ha n d -
made slide
is made by
drazving or
tracing o n
finely fin-
ished etched
glass witli
0 rd inar v
medium lead
pencil. Col-
or, by spe-
cial crayons
or inks, en-
hances the
slides great-
ly. Fine ef-
fects ape, ob-
tained b y
blending
w i t h cray-
ons. About
one - third
inch margin
should be
left all
around the
slide. The
slide is read-
ily cleaned
with soap or
IV a s hi n g
powder to
receive
a new pic-
ture.
January, 1959
Page 31
A new Eastman Classroom Film
on one of Europe's most important key states
Warsaw, the capjtal -- governmen
buildings and charactensuc street
scenes, shops, transportation, parks,
he market place, new housing pro)^
ects, the sharply contrasting old and
new architectural styles. Zinc rehn
?ng. Agriculture-the great private
esfates operated under the direction
of overseers. A typical individually
owned small farm and us peasan
proprietor. Peasant home We, cu^
ioms, mealtime, weaving. Schools
a kindergarten and primary grade,
Lndicral, wood earning and sculp
,ure. Activities in G^y-a, Joland^^
.rrpat seaport on the tiaiiit
K4oAumber.ndcoa.pnnc.p..
Polish exports. 1 reel— SZ"-
Order now for prompt delivery, or write for fur-
ther details . . . Eastman Kodak Company,
Teaching Films Division, Rochester, N. Y.
Eastman Classroom Films
Page 32
The Educational Screen
THE FILM ESTIMATES
Annabel Takes a Tour (Jack Oakie. Lucile Bali)
(RKO) Second of feeble "series." Mere formula
farce about burlesque publicity-man exploiting
temperamental movie star. Wisecrack, slapstick,
horseplay, anything-for-a-laugh, largely over-
acted throughout. Oakie merely Oakie, and
heroine is too obviously "acting." 12-20-38
(A) Feeble (Y) Poor (C) No value
Artists and Models Abroad (Benny, J. Bennett)
(Para) Rollicking farce about penniless Ameri-
can theatrical troupe in Paris, which rich hero-
ine and father join because Benny mistakes girl
for damsel in distress. Incredible adventures but
good fun. New feature — Jack gets girl ! Lavish
fashion show sequence. 12-27-38
(A) Very good of kind (Y) (C) Entertaining
Breaking the Ice (Breen, Costello, Ruggles)
(RKO) Sombre Pennsylvania Mennonite back-
ground of stern life lightened by Bobby's sing-
ing and efforts to earn money to ft-ee his devoted
mother from unhappiness. Fine skating se-
quences, and Ruggles as tricky peddler, Bobby's
friend, adds queer ethics, many laughs. 12-13-38
(A) Good of kind (Y) (C) Mostly very good
Campus Confessions (Betty Grable. Hank Luis-
etti) (Para) Ridiculous "college" story with
basketball climax. Students busy at play, eats,
puppy romancing, razzing rich President who
opposes athletics, and his queer son, till both
become heroes ! Inane, misleading but laughable
travesty. Another "first of a series" ! 12-13-38
(A) Mediocre (Y) (C) Probably amusing
Christmas Carol (Reginald Owen. Gene Lock-
hart) (MGM) Fine screening of Dickens that
is Dickens, done with dignity and truth in
character, action, dialog and settings. Tempo
slightly fast at times and one or two Hollywood
"effects" are the only flaws in otherwise
excellent film. 12-27-38
(A) Very good (Y) (C) Very good
Comet over Broadway (Kay Francis, Ian Hunter,
John Litel) (Warner) Well-acted story of actress
heroine's choice between loyalty to falsely im-
prisoned husband and love for fine devoted play-
wright who made possible her brilliant career.
Mature, dignified "triangle" despite some improb-
abilities. Recalls "Secrets of an Actress." 12-13-38
<A) Good of kind (Y) Mature (C) No
Crime Takes a Holiday (Jack Holt) (Columbia)
Another low-cost crook thriller without undue
violence. To get arson gang, district-attorney-
hero frames innocent man, wins death sentence,
but governor refuses to pardon ! Desperately
clever radio trick saves victim and catches
gang. Legal methods dubious. 1-10-39
(A) Hardly (Y) Perhaps (C) No
Down on the Farm (Jones Family Series) (Fox)
Home burns, so family go vacationing to auntie's
farm. Farcical doings, puppy love, cheap politics,
crazy kidnapping, till Mr. Jones wins cornhusk-
ing contest with quite unsportsmanlike outside
aid. Corn liquor figures large. Laughable stuff
of doubtful taste. 12-20-38
(A) Hardly (Y) Perhaps (C) Doubtful
Dramatic School (Rainer, Goddard, Alan Mar-
shall) (MGM) Stage ambition drives heroine
through factory-work by night, dramatic school
by day. dreams, romance and disillusion, to final
triumph. Some trivial and unconvincing stuff
combined with much drama of real power. No-
table roles by Rainer and Sondergaard. 1-3-39
(A) Very good of kind (Y) Prob. good (C) No
Flirting with Fate (Joe E. Brown, Leo Carrillo)
(MGM) Absurd concoction, waste of Brown.
Yaudeville trailer- troupe, stranded in Paraguay
( !), and burlesque Spaniards in "comedy" of
pie-throwing grade. Desperate tries for laughs
—mud, ink. two-man bull. jail, firing squad,
even risque bits — but few laughs. 12-27-38
(A) Stupid (Y) (C) No value
Gang Bullets (Robert Kent, Anne Nagel)
(Monogram) Low cost thriller, quite elementary
in acting, but achieving considerable suspense
and rather startling climax. Especially villain-
ous gang leader seems to be getting upper
hand of district attorney till latter's unique
strategy turns the tables. 1-10-39
(A) Hardly (Y) Doubtful value (C) No
Gangster's Boy (Jackie Cooper, Robt. Warwick)
(Monogram) Return of wealthy, notorious ex-
racketeer father brings problems and unhap-
piness to fine son. honor student preparing for
West Point, who has been ignorant of father's
past. Slow-moving, sentimental melodrama, good
character values. Jackie convincing. 12-27-38
(A) Fair (Y) Rather good (C) Prob. good
Going Places f Dick Powell, Anita Louise)
(Warner) Musical farce about salesman-hero
crashing summer resort to get business, mis-
Being the Combined Judgments of a National Committee on Current Theatrical RImt
(A) Discriminating Adults (Y) Youth (C) Children
Date of mailing on weekly service is shown on each film.
taken for great jockey, forced to ride wild
horse in steeplechase. Much singing of checker-
ed quality and comedy effort with little spark.
Amusement values quite spotty. 1-10-39
(A) Stupid (Y) (C) Little value
I Stand Accused ( Cummings, Talbot, Helen
Mack) (Repub) Two young law grads practicing
"go straight and be poor, join racketeers and be
rich" idea, until they clash in climactic court-
proceedings. Usual gang violence, hectic ro-
mance, and extra tough villain. Crudely
sensational stuff. 12-13-38
(A) Hardly (Y) Little value (C) No
Heart of the North (Dick Foran. Gloria Dickson )
(Warner) Gaudy fist-and-buUet melodrama in
full color with same old ingredients of fine
scenery, heavy villainy, shootings, airplane
thrills, drownings, etc. and baby girl in midst
of it all. Superheroics by Canadian Mounties
chasing river steamboat thieves. 12-20-38
(A) Good of kind (Y) Thriller (C) No
His Exciting Night (Charles Ruggles and minor
cast) (Univ) Nonsense farce with some bits too
artificial to be very funny. Timid, expert sales-
man marries very rich young wife. Boss,
fearing his resignation, hires dizzy blonde to
compromise him. The worm turns and wins.
Laughable, but Ruggles deserves better. 12-20-38
(A) Only fair (Y) Probably amusing (C) Hardly
Kentucky (Loretta Young, Richard Greene)
(Fox) Expert Technicolor film of great pictorial
charm in story about fine horses and fine peo-
ple. Simple, appealing romance, genuine human
values and character interest. Notable role by
Brennan as grand old Southern colonel. Authen-
tic, colorful, suspenseful Derby race climax. 1-3-39
(A) (Y) Excellent (C) Probably mature
Little Adventuress, The (Edith Fellows. Richard
Fiske) (Columbia) Routine racetrack story with
the usual run of hard luck for principals. One
new angle — little girl turns jockey and rides
her horse to victory after regular jockey's
double-crossing is discovered. Acting better
than the story. 1-3-39
(A) Hardly (Y) Mediocre (C) Unsuitable
Nancy Drew, Detective(Bonita Granville. Frank-
ie Thomas, John Litel) (Warner) Engaging little
thriller. Lawyer's keen, irrepressible, *teen age
daughter, bent on being detective, runs down
villains with aid of staunch boy friend. Pleas-
antly puzzling, without undue violence. Another
"first" of rather promising "series." 12-20-38
(A) Good of kind (Y) (C) Rather good
Next Time I Marry (Lucille Ball. Jas. Ellison)
(RKO) Fast, flippant, laughably absurd farce.
Spoiled heiress would marry titled nitwit, but
father's will specifies American husband. She
"buys" WPA laborer-hero, plans quick divorce.
Chase to Reno via trailer ends in wife's "tam-
ing" and real love for husband. 1-3-39
(A) Depends on taste (Y) Doubtful (C) No. int.
Orphans of the Street (Tommy Ryan. Robert
Livingston) (Republic) Boy-dog story of much
appeal but uneven quality. Hero, sent to orphan-
age, runs away with devoted dog. Murder oc-
curs, dog suspected, formally tried in court, but
acquitted with aid of genial old veterinary
deftly played by Harry Davenport. 12-20-38
(A) Hardly (Y) Perhaps (C) Fair
Pacific Liner (McLaglen, C. Morris. Wendy Bar-
rie) (RKO) Grim melodrama with some strong
character interest, laid below-decks of Shanghai-
San Francisco freighter. Doctor and nurse fight
cholera, chief engineer fights to keep up steam
with dying crew. Grisly cremations of dead add
to depressinglv entertaining struggle. 1-10-39
(A) Very good of kind (Y) Dbtfl. value (C) No
Paris Honeymoon (Bing Crosby. F. Gaal) (Para)
Slight, fantastic romantic comedy laid in at-
tractive settings of mythical European country.
Bing. millionaire cowboy, is engaged to heiress
but marries persistent peasant maid. Deft
comedy by Tamiroff. Much use made of liquor
which causes funny convulsions. 1-3-39
(A) Thin (Y) Perhaps (C) Little interest
Personal Secretary (William Gargan, Joy Hod-
ges) (Univ) More or less absurd yarn of news-
paper man and woman tracking down poison
murderer, with much admixture of astrology,
thwarted love, and important doings of a dog.
Rather good acting by leading players in un-
fortunately inadequate story. 12-13-38
(A) Mediocre (Y) Fair (C) Hardly
Prairie Moon (Gene Autry, Tommy Ryan) (Re-
public) Usual western stuff, with Autry sing-
ing and elementary acting. Somewhat original
in bringing west three very tough-mug city
kids who steal picture with their supreme im-
pudence, rough-house antics, gutter English,
making fools of all the adults. 12-27-38
(A) Mediocre (Y) Hardly (C) Decidedly not
Rebellious Daughters (Marjorie Reynolds, George
Douglas) (Progressive) Cheap, unskillful at-
tempt to capitalize on theme of over-strict par-
ents and independent children. Two girls leave
home, fall in with city racketeers, till one is
grewsomely murdered and the other safely dis-
illusioned. Mediocre acting. 12-13-38
(A) Crude (Y) No (C) No
Say It in French (Milland, Bradna) (Para)
Frothy, sophisticated comedy of complications.
Hero and French bride keep marriage secret to
help his family out of financial difficulties, she
masquerading as maid while he pretends en-
gagement to wealthy girl. Forced situations, some
in bad taste. Ridiculous chase at end. 12-27-38
(A) Inane (Y) Unsuitable (C) No
Secrets of a Nurse (E. Lowe, D. Foran, Helen
Mack) (Univ) Grim, tedious, incredible melo-
drama involving nurse, pugilist-hero, successful
criminal lawyer and gangsters. Ingredients are
crooked fight, three murders, an execution, trial
which convicts hero of murder, and last minute
confession that saves him. 1-3-39
(A) Mediocre (Y) Unpleasant (C) Certainly not
The Shining Hour (Crawford, Sullavan, Doug-
las, Young) (MGM) Oldest son brings cabaret
dancer wife to ultra-gorgeous "farm" home.
Married brother falls in love with her. Tense
situation till two wives restore status quo in
startling style. Convincing triangle drama, fine
in acting, dialog and character interest. 12-20-38
(A J Very good of kind (Y) Too mature (C) No
Spring Madness (M. O'Sullivan. L. Ayres)
(MGM) Light, amusing, rather enjoyable
comedy of college youth. Despite some farcial
exaggerations, wholesome serious underlying
romantic element. Clever dialog, smartly pro-
duced, well acted except for Burgess Meredith's
overdone eccentric role. 12-27-38
(A) Good (Y) Good (C)DoubtfuI interest
Storm (Bickford, Foster, McLane) (Univ) Pre-
tentious, loosely knit "sea saga" wanders over
world till chief characters meet on same ship
in terrific storm. Heroine nurse performs sec-
ond ''movie" operation by radio! Heavy drink-
ing, hard fighting, super heroics, clumsy me-
chanical effects. 12-13-38
(A) Depends on taste (Y) Mere thriller (C) No
Sweethearts (MacDonald, Eddy, and outstand-
ing cast) (MGM) Victor Herbert's music, beau-
tifully sung and played in gorgeous settings.
Rest is welter of torrential color, incessant
sound, dizzying action. Charming original is
hectically "modernized" with jazz tempos, fa-
shion show, and is tiringly long. 1-3-39
(A) Disappointing (Y) Prob. good (C) No int.
Thanks for the Memory (Bob Hope. Shirley
Ross) (Para) Merry, sophisticated little farce-
comedy of married couples, money troubles, other
man. other woman, separation, but coming baby
solves all. Free and easy social behaviour with
heavy drinking featured. Rather well done by
good cast. Hope surprisingly good. 1-10-39
(A) Good of kind (Y) Better not (C) No
Trade Winds (Fredric March. J. Bennett) (U.
A.) Unique, clever detective-murder-mystery
with philandering hero-detective chasing love,
liquor and supposed murderess-heroine around
the world. High comedy by Ann Sothern as
drunken secretary, and Bellamy as dumb de-
tective. Deftly sexy throughout. 12-27-38
(A) Depends on taste (Y) Unwholesome (C) No
Up the River (P. Foster, A. Treacher) (Fox)
Humorous farce showing "pleasant" side of
prison, with inmates engaged in football and
theatricals. Principals are two "con men,"
gridiron stars, who escape to save fellow con-
vict's mother from fleecing by crooks and return
in time to win game by amusing coup. 1-3-39
' \) Prob. amusing (Y) Doubtful theme (C) No
Young in Heart (Roland Young. Gaynor. Burke,
Godard, Dupree, Fairbanks) (UA) Engaging,
chronically crooked family of four, firmly averse
to work, find sweet, rich old lady an easy mark.
But her faith in their "goodness" brings con-
vincing reform. Slow, whimsical character com-
edy finely done, intelligently amusing. 12-13-38
(A) (Y) Very good (C) If it interests
January, 19 i9
Page 33
1 llusirated is RCA Victor Console Recorder MI- 1 2700
. . . records and reproduces at speeds of 78 or 33 1/3
r. p. m. using 10', 12' or 16" records, inside out or
outside in. Has pick-up tone arm and speaker for im-
mediate play back. ..high fidelity amplifier and speaker
...especially designed motor assembly insures accurate
recording and play back.
Splendid new equipment
bringsyou ali4 essentials
of a modern recorder
1. Records and reproduces with
amazing accuracy.
2. Sturdily constructed — with-
stands hard knocks.
3. Utmost dependability.
4. Extremely simple operation.
Many teachers and school ex-
ecutives have found that the use
of recording equipment pro-
vides them with the most accu-
rate and scientific means of
determining and correcting
speech defects — and measur-
ing pupils' progress in speech
and music instruction. A re-
corder is also invaluable for
future play back of recordings
of radio talks by prominent
speakers, for the study and pro-
nunciation of foreign lan-
guages, for the recording of
school plays, dramas, debates
and other uses.
RCA Victor's newest recorder
is illustrated on this page. Look
at its outstanding features— and
remember— it insures the very
finest in quality at extremely
low cost. For more complete
details write to the address be-
low. No obligation, of course.
• • •
RCA presents the Magic Key every Sunday,
2-3 P. M.. E. S.T., on the NBC Blue Network.
Modern schools Uay modern with RCA
radio tubes in their sound equipment.
USE THE COUPON
SOUND SERVICE FOR SCHOOLS
Educational Depi.. KCA Manufacfurins Co.. Inc.. Camden. N. J.
A Service of the Radio Corporation of America
FMucatiomal Departmeml~KCA Manufacturing Co., Inc.. Camden, N. )
Please send detailed information and price quotations on RCA Victor
Console Recorder MM2''O0.
Sam€ _
AiUms^
Do you desire a demonstration? (No obligatioa).
Page 34 The Educational Screen
AMONG THE PRODUCERS l^L.. iL c^erdj
ritfft^ atttto-uM-ce new ptcJiuct^ unJi JievelopnteH.ti ar mtete^t to lite tLelJL.
Ampro Announces
Two New Models
The Ampro Corporation, Chicago, Illi-
nois, are announcing two radically new
and improved low-priced 16 mm. sound-
on-film projectors, Models X and Y,
basically new in design, at prices well
within the reach of a moderate budget.
A new adaptation of Ampro's standard
sound mechanism assures sound repro-
duction of a quality found in higher
priced Ampro models. Brilliant picture
projection is achieved by the 750-1000
watt illumination.
The machines are compactly construct-
ed, quiet, and easy to operate. All in one
case, small and portable, the projector
New Ampro Sound Projector
weighs only 49 lbs., including 1600 ft.
reel, carrying case, accessories and cords.
All controls are centralized on a single
illuminated panel, and reel arm brackets
are permanently attached and swiveled
into position. Threading is simple — only
two sprockets, and further facilitated by
film guides.
Every fundamental of Ampro quality
is retained in appearance, construction
and performance and is backed by the
regular standard .Ampro guarantee.
Amprosound Model "Y," designed for
classrooms and small auditoriums,
equipped with Universal AC-DC motor
with silent film speed, is priced at $295.00.
Amprosound Model "X," designed espe-
cially for industry, equipped with 60
cycle AC motor, is priced at $275.00.
If interested, write to the Ampro
Corporation, 2839 N. Western Avenue,
Chicago, Illinois, and complete specifi-
cations will be furnished promptly.
Low Priced Projector
Announced By Spencer Lens
The Spencer Lens.Cunipany of Buffalo,
New York, manufacturers of microscopes
and scientific optical instruments, have
announced another new projector for
2" X 2" slides, and have promised de-
liveries beginning January 20. It fol-
lows only three months after the an-
nouncement of their 750 watt auditorium
projector. Model GK.
The new instrument will be known as
Model MK Dclineascope, and the basic
unit will be priced at $22.50. The
manufacturers claim that this 100-watt
projector is far more efficient than would
be expected from its size and price, —
that it remains cool enough to handle at
all times, and assures safety for color
films.
A feature that will influence many
purchasers is accessory equipment that
will soon be available. The front of this
instrument is so designed that it may be
removed by loosening a knurled thumb
screw, and the accessory equipment to
handle strip film in double frame or
single frame, added. Increased illumin-
ation will be available for use in class-
rooms.
The Spencer projection lens is 5"
focal length, and has a speed of F :3.6.
Operation is simple. Slides are placed
in a conventional type lantern slide car-
rier, all metal and carefully fitted. The
instrument has a self-leveling elevating
device held by a knurled thumb screw.
The lamp house is hinged, permitting
easy access to lamps and condensers.
RCA School Catalog
The third edition of "RC.\ Victor
Sound Service For Schools," a catalog
devoted to the application of radio,
recorded music, sound movie projectors,
transmitters, sound reinforcing equip-
ment, and electronic instruments for
schools of any size, has been announced
by the Educational Department of the
RCA Manufacturing Company.
The catalog is available to interested
teachers and school executives through
RCA Victor distributors or directly
from the Company. Like the earlier edi-
tions, the 32-page book is printed in
two colors, is lavishly illustrated and
includes extensive notes and comments
to explain the application of each type
of equipment to school purposes.
Radio and sound equipment never
before included in the catalog is listed,
including two centrally controlled
school sound systems and two record-
ing and instantaneous play-back instru-
ments. Also described are ultra short-
wave radio transmitting and receiving
equipment, radio parts and test equip-
ment for laboratory use, a new portable
sound reinforcement system, and nearly
a score of new radios and Victrolas
particularly suited for school use. In-
formation about four battery-operated
instruments for rural schools is also
included.
"This new catalog is the most cam-
plete of its kind,' said Ellsworth C.
Dent, Director of the Educational De-
partment. "It shows how much has
been done by RCA Victor to develop
and make available practically all types
of radio and sound equipment which
may be used eflfecively in schools and
other educational institutions. "We
have included ultra short-wave trans-
mitting and receiving equipment to
meet requests among educators for in-
formation which will help them to util-
ize the new radio broadcast channels
allotted for educational use."
The back cover of the catalog is de-
voted to an outline of radio broadcasts
of interest to schools.
DeVry Centralized System
The new De Vry Centralized Control
System shown in the illustration has
been built to meet a demand for a low-
cost, light weight Centralized Control
unit. This outfit provides two-way com-
munication between a number of rooms.
Universal 16mm Sound
Projectors Licensed by ERPI
Along with news of their new models,
comes an announcement from Universal
Sound Projector that arrangements are
being made by which they will manu-
facture under the following licenses :
"Manufactured under licenses from
Electrical Research Products, Inc., under
United States patents of American Tele-
phone and Telegraph Company and Wes-
tern Electric Company, Incorporated, for
use only in connection with the exhibi-
tion of motion pictures."
The improvements incorporated in the
new projectors allow Universal to be
one of the few granted permission to
operate under this license.
January, 1959
Page 35
Bell & Howell Film Book
The Pilinosouiul Film Library Book
just issued by Bell & Howell Company
lists in its sixty-four 8}<ixll inch pages
over 2800 reels of sound-on-filni features,
comedies, cartoons, adventure, nature sub-
jects, music, religion, history, news reels,
sixirts and teacher training, offered for
rental or sale by the Bell & Howell
Kilniosiniiid Library. There is also much
interesting information on the method
of Ixjoking and servicing film prints, on
the varied application of listed films to
subject-matter fields, and criteria for the
appraisal of all offerings. The book is
profusely illustrated with scenes from
listed films. A separate 8-pagc alpha-
betical index, treated as an in.sert, fa-
cilitates finding films known by title and
gives outright sale prices. Both Filmo-
sound Library Book and index are
"binder-punched" for the later inclusion
of anticipated additions and for filing.
A majority of film listings in the
Filmosound Library Book — over 2000
reels — are for entertainment, but selected,
too, with a view to distinct cultural value.
.\ foreword describes the method of us-
ing feature films in school auditoriums
for educational purposes, tied in directly
with classroom preparatory and review
activities. Similar suggestions are in-
cluded with the headings of other major
groups of films, such as serials, travel,
nature, current events, foreign language
teaching, vocations, etc.
A copy of the book is sent free to
every owner of a 16mm. sound projector
registered in the Bell & Howell files.
.^dditional copies and copies to non-
ow^ners of sotmd equipment are priced at
2Sc each. Further information may be
had by addressing Bell & Howell Com-
pany, 1801 Larchmont Avenue, Chicago,
Illinois.
New 100 Watt
Leiti Projector
Designed for showing pictures in the
classroom, in the home or to any small
group of people, the new Leitz VHI-C 100
watt stillfilm projector presents many
novel features. Scarcely larger than a
book, measuring only 6^ x 6% x 3
inches, not including lens, it is made of
plastic and metal, plastic around the
front of the projector where heat should
not be transmitted and metal around the
lamp house where heat should be trans-
mitted. The projector may be used for
projecting either 2x2 inch glass slides
or 3Smm film strips. The slide changing
gate is interchangeable with the film
carrier and the front of the projector may
be rotated so that both horizontal and
vertical pictures may be projected fr ti
film strips. A three lens condenser sys-
tem and a silvered reflector behind the
projection lamp are said to make the
illuminating system unusually efficient for
a 100-watt projector. The condenser sys-
tem is easily removable so that either
50 mm Ixica Camera lenses or a special
85mm projection lens may be used. .^
heat absorption filter between the lamp
and condenser system aids in dissipat-
ing the heat, while the black top of the
bulb permits the tops of the inner and
B
ft'', * . .V \.
\%^!^
^^^^ •* /
^
\* .^^r
Trademark <»f
l)i>pf>ndabilily in I6nifn
Mnliiin I'U'lurr Strvitr
1 ADDRESS FOR
1
r\ . r 1 n
Wjbosh, Ind.
1 1
outer lamp housings to be open for max-
imum ventilation.
Prices and more information may be
had by writing to E. Leitz, Inc., 730
Fifth .Avenue, New York, N. Y.
Current Film Releases
{Concluded from page 2A)
immersed in liquid air and the effect
shown. The qualities of liquid oxygen are
also illustrated.
Film Review
Coast Guard Coiiimunieations, a 16
mm., three reel sound film in monotone,
with a running time of 33 minutes, was
produced by the Bray Studios in 1937
cooperating with the units of the Coast
Guard Service.
This film holds the interest of pupils
from Grade 8 through 12 from start to
finish. It portrays the means developed
by the Coast Guard to maintain its lines
of communication. The use of flares and
beacons, semaphores and other manual
means of communication are indicated
but the major part of the film illustrates
the great efficiency of radio and radio-
telephone in the routine work of this
branch of the Government Service. Con-
comitantly, the pupil gets a clear picture
of the place of the Coast Guard and its
work.
Shots of ships at sea, the radio room
"Sparks" at work, the transmitting and
receiving stations of the Coast Guard
are all clear and filled with action. The
narrator "Fades out" frequently to en-
able the story to be told by those par-
ticipating in the film itself. One sees
action on the bridge, hears the clang of
engine room signals, hears the snappe<l
commands and scuffle of men leaping into
action.
The film is an excellent medium for
bringing out this colorful but unsung
branch of the Federal Government. It
should prove helpful to classes in civics
and the like. It is also of value to
students of general science who see a
clear-cut picture of adaptation of elec-
tricity to communication.
By L. HALL BARTLEH
Head, Social Studies Department
Garden City High School
Garden City, New York
Additions to "School List" Rims
Word from Films, Incorporated, states
that The Plainsman has been added to its
"School List" of Photoplays now avail-
able in 16 mm size. Maid of Salem will
be available after February 1st and
Clarence after March 15th. Complete
information on this organization's dis-
tribution plan to schools can be had by
writing to headquarters, 330 West 42nd
Street, New York City.
New Film on Coffee
The story of coffee culture is depicted
in the new two-reel edticational talking
picture. Coffee — from Brasil to You, pro-
duced by William Burton Larsen for the
Pan American Union, Washington, D. C.
Coffee-growing procedures as practiced
on the big plantations of Brazil are il-
lustrated—the "burning over" of newly
cut area selected for a new plantation,
planting the coffee beans from which
coffee plants are grown— followed by
scenes of process work and the loading
of coffee into ships at Santos. The story
finishes in the roasting plants in Brooklyn
with the packaging of the coffee. The
film is loaned free to responsible educa-
tional institutions except for express
charges. Prints are available in 16inm
and 35mm sound. It is suggested to those
who wish to book the picture to kindly
send two or three alternative dates.
Puppets Depict History of Oil
A unique Technicolor puppet film, fea-
turing a new type of flexible rubber
figurine, created and animated by Louis
Bunin, noted puppeteer, will be shown
by the Petroleum Industry Exhibition at
the New York World's Fair, 1939. These
puppet characters make possible a me-
dium for film fantasy possessing all
the appeal of the animated cartoon. The
illusion of animation is secured by mov-
ing the puppets fractionally from one po-
sition to the next. The film will tell the
story of the discovery and development
of oil in America, and its place in the
world of today. The little rubber puppets
will move against a shifting panorama,
beginning with a puppet horse pulling a
covered wagon across the desert, and
winding up against the impressionistic
backgroimd of a super -modem city.
Page 36
The Educational Screen
HERE THEY ARE
A Trade Directory
for the Visual Field
FILMS
Akin and Bagshaw, Inc. (6)
1425 Williams St., Denver, Colo.
Audio-Film Libraries (5)
661 Bloomficid Ave., Bloomfield, X. J.
(See advertisement on page 27)
Beacon Films (6)
43 E. Ohio St., Chicago
(See advertisement on page 24)
BcU & 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 28)
Dudley Visual Education Service (4)
736 S. Wabash Ave., Chicago
4th Fl., Coughlan Bldg.
Mankato, Minn.
Eastin 16 mm. Pictures (6)
707 Putnam Bldg., Davenport, la.
Burns Bldg., Colorado Springs, Colo.
Eastman Kodak Co. (1, 4)
Rochester, N. Y.
(See advertisement on outside back cover)
Eastman Kodak Co. (4)
Teaching Films Division,
Rochester. N. Y.
(See advertisement on page 31)
Eastman Kodak Stores, Inc. (6)
102O Chestnut St., Philadelphia, Pa.
606 Wood St., Pittsburgh, Pa.
Edited Pictures System, Inc. (6)
330 W. 42nd St., New York City
Erpi Classroom Films, Inc. (2, 5)
35-11 35th Ave., Long Island City,
N. Y.
Films, Inc. (6)
330 W. 42nd St., New York City
64 E. Lake St., Chicago
925 N. W. 19th St., Portland, Ore.
Fisher Body Division (2, 5)
General Motors Corp., Detroit, Mich.
(See advertisement on page 25)
General Films, Ltd. (3, 6)
1924 Rose St., Regina, Sask.
156 King St., W. Toronto
Walter O. Gutlohn, Inc. (6)
35 W. 45th St., New York City
(See advertisement on page 1)
Harvard Film Service (3, 6)
Biological Laboratories.
Harvard University, Cambridge, Mass.
Guy D. Haselton, Travelettes (1, 4, 5)
7936 Santa Monica, Blvd.,
Hollywood, Calif.
Howard Hill Motion Picture Service (5)
280 Scenic-Piedmont, Oakland, Cal.
Chamber of Commerce Bldg.,
Los Angeles, Cal.
J. H. Hoffberg Co., Inc. (2, 5)
729 Seventh Ave., New York City
Ideal Pictures Corp. (3, 6)
28 E. Eighth St., Chicago, III.
(See advertisement on page 1)
Leroy Dennis Film Bureau (6)
Wabash. Ind.
(See advertisement on page 35)
Lewis Film Service (6)
105 E. 1st St., Wichita. Kan.
(See advertisement on page 22)
The Manse Library (4, 5)
2439 Auburn Ave., Cincinnati, O.
(See advertisement on page 28)
Post Pictures Corp. (6)
723 Seventh .Ave., New York City
(See advertisement on page 23)
UFA Educational Films (3, 6)
729 Sevcntli .\ve., New York City
( .See advertisement on page 29)
United Projector and Films Corp. (1, 4)
228 Franklin St.. BuiTalo, N. Y.
Universal Pictures Co., Inc. (2)
Rockefeller Center, New York City
(See advertisement on page 27)
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 (1, 6)
347 Madison Ave., New York City
19 S. LaSalle St., Chicago
351 Turk St., San Francisco, Cal.
MOT/ON PICTURE
MACHINES and SUPPLIES
The Ampro Corporation (6)
2839 N. Western j^ve., Chicago
(See advertisement on page 5)
Bell & Howell Co. (6)
1815 Larchmont Ave.. Chicago
(See advertisement on inside back cover)
Central Camera Co. (6)
230 S. Wabash Ave., Chicago
(See advertisement on page 28)
DeVry Corporation (3, 6)
1111 Armitage St., Chicago
(See advertisement on inside front cover)
Eastman Kodak Co. (6)
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
Howard Hill Motion Picture Service (5)
280 Scenic-Piedmont, Oakland, Cal.
Chamber of Commerce Bldg.,
Los Angeles, Cal.
Holmes Projector Co. (3, 6)
1813 Orchard St., Chicago
(See advertisement on page 29)
Ideal Pictures Corp. (3, 6)
28 E. Eighth St., Chicago
(See advertisement on page 1)
RCA Manufacturing Co., Inc. (5)
.Camden, N. J.
(See advertisement on page 33)
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 26)
Victor Animatograph Corp. (6)
Davenport, Iowa
(Sec advertisement on page 23)
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 Co.
1336 N.W. 1st St., Oklahoma City, Okla.
SCREENS
Da Lite Screen Co.
2717 N. Crawford Ave., Chicago
(See advertisement on page 25)
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
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 1)
Keystone View Co.
Meadville, Pa.
( See advertisement on page 6)
Radio-Mat Slide Co., Inc.
1819 Broadway. New York City
(See advertisement on page 28)
Society for Visual Education
327 S. LaSalle St.. Chicago, III.
(See advertisement on page 22)
Visual Education Service
131 Clarendon St., Boston, Mass.
Visual Sciences
Suffern, New York
(See advertisement on page 28)
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia. Pa.
STEREOGRAPHS and
STEREOSCOPES
Keystone View Co.
Meadville, Pa.
(See advertisement on page 6)
STEREOPTICONS and
OPAQUE PROJECTORS
Bausch and Lomb Optical Co.
Rochester, N. Y.
(See advertisement on page 2)
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
Keystone View Co.
Meadville, Pa.
(See advertisement on page 6)
Spencer Lens Co.
19 Doat St., Buffalo, N. Y.
(See advertisement on page 21)
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 un(ier one heading, $1.50 per issue; additional listings under other headings, 75c each.
1 HI (C ATIO MAL
|e Magazine Devoted Exclusively
> the Visual Idea in Education
IN THIS ISSUE
A Cooperative Plan
for Viiualizing
Education
Movie Theater Comes
to School
The Candid Camera in
a Classroom Study
of Housing
A Flea for the
Magic Lantern
Motion Pictures —
Not for Theatres
FEBRUARY, 1939
Public Library
Kansas City, Mo.
Teachers Library
VOLUME XVIII. NUMBER 2
WHOLE NUMBER 169
Temple Compound and a Tower of fhe East at the Golden Gate International Exposition
CONVENTION ISSUE
A C
$2.00 PER YEAR
Model AA with head
in vertical position for
showing standard sin-
gle frame filmslides.
Model AA with head
swiveled for showing
DOUBLE frame hori-
zontal film.
It takes only a minute to
ctiange the Model A A
from a flimslide projec-
lor to a glass slide pro-
jector. A double slide
carrier is provided.
Built on Time- Proved
Principles
THE 300 WATT
MODEL AA
PROJECTOR
Combines Brilliant Projection
with Unequalled Convenience
— Cooler at the aperture than any other
projector on the market.
Three years ago when the 100 watt Model of the
S.V.E. Tri-Purpose Projector (the Model CC) was in-
troduced, it set a new standard for efficient projection
of black and white filmstrips and Kodachrome 2"x2"
glass slides and won widespread popularity among
visual educators.
The Model AA 300 watt Tri-Purpose Projector is
built upon the same time-proved principles. It merely
provides still greater brilliance and greater conveni-
ence with even less heat on the film or slide — the
coolest projector on the market. The stronger illumi-
nation of its 300 watt lamp permits its use in even
large auditoriums. The greater brilliancy is espe-
cially appreciated in showing Kodachrome sUdes.
The Model AA can be readily adjusted as shown in
these illustrations to project single frame filmstrips,
double frame filmstrips, or the 2"x2" glass sUdes.
The Model AA has as standard eguipment the new
S.V.E. Rewind Take-Up which rewinds the filmstrips
in proper sequence as they are being shown. Write
for literature today, and see this modern compact,
light weight equipment at your supplier's! Made
entirely in the U. S. A.
SOCIETY for VISUAL EDUCATION, inc.
Dept. 2 ES
1 00 East Ohio Street
Chicago, Illinois
^fis. EDUCATIONAL SCREEN
FEBRUARY, 1939
VOLUME XVIII
Contente
A Cooperative Plan for Visualizing Education.
John S. Carroll
Movie Theater Comes to School.
Don G. Williams
The Candid Camera in a Classroom Study of Housing.
Edward B. Olds
A Plea for the Magic Lantern.
Paul hi. Van Ness
Motion Pictures — Not for Theatres.
Arthur Edwin Krows
43
45
46
48
49
Composition in Line and Form —
Presented in hIand-Made Lantern Slides
By Ann Gale. 53
Among Ourselves — Notes from and by
The Department of Visual Instruction
Conducted by The Editorial Committee 54
New and Notes
Conducted by Josephine Hoffman 56
Among the Magazines and Books
Conducted by The Staff 60
Current Film Releases 64
In and For the Classroom
Conducted by Wilber Emmert 66
Film Estimates 70
Here They Are! A Trade Directory of the Visual Field. . 72
NUMBER TWO
The EDUCATIONAL SCREEN published monthly eicept July end August by The
Educetlonel 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, February, 1939, by The Educational Screen.
Address communications to Executive Office, 64 East Lake St., Chicago, III.
$2.00 a Year (Canada, $2.25; foreign, $3.00) Single Copies 25 cts.
THE EDUCATIONAL SCREEN, Inc.
Directorate and Staff
Nation L. Greene. Editor Jescphine Heffman
Evelyn J. Baker F. Dean McClutky
Wilber EaiBert Stanley B. Breaae
Ann Sale Stelto Enlyn Myara
Page 40
The Educational Screen
"AW, NO PICTURES
//
Above, Model B Balopticon for
lantern slide projection.
Below, Model BOT, the same
as model B but with a con-
veoient tilting base.
In that expression lies the key to the value of the B & L Balopticon as a
teaching tool. Pictures bring a new and more vivid reality to words,
translating lessons into a language every pupil can understand. Students
of every age, from kindergarten to post-graduate course, learn with less
effort and more enjoyment when a B & L Balopticon is used to supplement
lectures and reading.
Write for B & L Catalog E-11 describing the complete line of Balopticons
for every teaching need. Address Bausch & Lomb Optical Co., 688 St.
Paul St., Rochester, New York.
BAUSCH &- LOMB
....WE MAKE OUR OWN GLASS TO
INSURE STANDARDIZED PRODUCTION
FOR YOUR GLASSES INSIST ON B » L
ORTHOGON LENSES AND B * L FRAMES . . .
February, 1939
Page 43
A Cooperative Plan for Visualizing
Education
Presenting the background and basic fea-
tures of the Connecticut project, its present
status, and possible future developments.
By JOHN S. CARROLL
Department of Education, Yale University
DL'RIXCj the last two di-cades, earnest advocates
of various s|X!cialized jjlatis in the field of visual
education have come to the fore, stated their cases
and, in some notable examples, have receded to a frozen
status in research bibliojjraphics. Sometimes these plans
are readvocated at a later date, to succeed or fail again.
By such repetition and survival is the true worth of an
idea demonstrated. That has been the case with the
cfioperative factor in visual education work. It has been
used many times in various sections of the country.
It is the basic feature in this description of the visual
education work in Connecticut.
'i'he work in visual education, as it emanates from
the State Department of Education, is fortunately
characterized by the consistent sense of balance observ-
able in the long history of education in Connecticut.
On the visual side this sense of balance is secured by
dividing visual education into five large areas, pro-
gressing from the basically concrete to the relatively
abstract. These five divisions include, (1) Field Trips
( 2) Objects. Specimens and Models (3) Motion Pic-
tures (4) Still Pictures and (5) Graphic Materials.
This five form division, admittedly arbitrary, serves as
a means for a balanced approach to visual education, in
which no one phase is set up as the whole of visual
education to the detriment of the other phases. Far
too often an over-enthusiastic individual or group has
sought to advance one integral part of visual in-
struction as a "new" way in education. The anti-climax
attending such dramatic advances is evidence of the
inherent strength of the movement to hold a dominant
place in spite of, rather than because of, the ministra-
tions of the messiahs.
The economic factor is always a most important one
whenever serious consideration is being given to visual
education plans. The community school systems look to
the state department for aid, the state department looks
to the legislature for aid, the legislature looks to the
community for revenue plan approval — and there the
cycle starts and ends. The Connecticut Plan would
seem to have certain desirable features that can func-
tion well under whatever amount of aid is available
from the several sources. The immediate situation in-
cludes a cooperative approach that involves ( 1 ) the
State Department, (2) a mutual organization known
as The Connecticut Cooperative Visual Education
Society, and (3) a state-wide Works Progress Admin-
istration project which is engaged in facilitating vari-
ous phases of the state-wide visual education plans.
The membership of The Connecticut Cooperative
Visual Education Society is composed of a number of
School Superintendents, with schools, school systems
and other educational institutions as co-sponsors. A
slightly diflferent tyj)e of membership is supplied by
an affiliated group of state and municipal health edu-
cation specialists who are interested in a prog^ram of
visualizing health education. The project is an out-
growth of a smaller project originally established to
do certain experimental work and production of special
filmstrips. The filmstrip project soon met the inevitable
question put by the school people, "Shall I use film-
strips or — " and the alternatives ran the whole gamut
of visual aids. The eventual answer was a natural one;
the project was expanded to include the general field
of visual education. The result has been added impetus
to the membership of the State Society and additional
service to the members by the project. This service has
been in the form of materials produced, research ac-
complished, professional counsel rendered, and demon-
stration materials placed before the visiting public. At
all times the Society has aimed to encourage schools
and school systems to establish visual education cen-
ters, school museums, and to place in charge thereof
a person who is able to devote at least part time to
the visual education program. The relationships between
all of the organizations concerned in the whole visual
education plan for the state are shown in Figure 1.
In initiating the project, the State Director visited
a number of visual education centers and visual educa-
tion mu.seum extension projects in other states. The
members of the supervisory staff of the new project
were selected with particular emphasis on their experi-
ence in the visual ficltl. Several of these staff members
visited projects and visual education centers. The
counsel of the Director of the Bureau of Field Service
in the State Department of Education was sought in
planning the project program. The memlKrs of the
Society and other interested educators in the state and
in nearby states were consulted. Thus was achieved a
highly commendable situation, with the Federal govern-
ment agency, the state agency, the local school people
and individual educational authorities all cooperating
in the plans, the policies, the objectives and the final
production.
As a result of this combined planning, the materials
produced by the project are educationally and cur-
ricularly pertinent. The materials produced are mainly
of the more easily duplicable type. There is included
a wide variety of filmstrips, a series of historical cos-
tume posters and costume figurines that relate to
Page 44
The Educational Screen
Colonial-American History, a similar set of historical
dioramas, a silk screen service for a variety of ma-
terials and many other visual aids. Despite dupli-
cability, material cost remained as a prime factor. This
problem has been solved by having the Society furnish
the raw materials. These materials are processed by
the project and then returned to the Society and the
particular member thereof that placed the order. Thus
the finished products reach the schools on the cost-of-
materials basis.
As the statewide project was originially planned by
the coordinating officials, several demonstration cen-
ters were to be established at various points about the
state. This status of the plan has not as yet been fully
achieved. However, the basic work by the units already
established assures that future units, when established,
may benefit by the work already done and the train-
ing given to key people for placement in the new units.
In the matter of production by existing units, for ex-
ample, a visualized health unit, operating in a city
separate from the parent project, prepares visual aids
of all types, but only as they pertain to the health
education program. In another instance, project person-
nel is used to produce visual materials used in a com-
munity museum.
Another initial objective was to train people in the
preparation and handling of visual aids and then to
place these same people in schools throughout the stale.
In these schools there would be previous agreement
with the school officials for the establishment of a school
museum or visual education center. In addition, a staff
member would be appointed by the school officials to
act as visual education director, supervisor or commit-
tee chairman. The resultant of this planning should be
in the direction of maximum educational efficiency. The
school people of Connecticut seem to be especially
aware of their responsibility for the proper expenditure
of funds for educational purposes. Results must be
evident in the planning before the plans are adopted.
Necessarily, therefore, time elapses between the various
stages in the development of the program concerned.
By this same token, the progress eventually achieved
should be all the more lasting. As the plan materializes
in the wider sense, it would seem that education, as a
whole, would stand to benefit in a very material way
and that teaching efficiency would increase.
Of the three cooperating factors in the state-wide
program, the State Department of Education is handi-
capped by a limited budget — a familiar condition with
state departments. Even so, it can render valuable
service in a supervisory and articulative capacity. This
observer believes that the Department intends to func-
tion primarily in this way. The cooperative Society is
just beginning to experience the benefits of coopera-
tion. As the project increases the production of the
duplicable types of visual aids, then the Society mem-
bers will undoubtedly benefit increasingly from their
cooperative efforts. As regards the Federal and State
work-relief agencies, the present Congressional discus-
sion, centering around the policies and practices of the
Works Progress Administration, has not given the
deserved emphasis or recognition to the production of
educational materials that have inherent worth. From
the standpoint of social, economic and educational
worth, the principle of work relief personnel being as-
signed to the production of aids to education, under
professional sponsorship and supervision, would seem
to be well established.
In considering any state-wide program for visual
education, a working plan, to be adequate, must utilize
all of the five general types of visual aids, and must
have jjrofessional counsel and direction of the activity.
The accumulated benefit of years of study, training and
experience ; with due consideration of psychological,
sociological and educational principles, are essential for
success. The best general source for such knowledge
and experience is doubtless in the placement bureaus
of the training institutions and in the personal "mem-
ories" of the national authorities in the field. The ever
present problem of leadership is present in this phase
of education as well as in general educational adminis-
tration. The eventual evaluation that may be placed on
any program of this type will be largely commensurate
CONNECTICUT COOPERATIVE PLAN
FOR VISUAU2ING EDUCATION
1 "'I'-' r
OXj.Itr.O'. 3^^.A- ..rr ■j»--T«>NT OJ. .-»,«' •"'"■ *"*"
1 ^— -«>^ J
_f obJfcTiv(^ o* »•« 1_
{*i"i .<.*Tt «ri"K>.;l
BETTER CITIZENS WITH
BETTER UNDERSTANDING
AS ACHIEVED T>l ROUGH
VISUAL EDUCATION
The above chart shows the organization of the Connecticut
statewide visual education project as planned by the three
cooperating factors — the State Department, the Connecticut
Cooperative Visual Education Society, and the Works
Progress Administration.
with the amount of educational leadership and planning
in its initial stages. Documentation of the present and
evaluation of the future values would seem to be
prerequisite to real progress.
Edjtor's Note : This is the first of a series of articles dealing
with the general topic of Cooperative planning in visual educa-
tion. The next article, to appear in an early issue of Educational
Screen, will deal with more specific functional aspects of a
cooperative visual education center.
February, 19i9
Movie Theater Comes to School
Page 45
Effective teaching of motion picture appreciation ac-
complished through high school-theater cooperation.
By DON G. WILLIAMS
Director of Visual Aids, Great Falls, Montana
THE Great Falls High School has worked out a
ax)]K'rative arrangement with one of the local
theaters, hy which the hetter coniniercial films be-
come essentially a part of the school program. Motion
picture appreciation is lieing thereby promoted as part
of the desirable equipment of every adult in our modern
world.
We, in the Great Falls schools, believe that intelli-
gent enjoyment of commercial motion pictures can be
greatly increa.sed. To that end we strive to give our
pujiils such background knowledge and .standards of
selection as will iiicrea.se their enjoyment and apprecia-
tion of the motion picture. Being engaged in education
and believing that critical audiences are the only ef-
fective means of improving motion pictures, we hope
that this knowledge and appreciation will make these
young people a more critical audience.
No teacher would think of teaching a course on short
stories unless she could have at least one short story
to read to the class in order to give them a common
starting jwint for discussion. Assuming that the same
thing holds true for motion pictures, we have recognized
the need for supplying experiences in this field. This
is being done in two ways. In the first place, we have
arranged to run two double- feature repeat shows at
one of our less expensive commercial houses. Wanting
our young people to see the shows at the same time,
we excuse them from their other classes for these pro-
grams. I realize that some of you may criticize the
double bill. But please remember that we are dealing
with an actual twentieth century school situation and
not with a nineteenth century theory. We try to be
realistic. "Movie" appreciation is only one unit in our
tenth year English, and we do not by any means spend
all of our time attending the theater.
Furthermore, the time used must include a diversi-
fied group of films since we want our young people to
see four types of program : musical romance, comedy,
drama, and "thriller." Our original statement was that
commercial motion pictures are primarily for enjoy-
ment, and some people enjoy "thrillers."
Another reason for the double bill is one of economy.
We can call back a double feature for almost the same
price as a single bill. Because the visual aids budget
must cover all pupils, we have to economize. The entire
theater is rented for a matinee exclusively for high
school pupils. In this way it is easy to have some check
on the crowd. We have found that an audience which
is ninety per cent high school sophomores and ten per
cent town people is not satisfactory. The students are
excused from afternoon classes about 2:30, and are
admitted to the theater in classes. This insures both
teacher and pupil attendance.
This program gives the classes a common basis for
discussion and comparison. The second phase of our
arranged showings, a series of "student days" when
single features are presented, gives the teachers a
chance to see if they have really accomplished something
in their unit. In this coimection, a series of first-class
second-run pictures is arranged at one of the local
theaters. We have two groups, of eighteen selected
pictures each, that are called back every year. The man-
ager of the theaters makes up a season pass carrying
the student's name, age. sex, advisory room number,
and a series of numbers from one to eighteen. These
passes are good only on student night, and are punched
at the door. We have found this routine much easier
than trying to arrange any other system of individual
tickets. It has another advantage, namely, that our
second run selected pictures are invariably of a higher
type than some of the ordinary first run pictures, and
we hope thereby to encourage attendance at these
shows. We have found that if a pupil has to pay cash
for a show, he is going to go to whatever happens to
strike his fancy or the fancy of the crowd he "runs
with." If he has already purcha.sed a ticket to our
show, he is less likely to go to another.
Our English teachers sell these passes to students
for $1.50. or about eight cents per show. The first year
that we worked out this arrangement, we sold some
600 tickets. This year we have sold about 1100 to a
high school student body of approximately 1900. The
increase is probably due to an increased confidence in
our ability to get good shows. .\t first, the pupils were
afraid that the programs would be too "high brow" for
them.
The director of visual aids arranges the program
by having all the English teachers compile a list of
films that they would like to have returned. Then these
teachers ask their classes for further suggestions. The
list is then turned in to the director of visual aids, who
makes up a list of about sixty films from all those sug-
gested. The director cuts off those that are too far
out of line, which is the only censorship involved. An
election is then held in the English classes to select
forty films. Of the forty chosen there are always a few
which are not available. The list that is finally agreed
upon is taken to the social science, natural science, and
other interested teachers to see if they have any parti-
cular choice of dates for various films. Often we find
that there are films on the list which are of particular
interest to particular classes in the school. We try to
show these films when they will be most helpful to
such groups. The completed list is then dated and sent
to the theater manager, who books the pictures, if
possible, in the order we indicate.
Last year our regular student night was on Tuesday.
This year it will come on Thursday. Friday would be
Page 46
The Educational Screen
the ideal day, but we are unable to get ihe theater that
night because it is always a profitable night for un-
sponsored pupil attendance at full prices.
On student days we run a matinee starting at 3:15,
and showings continue until 1 1 :30. This gives the
pupils living in the country a chance to go to the pic-
ture show and still get home before dark. These shows
are also open to the general public at regular admission
prices and are quite well attended because of the high
type of picture recalled. On such occasions we have a
single feature. To build up our programs we have a
news real, one cartoon, and a novelty or educational
short. As a sample of films selected for these pro-
grams the list used for our second program of 1937-38
is here given :
1. Story of Louis Pasteur
2. Trail of the Lonesome
Pine
3. The King Steps Out
4. Show Boat
5. Under Two Flags
6. Ex Mrs. Bradford
7. Captain January
8. Mr. Deeds Goes to
Town
9. Voice of Bugle Ann
10. I Found Stella Parish
11. Sylvia Scarlett
12. Transatlantic Tunnel
13. Captain Blood
14. Tale of Two Cities
15. Fang and Claw
16. Ah, Wilderness
17. Follow the Fleet
18. Lost Horizon
Now for a brief resume of our teaching unit. For a
textbook we use How to Appreciate Motion Pictures
by Edgar Dale ( Macmillan, 1933). To supplement this,
we use the large still-pictures and study guides put out
(Continued on page 58)
The Candid Camera in a Classroom
Study of Housing
RECENTLY a Pittsburgh Junior High School
found a new use for the candid camera in applying
visual educational methods to the study of hous-
ing. The school was located in a slum district and near a
federal housing project which was planned to partially
replace the slum dwellings. Pupils in the school were
naturally becoming excited about housing since some
of them had lived in the old slum homes which were
being torn down to make way for the project. O.her
pupils were reading about the project in newspapers,
which gave it considerable publicity. The spontaneous
interest in housing made the subject an excellent one
for a special school study project.
Demonstrates a new and significant use of the
miniature camera as a visual teaching tool.
By EDWARD B. OLDS
Bureau of Social Research of the Federation of Social
Agencies of Pittsburgh and Allegheny County, Pa.
The work of several classes was adapted to the
housing study project, which came to a climax on Par-
ent's Night, when the pupils entertained their parents
with exhibits of their work. Mechanical drawing stu-
dents drew plans of the new houses, and made charts
and maps of existing conditions. Manual training
classes constructed model houses. Home economics
classes studied furnishings for the new homes. Even a
dramatics class was involved in setting up a pui)i)et
show to depict vividly the eflfect of good housing on i
family life. '
Perhaps the most interesting of all these projects,
from the viewpoint of the pupils, was a series of photo-
At left — Rear of tene-
ment to be demolished,
showing outdoor pri-
vy and goods of last
family to evacuate
building.
At right — students
examining water leak-
ing from underground
pipes outside tene-
ment to be demolished.
February, 19J9
observation tours. Groups of six sludents were con-
ducted on tours through tlie district to view the housing
sites and the sUini dwellings to \ye demolished. They
were acconi])anied by facidty nienilKTS, housing ex-
perts, and photograijhers with a candid and a motion
picture camera. As the significant features were pointed
out by representatives of the Housing Authority, the
cameras clicked and ground to record the condition of
the homes and the reactions of the pupils. The young-
N/LL District
Housing Projcc t
Equjpmca/t Or Homcs
//v ///// D/s r/f/c T
HITH
wiTHOur
84X
fi6aaaoooi
)a
TSX
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ax
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/6X
Example of poster
made by Junior High
School students using
pictorial symbols and
statistics from Real
Property Inventory,
and an enlargement
from 35mm. snapshot
taken near school. The
right hand picture
shows one of two hy-
drants and drains in
a tenement courtyard
— as sole water and
drain equipment for
30 families.
( Symbols below supplied by
Picrtorial Statistic*, Inc.)
sters entered into the spirit of the project and made
admirable subjects for the photographers.
Pictures were taken of unsanitary outdoor toilets,
crowded and dilapidated dwellings with one water
faucet for fifteen families, un.safe fire escapes, and sag-
ging walls. The small groups of pupils were then
"snapped" viewing the maps of the demolitions pro-
ceeding in preparation for the new housing. Buildings
being torn down were jjortrayed as well as families
moving out of the condemned homes. A leaking pipe
illustrated the lack of attention given by owners to these
tenant-occupied dwellings. A bit of broken mirror re-
moved from a dwelling being demolished caught the
expression of one boy as he gazed at the wreckers
busily tearing down a house. An orange crate in a
window and a string of onions hanging on the outside
of a house were "shot" to illustrate primitive methods
of refrigeration. To contrast the wretched conditions
( xisting in the slums, and to forecast the new develop-
ment, snapshots were taken of several completed pro-
jects in a nearby city.
In order to point out the slum conditions to the
hundreds of students who did not go on the tours,
about 80 of the best "shots" were enlarged to 8 by
10 inches. Some of these were tacked onto bulletin
boards and immediately drew great attention from the
pupils who crowded around to identify the familiar
landmarks and the lucky classmates who went on the
observation tours. Other enlargements were turned
over to the art and mechanical drawing classes. They
used dry mounting tissue and a hot iron to mount the
photos on large placards. Pictorial symbols were pasted
in rows underneath the pictures to show the proportion
of homes lacking facilities such as central heating, refri-
geration, and private indoor toilets. The calculations
Page 47
for these charts were performed by a mathematics class
from published statistics gathered by the Real Property
Inventory. Captions and titles were neatly lettered to
explain the pictures and symbols. The completed post-
ers were then set up in conspicuous places for Parent's
Night, with sixjilights trained on them and students
assigned to ])rovide explanations of what they showed.
The fact that the pictures showed familiar faces and
landmarks was largely resjxinsible for the interest they
aroused. This interest was used to enlighten the ob-
servers as to the extent of the housing problem in their
neighlx)rhood and as to what was being done to correa
the undesirable conditions.
As a further attraction, the 16mm. movie "shots"
were pieced together with api^ropriate titles to make
up an interesting travelogue of the slum district. The
appearance of student "actors" on the screen aroused
great enthusiasm from the pupils. This enthusiasm was
very probably increased because the still photographs
had served to advertise and familiarize the pupils with
the scenes depicted.
The entire cost of the materials used for the 135 still
pictures and the 80 enlargements was under $10. The
cost was kept down by purchasing the 35mm. film in
bulk and loading it on spools in the darkroom. The
equipment was loaned and the photographing, develop-
ing, and enlarging supplied by a staff member of the
Federation of Social Agencies. Each negative was en-
larged to size 3j4 by ^Va inches. From these proofs
the negatives to be enlarged to size 8 by 10 inches were
selected. The use of precision equipment and fine grain
developer produced enlargements almost indistinguish-
able from contact prints.
Junior High School pupils viewing demolition of dwelling
in preparation for housing project.
The project gave the pupils and their parents a
realization that environmental problems such as bad
housing were not insoluble, but could be corrected
through the cooperative efforts of governmental and
community agencies. The sequel or sequels to this pro-
ject remain to be undertaken. A similar method can
be used with such problems as poor health, illiteracy,
safety, and crime. The candid camera offers an inex-
pensive and graphic tool for use in such projects in
the field of education and community organization.
Page 48
The Educational Screen
A Plea for the Magic Lantern
IN my interest in visual education, I have frequently
sought out gatherings of enthusiasts in the field.
Generally, I've noticed that when such folk get to-
gether, the discussion centers around the relative teach-
ing advantages of the silent and the sound film. The
sheep are divided from the goats: the fortunate few
who have sound projectors, from those still bound to
the silent past. For a time I maintain a humble silence ;
then, in a lull, I say, "I like lantern slides." They look
my way, with puzzled expressions. "What? .... Oh,
lantern slides. Yes, I guess they do have their place."
It's like telling a group of car salesmen, "I think hiking
boots are nice."
But, you know, I do like lantern slides. And I feel
they have a place in teaching that will not and can-
not be filled by the movie — silent or sound — any more
than the letter-carrier was put out of business by the
telephone. Of course, the movie will be more help to
me in teaching how a frog swims, or how leaves sway
in the breeze. In any subject where the motion is the
prime factor, the slide cannot compete with the film.
But in many other cases, I find the slide a greater aid.
There are several reasons for this.
In the first place, with the film, I teach someone
else's lesson. I may preview the film, and by class dis-
cussion prepare the pupils for it; I may help them see
afterwards how it applies to the question at hand. But,
do what I will, I can't change the film. The sequence
of ideas, and the relative importance of these ideas in
the picture, were worked out by someone else. That
somone may be an expert in his subject. But he is a
total stranger to my pupils, and their interests and
their background.
Not so with the slides ; with these I teach my own
lesson. AVhen I receive my set, on China perhaps, from
the New Jersey State Museum, I can spread them out
on my desk and examine them. In the light of our in-
terests and aims and objectives — mine and my pupils —
♦Reprinted from New Jersey Educational Review.
A pertinent reminder that the lantern slide re-
mains an efficient and indispensable teaching aid.
By PAUL H. VAN NESS
Public Schools, Scotch Plains, New Jersey
I make my selection. First, the map, to show the river
valleys. Then this one which shows how these valleys
teem with life. These carrier coolies, to show that
where people are crowded, human life is cheap. More
scenes of the river valleys. Then the map again, to in-
troduce the views of the vast waste lands. Perhaps
we repeat here a houseboat scene on the Whang Poo,
to bring out the contrast. The leaning pagoda of Soo-
chow is interesting, but not significant. We'll omit that.
John asked about the Great Wall. We'll leave one view
of that. And so on — sorting, selecting, discarding. Per-
haps we'll use twenty from a set of fifty. If we own
the slides, that's better still. The whole lesson may be
built around two or three.
Of course, China seethes with motion. Your film will
catch the motion; my slides stand still. But, on the
other hand, China glows with vivid color, hard to por-
tray in the varying greys of your film ; readily available
in my lantern view. China is a vast land of contrast.
With the slide, I can step at will from the mountains
of Tibet to the junks on the Yangtze. Frequently, the
film is more restricted in locale.
Without thought, there is no learning: no teaching.
In the leisurely pace of the lantern view, we find time
to think. We can question and discuss. The coolies will
not haul the heavy-wheeled old cart out of sight be-
hind the pagoda before we have time to wonder why
they do a machine's work. We can examine the strange
old waterwheel that for centuries has quenched the
thirst of the rice field, without danger of being whisked
into the center of that selfsame field ere our examina-
tion is half concluded. May we not, in this one quality
of leisure alone, be requited for our loss of motion?
We lose movement : we gain the significant moment
of pause.
In conclusion, then, here is my plea: as we do not
discard our hiking boots when we buy our automobile,
let us not forget the lantern slide in our joyous wel-
come of the sound projector.
Auspicious Start for the new "Film Evaluation Plan"
Response to our January Editorial was most
heartening, even a bit brea'.h-taking. The first vol-
unteer came posting back in 24 hours ; in 24 days
(at this writing) replies came from 22 States and
Canada ; scores of teachers were sending in score
cards before our receiving files were ready ; many
more "interested" teachers had to be kejrt waiting
for "whatever is necessary to start the work" ;
major city systems were asking for booklets in
bundles for use by selected teachers ! IVe had
looked jor assent, but hardly for assault.
We have stepped up our originally too modest
working plan. By the time this word reaches our
readers, we shall have caught up on correspond-
ence, delivered all card booklets, and will be ready
to meet any demand from here on in. The value
of results will be directly proportional to the size
of the Evaluation Committee. Several hundred
new judges each month will be a healthy incre-
ment. Hence our renewed invitation to all teachers
using films — Join the national project. Your
postal will bring our data by return mail.
February, 19)9
Page 49
Motion Pictures —
Not For Tlieatres
By ARTHUR EDWIN KROWS
Editor of "The Spur, " New York City
Twenty to forty years have passed since
venturesome photographers began investigating
the possibilities of motion pictures made at
accelerated and reduced speeds, front the
air, beneath the sea, by nticroscopy and
using x-rays. We here present Part Six.
TO be sure, many historical subjects
had been essayed by regular theat-
rical companies. V'itagraph had
made a greatly admired two-reel "N'apol-
eon" about 1910, with Coney Island serv-
ing as St. Helena ; and there had been a
much praised "Washington" about the
same time. These were to be completely
overshadowed in production authenticity
by the Cines productions, imported from
Italy, "Quo Vadis ?" and the rest ; but
the interest inherent in most of these
Roman spectacles was religion, not his-
tory. In September, 1913, Barker &
Company of London, were reproducing
with great care, the life of the late Queen
Victoria ; but this was first of all an alien
theatrical venture and, as interesting as
the subject would be in the United States,
it still was not as close to the hearts of
.Americans as a good film made from
their own annals might be.
The American group of films
in this classification was build-
ing up. For some productions,
holidays had given the needed
incentive — Independence Day,
especially. A typical item here
was the single reel, "Washing-
ton Relics," issued by Pathe
at the end of June, 1911, in
time for July 4, and comprising
scenes associated with the life
of the Father of His Country.
Another was about 1914 when
a six-reel picture was made in
cooperation with the U. S. Gov-
ernment and released under the
title "Indian Wars Re-fought
by the U. S. Army."
That production was super-
vised by the old Indian fighter.
General Nelson A. Miles. It
employed more than 1,000
United States troops. How
many Indians there were is left
to conjecture. "Buffalo Bill — the
real one — appeared prominently. The pic-
ture was released on a state rights basis ;
and one buyer, at least, W. H. Bell —
previously, I believe, a regional repre-
sentative of Selig and then operating in
Ohio, Indiana, Illinois, Michigan and
Wisconsin — seems to have exhibited it
quite profitably. Buffalo Bill received a
larger and less divided attention in 1917
— when Essanay released his "Ad-
\ciitures."
It was Selig — Col. William Nicholas
Selig of Chicago, head of the Selig
Polyzcope Company, actor, inventor,
theatrical manager and in the film business
since 1896 — who produced the first "stu-
pendous" American historical picture.
"The Coming of Columbus." In 1893,
the year of the Columbian Exposition,
which was unavoidably twelve months
late, the Spanish Government had sent to
Chicago three full -sized, presumed re-
productions of the first ships of Co-
lumbus. When the fair was over, these
vessels were placed in the Jackson Park
lagoon where they were to be seen
for many years thereafter. Col. Selig
must have thought of them often as
theatrical properties. About 1909 he began
his active plans to use them — plans which
materialized in a three-reel release. May
6, 1912.
The cost was estimated at $50,000
and, although there was readily avail-
able the exhaustive research which had
been carried out for the 400th anniversary
of the great discovery by such thoughtful
students as Paul Leicester Ford and
The eager cameraman is F. Percy Smith. In the quarter-
century, more or less, since this photograph was made his
brilliant pioneer work for education is all but forgotten.
Nester Ponce de Leon — not to forget the
celebrated, detailed histories by John
Fiske and Washington Irving reprinted
for the occasion — the Selig publicity de-
partment boasted of "three years of labor-
ious preparation." Unhappily, however,
the results did not bear out the claim.
One of the most glaring defects (although
it is to be found also in a famous painting
of the landfall), showed a priest prom-
inently in the party when it is quite
certain that there was not one aboard.
But. of course, the public did not know
that and cared less ; and the picture
was a huge popular success. Among other
tokens of recognition, Selig received
from the Pope a commemorative medal
bearing a likeness of His Holiness.
By large stretches of the imagination,
one may adduce, in the pre-war period,
a few films useful in teaching apprecia-
tion of music and literature. Klaw &
Erlanger imported from Germany in
November, 1913, a four-reel "Life of
Richard Wagner," and presented it in
New York with an accompanying lecture
by R. S. Piggot. The preceding spring
Mr. Piggot had entertained New Yorkers
with a recital of "Hiawatha — a Picture
Masque," four reels accompanying. And
here, in the spring of 1914, is a "liter-
ature" film presented in more consistent
circumstances — Scott's "The Lady of the
Lake," produced by Giles R. Warren, a
former scenarist, and shown before pu-
pils of certain schools in the West,
which were closed that all the youngsters
might attend the affair at one time.
Later in 1914 Warren became
a feature writer for Selig; al-
though in the "Lady of the
I^ke" period he identified him-
self as director for the Whit-
man Feature Film Company,
of Cliflfside, N. J., which, judg-
ing from the name, had designs
on works of the Good Gray
Poet. But when it came to
verse, the theatres of 1913-1914
were being canvassed for an-
other venture considerably more
ambitious — that of the Poem-o-
Graph Company of Cleveland,
which made films illustrating
poems recited by actors.
Probably the most persistent
early champion of school uses
of the cinematograph was Al-
fred H. Saunders, who had
been editor successively of the
Moving Picture World and of
the Motion Picture Nezvs.
While in these offices he was
instrumental is publishing many
columns urging development of this teach-
ing phase. One article on the subject,
from his own pen, appeared in the Annual
Report of the U. S. Commissioner of
Education in 1913, and, in 1914, the
National Education Association Journal
of Proceedings published still another
over his name entitled, "Motion Pictures
as an Aid to Education." On this last-
named occasion he was identified as
Manager of the Exlucational Department
of the Colonial Motion Picture Corpor-
ation of New York City.
Information from other sources indi-
cates that the Colonial Corporation was
newly formed. Its president was James
G. Ijw. His son. Duff C. Law, "in-
Page 50
The Educational Screen
ventor of many improvements, including
sound synchronization and color," was
active in management. Associated with
Saunders in conducting the educational
division was Richard G. Hollaman, pres-
ident of the Eden Musee and of Grand
Central Palace. It was the declared
plan of Saunders to produce school and
industrial films for the concern under
the guidance of a board of college
specialists.
In the early years of the century,
when Saunders came to America from
England as an expert in the production
and distribution of lantern slides, he was
already middle-aged. About 1907 he
persuaded J. P. Chalmers to begin pub-
lishing the Moving Picture World, but
only a year later left that undertaking to
establish the Motion Picture Neivs —
selling that to William A. Johnston in
1913. About 1910 he had begun a short-
lived periodical devoted to educational
films. He lectured extensively on mo-
tion pictures, and taught for a time at
Columbia University. June 6, 1937, he
died suddenly while in Cincinnati as a
delegate to a Masonic convention.
When I was reviewing films for the
Dramatic Mirror, about 1913, I used to
meet in the screening rooms reporters
from other publications in the amusement
field. Among them was a quiet little Scotch
girl who frequently uttered high hopes
for the cinematograph in schools. She
also referred occasionally to the serious
and progressive school-films development
"on the other side." The rest of us
understood that she had had some train-
ing as a teacher, attributing her interest
to that and otherwise giving little thought
to the importance of the subject.
She was Margaret I. MacDonald ; and
her effort to further the cause which she
had championed so steadfastly to us, well
deserves mention in this record. She
became editor of the Educational Depart-
ment of the Moving Picture World. She
was still serving there loyally when the
World War had ended and a chastened
generation was seeing the prospect of
school films with new eyes. About Decem-
ber 1916 the Moving Picture World
began issuing, under her editorship, a
separately published, semi-annual List of
Educational and Selected Films.
Pictures Become Valuable
In August, 1911, the New York Dra-
matic Mirror raised the question of what
steps should be taken to preserve films
of great historical interest, notable either
as reproductions of past events or as con-
temporaneous records. No action seems
to have followed this. The editorial did
not mention the matter remarked cas-
ually by Charles Urban in one of his
pamphlets, about 1909, that, "the National
Library at Washington holds a film col-
lection which is exceedingly large and
varied," the subjects "reserved solely for
use by the different branches of the
Government." Urban may have mistaken
the Government's huge collection of still
photographs for subjects in motion.
When Bernhardt's "Camille" was
brought to the United States by the
French-American Film Company in 1912,
the press agent won some space by of-
fering free copies of the feature to the
Congressional Library and the New
York, Boston and Philadelphia public
libraries, "provided that tliey would open
'photo play' departments, and would use
the films for educational purposes only."
Of course, the institutions named could
not accept, for they had no facilities of
the sort demanded.
In 1913. when Edison was making his
abortive talking pictures, it was an-
nounced that those which he had made of
living celebrities would be preserved by
an organization known as the Modern
Historic Records Association and, in Jan-
uary, 1914, it was reported that "the
first government film record office in the
world had been inaugurated at Copen-
hagen." Edison at once cabled his con-
gratulations.
A bill was submitted to Congress in
the spring of 1924, requiring the United
States Government to establish a Bureau
of Motion Picture History and to make
film records of all important current
events ; but that undoubtedly was asking
a little too much for a starter. Two
years later, however, the Smithsonian
Institution at Washington apparently had
begun such a library, for Edwin Mark-
ham, the poet, was reciting his "The
Man With the Hoe" before Phonofilm
cameras as a record to go into it.
In the fall of the same year. Will
Hays, of the Motion Picture Producers
and Distributors of America, conferred
with President Coolidge on the preser-
vation of historical films at Washington,
and reported some progress. But the
matter, as far as .America was concerned,
was not settled until the summer of 1935,
when the passage of Public Law Num-
ber 432 authorized the institution of a
film library in the new National Archives
Building.
New Points of View
Instead of trying to group the remain-
ing films of the pre- War days as school
subjects, which would be gross misrep-
resentation of a teaching situation that
had barely begun to use pictures of any
sort, it seems more aligned with our
purpose of studying beginnings to review
them merely as applications of new
mechanical techniques to new educa-
tional needs ; that is to say, to enum-
erate the ways which had been devised
then for cameras to see where the un-
aided, ordinary human eye had never seen
— from high in the air, from below the
surface of the sea, at retarded and ac-
celerated speeds, by microscopic enlarge-
ment and even by super-vision, as with
the aid of the mysterious x-ray.
Motion pictures in the air were essayed
almost from the beginning of modern
aviation. In Deccmlier, 1903, the Wrights
made their first successful, heavier-than-
air, passenger flights at Kitty Hawk ;
and there were flight films produced soon
afterward, including some for J. Stuart
Blackton of Vitagraph, made by the
aviator Frank Coffyn. About 1911, to
my own direct knowledge, Eustace
Hale Ball, a writer and director for the
old Reliance or Majestic Company,
staged a scene for one of his own dramas,
involving two airplanes circling about
the surely surprised Statue of Liberty.
In April, 1913, Essanay cameramen took
pictures from a balloon crossing the
Apennines from Rome to Verona. In
191S-1916, a news cameraman strapped
to an airplane, took pictures of the
retreat of the Serbian Army before the
Austro-German forces. ."^nd then, of
course, one recollects the plan of Kine-
macolor, in 1911. to photograph the
plant of the National Cash Register
Company at Dayton, from a balloon.
The history of submarine motion pic-
tures properly begins early in 1913 when
Captain J. H. Williamson, of Norfolk,
Va., took his newly-invented, telescopic,
collapsible tube — which had a windowed
chamber at the bottom capable of holding
three men — out to Hampton Roads and
lowered it tlirough his boat, like a center-
board, to a depth of thirty-four feet. In
it, with a camera and four powerful
electric lights, was one of the inventor's
sons, John Ernest Williamson, who then
proceeded to photograph his brother,
George Williamson, diving in the water
outside the window.
In the summer of 1914 Thanhauser re-
leased scenes taken by the Williamsons
in this manner off Bermuda. Then the
Williamsons were engaged by Laemmle
for Universal to make a thrilling version
of Jules Verne's Tiventy Thousand Lea-
gues Under the Sea. including Captain
Nemo's fight with an ingenious property
octopus. From then on they produced
many theatrical and scientific films re-
quiring the tube. John Williamson still
contracts for such business from his
home at Nassau, in the Bahamas. The
only person to attempt submarine pho-
tography previously was said to have been
Dr. Francis Ward, of London ; and he
merely made still pictures in a home
aquarium.
Motion picture photography through
the microscope was perfected and pos-
sibly originated by Dr. Jean Comandon,
a Parisian bacteriologist. With the as-
sistance of technical experts at the studios
of Pathe Freres, he constructed an ap-
paratus for the purpose in the very
early years of the century. It need not
have been a very elaborate affair, because
it is quite possible to make effective
movies of this sort merely by bringing
the camera lens close to the eyepiece of
the microscope.
A fairly technical microscopic film by
Comandon, entitled "Sleeping Sickness,"
was released in 1910. The American
public was given its first considerable
opportunity to see results of the method
in April, 1911, when Pathe released a
film called "Boil Your Water." It had
been produced some months before, re-
lease having been delayed to meet time-
liness of the spring season when bac-
teriological life would begin to swarm.
Of course, Edison had not gone into
production on "Microscopic Pond Life"
until 1914, although one would look for
photography of this kind in "The Man
Who Learned," a picture dealing with
the dangers of impure milk, which the
Edison Company had made about 1908.
It was just about 1908 that F. Percy
Smith, the young Englishman whose
work was already distinguished in the
February, 1959
Page )l
Vrbiinora catalogue, was making his
magnilied piiture studies of the housefly.
X-ray motion pictures have been
"fake<l" frc(|uently by making a succes-
sion of still photograplis. and tlien re-
cording these on a moving film after
the manner of drawings used in anima-
tion ; but there have been evolved more
legitimate ways of obtaining the result.
.'\s I understand it, the chief difficulty
is that x-rays cannot be made to con-
verge like light rays. The first genuine
pictures of this type arc accredited to
M. J. Carvallo, of the Marey Institute
in Paris. They showe<I the process of
digestion in certain small animals. In
1912 the American x-ray specialist, Seth
Isaac Hirsch. applied to patent a device
for taking heart beats and movements
of other internal organs at the rate of
one hundred per minute. In January,
1918, x-ray motion pictures ma<Ie by
Dr. E. L. Crusius, in cooperation with
the Universal Film Company, were shown
in N'cw York and, in 1920, Dr. Coman-
don, of the micro-photographic achieve-
ments, appeared once more in the news,
this time as co-inventor with Dr. Lorman,
of an x-ray motion picture combination
subsequently said to have Ijeen used suc-
cessfully in cancer cases.
TiiK Marey Institute
It seems that for most of the scientific
applications of the motion picture cam-
era such as these, the world is indebted
to the research laboratory which arose
on the foundation laid by the eminent
French psychologist, fitienne Jules Marey.
In 1883 he established at Paris an atelier
for the study of animal motion. In the
course of his work there he devised
numerous pieces of apparatus for making
photographic records.
After his death his followers carried on
in the laboratory named in his memory
the Institut Marey. The evidence shows
that they continued worthily for, out of
this workshop, came what is said to have
been the first slow-motion photography,
the first ultra-rapid photography, the
first microphotography, the first x-ray
photography and the first time-lapse pho-
tography— in motion pictures, of course,
not stills.
.■\bout 1904 M. Nogues, an as.sistant
at the Institute, built for use in scientific
investigation a camera capable of taking
240 pictures per second, the normal rate
then being sixteen. When this high
speed photography was projected at the
usual number per second, the recorded
action appeared, of course, greatly slowed.
The phenomenon must have been known
previously, especially because cameras
and projectors both then were cranked
by hand, and experimental variations in
speed were surely accompanied by the
usual grotesque effects on the screen.
In fact, Edison's motion picture camera
of 1889 made 46 exposures per second,
later being modified to what became for
many years the standard rate, already
mentioned, of sixteen.
Amusement possibilities of the Nogues
camera seem not to have occurred im-
mediately to the theatrical producers
who belonged to the Institute. Or they
may have been discouraged by problems
of illumination which then seemed in-
sui)erable, because the shorter the pho-
tographic exposure the more light is
required to register the images. But, a
few years later, Lucien Bull, a colleague
of Nogues, constructed a camera on
what was said to be an entirely new
principle — using an intermittent electric
spark to light the object. Thereby he
was able to obtain exposures at the rate
of 1,500 to approximately 3,500 per
second, a speed still difficult to grasp.
The avidity with
which the daily news-
papers throughout the
world seized this news
as it came from the
first demonstrations in
December, 1910 — the
initial reports had it
"5,000 pictures per
second" — led Pathe
Frercs to examine the
matter more atten-
tively and, in March,
1913, the concern gave
a private showing to
newspapermen of pic-
tures taken at "1,200
per second," showing
a jet of water sur-
mounted by a ball, a
bullet fired through a
bubble, and a few
other interesting items.
The collected subjects
were entitled "The Analysis of Motion."
Soon after the enthusiastic opening no-
tices, this novelty was released to the
view of a fascinated public in the theatres.
Meanwhile, in Germany, Dr. C. Cranz,
at the Berlin Military Academy, was de-
veloping a camera actually to take the
lately incredible 5,000 pictures per
second.
But it was November or December,
1915, before Pathe issued another group
made with the "ultra-rapid" camera, in-
dicating, I am sure, that such production
had plenty of difficulty still to be over-
come. As a matter of fact, also, there
were only a comparatively few high-
speed movements which could prove of
popular interest when slowed in this
fashion. Nine years were to elapse before
Pathe found that the best slow motion
for sustained public enjoyment, was pho-
tographed at only "eight times faster
than normal," or, by standards then, only
128 pictures per second. The slow-mo-
tion camera accomplishing this result,
operated in the United States by C. P.
Watson and called the Novograph, began
its work for the newly-founded Pathe
Review about 1920.
The outstanding first result of the re-
verse discovery, that, by taking pictures
very slowly, the action on the screen
would be correspondingly accelerated,
was "The Runaway Train" of Lyman
Howe. That was called "slow cranking."
By stopping indefinitely between expos-
ures, employing "time-lapse photography,"
as they say, animated cartoons became
possible; and so did magical pro<luctions,
such as the animated toys of J. Stuart
Blackton and the trick work of Melies.
But it remained for a quiet, unassuming
assistant in the London Department of
The name of George J. Zebrung
cannot be excluded from any
complete reference to the im-
portant work of the Y.M.C.A.
Education, F. Percy Smith, who spent his
leisure time making lantern slides of in-
sect life, to discover in this curious result
an unending educational miracle.
F. Percy Smith
He wanted the Education Department
to adopt the cinematograph as a teaching
instrument. The suggestion being scorned,
he resigned and undertook to prove his
case with the practical faith of his own
small money resources. One day, while
he was photographing
a snail and cranking
very slowly to increase
exposure and so to
compensate for a poor
light, the idea came to
him that if he cranked
still slower — stopped
for whole minutes at
a time between expos-
ures— a nearby creeper
might be seen actually
growing over a lattice.
He began experiment-
ing and realized that
he had stumbled on an
eflfect which was really
new.
AlKJut 1902, Smith
caught the interest of
Charles Urban with
his ideas and experi-
ments and Urban
helped him to im-
prove his home-made equipment and to
explore further. So Smith completed, by
this method, two short subjects called
"The Birth of a Flower" and "The Germ-
ination of Plants" — approximately 500
feet each. But they had been photo-
graphed in black and white ; and although
Urban had another company called Ki-
neto, Ltd., which dealt in monochrome
pictures, he wanted this novelty to adorn
his first program at the Scala Theatre.
He was taking this playhouse over as
the future, permanent home of Kinema-
color.
So Urban purchased the two remarkable
films as a sort of retainer, and put them
aside until Smith had made him a series
by the Kinemacolor process. They were
shown at the Scala as planned under the
general title, "Bud to Blossom." Re-
ception of these films was gratifying
indeed ; and whether Smith wanted to
continue his herculean labors or not
(although happily he did), he found
himself launched upon a life work which
today ranks him as one of the great
pioneers in visual education.
It ranks him as one of the pioneers, but
how many are aware of that? And in
the universal ignorance, I have known
at least three educators who have dab-
bled in films just since the nineteen-
twenties, who have had the effrontery to
publish claims as the alleged originators
of time-lapse photography.
Now here, surely, described in this
long chapter, was a mass of material
in all major departments of visual in-
struction which should have proved ex-
cellent for non-theatrical uses. Yet,
nearly all of it was directed first toward
the theatres.
But very much better days were coming.
Page 52
The Educational Screen
Chapter III - War-Tim e Rally
AMERICA'S entrance into the
World War had a peculiar and
profound effect on the non-theat-
rical picture field in the United States,
for it meant tying together all loose
ends for the long pull toward victory.
Of course, this was no more than was
true at that time of any other form of
public service.
For centuries the necessity of provid-
ing amusement for soldiers had been
recognized. In even so grave a time as
the terrible winter at Valley Forge,
Washington had sponsored for his troops
a diversion called "Fort Nonsense." The
great Marshal de Saxe included a theat-
•sj3puB[j ui S33J0J siq ui adnoj; [B3u
When Cortez advanced for the conquest
of Mexico, he had tumblers, singers,
dancers and musicians in his train. And
one may find illustrations of this method
of sustaining the morale of fighting men
all the way back through world history.
Camps and Cantonments
In a sudden roundup, about one and
a half million American civilians were
now placed into sixteen scattered canton-
ments for military training before board-
ing the transports for the fighting zones.
To insure their social welfare, the Sec-
retaries of War and the Navy, Newton
D. Baker and Josephus Daniels, each
appointed ~a Commission on Training
Camp Activities ; and both of these com-
missions were put, in 1917, under the
chairmanship of the well known lawyer,
Raymond B. Fosdick.
The Commissions did not at first try
to organize new local machinery save in
those places where none had previously
existed. They used, wherever prac-
ticable, the facilities already provided by
private enterprise, such as the Young
Men's Christian Association and the
Knights of Columbus, both of which
already had erected buildings suitable
to their work in the various camps.
Through the new powers of the Got-
ernment, however, each cantonment be-
came, by the end of December, 1917,
the possessor of a fully equipped modern
theatre, all built from the same plans
and each seating approximately 3,000
persons.
At the same time, under the super-
vision of the New York theatrical firm
of Klaw & Erlanger, volunteer companies
of vaudevillians and dramatic actors
were organized to play the new circuit.
Also presented were amateur entertain-
ments staged by the soldiers themselves,
and about an equal number of donated
motion picture programs. As further
diversion, but more educational in char-
acter, Harry P. Harrison, head of the
Redpath Chautauqua System, maintained
his tents in most of the camps. A very
nominal admittance charge — fifteen,
twenty and twenty-five cents — was made
for these attractions merely to cover
the actual costs ; and, to simplify the
arrangements, Harrison was given gen-
eral charge of all the paid entertainments.
When it came to recreation on the trans-
ports and in the war area overseas, mo-
tion pictures naturally took precedence
as being more portable and generally
easier to manage, although the other
forms, of course, were not neglected.
It was quite in keeping, therefore,
that the United States Government should
now make provision for an extensive
use of films. Those in power did not
conceive this move as a mere change
in direction for the motion picture pro-
ducers and exhibitors. The recognized
film people consequently were not ex-
pected to give up their existing work
of relieving the strained nerves of the
public as a whole through the regular
civilian theatres. That, in the opinion
of the President, himself (although evi-
dently not in the opinion of some others
— Frank A. Vanderlip, for instance, who,
at the start of 1918, urged the public
to conserve its nickels by less theatre-
going), constituted an essential wartime
industry.
And it was a very welcome opinion,
not only because those were days when
every man who did not get into a
uniform was expected to identify him-
self with an occupation which might
be construed necessary to winning the
War, but because workers in the amuse-
ment field were then at the very peak
of prosperity, making money literally
hand over fist. Another welcome view
was that it was felt officially that the
regular grist of theatrical pictures pleas-
ing the civilian public was equally good
for the men at the front.
This opinion was only partially true,
because the psychologies of audiences
in the two places were vastly different ;
?iext Month
Part Seven follows in March.
The time is that of the World
War period. The narrative
traces the amazing story of the
Fosters and their Community
Motion Picture Bureau which
supplied the Allied land and sea
forces with non-theatrical film
entertainment. In those world-
shaking days and In such cir-
cumstances the non-theatrlcal
field gained its first stature and
definition. This unique history Is
scheduled to run for many
months to come. It Is Important
that you subscribe now.
but, in the rough-and-tumble emergency
of 1916-1917, snap judgments had to be
the rule. Nevertheless, official belief that
the national motion picture industry was
an essential one was put to a severe
test as quickly as December, 1917, when
it had to be decided to allow, for the
continued manufacture of films, a gen-
erous share of the supply of nitric acid
which was needed also for high ex-
plosives.
The production of specialized films
might come later. For the present the
supply of material needed was too vast
to be brought into being overnight, and
theatrical subjects were nearly enough
right to stop the gap. Immediate atten-
tion was given, therefore, not to produc-
tion but to the necessary forms of non-
theatrical distribution and exhibition.
First to be considered under those
heads was the experience of European
nations which had been fighting in the
War for some two years prior to the
participation of the United States. More-
over, there was excellent opportunity for
such study for two leading reasons — •
one, the American relief organizations,
including the Red Cross, the Young Men's
Christian Association and the Knights
of Columbus operating as neutrals, had
had much to do with entertainment be-
hind the lines ; and, two. English, French,
Italian and German film production, hav-
ing been shut down to a mere dribble
through the exigencies of war beginning
in 1914, the European supply of pictures
had been coming heaviest from this
country.
The American relief organizations had
their own projectors and screens and,
by and large, were doing a splendid job.
To have supplanted their seasoned ef-
forts, which they now were willing and
anxious to expand for the benefit of
their own country, with those of a new,
untried organization would have been
folly, even if this had not been a day
of make-the-most-of-what-you-have. In
the summer of 1917 the Y.M.C.A. was
even equipping trucks with projection
machines and films to provide entertain-
ments at the remote training places. In
the fall of 1917 there was also formed
a U. S. Soldiers' Photoplay Association
for amusement of the men in camp.
Pause for a moment to glance at the
apprenticeship served by the Y.M.C.A.
for its great entertainment work. Its
Bureau had been begun about 1914 to
provide films to its own Association
rooms over the country. In the late
summer of 1916, when John J. Pershing
(succeeding Funston) was trying to ad-
just the bandit difficulties on the Mex-
ican border, the Y.M.C.A. undertook to
supply films to the U. S. Army camps
there. For the purpose thirty projectors
were purchased, including a portable unit
with its own lighting plant ; and arrange-
ments were made with the theatrical
producers and distributors to lend films.
Prior to the organizatic^n of this service,
the Bureau never had had more than
thirty reels at any one time to dis-
tribute. Headquarters for the new work
were established at Dallas, Texas, under
the name Y.M.C.A. Border Motion Pic-
ture Service; and Russell Binder, son
of J. W. Binder, executive secretary of
the New York Motion Picture Board of
Trade, was appointed secretary there.
All this was, of course, excellent pre-
liminary experience for the heavy duties
to come.
(To be continued)
February, 19)9 Page 5 J
Composition in Line and Form — Presented in Hand-made Lantern Slides
By ANN GALE Art Depar+meni, Lindblom High School, Chicago
KEGINN'ING art students arc so sure that a photographic
type of realism is the height of achievement in art that
it is difficuh to show them that good paintings are well de-
signed. For high school students, one way of demonstrating
that good pictures are well organized is to analyze for them
the line and form designs of some good paintings.
1. Millet's "Sower" is an organization of diagonal lines used
in opposition to each other.
2. The forms of the same paintings are cylinders organized
along diagonal lines.
3. (Jrant Wood's "American Gothic" is an arrangement of
curves, triangles, horizontal lines and a few verticals. The
triple verticals of the pitchfork is repeated in the house
window and in the overalls.
4. The fcrm organization is that of vertical ovoids with
triangular forms in the building.
5. Van Gogh's "Moulin, the Postman" in line is an organ-
ization of radiating lines — first from the face, and second from
the waist out to the shoulders and below out to the knees.
6. In form the painting is an organization of cylinders
around opposing diagonal lines.
The sim-
plest type
of ha n d -
made slide
is made by
draiving or
tracing o n
finely fin-
ished etched
glass with
ordinary
medium lead
pencil. Col-
or, by spe-
cial crayons
or inks, en-
hances the
slides great-
ly. Fine ef-
fects are ob-
tained b y
blending
with cray-
ons. About
one - tfiird
inch margin
should be
left all
around the
slide. The
slide is read-
ily cleaned
uith soap or
washing
po7vder to
receive
a new pic-
ture.
Page 54
The Educational Screen
AMONG OURSELVES
Notes from and by the Department of Visual Instruction, N.E.A.
Conducted by the Editorial Committee
Etta Schneider, Chairman
PROGRAM
DEPARTMENT OF VISUAL INSTRUCTION
Annual Convention of the American Association of
School Administrators
February 27 — March 1, 1939, Cleveland, Ohio
Department Headquarters — Hotel Carter
Rita Hochheimer Dr. William M. Gregory
President Chairman, Local Committee
Monday, February 27, 1939
1 :00 P. M. Informal Luncheon — Hotel Carter
2:00 P. M. General Meeting — Ballroom, Hotel Carter
General Topic — The Superintendent of School
Looks at Visual Instruction
"Adapting Visual Material to Instruction"
Charles H. Lake, Superintendent of Schools, Cleve-
land, Ohio
"Evaluating Visual Aids to Instruction"
Paul G. Edwards, Director of Visual Instruction
(Speaking for Dr. William H. Johnson, Superin-
tendent of Schools, (Chicago)
"Visual Instruction in Our Schools"
Dr. John A. Spargo, Superintendent of Schools,
Nutley, New Jersey
Showing of new British films on Social Science
subjects in cooperation with the Association of
School Film Libraries, Inc.
4 :00 P. M. Special Business Meeting for proposal of
Amendments to Constitution and By-Laws
6:30 P.M. Dinner Meeting — Rainbow Room
Address by Dr. Reuben A. Shaw, President of the
National Education Association
Showing of film and filmslides of the N.E.A. meet-
ing in New York City
Tuesday, February 28, 1939
9:00 A.M. Ballroom, Hotel Carter
Chairman : B. A. Aughinbaugh, Director of Visual
Instruction, State Department of Education, Ohio
Showing of new and significant visual aids at Ele-
mentary School, Junior High School, Senior High
School, and College level. Materials for Social
Science, Natural Science, Primary reading, etc.
12:30 P. M. Informal Luncheon— Hotel Carter ($1.25)
2 -00 P. M. Business Meeting for Members of the De-
partment Only. Reports of Committees. Reports
on Administration of grants for production and
distribution of visual aids. Proposed Amendments
to Constitution and By-laws. etc.
8 :00 P. M. Special Showing of a current theatrical
motion picture — Courtesy of Warner Brothers.
(Tickets may be secured at Department Head-
quarters.)
Wednesday, March 1, 1939
9:00A.M. Meeting to be held at the Educational
Museum of the Cleveland Public Schools, 4914
Gladstone Avenue, Cleveland, Ohio
General Topic — The School Journey As a Visual
Aid
Speaker: Dr. S. B. Zisman, Department of Agri-
culture, A. & C. College, Texas, "The School
Journey as Part of the Community Program in
Social Sciences"
School Journey by the group through the Educa-
tional Museum under the leadership of Dr. William
H. Gregory, Director of the Educational Museum
12 :00 Noon Joint Luncheon with the Department of
Secondary Education. Hotel Carter ($1.25)
Speaker : Dr. Ben M. Cherrington, Chief of the
Cultural Relations Division, State Department,
Washington, D. C.
"The Motion Picture As a Means of International
Friendship"
2:30 P.M. Joint Meeting with the Department of
Secondary Education of the N.E.A.
Subject: Visual Education in Secondary Schools
Speaker: Dr. A. J. Stoddard, Superintendent of
Schools, Denver, Colorado
New motion pictures will be shown.
Our Members in Action
HPHE following activities are being carried on by
members of the Department of Visual Instruction :
Dr. Edgar Dale, Bureau of Educational Research,
Ohio State University.
A project to assist motion picture producers, both
amateurs and others, in making films for traffic safety
education is now being carried forward at the Bureau
of Educational Research, under Dr. Dale's guidance,
and with the assistance of Mr. Roy Wenger. The study
was made possible l^y a grant from the Highway Edu-
cation Board, Washington, D. C, and is being carried
on under the auspices of the Department of Visual
Instruction, N.E.A.
The final report will include:
a) A "film encyclopedia" listing several hundred
driver and pedestrian errors that lead to acci-
dents.
b) Illustrations on how motion picture scenarios
may be written from these.
c) A recommendation on principles to be followed
in producing safety pictures, as discovered after
reviewing existing films in the traffic safety field.
d) Proposals on how to determine the importance
of items to be included in a film and on how to
measure the effectiveness of a safety program.
February, 19)9
Page 5 5
Miss Hila Hoclihciiiier, Bureau of Visual Instruclion,
New i'ork City
Miss Hochhcimer was invited to address the general
session of the New Jersey State Teachers' Association
last November on the topic of visual aids in education.
A studv guide to accompany discussion and apprecia-
tion of the outstanding French photoplay, "Grand
Illusion." has l)ecn prejwired by Miss Hochheimer, and
is unusually valuable for social studies, French, Ger-
man, and jihotoplay ap])rcciation classes.
Mr. Illias Kate, Teacher in the Nciv York City Schools,
ami director oj Art Films
Heginning with the licccmljer, 1938, issue of Design,
Mr. Katz is condvicting a department devoted to motion
pictures in art and art education.
Miss E. IVinijred Craivford, Director of Visual
Education, Montclair, N. J.
.\ comprehensive survey of the status of teacher-
training courses in visual education has recently been
completed by Miss Crawford for the Motion Picture
Committee of the Department of Secondary Education
of the N.E.A.
Mrs. Grace Fisher Ramsey, Associate Curator, Depart-
ment of Education, American Museum of Natural
History, New York City
A very helpful summary of the assistance being ren-
dered by museums to the schools of the United States
has been prepared by Mrs. Ramsey in her book, "The
Educational Work of Museums in the United States."
(To be continued next month)
Report on Safety Film
Tlie film Speaking of Safety has been shown 10,005
times to 2,842, 225 people in its one year and three
months of distribution up to December 31, 1938. and
with 100 prints in circulation is reaching the school
children of the country at the rate of more than
200,000 per month.
Distribution Statistic*
Total Showing Days (Days of .'\ctiial Showings) 10,005
New England States 962
Atlantic States 4.044
East Central States 3,071
West Central Sutes 593
Mountain Slates 431
Pacific States 904
Total Attendance 2,842,225
New England States 318,453
Atlantic States 913,762
East Central States 975,508
West Central States 241,495
Mountain States 142,762
Pacific States 250,245
Average .\ttendance for Each Showing Day
Average Attendance per Annum for Each Print...
Average Number of Prints in Circulation
Number of Prints in Circulation Dec. 31, 1938
284
23,917
92
100
This film is a one-reel silent picture made under
the supervision of the Metropolitan New York Branch
in 1937 under a grant from the Automotive Safety
Foundation in collaboration with the Highway Edu-
cation Board and issued as a presentation of this De-
partment. It is the only motion picture for public
exhibition which has been made by this Department.
It was jjlaimed with the cooperation of several
elementary schools in city and suburban communities
as preliminary testing ground. The result represents
the combined eflforts of pupils, teachers of elementary
grades, principals, visual instruction experts and the
commercial producer. The picture was produced and
is being distributed under the supervision of the
Metropolitan-New York Branch by Films of Com-
merce Co., Inc.
A teaching guide, prepared jointly by the Metro-
politan-New York Branch and the producer, outHning
the motion picture content and giving suggestions of
the techniques in the use of the film, is supplied to all
schools where the film is used. The film has been re-
ceived most favorably by many schools throughout the
country, and educators have testified in high praise of
(Concluded on page 63)
(Courtesy of Will Johnstone and World Trlesram)
Reproduction of cartoon based on the film "Speaking of Safety."
Page 56
The Educational Screen
NEWS AND NOTES
teina buer notaL
torn ott AcancticAn
r
trLcant Xi
ocna^ anJL events en tke vlauaL rLcLJi.
Conducted by Josephine HoflFman
Texas Educator Films Class Activities
Stardom in Hollywood may not be their reward, but
twenty of the youngest students at The University of
Texas daily "strut" their way across the silver screen
before an intent audience. These tiny motion picture
luminaries are pupils attending the University Nursery
School ; their roles consist of being natural for a
"round the clock" story of Nursey School activities.
The audience is comprised of students in elementary
education and educational psychology classes at the
University.
Three hundred feet of silent motion picture film were
taken to portray a full day's activities at the school,
showing the 2- to 6- year olds eating their morning
cereal, playing on ladders and seesaws in the shady
back yard, drinking orange juice, taking their 1 o'clock
siesta, and dressing to meet Mother at 4 o'clock. After
the stars, featured players and extras become accus-
tomed to the presence of the cameraman, they went
about their duties without prompting, according to
Dr. B. F. Holland, assistant professor of educational
psychology, who took the movies.
One of Dr. Holland's aims has been the building up
of laboratory material suitable for teaching visual edu-
cation. The nursery school film is but one of the de-
vices he has prepared. Another is a 100-foot film show-
ing classroom activities in one of the primary grades
in the Austin public schools. He proposes ultimately tb
have a film library showing typical teaching problems
in all levels of secondary education.
For many years Dr. Holland has been devoting much
of his attention to the field of visual instruction in edu-
cation. Due to his efforts courses in visual instruction
have been inaugurated in a half dozen or more Texas
colleges, notably Abilene Christian College, Texas
Technological College, North Texas State Teachers
College, Sul Ross State Teachers College, Baylor Uni-
versity and others. The University of Texas has given
attention to this field for many years. Nearly every
college in the State will include such a course in its
1939 summer curriculum.
Organization of the Texas Visual Education As-
sociation was undertaken at the close of last summer,
with about 20 teachers from various parts of the State
in attendance at the organization meeting. Its purpose
is by cooperative methods to collect, organize and dis-
tribute information concerning the production, sources,
values and uses of visual aids in teaching. Dr. Holland
is its sponsor.
Progressive Education Association Meets
The Progressive Education Association will hold its
annual national conference in Detroit February 22-25.
The sessions will open on Wednesday, February 22,
with a unique series of twenty-three all-day consulta-
tion conferences, membership limited to 25 each, in
which resource leaders selected for their experience in
special fields, will confer with o'.hers on problems of
educational significance. Registration for these con-
ferences must be made in advance with Dr. George
Hilliard, Western State Teachers College, Kalamazoo,
Michigan.
General sessions of the first day will consider educa-
tion and the international scene with Harold Rugg,
Bertrand Russell, and Harold Laski as speakers, to-
gether with the famous movies on education by Julien
Bryan.
Visual Aids Used by Chicago Schools
More than 100.000 reels of educational films are
circulated to the Chicago public schools each year,
reports Superintendent William Johnson. Ninety-five
per cent of the elementary schools are equipped with
16mm silent motion picture projectors, while the high
schools use both silent and sound films in their class-
rooms. Every elementary school is equipped with
lantern slide projectors for which one and one quarter
million colored stereoptican slides have been made
available.
History In Three Dinnenslons at World's Fair
Brave deeds of brave men — the bold adventurers of
the Pacific, will be vividly dramatized at the 1939 Golden
Gate International Exposition on San Francisco's Trea-
sure Island. Realistic dioramas will depict history in
three dimensions, bringing the discoveries of Balboa,
Magellan, Captain Cook, Roald Amundsen and others
before the millions of visitors to the World's Fair of the
West, which is subtitled "A Pageant of the Pacific."
Dioramic displays of industry and other phases of
Pacific Area life will be included in this visual exhibit.
The series of dioramas, the work of John N. Towns-
ley of San Francisco, will be placed in Pacific House,
the theme building of the Exposition, and the center of
the Pacific Area, a chain of colorful lagoons with the
nations of the Pacific, housed in buildings of typical
native architecture, clustered around them. Every as-
pect of their industries, arts, cultures, histories, ideals,
exotic foods, entertainment and life will be interpreted
here.
The dioramas, every detail of which is being done by
• hand, will be historically true, constructed on the basis
of research done by the University of California. The
ships of the explorers, costumes of the sailing men
and their equipment will be characteristic of the his-
toric periods ; the flora, fauna, and typography of each
location will be carefully reproduced.
Townsley, who has had no formal art education, has
developed his own diorama technique. His materials
include bits of wood, bunches of steelwool which he
turns into trees, sawdust, mustard seeds, cereals, peb-
bles, several weights of paper and cardboards, cork.
February, 19 }9
Page 57
Spencer Delineascopes
rat ecayioniii anJi cj:j:LCUi^icu ii^ tcackina
COLOR SLIDES - - LANTERN SLIDES - - OPAQUE PROJECTION
Model GK Aiiditoriiiin
Delineascope
For 2" X 2" and 3«4" l>y 4" slides. This new
750-walt Spencer instrument projects more brill-
iant images from small or large slides than does
the average 3Vi' x 4" 1000-watt auditorium
projector. An ingenious cooling system provides
complete protection against film damage.
Combination Classroom
Delineascope Model VA
(Model V for opaque only)
Lantern slides and opaque objects such as post-
cards, photographs, drawings, illiislrations in
books, mineral and biological specimens, can be
projected. A film slide attachment may be added.
Model D Classroom Delineascope
Plus its ability to project remarkably sharp
brilliant pictures from lantern slides, this model
possesses many advantageous features for the
convenience of teachers. It is exceptionally easy
to operate.
Model B Science
Delineascope
Projects lantern glides,
materials in Petrie
dishes, and experiments
in biology and physics
such as: mercury
amoeba, electrolysis^
properties of magnetic
fields, etc. Teacher faces
class; screen is back
of him.
Model MK Delineascope
A new, inexpensive quality projector (100 watt)
which projects 2" x 2" slides (either color or
black and white) with a brilliance and clarity
heretofore possible only with large, expensive
equipment. Attachments provide for projecting
roll film or for viewing film before making slides.
See Spencer Delineascopes in actual use
BOOTHS G 27-29, A.A.S.A. of the N.E.A. CONVENTION
CLEVELAND, FEBRUARY 25 to MARCH 2
Spencer Lens Company
MICROSCOPES
MICROTOMES
PHOTOMICROGRAPHIC
EQUIPMENT
REFRACTOMETERS
COLORIMETERS
SPECTROMETERS
PROJECTORS
Page 58
The Educational Screen
2 Outstanding 16mm Sound Films
Sacha Guitry's famous
French production
*'Pearls of the
Crown"
French and English dia-
logue. English subfifles.
The story of "Chuf," the
Kangaroo
"Wild
Innocence"
A nature story of the
Australian bush country.
Send for free catalogue
Lewis Film Service
105 E. First St. Wichita, Kansas
EDUCATIONAL FILM SERVICE
77 Woolnough Ave., Battle Creek, Mich.
Producers nf Clas.srooni Films
I6mnn
HERE COMES THE CIRCUS
CIRCUS CITY
ANIMALS OF THE ZOO
(Old World)
ANIMALS OF THE ZOO
(Americas)
DINNER TIME ON THE FARM
THE STORY OF MILK
Silent
A LOAF OF BREAD
THE POST OFFICE
FIRE FIGHTERS
CECROPIA MOTH
BOATS OF THE GREAT
LAKES
THE LOCKS AT SAULT STE.
MARIE
Rental $1.25 per reel
Free loan IRON ORE TO
Sale $25 per reel
STOVES 2 reels silent
A lumber of these films are especially suited to
PRIMARY GRADES
Make Your Own Ground Glass Slides
easily and quickly, by usins GLASSIVE, an abrasive which makes
ground srlass slides from plain cover glass for only a fraction
of a cent each I 50c packagre.
For I^on-Photographic Slides
use CELLOSLIDE. Has many uses — for enlarging illustrative ma-
terials, for making song slides, announcements, cheers, etc. Elimi-
nates necessity of writing on glass. 500 sheets for $1.00.
TEACHING AIDS SERVICE
JAMAICA PLAIN MASSACHUSETTS
16MM. SOUND ON FILM
for
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A few of our Large Catalogue of
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HAIRED ALIBI it all PETER B. KYNE'S SUBJECTS it
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Allasether 150 Features and 400 ShorU
from which to pick yonr procranu
Not One Mediocre Picture in Our Library
Film Rental Catalocne — Film Sale Catalocn*
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CINE CLASSIC LIBRARY
1041 JEFFERSON AVE. BROOKLYN. N. Y.
College, High School, Grade Teachers
We Place You In The Better Positions
_ Our Territory Middle West and West <
floci<r Mr- Teachers
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3 WM. BUFFER, Ph.D.. Manager ^
MINNEAPOLIS. MINN.. Plymouth Bldg.. A. Gloor. A. M.. Mgr.
LarKest, Most Successful Agency in the West
linen and muslin, brushes and paints, and scores of
other odds and ends. New needs develop with each
individual diorama, and each diorama presents a new
problem to be solved, according to Townsley.
Proposed 16mm. Restrictions Dropped in Denver
A group of nine theatre managers in Denver, Colo-
rado, recently submitted a resolution to the president
of the City Council to restrict the use of 16 mm. films
to licensed operators in places subject to entertainment
license fees and to all building regulations that apply
to theatres. The resolution stated that "There has re-
cently developed in our community a non-taxable, non-
licensing, series of exhibitions of motion pictures prin-
cipally on the 16 mm. film in churches, schools, and
other non-theatrical places of exhibition ; and while
this 16 mm. film is non-inflammable, nevertheless, it
calls for expert knowledge of electrical conditions, other-
wise audiences are endangered because there are no
regulations as to lighting, aisle clearance, etc."
So much public protest was aroused among those
who use 16 mm. films in schools, churches, homes, etc..
that the theatre managers' organization withdrew their
request, stating lliat they did so "because of the mis-
understanding at this time of the prime question, public
safety." Their letter of withdrawal added that "Many
fans for the 16 mm. home size film have felt that this
would interfere with their personal showings of their
own film, which is not the intention."
Movie Theater Comes to School
(Continued from page 46)
by the Motion Picture Producers and Distributors of
America, Inc. Sample copies of this may be obtained
free from their office at 28 West Forty-fourth Street,
New York, New York. Additional copies are sold for
a nominal fee. Our library now has quite a large col-
lection of these on file. Pupils also bring in motion pic-
ture materials which they encounter in their reading.
The following is taken from the "Course of Study
in English," Great Falls High School:
1. The teacher must vary her method to suit the
needs of the group, the individual, and the parti-
cular type of films that are available at that time.
2. The teacher should remember that the purpose of
photoplays is primarily for enjoyment.
3. A teacher must be "movie wise" in order to win
the pupils' confidence: in other words, if neces-
sary, to know more about film materials than the
students do at that particular time.
A few of the aims that strike me as being worth-
while are the following :
1. To develop the pupils' apprecia'.ion of the art of
photoplay.
2. To develop the pupils' appreciation of the literary
sources of plays. (Through this we aim to show
the correlation between photoplays and literature).
3. To develop the pupils' understanding of the basic
theories, movements, and conflicts in selected cur-
rent photoplays.
4. To develop the pupils' understanding of the stand-
ards of tastes for judging photoplays.
February, 1959
Page 59
Till- unit covers a three weeks period, which is a
ratlar short time. But wc have recently also added
a unit on newspajjers and one on magazine reading to
an alrtady full course of study ; consequently more
ws.vk- unit time is not yet available. To allow for in-
dividual di (Terences, i)Ui)ils are encouraged to stress
various phases of motion picture production ; such as
direction, photography, make-up, trick photography,
costumes, etc. In this way a larger number of in-
dividuals are stimula.ed and interested.
During the unit course each class selects members
for our Critic Club. This club conducts the movie
column in our high school \XL\reT. The purpose is to
try to ac(|uaint the high school reader with the caliber
of the otTtrings at the local theaters for the coming
week. The evaluations are liased on reading and on a
summary of other critical ratings, such as Educational
Sirciii "Film Estimates" and reviewing columns in
Time, Neu'S7ccck, Liberty and elsewhere. This column
is clipi)ed and posted on the bulletin boards in the sopho-
more English classes and is a constant reminder of the
movie a()preciation unit.
That we are at least partially successful in raising
\oung jjeoples' movie standards is indicated by the girl
who ironically put into one very terse sentence the
sentiment of a large number of our young theater
attendants. "I don't like this stuff. I used to enjoy
ever\ show I went to, but now you have spoiled about
half of them for me." Here we see, although the stu-
dent herself does not as yet recognize this clearly, the
beginnings of di.scrimination. Increasing experience will
(iiahle her to cut ofT her list the "half" she does not
From The Laboratory Of
PROF. I. V. PAVLOV
(Nobel Prize Winner)
Comes A Study Unsurpassed
In Thoroughness On The Subject Of
The Nervous System
A 16nim Silent Film in 5 Secfioni
1st Section — The Development Of The Nervous
System In Vertebrates And Invertebrates. 2 Reels
2nd Section — Reflex Action: Development Of Neu-
rons; Function Of Motor Nerve; Responses
To Stimulation: Etc. I Reel
3rd Section — The Spinal Cord: Study OF The
Function Of The Spinal Cord. 2 Reels
4th Section — ^The Brain: Structure And Function.
5 Reels
5th Section — The Study of Conditioned And
Unconditioned Reflex Behavior in Different
Organisms. ^ Reels
Unique For Its Utilization
Of Experiments On
Living Subjects
Now Available For Outright Sale Or Lease
For Defailtd Information — Write
IMS DEPT. P
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now enjoy and attend only the good films. So once more
she will be enjoying every film she sees, but it will
now be an informed atid enriched enjoyment. .\ still
better hint of the effectiveness of our work is that
twenty-four out of a total of twenty-five pupil nomin-
ations of films as, "outstandingly good," were after-
ward included in a composite rating put out by na-
tionally recognized groups. The twenty-fifth was a
foreign film which had not been shown in Great Falls.
35 HUM. FILM SLIDES by
L/ljual ci^f
deuce J^
GENERAL SCIENCE
Ten months' work in this subject visualized on film — 450
frames in 11 rolls as follows: Water, Air, Levers, Inclined
Planes, Pulleys, Energy, Heat, Sound, Light, Magnetism,
Electricity; $2 each roil, $20 per set of 11 rolls. Also a
collateral roll on Optical Illusions at $2.
PHYSICS
Thos<? topics imivernally considered minimum require-
ments for high school courses are covered in Principles of
Physics — 245 frames in seven rolls at $2 each or $12 for
the set. Collateral rolls on Optical Illusions and Mechanical
Motion at $2 each. Also a standard lantern slide of the
American Flap in complementary colors which strikingly
demonstrates retinal fatigue and negative after-images,
priced at fl..50.
CHEMISTRY
Principles of Chemistry deals with the minimum essen-
tials for high school courses— 380 frames in eight rolls at
$2 each or $14 for the set.
FOR CONVENIENCE CLIP COUPON
VISUAL SCIENCES, Suffern, New York.
Gentlemen : , * ^i m
IMeaae send me free literature and sample Ktrlpe of nim. My
particular interest* are checked below :
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Phyaica
. Chemistry
Page 60
The Educational Screen
AMONG THE
AND BOOKS
MAGAZINES
Conducted by The Staflf
The Journal of Educational Sociology (12: 129-
192, November '38) As stated on the cover, "The Mo-
tion Picture as an Educational Medium" is the
subject treated in the six articles comprising this
issue of which Frederic M. Thrasher, New York
University, is editor.
"Film Appreciation in Great Britain," by Ernest
Dyer, argues for the training of film taste and dis-
crimination in children because "if the standard of
public taste in films is to be raised we must begin
with the children." Eflforts of various English and
Scottish Film Societies in this direction are sum-
marized. It is significant that the new Handbook
issued by the Board of Education for the first time
gives official recognition to the importance of films
in education, oflfering suggestions for effective ac-
tivity to teachers.
"Hollywood and Pedagogy," by Ralph Jester,
presents in brief the attitude of the theatrical indus-
try to the production of instructive and documen-
tary films. Most producers are indifferent to the
social implications of the motion picture, being con-
cerned only with the entertainment angle. How-
ever, the writer believes that when and if the edu-
cational market is developed to a profitable point,
Hollywood will produce for it. As a step in that
direction, the short subjects made from Paramount
features for the school field are cited.
"The Cinema Explodes the Stork Myth," by Ger-
aldine Sartain, is a resume of the controversy which
attended the exhibition of the educational picture. The
Birth of a Baby. Of all the editorial comment praising
the film, that of The Churchman is quoted. They pre-
dict that the film "will accomplish for humanity one
of the most constructive services in the history of
civilization."
"The Motion-Picture Program and Policy of the
Have you discovered ^
NATURE NOTES*
TEACHERS, park naturalists, others write us,
"Why haven't I Itnown about NATURE NOTES
before?" "A big help in my work." "It human-
izes nature study." "Has excellent illustrations."
There's no other magazine quite like NATURE
NCTES. Though small in size, it is packed with
authentic nature lore. Not dry — not too sentimental
— it treats nature like the fascinating subject it is.
Send 25c coin or stamps for a 4 months' trial and
embark on a voyage of discovery. Better still, send
$1 for a full year's subscription. (SPECIAL — 6 free
back numbers with each new yearly subscription.
while our supplies last.)
NATURE NOTES
The Magazine of Outdoor Information
4800 PROSPECT ROAD PEORIA, ILLINOIS
United States Government," by Fanning Hearon, pre-
sents a complete and interesting summary of film pro-
duction and distribution activities of the various gov-
ernment departments. Three — Agriculture, Inferior and
War — have their own laboratory facilities ; others have
their films made by commercial producers. The most
outstanding Government film unit at the moment is
the Farm Security Administration with its two ex-
cellent films, The Plow that Broke the Plains and The
River, which films have stimulated the use of Federal
films. The work of the Division of Motion Pictures of
the Department of Interior, including data on the cost
of operation, is covered in more detail inasmuch as the
writer was formerly director of this Division.
"Some Recent Developments in the Educational Film
Field," by Hilla Wehberg, surveys recent projects or-
ganized for the promotion of research, distribution,
production and planning in this field. The General Edu-
cation Board of the Rockefeller Foundation has given
financial assistance to all the national efforts described.
"The Possibilities of Teaching French with Motion
Pictures," by Cybele Pomerance, finds that a French
language film aids little in the teaching of vocabulary
but a film on phonetics can contribute a great deal.
Geography, history, literature, habits and customs of
France can be taught effectively with the film. Specific
films are recommended for use with these subjects,
thereby adding considerably to the value of the article.
Michigan Education Journal (16: 218-19, January
'39) "Moviecation," by J. Harry Adams, Principal,
Central High School, Bay City, Michigan.
The organization and administration of a "movie-
cation" program at Bay City School is here outlined
in some detail. At an initial cost of $750, for a
sound projector and screens, the needs of 2200 stu-
dents are served. The showing of noon-hour movies
at a two to five cent charge has helped to defray
this cost. Mr. Adams recommends that schools pur-
chase films insofar as they can afford them, as this
plan is more economical in the long run. Further, it
offers the advantage of having the subjects avail-
able when wanted, and permits teachers to make
more careful adaptation of them to the course of
study.
The Elementary School Journal (39: 280-88,
December '38) "What Children See in Pictures,"
by William A. Miller, Butler School, Springfield,
Illinois.
The importance of teacher guidance in the use of
pictures as a teaching aid, is demonstrated in this
interesting report of a study made to determine
what children in the third grade saw in six pictures
without the suggestion of any definite direction.
One hundred children furnished the data for the
study. Results of the investigation showed (1) that
children see relatively few of the items which make
February, 19)9 Page 6\
For Health and Physical
Education Directors
Keystone Units in Health and Safety
HEALTH
Posture 25 Lantern Slides
Skeletal and Muscular System 25 Lantern Slides
Digestive System 25 Lantern Slides
Circulation and Respiration 21 Lantern Slides
Special Senses 16 Lantern Slides
Teeth 25 Lantern Slides
Each unit is accompanied by a descriptive manual for the
teacher, prepared by F. W. Maroney, M.D„ Associate Pro-
fessor of Physical Education and Instructor in Anatomy and
Physiology, Teachers College, Columbia University.
SAFETY
Safety on the Highway 30 Lantern Slides
Safety in the Home 30 Lantern Slides
Each unit is accompanied by a descriptive manual for the
teacher, prepared by Harry Barsantee, of The Travelers Insur-
ance Company, well-known authority on safety problems.
Any or all units will be sent to subscribers
to Educational Screen on ten days' approval
Keystone View Company
MEADVILLE. PENNA.
Page 62
The Educational Screen
Educational Attractions^
Informative themes in delightful dramatic dressings. In 16mm. film.
"WILD INNOCENCE"
An unusual presentation of w^ild life in the Australian
' wilderness. Featuring the taming and training of
kangaroo, in an obsorbing dramatic setting. — In 6
reels, S.O-F. Running time: 63 minutes.
"THE FIGHT FOR PEACE"
Vivid, authentic, awe inspiring scenes of the devastations,
vrar terrors, and civilian distress in Europe, Asia and
Africa. Compiled and produced by WILLEM HENDRIK
VAN LOON. In 8 reels. S.O.F. Running time 75 minutes.
"DrtDT e\' C Kl I " INTIMATE WORLD
r\JK. I \J WMkk TRAVEL SERIES.
Far reaching, exceptionally intimate visits to the far
comers of the world. Produced by the noted world
traveler and lecturer, DEAN H. DICKASON. A series
of 31 single reel S.O.F. subjects.
POST PICTURES CORP."^rw^V'o^R'*K':"ctTY
"Educational Films of Merit"
THE STREETCAR
ABC OF TRANSPORTATION SERIES. PART TWO
One Reel Silent, $24.00 with Study Guide
For preview print, inj ormation, or catalog write to
BAILEY FILM SERVICE
3405 University Avenue, Los Angeles, California
Authentic; Realistic! Dramatic!
TERRITORIAL EXPANSION OF THE U. S.
•upplemented with mapt snd diagrftms.
I Write for rental or purchase price and catalos list- I
inff selected Shorts, Features and Recess Programs. |
AUDIO-FILM LIBRARIES
limm. Sound Exclusively
861 BU*ma*ld Ave. Dcpt. K BIeeaifi*14, N. J.
BICYCLE SAFETY FILM
SPINNING SPOKES is a swift, convincing story in I reel, 16 mno
silent. School produced for school audiences. Rental, $1.00 for
a day's use or $3.00 for a week, plus postage.
H. M. Kuckuk, 4106 IVorth 24th Place
MILWAUKEE, WISCONSIN
<=i
"Type-It" Slides.
i
TYPEWRITE YOUR
MESSAGE
On "TYPE-IT" Slides
for Quick Projection.
In use over 20 years
50 "T,pe-lf Slidil $1.25
In 5 colon or assorted
■¥■
SLIDE MAKERS SINCE 1309
LAIVTERIV SLIDES made in
colors or black and white from photos,
books, magazines, charts, maps, etc.
Satisfaction guaranteed.
Kansas City Slide Company
1719 Wyandotte, Kansas City, Mo.
Ask for sample "Type-It" Slide.
Only the Best
16mm SOUND FILM 16mm
Low rental rates include transportation charges.
Write for our new double size list.
Our rates remain at their former low level.
2439 AUBURN AVE
CINCINNATI. OHIO
THE MANSE LIBRARY
"NEWS PARADE OF THE YEAR"
A Current Events Film for Your School Library
Modern History in Review . . . European Crises, Spanish
and China Wars . . . Aviation's March . . . and other
notable -world events.
I6MM: 360' SILENT, $ 8.75 350' SOUND-ON-FILM, $17.50
8MM: 180' SILENT, $ 5.50
CASTLE FILMS
30 ROCKEFELLER PLAZA • NEW YORK CITY
MAIL
THIS
COUPON
TODAY!
For NEW 1939 catalogue describing "News Parade
of the Year" and 50 Historic, News, Travel and other
educational iilms.
Name
Address-.'.
City State
up a picture, and (2) the items are seen in isolation
rather than as parts of a unified whole, the most
important items often escaping the notice of the
children. Few saw the relations between the three
or four generalized items which unite to make the
meaning of the ])icturc clear.
Journal of the N.E.A. (28: 20-21, January '39)
"Second Graders Learn Photography," by Elmer
A. Finch.
The construction and use of pinhole cameras
furnished a valuable and pleasant experience for
the second-grade children of Amityville Public
Schools, New York, according to their general
science teacher. The pupils took joy also in the
printing and mounting of the pictures. Such a pro-
ject as Mr. Finch describes involves a wide variety
of skills and considerable integration with regular
class work.
Western Journal of Education (44:10-11, No-
vember '38) "A High School 'Goes Hollywood'",
by John Allan Smith.
In this account of a cinematic venture by the
students at the Fremont High School, Los Angeles,
all the phases of producing a motion picture are
discussed — the script, photography, editing and
sound recording. The total cost of "Our World,"
as the students titled their feature-length movie,
was approximately $800. The article ends with a
few little helpful hints which should be observed
by other schools who engage in similar projects.
Book Reviews
■ Teaching with Motion Pictures, by Mary E. Townes.
Published by Bureau of Publications, Teachers College, Co-
lumbia University, New York, 1938. 25 pages. Paper. 25c.
This new publication from Columbia University provides a
compact little bibliography on sources of information and
materials which will be helpful to teachers who are using the
motion picture as a teaching aid, as well as to groups interested
in the study of the theatrical film as an educative force. Part
I lists important basic books, research studies, periodicals and
yearbooks devoted to the educational film, and source lists
for such films. Part I lists research studies on the effect of
theatrical films on children, books and manuals on photoplay
appreciation, and other material pertinent to this topic. A brief
bibliography on "Making Motion Pictures in the School" is
offered in Part III.
■ S.'VFETY Education Through Schools — Research Bulletin,
Vol. XVI, No. 5, November 1938. Published by the Research
Division of the National Education A'ssociation. 298 pages,
paper, 25c.
In November 1937 the Research Division mailed a ques-
tionnaire to 100,000 classroom teachers on the teaching of safety
in schools. An analysis of their replies constitutes the major
portion of the material included in this bulletin which should
prove a decidedly stimulating and suggestive guide to others
in the teaching field.
The first five parts of this bulletin deal with (1) current
school practices in safety education, (2) methods of safety
teaching, (3) sources of instructional materials used, (4) neces-
sary improvements in the teaching of safety, and (5) problems
that lie ahead. The sixth part includes lists of educational and
non-school agencies making available school materials on
safety — posters, charts, pamphlets and other publications — •
national, state and local sources distributing films and slides,
and a compilation of representative state courses of study.
February, 19)9
Page 63
MAKE YOUR OWN
TYPEWRITER SLIDES
For Screen Projection
USE RADIO MATS
on sale by Theatre Supply Dealer*
Write for F.-ee Sample
RADIO-MAT SLIDE CO.. Inc.
IHlt Broadway. Dept.V. New York City
Part seven re\icvvs over 100 safety films and slides on various
phases of safety — street and highway, fire prevention, first
aid, driver training, etc. — with information as to prices, grade
level snitahility, and sources. These last two chapters of the
bulletin should be of special benefit to directors of visual
instruction, curriculum committees, and others concerned with
the problem of securing goo<I instructional visual aids for the
teaching of safety.
Among Ourselves
(Coiuludcd Irani pa<ic 55)
its value and quality as a teaching film and of the
excellent results in safety education which it gives.
The picture is. through the grant of the Automotive
Safety I'nuiKlation and the Highway Education Board,
loaned free to schools so far as the available supply of
prints makes possible, on application to the national
distributor. Films of Commerce Co., Inc., 21 West
46th Street, New York City. Prints are on deposit
with most of the Visual Instruction Bureaus of the
state universities, other educational film libraries, and
most of the larger school systems of the country which
have visual instruction bureaus. It is also being dis-
tributed directly by the national distributor from Bos-
ton, New York and Pittsburgh. Automobile clubs and
Safety Councils have been of great aid in the showing
of the film and many thousands of spectators have seen
it through these channels.
Schools having motion picture equipment are cir-
cularized periodically with announcement of the avail-
ability of the film and application blanks for use in
order to maintain the demand for the film. The exist-
ing demand continues to be more than twice as great
as can be supplied with the present available prints
and more requests have to be refused or postponed than
can be granted.
The press of the country were most generous in
providing publicity for the picture. Several feature
articles and two full-page feature stories concerning the
picture appeared in metropolitan dailies and shorter
stories appeared concerning it in several thousand
papers and many magazines. Illustrations from the
film appeared in several hundred papers and Will
Johnstone, of the New York W'orld Telegram, based
one of his cartoons on it, which is reproduced with
this article.
American Education Week Cartoon Project
This project in connection with the 1939 observance
of American Education Week, announced by the Journal
of the N.E..\., is open to any high school student.
Awards will be given to those submitting the best
cartoons, many of which will be publishe<l. Write
to the Division of Publications, N.E.A., 1201 Sixteenth
St., N. W.. Washington, D. C, for full details.
NEW FEATURES
of Outstanding Excellence in
16mm. SOUND-ON-FILM
RAINBOW ON THE RIVER
with the sensational young songster, BOBBY 6REEN,
supported by MAY ROBSON, CHARLES BUTTER-
WORTH and the HALL JOHNSON CHOIR. A dra-
matic, touching story of the aftermath oi the Civil
War in the striietorn South. 8 reels.
HEARTS DESIRE
featuring RICHARD TAUBER in a stirring drama of a
great singer who rises from obscurity to fame. 8 reels.
RADIO FOLLIES
with HELEN CHANDLER. A six reel musical that is
entertainment plus.
ROMANCE OF THE LIMBERLOST
Gene Stralton-Porter's wholesome, heartwarming
story, brilliantly acted by Jean Parker, Eric Linden
and a strong cast. 9 reels.
MARINES ARE HERE
The amusing, thrilling tale of two marines who are
loyal to the memory of their buddy. Tense, timely,
with a top-ranking cast. 7 reels.
• • •
TRAVELS IN COLOR
Presenling ior the flrst time. ISnun. sound nimi in color, with luch
noteworthy picttires as:
FRANCE
French life in city and country with John Martin as commentator.
4 reels. Silenl as well as sound version available.
TIBET
"PENTHOUSE OF THE GODS"
The innermost Lamaseries and cities of Tibet as seen by Theoa
Bernard, the only white man lo become a Lamo. 4 reels.
Send for catalog of over 1200
Educational and Entertainment
subjects — for rent or sale.
WALTER O.
GUTLOHN, Inc.
35 W. 45th St. Dept. E-2 New York
Page 64
The Educational Screen
Current Film Releases
An Australian Animal Picture
Wild Innocence gives an interesting
portrayal of wild life in the Australian
bush and tells an absorbing dramatic
tale in which an extraordinary boxing
kangaroo, named Chut, stars. After its
mother is shot by hunters, Chut finds
its way to a ranch, where the kind owner
raises the animal as a pet and teaches him
to box. Mortgage trouble forces the
rancher to sell Chut to a circus where
he becomes a hit but is cruelly treated.
After whipping his trainer. Chut es-
capes, is chased, but rescued by his
former master and brought back to the
ranch.
This six-reel sound feature is instruct-
ive and engaging entertainment. 16mm
rights are controlled by Post Pictures
Corporation, 723 Seventh Avenue, New
York City. The subject may be rented
from Lewis Film Service, 224 N. Market
St., Wichita, Kansas, and also from
Ideal Pictures, 30 E. Eighth St., Chicago.
A New Release — "How
Motion Pictures Move
and Talk"
This significant production by the Bell
and Howell Company — Haw Motion
Pictures Move and Talk — is available in
either sound or silent version. Any school
may have one day's free use of either
version through the distribution channels
of Castle Films, Wrigley Building, Chi-
cago, or by writing Bell and Howell
Company, 1801 Larchmont Avenue, Chi-
cago.
This film offers a clear, vivid, ex-
tremely compact presentation of the me-
chanical, electrical and visual principles
behind modern talking movie films. The
pictured story traces the production of
a Hollywood feature from the unper-
forated raw film to the final shipment
of 16mm. reduction sound prints in
labeled metal containers. It illustrates
"persistence of vision," the momentary
retention of images within the eye which
alone makes possible the illusion of mo-
tion on the screen. The part played by
each successive machine— perforator, cam-
era, developing machine, splicer, printer,
projector — is then made clear. The re-
cording of sound on the film and its
reproduction are portrayed by animated
drawings (see accompanying illustration
from the film), and by showing an actual
image of the sound track of the voice
explaining how sound reproduction takes
place.
A particularly full teachers' pamphlet
accompanies the film. Features are an his-
torical outline of the moving picture idea
from 1600 B.C. to the present time— a
list of needed technical terms — a vocab-
ulary aid on words new to pupils— and
especially a series of selected stills from
the film with elaborate explanatory cap-
tions giving the contents in continuity
form. By use of both sound and silent
versions with different test groups teach-
ers can make interesting comparisons in
teaching results and teaching methods
with the two film forms.
By NELSON L. GREENE
New Gutlohn Films
Walter O. Gutlohn, Inc., announces
the release for the first time of a four-
reel 16mm. sound picture on France in
color, portraying the colorful beauty
of that country, with its folk lore and
quaint customs. Paris, Brittany, Bor-
deaux, Cannes and other world-famed
centers of historical, artistic and timely
significance are shown in great detail.
A silent version is also available. With
the aid of the French Chamber of Com-
merce, who will supervise the handling
of these films in the future, the Gutlohn
Company plan to distribute many addi-
tional French films in conjunction with
the French Cinema Center.
Out of Tibet comes an unusual color
picture in 16mm sound which has been ac-
quired by Gutlohn. This four-reel film is
the work of Theos Bernard, the first white
man ever to live in the Lamasteries and
Cities of Tibet, and records his life
amongst the Tibetans. The beauty of the
mysterious plateau with its deeply re-
ligious people is fully revealed in the
picture.
Walter O. Gutlohn Inc. also aimounce
the release of a two-reel 16mni silent film
in color on Hungary, depicting its color-
ful peasant dances, customs and handi-
craft.
Sailing last month, on board the S. S.
Stellar Polaris to produce a series of
educational and theatre travelogues, Capt.
R. Stuart Murray, member of the Ex-
plorers Club and active Direirtor of
Geographical Films, will seek not only
the unusual but the routine arts, crafts
and customs of the natives of many little
known places in the South Seas and
other countries on his world tour. The
films when released in 16mm. sound and
silent will be distributed by Walter O.
Gutlohn, Inc.
Additions to Ideal Library
Bertram Willoughby, President of Ideal
Pictures Corporation, announces the ac-
quisition of three 16 mm sound features
of especial interest to its school field.
Tundra, in 8 reels, is a heroic drama of
the Arctic. It tells a thrilling story of
the "Flying Doctor," risking his life,
to save the isolated villages of the
Tundra. The largest assembly of Arctic
wild animal life ever photographed ap-
pears in this picture. With Williamson
Beneath the Sea presents six reels of
nature's drama of beauty and tragedy
beneath the sea. It shows the spearing
of thirty-foot devil fish, divers explor-
ing sunken treasure galleons, man-eating
sharks, hand-to-hand combats, and swim-
mers clutched in the death tentacles of
the giant octopus.
Wild Innocence, described as a delight-
ful animal picture, is the third release.
Incidentally Bertram Willoughby is
working on his 1939-40 catalogue, which
will be the 20th Anniversary Catalogue
of his entry into the non-theatrical busi-
ness.
Animated diagram showing how sound waves are recorded on motion picttire film. On the screen, the action starts at the
extreme left-hand margin, and is limited to one element and one action at a time, (l-'rom How Motion Pictures Move and Talk)
February, 7 93 9
STUDENTS, SCIENCE TEACHERS
By These Magical Educafianal Films!
Page 65
Natural Sciences Explained with Aid
of Scientific Cinematography
P RE-VIEW au<lifnrt>s of student-s aiui promint>nt AmtTican educators
have literally applaudi-d thettf remarkable educational filma. Beins
products of patiencv. skill, and love for the natural sciences, they
reveal months of enliffht«>nintr laboratory demonstrations performed by
eminent European scientists. With the use of scientific cinematography,
plants actually assume the characteristics of human beinsa. Experi-
ments in physics disclose facts never before demonstrated in the
»chiK>l lab.
UFA Educational Films are the newest achievement in the dramatiza-
tion of science. Now available for purchase or rental in silent or
■ound in 16 MM or 35 MTW. Write immediately for literature describinK
"Plant Power." "St-nsitivity in IMant-n." "I.j<|tiid Air." "Mnvinn X-Ray."
"The Ant City." "The lAfv of tho Hi*e."
UFA EDUCATIONAL FILMS
729 Seventh Avenue • New York City
■ ISEtr ALL-PLAY/ ALLH ^ ^^
Universal | k
Smm PROJECTORS g5@
New All-Purpose Model
Combined uiitliy is offered in this
newly designed 16MM Sound Pro-
jector. Precision built. Completely
flexible for the varied demands
of classroom and auditorium.
Complete, ready to operate
Oniversal Sound Projector
SENTRY SAFETY CONTROL CORP.
1921 Oxford St., PhiU., P«.
Show Room— 1600 Broadway. N. Y. C.
Elementary Grade Subjects
Kduialional Film Service ol Battle
Creek, Michigan, has produced several
16mm silent subjects in response to the
need for film material suitable for the
early elementary grades. Some of the
titles are Dinner Time on the Farm,
Animals of the Zoo, Circus City, Here
Comes the Circus, Boats of the Great
Lakes. The Story of Milk, A Loaf of
Bread. The Post Office and Pire Fighters.
Many of these reels are also suitable
for other grade levels. Mr. Keith Elliott,
formerly chairman of the visual education
committee in the local public schools
and now manager of the Educational
Film Service, oflFcrs this material for
rental or sale. One free film. Iron Ore
to Stot'es. suitable for later elementary
classes, high school science or shop
classes, is available.
Bailey Film Service, 3405 University
Avenue, Los .\ngeles, is another source
for educational films designed specially
for elementary and intermediate grades.
One of their most recent films is a
16mni silent reel on The Streetcar, the
second in a series called The ABC of
Transportation, the first of which was on
Eltfated Trains. The film shows the im-
portant part the streetcar plays in .\mer-
Ican urltan transportation, using one of
the new strcamlinc<l models in service
on the Ijjs .Angeles railway as an ex-
ample of the typical streetcar. Other
productions which the Bailey Film Service
have completed are four films in their
I 'nited Xational Parks Series, one in
The .IliC of Pottery Making Series, and
a reel entitled A Day of Threshing Grain.
Study guides are included with most of
these subjects at no extra cost.
Foreign Historical
Feature in 1 6mm
The notable production, Pearls of the
Ooii'H, has been condensed from a
12-reel picture to a 6-reel 16mm version,
cutting out the ijiodern story completely.
Sequences which have been too mature
for any but adult audiences have also
been deleted, making the film a suitable
historical picture for the educational
field. This revision has been made by
Pictorial Film Library, 130 W. 46th St.,
New York City. The film is also avail-
able for rent from Lewis Film Service,
Wichita, Kansas.
The subject matter of the picture in-
volves four centuries and tells the stories
of seven famous pearls, given in the 16th
century by the Pope, Clement VH, to
his niece Catherine de Medici. The story
ends with the insertion of four of the
pearls into the Crown of England by
Queen Victoria. The film has a fine
cast, including Sacha Guitry, an<l is
recommended for language students par-
ticularly, although it can be understood
by all audiences. Dialogue is in French,
Italian and English, with English trans-
lations
Three New Castle Subjects
The Sport Parade of 1938. a companion
picture to their News Parade of the
Year, has been released by Castle Films,
Rockefeller Plaza, New York City, in
16min sound and silent, and Smm silent.
The world's champions and record-
breakers are seen making new sport
history — among them Captain Eyston,
auto si)eed ace, Joe Lewis, Count Rossi,
Italian speed-l)oat king. Glenn Cunning-
ham, Birger Ruud. ski master. Other
significant matches in water sports, tennis,
polo, golf and horse racing are pictured.
-Another new Castle sport subject is
Sea Going Thrills, a startling camera
record of Captain Warwick M. Tomp-
kins' daring adventure cruise around
Cai)c Horn with his brave family and
crew on his 85 foot sloop. .\ third pro-
duction is a travel film on A'cte York,
the Wonder City, presenting intimate
glimpses of the city and its people,
striking panoramas, famous streets and
buildings, and magnificent night scenes.
(Concluded on page 69)
S.V.E. Moves
.^ftcr twenty years at 327 South La-
Salle Street, the Society for Visual
Education, pioneer manufacturers of
Picturol projectors and filmslides, have
moved their headquarters to 100 East
Ohio Street, Chicago. Increased busi-
ness demands and production activity
have necessitated larger quarters.
Page 66
The Educational Screen
IN AND FOR THE CLASSROOM
Conducted by Wilber Emmert
Director Visual Educafion, State Teachers College, Indiana, Pa.
Projectors and Projection Techniques Improved through
Department Regulations
A MONG the duties of the Department of Labor and
■^^ Industry of Pennsylvania is the supervision of
the use of lantern slide projectors and motion picture
projectors in schools and other public buildings of the
Commonwealth. In pursuit of this obligation, and
through the cooperation of the visual education
workers, the Department has set up regulations for the
use of projectors in school buildings ; standards which
projectors must meet to be approved for use in such
buildings ; and license requiremen'.s for non-theatrical
projectionists. These regulations are in the interest of
personal and property safety, economy in the purchase
of projectors, and efficiency in classroom instruction.
The Department recognizes two types of motion pic-
ture films: one, the inflammable or nitro-cellulose
films ; and the other, the slow burning, non-inflammable
or acetate-cellulose films. Two types of building per-
mits are also provided. One covers buildings or rooms
in which either inflammable or non-inflammable films
may be used. Such permits are only issued when an ap-
proved fireproof booth is provided. The other permit
The HOLMES 16mm.
that has made theatre profes-
sionals sit up and take notice.
24 feet wide on screen over
125 feet away and the audi-
ence never realized it wasn't
a 35mm. Holmes arc lamp
projectors have placed
16mm. in a new field of oper-
ation, where large audiences,
extra speakers, microphones
and electrical transcriptions
are desired.
Write for latest
Catalog and about
FREE DEMON-
STRATION.
HOLMES PROJECTOR CO.
1813 Orchard St. Chicago
covers buildings in which slow-burning film, both
35-mm and 16-mm, only may be exhibited. Since
all 16-mm film is of safety stock, and the projectors
used must be on the approved list, the Department has
ruled that no permit is required for exhibiting 16-mm
motion pictures for classroom instruction, but the pro-
jectionist must be licensed. License cards are issued
by the Department of Labor and Industry without
sound equipment for classroom and public exhibitions,
or with sound for classroom instruction purposes only.
A state examination and a license fee are required for
the license to use the 16-mm projector for public ex-
hibitions. All portable projectors must be approved
by the Department of Labor and Indu.stry. A list of
both still and motion picture projectors which have
been approved may be obtained from the Department
upon request.
Standards For Still Projectors
The Department's set of standards for still pro-
jectors state that all still projectors should (a) be
sturdy, simple, safe from fire hazards, durable ; (b)
be easy to clean, adjust, carry, operate; (c) be pro-
vided with a brilliant illuminant, but so ventilated as
to prevent excessive heating; (d) have good mirrors,
large condensers, and "half size" objective lenses;
(e) produce sparkling "screen pictures" in the average
classroom. No license is required to operate the still
projectors.
Similar standards have been adopted by manufac-
turers of projectors. For instance, one company has
been featuring in its ads, "The Essential Features of
a Modern Classroom Lantern," as follows: (a) Pedes-
tal base with rubber feet, (b) Double-tilting device —
horizontal and perpendicular; (c) Non-heat conduct-
ing; (d) Hinged lamp house, permitting easy access
to lamp and condenser; (e) Large diameter lens, al-
lowing operation in partially darkened room; (f)
Ventilated lamp house; (g) Dull finish, eliminating
annoying reflections ; (h) Universal condensers, ac-
commodating lenses from 63^" to 22" focus without
change; (i) Precentered base lamp, eliminating any
adjustment by the teacher; (j) Double slide carrier;
(k) Spiral focusing lens, the "fool proof" adjustment.
Standards for 16mm Motion Picture Projectors
Since inferior machines are a liability to school
districts, schools are urged to purchase only those
projectors approved by the Department of Labor and
Industry. The 16-mm motion picture projectors on
the approved list must be: (a) Simple, safe, durable;
(b) Easy to operate, adjust, clean, oil, carry ; (c) Easy
February, 19}9
Page 67
16mm Sound NEW 16mm Sound
EDUCATIONAL
FEATURES
for the
Enrichment of
Learning
if TUNDRA— an heroic drama of the wind-
swept barrens of the Arctic. Produced by
Carl Laemmle.
if WILD INNOCENCE— a "Black Beauty" type
of story, about CHUT, the kangaroo. Filmed
in Australia.
if WITH WILLIAMSON BENEATH THE SEA—
a thrilling story of undersea life.
if BRING 'EM BACK ALIVE— Frank Buck's im-
mortal record of the Kings of the Jungle.
if LIFE AND LOVES OF BEETHOVEN— a great
musical and dramatic film, with French dia-
logue and English titles. Harry Bour as
Beethoven.
(4) FOUR LAUGH-PRODUCING
COMEDY DRAMAS (4)
For THAT Entertainment
* WHEN'S YOUR BIRTHDAY?— (released the-
atrically by RKO). Joe E. Brown, supported
by Marian Marsh, Fred Keating, and Edgar
Kennedy.
* RIDING ON AIR— (released theatrically by
RKO). Joe E. Brown, supported by Guy
Kibbee, Florence Rice, Vinton Hawarth.
* FIT FOR A KING— (released theatrically by
RKO). Joe E. Brown, supported by Helen
Mack, Paul Kelly.
if THE GANG — "The Skipper" loses his posi-
tion, and organizes a theatrical troup among
the Boy Scouts, which pinch-hits for the
Faust (Company when it failed to arrive for
the show.
Ask for our "Golden Rod" Supplement Listing
These New Releases
Also
Our 65.Page CATALOGUE of
INSTRUCTIONAL FILMS
(For Classroom and Assembly)
IDEAL PICTURES
CORPORATION
28 East 8th Street
CHICAGO, ILLINOIS
ELECTROL
HANGING SCREENS arc available in spring-operated model*
with While, .Silver or Glass-Beaded surfaces from 22" x 30" to
12' X 12' and in the Eleclrol electrically operated model with White
or Glass-Beaded surface in all sizes up to 20' x 20' inclusive.
There*s a
UM.
SCREEN
REG. U. 8. PAT. OFF.
FOR EVERY PROJECTION
REQUIREMENT
THE CHALLENGER
- the most popular of all
portable models — consists
of the Da-Lite Glass-
Beaded surface, carrying
rase and tripod all in one
unit. It can be set up any-
where in 15 seconds and
is adjustable in height.
Square tubing in the cen-
ter rod of the tripod and
the extension support
keeps the entire screen in
perfect focus. Adjustable
in height. 12 sizes from
30''x40" to 70"x94"
inclusive.
THE DA-LITE MODEL D houses the Glass-
Beaded Screen in a leatherette-covered box. Its
single extension support automatically locks in
place when extended. No strings! No thumb-
screws! 10 sizes 22" X 30" to 72" x %" inclusive.
SEND FOR CATALOG of the Complete Line and Name of
the Noare.st Supplier!
Da -Lite Screen Co., inc.
Uauufacturert of Thtatrical mmi Nom-Proftiuonal
ScTtemt tvitb all Tyfei of Surfaces and Hountimgi
0«pt. 2ES, 2723 N. Crawlord Ave. Chicago. III.
Page 68
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
PICTORIALLY!
FOR ENTERTAINMENT, NO GREATER
PICTURES ARE AVAILABLE
LEHER OF INTRODUCTION
MAD ABOUT MUSIC
100 MEN AND A GIRL
THREE SMART GIRLS
THE RAGE OF PARIS
MERRY GO ROUND OF 1938
YOU'RE A SWEETHEART
SHOWBOAT
(and many others)
Write to Universal's Non-Theatrical
Department for further information
regarding short and feature-length
pictures, travelogues, cartoons
and other motion pictures.
CATALOGUE 16
UNIVERSAL PICTURES
COMPANY, INC.
Rockefeller Center New York. N. Y.
CIRCLE 7-7100
to set up in the classroom, and reasonably quiet in
operation; (d) Safe from fire hazards and approved
by the Department of Labor and Industry; (e) High
quality optica! system, with strong enough light to
produce brilliant images ; For sound — (f) Clear, well
modulated speech ; (g) Undistorted musical tones.
Similar standards have been submitted by the makers
of motion picture projectors in describing the outstand-
ing features of their products. For instance, one ad-
vertisement in the Educational Screen lists the fol-
lowing "Basic Requirements of Perfect Projection."
(1) Rocksteady pictures, free from jump and weave;
(2) Brilliant, uniformly illuminated pictures; (3)
Flickerless pictures, eliminating eyestrain ; (4) Simple
errorproof operation; (5) A long life of constant de-
pendability ; (6) Ease of maintenance . . . simplicity
of oiling, cleaning, replacing lamps; (7) complete film
protection — and also, in sound film projection ; (8)
Clear, crisp speech reproduction; (9) Pleasant, natural
musical quality.
A check list of standards may be found in another
advertisement in the magazine under the heading
"These Features Insure Better Showings." And in
another, under the heading, "Look for These Features
In 16-mm Sound Projectors," one finds a detailed
list of standards for (a) the projector itself, (b) Sound
head specifications and features, (c) Speaker specifi-
cations and features, and (d) Amplifier specifications
and features.
Many other references could be cited, but these
should suffice to indicate that the manufacturers of
projectors are, in general, satisfactorily meeting the
standards set up by the Department for its approval.
The requirements for the non-theatrical license for
the 16-mm sound, motion picture projector, while not
extremely exacting, do demand that a person be quite
familiar with the projector itself and with the regu-
lations governing its use, as is seen by a study of the
typical set of test questions given below.
Examination for License to Operate Portable
Sound Motion Picture Projectors
(a) What is a volt? (b) An ampere? (c) An
ohm?
If a 100 volt lamp is rated at 1000 watts, what
current (amperes) does it take?
How would you adjust the tension on the take-
up device? (On the projector with which you
are familiar.)
Describe the principle of the intermittent
movement.
Why are upper and lower loops necessary?
What legal requirements are necessary before
a school building may be used for the exhibition
of motion pictures?
What is meant by (a) direct current? (b) al-
ternating current?
What is (a) a fuse? (b) what would you do
in case of a blown-out fuse? (c) Give some
causes for a fuse blowing out repeatedly ?
What is the length of a standard reel of (a)
16-mm silent film? (b) 16-mm sound film?
What is the length of running time for (c) a
reel of silent film; (d) sound film?
1
3.
8
February, 19)9
Page 69
10. What is the <litYerence between an arc light and
an incandescent lamp?
11. A 16-mm picture projector is placed 40 feel
from a 5 foot screen. W'liat equivalent focal
lengtli objective lens was required to fill the
screen ?
12. A picture projected through a 2 inch lens at
50 feet measures 9 ft. 4 in. Tiie projector is
moved forward 18 feet. Will the picture be
larger or smaller, and how much ?
13. If the film breaks while the projector is in
motion, what would you do?
14. What liappens when the film breaks between
the intermittent and upper sprocket?
15. What i? the function of (a) the exciter lamp?
(b) photo-electric cell?
16. What is the function of the rotary shutter?
17. Which side of the film faces the lamp?
18. What safety measures should be observed when
operating a motion picture machine?
19. What are some causes of fuzzy, nmffled, or
indistinct sounds from the loud-speaker?
20. What is the base in the manufacturing of non-
inflammable motion picture film?
In most visual instruction courses considerable time
is given to the standards projectors should meet, and
the mechanical, eleclrical. and optical systems involved,
as well as the pedagogical principles underlying the
use of projected materials in the classroom. Manu-
facturers are striving to improve the quality of their
projectors. A whole hearted attack by all groups should
result in more satisfactory classroom projection work.
Current Film Releases
(Concluded from page 65)
A Film on Democracy
A timely, effective Paramount ncwsreel, entitled A
Year oj Contrasts, has Ixfen released in 16mm sound by
Films, Inc. This film is a valuable presentation of the
ideals of democracy which are incorporated in our Con-
stitution and Bill of Rights. ]X)inting out how the events
of the past year have emphasized their impor'.ance.
.After a kaleidoscopic review of the year's news head-
lines, with accompanying e.x])lanatory conmients, the
picture depicts a typical .American home and Mr.
Average .American interpreting the news to his son.
"These usual headlines." he says, "are not the out-
stantling news that 1938 has brought to America. . . .
The biggest news is the U. S. Constitution and Bill of
kights." * * * Shots of the Spanish and Japanese wars,
and scenes in Germany show the fear, intolerance, and
cen.sorship which exist in these countries today, in con-
trast to our own freedom of si)eech, freedom of the
press, and religious tolerance — principles written into
our Constitution.
A Year of Contrasts carries a splendid message for
the youth of America, to whom it is dedicated. It is
available on a rental basis from Films, Inc., 330 W.
42nd Street, Xew York City, or 64 E. Lake Street,
Chicago. Running time is eleveji minutes.
J. H.
VICTOR REFUSED
to ^*Xe# wwU enou\
So, THE WORLD'S MOST WIDELY USED
16 MM SOUND PROJECTOR GETS A
New, Super Endurance ^Mechanism/
ANIMATAPHONE Leadership dates from al-
most the very beginning of 16 mm sound. Con-
tinuation of that leadership has been made
secure, for LOOKING AHEAD, Victor has cre-
ated for TODAY'S 16 MM PROJECTOR USERS
a Super-Endurance * Mechanism that anticipates
the performance demcmds of the future!
Not only does this epoch-making advcmce in
mechanism design provide definite assurance
of UNPRECEDENTED PERFORMANCE, but it
dwrarfs service cmd parts-replacement problems
to a mere nothing I A five year study of servic-
ing records and user reports ... on machines
definitely knowm to hcrve seen greater than
average use . . . served as the guiding influence
in the creation of this new Master 'Mechanism.
New EFFICIENCY — Greater ENDURANCE
to MORE than meet modern-user needs
for heavier duty Projection Equipment
* ♦ ♦
JMt a f«w of tht hifhlichtt of VICTOR'S
nrw SUPER ENDURANCE MECHANISM aroi
FEWER MOVING PARTS . . . "STRIP-PROOF" GEARS
. . . LIFE-TIME BEARINGS thai need NO OILING ... 300
PERCENT STRONGER CAM-ASSEMBLY ... NO FUCKER
even at sub-normal speeds . . . INCREASED FLATNESS
OF FIELD without loss of Ughl . . . INCREASED
SMOOTHNESS and CLARITY In sound reproduction due
to improvements in Filter and Optics.
So ... IIP goes the efficiency curve and DOWN goes
the upkeep cost— if you choose the new ANIMATOPHONE
. . . priced at $275 upl Demonstrations, without obligation,
gladly arranged. IV rite today t
* Available now in the New, Improved Model 3},
M and }6 Animatophonet. Soon available in all
Animatopbones and VICTOR SILENT Proiectori.
VICTOR ANIMATOGRAPN CORPORATION
DAVENPORT. lOtWA
Chicago Los Anotes New York
Page 70
The Educational Screen
THE FILM ESTIMATES
Adventure in Sahara (Paul Kelly, Henry Gor-
don) (Columbia) Hero joins Foreign Legion to
"get" inhuman Commander whose brutality
killed his brother. Legionnaire life made night-
mare of sweltering cruelty and suffering, with
villain winning out by impossible feat at the
end. Romance lugged in. 1-24-39
(A) Depends on taste (Y) No value (C) No
Always in Trouble (Jane Withers, Jean Rogers)
(Fox) Preposterous, over-acted comedy with dash
of melodrama. Jane again incredibly resource-
ful and cleverer than adults. Her connivings
get family into precarious situations including
encounter with smugglers, outwitted by Jane
in their kidnapping scheme. 1-17-39
(A) Absurd (Y) Depends on taste (C) Doubtful
Arrest Bulldog Drummond (J. Howard, Heath-
er Angel) (Para) Drummond, thickly involved
in spy ring plot over new, pseudo-scientific
"death ray" machine, postpones his wedding.
incurs grave suspicion, but deftly solves all !
Well-acted, agreeably puzzling little thriller
more amusing than seai-y- 2-7-39
(A) Good of kind (Y) (C) Fairly good
Blondie (Arthur Lake. Penny Singleton) (Co-
lumbia) First of another series (cartoon strip)
offers hilarious inanity about ultra-stupid sales-
man, his nice little wife, and endless mistakes
and farcically coiyipromising situations. Merit-
orious for little noisfr. much funny pantomime,
and generally laughable stuff. 1-24-39
(A) Hardly (Y) (C) Funny
Dawn Patrol. The (Errol Flynn. Rathbone, Niv-
en) (Warner) British flying-base setting for
starkly tragic, telling portrayal of war's futile
waste. Some exaggerated heroics, but effective
realism in military discipline sacrificing young
lives to war machine. Fine acting and produc-
tion, but depressing as entertainment. 1-10-39
^A) Fine of kind (Y) Grim (C) No
Devil's Island (Boris Karloff) (Warner) Wrongly
sentenced to Devil's Island, great doctor endures
governor's brutality, saves and saves his daugh-
ter by operation. Still narrowly avoids guillo-
tine after escape-attempt fails ironically. Bes-
tial cruelty and hideous sufferings for thrills.
Karloff's acting chief merit. 1-31-39
(A) Depends on taste (Y) No (C) No
Duke ol West Point. The (Louis Haywood, Tom
Brown. R. Carls(m) (U.A.) Convincingactingand
direction, despite old plot and some stock devices,
give story of three "plebe" roommates genuine
quality. One, wrongly sentenced to "silence," takes
it manfully for comrade's sake and wins out.
Cadet ideals. Academy traditions ring true. 1-31-39
(A) Entertaining (Y) Excellent (C) Good
Friends (Russian-English titles) (Amkino) Bald
propaganda glorifying rise of Bolshevism in
1917, when Caucasian tribes were united by
able hero to triumph over Soviet enemies.
Some striking scenery, but lumbering nar-
rative, slow tempo, motionless close-ups and
endless "talk" clog action. 1-24-39
(A) Depends on taste (Y) No (C) No
Great Man Votes, The (John Barrymoref (RKO)
Distinctive, often engaging role by Barrymore
as former Harvard scholar, after wife's death
a drunken, but still pedantic night-watchman,
finally reformed by his two ultra-precocious
children and crude politics. Largely artificial,
unreal, and sometimes absurd. 1-24-39
(A) (Y) Mostly entertaining (C) Little interest
Gunga Din (C. Grant, McLaglen, Fairbanks
Jr.) (RKO) Excellent, picturesque thriller of
British army life in India, informative in sets.
costumes, customs and routine. But action
bristles with absurdities and burlesque heroics,
with actors striving to be boxoflSce attractions,
not British soldiers. 2-7-39
(A) (Y) Very good (C) Too strong
Homicide Squad (Bruce Cabot) (Columbia)
Lieutenant-detective-hero is "benched" for an
error, but quietly follows big junk-dealer-rack-
eteers shipping scrap to Orient, gets them and
saves his own Captain. Usual fists, guns, im-
perilled heroine, and hero's super-heroics be-
come unintentionally comic. 1-24-39
(A) Hardly (Y) No value (C) No
I Am a Criminal (J. Carroll, Martin Spellman)
(Monogram) Rich racketeer gambler is grad-
ually softened by engaging orphan newspaper
"pal," till he accepts his due punishment to
clear his record. Pleasing little theme marred
by dragging narrative and very amateurish act-
ing and direction. Boy role is chief merit. 2-7-39
(A) Hardly (Y) (C) Fair
Idiot's Delight (Norma Shearer. C. Gable ) ( MGM )
Elaborate screening of clever Sherwood play,
combining strong anti-war propaganda, whim-
Being the Combined Judgments of a National Committee on Current Theatrical Filmi
(A) Discriminating Adults (Y) Youth (C) Children
Date of mailing on weekly service is shown on each film.
sical character study, and rather thin comedy.
Over-prolonged "recognition" motif weakens
dramatic power. Splendidly acted. Technique
masterful. But will disappoint many. 2-7-39
(A) Very good of kind (Y) Doubtful (C) No
Illegal Traffic (Naish, M. Carlisle. Robert Pres-
ton) (Para) Fast, none too credible yarn or racket
within racket. Arch villain heads risky business
of transporting crooks to safety from law.
Ruthless, doublecrossing gangster falls at last
to police and special-agent hero (Preston).
1 Preston has promise). 1-17-39
(A) Hardly (Y) No (C) No
Jesse James (Power, Fonda. Nancy Kelly) (Fox)
Impressive, forceful story of notorious bandit's
lawless career interwoven with tragic married
life. Fine direction, acting. Technicolor, authen-
tic backsrrounds. Thrilling entertainment but
moral values very dubious. Whitewashes and
creates svmpathy for Jesse. 1-31-39
(A) Excellent of kind (Y) Dbt. effect (C) No
Kreutzer Sonata (French-English titles) (For-
eign Cinema Arts) Tense, sensuous, very con-
tinental tale of rich, philandering hero's ar-
dent romances and near tragic jealousy. Mar-
riage with fine heroine finally wins happiness.
Fairly well done, but lighting and sound poor.
Beethoven music a notable feature. 1-24-39
(A) Good of kind (Y) (C) By no means
Last Express, The (Kent Taylor, Dorothy Kent)
lUniv) Absurdly complicated mystery melodrama
of little dramatic merit but at least packed
with goings-on. Everybody chases everybody in
and out, and up and down. Cluttered with
clews, clowning, conflict and romance. One of
Crime Club series. 1-31-39
(A) Mediocre (Y) No value (C) No
Men of Ireland (Native cast) (Natl Irish Films)
Dublin medical studt-nt visits idyllic Blasket
is'ands. finds tangled romance with tragic end
for his friend and rival. Quaint primitive life,
wistfully played, with much human appeal
despite naive acting and direction, clumsy
narrative and obvious absurdities. 1-17-39
(A) Good of kind (Y) (C) Little interest
Mother's Lullaby (Beniamino Gigli) (Italian,
Eng. titles) Gigli's wonderful singing featured
throughout operatic stage story. Hero learns
his adored child is son of wife's former lover.
A shooting and more music solves all. Tech-
nically poor and sound reproduction quite
terrible. 1-31-39
(A) Depends on taste (Y) No (C) No
Mysterious Miss X (Michael Whalen, Mary Hart)
(Republic) Crude attempt at comic murder-mys-
tery piling one absurdity on another without
probability or sane motivation. Down-and-out
actors on road mistaken for great Scotland Yard
detectives. Irrelevant comedy, slapstick, horse-
plav, anything for a vacuous laugh. 1-31-39
(A) Absurd (Y) No value (C) No
Newsboys' Home (Jackie Cooper, and "Gang")
(Univ.) Country boy becomes "tops" in big city
home built for newspaper owner's newsboys.
who just eat, sleep, sell, and fight furiously.
Mismanagement and gangster competition
threaten paper but boys crash through to save
it. Lively, low-brow realism. 1-17-39
(A) Good of kind (Y) Probably amusing (C) No
Out West with the Hardy's (Mickey Rooney,
Lewis Stone) (MGM) Another good Hardy film.
Family jaunts West, father to help old friend's
legal troubles, Mickey to be shown up as ten-
derfoot. Mickey dominates whole, but he should
learn from Lewis Stone to drop mannerisms
when they become too pronounced. 1-24-39
(A) Good (Y) CO Very good
Ride a Crooked Mile (Tamiroff. F. Farmer, L.
Erikson) (Para) Largely artificial, futile melo-
dramatic concoction about a Cossack cattle
rustler and his son. with theme of conflicting
loyalties buried under much that is violent, un-
pleasant or merely absurd. Unsuccessful at-
tempt to build a vehicle for Tamiroff. 2-7-39
(A) and (Y) Poor (C) No
Sharpshooters (Brian Donlevy. Lynn Bari) (Fox)
Brazen, smartaleck American cameraman barges
into Europe, sneers at their ways, makes fools
of police, tricks crooks, outsmarts officials, re-
stores boy king to throne — practically single-
handed — with endless noise and blatant wise-
cracks. Sad advertising for America. 1-31-39
(A) Crude (Y) No (C) No
Smashing the Spy Ring (Ralph Bellamy, Regis
Toomey, Fay Wray) (Columbia) Rather good lit-
tle spy-melodrama, well acted, with consider-
able novelty, and without violence. Clever Wash-
ington operatives dn elaborate frame-up to
catch head of ring stealing airplane plans.
Adequate in thrills, suspense and climax. 1-31-39
(A) Depends un taste (Y) (C) Good Thriller
Son of Frankenstein (Rathbone. Karloff, Lugosi)
(Univ) Scientist-son of first Frankenstein re-
stores laboratory, brings monster back to life,
with grewsome consequences. Weird settings.
Misses mark as super spine-chiller, often amus-
ing in effort to ".^care". Good acting provides
chief interest. 1-17-39
(A) Hardly (Y) No value (C) No
Story of a Cheat. The (Written, produced, act-
ed, directed by Sacha Guitry ) (Gallic I Unique
tour-do-force in films. Guitry only speaker of
both dialog and commentary. English titles by
John Krskine. Clever, risque story of boy-to-
man career of enforced crookedness. Fine cast
acts silently. Guitry speaks. 1-10-39
(A) Very good of kind (Y) (C) By no means
Tail Spin (A. Faye. C. Bennett. N. Kelly)
(Fox) Novel, well-acted aviation drama with
girls as air heroines competing for prizes.
Slight but forceful plot. Entry of heiress
in race brings dismay to hard-working girl
flyers and tragic consequences for one. Tense,
exciting plane sequences. 2-7-39
(A) (Y) Fairly good (C) Too tragic
Tarnished Angel (Sally Filers, Lee Bowman)
(RKO ) Gambling - house - entertainer - heroine,
forced by detective to leave town, turns fake
evangelist and "converts" crowds with big fi-
nancial success. Finally believes her own gospel
and marries detective, her old nemesis. Sup-
posed expose of religious racketeering. 1-17-39
(A) Ordinary (Y) Doubtful value (C) No
Thanks for Everything (Haley, Oakie, Menjou)
(Fox) Lively, merry farco-comedy with involved,
unique plot, well directed and acted. Haley en-
gaging as contest winner duped and exploited
by "ad" agency to get average man's reaction
to various merchandise. Climaxed by highly
amusing war scare sequence. 1-17-39
(A) (Y) Entertaining (C) Probably amusing
The Frog (Noah Beery and all English Cast)
(GB) Slow-moving, ponderous thriller of unseen,
unknown master-mind, with designs on heroine,
building reign of terror that demoralizes police.
Heavily solved by Beery. Chief comedian, a po-
lice lieutenant, not nearly so funny as pro-
ducers obviously supposed. 12-20-38
(A) Mediocre (Y) Poor (C) No
The Lady Vanishes (M. Lockwood. P. Lucas)
(Gau. Brit.) Intriguing, human-interest spy-
thriller, deftly handled in tone, manner, con-
tent, and subtleties for intelligent enjoyment.
Pleasingly intricate, with suspense, surprise, and
comedy adequate. Plot, acting, directing very
satisfying, though quite un-Hollywood. 2-7-38
(A) Very good (Y) Good (C) If it interests
There's That Woman Again (Melvyn Douglas,
V. Bruce) (MGM) Breezy, sophisticated mys-
tery farce, mildly puzzling. Parts amusing,
but Bruce painfully distorts dumb wife role,
and some loose ends and prosaic solution
weaken story. Funny but highly suggestive
climax. Douglas deft as usual. 1-17-39
(A) Fair (Y) Sophisticated (C) No
Torchy Gets Her Man (Glenda Farrell. Barton
MacLane) (Warner) Rather good little puzzl.r
in "Torchv Blane" series, with no undue vio-
lence. Elusive forger poses as U. S. Secret
Service man until policeman hero gets him and
gang with help of Breezy little newspapoi-
fiancee and engaging police dog. l-lO-'i''
(A) (Y) (C) Good of kind
Western Jamboree (Gene Autry) (Republic 1
Elementary story of hero and villain both
after helium found on ranch. Usual good
riding, gun play and scenery, also nasal,
off-key singing, infantile comedy, dull ro-
mance, crude direction, and no acting talent
visible in whole cast. 2-7-'iO
(A) Stupid (Y) (C) Harmless but inaii.-
Zaza (Colbert. Marshall. Lahr. Westley) (Para)
Opens with dizzy tempo to show frantic tem-
perament and loose morals of common little
vaudeville heroine. Then real love for the stolid
Marshall, then disillusion and farewell. Best
efforts of good cast fail to transform the
antique very much. 1-24-39
(A) Good of kind (Y) Better Not (C) No
'3 1 m (C ATIOMAL
t Magazine Devoted Exclusively
(lithe Visual Idea in Education
MARCH. 1939
Public Library
Kansas City, Mo
Teachers Library
VOLUME XVIII. NUMBER 3
WHOLE NUMBER 170
The Old Oregon Trail
Paintinr by Kotwrt Wesley Amwk
Courtesy of Colonial Art Company
IN THIS ISSUE
The Administration of Visual
Aids in a City System
A Pupil Constructed Scenario
Evaluation of Still Picturn
for Instructional Use
Motion Pictures — Not for Theatret
25c A copy * $2.00 PER YEAR
INCREASE THE USEFULNESS
on uout Salopticon
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 variety of interesting, valuable
and convenient Balopticon Accessories to meet
specific teaching problems. They will help you
do a better job. They are fully described in
Catalog Ell which is yours for the asking. Write
for details to Bausch & Lomb Optical Co.,
688 St. Paul Street, Rochester, N. Y.
The B«L FILM PROJECTOR AT-
TACHMENT converts your lantern
slide Balopticon into a still iilm
projector.
The Bit MICRO-PROJECTOR AT-
TACHMENT when attached to a
Balopticon allows you to use
microscope slides for projection
material.
ADDITIONAL PROJECTION LENSES
enable you to obtain an image oi
the proper size even though you
must use your Balopticon at fixed
or limited projection distance.
A BALOPTICON TABLE provides
a substantial, convenient support
for ttie instrument. Saves time
and trouble.
BAUSCH &- LOMB
FOR VOUR EVES, INSIST ON BAUSCH « LOMB EYEWEAR, MADE FROM BAUSCH « LOMB
GLASS TO BAUSCH A LOMB HIGH STANDARDS OF PRECISION
^fiE EDUCATIONAL SCREEN
MARCH, 1939
VOLUME XVIII
Contents
The Administration of Visual Aids in a City System
Paul G. Edwards . .-.
A Pupil Constructed Scenario
Robert B. Nixon
Evaluation of Still Pictures for Instructional Use
Leiia Trolinger
Editorial'
Motion Pictures — Not for Theatres
Arthur Edwin Krows
Among Ourselves — Notes from and by
The Department of Visual Instruction
Conducted by The Editorial Committee.
The Federal Film
Conducted by Arch A. Mercey.
In and For the Classroom
Conducted by Wilber Emmert
Among the Magazines and Books
Conducted by The Staff
Current Film Releases
Film Estimates
Among the Producers
Here They Are! A Trade Directory of the Visual Field. ...
77
79
81
84
85
89
92
94
100
104
106
107
108
Th» EDUCATIONAL SCREEN published monthly except July and August by The
Educational Screen, Inc. Publication Office, Pontlac, Illinois; Eiecutive Office, 64
East Lake St., Chicago, Illinois. Entered at the Post Office at Pontiac, Illinois, as
Second Class Matter. Copyright, March. 1939, by The Educational Screen.
Address communications to Eiecutive Office, 64 East Lalie St., Chicago, III.
$2.00 a Yaar (Canada, $2.25; foraign, $3.00) Single Copies 25 cts.
NUMBER THREE
THE EDUCATIONAL SCREEN, Inc.
Directorate and Staff
Ne son L. Greene. Editor Jeitphlne Htflaiaii
Evelyn J. Baker F Oean McClMlar
Wilber Eniaerl SUnley R. Green*
Ann Gnle Slelt* Enlirn Mytn
Page 76 The Educational Screen
For Health and Physical
Education Directors
Keystone Units in Health and Safety
HEALTH
Posture 25 Lantern Slides
Skeletal and Muscular System 25 Lantern Slides
Digestive System 25 Lantern Slides
Circulation and Respiration 21 Lantern Slides
Special Senses 16 Lantern Slides
Teeth 25 Lantern Slides
Each unit is accompanied by a descriptive manual for the
teacher, prepared by F. W. Maroney, M.D., Associate Pro-
fessor of Physical Education and Instructor in Anatomy and
Physiology, Teachers College, Columbia University.
SAFETY
Safety on the Highway 30 Lantern Slides
Safety in the Home 30 Lantern Slides
Each unit is accompanied by a descriptive manual for the
teacher, prepared by Harry Barsantee, of The Travelers Insur-
ance Company, well-known authority on safety problems.
Any or all units will be sent to subscribers
to Educational Screen on ten days' approval
Keystone Vieiv Company
MEADVILLE, PENNA.
March, 19)9
Page 77
The Administration of Visual Aids in
a City System
A concise summary of the functioning of the
visual instruction bureau of a large city system.,
given at the Cleveland meeting of the De-
partment of Visual Instruction of the /V. E. A.
THE future of Visual Instruction lies in the ability
of the classroom teachers, directors of visual
instruction bureaus, film and projector manu-
facturers to work together to develop a program of
instruction suitable to and properly articulated with
the work of the classroom.
First, there must be someone to direct the work of
gathering a worth while film and slide collection and
make it available without unnecessary red tape. He
must know how to select films and slides from the
standpoints of quality and correlation. Schools require
high standards from publishers of text books and like-
wi.se should demand that material recorded by methods
other than the printing press be of similar high quality.
Inasmuch as a projector is required to make films and
slides usable, this director of visual aids must also
know something of the mechanics of the projection
to assure intelligent purchase and use.
Second, the manufacturer and producer of educational
films and slides must get together with school people
to learn more accurately and specifically what is needed
in a workable program. They can learn much from
studying the methods of text book publishers who have
had years of experience in developing the modem text
books suitable for classroom instruction.
Third, the projector manufacturers must learn that
inferior machinery', sold at a price, will do more to
defeat the long time program than possibly any other
factor in the industry. Projectors should produce a
brilliant, well defined, steady, flickerless picture on the
screen. Sound reproduction should be accurate and
cover a range from at least 50 cycles to 5000 cycles
without distortion at needed volume. All of these factors
can and should be instrument-measured by objective
tests.
Fourth, teachers must be trained to know what is
available and how to use the material correctly. This
means classes in teacher-training institutions both for
prospective teachers and teachers in service directed
by teachers who know what the work of visual instruc-
tion is all about and have had practical experience in
the field. These classes should include much more
than theoretical discussions.
With a correct program, proper materials, and trained
teachers, visual instruction can simplify the work of
teaching. Simplicity always increases eflfectiveness, and
effectiveness is a supreme end in American education.
UL G. EDWARDS
of VIsiifll Instruction
'lools
By PAUL &.
Director of Visual I
Chicago Public Sch<
The Chicago Public School System maintains 325
elementary school buildings, 37 high school buildings, 30
branch high schools, 30 special schools, 3 junior col-
leges and one teachers' training school. All of the
elementary and special schools have one or more
stereopticon lanterns and one or more silent 16mm pro-
jectors. Thirty elementary schools have 16mm sound
projectors. All of the high schools and colleges have
more than one stereopticon lantern, and several silent
and sound 16mm motion picture projectors. All of
this equipment is purchased through sealed bids by the
Board of Education upon recommendation by the Su-
perintendent of Schools who in turn calls upon the
Director of Visual Instruction for advice and council.
One of the difficulties connected with operating a
large city bureau is to get the films to the schools when
needed. In Chicago all elementary schools are handled
on a "Block Booking" basis. Five reels of films and
four sets of slides on assorted subjects are packed in
a shipping unit. The contents of this unit remain intact
during the school year and are listed inside the cover
of the heavy fiber shipping cases. The subjects in-
cluded cover geography, science, health, and children's
literature. Thirty-two schools are placed on a round-
robin shipping schedule, each school on the circuit
getting one shipment per week for thirty-two weeks.
Thus each school will receive a total of 160 reels of
films and 128 sets of slides per year. Ten such circuits
are now in operation.
At the beginning of the school year every school is
notified what shipping units they will receive, the con-
tents of each unit, and the shipping and pick-up dates.
These booking notices are placed on the bulletin board
in the office of the school so that teachers may know
far in advance what to expect and plan their work
accordingly. We have found that the flexible cur-
riculum of the elementary school adapts itself to this
booking plan and teachers like it better than any
other. Nothing disappoints or discourages a teacher
more than to make repeated requests for films and
slides only to have them denied because material is
not available. The "Block Booking" plan determines
a pre-arranged program for the school and we find that
it works to better advantage for all.
Material is never sent from school to school. While
on paper the round-robin may so indicate, we actually
bring the films and slides into our inspection depart-
ment after each school uses them and before they are
Page 78
The Educational Screen
sent forward. One fourth of this material is moved
on each of the days — Tuesday, \\'ednesday, Thursday,
and Friday.
The following chart shows how these shipping units
are programmed, each number indicating a given ship-
ping unit. It should be noted that the chart only
shows the shijjping day. The pick-up day is always
two school days previous to the date of shipment. This
permits one day for transportation and one day for in-
spection. The chart of course is only partial, but gives
the general idea.
September
find that the people ])repared to render the service
can do it better than we can ourselves. Our deliveries
leave the department at 8 A.M. and we have a receipt
for the delivered merchandise the same evening. Me-
chanical troubles, labor troubles, difficulty due to
weather, etc., are all borne by the hired delivery
company.
A constant running inventory of every piece of
equipment, on a separate card form for every film and
slide, is kept up to date and is never more than six
hours behind the shipping schedule.
October
School Name 13 14 | 15 16 20 | 21 22 23 27 28 | 29 30
1 4 1 5 1 6 1 7 1 11 '1 12] 13 14
11 2 1 ■ 3 ! 1
! 4 1 1 1 1 5 1 1
I 32 1 1 2 1
1 1 3 1 1 4 1
31 1 32 111
1112 1 1 3
1 ! 30 1 31 1 32
1 1 1 ! 1 1 1 2
II 29 1 30 1 1
|31| 1 1 132 1
1 |28 29 1 1
1 1 30 1 1 1 31 1
I 1 1 27 ; 28 1
1 1 I29| 1 |30
Portion of Chart Record on circulation of units to Elementary Schools
High school and college courses are not as flexible
as the work of the elementary school. Therefore all
films and slides are "Spot Booked" for use in these in-
stitutions. Each high school teacher orders directly
from our booking clerk. If the film required can be
booked within one week of the date requested the
booking is made and the teacher notified. If the booking
cannot be made within that time limit the request
is denied.
The booking record of each film for an entire year
is kept on a single folded form lying flat in a visible
file. This "film booking record" form holds also sep-
arate record of each duplicate of the film up to eight
copies. For films with more than eight duplicates a
second form is placed in the file. One twelfth of this
form — for a single month-;— for a film with eight copies
— is shown below :
All minor repairs on projection equipment are made
in the bureau. We have found that it is not practical
or economical to install a service bureau for major
repairs which require elaborate and expensive tools and
instruments. Once each year every projector receives
a thorough inspection, usually made during the summer
vacation period.
Practically all of the work of caring for records of
film showings in the schools, and the actual work of
projection, is done by crews of trained student oper-
ators. Our larger high schools have between 50 and 100
boys available in crews during their school periods
when they are not actually in class. The student
secretary on duty for a given period has the schedule
for the day before her each period and assigns these
operators to duty in the proper rooms. About 25 of
these students actually carry on the mechanical routine
Form for re-
cording Spot
Bookings to
High Schools.
BOARD OF
CITY OF
EDUCATION
CHICAGO
FILM
aooKi
NG
RECORD
ACME
22622-
61
c
)
z
3
4
5
6
7
8
9
10
11
12
13 1 14 1 15 1 16 ] 17 1 18 1 19
20
21
22
23
24
25
26
27
28
29
30
31
SEPT
EMBER
1
2
3
—
4
5
6
7
1
3
When this booking has been entered (merely by
writing the name of school on horizontal line under
proper date) the orders are filed by the name of the
school in chronological order. As each shipping day
arrives the orders for that day are assembled for the
day's shipment.
All deliveries are made by Package Delivery Service
at 25c per stop. We have found this cheaper and
more efficient than our own trucking service. The
delivery problem is a special business in itself and we
of visual instruction, thus leaving the teacher free to
teach the children and develop their best reactions to
the visual lesson.
Material for Pan American Day
Schools, colleges and universities, clubs, civic and
commercial associations, and the public generally,
observe Pan American Day, April 14, with appropriate
ceremonies. Suitable material for the use of groups
planning to present such programs may be secured free
from the Pan American Union, Washington. D. C.
I
March, 19}9
Page 79
A Pupil Constructed Scenario
I\ THJ{ icachinjj of Commercial Geography the
alert teacher will prepare a list of motion pic-
tures to be used tliiring the term to illustrate the
importance and processes of making the various
commodities studied by his classes. However,
(luring the past few years a better understanding
of the Tobacco industry has been denied to our
pupils since there is no such film to be had from
■'free" sources.
Kither the tobacco companies have ignored the
possibilities of explaining to the public the im-
portance of the industry to thousands of workers in
our country, or they have avoided trouble (in some
communities) which might arise by showing the
process of raising and making the "evil weed" into
the various products for which it has been found
useful.
We do find meager accounts of the industry in
texts, perhaps a few pictures to illustrate the pro-
cess of cultivation, and billboards everywhere are
covered with advertisements of the virtues of va-
rious packaged products. There are of course other
uses for tobacco besides that of pipe, cigarettes,
plug, etc. In addition, the crop has had an interest-
ing history, and its cultivation and preparation for
the consumer, be he a future smoker or sprayer
of plants, promises a profitable study for the pupil
interested in Commercial Geography.
Because we could not secure a film for the less
gifted pupils to see and learn in a visual manner
the steps in tobacco production, the teacher told
the class of tenth year Commercial Geography pu-
pils at Radnor High School that they would make
their own scenario. Perha]>s some company, seeing
what they, the pupils, thought should be told on the
screen, so that they might better understand this
industry, would make such a film possible for
future classes.
Preparation of Scenario
The teacher first explained liow a motion picture
was constructed. Each pupil prepared a synopsis
of what he had read about tobacco. From this
synopsis each pupil was to construct his scenario.
However, the pupils were given in class the rudi-
ments of scenario construction. They were told the
meaning of such terms as sub-title, dissolve in, fade
out, time lapse photography, long shot, panorama
shot, medium shot, close up, wipe off. montage, a
"still" which then becomes a motion picture scene,
lapse dissolve, transition shot, etc.
Pupils were warned that merely indicating the
Pri'Sftitiiif! in full lU'lail the procpdurp for
production of a contplptc uorkinf; scenario by
a High School class in Commercial Geography.
By ROBERT B. NIXON
Radnor High School, Wayne, Penna.
name of a scene was not describing the action to
be presented on the screen. They were also told
that a motion picture to be a motion picture must
have action in it. The camera was not to do the
moving as in so many weak educational ventures.
Because there might be use of graphs in the pic-
ture the pupils were instructed how these graphs
might be presented by animated drawings, as would
be the maps to show world distribution.
A period of class time was devoted to reading the
references and texts issued to pupils for use during
the term. They have a standard text which is is-
sued to all pupils, and there are five other texts
used as references. .Ml pupils do not have the same
reference text, but are given a list of names of pupils
in their class who have various texts which they
themselves may not have.
In addition a list of library references such as
encyclopedias etc., was given. These were read dur-
ing library periods or after school.
The pupils prepared an outline or synopsis at
home and polished it up during a class period, after
which they began to outline a method of attack for
making the picture itself (or scenario).
The class of sixty pupils was then divided into
committees. The basis for committees was that of
approach to the film. Some pupils used an his-
torical approach, other uses, some a story told by
a store keeper when a lady was purchasing cigar-
ettes, and still others the cultivation of the crop.
The committee chairmen volunteered to guide
their groups. There were fifteen groups, each con-
sisting of a chairman and three other pupils. The
members of committees were selected by the chair-
man, although each pupil had the right to say he
desired to work with that chairman. It was inter-
esting to note pupils of similar characteristics of
work grouped together.
After three days of working out a scenario by
each committee we were ready for a master scenario
to be constructed from the results of each com-
mittee. Each committee meml>er. while his com-
mittee was making its committee scenario, was
supposed to continue with his individual scenario
so that he would have material for presentation
to the committee in construction of the committee
scenario. It was in the committee meetings during
class periods where the arguments of presentation
were presented by various members. Each scene
before accepted was voted upon by the various
members. With the committee scenarios were
turned in the individual ones, for the teacher felt
Page 80
The Educational Screen
there would be scenes and ideas not even accepted
by the committees which might prove valuable in
making the master scenario. The teacher was right
in this supposition.
In making the master scenario each pupil had
before him his own, and the chairman held the
committee scenario. From this the final product
was evolved. Each pupil, as each scene was sug-
gested and the action described, was made to feel
that if he could prove his scene and action were
better, that he had a chance to have it included
instead of the one suggested by a committee chair-
man from the committee scenarios. One individual
had six scenes accepted at the very start of the
picture for all committees had failed to include them
in their work.
It should be said here that the class at the be-
ginning of their work decided upon whether they
wanted their ^'picture" to be a talkie or a silent
picture. The majority favored a silent version be-
cause their school is not equipped with talking pic-
ture equipment and in view of the fact that there
are more schools equipped for silent pictures and
not talking pictures the decision seemed quite
sound. However, pupils were told they could in-
clude dialogue or commentary with their scenes,
and also a musical background. To assist them in
selecting music appropriate for such a film a list of
musical compositions descriptive of the South was
made.
Fortunately, also, we had available two films
which showed the good and bad points of silent
pictures. One picture used too long and too many
sub-titles, plus too many technical details not
easily understood by high school pupils unless
shown step by step through animated diagrams.
The other film told its story through action on the
screen, and in such manner that it was easily under-
stood by the pupils. Sub-titles where used were
short and snappy, and few in number. Pupils in
reviewing these films were told to analyze them
with one thing constantly in mind: "Does the
action on the screen tell the story or do the sub-
titles tell the story?"
Here are the results of this cooperative effort
to make a scenario for a Tobacco movie.
SCENE ACTION SHOT
Sub-title: Hundreds of years ago tobacco was used by the Chinese.
1. Chinese Lord The mandarin is smoking a pipe long shot
in luxurious with some friends who are fade out
room. conversing. dissolve to
2. Chinese tobacco Chinese cultivating field of panorama
field tobacco
Sub-title: Later Columbus discovered the American Indians knew its
use.
3. Ships at sea Nina, Finta and Santa Maria long
sail into the foreground
4. Landing of Columbus getting down from long
Columbus ship into row boat
5. Meeting the exchanges greetings with long
Indians Indians who
6. Exchanging Gifts give him gifts in exchange for medium
trinkets. One of the gifts is
tobacco.
7. Columbus throws Columbus throws away the to- medium
tobacco overboard bacco upon return to the ship.
Sub-title: It remained for Monsieur Nicot, French Ambassador to Por-
tugal, to introduce "Madame Nicotine" to France.
8. Room in embassy Monsieur Nicot is giving in-
Nicot with structions to messenger to whom medium
messenger he entrusts a package
9. Messenger on
horseback
countryside
lO- Messenger at
border
Messenger riding thru country
side long
Messenger dismounts at border
to have passport examined and
continues journey ... A sign long
marked France indicates the
way he is headed.
Sub-title: But tobacco was not accepted by all. Its use meant fines, im-
prisonment, torture and death in some countries.
11. Penalty for A group of people read a public Transition
use of tobacco notice to the effect that tobacco shots
is prohibited. This furnishes
food for discussion. Some cross
themselves.
12. Penalties Man burned at stake
13. Penalties Man pelted with eggs and refuse
in stocks
14. Penalties Whipping Post
15. Penalties Hanging
Sub-title: Sir Walter Raleigh made tobacco respectable in England by
importing it from his Virginia Colony.
16. Sir Walter Sir Walter smoking with back long
Raleigh's to camera in large chair. Ser-
Sitting Boom vant enters from foreground,
seeing his master smoking"
hurries out and returns with
vessel of water which he throws
on master. Sir Walter rises and
remonstrates with servant who
shows embarrassment.
Svb-title : To-day the use and production of tobacco is world wide.
17. World Map At the appearance of World
Wide a wipe off starts and a
world map appears
18. World Map On the outline map names ap- long
animated pear in bold black type as area yet detailed
grows light gray. to allow
United States Brazil names of
British India Japan countries to
Russia Greece be read.
Java Turkey fade out
Madura Philippines dissolve in
Cuba, etc. to
19. Preparation of Man is carefully breaking up medium
soil for seedling lumps of soil in seedling bed in
bed. greenhouse
20. Sproutinglof Man takes bag, soaks in water, close ups
seeds fills bag with fine tobacco seed.
21. Each of these Close up of man's hands ex-
scenes, No. 19- amining sprouted seeds which he close up
20-21-22, are has removed from bag.
fade-out-dissolve-
in
22. Planting sprouted Plants seeds in seedling close up
seeds beds.
Sub-title: After sprouts have grown six inches high they are transplanted
to the fields.
23. Plowing fields Farmer completes plowing field long
with tractor
24. Transplanting Machine transplanting seedlings perambulator
Sub-title: Frequent cultivation kills weeds and breaks up soil. Spraying
kills insects which damage the leaves,
25. Cultivation Cultivator going thru rows of perambulator
tobacco close up of
work done by
machine
26. Spraying Sprayer spraying tobacco medium detail
Sub'title: Top flowers and side shoots are removed to send strength of
plant into the leaves.
27. Topping Top and side shoots removed by medium to
hand and knife close up
28. Testing for farmer tests tobacco leaves by close up
ripeness bending
29. Harvesting tobacco being cut by hand medium
30. Spearing man spearing tobacco leaves and long shot
hanging six plants on each lath
31. Collecting man loads laths on wagon, long shot
Wagon driven away.
Note: From scene 23 to scene 31 and all process scenes thereafter the
title of scene appears as a super-imposed sub-title in black letters
for a short time across a "still" of the scene showing operation.
Each scene doses as a fade out and appears as a dissolve in
with the "still" showing. This is to enable the pupil to have
time to get a good mental picture of the shot without motion.
Suh-title: Tobacco must be cured in well ventilated barns or sheds to
dry out or season.
32. Curing: interior Placing tobacco on racks in long shot
of sheds shed
33. Curing and Sea- men inspecting leaves for cur- perambulator
soning inspection ing and seasoning
34. Auctioning Auctioneer moving from one of- perambulator
tobacco fering to another ; buyers follow
and bidding
Super-imposed title: Auctioning tobacco to buyers.
35. Tobacco Com- panorama of storage houses for panorama
pany'slStore fermentation, etc.
Houses
(Concluded on page 98)
I
tAarch, 19)9
Page 81
Evaluation of Still Pictures for
Instructional Use
By LELIA TROLINGER
Secretary, Bureau of Visual Instruction
University of Colorado, Boulder, Colo.
This article discusses the basis of the study and
the method for developing the score card. April
and May articles will present the score card,
analysis thereof and tests conducted thereon.
THE lack of standards for evaluat-
ing various types of aids is a seri-
ous handicap in any program for im-
proving the training of teachers in methods
of use of visual aids. The comments,
questions, and references which constantly
occur when teachers discuss visual ma-
terial with a supervisor, an instructor, or
one in charge of a distributing center,
emphasize the need of more definite
standards.
A personal experience illustrates the
results which may and frequently do
happen when teachers are asked to evalu-
ate visual aids, if no criteria are provided
against which they may check various
qualities of the aid. A Unit Class in
Visual Aids was being given at Teachers
College, Columbia University. One day
before the class had begun the study of
pictures, the instructor distributed geo-
graphy textbooks. They were modern
texts, and were used merely because the
instructor had sufficient copies to furnish
identical books to each member of the
class. The class was asked to scan the
book hastily, then to select examples of
wliat to each individual seemed the best
and the poorest illustrations, judged from
the standpoint of teaching value. It just
hapi)ened that the picture which was
selected by both the writer and the in-
structor of the class (both of whom had
had considerable experience in the selec-
tion of pictures for instructional pur-
poses) as the poorest picture for class-
room use, was selected by two teachers
as the best. The picture was a street
scene in a foreign city — it might have
been any city in any country. There was
nothing characteristic about it, and there
was nothing in the picture which would
be new to any child who had ever seen
a city or even a large town. The instruc-
tor asked for the reasons for the selec-
tion, but when the teachers tried to
justify their choice, it was found that
there had been no analysis of the picture
whatever. This simple test was used by
that instructor to demonstrate to the
class that teachers need standards for
judging pictures which they mean to
ii.ie for instructional purposes.
The surprising thing about this case
was that the class was composed of a
rather superior group of teachers, for
the most part graduate students. All the
members of the class were teachers who
might be expected to have had actual
experience in selecting and using pictures
in the classroom. This particular instance
is just one of the many similar cases
which visual instruction supervisors en-
counter when teachers or students are
asked to evaluate visual aids for specific
classroom situations. Future progress in
the field of visual instruction will be
greatly augmented if standards of demon-
strated value to teachers in the selection
of visual aids can be established. This
study is an attempt to furnish such stand-
ards for use in evaluating the still picture.
In any problem, certain facts are usually
taken for granted. This study is based on
three assumptions, namely, (1) pic-
tures are valuable aids to learning; (2)
teachers need and do not have adequate
standards for judging the value of pic-
tures for instructional purposes; and (3)
the combined judgments of a group of
experts in the field of vistial instruction
constitute the best criteria for standards
Editor's Note — We are pleased to
be able to present this outstanding
study of picture evaluation, made
in connection with graduate
courses at Columbia University.
This, and two following install-
ments in April and May, offer a
partial printing of the study. The
complete reprint, to appear about
June 1st, will include also the
entire thesis material, with lists,
tables, bibliographies, appendices,
and all pictures actually used in
the investigation.
of evaluation tliat are at present available.
If the first assumption is incorrect
basically, most of the modern educators
are wrong. Teachers and textbook
writers alike give pictures an important
place in all visual -sensory aids. Because
of the cost, many textbooks do not have
as many pictures as some teachers find
desirable, but modern texts have many
more illustrations than those of a gen-
eration ago, and in most cases the quality
of the illustrations has improved. The
weight of evidence supports the validity
of the first assumption.
The best evidence of the truth of tlie
se»:ond assumption is the reaction of
teachers themselves. As has been pre-
viously mentioned, few authors have sug-
gested definite standards for judging pic.
tures, either in books on visual instruc-
tion or in subject-matter texts for teach-
ers' training. In the first part of the
experiment, teachers were asked to grade
a group of pictures which was referred
to a particular unit for the third grade,
and no score card was provided. Again
and again teachers would ask, "How are
we to grade them?" "On what are we to
base our judgment?" "What are we to
look for?" Since the experiment was
aimed at that point — to test for stand-
ards, if any — the only instruction possible
was to use their own judgment. In the
second part of the experiment when the
score card was included with the pictures
and returned to the teachers for a second
evaluation, the concrete suggestions
seemed to give assurance and confidence.
Numbers of teachers remarked at the end
of the test that the score cards helped
them greatly and asked permission to
keep the copy of the score card for their
own assistance later.
The experiment which followed the
construction of the score card was an
attempt to discover the truth of the third
assumption, i.e., that the combined judg-
ments of a group of experts who are de-
voting their time to the problems of visual
instruction constitute the best criteria
for standards for evaluating pictures for
instructional purposes at present avail-
able.
The Outline of the Study
(a) The Score Card.
The investigation logically fell into two
parts. The first part was the construc-
tion of a score card. As a preliminary to
the construction, a survey of all the liter-
ature on the subject was made. Standards
which were suggested or implied for the
evaluation of pictures for instructional
use were collected ; duplications were eli-
minated ; new criteria were added ; and
terms were defined. A tentative list of
desirable qualities or characteristics re-
sulted from this survey. A group of ex-
perts,* hereafter called judges, consented
to assist in assigning values to the quali-
ties listed and add others which the group
of judges felt should be included. While
the standards of one person might arouse
criticism, the combination of judgments
*List will appear in the complete re-
print (June).
Page 82
The Educational Screen
of a large group of men and women who
are studying the problems of visual in-
struction represents the best opinions at
present available for evaluating pictures.
The collection of numerical judgments
for the score card was made by means
of a questionnaire. (It might be ex-
plained here parenthetically that the term,
"scale," was loosely used both during
the collection of the data and during the
experiment. Because of the explanations,
the word was not misconstrued, but in
the report, instead of "scale" which con-
notes equal step intervals, the term was
changed to the more accurate word, score
card.)
Since an experiment was planned to
follow the construction of the score card,
it was decided to arrange the standards
in a form with numerical values. The
numerical values were included for two
reasons, first, to show comparison of im-
portance of different qualities of a pic-
ture when a careful analysis is needed,
and second, to make statistical computa-
tion possible. Looking ahead a bit, it
is the opinion of the writer that most
teachers will use the score card as a
check list more often than as a means of
actually setting up a numerical estimate
of a picture which is being considered.
For most teachers this will be the wiser
plan. Whether one quality is judged to
be of greater value than another by a
few points is not so important in most
cases and to most teachers as to know
that these several qualities are of value
and contribute to the sum total of what
is known as a good picture.
(6) Experiment to Test Value of the
Score Card.
The experiment to check the value of
the score card constitutes the second part
of the study. The experiment might
have taken either of two forms. A test,
to see if pictures which rate high by the
criteria were more effective in pupil
learning than those pictures which rate
low, would be interesting; or a study
with teachers to determine whether or
not the criteria were helpful in distin-
guishing between good and poor pictures
was another alternate. Since the selection
of pictures by teachers usually precedes
the use in class, and since the writer at
present is more interested in teacher-
training than in the classroom exercises,
the second possibility of the experiment
was chosen. An attempt was made to
test the score card for actual value to
teachers in training, teachers in service,
teachers who have had training in
methods of use of visual aids either
through a course or under a director,
and teachers who have had no guidance
whatever.
Specifically, the experimental check de-
cided upon was a comparison of grade
values given by teachers and students to
a selected group of pictures, referred to
a designated unit of study, first without
the score card, and then later with the
score card, in order to see if the grades
given the pictures with the score card ap-
proached the evaluation given by the
judges to the same pictures more con-
sistently than they did without it.
The Score Card
1. The Source of Criteria For the Ten-
tative Score Card
Many experiments have been made and
have been reported upon which have
made use of visual aids, but most of these
experiments have dealt with motion pic-
tures or lantern slides. Very few have
been devoted to the pictures which are
used daily on the study table, in the
opaque projector, or found in the text.
A comprehensive study was made of all
the literature available to check direct
or implied standards to be used in judg-
ing pictures before the present study was
begun. After the study was practically
completed, for the personal .satisfaction
it offered, a check was made with the
digest published in 1936 by Dr. Fannie
W. Dunn and Miss Etta Schneider in
their book, "Teacher Preparation In
Visual Instruction." It was found that in
addition to many books and articles which
had not been reviewed in their book, be-
tween seventy-five or eighty per cent of
tliose reviewed had either been read while
the study was in preparation, or before,
and that the findings of several not
counted, were known through previous
reviews and reports. This is mentioned
merely to indicate something of the
search which was made for data to in-
corporate in the group of standards of
this study.
Since many well-informed educators
contend that visual instruction should not
f)e taught as a thing apart, but rather as
a part of the subject-matter where it is
to be used, the investigation was not
limited to articles and books under the
direct caption of visual instruction. Vari-
ous subject-matter texts, prepared for
use in teacher-training, were examined.
A few. principally in geography, de-
voted a chapter or an occasional para-
graph to the use of pictures. Standards
for future guidance for the teachers in
most cases were so vague as to be
negligible.
2. Classification of Criteria
.-\ftcr the survey of the current litera-
ture on visual instructiton, related litera-
ture which might make a contribution,
class discussion, and a consideration of
the standards proposed by various
authors, the qualities which are desirable
for a picture for instructional purposes
seemed to fall into two rather clear-cut
groups. Technical and Instructional. Un-
der Technical were listed qualities de-
signated as "artistic," "clear and definite,"
"free from blemishes," "of practical size,"
and "properly colored" ; under Instruc-
tional were listed "truthful," "authentic,"
"relevant," "significant," "stimulative."
and "suggestive of size." These terms
ar-e for the most part self-explanatory,
but to avoid any possible misunderstand-
ing, pertinent questions or statements
were listed as illustrations of the mean-
ing. .A more complete discussion of the
terms used follows later in the chapter
with the completed score card. Different
terminology was frequently used, but in
most cases, it was possible to combine.
group, and re-state the qualities or char-
acteristics witliout much over-lapping.
Finally a preliminary questionnaire
which included most of the above quali-
ties was sent to fifteen recognized educa-
tional leaders in visual instruction. One
of those had died a few weeks before
the letter was sent, but of the others,
eight replied with helpful suggestions for
improving the questionnaire before it was
written in its final form. .All the replies
indicated agreement wi;h the general
division of the qualities. Several addi-
tions were suggested to further define tlie
terms used in the subdivision. As fully
as possible, the.se suggestions were incor-
porated in the later questionnaire from
which the values for the score card were
derived.
.5. .Selection of the Jndcies
The final questionnaires were sent to
a group of visual exports throughout
the United States. In order to make the
list as objective as possible, the selection
(if names was based on the Visual In-
struction Directory of the Department
of Visual Instruction of the National
Education Association, 19J3, the latest
directory when this part of the study
was being done. Questionnaires were
mailed to all officers of the Department
of Visual Instruction of the National
Education Association, 1934-1935, to all
officials in charge of State Visual In-
struction Service, to all officials in charge
of city or county departments of visual
instruction in cities of 200,000 popula-
tion or more, where one person was
designated as being in charge. Persons
in these positions who are giving their
full time, at least in most cases, to prob-
lems of visual instruction, form a group
of experts, if such a group can be said
to exist in a relatively new field.
4. The Questionnaire
The questionnaires in addition to other
information requested, and a short para-
graph relative to the proposed problem,
included the various qualities under biith
the headings of Technical and Instruc-
tional with descriptive questions and
statements. For convenience a total of
one hundred points was taken as the
basis of the distribution of points for the
various characteristics. Tho,se com-
jileting the questionnaire for the con-
struction of the score card were asked
first to apportion the hundred points be-
tween the two general classifications.
Technical Quality and Instructional Qual-
ity. Then those points in each class were
further apportioned to specific qualities
under those two heads. The division,
40-60, forty points for Technical Qual-
ity and the sixty for Insiructiinal Qual-
ity, represents the mean values assigned
by the judges who returned the com-
pleted questionnaires. The variation in
values assigned to specific qualities was
nuich greater than it was in the division
of points between Technical and Instruc-
tional qualities. Some qualities may not
have Ijeen completely understood despite
the explanatory questions, but that could
hardly have been responsible for all thu
difference. There is considerable over-
\farch, 19}9
lappmn in some of the ()ualities listed.
That may have caused some of the
fliflfcrence of opinion. Men and women
who go into a new tield usually have a
hackKroimd of some specific subject-
matter only partially related to the new
one. A Mian who has stiulicd or taught
science may Uxik lor somewhat diflterent
qualities in a picture from those looked
for hy one who lias spe(ialize<l in geog-
raphy, or history. .Mso many who are
working in this field of education are
working more with motion pictures than
with still pictures, and that may have
inlluenced some of the opinions. How-
ever, a score derived from the group is
as tiearly reliable as it would be possible
to secure at present. The mean of the
individual scores was taken as the
measure of central tendency and used on
the score card. The modes and medians
were als4) computed and were found to
agree very closely with the values of the
means which were assigned in the ques-
tionnaire.
(Juestionnaircs sent :
To national officers 2
To state officials 36
To city and county officials. . . .29
Total — 67
tjnestioimaire returns :
Not returned 30
Returned unopened-
individual moved 1
Returned too late to be used.. 1
Returned but inadequate
for statistical purposes S
Returned satisfactorily
completed 30
Total — 67
Of the usable questionnaires:
Twenty-seven indicated a felt need for
some such score card.
Two indicated no need fone of these
stated that judging pictures is the
business of the supervisors, not
teachers' business, failing to realize
that probably many more pictures
are used in schools with no super-
vision than where there are su-
pervisors).
One did not check this point.
.Ml thirty indicated the two divisions.
Technical and Instruclional, were
satisfactory.
Of the five questionnaires w-hich were
not usable because of lack of complete
data:
Four indicated a felt need for some
such score card.
Three indicated the two divisions of
qualities were satisfactory.
One indicated this division satisfactory
with some reservations.
One suggested a check list rather than
a scale (the term first used).
Four agreed to assist in an experiment
by grading a group of pictures
themselves.
Three agreed also to assist by having
their pupils grade the pictures in ad-
dition to their own grading.
There was considerable variation in
the distribution of points for each quality
under discussion. .^ complete summary
of these evaluations is given in the fol-
'•>wing tables:
DISTRIBUTION OF POINTS BY THIRTY JUDGES
Judge
I
2
3
4
5
6
7
8
9
10
II
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
Artistic
15
10
10
2
10
5
5
10
7
15
20
10
12
10
7
10
10
10
10
15
7^
10
8
15
5
30
15
12
15
10
TECIIMCAL
Clear and
Definite
5
10
25
8
5
15
12
15
7
10
10
10
10
10
10
30
10
10
15
5
10
10
8
5
15
5
10
7
10
10
QUALITY
Free From
Blemishes
5
0
0
2
5
5
1
4
5
5
5
5
5
10
2
2
8
10
5
5
5
5
8
5
2
5
5
7
10
5
Of Practical
Size
10
10
5
4
10
4
2
13
4
5
10
5
8
10
7
2
10
10
5
5
5
10
8
15
6
5
5
7
10
10
Page 83
Properly
Colored
S
10
10
4
5
1
10
8
7
5
5
10
5
0
4
6
12
10
5
10
2^
5
8
10
2
5
5
7
5
5
Total
my.
i22
140
220
186^
Mean
11.01
10.73
4.86
7.33
622
(Approx.)
11
11
5
7
6
Sigma
5.1
5.3
5.2
3.1
2.7
INSTRUCTIONAL QUALITY
Suggestive
Judge Truthful
Authentic
Relevant
Significant Stimulative
Of Size
1
15
0
10
15
15
5
2
15
0
15
15
10
5
3
25
0
0
10
10
5
4
30
5
10
10
15
10
5
15
10
10
10
15
5
6
30
10
10
10
5
5
7
1*
10
25
12
20
2
8
9
9
8
8
8
8
9
12
12
12
12
12
10
10
15
10
10
10
10
5
11
10
10
10
5
10
5
12
10
5
10
10
20
S
13
10
10
15
10
7
8
14
10
15
10
10
10
5
15
20
5
10
8
15
12
16
30
10
4
4
1
1
17
8
7
10
9
8
8
18
8 1/3
8 1/3
8 1/3
8 1/3
8 1/3
8 1/3
19
10
10
10
10
10
10
20
S
IS
10
10
15
5
21
IS
20
20
0
10
5
22
8
8
10
IS
15
4
23
14
11
11
11
11
2
24
15
3 1/2
10
10
10
1 1/2
25
30
7
3
10
15
5
26
10
5
10
10
10
5
27
30
10
0**
5
10
S
28
8
10
16
8
12
6
29
6
7
12
7
10
8
30
15
7
15
8
10
5
Total 439 1/3
Mean 14.64
(Approx.) IS
Sigma 8.1
* Note added to the
is substituted for
249 5/6
8.33
8
4.3
314 1/3
10.48
11
4.7
280 1/3
9.34
9
2.5
337 1/3
1124
11
4.0
173 5/6
5.79
6
2.4
effect that this can be determined only by experts — "Authentic"
"Truthful."
•♦Note added to the effect that best picture in the world is irrelevant if used when
foreign subject is being discussed.
Page 84
EDITORIAL
The Educational Screen
Alfred J. Sloan Foundation and Department of Visual Instruction
THERE has now been a national organization for
visual instruction in continuous existence for
twenty years. In November, 1919 the National
Academy of Visual Instruction was born at Madison,
Wisconsin. The writer was there, and has attended or
studied the proceedings of every meeting since. The
merger of the Academy and the Department of Visual
Instruction of the National Education Association in
1932 made for continuation but little immediate change.
Meetings continued to be small family-circle talkfests,
with veteran members discussing ideas, methods and
doctrines long familiar to their equally veteran audi-
ence. The habitual resolutions passed, committees ap-
pointed, elections held, and printed "Proceedings"
wishfully suggested, the group adjourned for a six
months Departmental hibernation. No "Proceedings"
ever being printed, resultant values of the meeting be-
came a secret possession of the Corporal's guard pres-
ent.
Yet the achievement of the first fifteen of those
twenty years in keeping alight the vestal flame cannot
be belittled. It was the sturdy devotion of those pioneer
leaders in the field, staunchly maintaining their mem-
bership and participation in the meetings — most of
whom are still with us and are still leaders — that built
vigor and tenacity into the Department which preserved
it as a vital nucleus for real growth when the time
for growth should come. It came.
Some five years ago the field's development had
made possible real Departmental growth. Addresses
and proceedings were reprinted in this magazine, giv-
ing a reading audience a hundred fold greater than the
listening audience. Membership rose to four, five, and
now six times the first-fifteen-year average. The De-
partment came to include, within its membership and
by intimate contacts outside, the talent, judgment and
authority in matters visual to qualify it for construc-
tive as well as discussive functions. It was ready to
produce values, not merely argue them, when oppor-
tunity should come. It came.
Recently the Alfred J. Sloan Foundation reached a de-
cision which can be epochal for the visual field, namely,
to make financially possible the production of serious
educational films. It searched for a proper educational
group to cooperate and sponsor the work, oflfering ideal
terms for division of authority and responsibility, and
finally chose the Department of Visual Instruction.
As the first move the Foundation produced
an experimental film, "The Challenge" — one of a
planned series of ten one-reel films on Economics — and
asked that a Departmental Committee, approved by ihe
Executive Committee, test its worth from every edu-
cational angle as the Department's first share in the
proposed cooperation. The Committee acted, reported
favorably to the Department in session at Cleveland,
showed the film, and asked the Department's reaction.
Then occurred the supreme absurdity of our tzvcnty
long years. I
The Department had the long-awaited chance to ac-
cept with open arms cooperation with a great Founda-
tion already eminent for its service to our national wel-
fare, in constructive work for the field. Probably 99%
of our membership would have voted an enthusiastic
"yes" on the proposition. But one or two voices at the
meeting, raised in misunderstanding protest, managed
to confuse and temporarily shelve the whole issue. The
"questions" they raised were specifically answered in
the Committee's report, in the film itself, and especial-
ly in the carefully annotated manual accompanying the
film — had they listened, looked and read. Incredibly
enough they saw fit also to cast doubt on the motives
and good faith of the Alfred J. Sloan Foundation !
It was a pitiful performance. We need but recall that
practically no private school, college or university, no
educational, scientific or social enterprise of magnitude,
ever started in this country without commercial funds
for the start and often for the continuance. We need only
think of Foundation names like Carnegie, Rockefeller,
Rosenwald, Wiebolt, and others, and what they have
meant in libraries, universities, museums, observatories,
and in priceless research and service in scholastic,
scientific, medical, and social fields. And now another
name, Sloan— first of the Foundations to contemplate
a systematic, long-term financing of educational
films — offers to make possible immeasurable values for
the visual field, ofifers us a share in the sort of creative
work we have dreamed of for twenty long years — ^and
we hesitate 1 No, not "we" but two or three of us ! To
the Sloan Foundation and to ourselves, we owe an em-
phatic rectification of the Cleveland fiasco, perhaps by
a complete and sweepingly unanimous vote by the
whole membership to give this splendid proposition the
answer it deserves.
The National Film
THE word "national" seems justified. Scarcely
two months old, the Film Evaluation Project has
enlisted over 400 teachers in 32 States, with many
more immediate prospects. The influx of returning
cards has begun and increases daily. With a guide
card made for each film as the first score card there-
on comes in, some 300 guides already stand in file
and duplications are just beginning. Prediction is fu-
tile, but value and significance seem assured.
Evaluation Project
Many are eager to "learn the results." We fully
share their eagerness. But we must bear in mind that
lime is the essence of success in such work. One
teacher's opinion on one film is meaningless. Three
or four opinions can mean little more. Only multiple
judgments, averaged, can be significant and we as-
sure the field that it will be informed of significant
results as fast as they are achieved.
March, 19)9
Page 85
Motion Pictures —
Not For Theatres
By ARTHUR EDWIN KROWS
Editor of "The Spur," New York City
Part Seven — being principally the story
of Community Motion Picture Bureau, which
arose in 1917 to meet constructive enter-
tainment needs of Allied nations at war.
Slcnal Corpt A.E.F. Photo
Former recreation hall of Krnpp employees at Sayn, near Cob-
lentz, Germany, used to show films to American Soldiers when
Commnnity contracted to supply the Rhine Army of Occupation.
IN the fall of 1917 the Lubin Company
failed. The plant at Betzwood and
all of the pictures it owned were
placed on the auction block. The
Y.M.C.A. heard of the situation, obtained
an appropriation from the American Red
Cross, and bought in the Lubin library
at a dollar a reel. It was the organiza-
tion's first large stock of films. Some
say that the Y.M.C.A. was made aware
of the opportunity by an Iowa State
College professor, who had produced
some of those interesting studies of the
oyster and the crab for Lubin — Dr.
Maurice Ricker, who was then living in
New York producing more natural hi»-
tory films of the same type.
Some of these later reels Ricker sold
to no less a person than Charles Urban.
Ricker was assisted in the production
by a young Englishman who lived with
him, Walter A. Yorke. Yorke, stirred
by Ricker's enthusiasm, wished to enter
the business more importantly ; so, when
the Y.M.C.A. sought a man to inspect
and classify the Lubin reels, Ricker rec-
ommended Yorke, and Yorke was
promptly taken on. In the meantime
Ricker, himself, was sent abroad to or-
ganize the Y.M.C.A. exhibition circuit
there.
The really weak link in the World
War motion picture service, at first, was
that there was no adequate censorship
of the films poured generously into the
camps and cantonments by a patriotic
industry. Of course, as long as Uncle
Sam remained at peace, there could be
no such regulation, save by individual na-
tions. But, now that war was the order
of the day. Uncle Sam created a sort
of clearing-house for films to be shown
to the armies and navies of the Allies.
In this country, it was called the Com-
munity Motion Picture Service and, in
Great Britain, Community Service, Ltd.
Community Sesvice
The Community Motion Picture Bu-
reau, as it became known then to those
obliged to stay at home, had rather
a Cinderella start. Only a year or so
before, it had been the inconspicuous
name on a door leading to a couple of
offices in Boston, in a building near
Copley Square.
Presiding there was a young man, in
his early thirties, who had dreamed of
a peaceable non-theatrical distribution
for his own profit ; and I am quite sure
that he was not then proving his point
very well for the simple reason that
probably nobody whatever at that time
could have done it by that means. His
struggling film service bureau supplied
no actual films. He was just a broker.
He merely advised on "planned" non-
theatrical programs, leaving the physical
handling to those who actually had the
films and acted on his order. Fortunately,
this young man — Warren Dunham Foster
was his name — did not depend for his
income wholly on this enterprise. For
seven years he had been one of the
editors of The Youth's Companion. Be-
fore that he had been a newspaperman
in Chicago, and an instructor in English
at Iowa State College.
But, while in his little Boston hide-
away, Foster conceived the idea of de-
veloping the wartime picture work of
the International Y.M.C.A. under his
own direction. Being in New York
shortly thereafter, he went into the City
Qub and, on two or three pages of note-
paper, hastily drafted a proposal to
supply the International Y.M.C.A. with
all the pictures needed. The work was
to be done at cost, including Foster's
own salary. To be sure, the Y.M.C.A.
had had a slight apprenticeship in pro-
viding films for the soldiers during the
late Mexican trouble; but now the of-
ficials were literally swamped by the
terrific, unprecedented demands of world-
wide war service — and Foster had ap-
peared, almost providentially, it seemed,
to relieve them of a sizeable mass of
troublesome detail. Consequently, they
signed his proposal at once and rather
off hand.
Able now to draw money on vouchers
as needed, Foster began to build his
organization. Unused to the physical
handling of films, he engaged Henry
Bollman as one who could care for that
phase. Bollman had lately graduated from
Harvard and had attended the New
England Conservatory of Music in Bos-
ton, and, by virtue of that training, was
then in New York, occupied in writing
cued scores for Becker, the musical
director for Fox Films, and in engaging
men for the Fox theatre orchestras.
It now became practicable for the
Community Motion Picture Bureau to
remove to New York, Foster opening
offices at 71 West 23rd Street, the Ma-
sonic Temple Building. The Y.M.C.A.
backing, both money and influence, en-
abled him to begin large scale operations
at once. As to obtaining pictures, he was
authorized, through the Y.M.C.A. for the
Government, to draw upon the theatrical
exchanges. And then it was simple enough
to spread word that he was in the
market for supplies from other quarters.
Then; were many concentrated stocks
lying idle, to be had just as cheaply
as the Lubin library had been taken
over.
The matter of censoring collected ma-
terial being another vital consideration,
he summoned his mother, Mrs. Edith
Dunham Foster, a truly remarkable
woman, and made her chief editor. His
father was brought in, too; but the
old gentleman was, all and all, rather a
vague figure on the scene, making need-
ful speeches now and then on the char-
acter of the work, but otherwise not
nearly as active as the other members
of his family. Then there was an effi-
cient and personable young woman named
Gladys Whitehill. She found a formid-
able job alvaiting her as secretary and
volunteer-at-large.
Henry Bollman was with the organi-
zation only briefly at first, just long
enough to institute a routine in handling
reels. Then he enlisted in the Army,
became a first lieutenant, and went to
France. He was there for a year. Re-
turning intact, he was reengaged by
Foster and placed in charge of the Navy
section, the function of which was to
purvey entertainment films to about a
hundred ships. It was after that that
he added the romantic touch to the
enterprise by persuading the comely Miss
Whitehill to become Mrs. Bollman.
Together these two subsequently wrote
Motion Pictures for Community Needs,
one of the first, sizable books on non
theatricals — the "community" of the
title being in the general sense, and not
referring to Community Motion Pictures
Bureau.
Also prominent among the aides was
Forrest Izard. He had served with
Page 86
The Educational Screen
William Horton Foster's chief
importance to Community was his
platform eloquence in attesting ac-
complishments of his wife and son.
Foster as a staff writer on The Youth's
Companion in Boston. Apart from con-
siderations of friendship, there was ex-
cellent reason to believe that he was a
competent judge of dramatic values. A
well-received book of his, Heroines of
the Modern Stage, had been published in
1915 in a series of which Foster was
the general editor ; and when Izard was
summoned to New York, he left a happy,
enviable place as assistant to H. T. P.,
celebrated dramatic and musical critic
of the Boston Transcript. Mr. Parker
would not have had Mr. Izard there had
Mr. Izard been unable to deliver.
The Fosters coaxed and cajoled and
possibly browbeat theatrical producers,
industrialists, and many others who had
made motion pictures, into donating
prints for the great war service. Those
who simply could not give were per-
suaded, as a patriotic duty, to part with
prints at cost — and the laboratories made
Community special rates to reduce that.
No doubt, as the inevitable detractors
said, the Fosters acquired large stocks
of useless material ; but that criticism
might be directed against any group
undertaking work on so vast a scale and
in such an emergency. Besides, such
opinion is no part of this history. For
these pages it may be set down, rather,
that heavy buying by the Fosters enabled
many a little non-theatrical producer
who could not otherwise dispose of his
earnest work at any price, to survive for
better things.
Most of Mrs. Foster's editorial work
was to sit in judgment on the newly-
received films, cutting out all the pretty
ladies, drinking scenes, naughty titles
and similar slips which might demoralize
the soldiers in the trenches. Reporting
to her, for her guidance, were division
workers of the Bureau and of the
Y. M. C. A., stationed at many strategic
points over the United States and in
Europe. But whenever she had a batch
of films satisfactory to herself, she was
able to unload the responsibility on a
committee of ladies and gentlemen who
represented expert knowledge on as many
channels of specialized picture exhibition.
It was known as the Motion Picture
Division of the War Work Council of
the Y.M.C.A.
Working With Thk Fosters
On this committee was Mrs. Elizabeth
Richey Dessez. For George Kleine she
just lately had been promoting church
and school support of Edison's "Conquest
Pictures," which was the name of Edi-
son's theatrical "family program." And,
if this was not recommendation enough,
one might point to the fact that she had
attracted Kleine's attention originally by
her marked success as a pioneer in de-
veloping Saturday morning movie mati-
nees for children.
One of the still more active members
of the committee was George J. Zeh-
rung, a young Ohioan destined heavily
to influence the later shaping of the non-
theatrical field. Zehrung represented the
Y.M.C.A. International Committee, which
he had joined in 1916 after thirteen years
spent as an instructor in fine and manual
arts in the New York City schools. When
he first came to the Y.M.C.A. he had
been in charge of the stereoptican slides
for .Association centers ; and then he per-
sonally drew posters and charts for the
entertainment programs. His presence
on this particular committee indicated
When Opportunity knocked, Warren
Dunham Foster was ready. His Com-
munity Motion Picture Bureau was the
most striking non-theatrical manifest-
ation of wartime, from 1917 to 1921.
that, despite the great new activity of
Community, the Y.M.C.A. Motion Pic-
ture Bureau had not gone out of exist-
ence. The Fosters were engaged pri-
marily in caring for the army and navy
aspects ; and the Y.M.C.A., therefore,
had plenty of other deserving non-com-
batant groups to be cheered and educated.
At the New York headquarters of the
Y. M. C. A. Bureau which, for most of
the war period was on upper Seventh
Avenue, was Dr. Ricker's young friend
Walter Yorke, who also was destined to
become well-known in the field. Laboring
efficiently, in his modest way, Yorke was
doing menial operations — although, as a
matter of fact, even while he then carried
reel cans, patched and rewound films and
scraped off old labels, he was better in-
formed on what constituted theatrical
effectiveness than most of those who gave
him orders.
The truth was that Walter Yorke was
deliberately, and with characteristic thor-
oughness, learning the business from the
Ijottom upward. The Y. M. C. A. opening
had been found for him by his good
friend Dr. Ricker ; but probably nobody
else tlicrcabouts dreamed that Walter
Yorke liad a larger background in the
entertainment field. He had been an
actor. In a team, the other member of
which had been the present British screen
star, Percy Marmont, he had barnstormed
the English provinces, one of the most
positive schoolings in modern histrionics.
Marmont had come to .America at about
the same time as Yorke did, had found
an opening at old Vitagraph and, about
192.S, had lieconie a star in his own riglit
in that organization. By then, as has been
seen, Yorke had found his future in
another phase of the business.
Maurice Ricker, representing the Y.
M. C. A. service abroad, had accom-
plished much since he had first arrived
on his European mission. Now he was
recalled by the International Y. M. C. .\.
and placed in charge of the War Work
Council filtn work handling the Allied
Armies and Prisoners of War reels —
the Fosters had only the American .Army
and Navy services to consider. Foster
probably had known Ricker earlier, be-
cause Ricker came from Iowa State
College and Foster himself had been con-
nected with the faculty there. But, apart
from all personal considerations, Ricker
was well prepared to receive Foster
when that gentleman journeyed to France
in the spring of 1917 to canvass the
situation with twenty-seven assistant in-
vestigators. They found that important
regional centers of distribution had been
established and that shows were already
being given — some dangerously within
range of the big guns, between the first
and second-line trenches. One of the
lesser representatives, who was giving
Community shows in just such circum-
stances, was Homer Croy, the well known
novelist and magazine writer of today.
The four film distributing posts were es-
tablished at Ricker's central office in
Paris, at .American headquarters near the
front, and at two base ports.
When Warren Foster returned to New
York, in August, 1918, he told the ship
news reporters that not only was Com-
munity handling the film service for the
.American Army, but it was making itself
responsible for two-thirds of that for
the British .Army, all for the Canadians.
Australians and New Zealanders, and
was cooperating with France through
the Foyer du Soldat. In addition, an
especial extension was serving the Chi-
nese, many thousands of whom were
working with the British, French and
Americans now that China had entered
the War. For the English section there
were a London headquarters and five
branches in the United Kingdom. Fos-
ter's avowed purpose, as explained then,
was to see that even the small, remote
units, such as those of the Coast Guard,
were served, and, as far as Americans
were concerned, to see that the dough-
boys found motion pictures all along the
line, beginning in the cantonments.
As early as May, 1918, it was stated
that Community was providing 7,000
thousand-foot reels weekly to the United
States cantonments and 100 reels a week
to the camps in France where l.SOO
reels already were in circulation. In the
transport service were 900 reels, and the
vessels of the Atlantic Fleet were inter-
March, 19)9
Page 87
cliaiiging US more. After each show the
system required the return to Mrs.
Foster ol a "recreation canl," reporting
the si/c of the audience and tlic nature
oi the reception to guide future bookings.
Still, without questioning Warren Fos-
ter's press utterances, it must not be
supiM'sed that Community stood for the
whoU' motion picture activity of the
American Government. Many leading di-
visions maintained their own se|)arate
film contacts, some of them more or less
accidental, as when the Foreign Press
Bureau noted the extraordinary number
of old, worn-out American motion pic-
tures which were being shipped into
the Scandiiavian countries, and thereby
unciivcrcd the astounding fact that these
tattered films were being relayed on into
Germany, the celluloid base there to be
reconverted into guncotton for ammuni-
tion to be used against the Allies.
\aTIONS as PlCTl'RK .VlAKtRS
TiiKouc.iroi'T the war period the Amer-
ican (loxcrnment had its own cinema-
tographers regularly attached to Army
and Navy units, making official pictures
to be stored away in the national archives.
These were in addition to the regular
newsreel men assigned to war duty. The
"archives" were, of course, merely nom-
inal at that time as far as adequate pro-
vision for films was concerned. At inter-
vals, prints from the U. S. Government
negatives were released for propaganda
Use to the newsrcels. Today, as a result
of legislation obtained by Secretary of
War Newton D. Baker in the summer
of 1919, prints of most of these negatives
are obtainable at an approximate cost
of ten cents per foot by any citizen re-
(luiring such material for a legitimate
purjiose.
When the Government made its need
of photographers known, the Easttnan
Kodak Company assigned a building in
its Rochester plant for the training of
Uncle Sam's aspiring cameramen; and
there, under some of the finest photo-
graphic engineers in the profession, the
awkward squads were put through a rig-
I irons preparation lasting about three
months, after which came a period of
further training at the ariny fields. Co-
lumbia University, too, gave courses in
that line, with Carl Gregory as "pro-
fessor."
For the United States Government to
be in the picture business was not exactly
new. Photographers had been officially
in its employ for many years. Indeed,
when Edward Muybridge made his first
"motion pictures" in 1872 for Leiand
Stanford, then Governor of California,
he was on a leave of absence from the
United States service covering the Pa-
cific Coast. However, the United States
Government was not the first to make
.Xmcrican motion pictures of the World
War or to supervise their production.
Even the pictures showing the American
preparations to go overseas in 1917, to
ho presented in France to hearten the
defenders there, were photographed by
Oaumont, although in the same year
Essanay contracted with the Government
to film the American Army canton-
ments throughout the country.
From the very beginning of hostilities
newsreel men had Iwen risking and los-
ing their lives to obtain scenes of the
fighting. Moreover, many were veteran
photographers of other wars. Gaumont
had had cameramen with the Allies and
with the opposing Turks in 1912. .\nd
from the beginning one hears of their
daring. The Boer War in the Transvaal,
seen in retrosjwct when |)cace had l)ecn
ratified, had no recollection more strik-
ing to a writer in the staid Outlook
of June 7, 1902, than the cool behavior,
under fire at Pretoria, of an unknown
photographer with a movie camera.
Whoever he was, he probably was the
man who made the Boer films advertised
by Urbanora in 1909.
But, if the war cameramen took chances
with the enemy, they were generally
welcome to the officers to whose staflfs
they had been assigned. The hospitality
The broad, calm view of Edith Dunham
Foster unquestionably inspired and shaped
the powers of her son in consolidating his
advantages. A truly remarkable woman.
sometimes seems to have been rather
extreme — almost as extravagant as that
shown by Pancho Villa to the camera-
men of Mutual. At least one open charge
w^as made in 1919, by a Lieutenant G.
Malins, that a British general had de-
layed his attack on a German redoubt
solely that its capture might tie properly
filmed.
In the period from 1915 to 1916 the
real flood of "official" war pictures from
abroad began pouring into the United
States. In June. 191S, had come the
first official French war films, first of
the Allied pictures of this censored type;
and there already has been mentioned the
chagrin of Count von Bernstoff at not
having been able to persuade Wilhelm-
strasse to provide him with German films
to counteract those of the British. But
at that time the British had not been at
it very long. However. Charles Urban,
with his Kinemacolor experience and
his French Government service to pro-
vide excellent credentials, had not been
precipitate with English propaganda films
brought over in 1916. He had other
advantages. He stood so well with the
American Government that Kinemacolor
was even making training pictures for
the United States .Army. And. of course,
once the service was started, it was
continued. In October. 1917, the British
War Office proclaimed that it would
issue films from the front to keep the
public informed, distributing prints over
France, Italy, Portugal, the British Em-
pire and the United States.
There seems to have been some con-
fusion over the French pictures in 1917,
for "official" prints were being distrib-
uted from New York and from Chicago
by a certain Mrs. M. F. Fulton, who
oflFered them to theatrical jobbers on a
"state rights" basis. Mrs. Fulton not
only professed to have "the only" official
French war films, but she advertised also
a Belgian picture which she asserted had
been spirited to America through Ger-
many. Pathe reported that its films had
"the sanction" of the French Govern-
ment, and declared that "In the Wake of
the Hun" was "one of the first." and "we
have official credentials to prove this."
In the autumn of 1917, further to be-
wilder the war-torn public attention, came
the "official" films of the Russian Revo-
lution, different versions appearing va-
riously amidst threats of injunction.
Then, starting in the fall of 1917, the
.American Government produced especial
wartime pictures for its own study pur-
poses, chiefly through the Signal Corps,
the Army Medical Museum of the War
Department, and the Recruiting Division
and the Marine Corps of the Navy De-
partment. In 1912, for instance, Lieu-
tenant Edward H. Griffith— today one of
the most esteemed directors in Holly-
wood—made "Fit to Fight," a film on
venereal di.seascs for the War Department
Committee on Training Camp Activities.
The Signal Corps, by virtue of its wide
field of activity at this time, was the
most prolific. There had been Army
pictures made under Government auspices
only a few years earlier, and some I have
mentiotied ; but, in the light of the
recent experience on the .Allied fronts,
most of the existing ideas of what con-
stitutes a good soldier had been scrapped.
This was apparent to civilians as well
as to those actively in the service — but
I never did know what became of the
West Point Film Company, incorporated
at Utica, N. Y., in 1917, to film military
evolutions.
The Recruiting Division of the Navy
made its first really ambitious, modem
production for the Government in 1917,
when it released "The Life of a Sailor."
Intending to keep the making of this
free from amateur defects, naval officials
approached the HollywocxI producer.
Thomas H. Ince, for his cooperation.
He arranged for them the supervision of
Charles Johnson Fost, West Coast pub-
licity representative of Triangle Film
Corporation through which Ince features
were released. The result was notable;
but it is interesting to observe that Post
was preeminently an .Army man. a vet-
eran of the Spanish-.American War, "a
"charter member." I believe, of Theodore
Roosevelt's Rough Riders. Apart from
Post's dual capabilities as a vigorous
writer and a gifted illustrator, he was
then peculiarlv in line with the policies
of the wartime Demm-ratic President. In
1916 he was a member of the executive
campaign coinmittce and chairman of the
publicity committee of the Woodrow
Wilson Independent League of Southern
California.
Page 88
The Educational Screen
Committee on Pubuc Information
It required no trained eye to see that,
in this critical period, the Government
needed publicity men even more than
studio experts in its propaganda film
endeavors; and it was entirely fitting
that work of that sort came speedily
under the command of a public relations
department. One of the early acts of
Woodrow Wilson after the declaration
of war was the organization of the
American propaganda bureau, called the
Committee on Public Information.
Its appointed head — designated "chair-
man" in the spring of 1917, with the
Secretaries of Navy and War as members
— was George Creel, a young man re-
markable at once for fearlessness, jour-
nalistic skill and political prudence. These
qualifications had manifested themselves
in his work as editor of newspapers in
Kansas City and Denver, as police chief
of the latter city in a turbulent time,
and as contributor of alert, penetrating
articles on national issues to the fore-
most magazines. He also enjoyed a re-
flected fame in being the husband of
Blanche Bates, the Belasco stage star.
And, many years later, in 1934, with
frequent public appearances between,
George Creel was to be the Democratic
candidate for the governorship of Cal-
ifornia.
In July, 1917, the President specifically
asked the National Association of the
Motion Picture Industry to cooperate
with the new Committee and, the mem-
bers, responding promptly with a pledge
to contribute films for U. S. soldiers
while they were on French soil, appointed
to act for them a War Board headed by
William A. Brady. This Board continued
its useful work throughout the war period
and, at the close, was thanked, compli-
mented and dismissed by the President.
During the spring of 1918, Universal
Film Company released a picture called
"The Yanks are Coming" and, inasmuch
as the Wright-Dayton Airplane Company
had been financially interested in its pro-
duction and it was considered commer-
cial propaganda taking advantage of the
wartime screens, the Film Board of the
Committee on Public Information stopped
it. The Universal Company, through its
vice-president, Robert H. Cochrane, at
once charged the Hearst interests with
the move, and gave out a list purporting
to show that all members of the Board
were former Hearst men. The squabble
continued into midsummer, typical of
the obstacles put in the way of Creel's
performance of duty at a crucial time
in the national welfare.
In November, 1918, chiefly to forestall
embarassments of this sort. Creel ap-
pointed an experienced newspaperman,
Charles S. Hart, war supervisor for the
Committee's Division of Films. He was
given jurisdiction over all commercial
production, leading, of course, to further
charges of despotism, suppression of free
speech and all the remaining abuse usual
in such circumstances. There were a
great many other political efforts to
"knife" Creel until he announced his
resignation, his work done, to take effect
in the spring of 1919. Hart worked
steadily along with him to the end, his
/Veart Month
April brings Part Eight. It will
describe the dramatic incep-
tion of Francis Holley's Bureau
of Commercial Economics and
the development of some other
early efforts to supply peace-
time audiences with industrial,
educational and social service
motion pictures. No one Inter-
ested In the broad subject of
visual education can afford to
miss this unique, first history
of the non -theatrical field,
which will continue serially In
these columns for many months
to come. Subscribe now.
last big job in January, 1919, when he
arranged to film the overseas trip of
President Wilson and his party to the
Peace Conference at Versailles. In the
midsummer of 1919, however. Creel and
the other officials of the Committee on
Public Information were constrained pub-
licly to relate what they had done to
serve their country and to deny film
frauds.
One of the first obviously wise moves
in making large activities work smoothly
is to merge duplicating efforts. This
was done in commanding the .Allied
armies, and it was done by Creel with
the foreign propaganda films which were
promptly merged and issued for Ameri-
can audiences as the "Allied War Re-
view." The material received from
abroad was edited by the dependable
Charles Urban, assisted by the ex-
perienced Ray L. Hall.
Hall, whose name has not occurred in
these pages heretofore, had the journal-
istic recommendation of having been
born a Hoosier, seasoned by various jobs
with the International Press Association.
After having been successively editor of
the short-lived "Hearst-Selig News Pic-
torial" and the "Hearst-Vitagraph News
Pictorial." he had been called npon to
organize the motion picture activities of
the American Red Cross, at which
juncture, it seems, he was requisitioned
for the "Allied War Review," and to
serve, indeed, as production manager of
the entire Creel Division of Films.
There were, of course, many other
film activities of the Government over
which the Creel committee had no juris-
diction— the secret motion picture work
of the Army and the Navy, for example.
For another instance, in December, 1918,
the Fuel Administration engaged Pathe
to make a film to be used in stimulating
the coal output. It was in story form,
starred no less a screen favorite than
Pearl White, and was directed by George
B. Seitz. The scenario was by Bertram
Millhauser. There were also State ef-
forts uncontrolled bv Creel, such as the
subject undertaken in 1917 by the De-
fense Commission of Pennsylvania to
urge farmers to increase food produc-
tion. To build the figurative ring fence
around these was more than any national
Committee on Public Information could
hope to do.
Creel had many acquaintances in the
motion picture field — some very eager
ones as soon as he was marked by the
finger of political preferment— but, when
it came to preparing films for home
consumption, he sought out some jour-
nalistic friends of his less turbulent days.
One was Rufus Steele, magazine writer,
Sunday Editor of the San Francisco
Chronicle in the time of the great earth-
quake and fire, and in recent years and
until his death in December, 1935, writer
of the "March of the Nations" column
on the front page of the Christian
Science Monitor.
Another was Carlyle Ellis, formerly
with Theodore Dreiser in the editorial
department of the Butterick Publica-
tions, and later eastern scenario editor
of Triangle Films Corporation, in New
York. I well remember the day, early
in 1916, when George Creel, a slender,
quiet, serious chap, called on my friend
Carlyle Ellis, in the open office of Tri-
angle, to obtain dependable, confidential
information on how the film industry was
being run — although that was ostensibly
for a magazine article. Two years were
to elapse before the time was ripe for
Ellis to join Creel at the Committee on
Public Information. Government appoint-
ments do not come about as rapidly as
many persons think they do.
Nevertheless, in the interval between
Creel's visit and his actual engagement,
Ellis was to have some useful ex-
perience. Steele was taken on first, with
the title Editor of the Films Division,
his work primarily to be the selection,
cutting and assembly of American war
scenes for propaganda use. When place
was made for Ellis, it was as an assistant
who knew actually how to handle film,
to see it through the laboratory, to edit
it — if need be, to photograph it.
Before Ellis had been appointed eastern
scenario editor of Triangle, he had been
West Coast publicity representative of
the same organization, predecessor in
Los Angeles of Charles Johnson Post,
spending days and months in close con-
tact with Hollywood and Culver City
studios of Ince, Griffith and Sennett, the
outstanding theatrical film producers of
the time. The Eastern studios presently
proved impracticable to maintain, and
Ellis found himself at liberty. Universal
Film Manufacturing Company — they
were very slow in changing their anti-
quated name — had just opened an indus-
trial production department under Harry
Levey, of whom more later; and Ellis
joined the staff as scenario writer. This
onerous duty expanded and he was made
a director, because Levey, with more
executive aspirations than learnings
toward art, did not wish to direct pic-
tures himself; and in this capacity Ellis
produced the second film starring May
Irwin. The first was that notorious
Edison subject, "The Kiss," which she
made with John C. Rice in 1896, and
which is commonly held to have been
the earliest provocation to screen cen-
sorship.
(To be continued)
March, 19)9
Page 89
AMONG OURSELVES
Notes from and by the Department of Visual Instruction, N.E.A.
Conducted by the Editorial Committee
Etta Schneider, Chairman
Reflections on the Cleveland Meeting: An Open Letter
T\ t,AR Mfiiihers:
When I joined the Department of Visual In-
struction, it was with much enthusiasm because I
believed that the ideals for which this Department
stood would strongly affect the progress of educa-
tion in general. I have just returned from an in-
teresting, yes, even exciting session at Cleveland,
and after a good sleep, I have taken time for re-
flection. I should like to share with you some of
my misgivings, and place before you some of the
lines of action which seem to be urgently needed.
If democracy is to survive in this country, edu-
cation must face its responsibility toward its preser-
vation— and every agency of education must, in
turn, expend all its efforts to that end. The De-
partment of Visual Instruction, it seems to me,
has never been in so favorable a position to act
for the general good as it is now. The immediate
problem is not so much, Should we have a consti-
tution now or in June; Should the director of visual
education insist on advance requisitions for ma-
terials, etc. It should be : How can materials on
democracy and international relations best be pro-
duced to serve in the large program in which we
are all engaged?
The appeals of so illustrious a group of educa-
tional leaders as Dr. Shaw, Dr. Cherrington, and
Dr. Stoddard must not go unanswered. Dr. Reuben
T. Shaw, President of the National Education As-
sociation, for example, made an impassioned plea
for films which would interpret what we mean by
democracy ; for films which would interpret the
achievements and shortcomings of American edu-
cation ; for films made by teachers as a wholesome
form of creative expression. Dr. Ben M. Cherring-
ton, Chief of the Cultural Relations Division, State
Department, Washington, D. C, in speaking to
about 400 persons at a joint luncheon meeting of
the Department of Visual Instruction, the Depart-
ment of Secondary, and the Department of Tech-
nical High Schools, appealed especially to the visual
instructionists to accelerate the cultural relations
program with Latin America through the produc-
tion of films in which we could interpret our Ameri-
can ideals of democracy to our neighbors. Dr. A. J.
Stoddard, Superintendent of Schools of Denver,
for some years identified with the motion picture
movement, described an interesting film-production
activity in Denver. The keynote of his talk, how-
ever, was that teachers can no longer afford to
overlook the power of the motion picture as a
medium of instruction.
These leaders in education came to our Depart-
ment with definite requests for cooperation in a
common cause. To what extent are we, as a
Department, functioning in collaboration with other
educational agencies? To what extent are we
narrowly limiting our efforts toward getting more
projectors placed in schools and more films in
classrooms ? ,
The Department of Visual Instruction, I believe,
should be acting in a position of leadership to
integrate the efforts of many other agencies and
individuals in this field. General Education Board,
Carnegie Foundation, Sloan Foundation, to name
a few of the philanthropic organizations, are sub-
sidizing some remarkable experimentation under
the direction of outstanding people. Other educa-
tional groups, such as the Department of Secondary
Education, the Department of Elementary Prin-
cipals, the National Council of Teachers of English,
the Society for Curriculum Study are all engaged
in exploratory and creative work in this field.
What should our Department be doing in relation
to all these efforts?
I believe that some clarification of purposes and
lines of action are necessary at this time. With a
membership made up of producers, distributors,
research workers, administrators, supervisors, and
classroom teachers we certainly should be able to
produce significant materials and see that these
materials are intelligently put to use. Let us con-
sider the contributions that each member of the
Department can make to the cause of education
through our organization.
There are several possibilities for carrying a sig-
nificant program into action at this time. The
greatest need, however, is for concentrating our
efforts on the question : What is a significant pro-
gram for our Department? Significant, I should ex-
plain, not to any particular group in society, but to
the children whomi we are all engaged in guiding
and developing.
There are three groups now being set up in the
Department to carry out the wishes of the mem-
bership regarding further steps:
1. The program committee for the San Francisco
N.E.A. convention. Should we instruct them to plan
for small gn"oup meetings of our own membership?
Should we instruct them to try a program of col-
laboration with other departments of the N.E.A.
as far as possible?
Page 90
The Educational Screen
2. The Yearbook committee, now working in
collaboration with the Society for Curriculum
Study. What should the visual aids do in a modern
curriculum? Are we agreed on the educational
objectives to be served, and the types of materials
necessary in such a program? If we are, it is likely
that visual aids that are entirely different from those
now available will have to be produced.
3. The committee to study the possibility of
using visual aids in intercultural relations.
One of the most outstanding activities reported
upon at the Cleveland meetings was that of the
Sloan Foundation. Our Department has been called
upon for advice, based on experimentation, regard-
ing the possibility of producing motion pictures to
serve as a basis for discussion in the field of eco-
nomics. Here is a challenge to put into practice
some of the ideas about which we speak.
We should like very much to have expressions
of opinion from our membersliip. The columns of
"Among Ourselves" are yours for carrying your
judgment to other members. How can our Depart-
ment best serve the needs of education? Unless
we can pick up basic issues as they arise, and pitch
in toward a socially desirable solution, have we a
reason for being?
Sincerely yours,
Etta Schneider
Query of the Month
A very interesting aspect of our field which merits
some discussion by our readers, is;
Should a Department of Visual Instruction be con-
cerned zmth the trends in theatrical film production,
their influence on children, and the power they wield
as a social force in the lives of our citizens?
Answers to Previous Query
Some of the interesting comments from our alert
readers regarding the question "Are there any good
educational films?" read as follows:
"I am not so concerned over the item which claims there are
no good educational films on the market if the item gives no
definition of the term, 'educational.' .... I have used films in
my classes for ten years. I am of the opinion that a film may
be or may not be educational just to the extent that the teacher
makes it so.
"If we define the term educational as, causing the child to
make desirable generalizations which will enable him to make
individual adjustments to his social conditions ; then I would
contend that there are educational films on the market available
to schools. But any discussion of educational films, whether
silent or sound, should not omit the importance of the teacher.
. . . Yes, in the light of my theories concerning motion pictures,
there are many good educational films on the market.
Carl W. Dalrympi.e, (in charge of visual aids)
Pettingill Jr. High School
Lansing, Michigan
"I disagree with the statement that there are no good educa-
tional films. In using films as aids to children's learning, we
have found some that have supplemented school experiences in
a very worth while manner. We are interested in using films
of outstanding merit which serve, better than any other avail-
able materials, specific needs of our children A discussion
of a 'good educational film' must include, in my opinion, the
purpose which it serves and the way in which it is used."
Florence E. Taylor, (chairman. Film Committee)
Horace Mann School, Teachers College
"... I cannot agree with the statement that there are no
good educational films on the market.
"Probably ten years from now we may look back upon the
educational films of today as obsolete, but nevertheless, in terms
of past experiences and in terms of modern teaching techniques
and procedures, there are many good educational films on the
market today. If we were to select any number of these films,
such as "The Old South" (Eastman, silent) or "The .-Xd ventures
of Bunny Rabbit" (Erpi, sound) and present them to a group
of interested teachers, I think you would find very few teachers
who would have any suggestions for improving the film."
Alvin B. Roberts, Principal
Haw Creek Township High School
Gibson, Illinois
"I believe that the person who wrote that article stating that
there were no good educational films on the market was mis-
taken. I also heard an educator in visual education work make
a similar statement about the films. While many of the films
leave much to be desired, we have found just as many helpful
ones. ... I have shown, for example, a film on Spiders to
one group who were so interested that they brought in a spider
to school, read all they could about spiders, asked the biology
department about the kind they had found, and finally returned
it to the place where it was found I could cite many
other examples about the films and the attitudes of children
toward them, because I show the films myself every day and
I have eyes to see !"
Mrs. R. B. Jainer (Visual Instruction Committee)
Lincoln School
New Brunswick, N. J.
"As a teacher, I have used many films I consider to be ex-
cellent, both from the standpoint of learning and from the
standpoint of adaptation to classroom methods. But most of
these films, well suited as they were for one situation, would
be poorly suited in another. A survey type of film would be
as unsatisfactory in presenting specific items of information,
as would, for example, a film on the action of the licart in
explaining the action of the human as a whole. Many films
are suited principally for traditional methods of subject matter
presentation while, at the same time, many are equally well
adapted only to a child centered program.
"Nevertheless, I agree with the statement to the extent of
believing that the great majority of films now available are
poor. The difficulty for a teacher, when she is faced with a
selection of films, unless she has a thorough knowledge of the
field, must be admitted. No doubt, it is a similar lack of ac-
quaintance with the field, or lack of knowledge of the many
teaching techniques and of the psychology of learning that
prompted the sweeping condemnation quoted.
"If, as was suggested, the writer of that statement does
propose to enter into the production of educational films, let
us hope that he takes thorough cognizance of the psychology
of learning, of modern educational method and philosophy, of
curriculum trends, and of administrative problems through the
supervision and advice of educators."
Donald C. Doane, Graduate Student
Teachers College, Columbia University
New England Section to Meet
The New England Section of the Department of
Visual Instruction of the N. E. A., will hold its Tenth
Annual Visual Education Conference on Saturday,
April 8, 1939 at Boston University School of Education.
There will be two sessions, the morning starting at 10
A. M. and the afternoon at 2 P.M. Many producers
and distributors of visual material will exhibit.
The speakers include: Mrs. Anne O. Peet, Head of
the Exhibits Department of the Childrens Museum,
who will speak on the "Use of Museum Material in
the Classroom ;" Dr. Howard A. Gray, Director of
Field Studies, Erpi Classroom Films, whose subject
will be "Use of Instructional Sound Film ;" Dr. Earl
March, I9i9
Page 91
U. Tiiilli-. Repri'scntative of Eastman Teaching Films,
wlio will discuss and dt'nionslrate silent fdms ; Mr.
George K. Hamilton, Vice President of Keystone
View Co.. who will give a lecture demonstration on
"Showing vs. Using I.antern Slides;" Mr. William F.
Krnse of the Hell and Howell Co., who will talk on
"Kxtending the Walls of the Classroom;" and Dr.
Irving Anderson of Harvard University, who will
show his remedial reading fdms and discuss, "Use of
Motion Picture fur Remedial Reading."
New Jersey Meetings
The Second .\iinual Northern New Jersey Confer-
ence and Dinner Meeting of the New Jersey Visual
Education Association was held in Englewood on
Thursday. February 9. 1939. .\n hour's Conference
jK-riod was devoted to "Visualization in the Cur-
riculum." dealing with subject matter, organization
and administration, and demonstration. This was fol-
lowed by the dinner meeting which included on its
program a presentation of "Radio Vision" by Joseph
Moriarty of Wallington ; "1-aiitern Slides" by Paul
Van Ness, Scotch Plains; "Marionettes" by Emily
.\mson of New York City ; "Technique of Classroom
Use of a Silent F^ilm," by \V. V. Robinson of
Bayonne.
Plans are going forward for the Central New
Jersey Meeting, which is expected to be held at High-
land Park in the Spring.
Association of School Film Libraries Meets
On February 28tli at the Statler Hotel in Cleveland,
was hell! the first member meeting of the Associa-
tion of School F'ilm Libraries, a non-profit corpora-
tion, established in June. 1938, through a grant from
the General I'.ducation Board, under which it is
assured of financial support through June, 1939. Mr. J.
C. Wardlaw. President of the Association's Board
of Directors, acted as Chairman of the meeting
which he said was called to seek suggestions, and
counsel on the further development and direction
of the Association's efforts, and recommendations
of action which would strengthen and increase its
services. Mr. Fanning Hearon, Executive Director,
reported on the Association's present membership
and the progress luade during the seven months
of its existence.
-Active membership in the ASFL, as previously
reported in these pages, is limited to educational
institutions and non-commercial film distributors
serving the educational field. Of such members it
now has 39. They pay an annual fee of $25.00. In
addition, Mr. Hearon reported, there are some 100
subscribers to the Association's film catalog. These
subscribers, who pay $5.00 a year, can be individual
organizations or institutions, commercial or non-
commercial. The catalog is described as a list of
films "which have been declared to have exceptional
educational value." The ASFL does not itself eval-
uate films, but uses the film evaluations of the
Mark May Committee, the British Film Institute,
and the Motion Picture Evaluation project of the
American Council on Education. The first volume
of the catalog, partially complete, is ready with
about 100 films. It is expected to be complete with
about 250 filius, perhaps in April. According to
Mr. Hearon, additional catalog volumes "will ap-
pear as good filius appear, and we shall forward
new pictures to the evaluation groups as regularly
as available. It is likely that about 200 films will
qualify for listing each year." The catalog will list
not only products of U. S. producers, but also those
from Gaumont-British Instructional, the British
and Swiss documentary makers and Ufa, with which
the Association has e'^tablished relations. It is also
in contact with the League of Nations film makers.
and the French and Scandinavians.
One of the Association's objectives is to secure
for its members access to desirable films not here-
tofore available, and it has recently secured the
16 mm rights to the March of Time documentary
newsreel series. Members present reported excellent
reaction to this scries by educational film users.
Discussion was had on the question of whether
the ASFL should encourage interest in the produc-
tion of films by schools and colleges. Should it set
up facilities to clear information on school produced
films, and embark on a coojierative plan to circulate
such films? Should it endeavor to list such films
in its catalog? In not all instances, however, are
school produced films available for distribution and
use by other schools. In such cases no good pur-
pose is served in listing them. Dr. Zook, Presi-
dent of the American Council on Education, who
was present, expressed the opinion that it woidd
be desirable to keep at least a record of school
produced films in the Association's headquarters,
and it was suggested that a committee be appointed
to work out a definite plan of action looking toward
the accumulation of this information.
The question of whether the memlx-rship is ready for
"electrical transcriptions" from the radio was briefly
touched upon, but no definite conclusion reached as to
whether the Association should imiuediately plan to
extend its activities in this direction. Although the
ASFL is devoting most of its time and energy to motion
pictures, its articles of incorporation cover "educational
films and other mechanical aids."
Perhaps the most iinportant discussion of the
meeting was consideration of having commercial
film producers and distributors become affiliated
with the .ASFL. The members present agreed it
was essential to the organization's successful
achievement of its purposes, to have the coopera-
tion of commercial film companies, and that their
affiliation with the ASFL would be a guarantee to
each group of good will, confidence and cooperation
on the part of the other. Hence a motion was
made and carried that an opportunity to become as-
sociated with the organization be extended to com-
mercial producers and distributors.
Page 92
The Educational Screen
THE FEDERAL FILM
A page edited by Arch A. Mercey
Assistant Director, United States Film Service,
Washington, D. C.
Editor's Note : Beginning this month Educational
Screen zmll publish a page in ecuh issue on Federal
films. The department zvill include new notes, questions
and answers, and other data on Government motion
picture and film strip actiifities. Address any questions
to the editor of this page, in care oj the United States
Film Service, Washington, D. C.
Pan-American Films
'T'HE Federal Government is moving forward on a
■*• broad front for the purpose of improving our rela-
tions with the republics of Central and South America.
The Committee on Cooperation with the American
Republics, representing 13 departments, made a six-
month study of the Pan-American problem and pre-
sented to the President a comprehensive series of
recommendations which included cooperation through
cultural, economic, and educational channels. The
recommendations, included in the report, requiring
additional funds are subject to congressional action
during the present session, but certain activities can
be carried out by the various departments without the
necessity of additional appropriations.
Of special significance to those interested in the mo-
tion picture as a medium of good will is that section
of the report devoted to a film program for the
American Republics. The recommendations include
three principal divisions : production of new films ;
establishment of distribution facilities ; and the equip-
ment of the various American embassies with 16mm.
and 35mm. projection equipment.
As a member of the Interdepartmental Committee,
the United States Film Service* made an extensive
study of the film problem and submitted recom-
mendations to the Committee which were accepted and
incorporated in the report to the President.
The rcommendations included :
Production :
-re-scoring and re-editing in Spanish and
Portuguese six films designed to show South
Americans interesting attributes of this country,
-production of a documentary film on life in
America for distribution in South America,
-production of a film on South America for dis-
tribution in the United States.
Distribution :
-distribution and exploitation of films which will
include the provision of posters, still photos.
♦The United States Film Service, a division of the National
Emergency Council, is the successor to the Documentary Films
Section of the Farm Security Administration, producer of The
Ploiv that Broke the Plains and The River. These films are
now being distributed by the Film Service, which is headed by
Pare Lorentz.
study guides, and general informational aids
and supplemental material for theatres, schools,
and radio stations.
-establishment of a Pan-American Film Library
and Film exchange serving the Latin-American
republics.
-contribution toward the expenses of a traveling
representative in the principal South American
republics to meet officials and educational lead-
ers and to hold previews.
Special :
-equipment for the American embassies in the
Argentine, Brazil, Chile, Colombia, Cuba,
Mexico, and Peru, including both 35mm. and
16mm. projectors, turntables, screens, and ac-
cessories.
-provision for certain re-edited films which
will be used by the United States Coast Guard
during good-will tours to South America.
These, in brief, are the recommendations for the be-
ginning of a film program for the South American
republics. As a result of these recommendations, cer-
tain implications are discernible.
It will be noted that the program is established on
a reciprocal basis. It is felt that the United States
knows too little about South America and in turn
the other American republics often have distorted
ideas of our own folk ways. The establishment of a
film library, the production of a picture in South
America, and the exchange of information all point to
a closer relationship through broader understanding of
mutual problems. Moreover, with the embassies
equipped for the projection of films, it is hoped that
the Government and educators in this country will
receive immediate and periodic reports of films being
made and released by South American producers.
In the report, $45,000 is recommended as the pro-
duction budget for each of the new films, and $30,000
is to be expended on the re-editing and re-scoring of
the six existing films. Distribution, film Hbrary,
equipment, Coast Guard and other expenses for the
remainder of the program account for the balance of
$46,500, bringing the toal program to $176,500 for
the first fiscal year.
If the proposed program operates as successfully as
its proponents feel that it should, educators in this
country should have new horizons of inter-continental
relationships opened to them and their pupils. Through
more detailed knowledge, through cooperation with
our friends to the South, and through integration of
the film program into the concerted efforts of this
country to effect greater understanding, we shall see
the good neighbor policy translated into various forms
of inviting, interesting, and informative action for all
of us whether educators, pupils, or private citizens
I
March, 19}9
Page 93
Spencer Lens Company
BUrFALO. N. V.
MICROSCOPES
MICROTOMES
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REFRACTOMETERS
COLORIMETERS
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PROJECTORS
For a demoiuitration, write Dept. Qli, and we will have oim
of our repretenlativeM in your vicinity communictUe with you.
ettet ataJU^—
r
ewet
raiii
ute^
because they remember
what they see!
• Few classroom activities are more en-
thralling than the projection of pictures.
Grades improve, failures dwindle, in
subjects presented with the stimulating
vividness of this method of instruction.
Before you buy a projector, arrange
for a demonstration of the Spencer
Combination Delineascope. You then
can see how brilliantly it projects and
magnifies opaque materials — photo-
graphs, drawings, postcards — or glass
slides, and how easily even a 4th grade
pupil can operate it.
New Maritime Film
The United States Maritime Commission has just
released a new two-reel sound subject entitled,
Good Neighbors. This film traces the voyage of the
first "Good Neighbor Fleet" ship, the S. S. Brazil on
its inaugural cruise last autumn. The subject shows
the departure of the ship and scenes at each of the
principal ports of call. This film, which is of general
interest, is available for schools from the United States
Maritime Commission or the United States Film
Service, Washington, D. C.
Public Health Service Film
A syphilis-control experiment in southeastern
Georgia is interestingly portrayed in a new two-reel
sound film, Three Counties Against Syphilis, produced
by the United States Public Health Service. This
film shows methods of combating venereal disease in
three Georgian counties in a controlled experiment. A
trailer clinic makes a comprehensive trip over three
main routes every week. Although this film is not a
clinical subject, it is of primary interest to health or-
ganizations, medical societies, welfare and legislative
groups desiring to see how a controlled-treatment plan
operates. Address your request to the United States
Public Health Service, Office of Health Education,
Washington, D. C, indicating the purpose for which
you wish the film, and the name of the sponsoring
organization.
16mm. Talking Picture
LIFE OF
THEODORE ROOSEVELT
Rental $2.00 per day.
A dramatic portrayal of the outttand-
ing events in the public life of our
2£th pretident, including the building
of the Panama Canal — hit conierva-
tion plan — naval modernization and
other noteworthy achievement*.
running time 17 min.
Send for eatalog of Featuret, ShorU
and Rtcett Proaranu
AUDIO-FILM LIBRARIES
16mm, Sound Exclusively
661 Bloomfield Ave. Dept. E Bloomfield, N. J.
GARRISON
PROUDLY PRESENTS
* Tfte Choice Foreign Language Foafarei *
CARNIVAL IN FLANDERS
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LIFE OF BEETHOVEN
CHILDHOOD OF MAXIM GORKY
For a Complefe Llif — Wrlfe "J 6mm Dept."
AAnni^Ay ril ma leoo broadway
Uflllllldvll riLlflO NEW YORK CITY
Page 94
The Educational Screen
IN AND FOR THE CLASSROOM
Conducted by Wilber Emmert
Director Visual Education, State Teachers College, Indiana, Pa.
Inexpensive Lettering Aids For Teachers
By BRYAN EMMERT
Athletic Director, Teacher Training Unit,
Western State Teachers College, Paw Paw, Michigan
IJ EAL situations and concrete objects are invaluable
■*•*• in the teaching ])rocess, but not always available.
In such cases more abstract visual aids can often be
used, and materiils j^rescnted graphically. Not only
does graphic material lose much of its effectiveness
if improperly or poorly labeled, but in many instances
teachers do not even attempt to prepare charts and
graphs because of their lack of skill in free-hand
lettering.
Teachers, however, need not abandon the idea of
presenting facts graphically because of their inability to
properly letter the material. Numerous mechanical
lettering devices and aids arc now available at little
cost, and the use of these will greatly facilitate the
work of preparing visual aids for teaching purposes.
Three distinct benefits accrue to the teacher unskilled
in the art of free-hand lettering who uses these aids.
(1) Economy of time is effected in the preparation of
graphs, charts, maps, posters, exhibits and display
material of all sorts ; (2) neater and more quickly legible
identifications can be attached to graphic material ;
and (3) pupils learn correct alphabet form more readily
by handling stencils, patterns, type faces and actual
letters than by copying incorrect forms designed by
unskilled teachers.
Great economy of time is effected by the use of
mechanical lettering aids, since the measuring and draw-
ing of guide lines and the drudgery of shaping letters
is eliminated. No "roughing in" in pencil is necessary.
The "T-square" and the triangle are totally abandoned,
since it is not essential to have a drawing board to
turn out artistic work. A faintly penciled base line or
straight edge, depending on the type of aid used, is
usually all that is required for the proper alignment of
the letters. Much time is also saved in the matter of
spacing, because the lettering must fit into a given
space, and letter patterns, for example, eliminate the
preliminary pencil sketching necessary in free-hand
work for approximate spacing. The letter pattern, or
actual cut-out lettering, may be placed on the back-
ground and easily shifted to the desired position for
correct spacin.g and artistic arrangement before any
permanent work is done. The teacher and pupil can
not only reduce by more than half the time usually
required in lettering, by the use of the lettering aids,
but the finished product will be much neater, more
quickly legible, and far more artistic. This is an ad-
vantage which must not be overlooked, because in all
graphic work quick readability is the first law.
One has only to look at the bulletin board and poster
work in any classroom to see that the average teacher
and pupil have little knowledge of correct alphabet
forms. By working with accurate patterns, correctly
formed type faces, or die cut stencils, gummed paper
and felt letters, both teacher and pupil quickly learn
to distinguish between improperly and properly formed
letters and the alphabet styles in common use in every-
day life, as only these are marketed commercially.
Lettering aids for teachers as discussed in this article
can be divided into three main types : ( 1 ) letter pat-
terns, stencils and templates; (2) sign and chart
printers, and changeable rubber type stamps; and (3)
cut-out letters and numbers.
Accurate, durable, and inexpensive letter patterns
can be obtained from many commercial concerns en-
gaged in supplying this type of merchandise. The
materials commonly used in these patterns are heavy
oiled stencil board, and from six to twelve ply poster
board. A complete set of patterns consisting of the
alphabet, numerals, comma, period, eic. ranges in price
for the one inch size 75c to $3.00 and $4.00 for the
eight to ten inch heights. Pattern blanks marked out
"Columbia" Chart Printers
Aa Aa M 3Mm
Qa aA aA
on heavy easy-to-cut parchment can be obtained from
one company for approximately one-third the price
of the cut-out patterns. This concern has available in
stock twelve alphabet styles from the Roman to tin-
very condensed and the novelty Gothic, from one inch
to eight inches in height.'
These accurate and up-to-date patterns are not onI\-
inexpensive,, but are easy to use and will save loads of
time. All that is necessary is to place enough patterns
on the background to determine the correct spacing,
trace around the patterns lightly with pencil, then
fill in with pen or brush in the desired color. It
is not necessary to have a lot of different patterns
at hand as the simple Gothic and Roman styles
should be sufficient for most purposes. It is well
to have about three sizes of patterns on file. The
title to any graphic material should have the larg-
est lettering, with the subtitles about one-half or
three-quarters the size of the titles. .\11 other let-
March, 19)9
Page 95
Q /.
iA^\^fX<^i
Otis viith
n/tAer!
It's the ideal way to measure students' progress
in speech and music instruction — to mal<e records
of important radio programs and school activities
An RCA Victor Recorder in your school will
prove extremely useful and valuable. For one of
these fine new instruments will enable you to
make greater progress with students retarded by
faults in speech. Because an RCA Victor Recorder
I leans discovering and correcting speech deficien-
cies far more effectively than ever before!
You will also find an RCA Victor Recorder of
great value in determining your pupils' progress
in speech and music instruction ... for the study
of foreign language pronunciation.. .for recording
of radio talks by prominent speakers — talks you
may use advantageously in class at another time
...and for the recording of school plays, dramas
and debates. You can do all this — at amazingly
low cost — with the splendid new portable RCA
Victor Recorder illustrated here. For further de-
tails send the coupon.
New RCA Victor Recorder offers you these 4 essentials:
1. R»<ordt and r»pro4uc«» with omaiing accurocy
2. Sturdily constructed . . . withstands hard usage
3. utmost dependability 4. Extreme'y simple operation
i
i
RCA Victor Portable Re-
corder MI- 1 270 1 . . . comes
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records, using outside-in
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"'"« -nd detailed i„r ' "' ^^ "'•
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Page 96
The Educational Screen
History in tiie malcing
on the 16mm. talking screen
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The best anti-war film to date
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tering should be as small as possible, depending
on the use to be made of the finished product. It
should be remembered that the readability of a
simple style makes it desirable in graphic work.
Pictorial Statistics, for example, generally use Fu-
tura type because of its legibility.
The stencil is really another form of pattern and
one which can be used advantageously by both
teacher and pupil. Stencil alphabets and numbers
are die-cut out of oiled stencil board or brass.
Brass stencils are made in separate pieces, revolving
discs, and adjustable interlocking sets. These metal
stencils are too expensive and are unnecessary for
the work to be done in the average classroom. A
complete set of stencil alphabet and numbers made
from oil board paper are but slightly more expensive
than the same size cut-out patterns. Stencils are
generally made in only the plain Roman and
Gothic styles. Excellent work can be done with
stencils if the proper brush and the correct type
and color of ink or paint is used. The stencil effect
can be easily eliminated by retouching the ties.
The Umba style of alphabet is one which needs no
retouching to remove the stencil efTect."
For smaller lettering in the preparation of charts,
graphs, and diagrams, lettering templates can be
used advantageously. These lettering instruments
are available in a great number of styles and sizes
of lettering, ranging in size from one-eighth to two
inches in height. By the aid of these devices per-
sons unskilled in the art of free-hand lettering can
do excellent work, as they are quite simple to
operate. A pen of a special type is placed against
the template at the desired letter and drawn around
the outline of the letter. The chief disadvantage
of the template is the cost. However, it is made
of laminated xylonite especially seasoned and prac-
tically indestructible. An individual guide con-
taining an alphabet and numerals costs approx-
imately $3.00. A special lettering pen costing about
$1.80 is necessary also. Each size and style of
guide requires its own special pen. Every opening
in every guide, such as the Wirco" and the Nor-
mograph' is cut with extreme accuracy, with the
result that every letter, numeral, or other symbol
made is perfect.
The "Leroy" lettering sets, manufactured by the
same firm producing the Normograph, involves a
March, 19} 9
Page 97
somewliat different but simple technique to oper-
ate. All lettering is formed well above the tem-
plate in full view of the operator by means of a
special device holding a lettering pen known as a
"scriber." These scribers are made in two types :
the adjustable scriber that produces both vertical
and slanting letters from a single template ; and the
fixed scriber which produces vertical letters only.
No special skill is needed to operate one of these
sets and perfect lettering can be produced on the
very first trial by anyone. The cost of the Leroy
template, lettering pen, and scriber is somewhat
greater than the price of a Wirco or a Normograph
outfit.
Sign and chart printers are in common use in
practically all school systems, and teachers general-
ly are familiar with their simple operation. These
rubber face sets contain complete alphabets of
capital and lower case letters, numerals and
punctuation marks together with inked stamp pads,
printing gauges, and rulers. Sets can be purchased
from most school supply houses, complete in wood
boxes, ranging in price from $2.00 to $9.00, de-
pending on the height of type. It is not generally
known by teachers that these sign and chart print-
ers are manufactured with type as small as a
quarter inch and as large as three inches, in a great
number of easily read and attractive alphabet styles
in both solid and outline letters."
Neat and attractive lettering can be done quick-
ly with these sets as they are precision made with
a clearness of printing faces and accurate align-
ment of characters. Used with a suitable grade of
ink, these sets will make impressions on all sorts
of paper, cardboard, wood, metal, glass, fiber, and
other materials. Charts made with the outline let-
ter sets are particularly attractive and eye-catching
if filled in with one or more colors. Color in the
preparation of all graphic work should not be over-
looked as it adds greatly to the vividness of a
chart or poster, thus making it easier to read.
Sources from which Lettering Aids may be obtained
The numbers below correspond to the numbers in the article :
1. Display Letters Co., 8309 Third Ave., Brooklyn N. Y.
2. Rouge Products G)., 3731 98th Street, Corona, N. Y.
3. Wood Regan Instrument Co., Inc., New York City,
4. Keuffel and Esser Co., 127 Fulton Street, New York
5. Hans H. Hellescoe, 2444 Ainslie Street, Chicago,
(To be concluded in April)
Pennsylvania College Conference
An interesting program has been arranged for the
second annual Audio- Visual Education Conference at
the Pennsylvania College for Women, Pittsburgh, Pa.,
on March 31 and April 1, 1939. Out-of-town speak-
ers will be William Gregory of Qeveland, Arch A.
Mercey of Washington, D. C, and Howard Gray of
New York City. Their topics will be, respectively,
"The Visual Radio Lesson in Elementary Schools,"
"Implementing Education with the Motion Picture,"
and "Coordinating the Production of Social Studies
Films with Curricular Demands." Pittsburgh teach-
ers will show some of the audio-visual work which
is being done in their schools in connection with the
teaching of physical science, character education,
elementary science and motion picture appreciation.
Da-L!te Model C for Large Classrooms and Assembly Halls
This popular model is mounted on a heavy dirty metal
spring roller and a backboard which has brackets for
hanging against a wall or from the ceiling or from Da-Late
super tripods. Available with Da-Lite Glass-Beaded sur-
face or Da-Lite Mat White surface. 8 sizes from 6' by 8'
to 12' by 12' inclusive.
Get FULL VALUE
from Visual Teaching Material!
When you buy or rent film slides, motion pic-
tures or glass slide.s, you try to select only
pictures of high photographic quality — illus-
trations that will explain the lesson clearly.
Whether you rent or buy this material you
are paying for quality. But are the students
getting what you pay for! They are, only if
the projection equipment is up to date and
if the screens are in good condition and have
the right surface for the projection
requirements.
SCREENS
(Reg. U.S. Pat. Off.)
Show Pictures at Their Best
Da-Lite Screens are available with three
types of surfaces — white, silver and glass-
beaded. For average projection require-
ments in schools, Da-Lite recommends the
glass-beaded surface. 30 years of experience
in making screens for all projection condi-
tions have shown Da-Lite that the glass-
beaded surface is the most efficient for aver-
age requirementji. It reflects the maximum
of light yet there is no sparkling or glare.
Da-Lite Screens are available in many types
of mountings including the new Electrol,
electrically operated hanging screen. Write for
latest catalog and name of nearest supplier!
DA-LITE SCREEN CO., inc.
Dtpt. 3ES, 2723 N. Crawford Av«.. Chicago. III.
Page 9S
The Educational Screen
A Pupil Constructed Scenario
(Concluded from payc 80)
Sub-title: After iVrmentation tobacco is rtadj- for manufacture.
36. Shredding
37. Mixing
Tobacco being cut and stripped elof^e up
before being made into cigar-
ettes.
38. Cigarette
Manufaetur
Tobacco being mixed with choco-
late, malt, molasses, etc. Eacli
container of material to be mixed
well marked so audience may
read.
Man feeding tobacco lo
machines
Sui>t-r-imj)oiiP({ nubtitlr: Making Cigarettes.
39. Putting paper machine puts paper on cigarette
on cigarettes
40. Rolling
Cigarettes
41. Completed
cigarettes
42. Packing
cigarettes
43. Cleanliness
of workers
44. Shops where sold
iin-diiim
iiu tliiiiH
im diuin
animated diagram of cigarette close up
being made by the machine
cigarettes roll out of machine medium
45. Places to buy
product
cigarettes being packed in boxes medium
by girls or machines
Showing view thru floor of plant perambulator
with girls neatly drest-ed.
Persons shown buying cigar- medium
cttes. One opens pack and lights
up.
Walgreen's transition
Whalen's Drug Store
United Cigars
Schulte's
Independent store
Sub-title: Nicotine of tobacco and tobacco dust are used as spray for
plants.
PERPETUATE YOUR THOUGHTFULNESS
WITH A
CLASS MEMORIAL
The Old Oregon Trail by Robert Wesley Amick and
The Old Santa Fe Trail by John Younghunter are ideal
subjects.
Aiiiick-
Old
Oregon
Trail
sheet Framed
Amick— OLD OREGON TRAIL 28x40 $24.00 $50.00
Younghunter— OLD SANTE FE TRAIL
26x48 -. 24.00 50.00
SPECIAL — Until Midnight, April 30th, 1939.
Sheet Picture— Each $15.00— Framed Each $37.50
Identify your Class Memorial with a NAME PLATE
"Class of '39," Etc. -'/(xS inches, 50c each
Other Special Plates 1x4 inches, $1.25 up
Send 25c for 89 page Catalog No. 20
Nearly 1000 illustrations
FREE ART EXHIBITION for your School
Write for complete details today
THE COLONIAL ART COMPANY
"World's Largest Picture House'*
OKLAHOMA CITY ■ CHICAGO
46. Spraying Spraying with liquid
47. Dusting Dusting with tobacco powdered
Sub'title : Tobacco enters world trade as —
48. Products of
tobacco
medium
medium
each product
appears one
at a time with
close up of
article and
name above it.
49. Graph of tobacco
products
there appears packages of the
following with name above each.
Cigars
Cigarettes
Snuff
Pipe tobacco
Plug tobacco
Sprays
c.ich of the above are shown by long
a mound of material to show
relative size of pile of tobacco
t- 1 be used in producing annual
,1 mount used.
What Did the Pupils Get from This Activity?
1. .-\ii uiulerstaiuliiig: of the tobacco industry and
it.s history. Better and more references might have
produced a more finished product.
2. A spirit of cooperation in producing an indiv-
idualized-cooperative project which might find
a real use in the instruction of future classes.
3. The project motivated the pupils of a non-
college calibre to research without much driving
on the part of the teacher. This is probably
due to the fact that boys and girls are interested
in movies and how they are made.
4. They learned the rudimenfs of construction of
a motion ])icture and the glaring weaknesses
of many pictures.
5. They were allowed originality of thought, each
individual's opinion considered as important as
the other fellow's.
6. They covered the same amount of material as
required by the question - answer method of
teaching Tobacco, and more, for when they
needed information to make the story complete,
they had to resort to references they ordinarily
would not have used. The production of a
scenario meant no recitations as such were
needed. The making of the Master Scenario
was the recitation.
7. Since little information could be had concern-
ing the technicalities of cigar, cigarette and
spray manufacture the pupils felt at the close
of the project that they still did not know
everything about Tobacco and its manufacture.
This is one of the healthy states of mind which
we try to create in to-day's children.
.8 Pupils got away from the habit of thinking in
terms of words. They had to visualize. If the
reader thinks this is easy he should try to
construct moving pictures from his thoughts.
It was noticed some pupils were superior in this
sort of mental effort, and they were not always
the bright pupils.
9. The pupils have become critical of pictures
they now see on the screen for only the other
day the writer heard a comment made by one
pupil to another that he thought a film which
had been shown could have been made better
and told more in the footage used.
10. Pupils showed by the production of scenarios
how they would present a topic in such man-
ner that the non-reader or pupil of little ability
would be able to understand the more involved
processes around which words often wrap a
veil of obscurity and boredom.
March, 1939
Page 99
A new Eastman Classroom Film
on one o. Europe's most impo-tantUey states
buUdings and charac„ ^ ^^,
""""' t t rl« new housing proj-
:tx'r^r:;f;'-;f-rjn.
r "^:"S«--t S-rpH.a.e
ing. Agncuu direction
"ZlZTl ;"pt. indiviauaU,
^ small farm and its peasant
owned ^^^y home life, cus-
akind„gar,.na„dpnmao.^g
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' « staport on .he B.Ui<:— he
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Polish exports. 1 reel
Order now for prompt deli very, or write for fur-
ther details . . ■ Eastman Kodak Company,
Teaching Films Division, Rochester, N. Y.
Eastman Classroom Films
Page 100
The Educational Screen
AMONG THE
AND BOOKS
MAGAZINES
Conducted by The StaflF
School Life (24:142, February '39) "Visual Aids
to Instruction Then and Now," by Katharine M.
Cook, Washington, D. C.
An enlightening comparison between the theory
and application of visual aids in our schools of
today and the approved practice in 1832 is pre-
sented by the writer after her perusal of a lecture
on "The Utility of Visible Illustrations," delivered
before the American Institute of Instruction in Bos-
ton by Walter Johnson in that year. Mr. Johnson
pointed out values and limitations of visual aids
that are still being emphasized, discussing prac-
tically all the types which we know today, except
projected aids, and stressing the desirability of first-
hand contacts. That pupil participation was not
unknown then, is also indicated. Since 1832 we
have added extensively to our equipment, through
projected aids, but we are using also, in much greater
degree, unprojected pictorial materials, objects,
globes, models, and the like. This is due to the
obstacles in the way of using aids requiring mech-
anical equipment, namely, expense, lack of suitable
Qpertiaent points
In the words of noted educators
Ready to Carry
1
1 "Easy to transport." Pro-
■*■ • jector 32 lbs. — 2. Amplifier
with speaker 28 lbs.
O "Speaker locks to amplifier
* for portable public address
requirements."
O "A handy combination
unit. The two units lock
together for sound on film
projection.
"Amplifier instantly de-
tached" for use in project-
ing silent films.
"Holmes Electric Turntable
quickly operates with speaker
and amplifier combination."
"Microphone operates per-
fectly with turntable, speaker
and amplifier combination."
"Simple switch" regulates
from silent to sound on film
speeds.
"Without lamp adjustment
lamphouse accommodates
500-750 or 1000 watt lamps."
Sprockets - Decimittent
Movement - no claw; Hold
Back - absolutely essential
for perfect sound ; Filtered
Sound - same as used in
theatre machines.
Write for technical detail?
to check features with b
professional operator,
HOLMES PROJECTOR CO.
1813 Orchard St. Chicago
materials, insufficient training of teachers. The
author anticipates the satisfactory solution of these
problems, however, in due time.
Science Education (22: 358-63, December '38)
"Making Use of Motion Pictures in Teaching
Science," by Walter W. Bennett, Charlotte High
School, Rochester, New York.
Here is a splendid contribution to the literature
on the use of films as teaching aids, offering food
for thought to all teachers. Common errors in
film-teaching technique are pointed out, the laissez-
faire teacher contrasted with the skillful one. A
good film lesson requires dynamic mental activity
on the part of the teacher, involving advance plan-
ning, previewing and purposeful showing of the
film, integrating it closely with the topic studied.
To make these suggestions more concrete, actual
teaching situations are described, in each of which
the film is used for a different purpose — to initiate
a unit, to establish concepts of a unit, to enrich a
unit, for survey or building background, to sum-
marize or review.
School Activities (10: 212-14, January '39) "An
Introduction to Visual Aids," by Alvin B. Roberts,
Principal Haw Creek High School, Gilson, Illinois.
As the title indicates, this articles has been written
for the benefit of schools planning a visual aid pro-
gram. The writer emphasizes first the importance
of correct interpretation of a picture and suggests a
few factors one should be aware of in viewing a
picture. He then describes the various types of pro-
jection materials for the classroom — still and mov-
ing pictures — pointing out the advantages and dis-
advantages of each. Consideration of these points
will enable schools to select the equipment best
suited to their needs.
California Journal of Secondary Education (14:
46-49, January '39) "Germany's Leadership in
School Films," by John Brown Mason, assistant
professor of Social Science, Fresno State College.
This survey of the educational film situation in
Germany is quite startling when compared to the
progress made in America to date. 30,000 of Ger-
many's 60,000 schools are equipped with 16mm
projectors, and 7000 are being added each year
until all are equipped. 564 educational films are
available, produced especially for instructional pur-
poses and a considerable number are in production.
Nearly all are silent films as sound is still too ex-
pensive. However, they hope to use sound films
in the future, especially for "reproduction of .rounds
which may be absent from students' previous ex-
perience." Students' contributions provide the funds
for projection equipment.
The writer has found German films excellent
technically and objective in presentation. Most of
March, 19)9
Page 101
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230 SO. WABASH. DEPT. 53. CHICAGO (E«t. 189*)
them are free from propaganda, being excepted
from government censorship. Great leeway in the
selection of films is permitted individual instruc-
tors. There are several reasons for Germany's
progress in the educational film field, an important
one being that it has one centralized nation-wide
system of education. The Reich Office for Educa-
tional Films supervises the school use of films, as-
sisted in their distribution by regional and local
organizations, headed by teachers. Their system
deserves careful attention and study.
Book Reviews
■ Motion Pictures and Radio, by Elizabeth Laine. Mc-Graw-
Hill Book Company, New York. January, 1939. 16S pages,
cloth. $1.75.
This is one of a series of studies by the University of the
State of New York, made under the Regent's Inquiry into the
character and cost of public education in the State of New
York. It is a refreshing, ably written piece of work such as
one meets none too often, unfortunately, in the research field.
It seeks a definite and important end, namely, the critical
examination and appraisal of present educational outcomes,
methods and costs, and the formulation of policies and programs
for long-range objectives ahead. It does not aim at "great
masses of statistics" or endless descriptive details via the
"questionnaire" route. Rather, it surveys widely and intensively
through the best available sources the existing status of things,
concentrates on the most significant virtues and faults, and
presents conclusions, from the evidence and from considered
judgment, in clear, terse and eminently readable English.
Much of the survey necessarily presents facts already familiar
to close students of the field, but even these will find stimulating
value in the discerning conclusions and fertile suggestions that
abound throughout. The great majority of the field will find
the able summary of real essentials equally valuable. It is a
book that will repay reading by any and all.
Four chapters discuss the Motion Picture: (1) "The Influence
of the Motion Picture Theatre" considers its feature and
short length pictures, the chief researches so far conducted on
audience effect, the "motion picture appreciation" movement,
and expresses doubt that it will ever be possible to measure
with any exactness the vast "influence that motion pictures
exert on human life and thought" ... but "the impact of ideas,
no matter how communicated, constitutes a tremendous in-
fluence on the thoughts of all members of society." (2) "Non-
Theatrical Motion Pictures" surveys Industrial. Government
"LIFE ^
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silent. School produced for school audiences. Rental, $1.00 for
a day's use or $3.00 for a week, plus postage.
H. M. Knekuk, 4106 North 24th Plae«
MILWAUKEE, WISCONSIN
YOUR BUDGET
For Visual Education
Your budget should include our out-
standing educational pictures, avail-
able for rental and sale at prices
within your means.
When you visit the
WORLD'S FAIR
Make a note to say "hello" and use our
projection room for the screening of
films that are of interest to you.
Educators are cordially invited to use
our facilities when in New York.
Send for catalog of over 1200 Educational
and Entertainment subjects — for rent or sale.
WALTER 0. GUTLOHN, Inc.
35 W. 45th St. Dept. E-3 New York
Page 102
The Educational Screen
Show Filmstrips or M.iniature Slides
with the ^W Tr/-/^tir/nfxe
PROJECTOR
Increasing use of the 35 mm black and white
filmstrips and 2" x 2" Kodachrome glass
slides has made S.V.E. Tri-Purpose Projectors
more popular than ever.
The Model CC 100 watt projector has proved
its efficiency in thousands of classrooms.
The 300 watt Model AA has been made on
the same time-tested principles. Both show
single or double frame filmstrips and 2" x 2"
glass slides.
Write today for descriptive literature and
catalog of available filmstrips.
Society for Visual Education, Inc,
100 EAST OHrO STREET CHICAGO. ILLINOIS
PROMINENT EDUCATORS
ACCLAIM
These Educafional Films
Scientific Cinematography Enthralls
Students, Scientific Bodies!
The genius of eminent European scientists, aided by modern scientific
cinematography, has produced an amazing series of educational films !
In "The Ant City", you see examples of the ants' architectural and
economic perfection, their organization and elaborate habitations, how
they collect food supplies, care for the young, wage wars and protect
themselves from rain-storms. In "The Life of the lice", you watch
the founding of a new "city" in the Spring, the birth and death of
the queens, the life cycle of the worker, the massacre of the males, and
finally, a death-struggle with the bee's ancient enemy, the ant.
Write at once for literature describing these and other subjects —
Plant Power, Sensitivity of Plants, Liquid Air, Moving X-Rays.
Available in silent or sound. 16 MM or 35 MM.
FOR SALE OR RENTAL
UFA EDUCATIONAL FILMS
729 Seventh Avenue • New York City
and Miscellaneous production, efforts to utilize wholes or parts
of theatrical films, the great need for more and different edu-
cntional films, the prohlem of general distrihution, experiments
in distribution to the school field, the costs involved and some
trenchant considerations on "whether the value received from
the use of films justifies the cost." (3) "Adaptation of Motion
Pictures to Education" summarizes the outstanding research to
date, points out the difficulties in classroom procedure and
curricular adaptation, discusses the great range of potentialities
of films in teaching and their natural correlation with modern
methods in education. (4 I "Role of the State in an Educational
Motion Picture Program" treats dissemination of information,
film evaluation, experimentation, research, circulation of
equipment, and teacher training — for "no matter how excellent
a particular film may be, its value to the class rests almost
entirely with the classroom teacher."
Radio also receives four chapters (V'l-VIII) of attention. The
first discusses radio as a general medium for mass impression,
its influence on national culture, and factors determining the
nalure of broadcasts. Sustaining programs are far superior in
cultural content and quality to advertiser-spon.sored programs,
yt* the latter are vastly more popular, which accords with the
I'si'.al trend of public taste in all fields. Governmental control
in foreign countries is contrasted with private ownership under
the preferred .American practice, which has led to the con-
centration of control in the hands of three great broadcasting
chains for a practical monopoly of the air. The stations, the
companies and the I'ederal Communications Commission have
all been objects of severe criticism and the author suggests that
educators could do much to counteract the difficulties.
Chapters VI and VII consider the adaptation of radio to
education, stressing its great value in presenting current events,
or history in the making, with a speed surpassing press or
cinema, and the selective and interpretative function possible
with good broadcasting. It is unique in presenting music, the
actual voices of great personalities, in its possibilities in im-
proving national speech and increasing power of attention.
Important experimental studies so far completed are sum-
marized, together with problems yet to be solved. Many
educational projects in broadcasting are fully treated, both
Miircb, 19)9
Page 10}
!.,cal ami nation wide, with si>ccial emphasis on spccilically
scholastic broadcasting, such as the notable activities in
Kmhesttr. Cleveland. N'cw Vork, Ohio State University, Uni-
versity of Chicago, and others. That the way has been rough
appears from the fact that 125 eilncational stations in 1925 had
shrunk to iS in 1936. The last chapter points out the
necessary and inevitable role that must be played by the State
ill the final solution of the many problems.
liy far the greater part of the values found for radio are
for adult minds, the adaptation for young minds being obviously
far more difficult. The author recognizes freely how much
remains to Ik- learned alwiut this tremendous force that has
swept uixm us with a s]K-ed outstripping all attempts at research,
but concludes that "although neither the value nor the Iwst
methijd of teaching by radio has been conclusively demon.strated
... no institution or department of learning can afford to ignore
entirely education by radio . . . and eventually radio technique
is liound to influence vitally the whole educational procedure."
N. L. G.
I ■ The Usk ok Visiai. .\ii>s in Tf.aciiin<;. by Ella CallisU
Oark. of Stale Teachers College, Winona. Minnesota, and
Instructor in Visual .Vids, College of Education, University of
Minnesota. Bulletin of Winona SUte Teachers College. 24
pages, paper. 25 cents.
.\ concise and highly informative little pamphlet, ably
written and attractively printed, that packs in small compass a
deal of scholarly discussion and helpful directions for the
sound use of visual materials.
After a compact introduction of a page or two on visual
aids, what they are. why use them, and how not to use them,
the author discusses in detail the Excursion, the Still Picture,
the Steretigraph. the Lantern Slide, the Film Slide, and the
Motion Picture. The booklet is rich in suggestions for a wider
range of uses for familiar materials and equipment, every page
giving hints for procedures that will be novel to many who
have long used visual aids.
There is no theoretical utterance here, no wasted words, no
padding. It is sane, direct, stimulating. It has all evolved from
Miss Clark's rif)e experience in the classroom, in preparing
teachers in visual instruction, and in serving as a Icadmg iii-
rtuence in the notable developments and expanding interest in
visual instruction becoming so apparent in the Minnesota area.
Local demands for this pamphlet required reprinting soon after
its first appearance, but its value will be the same for teachers
ar.ywhere who are interested in improving their u.se of visual
materials. N- ^- ^•
■ Visual Review —Eleventh Annual Edition, 1939. Published
by The Society for Visual I->iucation. (A pages, pai)er.
The eleventh edition of this practical little handbook, otT the
press last month, offers the usual meaty material to its readers,
particularly with respect to the tilmstrip. Mr. O. L. .\mistrong
of the University of North Carolina reports on the use of film-
strips by North Carolina teachers of vocational agriculture.
"The Filmstrip in CCC Camp Education" is summarized by
Homer T. Rosenberger, Research Assistant to Director of CCC
Camp Education, Washington. D. C, while "Filmslides in the
Visual Education program of the church is described by Keith
C. Von Hagen, Baptist Sunday School Board, Nashville, Teiin.
The procedure followed in the production of filmslides for the
visual education work of the Connecticut State Department of
Education, is an interesting contribution from John S. Carroll.
Department of Education, Yale University, and Paul J. Gray-
bill, Supervisor of the WPA Visual Education project. Twenty-
six teacher-made filmslides, produced as an aid in vocational
education, are described by Ray McCrory, West Di\'ision High
School, Milwaukee.
The address, "Records and Recording Equipment for
Schools," given by Ellsworth C. Dent at the .\tlanta Audio-
Visual Conference last November, is reproduce<l. More general
irticles are "Visual Aids in the Classroom," by Camilla Best.
New Orleans Public Schools, and an account of a study made
to determine the effectiveness of visual aids in teaching poetry
in the Wcirton, West Virginia, High School. A splendid
feature is the section on Visual Education Courses in 1938
Summer Schools, wherein the experience of several instructors
are presented.
Visual Re\'iew is available free upon request to the Society
for \'istial Education, ,^27 S. USalle Street, Chicago.— J. F. H.
TO OUR PATRONS
on the WEST COAST
In Order to Better Serve You
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Page 104
Current Film Releases
Kodascope "Universal" 16mm
Subjects Taken Over by
Bell & Howell
Ten Universal feature films, formerly
distributed by Kodascope Libraries Di-
vision of Eastman Kodak Company, will
henceforth be available through Bell &
Howell's Filmosound Library. The switch
was occasioned by the discontinuance of
the Kodascope Library, and the transfer of
Eastman's film rental activities to their
retail stores. This change, effective
March 31, 1939, adds 10 Universal fea-
tures and 15 short subjects to the 27
features, 3 serials and 55 shorts already
handled for Universal by Bell & Howell.
The feature 16mm. films involved in this
change of distribution include Show Boat,
My Man Godfrey, Imitation of Life,
Magnificent Obsession, The Good Fairy,
Once in a Lifetime, Diamond Jim, His
Night Out, My Pal the King, and Three
Kids and a Queen. The fifteen shorts
include Oswald Rabbit Cartoons, Lowell
Thomas Travelogs, Mentone Musicals
and several comedies.
The conditions under which the Uni-
versal films are distributed remain virtu-
ally unchanged with Bell & Howell hand-
ling. Rentals are made through local
motion picture dealers or through Filmo-
sound Branch Libraries in New York,
Chicago and Hollywood. A new catalog
supplement describing these and other
recent film additions will be sent free.
on request. Address Films Division,
Bell & Howell Company, 1801 Larch-
mont Avenue, Chicago, Illinois.
Biographical Picture
Audio-Film Libraries, 661 Bloomfield
Avenue, New Jersey, announce the
availability of a 16mm sound film on the
Life of Theodore Roosevelt, which covers
the important highlights of his career. He
is seen as Rough Rider, Governor of
New York, Civil Service Commissioner,
Vice-President and President. Clearly
portrayed are his conservation policy,
building of the Panama Canal during his
administration, his development of our
modern navy, and many other outstanding
historical events. The picture, which
runs seventeen minutes, may be obtained
for a reasonable rental charge.
Material for the Improvement
of Reading
The Harvard Film Service in co-
operation with the Psycho-Educational
Clinic, Harvard University, announces a
new type of film material for the im-
provement of reading. These 16mm
films consist of reading material so pre-
sented that successive phrases of the sep-
arate lines are exposed rapidly across
and down the screen. The film serves as
a "pacer" and the pupil is stimulated to
keep up with the rate of exposure. As
the training progresses, selections with
longer and longer lines are presented,
thereby gradually increasing the eye
span.
Twenty selections averaging 125 feet
each, adapted to the senior high school
and college levels, together with a
teacher's manual and a set of compre-
hension tests for each film are now ready.
By April first, in time for a two months
training period this year, there will be
available thirty selections for Grades 3
to 5 ; by next September, a third set for
Grades 6 to 9. These films are for sale
only. Sample selections will be sent for
preview purposes on request to the Har-
vard Film Service, Cambridge, Massa-
chusetts.
New UFA Subjects
Two more scientific films in their
biology series, titled Life of the Bee
and The Ant City have been released by
Ufa Films, 729 Seventh Avenue. New
York City. The film on bees shows the
hive that awakens in the Spring, forma-
tion of the swarm, foundation of the new
city, the short life cycle and duties of
the worker, the birth and death of new
queens, the massacre of the males and
finally, a death struggle with their
ancient enemy, the ant. The Ant City
presents examples of their architectural
and economic perfection, their organ-
ization and elaborate habitations. The
bu?y routine of the neuter-sex ants is
depicted, and such fascinating incidents
as a war between two colonies, ants at-
tacking a snail, and the feverish activity
of the colony in preparation against an
oncoming storm.
These educational subjects, which have
been highly endorsed by science teachers,
are available in 16mm and 35mm, sound
or silent. The sound films are narrated
by a newsreel commentator.
Free Loan Films
A new two-reel sound motion picture,
Let's Go Fishing, starring Tony Accetta,
U. S. professional bait and fly-casting
champion, has been produced by the
Fisher Body Division of General Motors,
Detroit. The film presents a compre-
hensive lesson in fishing and casting, en-
couraging participation in the sport and
emphasizing the basic rules of sports-
manship. Right and wrong methods of
casting, proper methods of landing a fish
and other fine points of the art are
illustrated. Narration is by Ted Husing.
Another recent picture issued by Fish-
er Body is This Moving World, in two
reels, which is a dramatic portrayal of
the history of transportation, from tlie
discovery of the wheel to the introduction
of the streamlined train, the trans-oceanic
airliner and other modern means of travel.
Both of these subjects are available in
16mm and 35mm sound, without charge
except for the cost of shipment.
The Educational Screen
French Productions
Walter O. Gutlohn, Inc., have added
two French films in 16mm. sound to their
growing library of foreign subjects. The
Violin (Le Violon), a two-reel short,
depicts the history of the development of
the violin and the members of its family,
including the various delicate stages of
manufacture. Jacques Thibaud, well-
known French violinist, is heard playing
one of his favorite compositions. This
film was awarded the grand prize at the
World's Fair in Paris. English version
will be available soon. Andorre is the
title of a three reel film on the tiny na-
tion of Andorre, situated between France
and Spain, which has the distinction of
being the smallest republic in the world.
This documentary film presents an au-
thentic picturization of the customs and
characteristics of the natives.
Spanish War Release
The Will of a People, latest and
most complete film record of the war in
Spain, is announced by Garrison Films
Inc., 1600 Broadway, New York City.
Produced in Catalonia and in the nine
provinces of Central Spain, the film is
an important film document of the un-
fortunate conflict between the people of
the Republic of Spain and the insurgent
Fascists and Moors. Additional historical
scenes were obtained from the Govern-
ment's film archives. The editing was
completed in America by Louis Frank,
producer. The film is 6 reels and is
available is 3Smm and 16mm sound, for
both rental and sale.
West Coast OfRce for Ideal
On March 1st Ideal Pictures Corpora-
tion of Chicago took over by purchase
the Howard Hill Motion Picture Service
of Los Angeles. Mr. Willoughby, Presi-
dent of Ideal, spent a few days in Los
Angeles getting the new office going "the
Ideal way." The West Coast office will
continue under the management of Don-
ald Reed, as it has for the past year
under Howard Hill's ownership.
Film on Monastery Life
Pictorial Film Library, 130 West 46th
Street, New York City, has secured ex-
clusive rights to Life in a Benedictine
Monastery, a three-reel 16mm film pro-
duced in France, and have added an ex-
planatory commentary in English. The
picture intimately portrays the life in a
monastery in Normandie, showing the
monks at their tasks — cultivating their
soil, spinning cloth, preparing their
manuscripts — and at their daily prayers.
A novitiate ceremony is also seen. There
are actual recordings of Gregorian chants
and Latin prayers. This subject should
have appeal not only to those of Catholic
faith, but to general audiences as well
since it portrays a kind of life which
has changed little since the Middle Ages.
March, 1959
Page 105
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
LEHER OF INTRODUCTION
MAD ABOUT MUSIC
100 MEN AND A GIRL
THREE SMART GIRLS
THE RAGE OF PARIS
MERRY GO ROUND OF 1938
YOU'RE A SWEETHEART
SHOWBOAT
(and many others)
Write to Universal's Non-Theatrical
Department for further information
regarding short and feature-length
pictures, travelogues, cartoons
and other motion pictures.
CATALOGUE 16
UNIVERSAL PICTURES
COMPANY, INC.
Rockefeller Center New York, N. Y.
CIRCLE 7-7100
NEW
CLASSIFIED DIRECTORY
OF FILM SOURCES
50c Per Copy
Sand Order to
Never before has there been such a clear cut
Subject-Source Index with its many classifi-
cations and divisions tabulated in a film di-
rectly. It Is unquestionably the most compre-
hensive film selection list ever published.
Instead of the user wading through many
classifications to find a certain subject, this
New Directory permits him to consult the
Subject-Source Index, where, under the
proper headings, he will find a list of sources
that have such films available . . . both silent
and with sound. Sources are numbered and
user then consults source listings to deter-
mine what each source can supply.
Another noteworthy innovation is an en-
larged editorial section that provides perti-
nent information and data on all non-theatri-
cal applications of the motion picture . . •
featuring, in particular, the educational field.
This edition of the VICTOR Directory is the
result of thousands of requests for a contin-
uation of this VICTOR service to 16mm users.
As VICTOR was one of the first to publish a
film directory years ago, it now carries on
with the most complete and helpful film
diredorv ever published.
FOR YOUR COPY
Send 50c with complete and fully legible
maUing address to the DIRECTORY EDITOR.
at the home office of Victor Animatograph
Corp., in Davenport, Iowa.
m
VICTOR ANIMATOGRAPH CORPORATION
DAVENPORT. IOWA
Chicago Los Anfeles New Yorfc
AN IM ATOPHO N E IC SOUND PHOJfCTOBS
Page 106
The Educational Screen
THE FILM ESTIMATES
Beachcomber. The { Lauirhton. Lanchcstcrl
(Para) MauRham short story of degenerate,
gin-soaked, repulsive derelict, supposedly irre-
sistible to women, demoralizing South Sea
social order. Rigid lady-missionai-y fights to
deport him but ends by marrying him herself.
Unpleasant theme expertly done. 2-21-39
(A) Fine of kind (Y) (C) By no means
Blondie Meets the Boss (Lake, Singleton, Larry
Simms) (Colum) Second in comic-strip series.
Domestic comedy of nonsense and slapstick.
Engaging little dog and Baby Dumpling, talk-
ing far beyond his years, steal picture. Little
spark or ability in rest of cast. Fun if you
laugh easily. 3-7-30
(A) Elementary (Y) Fair (C) Good
Cafe Society (Madeleine Carroll, Fred MacMur-
ray) (Para) Expert picture of flippant, so-
phisti(;ated "playboy" life, incessant wisecracks
with appearance of wisdom but no evidence,
built round wrangling love affair and snap
marriage. Elegantly cheap, blase, unwholesome
living made alluring. Carroll notable. 3-7-39
(A) Very good of kind (Y) (C) By no means
Edge of the World (John Laurie, Belle Chrystall)
(Pax) Fine British documentary study of life on
rocky, barren island off Scotland. Absorbing hu-
man drama of romance and conflict between
two families interwoven with stirring portray-
al of inhabitants' losing struggle for existence
and final exodus. Superb photography. 2-28-39
(A) Notab'e (Y) Mature (C) Too heavy
Fighting Thoroughbreds (Mary Carlisle, Geo.
Hayes) (Republic) Ordinary little story with fa-
miliar plot of rivalry between families over su-
premacy of their horses, and the usual race-track
climax, which adds excitement of attempted kid-
napping by crooks trying to throw the race. Good
shots of horses and outdoor scenes. 2-14-39
(A) Hardly (Y) F'air (C) Doubtful int.
Fight to the Last (Chinese-English titles) Chi-
nese production showing ruthless Japan deci-
mating unprepared China. Story centers around
appealing Chinese family, all dying grisly
deaths. Technically poor, with dizzy transitions
and montage, but vivid, horrible, convincing
realism favoring China in present War. 2-14-39
(A) and (Y) Strong and grewsome (C) No
Fisherman's Wharf (Bobby Brcen, Galli, Car-
rillo, Armctta) (RKO) Sentimental, realistic,
homely comedy of Italian fishermen's life on
San Francisco waterfront, centered round ap-
peatintr orphan bov. his foster-father, and
scheming widow with unbearable son. Bobby's
singing and fine role by Galli are features. 3-7-39
(A) Good of kind (Y) Good (C) Good
Gambling Ship. The (Robt. Wilcox. Helen Mack)
(Univ) Father killed by rival gambler, daughter
takes over gorgeous gambling ship to get re-
venge. Hero plays both sides. Glamorous gam-
bling and gangsterism sanctified because father
and daughter found and finance orphan asylum
from "honest" roulette wheels. 2-28-39
(A) Mediocre (Y) No (C) No
Girl Downstairs, The (Franciska Gaal, Franchot
Tone) (MGM) Light, gay romantic comedy.
Wealthy hero poses as chauflfeur and courts scul-
lery maid to gain access to home of rich fiancee
whose father opposes the match. Flimsy, trite
theme but simple, refreshing charm of Miss Gaal
wins audience as well as hero. 2-28-39
(A) Fairly amus. (Y) Entertaining (C) No int.
Honolulu (Young. Powell. Burns, Allen) (MGM)
Fast, merry musical romance, with dual role for
Young as much-pursued movie star and his
double, a Hawaiian planter. Amusing complica-
tions on ship and shore, roles perfectly fitted
to players, tuneful music, and Eleanor's fine
dancing. Deftly done throughout. 2-21-39
(A) (Y) Very good of kind (C) If it interests
Huckleberry Finn (Mickey Rooney) (MGM) Se-
rious and fairly successful attempt at true film-
ing of Mark Twain classic in proper tempo,
times and settings. Director Thorpe has manag-
ed to suppress most of Mickey's usual antics
and a quite convincing "Huck" results. Near-
execution of Jim made pretty strong. 3-7-39
(A) Fairly good (Y) Good (C) Strong but good
I Was a Convict (Barton McLane) (Repub) Old
business man, after jail term for tax evasion,
hires jail cronies and estranges stockholders.
Dubious moments but policy finally proves sound.
Too much improbability, low comedy and melo-
drama to make convincing plea for hiring
convicts. 3-14-39
(A) Crude (Y) (C) Doubtful value
King of the Underworld (Kay Frances, Hum-
phrey Bogart) (Warner) Her husband killed by
gangsters, doctor-heroine invades underworld
for revenge and wins out in highly improbable
fashion. She finds new romance amid wild
gunplay, hairbreadth escapes and extra heavy
villainy. Waste of Kay Francis. 2-21-39
(A) Mediocre (Y) No (C) No
Being the Combined Judgments of a National Committee on Current Theatrical Filmi
(A) Discriminating Adults (Y) Youth (C) Children
Date of mailing on weekly service is shown on each film.
Let Freedom Ring (Nelson Eddy, Virginia Bruce)
(MGM) Lusty tale of old west and coming of the
railroad. Hero pretends sympathy with unscru-
pulous railroad agents who rob settlers of land,
and outwits them by preaching doctrines of true
Americanism to immigrant workers. Characteriz-
ations and Nelson's singing best features. 2-28-39
(A) Fair (Y) Bather good (C) Too mature
Life Dances On (Un Carnet do Hal) (French—
Eng. titles) Outstanding film artistically done, su-
perbly acted and directed, beautifully photo-
graphed. Absorbing episodic drama unified by
central character, lonely widow who seeks out
girlhood admirers. Experiences range from grip-
ping tragedy to fine comedy. Notable cast. 2-21-39
(A) Excellent (Y) Mature (C) Unsuitable
Little Orphan Annie (Ann Gillis, Robert
Kent) (Para) Cheap amateurish effort to
cash in on comic strip. Annie sponsors
prizefighter to make money to help neigh-
bors. Crazy slapstick throughout, with women
beating up hoodlums with rolling pins for
climax. 3-14-39
(A) Absurd (Y) No. (C) No
Long Shot (Gordon Jones, Marsha Hunt) (Gr.
Matl) Another racetrack story with some origi-
nal turns in plot and fairly average acting.
Plenty of track villainy as usual, but con-
siderable human and "horse" interest gets
the emphasis. Harry Davenport does the out-
standing role. 3-14-3'>
(A) Fair (Y) (C) Good of kind
Lone Wolf Spy Hunt (Warren William. Ida Lu-
pino) (Columbia) Government plans for new
aircraft gun shuttle around from government to
crooks to Lone Wolf in an intricate hodge-podge
of comedy, crookery, mystery, peril and ro-
mance. Smooth, suave role by William with
effective supporting cast. , 2-28-39
(A) Good of kind (Y) Fairly go;)d (C) No
Man with a Gun, The (Russian-Eng. titles) (Am-
kino) The 1917 revolution and overthrow of Ker-
ensky under Lenin and Stalin, who are made
quite charming. Engagingly ignorant private sol-
dier has leading role. Faster tempo, more char-
acter interest and much humor make this more
effective propaganda than usual. 2-28-39
(A) Good of kind (Y) No (C) No
Navy Secrets (Fay Wray, Grant Withers) (Mono-
gram) Colorless, confused spy-melodrama. Hero
and heroine are Secret Service agents, on same
case and ignorant of each other's identity. Ap-
prehension of spies, to whom traitorous sailor
has been selling secrets, requires guns, fisti-
cuffs, and some suspense. 2-21-39
(A) Mediocre (Y) Passable (C) Hardly
North of Shanghai (Betty Furness. James
Craig) (Columbia) Mediocre thriller built around
Chinese war. Heroine, ace reporter from the
States, and cameraman hero track down spy ring
and succeed in wiping out conspirators in air
raid climax. Fast-moving but little suspense.
Fairly well acted. 2-14-39
(A) Hardly (Y) Ordinary (C) No
Off the Record (O'Brien, Blondell, Bobby Jor-
dan) (Warner) Glorifies tough, insolent, incor-
rigible boy who flouts would-be benefactors,
runs his own lawless course, dictates his own
"reform." Hero and heroine, breezy newshawks,
are helpless before him, but manage to wise-
crack themselves into marriage. 3-7-39
(A) Hardly (Y) (C) Unwholesome
Pagliacci (Richard Tauber, Steffi Duna) (G-B)
Sincerely acted film version of famous opera,
telling tragic story of jealousy and murder.
Excerpts from original finely sung in Eng-
lish by Tauber. Photographically appealing,
but final scenes in Technicolor rather inef-
fectual. 3-14-39
(A) (Y) Good of kind (C) No interest
Peck's Bad Boy with the Circus (Tommy
Kelly. Ann Gillis) (RKO) Hilarious adven-
tures of youngsters at circus, complicated by
animosity between hero and rival, fighting
lions, slapstick comedy, circus acts, culminat-
ing in wild ride to camp for race which
hero wins. 3-14-39
(A) Elementary (Y) (C) More or less amusing
Pride of the Navy (Jas. Dunne. Rochelle Hud-
son) (Repub) Happy-go-lucky hero, fired from
Annapolis but a mechanical genius, proves invalu-
able to navy in developing new submarine. Ro-
mance with Commander's daughter complicates
things, but hero finally wins trials, navy rank,
and girl. Light, unskillful amusement. 2-21-39
(A) Hardly (Y) Fair (C) Fair
Pygmalion (Wendy Hiller. Leslie Howard)
(MGM) Expertly made, finely acted British
translation of famous play. Brilliant dialog re-
tains Shaw's clever .satire and wit. Hiller not-
ably fine in role of cockney flower girl who is
transformed into charming lady by an eccentric
professor. Delightfully entertaining. 2-14-39
(A) Exclnt. (Y) Gd. tho. mature (C) Too mature
Stagecoach (Trevor, Wayne. Thos.Mitchell) (UA)
A mere stagecoach travel-episode in Indian days
^-killfully spun into cense, sensational Western
melodrama of varied character interest, fine
.scenery and unlimited thrills. Historical value
marred by exaggeration, impossibilities, and
overdone sound and background music. 2-28-39
(A) Fineof kind (Y) Tense thriller (C) No
Stand Up and Fight (Taylor, Beery) (MGM)
Vague pre-Civil-War "history" of stagecoach,
new railroad and stolen slave traffic thoroughly
melodramatized with thrilling thuggery. Two-
fisted "gentleman" and swaggering roughneck
furnish much fighting but little drama - though
Hollywood thinks they are synonyms. 2-28-39
(A) Good of kind (Y) Doubtful value (C) No
Soviet Border ( Russian. English titles) (Amkino)
Lonf. lumbering sti>ry of Soviet-Manchuria fron-
tier. Many civil and military characters, com-
plex allegiance, tricks, treacheries, loyalties,
spyings, endless talk, abundant unenlightening
titles, make whole practically unintelligible.
Then Soviet crushes Japs ! 3-7-39
(A) Dull (Y) No (C) No
St. Louis Blues (Lamour. Lloyd Nolan) (Para)
Mediocre "swing" musical in Mississippi show-
boat setting, with stale, hodge-podge plot, built
to exploit Lamour's "singing" and figure. Some
obvious sex emphasis. Jesse Rolph supposed to
be very funny as hard-bitten, wise-cracking,
cigar-smoking old woman. 2-21-39
(A) Depends on taste (Y) No value (C)No
Strange Case of Dr. Meade (Jack Holt, Beverly
Roberts) (Columbia) Somber little story, un-
pretentious, but not without merit, about a fa-
mous surgeon who tries to bring modern med-
ical practice and sanitation to a Southern
backwoods village and finally wins out against
ignorance and hostile opposition. 2-14-39
(A) and (Y) Fair (C) No interest
Swing. Sister, Swing (Ken Murray, Kathryn
Kane) (Univ) Trivial but lively and somewhat
appealing little story about small-town "jitter-
bugs" brought to New York by press agent
to revive failing studio with new dance. They
achieve temporary fame, returning home when
fad passes. Glorifies "swing". 2-21-39
(A) Thin (Y) Probably enjoyable (C) Perhaps
They Made Me a Criminal (Garfield, Robson. G.
Dickson) (MGM) Tough, low-minded prize-fight-
er hero fiees unjust murder charge, lands on wes-
tern ranch, gradually learns better values. Gar-
field convincing, but sordid, violent action, and
slum slang and sly trickery of glorified Dead End
kids, largely nullify character values. 2-14-39
(A) Gd. of kd. (Y) Unsuitable (C) By no means
Three Musketeers (Don Ameche. Ritz Brothers)
(Fox) Merry travesty of classic, with the fa-
miliar plot, gay with song and music, Ameche
an engaging D'Artagnan and Ritz Brothers
(mistaken for the three musketeers) in clown
comedy rather less crude than usual. Fun
for the uncritical. 3-7-39
(A) Depends on taste (Y) (C) Mostly good
Topper Takes a Trip (C. Bennett, R. Young)
(U. A,) Diverting, sophisticated sequel to first
Topper fantasy with same amazing camera
tricks. Concerns spectral heroine's attempts to
reunite the troubled Topper with wife. Pranks of
ungaging ghosts — girl and dog— and embarrass-
ing situations for Topper provide fun. 2-14-39
(A) and (Y) Very amusing of kind (C) Dtfl. int.
Torchy Blane in Chinatown (G. Farrell. B. Mac-
Lane) (Warner) Only excuse for title of this
feeble murder mystery is that Chinese are sus-
pected murderers of three men who prove to be
very-much-alive extortioners. Again repoi*ter-
heroine outsleuths dumb detective-hero. Usual
pitiful comedy efforts by Tom Kennedy. 2-14-39
(A) Poor (Y) Worthless (C) No
While New York Sleeps (Michael Whalen, Jean
Rogers) (Fox) Routine Mystery melodrama in
Roving Reporters series. Involves stolen bonds,
several murders, night club action, and agreeable
romance. Reporter-hero wrangles with police in-
spector and shows him up by cleverly solving
crimes. Acting passable, direction weak. 3-7-39
(A) Mediocre (Y) Not the best (C) No
March, 19}9
Page 107
AMONG THE PRODUCERS 'WU iL c.^.cul
i^
Lxnti UHHCUHCe new
vtl^J-ucU anJ. JieveLovftteHU or inUte^f tc tke ^itLtL.
16mm. Projector Without
Belts or Chains
March 1st, Bell & Howell replaced
three former 16mm. projector models
with one machine which is asserted to
be the finest moderately-priced 16mm.
motion picture projector ever offered by
that company. The new projector, called
the "Filmaster," is entirely gear-driven.
It has no belts or chains inside or out.
The gears, enclosed by rigid aluminum-
alloy die castings, are said to be excep-
tionally silent.
Additional specifications of the Film-
master indicate considerable versatility.
The film rewinds quickly and quietly;
either 300, 400, 500 ' or 750- watt
line voltage lamp may be used; the
lens— a 2-inch F 1.6, same as supplied
with higher priced B&H machines — is
interchangeable with eight different focal
length lenses; standard lens and lamp
illumination is increased ; the lamp may
be turned off during the film rewinding ;
a no-glare pilot-light illuminates the
mechanism. The light is operative as
soon as the projector current supply cord
Is connected with current source, and is
turned on automatically, simply by pull-
ing the pilot light cap out of its housing.
The film can be run backward simply by
throwing a lever. By disengaging the
clutch any single film frame may be pro-
jected as a still picture, protected from
heat by an automatic safety shutter. The
price, within the United States is $139.00.
RCA New Educational
Division and Products
Appointment of Paul C. Richardson
as head of a newly formed Educational
Sales Division of the RCA Manufactur-
ing Qimpany has been announced. It
will be the function of this division to
coordinate and expand the sale of the
G)mpany's products to schools and other
educational institutions.
Mr. Richardson joined RCA Victor in
1936. His earliest business experience
was in connection with the educational
field. Since, he has had several years
of experience in the radio field. The
duties of Ellsworth C. Dent, RCA Vic-
tor Educational Director, will remain un-
changed. He will continue to determine
and coordinate the development of prod-
nets needed for the school market, and
to direct sales promotional activities
among educational institutions.
Two instantaneous recording and play-
back instruments, one a deluxe console
type which achieves fine quality of re-
production while maintaining simplicity
of operation, and the other a handy low-
cost portable, have been announced for
school use by Mr. Dent. These versatile
new instruments serve a multitude of
school needs. They are valuable for
detecting and correcting speech defects,
and in teaching speech, dramatics, music
and related subjects. They can also be
used to record unusual events affecting
the school, such as plays, debates and
prominent speakers.
EJich of the recorders is a completely
self-contained unit, having a reproducing
pick-up, tone arm and loudspeaker in
addition to microphone, recording head
and amplifier. Of especial importance
is the newly developed cutter head
"Float Stabilizer," which counteracts
"flutter." ,
The console instrument is housed in
an attractive cabinet. It will record and
reproduce at speeds of 78 or 33% r.p.m.,
using 10-, 12-, or 16-inch records, and is
equipped for recording either from the
outside in or the inside out. The port-
able instrument is in a sturdy canning
ca-se, and weighs only 37^4 pounds, mak-
ing it easy to move from one room to
another, or from building to building.
It records and reproduces 10- and 12-
inch records at 78 r.p.m., using the out-
side-in method of recording. It is com-
plete with amplifier, loudspeaker and
Visual Indicator.
S.O.S. Test Reel
A new 16mm precision test reel for
projection in sound has been announced
by the S.O.S. Cinema Supply Corpora-
tion of New York City, as the only
projected test print of its kind com-
bining visual and sound tests for all
sound track adjustments both on one
reel. This test reel is especially valu-
able to the Visual Education or Phy-
sics Department in schools and institu-
tions and wherever 16mm sound-on-
film pictures are projected and studied.
It is of great help in maintaining a
rigid mechanical check on the entire
sound and picture reproducer.
Among the features included on the
reel are: recordings of both male and
female voices, piano and orchestra, re-
corded on Western Electric Mircophonic
Equipment ; fixed frequencies for focus-
sing sound optical systems and for de-
termining reproducer characteristics,
frequency range, flutter, and sound
track adjustments ; charts and visual
targets for checking picture sharpness,
lens aberration, travel ghost, picture
jumps or side sway, screen brightness
and general projector characteristics.
Selectroslide Projection
Equipment
The Selectroslide, an automatic slide
changing device that takes the small
2x2 inch slides, has been introduced on
the market by Spindler & Sauppe, 86
Third Street, San Francisco. The equip-
ment consists of an electric driven
mechanism contained in a drum-shaped
housing of cast aluminum, finished in
black crystal lacquer. It carries an in-
terchangeable magazine of Bakelite
holding forty-eight slides in numbered
slots. With each magazine forty-eight
simple metal frames are furnished into
which two glasses with the pictures are
inserted. The glasses can be inserted
with or without binding tape.
The Selectroslide can be operated by
remote "push-button" control by the
speaker from where he is standing in
the room. For display purposes it may
be operated to give continuous operation
over long periods of time. The appara-
tus is approximately 8 inches in dia-
meter, 9J4 inches high and weighs thirty
pounds complete. A bracket secures it
to the Leitz VIII-S projector for which
the Selectroslide was especially de-
signed.
Film Directories
The Seventh Edition (1939) of the
universally-known Victor Directory of
16mm Film Sources is off the press. An
important innovation is a new style of
subject index that quickly identifies
sources with certain general classifica-
tions of film subjects. Sources are di-
vided into three classified groups, each
source numbered. Listings of the in-
dexed sources are consulted for specific
information on what each source can
supply.
Another noteworthy improvement is
to be found in the nature of the edi-
torial contents. In the new edition there
is more in the nature of concrete ma-
terial that serves as a guide to practical
utilization of audio-visual aids. A bib-
liography is also included. This section
touches on industrial, religious and mis-
cellaneous uses of motion pictures as
well as on the strictly educational.
Whereas previous editions of the di-
rectory were distributed free, there will
be a charge of 50 cents per copy for the
new book. Requests, accompanied by
cash, should be addressed to Directory
Editor, Victor Animatograph Corpora-
tion, Davenport, Iowa.
Free Films for Schools has just been
published by the DeVry Corporation,
1111 Armitage Avenue, Chicago. It
lists alphabetically 1400 free films from
over 300 sources throughout the United
States. Cross references under 60 dif-
ferent headings show at a glance what
films are available for school projects.
Physical data of each film is recorded,
the number of reels, whether 16mm. or
3Smm. and whether sound or silent
.\ddresse5 of sponsors or distributors
of each film are also given.
The catalog is a well printed book of
64 pages, 6x9. that sells for 25 cents
Page 108
The Educational Screen
HERE THEY ARE
A Trade Directory
for the Visual Field
FIUAS
AUb and Bagshav, Inc. (0)
1425 Williams St., Denver, Colo.
Audio-Film Libraries (S)
661 Bloomfield Ave., Bloomfield, N. J.
(See advertisement on page 93)
Bailey Film Service (4)
3405 University Ave., Los Angeles, Cal.
(See advertisement on paere 97)
BeU & 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 96)
Dudley Visual Education Service (4)
736 S. Wabash Ave., Chicago
4th Fl., Coughlan Bldg.
Mankato, Minn.
Eaitin 16 mm. Pictures (6)
707 Putnam Bldg., Davenport, la.
Burns Bldg., Colorado Springs, Colo.
Eastman Kodak Co. (1, 4)
Rochester, N. Y.
(Se« advertisement on outside back cover)
Eastman Kodak Stores, Inc. (6)
1020 Chestnut St., Philadelphia, Pa.
606 Wood St., Pittsburgh, Pa.
Eastman Kodak Co. (4)
Teaching Films Division, Rochester,
N. Y.
(See advertisement on page 99)
Edited Pictures System, Inc. (6)
330 W. 42nd St., New York City
Etpi Classroom Films, Inc. (2,5)
35-11 3Sth Ave., Long Island City.
N. Y.
Films, Inc. (6)
330 W. 42nd St., New York City
64 E. Lake St., Chicago
925 N. W. 19th St., Portland, Ore.
Garrison Films, Inc. (3, 6)
1600 Broadway, New York City
(See advertisement on page 93)
General Films. Ltd. (3, 6)
1924 Rose St., Regina, Sask.
156 King St., W. Toronto
Walter O. Gutlohn, Inc. (6)
35 W. 45th St., New York City
(See advertisement on page 101)
Hairard Film Service (3, 6)
Biological Laboratories,
Harvard University, Cambridge, Mass.
Guy D. Haselton, Travelettes (1, 4, 5)
7936 Santa Monica, Blvd.,
Hollywood, Calif.
J. H. Ho&berg 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 103)
Lewis Film Service (6)
105 E. 1st St., Wichita. Kan.
(See advertisement on page 96)
The Manse Library (4, 5)
2439 Auburn Ave., Cincinnati, O.
(See advertisement on page 96)
Pictorial Film Library, Inc. (6)
130 W. 46th St., New York City
(See advertisement on page 101)
UFA Educational Films (3, 6)
729 Seventh Ave., New York City
(See advertisement on page 102)
United Projector and Films Corp. (1. 4)
228 Franklin St.. Buffalo, N. Y.
Universal Pictures Co., Inc. (2)
Rockefeller Center, New York City
(See advertisement on page 105)
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 (1, 6)
347 Madison Ave., New York City
19 S. LaSalle St., Chicago
351 Turk St., San Francisco, Cal.
MOTION PICTURE
MACHINES and SUPPLIES
The Ampro- Corporation (6)
2839 N. Western Ave., Chicago
(See advertisement on page 74)
Bell & Howell Co. (6)
1815 Larchmont Ave., Chicago
(See advertisement on inside back cover)
Central Camera Co. (6)
230 S. Wabash Ave., Chicago
(See advertisement on page 101)
DeVry Corporation (3, 6)
nil Armitage St., Chicago
(See advertisement on page 73)
Eastman Kodak Co. (6)
Rochester, N. Y.
(Sea advertisement on oataide 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
Hirsch & Kaye (6)
239 Grant Ave., San Francisco, Cal.
Holmes Projector Co. (3, 6)
1813 Orchard St., Chicago
(Sec advertisement on page 100)
Ideal Pictures Corp. (3, 6)
28 E. Eighth St., Chicago
(See advertisement on page 103)
Jarrell-Ash Company (6)
165 Newbury St., Boston, Mass.
RCA Manufacturing Co., Inc. (5)
Camden, N. J.
(See advertisement on page 95)
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 103)
Victor Animatograph Corp. (6)
Davenport, Iowa
(See advertisement on page 105)
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 Co.
1336 N.W. 1st St., Oklahoma City, Okla.
(See advertisement on page 98)
SCREENS
Da Lite Screen Co.
2717 N. Crawford Ave., Chicago
(See advertisement on page 97)
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
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)
Keystone View Co.
Meadville, Pa.
(See advertisement on page 76)
Radio-Mat Slide Co., Inc.
1819 Broadway, New York City
(See advertisement on page 96)
Society for Visual Education
327 S. LaSalle St., Chicago, 111.
(See advertisement on page 102)
Visual Education Service
131 Clarendon St., Boston, Mass.
Visual Sciences
Suffern, New York
(See advertisement on page 96)
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
STEREOGRAPHS and
STEREOSCOPES
Keystone View Co.
Meadville, Pa.
(See advertisement on page 76)
STEREOPTICONS and
OPAQUE PROJECTORS
Bausch and Lomb Optical Co.
Rochester, N. Y.
(See advertisement on inside front cover)
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
Hirsch & Kaye
239 Grant Ave., San Francisco, Cal.
Jarrell-Ash Company
165 Newbury St., Boston, Mass.
Keystone View Co.
Meadville, Pa.
(See advertisement on page 76)
Spencer Lens Co.
19 Doat St., Buffalo, N. Y.
(See advertisement on page 98)
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
REFERENCE NUMBERS
(1) indicates firm suppliea S5 mm.
silent.
(2) indicates firm sapplies 35 mm.
sound.
(3) indicates firm snppliea 35 mm.
■ound and silent.
(4) indicates firm supplies 16 mm.
silent.
(6) indicates firm sappliea 16 mm.
sound-on-film.
(6) indicates firm supplies 16 mm.
sound and silent.
Continuous intertiont undor one heading, $1.50 per inue; additional listings under other headings, 75c each.
E 1 M (C ATKH MAL
ie Magazine Devoted Exclusively
the Visual Idea in Education
IN THIS ISSUE
Adapting Visual
Materials to Instruction
AudiO'Visual Aids in
Teaching American
Literature
Evaluation of
Still Pictures for
Instructional Use
Using Visual Aids in
Teacher Training
Motion Pictures —
Not for Theatres
VOLUME XVIII, NUMBER 4
Public Library
Kansas City, Mo.
Teachers Library
Carpet of Allah
TT.
WHOLE NUMBER 171
PaintinE by S«yre
(CourtMv of Colonial Art Company)
APRIL, 1939
25c A COPY * $2.00 PER YEAR J
This New
Amprosound
HAS EVERYTHING
Check the Features of This Radically New Projector
1. Simplicity of Operation — You simply set up the machine,
plug it in and turn it on. All controls are centralized on one
convenient illuminated panel. Threading has been simplified so
that it is as easy as on the ordinary silent projector.
2. Extreme Quietness of Operation — There is none ol the cus-
tomary objectionable loud hum. When you are right next to the
projector itself you are scarcely conscious of its operation. The
proof of all this is the fact that no case or "blimp" is required
to cover the projector v/hen it is being operated.
3. Convenient Portability — These machines can be packed in
a ievf moments time — they are light in weight — they sv/ing
into operation as easily and as quickly as a portable type-vrriter!
4. Numerous Other Features — These include: A Quick-aeaning
Optical System; Economical Operation, v/ith the standard pre-
AMPRO
PRECISION CINE EQUIPMENT
Ampro loipoialion, 2839 M. Western Ave. Chicago, III.
focused projection lamps; New Simplified Design — it is just
mechanically impossible to tear film perforation — and fast Auto-
matic Rewinding. And to top these all are the new low prices • — ■
so that now even the most infrequent user of sound films can no
longer afford to be without efficient sound projection equipment.
Send coupon for full details.
NEW LOW PRICES
X"— equipped with 60 cycle A.C- motor, including 1600 ioot
dynamic speaker, complete accessories and cords, ^O^C
MODEL
reel, I
comes in one case all weighing only 49 lbs
MODEL "Y" — equipped with Universal A.C.-D.C. motor for both silent
and sound film speeds, including complete accessories and ^OQC
cords, with 12" dynamic speaker, comes in 2 compact cases, ■^fc #^
(Model "Y" also is available in one case, complete accessories with
8" speaker-)
PImw tend m« llhe new 1939 Ampro Catalog. I am parllcnlarly intereited Int '^
□ New Amprosouod Models "X** and "Y"
Q Ampro 16 mm. Silent and Convertible to Sound Projectors '
Q All Ampro 16 aini. Sound Projectors including Anipro-Arc
G Amj&ro 16 mm. Conlinuooe Projectors (for DiHplavB— World's Fair
and Convention Exhibits)
Name.
City
^fis EDUCATIONAL SCREEN
APRIL, 1939
VOLUME XVIII
NUMBER FOUR
C o D t e u t s
Adapting Visual Materials to Instruction
Charles H. Lake
113
Audio-Visual Aids in Teaching American
Lulu Soilde
Literature
115
Evaluation of Still Pictures for Jnstructiona
Leiia Trolinger
lUse
116
Using Visual Aids in Teacher Training
A L. Heer
118
Summer Courses in Visual Instruction
119
Motion Pictures — Not for Theatres
Arthur Edwin Krows
12!
Editorial
125
Among Ourselves — Notes from and by
The Department of Visual Instruction
Conducted by The Editorial Commi
ftee 126
The Federal Film
Conducted by Arch Mercey
128
In and For the Classroom
Conducted by VV'ilber Emmert
: 1 30
News and Notes
Conducted by Josephine hloffman...
132
The Next Step in Visual Education
Donald P. Bean
134
Among the Magazines and Books
Conducted by The Staff
1 36
Among the Producers
139
Current Film Releases
140
Film Estimates
142
Here They Are! A Trade Directory of the Visual Field... . 144
Th« EDUCATIONAL SCREEN publlihed monthly eicept July «nd August by Tli»
Educational Scretn, Inc. Publication Office, Pontiac, lllinoii; Executive Office, 64
East Lake St., Chicago, Illinois. Entered at the Post Office at Pontiac, Illinois, as
Second Class Matter. Copyright. April, 1939. by The Educational Screen.
Addreu communications to Executive Office, 64 East Lake St., Chicago, III.
^$2.00 a Year (Canada, $2J5: foreign, $3.00) Single Copies 25 cH.
THE EDUCATIONAL SCREEN. Inc.
Directorate and Staff
NclMii L. Grecnt, Editor JtMohlit Httaiaa
Enlyn J. saar F. Daaa HtClatky
Wllkcr EaiBtrt tUnlty R. Grwne
Ann 6al< SKIIa Enlyn Myart
Page 112
The Educational Screen
Publications on the Visual Teaching Field
EDUCATIONAL SCREEN
The only magazine in the field of visual and audio
yisnal instruction. 0£Scial organ of the Department of
Visual Instruction of the National Education Association.
Discusses methods, procedures and results with various
types of visual teaching aids to instruction, and provides
up-to-date information on progress and developments
generally. A clearing-house of thought, fact and ex-
perience on all phases of the field. Published monthly
except during July and August
Subscription: $2.00 one year; $3.00 two years.
VISUALIZING THE CURRICULUM.
By C. F. Hohan, C. F. Hoban, Jr., and S. B. Zisman.
Presents in theory and in practice the basic methodology
of visual instruction in relation to classroom procedure.
Throughout the text the theory of visual aids is applied
tQ textbook illustration. "Visualizing the Curriculum",
itself a splendidly "visualized text", provides an abundance
of technical guidance in the form of illustrative drawings
of photographs, reports of school journeys, suggeslions
for mounting materials, for making slides, film strips, etc.
It incorporates up-to-date material, provides a fine balance
in the treatment of various teaching aids, evaluates various
types of aids, and defines the functions and values of each
in the learning process.
320 pp. illus. Price $3.50.(20% discount to schools)
THE AUDIO-VISUAL HANDBOOK.
Bj 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-
ganizing the Audio-Visual Service," "Source List of Ma-
terials and Equipment."
180 pp. Illus. Paper binding, $1.25; Cloth, $1.75.
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 E. S. 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.)
"1000 AND ONE" FILM DIRECTORY
"1000 and One"— the Blue Book of Non-Theatrical
Films, published annually, is famous in the field of visual
instruction as the standard film reference source indis-
pensable to film users in the educational field. The current
(i4TH) edition, recently published, lists some 4500 films,
carefully classified into 147 different subject groups (In-
cluding large group of entertainment subjects). Shows
whether 16 mm or 35 mm, silent or sound, title, number
of reels, summary of contents, sources distributing the
films, and range of prices charged.
104 pp. Price 75c (25c to subscribers of E. S.)
THE EDUCATIONAL TALKING PICTURE.
By Frederick L. Devereux.
Presenting preliminary solutions of some of the more
important problems encountered in adapting the talking
picture to the service of education. The first six chapters
deal with the development of fundamental bases of pro-
duction, with the experimentation which has been con-
ducted, and with suggested problems for future research.
The remaining chapters are devoted to the_ practical prob-
lems involved in utilizing the film eflfectively in educa-
tional programs.
220 pp. Illus. Price $2.00.(20% discount to schools)
HOW TO USE THE EDUCATIONAL SOUND FILM.
By M. R. Brunstetter, Ph. D.
Discusses the utilization of the educational sound film,
and lists and illustrates techniques for placing the film
into effective service in the classroom. The procedures
suggested are based upon extended experience in studying
teachers' use of sound films and in helping to organize
programs of audio visual instruction in school systems.
Two valuable Appendices and a full index round out the
volume.
175 pp. Illus. Price $2.00. (20% discount to'schools) -
MOTION PICTURES IN EDUCATION IN
THE UNITED STATES. By Cline M. Koon.
A report on the instructional use and indirect educa-
tional influence of motion pictures in this country, divided
into nine units covering (1) the educational influetice of
motion pictures; (2) the motion picture in the service of
health and social hygiene; (3) the motion picture in
governmental service and patriotism ; (4) the use of motion
pictures in vocational education; (5) the motion picture
in international understanding; (6) motion picture legis-
lation; (7) the technique of making and exhibiting motion
pictures ; (8) the systematic introduction of motion pictures
in teaching; and (9) educational problems of a general
nature resulting from the introduction of motion pictures
in teaching.
106 pp. Price $1.00. (20% discount to schools)
U. S. 1 year, $2.00 D
Foreign 1 year, $3.00 D
Canada 1 year, $2.25 D
2 years, $3.00 U
2 years, $5.00 D
2 years, $3.50 D
TO ORDER, Check Material Desired and Fill in Blank Below
Educational Screen subscribers check right column, others left column
Subscription to THE EDUCATIONAL SCREEN
To subscrib-
Price era of E. S.
"1000 and One" Film Directory i .75 0 » -25 0
Visualizing the Curriculum 3.50 D 3.50 □
(To Schools) 2.80 a 2.80 D
The Audio-Visual Handbook
Paper Binding 1.25 0 1.26 O
Cloth Binding 1.7B Q 1.76 O
Picture Values in Education 1.00 D .67 Q
Comparative EiTectiveness of
Some Visual Aids 1.00 D -67 0
The Educational Talking Picture 2.00 0 2.00 0
(To Schools) 1.60 O 1.60 D
How to Use Educational Sound Film 2.00 O 2.00 O
(To Schools) 1.60 O 1.60 O
Motion Pictures in Education in
The United SUte* 1.00 Q 1.00 Q
(To Schools) 80 n -80 0
Educational Screen
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I have indicated items desired and enclose check for $.
Name.
School or Street.
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April, 19)9
Page 113
Adapting Visual Materials to Instruction
A comprehensive trell -balanced discussion of problems
and materials, presented at the Cleveland meeting
of the Department of Vistial Instruction of the IS.E.A.
By CHARLES H. LAKE
Superintendent of Cleveland Public Schools, Ohio
OUR inetliods and materials of education have
changed much since education began to be a
matter of ]mhlic concern in the United States.
The advances in education will continue to be made
through a Ix-tter understanding of jjeople, and through
better methods and materials of instruction.
The educator always is in search of the most ef-
fective materials and methods to be used in the class-
rooms. Most of us believe that the modern visual
materials stimulate and clarify many desirable con-
cepts and ideas for pupils and that much attention
should Ix- given to the .selection and adaptation of such
materials for classroom use.
To solve this problem of the adaptation of visual
materials to school activities requires the cooperation
of the school principal, the classroom teacher, the
director or supervisor of visual instruction, and the
budget maker. As visual instruction directors, you
will be called upon to furnish working plans for the
program of visual instruction and the materials to
make the i)rogram effective. Your first assignment is
to ascertain what materials are desirable to supplement
the existing program of studies ; your next will be
the selection of materials within the limits of the
budget. As a director of visual instruction you must
be skilled in the techniques of these new tools as they
apply to classroom instruction. You must be constant-
ly revising your material, rejecting that which proves
to be relatively valueless, improving that which is
"out of date" or inferior, and adding new material to
keep abreast of the course of study.
You cannot be too much devoted to any single type
of visual tool. The director should be able to give
teachers a skillful technique in the use of all materials.
1 te should prepare, organize, and deliver this material
!<■ the classroom at the proper time. He should be an
I Xpert in the analysis of courses of study and in the
■^election and purchase of suitable visual materials for
them. Materials which contain a maximum of ad-
vertising and a minimum of instructional value should
be avoided.
It is obvious that materials can be improved in their
technical and educational qualities. This improvement
will come only through a careful discrimination in
selection which is based upon some established stand-
ards for use. Research in visual instruction has
proved that visual materials are very imporant as an
aid to learning, but there are, as yet, few standards for
the selection and evaluation of visual education ma-
terials. There should be definite rating and scoring
methods for the various qualities and uses of visual
materials. Of course, some materials have an enter-
tainment value, but for the classroom use we should
not use material — a movie, a picture, or a chart, unless
it has a definite relation to the subject under dis-
cussion.
Motion pictures are excellent as an instructional
device. They are expensive, of course, and there is
still much room for the development of films which
accurately supplement the work of the school room.
I am not certain that the manufacturers of school
films have been given as much help as they should
have been given by educators who are interested in
visual education. If the manufacturer knew what we
wanted, I believe that it would be produced.
Then there is the question of the advertising film.
Many of these films contain valuable instructional ma-
terial, and I have no great worry about using a good
film which is adapted to the regular course of study,
even if it does contain some advertising. I do, how-
ever, object to the use of a film which contains but a
small amount of material that amplifies or clarifies the
course of study, just because the film is free.
Another field which deserves attention is the se-
lection and grouping of still pictures according to sub-
jects and levels of learning. Haphazard collections of
pictures, chromoes, magazine illustrations, and similar
materials are difficult to use and are rarely worth the
effort expended to collect them. .'Ml still pictures
should ')e suitably mounted, properly labeled, docu-
mented, and arranged systematically in topical sets for
quick reference and classroom use. The development
of illustrative material for local community study has
not received the attention that it deserves. Com-
munity material should sensitize the pupil to the local
industries and govermental problems. Such material
is within the reach of tlie ingenious director of visual
education and should constitute a valuable aid for
instruction leading to community understanding.
Graphs, Slides, Charts
Let me direct your attention more closely to the
lantern slide. The glass lantern slide is a visual tool,
the serviceability of which can be much increased with
a little ingenuity in adaptation. There is no reason
why the lantern slide should not replace to a large ex-
tent mounted pictures, charts, graphs, wall maps,
diagrams, and similar graphic material. In the place
of wall maps and wall charts, a small box of lantern
slide maps will give more service at less cost. The
slide is easily used, can be easily stored, and is readily
adapted to the usual uses made of charts, diagrams,
graphs, and maps. lantern slides make it possible for
a teacher to work without loss of time and at small
cost. The use of the lantern slide should increase
rapidly because of its extreme flexibility and adapt-
Page 114
The Educational Screen
ability to many different types of class exercises. The
director oi' visual instruction should develop and make
available graphs for the visual presentation of all sorts
of social and economic statistics. Much valuable ma-
terial of this pictorial statistical type in lantern slide
form should be adjusted to various courses in com-
munity civics, modern problems, and social studies, and
made readily available to teachers. The new lantern
slides, litho-printed on transolene, are so cheap that
they are supplied to Cleveland schools in quantity city-
wide. I see many opportunities for the use of your
imaginations with this new type of flexible low cost
slide.
Lantern slides become static through their organiza-
tion into large sets which hinder instead of help the
busy classroom teacher. The breaking up of these large
sets into small units that can be taken into the class-
room will change the slide from a storehouse tool into
one readily usable.
Problems of Educational Films
Extensive experiments have proved that the motion
picture is an aid to learning, but I suspect that com-
paratively few of these essential findings have been
applied in the school use of films. Not enough dis-
crimination is used in selecting the pictures and too
frequently the real need of the teacher who is to use
the film is ignored. There are three important
problems in the adjustment of motion pictures in the
school curriculum. They are :
1. The problem of relating the film content to the
curriculum
2. The problem of the classroom technique used by
the teacher
3. The problem of the cost of the equipment in-
cluding the projector and films.
The solutions of these three problems are vital to real
progress in the use of films for instruction purposes.
The film content is, of course, just as important as
the content of a textbook. It is important that the
content of the film shall stimulate thought concerning
the unit of study before the class. At the present
time there are many good films in the field of bio-
logical science which are adapted to the subject matter
and which are a real aid to instruction in this subject.
Other examples might be given, but the point I am
emphasizing is that specific films for specific units of
study should be a recognized standard to be followed.
All films for all pupils in a building indicates poor use
of otherwise good material and should never be per-
mitted.
The educational standards of the director of visual
education in a school system or in a building can be
checked when you inspect the films which he recom-
mends to teachers. The films, of course, should supple-
ment the various units being taught. In the use of
educational films, the director of visual instruction
should exert a very important influence. He is both
a supervisory and an administrative officer of the school
system. He is administrative in so far as the manage-
ment of his visual education library or museum is con-
cerned. He should have control of the budget for the
purchase of visual education materials. He admin-
isters the distribution of all such materials. His
supervisory duties include the suggesting of suitable
materials for the use of teachers in the various fields
of work.
An adequate budget for the purchase of visual ma-
terials is, of course, essential. In so far as possible,
suitable materials should be purchased outright and be-
come a part of the regular ec[uipment of the school
system. Rentals for short-time use generally are un-
satisfactory, and rarely enable teachers to make satis-
factory adjustments wholly suitable to instruction.
Some states, like Ohio, have a central visual aid or-
ganization, which supplies films free to schools. This
solves the expense problem for small schools and
country school systems, and enables them to use some
films that are educational rather than depend upon
rentals or advertising films. A film that is purchased
and used should not be considered expensive when
over a period of time it costs twenty cents per show-
ing.
Following the problem of film cost, come other
problems when the film is i^laced in the hands of a
teacher and pupils. If it is shown to passive pupils, it
becomes a mild entertainment with small educational
value. Each instructor using a film should follow at
least this miniinum routine :
1. Preview each film that he contemplates using
2. Adjust the film ideas to the purpose of the
lesson
3. Prepare the class to receive the film
4. Allow time before and after the showing of
the film for class activity
5. Make a "check up" of the ideas which the
pupils got from the showing
This routine determines, in a large measure, the suc-
cess or the failure of the film as an aid to instruction.
In this short summary, I have directed attention to
the high value of the film when it is adapted to study
units. Again, this is an opportunity for the director of
visual instruction to aid teachers with suggestions for
worth-while techniques.
The Radio and Visual Materials
Recently we have been experimenting with the
radio as a connecting link between the puj^ils, teachers,
and the visual materials! In 1938 the Cleveland Pub-
lic Schools constructed an ultra-high frequency broad-
casting station (41.5 mc), WBOE. This station,
located on the sixth floor of the Board of Education
Building broadcasts many lessons daily to Cleveland
schools. Each school has a receiving set and it is
possible to reach all classes. The radio equipment has
been supplemented by selected visual materials, mostly
lantern slides. At the present time, 130.000 lantern
slides are arranged into 3,000 small units, closely
correlated with these radio lessons. Each unit con-
sists of fifty slides which cover a series of broadcast
lessons. The subjects of visual radio lessons are
history, science, geography, health, .safety, and art.
Other fields will be added. These lessons, 15 minutes
in length, are broadcast after they have been carefully
prepared and tried out in classes in curriculum centers.
The script is written by practical classroom teachers,
and the visual material is provided by the Educational
Museum. The radio lessons are part of the regular
instruction prescribed by the curriculum and give
{Concluded on page 127)
April, 19)9
Audio-Visual Aids in Teaching
American Literature
Page 115
A brief summary of specific visual activities proved
advantageous in the teaching of this subject.
By MISS LULU SPILDE
Director of Extension, Southern State
Nornnal School, Springfield, S. D.
F' >K a miinhiT of years the writer has conducted
ila.sse.s in American IJteralure and found tiiat the
colonial age was less interesting to students than
were the other divisions of American Literature. This
\ear a luniiher of au(hV)-visual aids were used and the
results were ((uite ditTerent. Ten points, with brief
and specific conuneiUs alxiut each, are listed below :
1. A pictorial map oj American Literature
This map was placed on ihe hulletin board at the
Ix'ginning of the course. I'Vequeni references were
made to it. The students automatically associated
names, places, and faces. The work was more in-
teresting. ( This ma]) may be .secured from The
I 'aimer Comjwnv. 370 .\tlantic Avenue, Boston.
.Ma.s.s. Price $l!00).
2. Frequent but brief dramatizations
.Students took a real deliglu in the dramatizations
of Puritan and Colonial scenes. Such work was
correlated with the Dramatic Art projects. These
scenes were very realistic and educational. The
Puritan kitchen scene is given as a concrete ex-
ample.
Students Dramatize a Puritan Scene
Correlation of class H'ork with social life
A certain amount of class work may well be cor-
related with social life. The Colonial tea scene
is a concrete exaiuple. Teas are often given away
in connection with school life. Why not a Colonial
tea instead of a desultory one?
The presentation of portions of plays indicative of
the period under study
It is well to keep in mind that plays need not
always be presented in costume or in their entire-
ty. For example "Lantern Light" (published by
Samuel French) is very cliaracteristic of witch-
craft. .\ few scenes read from it, letting students
take the different parts, make the witchcraft period
much more realistic. The little sketch "The Select-
men of Plymouth Meet" (found in Instruc-
tor") is very typical of the du'.ies of Bradford,
Winthrop. and other selectmen. Why should
former days be studied in terms of abstract re-
views in perfunctory assignments?
Correlation tvith Music and Art
The class of the writer was very nuich interested
in attempting to sing a few of the old psalms as
found in the old "Bav Psalm Book." Victor rec-
A Colonial Tea Scene Acted by Students
ords such as "Spinning Song" (V13153) "Merry
Wives of Windsor," (V35764) and "Country
Gardens," (V20642) are very characteristic of the
period. Such ])icUires as "Departure of the May-
flower." "The Gleaners," etc., are typical of pos-
sible art correlations. It is not the intention of the
writer to give a complete list but merely to suggest
the plan.
6. Picture recognition tests
At regular intervals pictures can be used for iden-
tification. A student chairman or the teacher can
easily make the selections, cover the names of the
pictures, prepare a key, and give the tests to the
class. The Perry Picture Company, Maiden,
Mass., has excellent pictures (2 cents) in the
field of American Literature which could well be
used for such a ])urpose. The plan is definitely
educational and the class interest is more easily
secured.
7. The use of motion pictures
Many motion pictures may be secured for such
(Concluded on f>age 129)
Page 116
The Educational Screen
Evaluation of Still Pictures for
Instructional Use - Pan ii
By LELIA TROLINGER
Secretary, Bureau of Visual Instruction
University of Colorado, Boulder, Colo.
FROM the results of the question-
naires returned by the judges, the
score card was constructed as an
aid to teachers in judging pictures to be
used in teaching situations. The score
card as finally prepared is here given in
complete form.
Description of Technical Qualities
Brief explanatory questions are given
on the check list to reduce misunder-
standing to the minimum. However,
more detailed description of the quali-
ties or characteristics seems desirable
This second article — in the series of three an-
nounced in March — presents the Score Card
with analysis and description thereof. (Complete
reprint of the study will be ready in June.)
for a complete understanding of the
study.
Artistic
Throughout the school life of the child,
teachers strive to give him a better con-
ception of the beautiful things about
him. Art is included in practically all
curricula. It is true that many teach-
ers know little of the fundamental prin-
ciples of art but if attention is called
to some of those principles, most teach-
ers can develop a sense of proportion,
perspective, balance, rhythm, and unity.
It seems futile to spend time in art
THE RESULTANT SCORE CARD
FOR CHECKING PICTURES FOR CLASSROOM USE
TECHNICAL QUALITY— 40 POIXTS
Quality
Perfect Score
Explanation or Description of Term
A Picture Should Be:
Artistic 1 1
Clear and Definite H
tree from Blemishes 5
Of Practical Use 7
Properly Colored 6
Is the picture attractive? Does it comply with fun-
damental principles of proportion, perspective, sim-
plicity, balance, rhythm, and unity?
Are significant objects in sharp focus? Is the finish
such that there will be no light reflections if it is
used for a group?
From a purely mechanical standpoint, is the pic-
ture free from flaws?
If the print is to be used in a group discussion, is
it large enough to be seen by all? If for iiidkndual
study, is it a convenient size for handling? Is it
large enough to be studied without eyestrain?
Is the color essential? If colored, is the coloring
truthful and artistic?
INSTRUCTIONAL QUALITY— 60 POINTS
Truthful IS
Authentic
Relevant H
Significant
Stimulative 1 1
Suggestive of Size
Does the picture actually represent a true situation,
or is it a copy of a fanciful drawing or painting?
Does it convey a true impression? Is it typical or
is it unusual ? Is it natural — not posed ?
Are the facts or sources of the picture well enough
vouched for to make possible the assumption that
truthfulness is inherent?
Is the picture pertinent to the subject under discus-
sion? Is it appropriate to the age level of the
children to whom it is to be shown? Is it witliin
their level of appeal and understanding?
Does the picture portray a fact, events or objects
of importance? Does it direct attention to significant
facts or are they obscured by unimportant details?
Does the picture possess characteristics which may
be utilized by a competent teacher to develop thought
activity? Does it raise questions and problems?
Does it picture procedure, life of a people, human
contact, etc., rather than merely views?
Does the picture include some known object by
which an intelligent comparison of size is possible?
classes trying to teach and develop this
artistic sense if in other classes pic-
tures are used with no consideration of
these values. According to the opinions
of workers in the field of visual in-
struction, this quality is of great im-
portance and should be given specific
attention.
Clear and Definite
Most adults have had the experience
of enduring, either in public addresses
or in social contacts, the exhibition of
photographs or lantern slides which were
not clear, the focus so poor that many
objects were merely blurs, or the print-
ing so poor that nothing was gained
from the pictures. Yet frequently teach-
ers will use pictures, which have the
same defects, in the classroom and then
wonder why the children do not gain
the expected information from those
pictures. In many schools the children
help collect pictures for projects under
discussion. Generally when this is done
it is necessary for a committee to select
the best pictures from this group for
the school collection. This criterion
of clearness and definiteness, children
can and will apply when making
selections and rejections for the school
collection. No picture at all is some-
times preferable to one which is dim
or out of focus since such a picture
may cause misunderstanding.
Related to the clearness of the picture
it.self is the finish of the picture. Some
pictures which are themselves clear, have
such a high gloss that even in a small
group, the reflection may cause a
distorted vision for part of the group.
In such cases, it may be preferable to
u.'e the pictures for individual study
rather than for the group. At any rate,
it is a point which may well be con-
sidered in selecting pictures for use
in the classroom.
Free from Blemishes
This may refer either to flaws in
printing, light streaks, dust spots, or
other defects in printing ; or it may
refer to frayed, torn or bent pictures.
There is a question as to the wisdom
of using pictures which have these
flaws. No one can be arbitrary about
it. Conditions may warrant the use
of even a poor picture at times. Also
other qualities may overbalance mechani-
cal defects ; but at least it is well to
keep the point in mind when a picture
is being chosen.
Of Practical Size
The use to which the teacher expects
the picture to be put must determine
April, 19)9
Page 117
the choice of the size. Some teachers
use pictures for the entire class dis-
cussion. There are few situations more
productive of lack of interest and dis-
traction than a group discussion directed
to a picture which is so small that only
a fraction of the class can see it clear-
ly. It is surprising how large a picture
must be to be clearly visible to an en-
tire class. A teacher must check from
every corner of the classroom if she is
using a picture for the entire group.
On the other hand, a picture large
enough for the entire group would be
awkward for individual study at the
desks or on the library table. Some
teachers use postcard size pictures ad-
vantageously for individual study ;
others will u.se nothing smaller than a
five by seven inch picture, and prefer
that the picture be larger than that. It
depends somewhat u|>on the age of the
children, but certainly no picture should
be u.sed which might cause eyestrain in
the children using them.
Properly Colored
Whether color is essential in a par-
ticular picture is a controversial issue.
Many teachers prefer colored pictures.
Others have little preference. However,
most teachers agree that if a picture is
colored, it must be correctly and
artistically done. An uncolored picture
is better than one which is poorly color-
ed. Experimentation is too limited at
present in this field to warrant a state-
ment as to the value of color in the
learning process, or in any particular
field; but if a colored picture is used,
it should be artistically and truthfully
done.
Description of Instructional Qualities
Most of the men and women reply-
ing to the questionnaire seemed to feel
that while the technical quality of the
picture is important, and that teachers
should seek the best pictures available,
yet, instruction qualities deserve the
greater weight in the distribution of
points. Several felt that there was con-
siderable overlapping in qualities under
the head of Instructional Quality. How-
ever, since the score card is meant to be
a' guide rather than an actual yardstick,
it was felt necessary to include the
several different characteristics, even if
there was some over-lapping.
Truthful
This quality was rated as the most
important by the majority of the judges
assigning values. If a picture does not
represent a true situation, it has little
place in most classroom discussions.
Many children and adults as well would
be surprised at the lack of wooden shoes
in a modern Holland dty. The pic-
turesque costumes that are still retained
for gala occasions in parts of Holland,
Germany, and other countries of
Europe are seen in pictures much more
than the daily dress. These pictures
have a place in the classroom, but teach-
ers should recognize that they are not
typical of the daily costume. Ijirge
numbers of pictures of Colorado moun-
tains— rugged peaks, glaciers, timber-
line trees, lovely mountain lakes, wild
animals and wild flowers — are scattered
over the United States each summer by
enthusiastic tourists. Most of these are
actual photographs and truly represent
the particular spot shown. However,
they do not tell the complete story of
Colorado. They are typical of certain
sections of Colorado, but they do not tell
the story of the thousands of acres of
semi-arid land in eastern Colorado, the
vast orcliards of the western slojw. or
the famous sand dunes of the San Luis
Valley. It seems a human character-
istic of photographers to pick out the
most striking example of the thing they
are photographing — if it is a harvest of
fruit, the largest specimens are selected ;
if it is the havoc wrecked by a dust
storm, the most desolate home is selec-
ted ; and if a scenic road is portrayed, the
most striking section of that road is
shown. Most teachers have sufficient
background in the subjects which they
are teaching to recognize the divergence
from the normal, but too often that
difference is not in the foreground of
their minds when the pictures are being
selected for the classroom.
Autbemtic
Undoubtedly this quality of authen-
ticity is closely allied with the one just
preceding. However, there seems to be
sufficient difference to justify a separate
classification. The term "authentic"
carries the idea of authority, and this
classification in effect deals more
specifically with the source of the pic-
ture than with the picture itself. For
example, pictures which may have been
truthful twenty years ago, may be ex-
actly the reverse at the present time, for
with a rapidly changing world, a pic-
ture becomes out-of-date and sometimes
actually false in a few years. If the
person or organization presenting this
picture under consideration is a recog-
nized authority on the subject and the
approximate date of the picture is
known, a teacher can be reasonably sure
that she is giving her class an accurate
representation of the subject being dis-
cussed. While the source of a picture is
essential in order to fix the date, that
is not the only contribution which a
reliable source can authenticate. Ac-
curacy in technical details which belong
to the former classification of truthful-
ness are important and teachers should
know whether or not the source of the
picture is such that they can safely as-
sume that the picture is truthful and
representative. If the source is unknown,
then it is necesasry to check the facts of
the picture with generally accepted
knowledge of the subject; but an
authentic source can be a valuable guide
for a teacher.
Relevant
Many pictures which are excellent pic-
tures judged by most standards, are
worthless as they are used. Interesting
as cotton picking may be. a picture of
a cotton field and the laborers may be
\-alueless or even detrimental if shown
while the turpentine industry is being
studied, even though both industries may
be in the same state. Too many teach-
ers, when they are teaching a unit on a
country or an industry, collect all the
pictures they can find on the general
subject, regardless of whether or not
facts shown in the pictures are stressed
in the unit. Just because a class may
lie studj-ing Africa, is not reason to
assume that any picture on Africa is
worth using. A picture of animal or
bird life in some remote section of
Africa may be of tremendous interest
to scitntists but it may have no sig-
nificance for a class stud>'ing the physical
aspects of Africa.
Pictures detailed in content and far
above the age-level of the children are
frequently used. Such use of pictures
is of little or no value — instead of clear-
ing up difficulties, they may add new
problems. Age-level, interest, under-
standing, and pertinence to the subject
under discussion must be considered. As
one expert suggested, the best picture in
the world is worthless if it does not
pertain to the subject being discussed.
Significant
The old ada<?e that one cannot see the
forest for the trees, is frequently a very
true statement in picture study. Many
children do not see the fact being
illustrated because of the details of the
picture. A valuable picture for class-
room use portrays facts, events or ob-
jects of importance with unimportant de-
tails only as a background. Ideally, pic-
tures used for classroom instruction and
aid should be simple, with emphasis on
just one or two important facts. Of
course the ideal cannot usually be reach-
ed, but at least that criterion can be con-
sidered if there is a choice of pictures.
Stimulative
Perhaps no picture in itself is stim-
ulative, but certainly some pictures
possess characteristics which may be
utilized by a good teacher to arouse
interest and initiative, while others lack
those qualities to an alarming degree.
Pictures which show something of the
life of a people, of human contact, of
an activity, usually interest children and
arouse thought. A picture of a vacant
lot is not very inspiring to either chil-
dren or adults, but add a group of boys
playing baseball, and immediately that
picture may acquire value in directing the
attention of a group to means of keep-
ing children off the streets, in a safety
campaign. A home in a city in Switzer-
land may arouse only mild interest, but
show a group of children a little moun-
tain home with large rocks on the roof
and most children will immediately have
questions. Such examples could be
multiplied indefinitely. This quality
may be of less importance in some cases
than in others. If a picture is being
used to answer a question, it may be
that the stimulative qualities are of less
importance, but generally speaking, this
characteristic deserves active considera-
tion.
Suggestive of Size
Many funny stories told of children are
based on the child's misunderstanding of
(Concluded on page 142)
Page 118
The Educational Screen
Using Visual Aids in Teacher Training
By A. L. HEER
Kent State University, Kent,
Ohi,
Urging more use of visual aids in teaching
teachers to use visual aids, with special emphasis
on materials equally valuable as motion pictures.
THE subject for discussion by the panel has a
two-fold implication — first, that college teach-
ers in the various subject-matter fields can use
visual aids to make subject-matter more meaningful
and, second, that teachers should be taught how to
use visual aids effectively in teaching. To a certain
extent these two objectives can be achieved to-
gether. There is no doubt that visual aids used by
college instructors in their teaching will give pros-
pective teachers some appreciation of their value in
teaching. However, this incidental instruction can
hardly be considered sufficient to train teachers
properly in the techniques for eflfective use of visual
aids. Obviously, teachers should have some specific
training in the use of visual aids which should re-
sult in a greater appreciation of the use of visual aids
and the ability to choose, to make, and to use them
effectively. A course should be j^rovided for them
which will secure these results.
Because so many persons think of visual aids pri-
marily in terms of moving pictures, I would like to
stress some of the other visual aids. Included in
visual aids are, maps, charts, graphs, pictures, ex-
cursions, models, museums, dramatics, stereo-
graphs, lantern slides, filmstrips, e'.c. Let us note the
possibilities of some of these aids.
As a general rule teachers do not make the most
effective use of maps. All too often the use of maps
is limited to locations. There is no attempt to be-
little this use of maps, but rather to suggest that
maps have many other uses which are being over-
looked. Geography is concerned with a study of
the earth as the home of man. It is concerned with
the consideration of the effects of the geographic
environment upon man. Maps are a graphic repre-
sentation of geographic environment, and should be
so read.
The cultural heritage of any people is an impor-
tant factor in determining their activities. Their ac-
tivities are very much influenced by surface, climate,
and natural resources. These three factors of geo-
graphic environment are very frequently represented
on maps in the text book. Teachers should be taught
how to use these maps in teaching.
Let us take a specific illustration. Suppose that in
the study of the United States as a whole there are
available maps which depict rainfall, temperature,
and density of population respectively. Beginning
with the population map, it is possible to note its
distribution and make comparisons with the other
maps to note these phases of geographic environ-
ment which influence distribution of population.
From these phases of the study there can be deduced
geographic principles which Ijccome tools for the
further study of geography.
Again, most of us have inaccurate imagery of the
geographic environment represented upon maps.
When we think of the United States we visualize a
map of the United States. Very few of us visualize
an expanse of territory approximately 3000 miles
from east to west and 1500 miles from north to
south. We do not see the actual mountain ranges
in the east and west ; the great central plains ; the
desert in the south-west, etc. Our concepts of these
are inaccurate. Too often the desert is merely a
broad expanse of sand. We fail to visualize the
mountains in the desert and all of the forms of plant
and animal life found there.
A group of fourth grade children were taking an
imaginary journey across the United States on one
of its highways. They had an outline map sketched
on paper and about three by five feet in size. The
highway over which this imaginary journey was to
be taken was sketched on the map. As they started
across the United States they secured pictures de-
picting the various surface features and pasted them
on the map. In addition to the surface features these
pictures showed man's activities; they showed
cities, factories, railroad and river transportation,
coal mining, the productive farms of our great
plains, the desert with its various surface features,
etc. These were pasted upon .he outline map until
it was filled with pictures of typical regions and ac-
tivities along this transcontinental highway. When
this journey had been finished, the teacher placed a
physical-political map along side of the map they
had made. She led the children to discover how
various colors and symbols were used on the maps
to represent geographic factors. Such a procedure
undoubtedly led to a much different type of visual
imagery than most of us get from maps.
In the preceding illustration one of the types of
visual aids used was pictures. Our text books are
filled with pictures, yet so comparatively few of our
teachers use them effectively. Pictures which are
very valuable in teaching can be found in our daily
press, in travel literature, in magazines, and in ad-
vertisements. Yet relatively few of our teachers
appreciate their possibilities and still a lesser num-
ber preserve, classify, and file them as aids to more
effective teaching.
As a single illustration, here is the use which one
teacher made of pictures.
It is difficidt for children to comprehend how
much different our world is from that of a century
or two ago. To lead the children to appreciate this
difference and what brought it about was the ob-
April, 19)9
Page 119
jective of a history teacher in jjrade seven. They
were to begin the study of the industrial revohition.
She had collected nmnerous pictures showing the
old and the new way of doin^ thinps. These pictures
were mounted on a cardboard, each showing the oi<l
and the new. A picture of the shoemaker and of a
shoe factory were inoiuited together ; threshing
grain by hand and a modern combine, etc. These
pictures were passed out to the class and the pupils
were instructed to look at a inimber of them and to
discover in what way they were alike. They soon
di.scovered the contrast of the old and the new.
Some of the (jupils inquired as to what brought
about the changes; another asked when these
changes were made ; another wanted to know where
these changes began ; and many other questions
were raised by various niend)ers of the class. It is
very evident now, through the judicious use of pic-
tures, that teacher secured interest and purpose in
her pupils. This led to purposing and planning by
the pupils which resulted in genuinely valuable ex-
periences in their study of the industrial revolution.
We, as educators, may insist upon the need for
courses in the use of visual aids in teaching. Yet our
subject-matter friends feel that there are already
too many courses in "professional education." For
seven years I have been attempting to teach a course
in the use of visual aids. At the close of these
courses many of the students wovdd approach me
and say that they had learned more history or geog-
raphy or science in the course than they had in the
regtdar courses in these subjects. I am not so naive
as to accept the statements in toto. However, I do
believe that the course did make a distinct contri-
bution to the enrichment of student experiences in
many fields.
Summer Courses in Visual Instruction, 1939
Compiled in Co-operation with The Society for Visual Education
The following courses have heem reported to date,
(Figures in parentheses show credit hours.)
Arizona
Utatc Teachers College, Flagstaff June 5- Aug. 11
Visual Education (3 quarter hrs.) Herman Buckner
( 'nivcrsily of Arizona, Tucson
June 12-July IS and July 17-Aug. 19
Visi;al and Auditory .\ids in Teaching (2) E. L. Larson
California
Lnircrsily of Southern California, Los Angeles
June 17-JuIy 28 and July 29- Sept. 1
Visual Education 184A and 184M (2 each) Cline M. Koon
Colorado
Colorado Agricultural College, Fort Collins July 1-31
Visual Education (1J4) L. E. Aspinwall
Colorado State College of Education, Greeley June 19-Aug. 11
Techniques and Materials of Visual Education (4)
James D. Finn
i'mtvrsity of Colorado, Boulder June 19-July 21
Education Through Motion Pictures (3 quarter hrs.)
and Visual .Aids (3 quarter hrs.) Lelia Trolinger
Connecticut
Teachers College, New Britain July S-Aug. 11
Visual Aids (2) Ernest Whitworth
Florida
University of Florida, Gainesville
June 12-July 21 and July 24-Aug. 25
Audio- Visual Education (2) W. L. Goette
Georgia
Slate College for Women, Milledgeville
Visual Education (3^^)
Illinois
State Xormal University, Normal
Visual Education 240 (3)
University of Chicago, Qiicago
Visial Instruction 390 ('A cr. )
University of Illinois, Urliana
Visual and Auditory Instruction Aids
Westerti Stale Teachers College, Macomb
Visi'al Education 320 (4 quarters) — '.
June 14-July 22
Walter S. Bell
June 12-Aug. 4
Clarence L. Cross
June 19-July 21
Dr. Edgar Dale
June 19-.\ug. 12
Louis A. Astell
June 12-July 21
2 courses
Alvin B. Rot)erts
(2)
Indiana
Ball State Teachers College, Muncie
Teaching Materials (2)
June 12-July 14
Miss Virginia Bell
An additional list will appear in the May issue,
(See Editorial note on page 125, this issue,)
Iowa
State Teachers College, Cedar Falls June 5-Aug. 23
Visual Education (I) Dr. H. A. Riebc
State University, Iowa City June 12-Aug. 4
Demonstration lectures (no credit) L. W. Cochran
Kansas
Municipal Unizvrsily, Wichita June 12-Aug. 4
Visual -Sensory Aids in Education (3) W. A. Bonwcll
University of Kansas, I^wrence June 14-Ai'g. 9
Visual Education in Elementary and Secon<lary
SchfK)ls (2) Fred S. Montgomery
Kentucky
Iniversily of Kentucky, Lexington June 12- July 15
\isfal Teaching (3) Louis Clifton
Motion Pictures in Education (3) W. Gayle Starncs
Visral Teaching (3) July 17-Aug. 19. W. Gayle Starncs
Louisiana
Slate University, Baton Rouge June 5- Aug. 3
N'isual Education 150 (3) Roy Wenger
Maine
l.'niversily of Maine, Orono July 5-Aug. 12
Visval Education (2) Dr. Paul S. Miller
The Mo'.ion Picture in Education (2) Dr. Paul S. Miller
Maryland
( niz'ersity of Maryland, College Park June 26- Aug. 4
Visual Education (2) Dr. Henry Brechbill
Massachusetts
Boston (University. Boston July 5-Aug. 12
Visual Methods in Nature Study (2) Earle A. Brook-
Harvard University, Cambridge July 5-.Aug. 1
.■\udio-Visual .'Xids to Instruction (3)
James R. Brewster, Dr; Harold W. Griffi
Michigan
Michii/an Stale College, East I^nsing June 19-July 27
Visvalizing Instruction (3) E. L. Austin
I'niversily of Michigan, .Ann Arbor June 26-Aug. 18
\'isual Education B133s (2) Dr. F. D. McQusky
Minnesota
State Teachers College, St. Cloud June 12-July 21
Visual Education (4) Roland M. Torgerson
Stale Teachers College, Winona July 22-Avg. 25
Audio-Visual Education (4) Alice B. Grannis
University of Minnesota, Minneapolis
June 12-July 28 and July 21-Sept. 1
Visual Aids in Teaching (3) Ella Callista Clark
Page 120
The Educational Screen
Missouri
St. Louis University, St. Louis
Visual and Auditory Aids (3)
Washington University, St. Louis
Visual Instruction (3)
June 19-Jnly 29
W. D. Shewniau
June 19-July 28
Mrs. Alma B. Rogers
June 12-Aug. 11
Paul Anderson
June 26- Aug. 4
Austin L. Olney
July 5
H. Dwight Carle
July 5-Aug. 10
F. Richmond
June 26-Aug. 5
George W. Wright
July S-Aug. 11
Montana
Montana State Normal College, Dillon
Visual Education (2 quarter hrs.)
New Hampshire
University of New Hampshire, Durham
Sensory Aids in Teaching (2)
New Jersey
Keene Normal School, Keene
Visual Education (3)
New Jersey State Normal School, Newark
Visual Instruction (2)
State Teachers College, Glassboro
Visual Education (2)
State Teachers College, Montclair
Integration 408— Visual Education (2)
Miss E. W. Crawford
State Teachers College, Trenton June 29-Aug. S
Laboratory Course in Visual Aids (2) Lycia O. Martin
New York
Columbia University, New York City July 5-Aug. 11
Visual Education 117-A (2)
Dr. M. R. Brunstetter, Dr. V. C. Arnspiger
New York University, New York City July 6- Aug. 11
Laboratory Course in Visual Aids (2) John H. Shaver
Practical Application of Visual Aids (2) John H. Shaver
North Carolina
Normal and Teachers College, Asheville
Visual Aids to Instruction (2)
North Dakota
State Teachers College, Minot
Visual Education (2)
June 6-July IS
Hazel Gibbony
June 12-Aug. 4
Lester Hartnett
June 19- July 24
Argra Ruffer
June 19-Sept. 1
(Instructor not selected)
June 12-Aug. 4
Ohio
Kent State University, Kent
Using Visual Aids (2)
Ohio State University, Columbus
Visual Education 602 (3)
State Unii'ersity, Bowling Green
Audio-Visual Aids in Education (3)
Administration of Audio- Visual Aids in Education (3)
Dr. L. L. Ramseyer
University of Akron, Akron June 19-July 28
Visual Education (2) J. Ray Stine
Oklahoma
Okla. Agri. & Mechanical College, Stillwater May 31-July 31
Visual Education 402, 302, 502 (3 each)
Dr. J. C. Muerman, Dr. Haskell Pruett
Southwestern State Teachers College, Weather ford
May 29-July 2S
Visual Education (1) J. G. Naimon
University of Oklahoma, Norman June 6-Aug. 26
Visual Education (2) grad. course Boyd Gunning
Oregon
Oregon State College, Corvallis
June 19-July 28 and July 31-Sept. 1
Construction and Use of Visual Aids (3) George Eby
Educational Cinematography (3) George Eby
Organization and Supervision of Visual Instruc-
tion (3) — Second Session George Eby
University of Oregon, Eugene June 12-JuIy 21
Attdio- Visual Aids in Education (3) Dr. Lester F. Beck
Pennsylvania
Duquesne University, Pittsburgh July S-.^ug. 14
Sensory Techniques in Education (2) H. J. Leahy
Juniata College, Huntingdon June 19-Aug. 18
Visual Sensory Aids (3) Paul Rumel
Pennsylvania State College, State College July 3-Aug. 11
Visual and Other Sensory Aids in Education (3)
Fred E. Kelly
State Teachers College, California June 26-Aug. 5
Visual Education (1) Newton Kerstetter
June 19-July 29
D. D. Peirce
June 19-July 29
Willier Enimert
June 19-July 29
L. J. Ulmer
June 25-Aug. 6
Dr. Cyril Stout
State Teachers College. Clarion
Visual Education ( 1 )
State Teachers College, Indiana
Visual Education (1)
State Teachers College, Lock Haven
Visual Education ( 1 )
State Teachers College, Mansfield
Visual Education (2)
State Teachers College, Slippery Rock
June 19-Jnly 28 and July 31-Aug. 19
Visual Education (1 or 2) Dr. R. A. Waldron
State Teachers College, West Chester June 19-July 29
Visual Education (1) Thomas J. Heim
Temple University Teachers College, Philadelphia
June 26-Aug. 4
Projection Apparatus (2)
Illustrative Materials (2)
University of Pennsylvania, Philadelphia
Visual and Sensory Techniques (2)
University of Pittsburgh, Pittsburgh
Visual Education (2)
Waynesburg College, Waynesburg,
John T. Garman
John T. Garman
June 26-Aug. 8
Dr. J. H. Minnick
July 6- Aug. 11
Dr. Herbert T. Olander
June 19-Aug. 18
July 6-July 22
Dr. Bruce Fisher
June 13-Aug. 4
D. Leon McCormac
Visual Educ. and Sensory Techniques (3) C. O. Riggs
Rhode Island
Rhode Island State College, Kingston
Dramatized Instruction (2)
South Carolina
University of South Carolina, Columbia
Visual Education S 155 (3)
South Dakota
Southern State Normal School, Springfield May 31-July 7
Audio-Visual Aids (2) Lulu Spilde
State Normal College, Spearfish
June 5-July 14 and July 17-Aug. 12
Visual Educatiton 118s (4 term hrs.) H. A. Henderson
Visual Education 119s (4 term hrs.) H. A. Henderson
Tennessee
George Peabodv College for Teachers, Nashville
June 12-Aug. 25
Nature and Use of Audio- Visual Aids (4) M. L. Shane
Audio-Visual Aids in Modern Language Teach-
ing (4) M. L. Shane
The Use of Audio- Visual Aids in Elementary
Schools (4) Geo. P. Mecham
Texas
Hardin-Simmons College, .Abilene June 2- Aug. 21
Audio-Visual Education (3) R. A. Collins
Texas Technological College, Lubbock
June S-July 14 and July 17-Aug. 24
Visual Education 3315 (3) Dr. L. B. Cooper
University of Texas, Austin June 6-JuIy 17 and July 17-Aug. 28
Use of Visual Aids in Teaching (3) B. F. Holland
Utah
University of Utah, Salt Lake City June 12-July 21
Education 201 and 207 (2j4 each) Arthur L. Marble
Washington
Central Washington College of Education, Ellensburg
June 13-Aug. 16. Visual Education (3). E. L. Muzzall
East Washington College of Education, Cheney June 14-Aug. 16
Visual Education (5)
Miss Margaret McGrath, Raymond Hawk
State College of Washington, Pullman
June 19-July 28 and June 19-Aug. 11
Visual Sensory Aids in Education (2 or 3)
Ford L. Lemler
West Virginia
IVest Virginia University, Morgantown
Audio-Visual Aids (2)
Wisconsin
Marquette University, Milwaukee
Visual Education (3)
State Teachers College, Platteville
Visual Instruction (3)
June 12-July 23
H. B. Allen
June 26-Aug. 4
Sidney de Ranitz
June 13-July 22
Dr. V. E. Nylin
April, 19)9
Page 121
Motion Pictures —
Not For Theatres
By ARTHUR EDWIN KROWS
Editor of "The Spur," New York City
Comes Part Eight. The World War ends
and non-theatricals begin their peacetime
adjustments in many departments, with
strenuous efforts made to salvage organiza-
tions originally formed for emergency service.
OR was it the third May Irwin film
that Carlyle Ellis produced for
Universal ? When Ellis read the
allegation in the paragraph hefore this
that he had done the second, he wrote
me from Hollywood, where he lives to-
day, to say that, according to his
recollection the second was really pro-
duced by J. L. Bernard : "shot with
portable lights in one of the Universal
offices at 1600 Broadway," although he
adds, "I did direct her in a brea<I- making
reel for Fleischmann's Yeast. . . .
"When I went to Universal," he con-
tinues, "it was first to work for Jack
Cohn as title writer on the Universal
Weekly. Levey borrowed me to drama-
tize canned shrimps or something, and
then there was a laugliable feud between
him and Jack for possession of me.
Levey, of course, won, much against my
will ; so my gratitude to Rufus Steele
for dragging me away to war work was
monumental."
In the same letter Ellis presents in-
teresting sidelights on "The Yanks Are
Coming," the Universal film which was
halted by the Committee on Public In-
formation: "It was a commercial for
the Dayton-Wright Airplane Company
(not the Wright-Dayton Company), and
I went out to Dayton to direct it.
There was one full reel of flying stuff
and the rest was manufacturing. It was
boiled down a lot and released after
awhile; and much of the flying stuff
was used.
"It might well be. I induced the
surviving Wright brother to get out
the second Wright plane, had the
factory tune it up, and Mr. Wright
flew it for us all about the place,
making a landing right up to the
camera, and a semi-closeup of him
stepping down. We also sent it on a
sidc-by-side takeoff with the first
American DeHavilland. and showed
how the warplane could out-climb
it. Also, I had my cameraman and
his camera strapped into a DeH. to
shoot the first (I think) tailspin
from the spinning plane ever photo-
graphed.
"But afterwards we found that the
Marines were shooting some beauti-
ful air stuff down in Florida at the
same time, I think, with Roxy's
supervision or something, so there
are doubts about several 'firsts.'
Seems to me this stuff was com-
bined with ours in the final release,
but it is all very vague now ..."
Not so vagtie, though, as the torch
race of recollection kindles from the
circumstantial information of such an
admirable start. For example, when I
showed Ellis's interesting letter to Frank
One of America's most interesting pion-
eers in educational production, distri-
bution and exhibition, Maurice Ricker's
work has been all behind the scenes.
A. Tichenor, who in those days was the
chief of the General Film Corporation,
he remarked that he, himself, was the
one who caused the banning of "The
Yanks Are Coming." He saw a pre-
view of the film in the office of Charles
Hart, he explains, and, noticing that
the manufacturing processes shown
were all of English DeHavillands, ad-
vised that the subject would be found
too discriminatory for American ac-
ceptance as helpful "preparedness" prop-
aganda. Hart evidently agreed.
But our present point is the ap-
propriateness of Ellis for hfs place with
the Committee on Public Information;
and enough has been told, I am sure, to
show that when his name was suggested
to Rufus Steele as that of a possible
assistant, it indicated a man who had
had a short but severe schooling in the
very sort of knockabout, self-sufficient
work which was needed. It was Ellis
who edited and arranged the material in
the two first feature-length pictures
issued by the Government to promote
the First Liberty Loan — "Pershing's
Crusaders" and "America's Answer."
"Under Four Flags" was the third long
U. S. Government film in this series,
released in November, 1918.
New Uses For Old Films
But, as far as the non-theatrical field
IS concerned, the great service of the
Government during the war period was
to marshal the miscellaneous material
produced outside the regular studios and
to build up an organization to distribute
it. There was almost no legitimately
made film which could not find place in
Community Service and the Inter-
national Y. M. C. A., reaching as they
did, all recognized wartime welfare
agencies throughout the world. The
picture made long ago by the local
factory owner, to soothe his own vanity,
might now be used for broadening knowl-
edge of trades ; another, made for pro-
motion of a new dentifrice, might be-
come a feature on a health program
presented to benighted people in the Far
(last. The list was long and the appli-
cations ingeniously many. The most
inept subtitles on the screen could be
used for teaching English to foreigners ;
casual views of prosperous American
farms might become of high importance
in impressing backward communities
with the efficacy of modern agricul-
tural machinery.
It was a notable service to the non-
theatrical field because it laid a founda-
tion upon which peacetime activities
might arise. The original intent, to be
sure, had been an emergency structure;
but those concerned in it, as in all
similar groups, were loath to let it go
when the armistice was declared. Nor
was their hope of a certain continuance
in vain, for the world which dawned
with peace was entirely new and entirely
well disposed toward regenerative ef-
forts.
No account of the period immediately
following the World War can be com-
plete without considering the changed
economic and social background of the
United States. Industry had learned
much about giant organization ; stan-
dardized products and fairly recent in-
ventions— some the result of patents
pooled in the late emergency by rival
manufacturers intent upon helping their
Government to win — had made life com-
paratively luxurious in even remote
I)arts of the country; returning soldiers
had acquired a cosmopolitan point of
view — they had "seen the world" ; there
was an unprecedented development of
women's clubs and Rotary Clubs and
Chambers of Commerce.
Most of the last-named activity was
due to the wartime responsibility when
men had joined for Liberty Loan drives
and women to roll bandages for the Red
Cross. The women, especially, only a
short time before admitted to nationwide
suffrage, appreciated their earned place
in a new freedom and did not intend
to relinquish it. The various wartime
groups were reluctant to lose their
identity and, in this new time, they
tried to find reasons for continuing.
To make their meetings attractive,
common recourse was had to motion
Page 122
The Educational Screen
pictures. Teachers, principals and dis-
trict superintendents were fascinated by
the prospect of having films in the
schools similar to those which they had
seen arousing enthusiasm in the theatres ;
religious leaders and settlement work-
ers envied the social force of the neigh-
borhood exhibitor and burned to arro-
gate it to themselves. They did not
think deeply about the probable cost of
these films, nor of the machinery neces-
sary to project them.
The Non-The.\trical Field Quickens
We have had glimpses of the re-
ligious interest involving the George
Kleine service of Chicago, the Presby-
terian contract with the Edison Com-
pany, the various Catholic film enter-
prises and the interesting venture of
the Mormons. In the autumn of
1910, churches in Detroit had experi-
mented with film programs in their
Sunday Schools; in 1911, the Rev.
George Beeker had startled exclusive
Montclair, New Jersey, by introducing
Biblical films during his Sunday sermon
at Grace Church; in 1913, at the Church
of St. Jude and the Nativity, in the
New York metropolitan area, penny
motion picture shows were given every
week. In 1916 was published Motion
Pictures in Religious Education Work,
which was a report prepared by Ed-
ward M. McConoughey for the com-
mission on the church and social service
of the Federal Council of Churches of
Christ in America. In 1915 the dig-
nitaries of the Methodist Episcopal
Church had discussed, at their New
York Conference, the value of films to
increase churchgoing ; in May 1919, they
announced definitely that they would
use the screen to spread the Gospel,
with D. W. Grifiith as advisor, and.
about two months later, Grifiith filmed
for them their pageant, "The Way-
farer," at Columbus, Ohio.
The Methodists had . made a fairly
extended investigation. Their Centenary
Committee, through its Department of
Education, had circularized Methodist
pastors with a questionnaire, receiving
approximately 3,000 replies favoring
films in the church. In consequence,
there was established for the Metho-
dists, a Division of Stereopticons, Mo-
tion Pictures and Lectures, through
which pastors might rent films at cost.
The first motion picture distributed by
the new Division was a six reel sub-
ject showing the Methodist Exposition
at Columbus, in 1919. In June, 1920,
eighty-six Methodist missionaries left
New York for their foreign stations,
taking propaganda films along. View-
ing American churches of all sorts, it
was estimated by the Literary Digest,
in May, 1920, that films were being
used in approximately 2,000.
As to the formal educational interest,
there were symptoms of that every-
where. Before 1913. films were used
sporadically in grade schools of New
York, Chicago, Cleveland, Detroit, Pasa-
dena. Denver, Paducah. South Bend and
Pueblo among other places. The State
of Texas had purchased a large number
of projectors to be used throughout its
school system; the University of Wis-
consin was employing films to cut down
truancy; the University of Minnesota
iiad them for adult education as well as
for juveniles, particularly to teach dairy-
ing throughout the extension division ;
Milton C. Cooper, district superinten-
dent of Philadelphia, had requested a
projector for every school in the city ;
Arthur G. Balcom, later to become
prominent in visual education circles,
was making similar recommendations to
the School Board of Orange. New Jer-
sey. The Mississippi Federation of
Women's Clubs, in cooperation witli the
State Department of Health, was dis-
tributing health films, while the Vermont
Stale Board of Health had purchased
not only a portable projector but a
generator with which to operate it in
remote communities.
The School Board of Berkeley, Cali-
fornia, began its September session in
1910 with favorable consideration of a
Mrs. Elizabeth Richey Dessez, member of
the War Work Council of the Y.M.C.A.
film division, began her picture career by
organizing movie matinees for children.
plan to rent school films regularly; in
Milwaukee, at about the same time, an
experimental free showing of films in
schools to the public was voted a great
success and to be continued ; December,
1912, commendation was given to a test
school program at Elgin, Illinois, the
pictures being, "The Lady of the Lake,"
"Climbing Mt. Ranier," "The Pineapple
Industry" and the "first act" of Bern-
liardt's "Queen Elizabeth." At the
February, 1914. meeting of the State
Superintendents of Illinois, a plan was
presented and fa\ored for placing pro-
iectors in all schools and distributing
films by interchanging them over three
circuits to be established in the State.
At the close of 1914, the California
State Commissioner of Secondary
Schools had recommended supplemental
instruction by films from the fifth to
the eighth grades ; and in the Badger
State, about 150 schools had actually
been equipped with projectors and films
on approval of the University of Wis-
consin.
But of course, too, the schools of
other nations were awakening to the ad-
vantages of the new teaching instrument.
Charles Urban had agitated the matter
in England as early as 1902. The French
Government is said to have weighed
the possibility even before 1900. In 1912,
schools in France and Germany were
using films for geography, history and
civics, while educators in the latter
country were issuing testimonials to their
worth for the benefit of those interested
elsewhere. The school films of Japan
in 1914, already have been mentioned.
The thought of children to be served
reminds one that there was another im-
portant stimulus to development of the
non-theatrical field which has not been
named as such. That was the reform
movement, which declared the unsuit-
ability of the average theatrical film
program to children, the implication be-
ing that, if the theatre could not be
restrained, the children should see their
motion pictures in more controllable cir-
cumstances. Extreme positions in this
matter, evinced before the turn of the
century, at the very start of the indus-
try, were reconciled by the National
Board of Censorship, organized in 1909,
one compromise being the presentation of
films for children Saturday mornings
when there was no school.
.About 1914 this cliildren's Saturday
Morning Matinee idea was promulgated
and put energetically into practice in
New York City by Mrs. Elizabeth
Richey Dessez, a Southern newspaper-
woman, whose work has been mentioned
earlier, in cooperation with a Virginia
woman friend and a local theatrical man-
ager. Her success caused her to be
noticed by George Kleine, who was pre-
paring with Thomas .\. Edison to at-
tack the problem in another way by
releasing to the theatre — under the name
Conquest Pictures — a prearranged, cir-
cumspect family film program ; and he
engaged Mrs. Dessez, first in charge of
his Community Service Department to
open the non-theatrical market and
then, in 1917, to tour the country in
promotion of the Conquest plan. Dur-
ing the World War Mrs. Dessez served,
as I have told you, with the committee
which helped select films for the War
Work Council of the International Y.
M. C. A.
The Fosters See a Way Out
Anyway, here was a great, en-
thusiastic demand for non-theatrical sub-
jects. Here, also, as the Fosters ob-
served of their lately whirring machine,
called "the C.M.P.B.," was a great non-
theatrical distributing system at their
own hand, with thousands of "purified"
reels in stock and with representatives
everywhere suddenly to be thrown out
of employment. The Government, think-
ing of the setup as a mere wartime ex-
pedient, felt that it had no further
serious use for any of it. The properties
would be sold out for a song, perhaps
given for the asking. Of course, the war
work of the Community Service had
been free to the users. The Govern-
ment defrayed the cost of operation. But
now that the users had learned to value
the system, long and consistently iden-
tified with the Fosters, no doubt they
might be persuaded to pay something
for it. And, in the meantime, probably,
the outlying representatives could be
April, 19)9
Page 123
IK-rsuaiictl to Ramble on the future with
the cstal)li.'-hi'<l leaders.
The Govrriimc-nt might possibly ha\c
made constructive use ol its lilm sup-
|ily there ior awhile at least. The way
had Ix-cn oiiened in 1920. for then Com-
munity had distributed some films on
housing problems, which were consid-
erations l>elonk'inR distinctly to "recon-
struction." But the larger opportunity
was overlooked. High officials opined
that the war was over. They were mis-
taken. They were thinking just of the
military phase. War continues ever-
lastingly ill this world. There is just an
alternation of kinds — military and eco-
nomic. .-\nd now that the uniformed
soldiers rested, the fight for trade re-
sumed where it had twen interrupted for
the soldiers in mufti ; and the film be-
came a iioleiit instrument for the ex-
pansion of markets.
Those in the Government service
whose duty it was to realize this, name-
ly, members of the U. S. Department of
("ommerce, sought an appropriation to
meet the new situation, hoping to pro-
duce films on .Xmerican industries for
foreign exhibition. They reminded those
who licld the keys to the Treasury that
England already was using sucl) films
for her own aggrandizement in a move-
ment called "British Industrial Expan-
sion." Under that name, and with the
auspices of the British Chamber of
Commerce, exhibitions had been given,
iluring the preceding year, in South
\it)erica, Canada, India, .\frica, Egypt,
Australia, New Zealand and the chief
cities of Western Europe. But the ap-
I)eal for that particular solution in
.\mcrica was in vain. The public here
probably was just sick at that moment
of international rivalries.
The Fosters really had ample time to
consider their changed situation, for al-
though the armistice, following the col-
hpse of Turkey, Bulgaria and Austria-
Hungary, came to an overjoyed world
in November, 1918, all the months un-
til the following June 28, when the
treaty of peace was signed, had to go by,
and after that there was still work for
Community Service in the camps pend-
ing the slow demobilization of the
troops. And, in the face of some op-
position, they did acquire the contract
to serve the American Army of Occu-
pation at Coblentz. The official end of
the wartime Community Service in the
camps did not come, therefore, until
1921. The Fosters were still actually
producing films for the work in 1920,
six reels of popular .science ranging from
astronomy to geography, made for them
under the direction of young William
Park, being previewed that summer at
the American Museum of Natural His-
tory.
But, beyond the attenuated Govern-
ment contract, the scheme of continuing
Community Service was worth trying, not
only for the Fosters, but, as has been
suggested, for some of their direct as-
sociates and for a chosen few of their
regional agents. Some of these last-
named persons had never been in motion
picture work before and now saw
especial opportunities of their own.
Many a non-theatrical specialist of later
years owed his real start to Community.
Thus it came about that Community
Service returned to peacetime activity,
its wartime contract fulfilled, and with
Warren Foster and his mother still in
command. There was a large stock of
films. The Government didn't want
them — had no place now to keep them^ —
and the original owners, with the excep-
tion of a few such as the disintegrating
General Film Cor|X)ration, which de-
manded its property back, had uncon-
ditionally surrendered their rights in the
fo<jtagc. Warren Foster retained the
New York office for awhile, and the one
ill Paris through which he sought to
negotiate various foreign enterprises
other than Community Service. But the
great, unifying spirit was gone. The
prevailing common purpose of winning
the war had l)een achieved ; and one pri-
vate project was as good as another.
.As a sheer psychological release, it was
now every man for himself. As a great
institution Community dwindled.
But playing a lone hand was an old
exjiericnce for Warren Foster. He
merely retired at last for reflection and
quiet into office space in the Masonic
Temple Building rented to him by his
friend the Rev. James K. Shields, Anti-
Saloon League Superintendent of New
Jersey. He did not lose. So you will
meet him later in these pages as, at his
own convenience, he steps again upon
the scene, once more master of the
situation.
In disposing of its war paraphernalia
which seemed to have salvage value, the
U. S. Government unloaded it on the
market with but one idea — to be rid of
it promptly. An incident in this process
is of particular interest here. The mo-
tion picture exhibition equipment re-
turned from abroad was received at New
York. There it was placed on sale for
whatever it would bring, in a loft build-
ing which had once been a well known
1 4th Street department store — Siegel &
Cooper's. Many readers will recall this
store with the rotunda in which stood
for many years, to encourage the say-
ing "Meet me at the fountain," the
great symlxilical statue of "Agriculture"
from the Buffalo World's Fair. Now
that it was a mere storage loft, many
good projectors were to be had there
at a few dollars apiece; and out of tliis
collection, which had cost the Goveni-
menf top prices in the beginning, more
than one daring church pastor obtained
his first film equipment. Why most of
these projectors should have gone to
churchmen rather than to teachers, is
explainable, probably, by the fact that
near the old store was a neighborhood,
northward along Fourth Avenue, where
large Protestant groups maintained their
headquarters.
If the users of non-theatrical films had
not counted the cost of obtaining pro-
grams, other shrewd observers had
studied conditions for their own profit,
and had hit upon a way out. .Mmost
from the start of the making of non-
theatrical films, the owners were will-
ing to lend prints at no charge provided
that they could be assured of audiences
and, when propaganda pictures were
Miss Anita Maris Boggs, co-founder in
1913 of the Bureau of Commercial Eco-
nomics, became its efificient director after
the death of Dr. Francis Holley in 1923.
made for social service organizations
they, too, were anxious to cooperate in
the same way. In fact, both groups
were even willing to pay within reason
for the sake of having their pictures
shown. The conclusion was irresistible
that some middleman would some day
find it worth his while to join the prop-
agandists and the audiences eager to see
but unwilling to pay, and earn a living
by distributing films for nothing.
The Bureau of Commercial Economics
As, far as I am able to determine, the
first considerable distribution of this
sort was set up in Washington, D. C.
in 1913, at the instance of Dr. Francis
Holley. To be sure, the Y. M. C. A.
Bureau had been started almost as early;
but its scope at first had been limited to
Association centers. Dr. Holley, then a
man of about fifty years of age, had
arisen, virtually self-educated, through
the engineering corps of the Northern
Pacific and Canadian Pacific Railways,
to become a successful civil engineer in
independent practise. When he was
about twenty-two, his more ambitious
plans had been halted suddenly by blind-
ness. For nine years he travelled
through Europe and the Orient seeking
restoration of his sight and vowing that,
should that seeming miracle be wrought,
he would devote his remaining years to
the betterment of mankind. At last a
Paris surgeon brought about the result
for which he had prayed. And then,
true to his vow, he sought a vehicle for
his great work — and chose the motion
picture.
It probably is not surprising that a
man who had been blind would think of
the eye as the best avenue for education,
although its superiority is amply acknowl-
edged also by those who see. Anyway,
after careful investigation such as would
characterize the start of any prudent
business man in a new line, and with
sympathy and support of his close friend,
the celebrated blind senator from Okla-
homa, Thomas P. Gore, Hollev or-
Page 124
The Educational Screen
ganized at Washington the Bureau of
Commercial Economics, "an association
of leading institutions, manufacturers,
producers and transportation lines in
this country and abroad, to engage in
disseminating industrial and vocational
information by the graphic method of
motion pictures, upon the recommenda-
tion of the leading educators of the coun-
try." The films were loaned to schools
and other responsible institutions upon
the sole condition that the public would
be admitted to see them without charge.
The corporation had no capital stock
and was declared to be "not for profit."
An unfortunate feature was that the
name, associated with the address, im-
plied that it was a department of the
national Government with which the
Bureau had no official connection. The
service of the Bureau, supported by en-
dowment and by subscription, was to
conduct a lending library of free films,
"to advance through motion pictures
education and pride in America's insti-
tutions." The early, specimen subjects
were on Cattle-Raising, Com, Cotton and
its products, and Aluminum — largely in-
dustrials originally made, I believe, for
the International Harvester Company.
The work thrived and, in a few years, the
Bureau boasted of affiliations with more
than 125 universities and colleges.
A co-founder with Holley was Miss
Anita M. Boggs, an A. B. from Bryn
Mawr and an A. M. from the Uni-
versity of Pennsylvania. At the outset
she became dean of the Bureau and, in
1922 when Holley's health began to
fail, she become co-director. In Decem-
ber, 1923, Holley died and then Miss
Boggs succeeded him as director. Dur-
ing her career thus far, she has served
at various times as especial collaborator
in visual instruction for the U. S. De-
partment of Education and as an Ameri-
can educational representative of sev-
eral foreign governments. A letter ad-
dressed to her at the Bureau, after being
forwarded to several places, returned to
me marked "out of business."
In the spring of 1921 Holley offered
10,000 posts of the American Legion
1,000 films on education and travel. At
that time the service reached, it was
said, around the world. Among remoter
places. Bureau films were being exhibited
in China, India, Siberia and Arabia.
In many localities the Bureau provided
not only the programs but the projection
as well. This was true in Alaska,
Northern Canada and Newfoundland
and in mining communities in Chili and
Peru. It was operating in the United
States six especially equipped automobile
trucks, complete even to the extent of
lighting plants, touring the factory and
mining towns and the farm districts.
Two Bureau trucks were touring Eng-
land and ten more were on order.
It will be remembered that the situa-
tion of the Community Service head-
quarters in New York was at the Ma-
sonic Temple Building, 71 West 23rd
Street — and thereby also hangs a tale.
Tightening regulations of the National
Board of Fire Underwriters were con-
centrating the film business in several
fireproof buildings about the city. My
^ext Month
The first non-thea+rical history
moves on. In May comes Part
Nine. In it Henry Ford tries
his hand at producing films for
education, Walter Yorke
founds Edited Pictures System
and llsley Boone contracts to
supply the New York City
schools. More and more the
scene fills with persons you
know, and some thirty more
installments, each as rich in
detail as this, are scheduled
for publication. Subscribe now.
recollection is that at this time the
number was five. In addition to the
Masonic Temple Building there were
designated the Candler Building at 220
West 42nd Street, the Mecca Building
at 1600 Broadway — where Universal
maintained its headquarters — the Leavitt
Building, 130 West 46th Street, and the
Exchange Building, at 145 West 45th
Street. The Godfrey Building, 729
Seventh Avenue, came later. The
Brokaw Building, 1482 Broadway, had
also been designed for film tenants, the
upper floors having been occupied by
Triangle Films ; but Triangle had stipu-
lated in its lease that no other film
concern should be permitted to occupy
space in the premises during its tenancy
and, when Triangle departed, the place
was abandoned for film purposes. Any
history of the motion picture business
in America necessarily must deal heavily
with firms located at these addresses.
The Masonic Temple Building, how-
ever, was for a long time the broad
shelter for a fertile portion of the non-
theatrical field. On the two uppermost
floors were the offices, tanks, vaults and
other equipment of the Kineto Company.
Here presided that colorful, friendly per-
sonality, Charles Urban, now a man of
middle age, but still active and receptive
to new ideas. His name has recurred
here over and over again. We found
him producing and encouraging the pro-
duction of almost the first educational
films and issuing the first educational
films catalogue; we saw him taking over
the Scala Theatre in London for his re-
markable Kinemacolor pictures ; he
brought the sensational coronation and
Durbar films to America ; he imported
also the official British vvar films. And
there was much more. But it was Ur-
ban's fate to be a disappointed man.
His Kinemacolor Company died out in
America.
Nevertheless, he now had remaining
his Kineto Company, the once relatively
unimportant side enterprise which hand-
led black and white subjects, and which
now had some color objects, too. More-
over, in this foreign land he had many
friends. He knew America well enough
— had known it for years. In the
mid-nineties he had been a salesman in
London for an American invention, the
Edison Kinetoscope. Iii 1897. in New
York, he had installed one of the first
projectors for Richard G. HoUaman at
the Eden Musee. And now, at the
close of the war. here he was operating
a commercial film laboratory at 71 West
23rd Street. In 1917 he had taken over
the studios and laboratories at Bayonne,
New Jersey, left by Dave Horsley when
that worthy had moved to California;
and it was said, even at that time, that
Urban was releasing 800,000 feet of film
per week and needed the new facilities
for the purpose of doubling his out-
put. Let us consider the nature of the
increased business.
Swords Into Plowshares
When America joined the Allies it
became practical to combine the ofiicial
pictures sent by all nations from the
battle areas ; so, as already stated, there
came into being a regular theatrical
number called the "Allied War Review,"
released through Pathe exchanges. Ur-
ban, with his highly creditable experi-
ence in handling British propaganda films
previously, did much constructive work
with this new offering.
The release, however, being frankly
intended to influence opinion, was
necessarily biased and, after its novel-
ty had worn oflf, it could not successfully
compete, in terms of popular interest,
with the war scenes appearing in the
regular newsreels. One of the most
successful of the latter enterprises was
the "Mutual Weekly." But problems of
another sort, arising out of the war
situation, now threatened that. It may
have been that the Gaumont Company
which produced it, was rather too close-
ly involved with the distressed fortunes
of England and France for the proper
expansion of the native Mutual Film
Corporation which was steadily gaining
strength. In all events, in January 1918,
Mutual — from its headquarters in the
Masonic Temple Building — authorized
its alert and exceedingly able adver-
tising and publicity director, Terry
Ramsaye, to supplant the "Mutual
Weekly" with a new newsreel called the
"Screen Telegram," issued twice as
often. And in February, Gaumont saved
its face by announcing its own sub-
stitute, the "Gaumont News Service."
The "Screen Telegram" proved very
successful. Ramsaye summoned, to edit
and develop it, Ray L. Hall, late of
the Hearst newsreels, and later still of
Creel's Division of Films. Hall remain-
ed there after Ramsaye left, in Decem-
ber 1918, to assume charge of the pub-
licity department of S. L. Rothafel
("Roxy") for the Rialto and Rivoli
Theatres.
But, when the war was over, many
previously sustained successes became
mere loose ends, and complete reor-
ganization, with entirely new purposes,
was required to supply a continuity into
peacetime. The "Allied War Review"
ceased, and the "Pathe Review" was
begun as a substitute in the Pathe ex-
changes which had distributed it. The
Mutual Film Corporation, itself, then
was replaced, in a manner speaking, and
the "Screen Telegram" ceased, leaving
an apparent gap for some competent ob-
server to fill for his own profit.
■ (-To he continued)
April, 19)9
DIVERSITORIALS
Page 12$
The "Annual" Forum of the Mid-West
HKKK is anotlu-r promising sign of life in the visual
field. Liuler its dynamic Chairman, Donald P.
Bean of the University of Chicago Press, a Committee
has completed arrangements for a vigorous visual in-
struction program to be held on May 12 and 13 at the
Morrison Hotel in Chicago. Out.standing speakers,
expert demonstrations, ])lanned discussions, three simul-
taneous clinics sfjecifically designed for teachers in
Klemcntary School. High School, and College respec-
tively, select exhibits of expressly educational interest, —
and all housed for ideal comfort and convenience in the
famous "Casino" and nearby rooms — are features
of the session. Superintendents, Principals, Teachers
within the widest possible radius around Chicago should
do their utmost to attend. Only two little days — but
they should give rich returns to those who come.
Response to the plan is already wide and enthusiastic.
The program in full, with a write-up by Mr. Bean,
appears on pages 134-5. If "evidence" is a thing to
be trusted, this meeting will be but the first of a con-
tiiuious annual series, growing steadily in importance.
Be in at the beginning of something important —
cj'erybody!
The Coming Summer Courses
WE ARE a month ahead of last year in presenting
the list of summer courses in visual instruction,
prei^red as before with the efficient and invaluable co-
operation of the Society for Visual Education. Eighty
courses appear on pages 119 and 120 of this April issue
— the same number as appeared in the May issue of
1938 — and of the eighty courses about thirty are new
over last year's list ! Additional entries, will be given in
the May issue and will represent the increase of 1939
courses over 1938. Our readers can help. Send us a
line regarding any course, not listed in this issue, that
has come to your attention.
Another Legislative Threat
'T'HERE is now under way in New York State
•*• another attempt to throttle the state-wide educa-
tional use of films and fatten the pay envelopes of union
oiierators. The Crews Bill (Assembly No. 1915) has
passed the Rules Committee and is pending before the
New York State Assembly at Albany. It declares it un-
lawful for anyone, in cities of one million or over, to
operate any moi'ie projector in any building, public or
private, "unless he shall have been duly licensed" under
the following terms: He must be over 21, must have
served six months apprenticeship to a licensed of)er-
ator, must pass an examination, and must pay a $15.00
fee the first year and $10.00 a year thereafter.
This outrageous legislation, if passed, will ban sub-
standard film showings in schools, churches, clubs, lab-
oratories and hotnes — exclude projector operation by
teachers or students, for the fees will be prohibitive
in most cases — and thus force employment of licensed
operators at rates impossible for most non-theatrical
interests. It would mean the deliberate killing of most
of the present-day school activity with films. The pro-
posed law is based on the specious pretext of "safety,"
yet all 16mm film (the standard size used in schools)
is on acetate stock and therefore as safe as the film in
our cameras.
Our valued contemporary, Movie Makers, magazine
of the Amateur Cinema League, is making a heroic
fight against this insolent threat to our scholastic wel-
fare. New York schools are in danger. Once this law
passes for the large cities, the next steps will be to
hamstring the whole State, then invade other States.
.\t the moment, other S'.ates can do little to help the
fight. But every New York State teacher should send
at once to his Assemblyman his own opinion of the
Crews Bill in unmistakable, even blazing terins.
Still Following Hollywood
'T'R.KDITION, analogy and convention are powerful
factors in human thought and action. Early Greek
architecture fashioned its marble architraves and tri-
glyphs to resemble wooden beams, rather than to in-
augurate a new and epochal development in the building
art. Early American horseless carriages showed whip-
sockets on the dash. And -American educational film
production runs true to form.
Hollywood starts most of its productions with more
or less deafening music behind the leader to whet
audience attention. The din excites to emotional eager-
ness for what is to come. It is a fairly logical device,
for the theatrical movie seeks emotional appeal and
musical blare is definitely emotional stimulus. Educa-
tional producers naively follow the theatrical lead and
frequently open a little one-rceler with an orchestral
crash thoroughly bewildering to ears and minds. The
classroom aims at the intellect rather than the emotions.
Let educational films begin with soft music, rising
steadily to a level of pleasing but not startling volume,
and thus agreeably induce a pupil state of mind that is
thoughtful and eagerly receptive, not stunned or aim-
lessly excited. In time we shall learn to leave to the
theatre, and spare the classroom, that nerve-wracking
opening blast.
The Film Evaluation Project
C PRING vacations naturally slowed up somewhat
*^ the influx of evaluation cards, but the project still
shows definite progress over the status reported in
March. Instead of 400 teachers evaluating in 32 States,
we have over 500 teachers in 34 States. The number
of different films covered has risen from 300 to over
600, with from one to seven cards on each.
Nelson L. Greene
Page 126
The Educational Screen
AMONG OURSELVES
Notes from and by the Department of Visual Instruction, N.E.A.
Conducted by the Editorial Committee
Etta Schneider, Chairman
After Cleveland -What?
rpiO THE MEMBERS:
Ttie shouting and the tumult have died. We are
now about a month older than we were in Cleve-
land. We have about three months before San Fran-
cisco. As your President I am wondering how far
we have real achievement to our credit, and how we
may most constructively utilize for the advance-
ment of the cause of visual instruction in our
schools the interval before our next meeting. Ob-
viously, our meetings are our public appearance,
but the real work of any group is the day to day
endeavor. How can we work effectively during
these months? Here are a few suggestions.
Our committees must be energetic and effective.
It is not enough to say that we are all busy on our
own jobs, and in this way evade the responsibility
of committee work. Other departments of the
N.E.A. have active committees with concrete re-
sults to their credit. This has not been sufficiently
true of our committees. We need help. We need
concrete specific suggestions of tasks on which the
Department can properly assist. Above all, we need
the readiness to dig into problems without the
glamour of public meetings or reports. We need
that quiet persistence which sees a job through, and
finally we need an appreciation of each other's
achievements and a cordial recognition of each
other's fine purposes. In other words, a high pro-
fessional attitude toward each other, an absence of
malice and back-biting, a devotion to the cause,
and a readiness to push forward whatever project
or undertaking may be possible to the end that
progress in this field may ensue.
This we attempted to do at Cleveland. We
brought into the meeting of the Visual Instruction
Department representatives of various visual in-
struction projects which touch our work. We wel-
come the assistance of each one of these repre-
sentatives. We had from the President of the N.E.A.
a heartening challenge to help at San Francisco to
make clear to the educational world the possibilities
of visual aids, particularly the motion picture. We
had from the Chief of the Division of Cultural Re-
lations of the Department of State at Washington,
D. C, a proffer of opportunities to make our
contribution toward international understanding
through visual aids. Small committees at present
are at work on these problems. We need to know
across the country what all of us are thinking and
doing in all these fields. We need many hands push-
ing, straining forward so that our children may reap
the benefit of our united efforts. Valid criticism to
our attempts are welcome ; but the carping critic
should not deter us from the performance of our
solemn duty in the interest of democracy and the
future of America.
Now, what shall we do next? I shall give you a
few of the ideas I have for what they may be worth.
First, I would like this constant du])lication of
effort to cease. A film in geography or science
which is a good film is now seen by each one of us
in the field, and we all arrive at about the same
conclusion. And, unlike a similar process of book
reviewing and book selection, each time the print is
shown lessens its value. I would like to see a seal
of approval comparable to the stamps placed on
theatrical films devised and kept meaningful. Per-
haps the Film Evaluation Project now going on is
the beginning of such a movement.
Then, visual instruction equipment shall be a
recognized standard for all new school l^uildings in
all parts of the country. We need to push for this.
Thirdly, the old problem of teacher training in
visual instruction is still with us. How near solution
is it? We are not very far along in my part of the
country. What are we doing about it? How are we
doing it?
Here are a few problems. Their solution requires
cooperative endeavor, "a united front." Can we
secure it? Rita Hochheimer, President
High Points of the Business Meetings of the
Department of Visual Instruction
(Cleveland Convention February 27 - March I, 1939)
The report of the Committee on the amended Con-
stitution was accepted and referred to the Ex-
ecutive Committee for report back to the Depart-
ment at the San Francisco meeting.
A report was made of the grant made by the
Alfred P. Sloan Foundation to the Department for
a try-out of the experimental film. The Challenge,
which had been made by the Foundation, and of the
progress to date on the try-out. The film is a three-
reel production on the subject of technological un-
employment made on an experimental basis by the
Foundation to prompt interest and discussion on
economic subjects. Experimental showings of the
film were made under the direction of a committee
appointed by the President for this purpose. Under
its direction the film was shown to schools and
adult groups in New York City, Westchester
April, 19i9
County and l.onp Island. Xiw York, and in Ohio,
and the response to tlie experiments noted and tabu-
lated. The experiment was to be completed in
March and a report pre])ared on the findings. The
Challenge was shown to the Department.
A report was made by the Metropolitan-New
York Branch of the Department that the Committee
on Scientific Aids to Learninj; had made a jjrant to
that Branch for the production of a series of talking
slide films for the puri)ose of determining the suit-
ability of this medium for school use, and that the
Branch was engaged in the production of several
film slides under this grant in the areas of story-
telling, vocational guidance, nature study, human
relations, and graphs. The first of the series, that
on story-telling in the form of a film slide on The
Country Mouse and the City Mouse, was shown at
the meeting.
Following the suggestions made by Dr. Reuben
T. Shaw, President of the N.E.A. in his talk at the
dinner meeting of the Department, the President
a])pointed the following committees:
1 ) A committee of coojieration with the World
Federation of Educational Associations, consisting
of: Mr. Chester A. Lindstrom, Chairman; Mr. Eric
H. Haight, Dr. James G. Sigman.
2) A committee to recommend to Warner
Brothers ten historical subjects for production in
the form of theatrical shorts consisting of: Dr.
William Gregory. Chairman, Miss Carrie B. Francis,
Mr. Alvin B. Roberts. A special showing for the
Department of the historical shorts already released
by Warner Brothers was made on the evening of
February 28.
At the meeting of the Department on the day
following, the following resolutions were adopted:
"Whereas, Warner Brothers Pictures, Inc., has
recently produced a series of historical shorts which
are of high educational and inspirational value and
Whereas, other producers have also produced
films of conspicuous educational character and
Whereas, such films are greatly needed for visual
instruction in the schools.
Therefore, Be it Resolved, that we commend and
express our sincere appreciation for the contribution
to education and patriotism made by these produc-
tions and be it further,
Resolved that we urge that such films of out-
standing instructional merit be made available also
in sixteen millimeter size so that they may be of
use for instruction in schools."
Don Cari-os Ellis, Secretary
Meeting of New England Branch
Xotice of the .\nnual Visual Education Confer-
ence of the New England Section of the Depart-
ment of Visual Instruction at Boston University,
April 8. appeared in this department last month.
The program as printed was incomplete, lacking
the names of Miss Rita Hochheimer, Director of
Visual Education, New York City Schools, who
spoke on "Trends in the Use of Teaching Aids,"
Page 127
and Mr. Chester Lindstrom, Division of Motion
Pictures, U. S. Department of Agriculture, who pre-
sented for the first time "U. S. Government Films
Re-edited for School Use."
Our Members in Action
Dr. James E. Mendenhall, editor of Building Amer-
ica, addressed the American Educational Research
Association in Cleveland on a "Critique of Visual
Education."
Dr. Edgar Dale led an interesting discussion before
a General Session of the American Association of
School Administrators on the role of the movies,
the radio, and the press as new educational tools.
Dr. VV. Gayle Starnes, assistant professor of Edu-
cation, at the Extension Division of the University
of Kentucky, announces that visual instruction is
now a major course for graduate work at that
institution.
Dr. Lloyd L. Ramseyer, secretary-treasurer of the
Department of Visual Instruction during the presidency
of Edgar Dale, 1937-8, has been appointed President
of Bluflfton College, Bluf?ton, Ohio.
Mr. E. H. Herrington of Denver, Colorado is
chairman of the Visual Aids Committee, Depart-
ment of Elementary Principals of the N.E.A. His
school system is cooperating with the Motion Pic-
ture Project of the American Council on Education
in the production of school-made films interpreting
the community to the schools.
Adapting Visual Materials
to Instruction
(Concluded from payc 114)
pupils, as well as teachers, the benefit of expertly pre-
pared lessons.
Education by radio is still in the experimental stage
and it is hoped through our experimentation to test the
feasibility and effectiveness of radio communication on
an ultra-high frequency as it applies
1. To direct teaching on the several grade-levels
2. To the supervision of instruction in any or all
branches
3. To the problems of administration in a large
school system
4. To the promotion of special types of education
such as the safety-education program
5. To the stimulation and ihe unification of the
work of parent-teacher groups and other co-
operating organizations
6. To information for groups of patrons and in-
terested citizens with respect to the policies,
program, and needs of the school system
7. To the presentation of the "news of the day" to
pupils of the junior and senior high schools
8. To the presentation of special feature programs,
such as those of school musical organizations,
successful dramatizations, and short talks on sub-
jects of special interest to pupils
Our station is a cooperative project in the interests of
better educational methods and results, and we shall
probably find many uses for visual materials to ac-
company the regular lesson broadcasts.
Page 128
The Educational Screen
THE FEDERAL FILM
A page edited by Arch A. Mercey
Assistant Director, United States Film Service,
Washington, D. C.
Soil Conservation Filmstripg
'C'lLMSTRIPS — or slide films — are being developed
■^ extensively by the Soil Conservation Service as
material for educating the general public as well as
farmers in the problems of soil erosion, and the meth-
ods of conserving this basic national resource. Cover-
ing both localized and nation-wide subject matter,
these films are purchasable at low cost, and can fre-
quently be borrowed from the Service for use by edu-
cational groups.
Typical of the general presentation of this subject
is film No. 244 — "Soil Erosion — A National Menace,"
containing 96 frames. Based on H. H. Bennett's pub-
lished bulletin by the same name, the film depicts the
destructive efifects of soil erosion on lands of different
types throughout the United States, and describes the
efforts being made both in this country and in foreign
lands to stabilize the soil and to conserve its productive
capacities. Accompanying the film come lecture notes
by H. H. Bennett, which before describing each frame
of the film point out briefly the magnitude of the
problem of soil erosion which has virtually destroyed
100,000,000 acres of once productive land, and robs
American farm lands of $200,000,000 worth of plant
nutrients every year.
In addition to other generalized soil conservation
films, many of those prepared by this branch of the
Department of Agriculture discuss the problem of
conserving farm lands as it applies to a specific State
or region. Sample releases include "Erosion Control
in the Southeast," "Keeping lUinftis Soil At Home,"
and "Soil Conservation in California." Of special in-
terest to farm groups are a series of films describing
in greater detail the methods used to control gulleys,
sheet erosion and dust storms. "Farming Practices
That Conserve Soil and Water" is typical of these.
Filmstrips prepared by the Soil Conservation Serv-
ice have been widely used in many localities by school
groups, and the Service follows a positive policy of co-
operating with educational institutions from element-
ary to college levels. Lists of films may be obtained
by writing to the Section of Information, Soil Con-
servation Service, U. S. Department of Agriculture,
Washington, D. C. This office will also provide the
names and addresses of regional and project repre-
sentatives in the various States from whom films may
be obtained on loan if available. Sale of the film
strips is handled through the Division of Cooperative
Extension, Extension Service, U. S. Department of
Agriculture, Washington, D. C. All films are ac-
companied by lecture notes.
With its recently expanded program of land con-
servation, the Soil Conservation Service is planning
additional films on such subjects as submarginal lands,
farm forestry, water facilities, and flood control which
are closely related to the central theme of conserving
the nation's farm lands.
Additional information on filmstrips prepared by
other Government departments will appear on this
page next month.
Be Specific — Be Complete
When borrowing films from the various Govern-
ment agencies which have them available, educators
should be specific in their requests and complete in
their explanation of the film's use. Certain respon-
sibilities rest on the school ordering films to provide
complete information. Although it may seem element-
ary to stress these simple provisions, careful attention
paid thereto will save the school and the film library
time and extra correspondence.
1. Please specify the size of film (16- or 35 mm.)
and type (sound or silent).
2. Return the film to the film library promptly.
Holding a print causes inconvenience to others
for whom the film is booked. Be sure to return
the film to the proper office.
3. Give the film library adequate advance notice.
A film user on the West Coast, for example,
cannot air mail a letter on Monday and expect
to receive a film print on the following Friday
or Saturday. Allow sufficient time for booking
and shipping.
4. Give three optional dates in order of preference.
If the school is planning a special celebration in
which the film forms part of the program and
you feel that special effort should be made to
fill the request, please so indicate.
5. Please see that the films are handled with care
since the user is responsible for any damage
resulting from use while in his custody.
These simple rules if followed will save the time
and effort of bookers and correspondents and enable
the school to receive more efficient service.
Questions and Answers
1. A number of inquiries have resulted from the
March Educational Screen article on Pan-American
films. The chief question : is the Government em-
ploying personnel now on the proposed program?
The Pan-American film program is included in a
series of recommendations made to the President by
the Inter-departmental Committee on Cooperation
with the American Republics. The institution of pro-
duction and distribution of films as recommended in
the Report is subject to affirmative action by Cong-
ress. Unless Congress authorizes such a program and
appropriates money therefor, definite plans cannot be
made foi- the film program and no personnel can be
employed.
2. What are the principal types of films requested
which are not readily available from the Govern-
ment ?
April, 1959
Page 129
Aiiswlt: From a careful chock of several thou-
sand letters received from all types of school users of
films, the following can be said to represent the com-
posite requests : housinjf, the social sciences, health,
vocational guidance, coiuniercial education, and safety.
3. Does the Government furnish operators and pro-
jectors for showing films?
Answer: Government departments are not in a
position to furnish operators or projectors for educa-
tional showings. The only exception to this is the
Navy Dejiartmcnt. Xavy films are available to
educational organizations under restricted distribution,
but are shown only in charge of Service operators.
Audio Visual Aids in
Teaching American Literature
(Concluded from page 115)
purposes, such as the familiar Yale Chronicles of
America illustrating the Jamestown Colony, witdi-
craft days, etc. It should be kept in mind that
motion pictures nmst relate specifically to the
topics under study, not used as an irrelevant en-
tertainment. Preparation of topics should be
made in advance of the picture showing, and
discussion should follow.
8. The student collection of significant pictures
Many pictures are available to illustrate this per-
iod. These pictures, which often are to be found
in magazines, newspapers, etc., are very economi-
cal. Free pictures in quantity can be had for the
asking and collecting. Student project books are
interesting. The writer's class found about 700
free pictures, which would otherwise have reached
the waste paper basket in due time. Pictures of
furniture, musical instruments, social life, etc., etc.,
make the age much more realistic. In order to
understand the literature of a people it is essential
to understand their intimate surroundings which
help to picture life itself.
9. The preparation oj an exhibit
The final collection of prepared booklets, pictures,
etc., may well be prepared as an exhibit. This
feature creates interest and automatically rewards
the class for their voluntary projects. The
writer's class prepared such an exhibit and it
was taken to a state teacher's meeting. Schools
are more and more exchanging exhibits. This
may easily be done in the field of literature.
10. Local photographs of projects
Students develop interest in the local photography
of their individual projects as well as their joint
exhibits. The arrangement of materials for such
photography automatically calls for a more inti-
mate study of the age. The results of their own
work make the period more significant for them.
As a result of the above ten points having been car-
ried out, the students manifested: (1) additional in-
terest, (2) a greater understanding and appreciation
of the period than otherwise would have been possible,
(3) continued interest after the course closed, and (4)
initiative in going before clubs to discuss and illustrate
the colonial period of literature. This last activity was
in connection with the student speakers' bureau.
D A - L I T E MODEL B SCREEN This spring-operated moUel
is housed in a protective metal case and may be hung
against the wall or from the ceiling or from a pair of
Da-Lite super tripods. 12 sizes from 22" x 30' to 63" x
84" inclusive. From $8.00 up.
There Are 28 Sfandard Sizes
of
(R«9. U.S. Pat. Off.]
HANeiNG SCREENS
The Da-Lite line of projection screens offers a broad se-
lection of surfaces, sizes and mountings to meet every
projection requirement.
Da-Lite Hanging Screens are available in 28 standard
sizes ranging from 22" x 30" to 20' x 20'. There are
square sizes for showing glass slides as well as rectangu-
lar sizes for showing motion pictures and standard single
frame film strips. Sizes up to 12' x 12' inclusive permit
a choice of White, Silver or Glass Beaded surfaces. Sizes
larger than 12' x 12' have either White or Glass-Beaded
surfaces.
Spring-Operafed or
Elecfrlcally Controlled
Sizes up to 6' X 8' are spring-operated. Screens 6' x 8'
and larger may be either spring-operated or electrically
controlled. The former, known as Model C, are furnished
with or without covers. The latter, known as the Elec-
trol, can be lowered, raised or stopped at any position by
a remote control, placed anywhere in the room.
Compromises are never necessary when you choose screens
from the Da-Lite line. Write for the latest catalog and
the name of the nearest supplier.
DA-LITE SCREEN CO., Inc.
Dapt. 4ES, 2723 N. Crawford Avenue. Chicago, III.
Page 130
The Educational Screen
IN AND FOR THE CLASSROOM
Conducted by Wilber Emmert
Director Visual Education, State Teachers College, Indiana, Pa.
Inexpensive Lettering Aids For Teachers
{^Concluded from March issue)
By BRYAN EMMERT
Western State Teachers College, Paw Paw, Michigan
'T'HE usor of inks and paints should remember
-■- that there are no all-purpose materials in these
fields. Inks which are commonly classified as to
use are manufactured in many forms of vehicular
matter. In selecting the proper ink to use, it is
important to consider whether the surface to be
lettered is absorbent or non-absorbent, as inks
depend either upon absorption or evaporation, or
both, to produce a suitable effect. Obviousl^% hekto-
graph ink would be unsatisfactory for stencil work,
and stencil ink would be undesirable for rubber
stamp lettering. Stencil ink, rubber stamp ink, and
India ink can be obtained in a number of standard
colors, thus giving the user a wide latitude of
choice of colors for his work.
One of the handiest devices on the market for
lettering graphs and charts and labeling museum
exhibit materials is the inexpensive rubber stamp
with changeable type. Practically all rubber stamp
works make this article, but two manufacturers
have recently put on the market an entirely new
product which greatly simplifies printing with rub-
ber type. These amazing new sets sell from $2.00
to $3.00 complete, depending on the point of body,
size of font, total type pieces, and number of lines
of type holder. In both the "Swiftset"" and the
"Nick'" sets the type is grooved so that it can be
easily slid into special ribbed type holders. There
is no longer the need to study letters from top to
bottom, since they slide into the type line in only
one way — the right way — which automatically sets
them in their proper printing position. The type
does not have to be forced into place by com-
pression, as in the old sets, but is held correctly by
the tiny notch or nick.
With both of
these new sets the
type can be slid
quickly and easily
into place with
the letters in per-
fect alignment,
and with printing
faces on exactly
the same level.
The result, obvi-
ously, is a neat,
orderly set-up
which gives a perfect imprint. A handy and in-
valuable bakelite type tray, with alphabetical com-
partments for sorting and storing type, is included
Swiftset Rubber Type
with the outfit at no extra charge. Simple direc-
tions for setting the rubber type accompanies each
set. Type in various styles, range in height from
one-sixteenth to three-quarters of an inch.
Another rubber type hand printing outfit, very
useful in preparing graphical material, is the alpha-
bet band stamp. These stamps are similar in op-
eration to the changeable single line daters obtain-
able in all ten cent stores. The "Justrite" alphabet
stamp is available in five type sizes from one-eighth
to three-eighths of an inch, and from two to six-
teen bands (each band containing a complete
alphabet.)" A word of sixteen letters, or two or
three words of not more than this number, includ-
ing spaces, can be made with one impression by the
sixteen band stamp. This single line, changeable
band, stam]) is not as versatile a hand printing out-
fit as the Swiftset or the Nick changeable type sets,
and is more expensive. A single line number stamp
to use with the alphabet stamp is essential for use
in preparing tables and all statistical work. The
alphabet stamji ranges in price from $1.90 to $8.90,
depending on the size of type and number of bands.
The line numberer costs from 50c in the small size
to $3.10 for a ten band stamp with three-eighths
inch numerals. Both these devices are constructed
with solid steel bridges, which make possible bright
clear impressions. The chief advantages of these
stamps are their compactness and the speed with
which the type can be changed. No cumbersome
type case is necessary and there will be no lost or
misplaced type as it is all attached to the bands.
As cut-out letters and numerals can be obtained
at little cost it is no longer necessary for teachers to
waste time in the drudgery of clipping these from
calendars, newspaper headlines and advertisements.
Die-cut letters can be purchased in a variety of
styles, colors, and sizes in gummed paper, poster
board, and felt. The well known Willson's" gum-
med paper letters and figures are made up in sev-
eral styles from one-eighth to three-quarters inches
in height, and can be obtained in black, white, and
colors. The letters are put up in envelopes of 10
or boxes of 100 in one style, color, and character
size to the package. A balanced assortment of one
size, containing letters, numerals, and punctuation
marks is also put up in a handy wood box with
compartments. As these letters are as easy to use
as postage stamps, and since they can be applied to
almost any surface by merely moistening them,
they have found wide acceptance where one or two
copies of a visual display message is demanded.
The gummed paper letter can be used only once,
but the die cut poster board letter may be used re-
peatedly and can serve also as a pattern in case hand
April, 1939
Page 131
li'ttcriii},' is (k-sired. Tlie poster hoard cut-outs can
be (juickly fastened to the desired background with
a special re-usable, stainless adhesive, creating a
very pleasing effect. These letters can be obtained
in a number of colors and attractive styles from
one inch to nine inches in height, with a cost of
api)roximately one cent for each inch of height.'"
.\n unusual effect in high lights and shadows in
poster work can be created by using die-cut
corrugated paper letters obtainable in color from
the same source. The poster board letters are really
inexjiensive as they are made of heavy six to twelve
])ly stock and will last almost indefinitely.
Die-cut felt letters have recently found wide ac-
ceptance in the commercial world as an effective
display medium. There is no reason why teachers
should not adapt this inexpensive material to their
own particular lettering problems, for it has been
found that of all the different materials, letters cut
from felt top the list as being the most economical
and easiest to se. The letters will cling to any
rough surfaced material such as felt, duvetyn, crash,
canvas, velvet, etc. Just put the letters in place,
line them u]) wth a straight edge, and press them
flat. They will stay in place, yet are easily removed
and rearranged into a new message or title. The
same letters can be used over and over again. No
tacks, pins, or adhesive are necessary. Duvetyn
which resembles felt in outward appearance is an
ideal background medium to use for large poster
work as it is inexpensive and can be purchased in
a number of pleasing colors."
Suede - faced
cardboard is com-
monly used for
small poster and
display cards."
Felt silhouettes
are available in a
number of colors
in small and large
sizes, and can be
easily cut from
patterns clipped
from magazines.
Silhouettes placed on
contrasting backgrounds are especially effective for
attracting attention to posters and signs. Felt
strips and circles used with cut-out letters are
handy in making up bar, pie, or circle graphs, and
attention compelling visual cards. The die-cut let-
ters and numbers are available in a variety of colors
and styles from one to nine inches in height. The
user of felt materials is always agreeably surprised
at the speed and ease with which quickly legible
and artistic work can be turned out with this new-
est of display materials. The price of the felt letters
varies considerably, but they can be purchased from
one firm for as little as one cent per piece for each
inch in height of letters." They can be cut out
quickly from stencil board or poster board patterns
at considerably less expense, especially in larger
sizes, if one buys the felt material by the yard.
Persons interested in this problem will find de-
tailed instructions and valuable suggestions in the
MODERN
CONDENSED
STYLE FELT
LETTERS
Felt Letters on Duvetyn
newspapers and old posters.
catalogues supplied by the comi)anies listed below.
6. Superior TyiK- Co., '3940 N. Kavcnswood Ave., Oiicago.
7. Sacord Stamp Works, 205 \V. Madison Street, Chicago.
8. Louis Meliiid Co., 362 W. Chicago .\venuc, Chicago.
9. Tablet and Ticket Co., 1021 West Adams Street.
Chicago, Illinois.
10. Felt Letter Studios, 538 South Wells Street, Chicago.
11. Maharam Fabric Corp., 6 East Lake Street, Chicago
12. Display Creations. Inc., 1322 Broadway, Detroit.
13. Hertz and Tubell, 753 Bnadway, New York City, N. Y.
COVER to COVER
16mm. Sound Film
f 0 r
ENGLISH and
LITERATURE CLASSES
• Two Raels •
Portraying the hUtory of WritiiiK from ancient times followed
by a detailed study of the inspiration, writing, t^itinir. publishing
and printiniir *'f a novel. Brief talks with practical advice are
fciven by Somerset Maacham. Julian Huxley and Rebeeca West,
eminent KnRlish authors.
Rental $3.00 per day. Also available for sale.
Send for catalog of Features, Shorts and Recess Programs
AUDIO-FILM LIBRARIES
}6mm. Sound Exclusively
661 Bloomiield Ave. Dept. E Bloomfietd, N. J.
Pro-soasoii .Viiiioiiiiociiioiil: —
16 MM S-O-F EDUCATIONAL FILM SERVICE
50 reels on a fee service for 1939-40 school year
Write for complete details
LEWIS FILM SERVICE 105 East First Street
WICHITA. KANSAS
Universal Ik
SOINO PROJKTORS 6^8
New All-Purpose Model
Combined utility is offered in this
newly designed 16MM Sound Pro-
jector. Precision built. Completely
flexible for the varied demands
of classroom and auditorium.
Complete, ready to operate
Universal Sound Projector
SENTRY SAFETY CONTROL CORP.
1921 Oxford St., Phila.. Pa.
Show Room — 1 600 Broadway. N. Y. C.
Page 132
The Educational Screen
NEWS AND NOTES
yein,
f
htLcr
no,
tilUi
T
l{l
Lon^ Oft ii^ftifccant d-oma^ an
T
evenu in tlte vcMial tuLJL.
Conducted by Josephine Hoffman
The American Film Center
A report on the work of The American Film Center,
30 Rockefeller Plaza, New York City, was given by
Donald Slesinger, Executive Director, at the recent
meeting of the Department of Visual Instruction in
Cleveland. The purpose of this organization is to
promote the production and use of films of educa-
tional value for the school and theatrical screens.
In order to accomplish its objectives, it is prepared
to offer research, consultation, administrative and
planning services to organizations who wish to
use films for public purposes. The following is a
partial list of the Center's present activities.
1.) A study of the interchange of films among the
three Americas. 2.) A cooperative program with the
Department of Agriculture in which we are assisting
the Department in editing its films for school use.
3.) A municipal reporting film, in cooperation with the
city of Schenectady. 4.) The assembling of material
from all over the world on the financing, production,
and exhibition of documentary films. 5.) A series of
in-service training films in cooperation with the Na-
tional Association of Housing Officials. The general
subject is housing management. The first topic, selec-
ted by the Association, is termite control. 6. ) A series
of three health films in cooperation with the New York
Department of Health. The first of these will be on
Educational A ttYactions ^
InioimotiTe themes in delightful dramatic dressings. In IGnun. film.
"WILD INNOCENCE"
An unusual presentation of wild life in the Australian
wilderness. Featuring the taming and training os
kangaroo, in an absorbing dramatic setting. — In 6
reels, S.O-F. Running time: 63 minutes.
"THE FIGHT FOR PEACE"
Vivid, authentic, awe inspiring scenes of the devastations,
war terrors, and civilian distress in Europe, Asia and
Africa. Compiled and produced by WILLEM HENDRIK
VAN LOON. In 8 reels, S.O.F. Running time 75 minutes.
<>D/\DT C\' r*AI I " INTIMATE WORLD
rSjK I yJ V^AUL TRAVEL SERIES.
Far reaching, exceptionally intimate visits to the far
comers of the world. Produced by the noted world
traveler and lecturer, DEAN H. DICKASON. A series
of 31 single reel S.O.F. subjects.
POST PICTURES CORP.^^rw'vo'R'K'^ctrT
DEPT. ES-4
■NORTHl
SEA"
A thrilling, dramatic saga of the
gallant North Sea Fishermen from
Scotland. An outstanding documen-
tary of these hardy trawlermen.
3 REELS ... 16 MM SOUND-ON-FILM
Pictorial Film Library, Inc.
130 West 46th St. New Yorii City
35 mm. General Science. 11 rolls, $20
FILM Principles oi Physics, 7 roUs, $12
SLIDES Principles oi Chemistry, 8 rolls, $14
Order on approval or send for iree folder and sample
VISUAL SCIEIWCES, Sufiem, New York
the common cold 7.) Planning of a dramatic health
film in cooperation with the New York Department of
Health and a theatrical producer. 8.) A film on pro-
gressive education, working with the Progressive Edu-
cation Association and a documentary producer.
The basic budget of the American Film Center is
being met until January, 1941, by a grant of $60,000
from the Rockefeller Foundation. The services of
the Center are available on a fee basis. The grant of
the Foundation makes it possible for the American
Film Center to render as complete a service to an edu-
cational project with a small budget as to one with a
large one.
Courses on Motion Pictures
A course entitled "The Motion Picture Today" be-
gan in January at the Rand School of Social Science in
New York City. It is being conducted by Dr. Richard
R. Plant, University of Basle, Switzerland. Topics
covered by the course include the history of the mo-
tion picture, its commercial aspects — production
and distribution, the European film, the American
entertainment film, newsreel and cartoon films, the
film and literature.
"The Motion Picture: Its Artistic, Educational and
Social Aspects" is being offered again this term at New
York University by Professor Frederic Thrasher and
others. Among those who will lecture in this course
are Dr. A. A. Brill, famous psychiatrist, Dr. Raymond
Ditmars, Curator at New York Zoological Park, Mary
Brady, of the Harmon Foundation, V. C. Arnspiger of
Erpi Picture Consultants, Grace Fisher Ramsey,
American Museum of Natural History, William
Lewin, Motion Picture Chairman, Department of
Secondary Education, N. E. A., and Fanning Hear-
on, Director, Association of School Film Libraries.
Dr. Otto Neurath Visits U. S.
Dr. Otto Neurath, Director of the International
Foundation for Visual Education in The Hague,
Holland, recently arrived for a brief visit in New
York and Chicago.. Dr. Neurath is best known
today for his development of isotypes as a sort of
international picture-language. Isotypes, as first
worked out by Dr. Neurath some fifteen years ago
and since brought to perfection by him and his
staff, are in essence exact and simplified represen-
tations of men and things, reduced to the barest
essentials and with all irrelevant detail omitted, and
used as a means of transmitting ideas graphically.
Isotypes have been used, and have demonstrated
their value, in various schools abroad; in Amer-
ica they have become increasingly familiar dur-
ing the past several years. Later this year they will be
introduced to additional thousands of people ; for a
display of isotype charts, prepared by Dr. Neurath for
the Department of Social Affairs of the Dutch Gov-
April, 1959
Page 133
eriinifiit. will be shown at the N'ctherlands Paviliion at
the forthcoming New York World's Fair. Dr.
Neurath's book, "Modern Man in the Making," a
study of man in his relation to the modern world
told largely by means of isotypes, is to be published
this year by Alfred A. Knopf, Inc.
Foreign Film Showings at New York Fair
(ileal I'lritain will show films jK-rtainiiig to the Uni-
ted Kingdom, its life, scenery and activities, for 26
weeks at the British Pavilion at the New York
World's Fair. Already more than 200 documentaries
and short subjects have been listed from which to
.select those films deemed appropriate. Difficulty is
being exf)erienced, however, in obtaining feature pic-
tures for the Fair and all British producers have
been asked to select features on their schedules which
they deem typical of British life and suitable for show-
ing at the Fair.
The schedule of French documentary films for show-
ing at the French Pavilion at the New York World's
Fair is now definitely set. Contracts have been signed
and production started under supervision of some of
France's best known directors.
In Brussels, The Ministry of Colonies has voted
1.000,000 francs for the production of four short sub-
jects dealing with progress in the Congo. At least two of
the shorts, it is stated, will be shown at the New
York World's Fair. Versions will be made in English,
French and Flemish.
National Conference on Visual Education
The Ninth Session of The National Conference
on \'isual Education and Film Exhibition, spon-
sored by DeVry Corporation, is announced for
June 19-22 inclusive at the Francis W. Parker
School, Chicago. Among those who will appear on
the program are:
Professor L. W. Cochran of Iowa University,
who will exhibit and explain Professor Barnes' mo-
tion studies which have excited intense interest in
engineering and industrial circles; Mr. A. P. Heflin
of the Lane Technical High School, Chicago; Dr.
James E. Bliss of Western Reserve University;
Dr. I. E. Deer, of the MPPDA; Mrs. Richard M.
McClure, President of the Better Films Council of
Chicagoland ; W^m. G. Hart, Director of Visual Edu-
cation in the Harvey W. Lowrey School, Dearborn,
Michigan ; Mrs. Charles Joe Moore, Director of Visual
Instruction Bureau, University of Texas, Austin ; Mr.
Alvin B. Roberts of the Gilson, Illinois Schools, who
will give the Conference the results of his research
study on the status of Visual Education in Illinois ; Mr.
B. A. Aughinbaugh, producer of the famous Ohio
Travelogues, and Director of the State Department
of Visual Education, Columbus; Miss Kathryn
Troy with her unique films on marionettes ; William
I.. Zeller, cinematographer of wild birds in color;
and E. W. Cooley. Director of Cinematography, Wau-
watosa, Wisconsin, will show his Indian pictures.
There will be almost continuous showings of in-
dustrial and educational films, and various Govern-
ment Departments will be well represented. George
T. Van der Hoef will exhibit the new FHA filnTs;
Mrs. Rebecca Hourwich Reyher, the WPA, and
A. A. Mercev the latest Government documentaries.
Like a Giant
Magnifying Glass
JtiVERY EYE in the classroom gives un-
divided attention to pictures magnified and
projected by the Spencer VA Combination
Delineascope.
The clarity and brilliance of projection
— -whether of opaque illustrations or of
glass slides — stimulates the pupil's inter-
est. Grades improved and failures reduced.
The Spencer VA has many points of
superiority. Its optical quality, second to
none, assures bright, clear pictures, defin-
itely improving opaque projection. Its open
back construction permits of the use of
luiusually large books or periodicals. A
special elevating device permits quick, easy
adjustment of the picture of the screen.
It has a most effective cooling system.
The Spencer dealer in your vicinity will
be glad to arrange a demonsration.
For bulletins describing Spencer pro-
jection equipment, write Dept. R12.
Spencer Lens Company
BUFFALO, M. V.
MICROSCOPE*
MICROTOMES
PHSTOMICROGRAPHIC
EQUIPMENT
REFRACTOMETERS
COLORIMETERS
SPECTROMETERS
PROJECTORS
Page 134
The Educational Screen
The Next Step in Visual
Education
By DONALD P. BEAN
University of Chicago Press
^^ ISUAL Education in the judgment of the writer
is ready for new and important developments.
The steps which have been taken so far are the fal-
tering and playful steps of infancy and early child-
hood. We have been elated with each new toy as
it was invented and presented to a room already
full of useful and beautiful playthings. The stereop-
ticon, the stereoscope, the phonograph, the silent
movie, the filmslide, the radio, and now the sound
films, in natural color if desired, have followed one
another in rapid succession. The school world is
somewhat in the situation of the over-indulged child
on Christmas morning. Each development has been
heralded as the most beautiful, the most interesting,
and the most useful, and for a time has eclipsed the
others.
The situation, in fact, is not very different from
the adult world surfeited with the inventions, ma-
chines, and gadgets produced by a scientific age.
Many people contend that the supply should be
stopped to give mankind a breathing space which
would permit society to learn how to use wisely the
resources which have already been developed. There
is no doubt of the need to subordinate machines and
science to the interest of man's well-being, but those
of us who are so close to the artist, the scientist,
and the scholar are amused and dismayed by the
thought that anyone would wish to stop the creation
of more and more useful tools for society, or that
any amount of discouragement could dissuade the
discoverer from his search.
It is not even certain that a breathing spell would
accomplish the desired results. The fault is not the
inventors', but the laziness and inertia of society
which refuses to study these inventions and to take
the steps necessary to adapt them wisely to its
own needs. Toys they may be when they are first
invented, but it requires only imagination and ex-
perience to subordinate and convert them into use-
ful tools for man's cjuest for the better life.
Is there a parallel between society and the school
world in this respect? Do classroom teachers in
any large numbers know about these tools which
have been developed in such swift succession? Have
they tried to adapt them to their own problems?
Have they sat down together to compare notes
about their experiences, to show one another their
results, and to return to their own classroom to ex-
periment still further in specific teaching situations?
The answer cannot be an unqualified affirmative.
The signs, however, are now more hopeful that
teachers are ready for the next step. They are
asking for more teacher training courses, and most
forward looking training institutions are answering
that need. They are asking for more first-hand in-
formation about these tools and about the methods
which other teachers are employing in their use.
So much so that a group of educators in the Mid-
west have sensed the need for a Forum to facilitate
that exchange of ideas between classroom teachers.
They resort to the old gag of "another meeting,"
but they do resolve that it shall not be one for those
who expect to go to meetings and to sleep. For this
one hopes to stimulate small groups of people who
are interested in the same problems from the point
of view here expressed. The program will be de-
voted entirely to the schoolroom and the teacher's
problems in the use of visual tools along with the
textbook, the blackboard, and the desks which are
already there.
If you don't believe that the Committee really
means business, note the program's ])rovision for
classroom clinics for elementary teachers, high
school teachers, and college teachers, and the sub-
jects suggested for them. Demonstration and dis-
cussion, not lectvires and reports, are the order of
the day.
All sessions will include showings of slides or film-
slides especially selected for the groups concerned.
Another practical feature of the Forum will be the
exhibits, which will include the latest developments
in all visual materials produced for the classroom.
There will be some lectures, to be sure, and a ban-
quet, and after dinner speeches, but they will all be
specifically directed to these same practical
problems. The Committee hopes that those who are
interested will volunteer suggestions for the pro-
gram of the clinics, will register early (preferably
by mail), attend all of the sessions, but above all
that they will make it their meeting and participate
actively in the discussions. The main question, of
course, is whether the teachers of the Midwest
Region — Illinois, Indiana, Ohio, Michigan, Wis-
consin, Minnesota, Iowa, Nebraska, Missouri, Ken-
tucky, and Tennessee — are ready for the next step
in Visual Education.
Preliminary Program
The First Mid-Western Forum on
Visual Teaching Aids
Hotel Morrison, Chicago, May 12-13, 1939
Friday, May 12
9:00 A. M. — First General Session
Registration — Terrace Casino
Hoiv to Get the Most Out of This Forum — Donald P.
Bean, Chairman of Forum Committee.
Neiv Film Sources and How to Get Information About
Them — Fanning Hearon, Executive Director, Ass'n
of School Film Libraries, Inc.
Evaluating Visual Materials for Specific Teaching
Problems — Charles F. Hoban, Jr., American Council
on Educational Film Projects.
11 :00 A, M. — Organization Meeting of Classroom Clinics
Elementary School Clinic (Roosevelt Room)
Frank N. Freeman, University of Chicago, Chairman ;
E. C. Waggoner, Elgin Public Schools, Secretary.
High School Clinic (Parlor B)
G. L. Freeman, Northwestern University, Chairman;
James P. Fitzwater, Lake View High School, Sec-
retary.
College Clinic (Parlor C)
Harvey B. Lemon, University of Chicago, Chairman;
Erwin William Strom, Northwestern University,
Secretary.
April, 19 i9
Page 135
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May field. University High
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12:30 — Clinic Luncheons
12:30 P. M. — Luncheon and Round Table for Directors of
Visual Education — Kciom 1. I'oston Oyster House
J. K. Hansen, Chairman; Samuel N. Stevens, Secretary.
A Special ProRrani for the Afternoon is Being Ar-
ranged on the Financial, Distribution, and Produc-
tion Problems of the Administration of School
Visual Education Programs.
2:00 P. M. — Second Session of Clinics
The following people have been asked to arrange class-
room demonstrations :
lilcnifntary School Clinic
Social Science Demonstration — "The Mexican People" —
Arranged by Dr. V. C. Arnspiger, Erpi Qassroom
Films, Inc.
Discussion leaders : I.yle F. Stewart, Oak Park and
River Forest Township High School ; J. S. Mc-
intosh, Nichols School, Evanston.
Hif/h School Clinic
Physics Demonstration — "The Molecular Theory of
Matter" — Arranged by Carl Benz, Hammond High
School.
Discussion leaders : John C.
School ; P. S. Godwin,
School.
College Clinic
Movies in College Science — \ Symposium by College
Teachers of the Chicago Area : .\ndrew Stauflfer,
James B. Parsons, Jesse F. Schuett, Herluf H.
Strandskov, William C. Krumbein.
4:30 P.M. — Inspection of Equipment and Exhibits
6:30 P. M. — First Annual Banquet — Terrace Casino
Hoti' Can III- I'sc Mnlion Pictures to Humanize
Knozcledgc — Edgar Dale, Ohio State University.
Hollyzi'ood and Educational Pictures — Ralph Jester,
President, .\incrican Pictures, Inc., formerly of
Paramount Pictures, Inc.
Hozf Erpi Plans Pictures — V. C. Arnspiger, Erpi Qass-
room Films, Inc.
The Classroom of the Future — Ralph W. Tyler, Uni-
versity of Chicago.
Saturday, May 13
9:30 A. M. — Final Session of Classroom Climes
Elementary School Clinic
Continuation of Classroom Demonstrations.
Special Showing and Discussion — "The Harvard Read-
ing Films" — Harry O. Gitlet, Principal, University
Elementary School.
High School Clinic
Contiiuiation of Classroom Demonstrations.
Discussion of Yale Report— "Motion Pictures in Ameri-
can History" — Robert B. Weaver, University High
School.
College Clinic
Continuation of Qassroom Demonstrations
Demonstration Laboratories in Science General Courses
— Selby S. Skinner, University of Chicago.
"Microscopic Movies In College Biology" — Ralph Buchs-
baum. University of Chicago ; R. H.
and Howell Company.
11:00 A. Mj — Final General Session
What this Forum has .Vccomplished.
Reports from Classroom Qinics
.Should the Forum be repeated in 1940?
Discussion and Business Session
Unseld, Bell
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Page 136
The Educational Screen
AMONG THE
AND BOOKS
MAGAZINES
Conducted by The Staflf
Social Education (3:122-4, February, 39) "Mak-
ing Slides in Elementary School," by Delia M.
Angell, LaPorte, Indiana.
Slide-making by pupils is advocated is this con-
cise little account, which states that such pupil
activity develops creative ability and provides the
thrill of accomplishment. Among other advantages
of slides which are cited are : they enrich vocabu-
laries, increase comprehension of a subject, stimu-
late interest in safety, health and other projects.
Instructions for making slides are clearly given,
together with a suggested outline of a typical lesson
procedure. After the completion of a unit, the
slides can be shown at an assembly, accompanied
by various forms of dramatization.
The High School Journal (22: 12-20, January '39)
"A Teacher Considers Visual Aids," by Helen
MacManus, Central High School, Charlotte, N. C.
This article fervently recommends the use of
visual aids, with particular reference to films and
slides. In discussing the different procedures fol-
lowed by individual teachers, the interesting fact
is brought out that, when questioned, 87% of the
students stated they preferred to see the slide at
Welcomes Comparisons
Test a 16 mm. HOLMES PROJECTOR with others costing
much more — PICTURE — SOUND — SMOOTHNESS AND
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Write for
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HOLMES PROJECTOR CO.
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CHICAGO
Catalog
on request.
the beginning of the unit. How these teaching
tools increase learning, develop critical attitudes,
and build up a strong social consciousness, are il-
lustrated. A student-developed project, in which
they make their own pictures, shows one of the
potentialities of visual aids in a program of inte-
gration. Recognizing the need for proper educa-
tional films, the author asserts that teachers should
cooperate with producers to make their objectives
clear and speed up the lag in production of instruc-
tional material.
School Activities (10:197-99, January '39) "Movie
Making Moves In— To Stay," by Roy F. Scott,
Educational Division, Bell and Howell Company.
A short account on the school movie club, an ex-
tra-curricular activity that contributes to the ef-
fectiveness of class work, school enterainment, par-
ent-teacher programs, athletic and musical training,
and school publicity. Some are merely projection
clubs, confining their activity to the study and
operation of equipment, thereby becoming ac-
quainted with the requirements necessary for good
projection, as set forth by the writer. For those
which acquire a camera and make their own movies,
a few hints are also given.
Book Reviews
■One Reel Scen.^rios — For Amateur Movie Makers,
edited by Margaret Mayorga. Published by Samuel French,
New York City, 1938. 232 pages, illustrated, cloth. $2.50
The subtitle, "A Handbook for those who wish to make
their own films," is an accurate description of this attractive
volume. It offers some si.xteen working scripts of varied
one-reel subjects ready for shooting, with a generous copy-
right announcement that "these scripts are royalty-free to
amateurs, and films made from them may be shown at public
performances and meetings where admission is charged" with
the sole provision that "a line of credit-acknowledgment must
appear on the screen."
The foreword makes clear how easily a project for school-
made silent movies may be started with "less than $100" for
camera, films, light meter, and lighting equipment for inside
pictures. More can of course be advantageously spent as the
activity broadens. It emphasizes the importance of a correct
working script (which this book supplies in perfect form)
as well as the camera technique, and concludes with a full
description of procedure for production from first steps to
final projection of the finished picture.
Part I presents eight miniature scenarios, supplying action
depictable in 100-foot lengths of films, for family and local
newsreels. Limitless modification in script is of course pos-
sible to adapt the scripts for local purposes. Football Game,
Scout Hike, Lake Picnic, Swimming Meet, Hallowe'en Weird-
ness. Sledding Party, Glorious Fourth, Morning on the Links
are the subjects. Their "The Big Game Hunt" is given
in two complete forms, scenario and shooting-script.
Part II oft'ers photoplays for 400-foot pictures (16mm) in
script form for immediate production. They include slap-
stick comedy, vacation story, old-fashioned sentiment, domestic
comedy, camera stunt picture, and a western. Again a
April, 19)9
Page 137
cijinplcte oiu--act stage play is presented cnmplcte in two lorms,
stage version and sliiniting-script.
Part III illustrates documentary films with two actual
scripts from March nj Time and an English produced story
of a social experiment.
Extensi\c bibliographies of reference reading, a dated list
of outstanding world ;)roductions from 1889 to 1938 for study
purposes, and a Glossary of terms complete a hand-book that
cannot fail to he of value to schools contemplating film-
production activities. N- L. G.
■The DotiMKNTARY Film, Histobv and Principles, by
Edward H. Scbustaclc Published by Film and Sprockets
Society of City College. New York City. 1938. 32 pages,
paper. Available frtmi the Society.
This publication. Number 2 by the Society, is stated to be
the first in this country on The Documentary Film — a genre
which unquestionably has a tremendous future awaiting it —
and the second in the world, only Rotha's book published in
England (1936) havini» preceded it.
It is a brief and meaty discussion of all aspects of the
"dticumentary" from Flaherty's "Nanook of the North" to
Lorentz' "The River," the developments achieved between
these productions being illustrated by scores of examples in-
tervening. Beginning with .Vmerica's pioneer in the genre,
Flaherty, with his three documentaries, and the epic documents
by James Cruze. and John Ford, the author ranges over the
foreign field. The ".^vant Garde" movement, with Cavalcanti,
Epstein. Deslav. Ruttman, is treated ; the Newsreel's part in
the development is analyzed ; next, the "Kino-Eye" school
under Verto.-, seeking new methods for achieving undistorted
actuality: the great Russians, Eisenstein, Pudovkin, Turin,
Kaufman, Schneiderov, and the propaganda film ; and the
notable productions of Joris Ivens, the great Dutch docu-
mcntalist. Chapter seven is devoted to the British document-
ary, giving detailed study to the work and influence of
Grierson, Elton, I-egg, Watt, .\nstey. and Paul Rotha, per-
haps the outstanding figure of them all.
Chapter eight is devoted to the "Rising .American Documen-
tary" and the last three summarize new tendencies, the present
norm of the "modern documentary," and the probable future
of the genre. N. L. G.
■Indian Children of the Eastern Woodlands, by Cornelia
H. Dam of the University of Pennsylvania Museum, and
edited by .Arthur C. Parker of the Rochester Museum of .Arts
and Sciences. Published by Orthovis Publishing Company,
Chicago. 40 pages, cloth. School Edition, $1.20.
This attractive Ixmk, in the well-known Orthovis series,
visualizes a bit of Anthropology for the young. The life and
ways of famous eastern tribes at work and play — their homes
both "summer" and "winter." food, clothing, weapons, music,
and hou.sehold arts — are vividly described and pictured. The
four chapters present tribal stories current among the Eastern
Indians, which involve ^ wealthy of interesting details of
activities, thoughts and imaginings of the Red Man, but all
well within the mental reach of young students.
Wide margins around each text page carry elementary
drawings to illumine and vivify the large-print written matter.
Eight full pages of color pictures, seen in three dimensions
through the orthoscope accompanying each Ixxjk, with full
captions integrating picture with chapter content, are distinctive
feaures. Original Indian art motifs and native songs complete
a comprehensive survey of Eastern Indian life which should
prove absorbing to young students anywhere. N. L. G.
■ AciUAUTY IN School, by G. J. Cons and Catherine Fletcher.
London : Methuen & Co., Ltd. 1938.
A very interesting and detailed account of a project designed
to bring actuality into a classroom of Kender Street Junior
Mixed Sch(M)l in London, England, is described by two lecturers
in the training department of Goldsmiths' College. The educa-
tional experiment was based on the exploration of the neigh-
borhtxKl in which the school is located. In addition to the
excursions taken by the students, a number of the workmen of
the community who were engaged in ordinary everyday pursuits
were brought into the classroom in the uniforms and with the
tools which they use in their work, and questioned by the
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life size images from 35 mm. single or double frame fllmslides and
%*' X 2" glass slides yet does not increase the heat on the film or slid*.
Ideal for showing Kodachrome transparencies, stock Picturols from th*
S.V.E. filmslide library, and film strips made by any 35 mm. miniatur*
camera- Write for details today.
Society for Visual Education, inc.
D*pt. 4ES. 100 E. Ohio St.. Chicago. III.
For RECESS PERIODS
and CLASSROOM DISCUSSIONS
Groupings of Correlated Subjects in 16mm.
Film available at an unusually
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THE AMERICAN SCENE
Washington in Virginia
Presidents oi the United States
Washington, Heart oi the Nation
Melody on Parade
The American Way
Titles oi other Programs cae:
CURRENT EVENTS, SCIENCE,
MUSICAL INSTRUMENTS, COLONIAL HISTORY,
MUSIC APPRECIATION, HAND CRAFTS (silent)
Programs average 40 minutet running time.
Send for catalog of over 1200 Educafional
and Entartainmanf tubjectt— for rent or sale.
WALTER 0. GUTLOHN, Inc.
35 W. 45th St. Dept. E-4 New York
Page 138
The Educational Screen
GARRISON
PROUDLY PRESENTS
* The Choice Foreign Language Features *
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For o Complete List — Write "16mm Dept."
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GARRISON FILMS
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in classroom or auditorium
FEATURES — SHORT SUBJECTS
available from the
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Also large selection of 8 mm films
Send for complete catalogs
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pupils. A stenographic report of the questions asked by the
pupils and the answers given by the workmen form the most
interesting part of the book. These people were asked not to
lecture to the pupils but merely to answer the questions which
would be asked of them. The success of the venture in bringing
meaningful experiences to the pupils is attested by the account
of the classroom activity.
Two excellent chapters are included on how the radio and
the motion picture were tied into the project. Recommendations
on how these instruments of communication could have been
produced so that they would have been more valuable are added.
The book is brief and very readable. Teachers desiring
to discover additional techniques for presenting classroom
material in a vital manner will find the volume very valuable.
Roy Wenger.
Proceedings of Conference on
School-Made Films
A 120-page document, mimeographed and durably covered,
dealing with the Proceedings of a Conference on Educational
Production of Motion Pictures, is now available for $1.25 from
the Publications Office, Ohio State University. Columbus. The
chapter headings arc as follows :
School-Made Films for General Education ; Critical Prob-
lems in the- Production, Use, and Distribution of School and
College Films ; A Film on Indian Life ; Films for General
Psychology ; Making the Motion Picture "The Lady of the
Lake" ; Demonstration and Discussion of Films in Commercial
Subjects; A Production Formula for 16mm Silent Motion Pic-
tures ; Some Problems Faced in the Production of University
Films ; The Status and Future of Educationally Produced
Films; Reaching English Objectives through School-Made
Films; The School-Made Film in a Program of Pulilic Rela-
tions ; Community Group Activities ; Discovering Content for
Films in Highway Safety; Production of Educational Sound
Films with 16mm Apparatus ; Sound .Accompaniment for Silent
Films ; \ Teaching Film for Photography.
A Visual Education Monograph
Organizing a Visual Education Service in a Large City High
School, a 27-page monograph, has been prepared by James P.
Fitzwater, Lake View High School, Chicago, in answer to a
number of requests for information concerning the functioning
of the visual program in this school. Problems connected with
handling films and slides in the schools, projecting them, and
making arrangements for their delivery in a way most con-
venient to the teachers, are considered. The setting up of an
effective visual service involves ordering, scheduling, and ad-
ministering operator service. The plan developed by Mr. Fitz-
water to meet these problems, is thoroughly described. The
brochure includes reproductions of order forms, verification
blanks, teacher's program forms, personnel application blanks
for student operators, assignment blanks, and other miscellane-
ous forms used.
\ measure of the effectiveness of this service can be found
in the fact that before there was such organization only two
or three teachers used visual material, whereas fifty teachers
now have signified their desire for such material. The mono-
graph should be of definite help to others who face similar
problems. A copy may be secured for SOc by writing to James
P. Fitzwater, 715 Mulford Street, Evanston, 111.
April, 1959
Among The Producers
New Da-Lite Catalog
The Ua-Lite Screen Company has jnst pnblished a new
cataliiK that is more than just a listinp of Oa-I.ite Screens.
This book contains technical information on the brightness
characteristics of various types of screen surfaces, charts of
picture sizes which facilitate the selection of the right size
of screen for use with various kinds of still and motion
picture projectors, practical suggestions regarding the .selection
of the right type of mounting for each user's requirements and
recommendations on the care of screens to obtain maximum
service from them. The data should be helpful to anyone con-
■ildering the selection of a screen regardless of the make.
One chart is particularly interesting to tho.se who have given
consideration to ways of minimizing distortion. Many claims
have l>een made for projection screens to the effect that certain
types of surfaces aid in reducing distortion. The chart and
explanation of it in the Da-l-ite catalog indicate that it is
not the function of the screen to eliminate distortion and that
distortion is a phenomena of perspective — that the screen cannot
cause it, and cannot control it. It shows that regardless of the
type of screen surface people seated far to either side of it
will always see .1 picture which is distorted by persiwctivc,
in which the objects appear narrower and taller than normal.
The solution is through seating the audience within viewing
an.gles which will minimize this eflfect of perspective.
The New Da-Lite catalog has u page size 8% x 11 — con-
venient for filing— and a heavy red cover with titles in gold
ink. Included in its 48 pages is a list of the new low prices
now in etTcct on Da-Lite Screens.
Da- Lite makes all types of surfaces but recommends the
:jlass-lx-adcd as the most efficient for average projection re-
i|uircmeiits. The Da-Lite glass-beaded surface reflects the
maximum of light yet it is so con,structed that there is no glare
r sparkling. Its greater brilliance is especially appreciated in
iilor pictures because the density of color film cuts down the
light from the projector. The Da-Lite line includes hanging
screeens, table models, tripcxl models and other popular
mountings in a very complete selection of sizes.
Kodaslide Ready-Mount Changer
A new magazine-feed device for the Kodaslide Projector,
Model 2. is announced from Rochester by the Eastman Kodak
Company. This modestly-priced accessory, known as the
Kodaslide Ready-Mount Changer, is intended for showing
groups of Kodachrome still transparencies or black-and-white
film jMisitives in the new Kodak Ready-Mounts. In combination
with the Projector, it provides a convenient, smooth-working
projection means, as the operator can show a sequence of
slides without once removing his eyes from the screen, .\nother
advantage is that the operator may sit comfortably at a
moderate distance from the projector, and soiucwhat ahead
of it, so that he is not disturbed by stray light or a stooped
position.
Up to fifty slides may lie placed in the supply magazine of
the K(xlaslide Ready-Mount Changer at one time. Slides are
arranged in the order in which they are to l)e projected, and
then are set in the magazine as in a carrier, with thumb-spot in
the upper right-hand corner. The slide-shifting mechanism is
operated by a flexible 30-inch plunger, resembling a cable
release of the type used on a camera, but larger. This plunger
can be operated by the first fingers and thumb of one hand,
leaving the other hand free for holding notes. When all the
slides of a group have been shown, they are found in the
receiving magazine in the same order as when placed in the
supply magazine — so that no rearrangement is necessary for
the next showing.
Precise and sturdy in construction, the Kodaslide
Ready-Mount Changer is made of handsomely-finished alum-
inum, with small parts in bright metal. It is easily placed
in the carrier slot of the projector, and easily removed. Retail
prici of the Kodaslide Ready-Mount Changer is $12.
Page 139
SEEING
IS BELIEVING!
No matter what fhe subject
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Page 140
Current Film Releases
New Release on China
The 400,000,000, six-reel documentary
film of the struggle in China, is announced
by Garrison Film Distributors. Inc., 1600
Broadway, New York City. The picture
was produced by Joris Ivens and John
Ferno, who also made The Spanish
Earth, document of the war in Spain,
The 400,000,000 is a thorough historical
record of the background of the events
in China, showing the birth of New
China under the leadership of Dr. Sun
Yat Sen, the first beginnings of industrial
civilization and the attempted throttling
by Japan. The real basis of Chinese
resistance is shown and its extent is
demonstrated by sequences taken in the
most remote provinces.
The English commentary was written
by Dudley Nichols, author of Stagecoach,
and Fredric March is the narrator.
Special Programs
Offered by Gutlohn
In an endeavor to increase the efficiency
of the use of their films, Walter Gut-
lohn, Inc., New York City, have created
a series of groupings of correlated sub-
jects available at unusually low rental
rates. These programs are especially pre-
pared for recess periods and for class-
room discussions. The material selected
has been well chosen and embraces the
following groups, each containing from
three to five films : The American Scene,
Current Events, Musical Instruments,
Music Appreciation, Science, Colonial
History, and Hand Crafts. All are 16mm
sound films with the exception of the
Hand Crafts subjects, which are silent.
The average running time of each pro-
gram is forty minutes.
News Films
Two new film releases by Castle Films,
Inc., Rockefeller Center, New York, are
Coronation of Pope Pius XI! and San
Francisco IVorld's Fair, latest in the
News Parade series, featuring events of
world-wide importance. Both films were
produced in 8mm and 16mm widths in
both sound and silent versions.
Coronation of Pope Pius XII, goes be-
hind the scenes of the actual coronation.
Introductory scenes of Vatican City, the
Swiss guards, the late Pope Pius XI, his
death and funeral, arrival of the American
Cardinals and election of the new Pope,
all help to create a feeling of expectation
for the great event to come. Continuing
further the film gives a background of
Cardinal Pacelli, showing his visits to
France, Hungary and America. The sec-
ond half of the subject is devoted entirely
to the great and impressive coronation
itself, the pageantry of the throngs as-
sembled to witness the spectacle, the
coronation processional, the ceremony in
St. Peter's Cathedral, and finally the
crowning of Pope Pius XII on the world
famous basilica, held there for the first
time since 1870.
San Francisco World's Fair illustrates
the theme of the great exposition — man's
achievements and progress through peace.
With transportation used to illustrate the
point, introductory scenes contrast the
world of yesterday with that of today. The
Golden Gate and Bay Bridges are seen,
with man-made Treasure Island, site of
the San Francisco fair, in between them.
Following scenes give a comprehensive
picture of the buildings and exhibits of
the fair itself. Pictured are reminiscences
of early Spain which influenced the colon-
ization of the coast ; the lofty Tower of
the Sun in the center of the fair; the
Gay W^ay, amusement center, and the
Cavalcade of the West, which brings to
life chapters of the early West on a
gigantic stage. Continuing its theme of
progress, the film shows exhibits from
the Far East. Japan, China, Indo-China
and Australia are among those countries
represented.
March of Time Subjects
Arrangements with The March of Time
for the release of 16mm sound prints of
a selected series of their subjects for
educational use in schools and colleges
has been announced by Fanning Hearon,
executive director of the Association of
School Film Libraries. The thirty sub-
jects which will be made available were
selected according to a preference vote
among the recognized authorities on the
educational value of motion pictures.
Prints will be sold only to members of the
Association of School Film Libraries, 9
Rockefeller Plaza, New York City and
can be purchased through that organiza-
tion. The thirty films are classified into
the following groups : Youth Problems,
Conservation Problems, Civic Problems,
Safety, Health, Labor Problems, War
and Peace. A complete list of these sub-
jects may be obtained upon request to the
Association.
Foreign Productions
The International Film Bureau, Inc.,
59 East Van Buren Street, Chicago, has
acquired the exclusive 16mm rights to
Mayerling. They will not sell prints but
will handle all rental business for the
country. International Film Bureau has
acquired also several 12-reel prints of
Pearls of the Crown, produced by Sacha
Guitry, the famous French dramatist.
Arrangement has been made for demon-
stration showing of Pearls of the Crown
as a regular part of the program of the
Modem Language Association of the
Middle West meeting in annual conven-
tion at the Drake Hotel, April 22nd and
23rd.
The College Film Center, also located
at 59 East Van Buren Street, Chicago,
announces the availability of Medieval
(tillage. Expansion of Germany and Ex-
pansion of the United States.
The first of these films was produced
by British historians with the technical
assistance of Gaument British Instruc-
The Educational Screen
tional Pictures. The College Film Center,
which is a non-profit library concentrating
in the college and adult education field,
is now importing a series of documen-
tary films of value for social science
teaching.
Animated Sound Cartoons
The lOnini rights on the well-known,
humorous Flip the Frog series of
cartoons, produced for Metro-Goldwyn-
Mayer Pictures, are controlled ex-
clusively by Post Pictures Corporation,
723 Seventh Avenue, New York City.
The fourteen subjects which they have
for sale are "The Music Lesson," "The
Circus," "The Pony Express," "The
Goal Rush," "Nurse Maid," "School
Days," "Flying Fists," "Soup Song,"
"Fire Fire," "What a Life," "The
Bully," "Room Runners," "Funny Face"
and "Coo Coo the Magician."
Bailey Produces Two
Bailey Film Service, 3405 University
Avenue, Los Angeles, have completed
another film in their National Park
Series. It is an educational one-reel
silent subject in color, on V ellowstone
Park. This picture is also available as
Geysers of the Ycllozvstone in a one-
half reel edition. If demand warrants,
it will be offered as a sound release as
well.
They are also announcing a new film
for entertainment, Hollyxvood High-
lights, showing the intimate side of
Hollywood — stars at work and at play,
famous sports places and nightclubs,
homes of the stars and studios. It can
be secured in both 16mni silent and sound.
Addition To Audio Library
Audio Film Libraries, Bloomfield, New
Jersey has added to its library the 16mm
sound film Cover to Cover, a two-
reel subject. The film opens with a his-
tory of writing from ancient times and
then shows clearly the inspiration, writ-
ing, editing, publishing, and printing of
a novel. Brief inspirational talks and
advice are given by Somerset Maugham,
Julian Huxley, and Rebecca West, emi-
nent English authors.
Films Inc. Catalogue
A new 96-page film catalogue for 1939-
40 has been issued by Films Incor-
porated, 330 West 42nd Street, New
York City, distributors of 16mm sound
motion pictures. It is an attractive,
profusely illustrated directory and has
l)een planned for the greatest con-
venience of film users, titles of the
feature programs being listed both in
a Topical Index and an Alphabetical
Index. The catalog is devoted mainly
to a description of these feature pic-
tures, the short subjects being listed by
title only. Of particular interest is
the School List of some fifty-odd fea-
tures which have been carefully selected
from major productions for school use.
The famous Popular Science series of
short subjects, and the unique Paramount
series. Unusual Occupations, both in col-
or, are announced as now available on
16ram for school rental. The price of
the catalogue is 25c.
April, 1939
Page 141
DESCRIPTIVE MANUALS
are
J\row Provided for All o£ the Units on
''''TRANSPORTATION'^'^ Listed in Our
Social Studies Circular
Lantern Slide No. 13 from
The Story of the Iron Horse
Lantern Slide No. 15 from
Transportation through the Air
These units are:
Boats
Bridges — Ancient and Modern
Roads
The Story of the Iron Horse
Transportation through the Air
Transportation by Vehicles
Ships
Twenty-five Stereographs and Twenty-five
Lantern Slides in Each Unit
For Furfher Informafion Write
Keystone View Company
MEADVILLE, PENNA.
Page 142
The Educational Screen
THE FILM ESTIMATES
Abused Confidence ( Danielle Darriuux i Frt-nch,
Eng. titles) (Colum.) Finely acted, realistic, very
continental story of orphaned heroine driven to
deception to win law degree. In notable court
scene, her heartfelt eloquence successfully de-
fends girl guilty of same offense and wins
pardon for herself. Darrieux splendid. 3-28-39
(A) Very good (Y) No (C) No
Alexander Nevsky (Russian, Eng. titles) (Am-
kino) Notable historical film of artistry and pow-
er, written and directed by Eisenstein, of Russia
in 1242 threatened by Tartars and Teutons. Strik-
ing scenes of grim, primitive warfare when
Prince Nevsky rallies motley hordes to beat
Germans on Lake Peipus ice. 4-4-39
(A) Very good of kind (Y) Dbfl. int. (C) No
Ambush (Lloyd Nolan, Ernest Truex, Gladys
Swarthout) (Para) Genial, poetic, but ruthless old
man heads bank gang trying getaway in truck
driven by hero and heroine at pistol point. Old
"chase" motif adorned with hair-raising threats,
thrills, sluggings, killings — and Swarthout
doesn't even sing ! Well acted. 4-4-39
(A) Hardly (Y) No value (C) No
Boy Slaves (Ann Shirley, Roger Daniel, and
Boys) (RKO) Fine little hero is beaten into
joining "Dead End" gang, and all are shang-
haied to Georgia turpentine camp. Harrowing
cruelties, escape, guns, bloodhounds, hero killed,
boy threatens to shoot heroine, judge's speech
supposedly redeems all. Outrageous film. 4-11-39
(A) See it and think (Y) (C) By no means
Boy Trouble (Ruggles, Boland. Billy Lee)
(Para) Usual Ruggles-Boland twittering farce
with rather more human appeal. Endless trials
dog poor, crotchety salesman, still his wife
adopts two orphans. He fights hard, but sen-
timental pressure wins out and sudden, im-
probable, happy ending comes. 3-21-39
(A) Good of kind (Y) Prob. amus. (C) Doubtful
Charlie Chan in Honolulu ( Sidney Toler)
(Fox) Toler's first role as Chan quite worthy
of the late Warner Oland. Suave, clever
solution of two murders on board Ha waiian
freighter is pleasantly puzzling. Two of his
thirteen children help. Wild animal comedy
absurdly out of place. 3-21-39
(A)Good of kind (Y)Good (C) If not too exciting
Code of the Streets (Harry Carey, Frankie
Thomas) (Univ.) Tough, cop-hating slum kids
seek vengeance for pal wrongly convicted. A
fine cop and his son save the situation and the
tough kids see the light. Well knit, human
little tale of real heroism, despite underworld
tone. 3-28-39
(A) Hardly (Y) Good of kind (C) Perhaps
Concentration Camp (Russian. Eng. titles)
(Amkino) Dreary expose of rank injustice and
outrageous brutality of Nazi regime toward
Jews, Communists and even Germans for
chance remark or trivial offense. Continuous
talk, raucous sound, monotonous action niake
it a stupid film. Violently anti-Hitler. 3-28-39
(A) Dull (Y) No (C) No
Fast and Loose (R. Montgomery, R. Russell)
(MGM ) Another direct descendant of "The Thin
Man." Murder-mystery-comedy concerned with
rare-book collectors, ably written, breezily played
by fine cast. Montgomery and Russel! do out-
standing roles as married hero and heroine
who solve the problem. 4-4-39
(A) (Y) Very good of kind (C) Doubtful
Forged Passport (Paul Kelly, L. Talbot, June
Lang) (Republic) Cheaply sensational stuff
about immigrant-smuggling racket across Mexi-
can border. Customs officer, dismissed for quick
temper, pretends to join racketeers to trick
them into self-betrayal. Fists, guns, crude ro-
mance, and Gilbert's sneezes. 4-4-39
(A) Crude ( Y) No value (C) No
Four Girls in White ( Florence Rice, Kent
Taylor) (MGM) Nurse-training in hospital
shown vividly, and at length. Then story turns
"melo". Heroine, whose cheap ideals and tac-
tics at first succeed, is supposedly reformed
by preposterous flood climax. Some good real-
ism ruined by absurd melodrama. 3-28-39
(A) Hardly (Y) Better not (C) No
Grand Illusion (French-English titles) (World)
Masterful portrayal of life in German prison
camp during great war. Stern realism, with
tense interest in varied characters thrown to-
gether by fortune of war, lightened by humor,
notable acting and expert technique. Strong
argument for peace. 4-11-39
(A) Notable (Y) Mature (C) No
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.
Ice Follies of 1939 (Stewart. Crawford, Ayres.
and famous skaters) (MGM) Impecunious hero
and heroine marry, separate, win sudden star-
dom on ice and screen respectively, and she re-
signs to rejoin husband ! Gorgeously beautiful
ice carnival in Technicolor makes the film
notable despite artificial plot. 4-4-39
(A) (Y) Fine of kind (C) Little interest
Last Warning. The (Preston Foster. Joyce
Compton) (Univ.) Ineffectual murder mystery
in flippant comedy vein, pair of detectives mix-
ing sleuthing with pleasure at estate of wealthy
young man and sister, threatened by many
"last warning" notes. Two murders and kid-
napping occur before killer is uncovered. 3-21-39
(A) Mediocre (Y) No value (C) No
Little Princess (Shirley Temple) (Fox) Shirley's
best to date, an emotional, strongly human
story of child-father devotion, superlatively
acted. Father's reported death in Boer War
brings sufferings for heroine in exclusive
English school, but with genuinely happy end-
ing. Fine technicolor. 3-28-39
(A) Delightful (Y) (C) Excellent
Love Affair (Chas. Boyer. Irene Dunne) (RKO)
A masterpiece of cinema, in character, drama,
settings, sound, photography, acting and direc-
tion. Mature romance between European playboy
and American business girl, both with check-
ered pasts. Simple plot and perfect technique
combined in exquisitely artistic film. 3-28-39
(A) Very good (Y) No (C) No
Made for Each Other (Jas. Stewart. C.
Lombard) (UA) Realistic domestic comedy of
husband, job, wife, baby, slim income, and
mother-in-law. Very well done, but realism
suffers by bits more funny than true dmly
greatest acting can keep balance) and jarring
melodramatic finish. 3-21-39
(A) Very good of kind (Y) Mature (C) No
Midnight (Colbert. Ameche, J. Barrymore, Led-
erer) (Para) Gay, smartly set, farce comedy,
built round fortune-seeking American heroine
stranded in Paris. Very amusing in dialog and
sophisticated comedy situations, but obvious ab-
surdities and prolonged exaggeration-^ in latter
half, serious flaws. Deft roleby Barrymore. 3-21-39
(A) Very good of kind (Y) Sophisticated (C) No
Mr. Moto's Last Warning (B. Lorre, R. Cor-
tez) (Fox) Deep villiany plans to blow up
French fleet in Mediterranean and throw blame
on England. But diminutive, grotesque Moto
again does impossible feats, fells huge men
right and It^ft, and saves all. Usual thrills
and grewsome killings. 3-21-39
(A) Hardly (Y) Grim thriller (C) No
Nancy Drew, Reporter (Bonita Granville) (War-
ner) Second in series. Bonita good as irrepres-
sible high school girl who jauntily goes sleuth-
ing, enlists reluctant boy friend and even her
fine lawyer-father. Gets poison-killer amid lively
gun-play. Increasing "thrills" and lessening
human interest will spoil series. 3-21-39
(A) Depends on taste (Y)Mature (C)No interest
(War-
at its
riU-de-
illfully
venge-
Uy im-
3-28-39
(C)No
Oklahoma Kid (Cagney. Bogart, Crisp)
ner) Glorified "Western" melodrama
wildest and stalest, using every old th
vice, mixing history and hokum, all sk
done. Very cocky outlaw hero wreaks
ance on gambler villains by ridiculou;
possible feats of gun and fist.
( A ► Depends on taste ( Y)Thrilling hokum
Peg of Old Drury (Neagle. Hardwicke) (Tri-
Nat'DFine English production, telling absorbing
tale of rise to fame of the Irish actress. Peg Wof-
fington, and her romance with David Garrick.
Unconventional situations handled with dignity
and restraint. Delightful characterizations, inter-
esting ISthcenturysettingsandcostumes. 3-21-39
(A) Excellent (Y) Mature (C) No interest
Star Reporter (Warren Hull. Marsha Hunt)
(Monogram) Another complex crime mess. Re-
pellent old killer, supposedly dead, is father
of reporter-hero and husband of old lady
who welters in worry over situation. Even
District Attorney is implicated. Mediocre on
all counts. 4-4-39
(A) Worthless (Y) No (C) No
Story of Vernon and Irene Castle (Astaire,
Rogers) (RKO) Simple human story, quite true
to Castles' careers, fine in sets, costumes, act-
ing and historical background. Notable dancing
to old tunes, a bit modernized. Pleasing pictor-
ial narrative, rather than drama, leading to
pathetically tragic end. 4-11-39
(A) Good (Y) Very Good (C) Good
Strange Faces (Frank -Jenks, Dorothea Kent)
(Univl Another cheap crime-newshawk concoc-
tion. Hunted criminal coolly has his "double"
killed and takes his place. Engaged hero and
heroine, reporters on rival papers, trick and
scoop each other until villain's death ends their
feud. Just a potboiler. 4-4-39
(A) Poor (Y) No (C) No
Wife, Husband and Friend (Baxter, L. Young,
Binnie Barnes) (P^ox) Lightsome, amusing mix-
ture of character comedy, nonsense farce, and
satire of singing ambition without voice, well
done by fine cast. Inoffensive sophisticated tri-
angle. Elaborate drunken scenes by hero and
heroine are gratuitous flaws. 4-4-39
(A) Very good of kind (Y) Better not (C) No
Wings of the Navy (Brent, de Havilland. John
Payne) (Warner) Navy aviation's high ideals
and serious activities at Pensacola and San
Diego splendidly shown in experiences of three
enlisted men. Mild romance included, with
hero nobly giving up his fiancee to younger
rival. Reasonable thrills. 3-14-39
(A) lY) Very good of kind (C) Probably good
Woman Doctor (Frieda Ineseort, H. Wilcoxen)
f Republic) Trite theme, smoothly done and avoid-
ing cheapness. Doctor-wife's professional duties
lead to estrangement and near divorce from
husband, till accident to child brings recon-
ciliation. Convincing acting, save for Sybil
Jason's too hysterical child role. 3-28-39
(A) Perhaps (Y) Mature (C) No
Yes, My Darling Daughter ( Priscilla Lane,
Roland Young, Lynn, Bainter, Robson) (War-
ner) Finely acted, very "modern", highly amus-
ing film from stage play, of daughter adopting
trail marriage despite family opposition. All
comes out well and "family sees the light."
Notable character roles by all save hero. 3-14-39
(A) Very good of kind (Y) By no means (C) No
You Can't Cheat an Honest Man (Fields, Ber-
gen, McCarthy) (Univ) Fields, with all old
tricks and few new, is crooked head of trav-
eling circus, sheriff at his heels. Bergen and
McCarthy are chief sideshow attraction. Rowdy
slapstick, crazy adventures, and much Fields
submerge flimsy plot. 3-14-39
(A)Depends on taste (Y) (C)Prob. quite amusing
Evaluation of Still
Pictures
(Concludc'd from page 117)
commonly known facts. Some of these
misconceptions have their foundation in
the child's interpretation of the pictures
in his picture book, or on his blocks. If
the picture of the monkey on his block
is the same size as the picture of the
horse, what is more natural than for
him to assume that the animals are the
same size. The same type of thing is
frequently found with older children, or
even with adults. Show a picture of a
coffee plant to a group of teachers. If
no person is shown in the picture, the
guesses as to the size of the plant will
vary from two to fifteen feet. A pic-
ture unless it is shown in connection
with other pictures which may give a
comparison of relative size, should have
something by which the child may make
a reasonable guess as to the size of the
object being studied. It may be a man ;
it may be a child ; it may be a well-
knowti animal or object ; but .something
which will serve as a "measuring stick"
is valuable to give a correct concept of
the object which is being studied.
April, 19}9
Page 143
Thm Trapp tamUy Choir, unujum Amtrmn Jamily group which ha$ eapturrd thm imagtnnlum and crititai apptau** oj mtuieai America. Thmy record •xctusivmly for yictor.
>X\
AMONG recent recordings much in demand in
^ schools is the Victor Album "Early Choral
Music" sung by the Trapp Family Choir. Inval-
uable as a living lesson on the sacred and secu-
lar music of the 15th, 16th, and 17th Centuries,
this album is typical of the fine music Victor
makes available to educators.
Working together with prominent educators
in music and with famous musicians, Victor has
assembled a vast library of records that carry
education in music from elementary grades up
through college. Contained in the catalog of Victor
Records for Elementary Schools is a listing of all
the music you need to afford young children a
real background in music appreciation. Records
Miiim ■»lmt« atar i«<»i» tHtk RCA lla«* TakM la llMir •««•« ■<«lp»nii<
Litf* to (*• "Mtttie Kty of RCA" »i»r» Sunday. ttcSP.M.. K. S. T.. on t»« NBC
HiMt Nrltfork
SOUND SERVICE FOR SCHOOLS J
Educational Department • RCA Mfg. Co., Inc., Camden, N.J.
A Service of the Radio Corporation of America
suitable for High Schools and Colleges are listed
in the general catalog of Victor Records.
We'll gladly send you absolutely free a copy of
the catalog of Victor Records for Elementary
Schools if you'll send in the coupon below. Note
that you can also secure a free copy of Sound
Service for Schools, giving you complete infor-
mation about the new RCA Victor School Sound
Systems. And, if you'll send fifteen cents to cover
handling and mailing costs, we'll send vou the
famous Victor Record Catalog listing more than
7,500 selections.
^'^n
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Page 144
The Educational Screen
HERE THEY ARE
A Trade Directory
for the Visual Field
HLM.S
Akin and Bagshaw, Inc. (6)
1425 Williams St., Denver, Colo.
Audio-Film Libraries (5)
661 Bloomfield Ave., Bloomfield, N. J.
(See advertisement on paKe 131)
Bailey Film Service (4)
3405 University Ave., Los Angeles, Cal.
(See advertisement on page 135)
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 Jeflferson Ave., Brooklyn. N. Y.
(See advertisement on paRe 138)
Dudley Visual Education Service (4)
736 S. Wabash Ave., Chicago
4ih Fl., Coughlan Bldg.
Mankato, Minn.
Eastin 16 mm. Pictures (6)
707 Putnam Bldg., Davenport, la.
Burns Bldg., Colorado Springs, Colo.
Eastman Kodak Co. (l> 4)
Rochester, N. Y.
tS.e advt'itifiement on outside bacl< cover)
Eastman Kodak Stores, Inc- (6)
Kodascope Libraries
3 6 Madison Ave., New York City
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 Classroom Films, Inc. (2,5)
35-11 35th Ave., Long Island City,
N. Y.
Films. Inc. (6)
330 W. 42nd St., New York City
64 E. Lake St., Chicago
925 N. W. 19th St., Portland, Ore.
Garrison Films, Inc. (3, 6)
1600 Broadway, New York City
(See advertisement on page 138)
General Films. Ltd. (3, 6)
1924 Rose St., Regina, Sask.
156 King St., W. Toronto
Walter O. Gutlohn, Inc. (6)
35 W. 45th St.. New York City
(See advertisement on page 137)
Harvard Film Service (3, 6)
Biological Laboratories,
Harvard University, Cambridge, Mass.
Guy D. Htselton, Travelettes (1, 4, 5)
7936 Santa Monica, Blvd.,
Hollywood, Calif.
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 138)
Lewis Film Service (6)
105 E. 1st St., Wichita. Kan.
(See advertisement on page 131)
The Manse Library (4, 5)
2439 Auburn Ave., Cincinnati, O.
(See advertisement on page 138)
Pictorial Film Library, Inc. (6)
130 W. 46th St., New York City
(See advertisement on page 132)
Post Pictures Corp. (6)
723 Seventh .\ve., New York City
(See advertisement on page 132)
United Projector and Films Corp. (1, 4)
228 Franklin St.. Buffalo, N. Y.
Universal Pictures Co., Inc. (2)
Rockefeller Center, New York City
(See advertisement on page 139)
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 (1, 6)
347 Madison Ave., New York City
19 S. LaSalle St., Chicago
351 Turk St., San Francisco, Cal.
MOTION PICTURE
MACHINES and SUPPLIES
The Ampro Corporation (6)
2839 N. Western Ave., Chicago
(See advertisement on inside front cover)
Bell & Howell Co. (6)
1815 Larchmont Ave., Chicago
(See advertisement on inside back cover)
DeVry Corporation (3, 6)
1111 Armitage St., Chicago
(See advertisement on page 110)
Eastman Kodak Co. (6)
Rochester, N. Y.
(See advertisement on outside back cover)
Eastman Kodak Stores, Inc. (6)
Kodascope Libraries
356 Madison Ave., New York City
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
Hirsch & Kaye (6)
239 Grant Ave., San Francisco, Cal.
Holmes Projector Co. (3, 6)
1813 Orchard St., Chicago
(See advertisement on page 136)
Ideal Pictures Corp. (3, 6)
28 E. Eighth St., Chicago
(See advertisement on page 138)
Jarrell-Ash Company (6)
165 Newbury St., Boston, Mass.
RCA Manufacturing Co., Inc. (5)
Camden, N. J.
(See advertisement on page 143)
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 131)
Victor Animatograph Corp. (6)
Davenport, Iowa
(See advertisement on page 135)
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 Co.
1336 N.W. 1st St., Oklahoma City, Okla.
SCREENS
Da Lite Screen Co.
2717 N. Crawford Ave., Chicago
(See advertisement on page 129)
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
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 138)
Keystone View Co.
Meadville, Pa.
(See advertisement on page 141)
Radio-Mat Slide Co., Inc.
1819 Broadway. New York City
(See advertisement on page 138)
Society for Visual Education
327 S. LaSalle St., Chicago, 111.
(See advertisement on page 137)
Visual Education Service
131 Clarendon St., Boston. Mass.
Visual Sciences
Suffern, New York
( See advertisement on page 132)
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
STEREOGRAPHS and
STEREOSCOPES
Keystone View Co.
Meadville, Pa.
(See advertisement on page 141)
STEREOPTICONS and
OPAQUE PROJECTORS
Bausch and Lomb Optical Co.
Rochester. N. Y.
(See advertisement on page 109)
Eastman Kodak Stores, Inc.
Kodascope Libraries
356 Madison Ave., New York City
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
Hirsch & Kaye
239 Grant Ave., San Francisco, Cal.
Jarrell-Ash Company
165 Newbury St., Boston, Mass.
Keystone View Co.
Meadville, Pa.
(See advertisement on page 141)
Spencer Lens Co.
19 Doat St., Buffalo, N. Y.
(See advertisement on page 133)
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
REFERENCE NUMBERS
(1) indicates firm supplies
35 mm.
silent.
(2) indicates arm supplies
35 mm.
sound.
(3) indicates 6rm supplies
35 mm.
sound and silent.
(4) indicates firm supplies
16 mm.
silent.
(5) indicates Arm supplies
16 mm.
sound-on-film.
(6) indicates arm supplies
16 mm.
sound and silent.
E IM (C ATIO RJAL
MH^im^
he Magazine Devoted Exclusively
I the Visual Idea in Education
MAY. 19 3 9
IN THIS ISSUE
Electrifying English
Interpreting the Public
Schools through
Motion Pictures
Evaluation of
Still Pictures for
Instructional Use
Motion Pictures —
Not for Theatres
What Are We Teaching
in Our Audio-Visual
Aids Courses this
Sumnter
I
VOLUME XVIII. NUMBER 5
WHOLE NUMBER 172
public Library
Kansas City, Mo.
Flowers of the Red- Bud Tree
Pboto bjr Dr. John Vou, Proria
Ooarlnjr of Xatikk Nutxi
25c A copy * $2.00 PER YEAR
Another One For The
Keystone Lantern
The Keystone Flashmeter
A device for attachment to the front lens of any
standard stereopticon with 500 watts of illumina-
tion, enabling the operator to flash pictures, words,
phrases, and sentences on the screen for definite
fractions of a second.
Full of interest for pupils and teachers.
Diagnostic and remedial uses in quickness of per-
ception, speed in reading, and use of perception
span unlimited.
Information Furnished on Request.
Keystone View Company
MEADVILLE, PENNA.
Df.
s. EDUCATIONAL SCREEN
MAY. 1939
Contents
Electrifying English
Walter Glnsburg
VOLUME XVIII
149
Interpreting the Public Schools through Motion Pictures
Nerval L. Martin 151
Motion Pictures — Not for Theatres
Arthur Edwin Krows
Evaluation of Still Pictures for Instructional Use
Leila Trollnger
153
157
Among Ourselves — Notes from and by
The Department of Visual Instruction
Conducted by The Editorial Committee 160
A Farm Program — Presented in Hand-Made
Lantern Slides. By Ann Gale _... 163
The Federal Film
Conducted by Arch Mercey 164
News and Notes
Conducted by Josephine Hoffman.
166
In and For the Classroom
Conducted by Wllber Emmert 171
Among the Magazines and Books
Conducted by the Staff 173
Film Estimates 1 76
Here They Are! A Trade Directory of the Visual Field... 1 80
NUMBER FIVE
The EDUCATIONAL SCREEN published monthly eicapt July «nd August by The
Educational Screen, Inc. Publication Office, Pontiac, Illinois; Eiecutive Office, 64
East Lake St., Chicago, Illinois. Entered at the Post Office at Pontiac, Illinois, as
Second Class Matter. Copyright. May. 1939, by The Educational Screen.
Address communications to Eiecutive Office, 64 East Lake St., Chicago, III.
$2.00 a Year (Canada, $2.25; foreign, $3.00) Single Copies 25 cH.
THE EDUCATIONAL SCREEN. Inc.
Directorate and Staff
N«tMR L. GrMnt. Editar JaMphine HfffMaa
Evtlyn J. Baktr F. Dean McCluiky
Wllbtr Eamrt ttmnlay R. GrMiit
Ana fiala fcltlla Enlyn Myirt
Page 148
The Educational Screen
People sometimes '^f ^"^^ ^^^I to
have devoted so much of my Ife to
Visual Education. My answer
vwual Education means so
Because Visual e-uu
„uch to the educational life
America.
H. A. DeVry, President
devry features
THEATER QUALITY PROJECTION
Every professional theater projector uses the Intermittent Sprocket principle, but only
DeVry — builder of fine professional machines — brings this principle to the 16mm. field.
Send for facts about this NEW improvement which changes all standards of 16mm. values
. . . also 24 other DeVry-engineered features assuring more brilliant pictures with less
flicker; clear, life-like sound; easy threading; automatic synchronization; constant-speed
operation; less wear on films; and other advancements you will instantly appreciate. Mail
coupon today for new illustrated literature giving full descriptions, NEW LOW PRICES,
and details of the exclusive DeVry "Self Liquidating Plan" — of special interest to schools
which may not have ready funds available.
Write for Information on the National Conference on Visual
Education and Film Exhibition, Chicago, June 19, 20, 21, 22.
devry corporation
New York
Est. 1913
103 Armitage Ave., Chicago
Hollywood
SE»0 COUPON NOW
DeVRY CORPORATION
1103 Armitage Ave., Chicago
Send illustrated literature. NEW LOW PRICES, and "DeVry Self-Liquidating
Plan."
Name .
Address '.
City
..State..
School
n Check here and enclose 2Bc if you desire new 64-page book, "Free Films for
Schools".
Makers of the most complete line of 16 and 35 mm. Silent and Sound
Projectors and Cameras for Professional and Institutional Use
May, 19}9
Page 149
Electrifying English
This article (Part I) discnssps educational
derivatives obtainable from theatrical pro-
ductions. Part II (June) nill present values
of the microfilni in the teaching of English.
By WALTER GINSBURG
English Department, Teachers College
Columbia University, New York City
IN COXXECTIOX with the annual convention of
the National Council of Teachers of English at
St. Louis, a Committee on the Applications of
Technical Advances to English held a meeting listed
in the program as "Teaching English by Electricity."
So now it's electricity and the application of techni-
cal advances ! The tireless company of restless English
teachers marches along; but here, surely, it comes to
the culmination of its explorations. For now are we
not in the outermost edge of program development?
Surely this is the end of the road. Is it? If you and
I know anything, we know this: the only permanent
thing is change. And with the changes, vital English
teaching evolves and modifies to the new demands and
values in life. As life grows more complicated and —
we hope — richer, so must our program, professedly
based on life, become more complicated and — we are
again hoping — richer. Right now we are far from
the end ; indeed, we are only beginning. We stand
but on the threshold of the new scientific advances.
The striking recency and rapidity of scientific ad-
vances may be realized if we use the illustration given
by Dr. Raney*. distinguished director of the University
of Chicago libraries, that, although we are about half
a million years removed from our simian progenitors,
the beasts of the trees — hard as this long span may
be to grasp in the light, or rather the darkness, of
the bestial barbarism observable in a certain part
of Europe today — the record of man's culture does
not exceed four figures in years. To visualize the
short span of our recorded culture, compress the
500,000 years to 50. On this scale the printing press
is just a few weeks old. Darwin's Origin of Species ap-
peared this morning, and the motion picture, the radio,
the photo-electric cell are matters of the last few seconds.
Indeed, the scientific developments subsequent to the
discovery of the electric impulse are still in their
early dawn.
Only the dawn — but we are excitedly aware of
technological advances already affecting the great ex-
pressional and interpretational areas of life with which
our English teaching is concerned. And here we
recognize that science provides us not only with
the background materials so needed in the service
'1b a p*prr md liffore the C*tbolic Library Auociation, Kansas City,
Jnoe le, 1038, and pablished in Tkt Journal of Documtntam Rtfro-
inetion. Wanhincton. D. 0., fiannMr, 1988, titlni, "Throuth tbe Ere
of a Needle."
Characters fiom Dickens' "A Tale of Two Cities" come to
life for the student when he sees this filming of the famous
novel (Metro-Goldwyn-Mayer).
of the present program's contents ; what is far more
significant, it opens completely new spheres of ex-
periences. The motion picture and the radio g^ve us
new forms of art, providing new provinces in ex-
pression and interpretation. The great goal of all
our work in English is to enable the student, through
abilities in expression and comprehension, to develop
the power to meet his present and future life's problems
successfully, in terms of his own happiness, the
happiness of his society, and in terms of the preserva-
tion of the democracy so essential to this kind of in-
dividual growth. In this light, we must attend to the
development of abilities as demanded by the new media
of expression and comprehension — these new instru-
ments of scientific advance. The New York Times,
commenting editorially on one of the most significant
and comprehensive examinations of an entire system
of education, the New York State Regents' Inquiry
into the Character and Cost of Education, infers from
the study that "we need a new education for a new
kind of civilization ; education to keep pace with
modem technology, education to make democracy a
living fact^."
Ask about scientific advances as an aid in teach-
ing English, and usually the first thing mentioned is
the motion picture. No wonder! With sight and
sound, this most familiar of all the scientific infants
comes as close to reality as any artificial presenta-
tion of life can. Special groups of experts within such
bodies as the National Council of Teachers of English
devote themselves entirely to the study of motion
pictures in English teaching. Without presuming
even to begin to cover the field, I wish merely to
make a few observations here :
First, that the richest aspect of the motion picture
development as it applies to our English program
remains the photoplay in the theater outside the school.
Until the effective techniques of exjjert Hollywood
production are applied to material suggested by cur-
riculum, this must continue to be the case. Here we
•Neir Tork Time*, NoTember 18, 1938, editorial tilled, "Sebool for
Ciliienship."
Page 150
The Educational Screen
may find the photoplay as an experience in its own
right, conveying to audiences interpretations of Hfe —
a veritable literature of its own. Here, also, we have
the kinds of material most sought by English teachers —
the material that makes books spring to life for the
first time in the students' experience. Tale of Two
Cities, David Coppcrfield, Little Women, Captains
Courageous, Elephant Boy, Romeo and Juliet form but
a short part of the long list of photoplays that give
vitality to the characters of the books read in class^.
Helping us to make fuller use of the theatrical film
outside the school are the agencies such as the Motion
Picture Committee of the National Education As-
sociation's Department of Secondary Education, the
Educational and Recreational Guides, Inc., and the of-
fices of the Motion Picture Producers and Distri-
butors of America, Inc. The last organization has
valuable material for distribution to a representative,
preferably the librarian, of each school. These in-
clude free broadsides giving stimulating visualiza-
tions prepared by the research staflfs of the produc-
tion companies' authenticated feature pictures, and
sets of large, clear stills selected from the feature
productions likely to be of most use as background
in your classroom work. The stills are provided at
cost, one dollar for a set of ten to fifteen select-
ions. Some of the sets now available include Robin
Hood, Boys Tozvn, David Copperfield, The Good Earth,
Victoria The Great, Gunga Din, Heidi, Lloyds oj
London, Treasure Island, Kidnapped, Maid of Salem,
Prince and the Pauper, Midsummer Night's Dream,
Tom Sazvyer, and Dead End.
.Second, that vivid, meaningful literary and historical
backgrounds may soon be made available for class-
rofmi use as a result of the growing in'.erest of certain
large producers in what they call "the research clip-
pings." These materials culled from the feature pro-
ductions based on historical or literary interpretation,
and composed into short, effective units on I6mm
film, would have the appealing quality of the best
pictures exhibited in the theater outside the school.
Third, that in this development of editing and
processing the feature films into effective shorts for
use in the classroom, we have an aspect of the motion
picture in relation to the English class that transcends
subject matter boundaries and enters into the dynamics
of character foundation and attitude growth. Here
I need only refer to the work of the Progressive
Education Association's Commission on Human Re-
lations Motion Picture Project, under the direction
of Alice Keliher. This committee edits shorts from
the feature productions, choosing sequences illustra-
ting various significant phases of human conflicts in
contemporary life. These shorts are being tried ex-
perimentally in several cooperating schools. If their
use is successful, they will be placed at the disposal
of all schools*. For this academic year, the list of
films includes excerpts from The Good Earth, to show
the status of peasant women in China ; from Arrozv-
smith. to show medical science vs. huniani.y; from
Dead End, to show social conditions leading to crime ;
from Cavalcade, to show mother's reaction to two
generations of war ; from The Informer, to show be-
trayal of friend for financial gain ; and from many
other films, showing other aspects of conflicts. Doesn't
this come as close to English in its objectives as any-
thing we ever talk about concerning "the enrich-
ment of experience" and "the enlargement of one's
understanding of life"?
Fourth, and last, that very recently announcement
was made in the press of a new group formulated
among educators in coopera'.ion with producers to
make motion pictures in the direct service of pro-
moting democracy. Through the screen techniqvies
of dramatization and emotional appeal, the human
values of the democratic way of life will be made
more vivid. As the end of all subjects in the American
school, democracy is the end of English ; and we shall
'£ _X' ■ t. .
.;w~^ ^Hk ^**»'' ^H
s Motion Picture Producers and Distributors of America, Inc., 28
West 44th Street, New York City, supplies a mimeograplied list of
about ninety recent films made from books which would interest high
school students.
*When the films are ready for school use, they will be released
through the Associated School Film Libraries, 9 Rockefeller Plaza,
New York City.
"Barkis is Willin' " in this scene from the M-G-M production
of Dickens' masterpiece, "David Copperfield."
have to explore this, too, as a significant application
of the motion picture to the translation of a great
concept into functioning meanings.
The work of applying science progresses. Not only
in motion pictures, but on other fronts as well new
mechanisms and techniques constantly are being ex-
plored and applied. In passing we may note :
1. The apparatus used in diagnosis and correction
of reading disabilities. Stella Center and Gladys
Persons thoroughly discuss the applications of
these instruments to an actual reading improve-
ment program, in a 1937 National Council of
Teachers of English publication^.
2. The radio — modem wonder in the school and in
the home. The significance of the radio for Eng-
lish teaching is undergoing a patient and illumin-
ating study by the Ohio State University Com-
^Center, S, and Persons, G. Teaching High School Students to Read
The National Council of Teachers of English, Monograph 6. D. Apple-
tonCentury Co., New York, 1937.
{Continued on page 152)
May, 19)9
Page ISl
Interpreting the Public Schools
Through Motion Pictures
EDUCATION' is the biggest single business in
which most communities engage. In fact, onho-
dox courses and textbooks in school administra-
tion make analogies to corporate business in describing
the ideal organization of a public school system. A
parallelism can be drawn in which the general public
is rnmparcd with the stockholders of a corporation and
the school board with the directors of the corporation.
\\'hether or not this parallelism is accepted as sound,
nearly every one must agree that this business of pub-
lic education is a cooperative concern in which every-
one is interested. Every taxpayer has an investment
and should be eagerly anticipating and expecting divi-
dends. These investors must be shown, not spasmodi-
cally, but continuously — the real worth of the schools
as measured by their products. Frontier thinkers in
education are meeting this challenge by providing an
intelligent, continuous and honest program of publicity
and interpretation.
One of the most efficient devices for an interpreta-
tion program is that of movies of the school activities
during the year. The.se pictures are not so cos'.ly but
that almost any school with a visual education program
could very conveniently afford it. Some of the follow-
ing activities might l>e photographed with a moving
picture camera:
1. The first faculty meeting of the year when plans for the
opening of the school year are made and discussed.
2. The students as they arrive at the school building in
busses.
3. Formal registration of the students. A picture of each
home room where the students register.
4. First convocation of the year.
5. Each department of the school as it actually operates
during the year.
6 Each club in session.
7. The annual homecoming football game with its cheering
section.
8. A fire drill when it is given by local and state fire officials.
9. The school lunch room or cafeteria during lunch hour.
10. The recreational activities for those pupils who remain at
school during the lunch hour.
11. Outstanding programs at the school after school hours
such a.«. receptions for new students, teas for new faculty
members, teas for mothers of pupils enrolled.
12. Hi-Y father and son banquet.
13. Various phases of the guidance program.
14. Convocations composed of student talent.
15. The N-isiting teacher and her work.
16. School clinics (Health, Dental, Eyes).
17. Charity drives prior to the Christmas vacation.
18. The school paper staff at work, editing an edition of the
paper.
19. The library with students and teachers at work.
20. Various bulletin boards for students.
Concrete suggestions tia to how a school may
visualize itself before the eyes of the community
By NORVAL L. MARTIN
Director of Visual Education
Shields High School, Seymour, Ind.
21. Musical and dramatic productions during the year.
22. Pageants.
23. .Ml phases of athletics including varsity and intramural
participation of football, basketball, baseball, track, tennis,
golf, swimming.
24. The Visual Instruction department at work.
25. The work of the director of safety with its safety patrol
and its safety club.
26. Various contests during the year and the winners of each
such as, Latin, Mathematics, Typing, Music, Oratory,
Spelling.
27. The debate team in action.
28. Parent teacher programs during the year.
29. School exhibits, open house.
30. Celebration of National Education Week.
31. Honor Day activities.
32. The academic honor rolls (six weeks and semester).
33. Pupils with perfect attendance during the year.
34. May Day activities.
35. Freshman introductory day in the Spring for next year's
prospective freshmen.
.16. Parent-teacher forums.
37. Local Teachers' Federation in session.
38. Observance of special days as. Thanksgiving, Armistice
Day, Easter, Mother's day, World Peace Day, Poppy Day,
Constitution day.
39. Observance of Special weeks as. Book Week, Boy and
Girl Scout Week, Good English Week, Music Week,
Courtesy Week, Good Teeth Week, Good Manners Week,
Fire Prevention Week.
40. Evening extension classes for teachers.
41. Excursions to local industries, places of historical and
geographical interest.
42. Teacher's hobbies during vacations.
43. New building and new equipment.
44. Teacher's as they leave for the annual State Teachers
Association Convention.
45. Pep meeting prior to athletic events.
46. Members of the speech classes as they talk before city
PT.'X groups, service clubs, tuberculosis meetings.
47. Mile of pennies for annual T. B. Drive.
48. Toys which are collected, repaired and redecorated for
needy children at Christmas.
49. Junior-Senior Reception.
50 Agricultural and Industrial exhibit in which the school
cooperates.
51. Distribution of yearbooks with students autographing
same.
52. Commencement activities and graduation exercises, in-
cluding Baccalaureate, senior breakfast and picnics.
53. Superintendent and Principal signing diplomas.
54. Scholarships and special awards among the graduating
class.
These and many other activities of the school could
be photographed during the school year. Such a pro-
gram should be continuous during the whole year ; it
must be inclusive, honest and understandable. It
should be dignified but aggressive, an attempt must be
made to reach every student of the school and thus
reach every home represented in the school.
Page 152
The Educational Screen
Footage devoted to the various topics would vary
endlessly, of course. Combination of these sequences
into reels of suitable length and content calls for care-
ful selection, cutting, editing, titling, etc. Completed
reels of this type can then be used very appropriately
as a part of the program of Parent-Teacher meetings
and other meetings of a similar nature. They could be
used occasionally as a part of the program of such
meetings as service clubs, civic association, dedication
of new buildings and other special occasions, meetings
of business and professional clubs and organizations,
and meetings of other organizations which are organ-
ized for charitable and social purposes.
When a program of interpretation of this type is
developed it can be used very effectively in creating,
developing and maintaining a high type of good-will
among the stockholders in this business called Public
Education. When the paying public is correctly in-
formed as to the activities and functions of the local
school system, the chances will be greatly reduced that
the local tax adjustment board will remonstrate to the
supposedly high tax rate in the budget for school pur-
poses.
Electrifying English
(^Concluded from page ISO)
mittee on the Evaluation of School Broadcasts,
with the aid of a General Education Board grant*.
3. The transcriptions of valuable broadcasts, over-
coming time-schedule difficulties through avail-
ability of the programs as recorded on phono-
graph records. The Radio Corporation of Ameri-
ca, through a subsidiary, is developing trans-
scriptions of educational radio programs'^.
4. The recordings of the Shakespeare plays by
Orson Welles and his Mercury Theater Group.
The series of recordings calls itself "The Mercury
Theater of the Classroom," and is being made
available through the Columbia Phonograph Co.^
A Carnegie Corporation Committee under Dr.
Irvin Stewart is subsidizing the experimental
use of these materials in a group of representa-
tive American high schools.^
5. The recordings of students' speech, used as stim-
ulation, aid in diagnosis and correction, and as
a measure of improvement. "Hear yourself
as others hear you," one enthusiastic teacher I
know tells her students as they come in to have
their speech recorded.
6. The latest advance in the new mechanisms of
communication — facsimile broadcasting. What is
it? Through facsimile broadcasting picture and
text materials are faithfully reproduced over
the air. For example, when you roll out of
bed in the morning, you can find at your feet
the wirelessed newspaper, just rolled out of vour
radio ! Whatever is placed before the board-
casting scanner travels through the ether and
comes out of the receiver. And this is already
here! On December 8 Station KSD, operated
experimentally by the St. Louis Post-Dispatch,
began a regular broadcast of a specially pre-
pared facsimile newspaper. Leading news of the
day, s]3orts, cartoons, radio programs, and finan-
cial quotations made up the Volume One, Num-
ber One copy of the radio newspaper, using
the Post-Dispatch's regular 7-point type. It is
not necessary for the reader to be present when
the newspaper comes over the radio. A clock
automatically starts the receiver at the beginning
of the facsimile broadcast, and stops it at the
conclusion.
7. The proximity of television. The facsimile broad-
casting already here is but the shadow of won-
derful things soon to come! Reports of suc-
cessful television broadcasts in realistic non-labora-
tory situations appear frequently in the press.
"Television By Springtime" read one news story
telling of the statement from the offices of the
Radio Corporation of America, that television
would be available for home use by the open-
ing of the New York World's Fair in April, 1939.
•' And "Movies by Wireless" is the headline over
the news that a large motion picture company
plans to place on the market soon a television set
for reception of films specially edited down to
telecasting. The motion picture in the class
room simply by snapping the button of the
television receiver !
Thus in this dawn of scientific advancements are
we English teachers aware of great applications already
made, and soon to be made, to our teaching. Partic-
ularly to the radio and the motion picture, the National
Council of Teachers of English has maintained a search-
ing alertness attested by several of its publications.^''
But there is a certain practicable technological de-
velopment already here, to which we are not as alert
as we should be. Because its potentialities seem so
great, and because its applications remain almost
unknown to our work, I should like to discuss micro-
photography with all the emphasis I can command.
^"Max .T^_Herz_berg,_ editor. Radio and the Teacher of English; William
"' ' ' ' ireciatinn ^"" -i ™ -".■■-'■ ^- rj,--.i. o^i — 1„ . d„.,j t.t
The English Journal.
Lewis, Photoplay Appreciation
and Lewis " "
oplay Appreciation in American High Schools: Rand, H.
I£. B. Film and School; and numerous other articles in
•Committee on Evaluation of School Broadcasts, Ohio State University,
Columbus, Ohio. Dr. Alton O'Steen, chairman of section on English.
'RCA Manufacturing Company, Inc., Camden, New Jersey. Ells-
worth C. Bent, Director of Kducational Department.
'Columbia Phonograph Company, 1775 Broadway, New York City.
•Committee on Scientific Aids to Learning, 41 East 42nd Street, New
York City.
Editor's Note :
In March we ran the first of what was to be a
consecutive series of four articles on Visual In-
struction in Connecticut, by John S. Carroll, of
Yale University. Due to present changes and ad-
justment in the Connecticut Plan, the remaining
articles in the series could be presented better at a
later date. It is the author's contention, and ours,
that the series be continued when complete data
are available on the interesting developments in
the State program.
May, 19)9
Motion Pictures —
Not For Theatres
By ARTHUR EDWIN KROWS
Editor of "The Spur," New York City
Page 153
Part Nine: recalling the "Ford Educa-
tional Weekly" of 1916, the first prac-
tical organizations begun to reclaim
theatrical films for non-theatrical use,
and the remarkable distributing machin-
ery awaiting New York schools in 1920
THIS opportunity, after the arm-
istice, to salvage the property
represented in tlie "Screen Tele-
gram," was realized especially by sev-
eral persons : Charles Urban, who had
a lalxjratory to keep occupied ; Terry
Ranisaye, who had started the "Screen
Telegram," and Ray Hall who had
edited it. There was also another ini-
l>ortant figure who, in Urban's com-
petent opinion, was an excellent person
to care for the business organization of
a new venture of the contemplated sort.
This individual was George McLeod
Bayncs. a very tall, .slender Englishman,
aged under forty, who had arrived in
New York toward the end of 1915 as
chief salesman for the Hepworth Manu-
facturing Company, Ltd.. a London film
concern. He was called "Captain." his
military service said to have l>cen with
His Majesty's Forces in India, where be
possibly had met Urban at the time of
the Durbar.
Accordingly, early in 1919. there was
organized at the Kineto offices — in the
Masonic Temple Building — a new, in-
dependent newsrccl called "Kinograms."
The name recalled somewhat forcibly
that of the Edison Company's house
organ in 1910, the Kinctogram. Baynes
was made president, and for editor was
chosen Terry Ramsaye. But, in 1920,
Ramsaye, who now had other interest?
largely in editing and cutting important
expedition films and in planning his
monumental history of motion pictures
entitled A Million and One Nights,
retired. Ray Hall succeeded him as
editor. .\s assistant editor Forrest Izard
was taken over from the disintegrating
Community Service, and Hazel E.
Flynn, a former theatrical press agent,
became a title writer for the release.
Urban was content to be merely "of the
company," possibly because he didn't
want the British Government to think he
had trafficked in spoils of war.
In the meantime, and not too un-
expectedly, there was another film or-
ganization awaiting a successor to carry
on — no less than the American Gaumont
Company, now fallen to extreme diffi-
culties, .^mong its remaining assets
were a renowned newsreel and a fine
laboratory, the latter, situated con-
veniently in the New York metropolitan
area at Flushing, Long Island ; and those
properties seemed highly attractive to
the Canadian Pacific Railway which had
decided that motion pictures would be
a most profitable form of publicity. So
the C P. R. quietly bought the American
Gaumont for a sum said to have been
approximately half a million dollars — the
now traditional mark of success in non-
theatricals, although it remained to be
.\lcI.»Uithlln-Ai'ro l>ltn*.*t photo.
Henry Ford's idea of educational mo-
tion pictures was to use them to in-
terpret modern America. He spent
thousands of dollars trying to prove it.
seen in this case to whom the success
belonged, the buyer or the seller. For
the C. P. R. to appear too prominently
in the management of this new under-
taking— especially of the newsreel —
would, of course, be prejudicial to pub-
lic acceptance of it ; so the C. P. R. ar-
ranged with Captain Baynes not only
to manage the newsreel, but to move his
entire outfit to the Gaumont Laboratories
in Flushing.
To make the Bayne menage still more
complete, he was called upon to super-
vise also the newsreel included in the
ambitious plan of the Selznicks, father
and son, who had suddenly arisen as
powers in regular motion picture the-
atricals. For the proper functioning of
the three weekly releases, "Kinograms,"
"The Gaumont News" and "The Selz-
nick News" (not to forget the inevit-
able magazine release which cares for
the human interest overflow). Ba>'nes
organized a holding corporation called
"The Associated Screen News" — a large
business, conjured, one may say, out of
thin air. And. for the present, we may
leave Baynes, satisfied that he has
olenty to keep him busy for awhile
without seeking further complications.
We will meet him later, again.
"The Ford Educational Weekly"
At this juncture, believe it or not,
there is still another newsreel to be
considered, and one which was to leave
a strong impression on non-theatricals.
It was issued by that dynamic person-
age, Henry Ford. In June, 1916, came
the news that the newly-formed Atlas
Motion Pictures Corporation in Detroit,
with its large laboratory and extensive
equipment, was backed by the automobile
manufacturer named ; and soon there-
after appeared "The Ford Educational
Weekly."
For something over two years he dis-
tributed it through independent ex-
changes to about 3,000 theatres; then,
in January, 1919, the Goldwyn Corpora-
tion, which already was issuing the
"Goldwyn- Bray Pictograph," undertook
to distribute it to a larger audience at
cost. I don't know what the cost was
to them ; but previously it was estimated
to have been approximately $750,000 per
year. Of this sum not one cent came
back to the sponsor or to the treasurer
of the Ford Motor Company and the
weekly quantity of film ran to between
400,000 and half a million feet.
Ford, a warm friend and hearty ad-
mirer of Thomas A. Edison, had been
greatly impressed with the advantages of
the screen in public education, but he
felt that many genuine opportunities were
being missed by the newsrecls then in cir-
culation. He wanted citizens of the
United States to sec what their Govern-
ment was doing, to understand how public
money was being spent, and to know the
constructive work of Big Business. Some-
thing of his aim may be appreciated by
noting titles from the first Goldwyn re-
lease. One was, "What Uncle Sam Will
Do for Two Cents," the story of the
Post Office Department; a second, "The
Truth About the Liberty Motor." a pic-
torial description of the Government's
wartime airplane engines; a third. "Hang
It All," or the making of wallpaper;
fourth, "Carrying Old Glory to the Seven
Seas," showing the work of the great
Hog Island shipyards; fifth, "Canada's
Mountain of Tears," a scenic of Mt.
Edith Cavell; sixth. "Where 'the Spirit
That Won' was Bom," a Washington's
Birthday release showing historic Phil-
adelphia. Valley Forge, and Mt. Vernon;
and seventh, "Rough Stuff," a review of
the carborundum industry.
The unusual attention given to num-
bers such as these undoubtedly stimulated
manufacturers and business men gener-
ally to propaganda uses of films; but at
the same time it probably made exhibitors
suspect that their theatres were being
used for "cuckoo" advertising, in the
profits of which they were not permitted
to share. They were never quite satisfied
that so shrewd a business man as Henry
Ford was getting nothing out of it. But
even exhibitors who did not raise that
question did not want too many newsreels
Page 154
The Educational Screen
on their programs. They gave precedence,
of course, to the regularly established
theatrical ones, and required space, too,
for comedies and novelties. So, in its
theatrical aspects, "The Ford Educational
Weekly" died away.
In the summer of 1919, William H.
Dudley, educator at the University of
Wisconsin, was invited to head a com-
mittee, selected by himself, which was to
come to the Ford plant at Detroit and
edit the Ford films for school use. He
responded promptly with a group includ-
ing Charles Roach, of the State College
of Iowa Department of Visual Educa-
tion ; W. M. Gregory, an expert geog-
rapher, of Cleveland ; and J. V. Ankeney,
of the University of Minnesota. The
work was done speedily and, in 1920,
Fitzpatrick & Elroy were advertising the
library, with themselves as sole repre-
sentatives. As to what became of some
of the unused industrial subjects, I have
reason to believe that they were given,
possibly at cost, to the manufacturers
whose plants and operations were shown.
Which must have made it difficult, for a
time, for the small local producers of
films to persuade those favored manu-
facturers to make news subjects for
themselves.
Before me as I write is a leaflet en-
titled The Ford Educational Library,
copyrighted 1922 by the Ford Motor
Company, which no doubt represents the
early work of the Dudley committee.
The films are described as having been
produced and as being distributed by
the Ford Motion Picture Laboratories of
Detroit There are fifty-one subjects,
classified as : Agriculture. Nature Study,
Recreation, History, Sanitation and
Health, Safety, Industrial Geography,
Regional Geography, Cities, Cities and
Citizenship, and Technical — the last-
named subdivided into Surgery, Me-
chanical, Chemical and Electrical.
"Each film." the reader is told, "has
a complete synopsis or syllabus contain-
ing: the title and subtitles, the educa-
tional aim. data suitable to aid the
teacher, definite questions for presenting
the lesson, problems, questions and a list
of references. The film lesson is arranged
in accord with modern methods, and the
photography is the finest artistry of the
laboratory." One is informed, moreover,
that "many new classroom films are now
in preparation. The technical series-
surgical, mechanical, electrical and chem-
ical— will receive addition of specialized
subjects for trade schools, technical in-
stitutions and colleges."
The Ford Laboratories still carry on
this work, serving the entire United
States through Ford dealers. Films are
rented at low rates, some offered "free"
(plus transportation charges), and most
of them are available for purchase —
five cents per foot for nitrate prints and
ten for non-flam in 35-millimeter width.
Purchase is urged as the best method
and, to those schools which cannot afford
themselves to buy, it is suggested by the
sponsors that they form a "Ford Educa-
tional Library Association" with other
schools for the purpose of acquiring the
material.
The P.vrRON S.mxt of 23rd Street
Community Service used the Kineto
Laboratory for virtually all its output,
and in the train of the Fosters came
many other non-theatrical workers who
had offices in the building. In fact, de-
liberately or not, Urban made a minor
specialty of non-theatrical developing and
printing. It probably was Community
Service which first attracted the strug-
gling little non-theatrical producer ten-
ants because of the market it afforded to
their product ; but they found the Kineto
Laboratory a convenience, too, with the
genial Urban lending a sympathetic ear
to their tales of woe — possibly because,
compared with his own handsome diffi-
culties, these were too small to be dis-
turbing. Certainly, with the efforts of
Kinemacolor to save itself by making
educationals and industrials, and the
contacts of old Urbanora House with
the once struggling pioneers such as F.
Percy Smith, who had almost starved
while he made amazing novelties, Urban
knew supremely well what hard scratch-
ing it was to make a living in non-
theatricals.
The Masonic Temple Building shel-
tered not only small producers attracted
Walter Yorke's careful preliminary
survey of non-theatricals made him
one of the least disillusioned men in
it. He never expected too much.
there, but offshoots of Community Serv-
ice itself — or, rather, one ought to say,
perhaps, offshoots of the Community
wartime system. The Y.M.C.A. Motion
Picture Bureau now was here ; and
George Zehrung was carrying on with
a much reduced, peacetime appropria-
tion. Zehrung was director, of course,
with a very capable young assistant, A.
L. Frederick, as secretary, and Walter
Yorke supervising the actual physical
handling of the films going in and out.
But by this time Walter Yorke, in his
patient, thorough way, had satisfied him-
self that he knew the general working
of this curious new trade, while he also
had arrived at certain opinions about
how the machinery might be bettered. Of
one thing he was especially certain —
that the money to be made there was not
along the lines of the Y.M.C.-X. work
in supplying free films. It might be
proper enough for its Association pur-
poses, but in other circumstances he felt
tliat non-theatrical users should pay for
the service.
"Free" films, as listed in non-theatrical
catalogues, are usually so designated in
quotation-marks, which is a little puzzling
to the uninitiated I'ntil one explains that
it means that the films are free save that
the user pays transportation charges
both wajs — or, in a new instances, just
for return. That the subjects are other-
wise free means usually also that, with
the exception of a few endowed sets here
and there, they are dripping with propa-
ganda. Walter conclrded that there
were clients who would be willing to pay
a nominal sum for relief from these
embarrassments and, on this concept, he
determined to found his own business.
Of course, there seemed to be only one
substantial source of material for such
a project, and that was the theatrical
exchange with its outworn pictures. There
was, however, another, lesser source
which never has been sufficiently appre-
ciated ; and that comprised the entertain-
ment films made for theatres but which
the theatrical booking offices, for one
reason or another, had never accepted.
.^nd then, also, he concluded, when one
refers to "used" theatrical material, it
need not necessarily mean cracked, torn,
dirty prints. .As long as the non-the-
atrical rights are legitimately obtained,
the buyer commonly has the right to have
new prints made at a laboratory desig-
nated by the owner of the negative.
The Reclamation Idea
While it is clear from much going
before in these pages that salvage of
theatrical films for non-theatrical exhibi-
tion was not, at this late date, a new
idea — Lyman Howe having profited from
it in the Nineties — there apparently had
been no business founded completely upon
it until the later days of the General
Film Company. The educational lists
of Urban and Kleine, dating back to the
same broad period, actually represented
just lesser outlets for fundamental the-
atrical enterprises. The narrow General
Film story is interesting ; and it owes
its being to an original member of the
reviewing committee of the old National
Board of Censorship, Mrs. Ruth Gould
Dolese.
Mrs. Dolese, seeing the thousands and
thousands of feet of new subjects as
they issued from the Patents companies,
thought of their potentialities in the cause
of education, and became curious about
what happened to the reels when the
theatres had finished with them. Her
investigation resulted in the formation
of an Educational Department by Genera!
Film primarily to engender good will
in public relations. She was placed at
the head of it, but physical handling was
referred to Louis R. de Lorme.
De Lorme's department was given the
privilege of taking over any of the
fit reels returned by the exchanges as
theatrically exhausted, without charge,
his duty being then to see what he could
obtain for them from churches, schools,
clubs and so on. To facilitate matters,
in December, 1911, while General Film
was still at 200 Fifth Avenue, a tall,
narrow, illustrated catalogue of some forti'
pages, was printed to call these subjects
May, 19 }9
Page 1S5
to the attention of the non-theatrical
field. I am renewing my acquaintance
with a copy of it now.
The listing is of perhaps SOO items.
rather pompously grouped under the head-
ings Philosophy, Religion, Sociology,
Philology, Natural Science, Useful Arts,
Fine Arts, Literature and History, with
a little straining here and there to make
given subjects conform. On the back
cover are four quotations evidently de-
signed to impress the non-theatrical user
and somewhat quaint in reading today.
Mark Twain said, it seems, that, "The
modern motion picture show makes one
feel brighter, healthier and happier." El-
bert Hubbard was more succinct. He
observed simply, "I am a motion picture
fiend." The ever-surprising Thomas A.
Edison remarked, "The death knell of
the saloon is sounded through the modern
picture show," and there is an inevitable
quotation from the ubiquitous Professor
Frederick Starr of Chicago University,
"The moving picture is the highest type
of entertainment in the world."
What interests me especially, however,
is to notice the generous inclusion of the
real non-theatrical subjects — notably the
social service and industrial items. Here
is the two-reeler made for the Visiting
Nurses' Association; the films made for
New York's Fire and Police Depart-
ments ; the pictures of Army and Navy ;
"The Boy Scouts of America at Silver
Bay" ; the Edison chemistry pictures ;
Pathe's "Boil Your Water"; Lubin's
"Marble Quarrying in Tennessee" ; "King
Cotton" ; Edison's homily on impure milk
—"The Man Who Learned"; "The Birth
and Adventures of a Fountain Pen" ;
"The Red Cross Seal" and other old
friends with sentimental memories clust-
ering around every one.
But this department of General Film
still is not the business founded exclu-
sively upon used films to which I re-
ferred. To General Film the enterprise
remained just a form of salvage and an
encouragement to theatregoers; to old
De Lorme it was much more. He re-
mained with General Film Company,
building his dream, until came the un-
mistakable writing on the wall which
made certain the end of that interesting
attempt at monopoly. Then, with the aid
chiefly of two friends. Henry Major.
Jr., and Charles H. l.amb, he bought in
a sufficient library of the scrap film and.
in June. 1915. he formed the Public Edu-
cational Film Company, with a capitaliza-
tion of $5,000.
A little later came an opportunity for
stronger support from Mr. Schwanhauser.
of the Qiarles Beseler Company of 133
East 23rd Street. This organization,
engaged in supplying stereopticons and
lantern slides to lecture circuits, and in-
cluding the active free lecture system of
the City of New York, and no doubt im-
pressed by the activities of the Kleine
Optical Company in Chicago, saw in De
Lorme's enterprise an opportunity for
themselves ; so De Lorme sold out to
them for a snug little profit and hied
himself to his homeland. The new owners
formed the Beseler Film Company, with
offices in the Masonic Temple Building.
But after about two years, when the
War began and the Fosters became active.
the Beseler Film Librarj- was sold to
Community Service for another snug little
profit. The Beseler Film Company,
however, continued as a casual service
to inquiring friends.
Before the departure of De Lorme,
some General f-'ilm officials had begun
to realize that the non-theatrical field
might be developed into larger profits.
Besides, the mere fact of De Lorme's
going did not stop continued requests
from the field to that address. So the
non-theatrical department was kept go-
ing, now in charge of Catherine F. Carter.
Mrs. Carter was an excellent choice. She
was one who had caught the idea of im-
proving small opportunities as the secret
of success, and she now worked at this
new opportunity with all of the self-
denial and surrounding discipline of a
stern old soldier.
Although, with the ultimate and in-
evitable fall of General Film, it was out
of the question to expect this depart-
ment to go on independently, Mrs. Carter
did succeed, in the comparatively short
time remaining, in developing a sufficient
number of personal contacts and enough
Dr. Henry Marcus Leipziger did his
memorable work in the cause of adult
education. Visual teaching in New
York's public schools was greatly
aided by the machinery he established.
confidence in her ability to serve customers,
so that, when the end did come, she was
able to start a little non-theatrical busi-
ness of her own. Her office was opened
in the nearest structure where tenants
were permitted to traffic in celluloid, the
now familiar Masonic Temple Building.
A Business for W.\i.ter Yorke
While Walter Yorke was pondering
on these things and many more, a man
named Borthwick, a successful salesman
of asbestos products, had come impul-
sively into the business. Borthwick's
Christian name, Lincoln, would not call
for comment if he had not had a brother
named James Garfield and another, rumor
had it, named William McKinley, making
the trio of assassination complete.
Borthwick had been visiting casually
around Yorke's workshop, probably try-
ing to sell asbestos booths or materials
for them, when it occurred to him that
here was an opportunity for a nice little
business of another sort. Yorke, being
more substantially of the same mind,
agreed, but pointed out the difficulty of
obtaining new pictures. Borthwick re-
plied that that was no problem at all
as, in his travels, he could easily pick
up all that might be required. He was
so persuasive that finally Walter Yorke
gave him a sum of money with which
to purchase a supply. Borthwick there-
upon went oflf, and for several months
Yorke heard nothing from him. But
Borthwick, despite his silence, was doing
a highly constructive piece of work.
He was in Canada, and he had learned
that, for some reason or other ( a ques-
tion of customs duty, no doubt), the
Paramount branch operating in the Do-
minion was disposing of a large number
of unused reels. He acted quickly and
bought them in. They really were an
excellent lot ; but the deal was a risky
one for Paramount to permit because of
possible complications over the specific
ownership of non-theatrical rights. Para-
mount never sold any more that way
again. But Paramount had done it this
time. So Borthwick arrived in New
York with his treasure; and he and
Walter Yorke promptly formed a part-
nership to market it. They called their
concern Edited Pictures System. Zehrung
was willing to reduce his own rent by
sharing his quarters in the Masonic
Temple Building, so Edited Pictures
System began there.
That this arrangement with the
Y.M.C.A. lasted as long as it did was
a tribute to the excellent characters of
both Yorke and Zehrung. That it could
not go on indefinitely was apparent to
even casual observers, because the re-
spective business purposes of Yorke and
Zehrung were essentially opposed. The
former sought to rent his films in a
period when rental was by no means a
popular way to obtain them; the latter
offered his reels free of charge save
that the user had to pay for carriagre.
Zehrung's plan was supported by indus-
trial concerns anxious to secure distri-
bution of their propaganda films, giving
the Y.M.C.A. the requisite number of
prints and paying— at that more liberal
time — $25 per reel annually for inspec-
tion and storage expenses. The pictures
were sent not only to Y.M.C.A.'s but
to churches, clubs, welfare organizations
and virtually all of the other groups
from which Yorke hoped to gain revenue.
The upshot was that, about 1923,
George Zehrung and his outfit moved
uptown again, this time to share less
prejudicial quarters with the Motion
Picture Bureau of the Western Electric
Company, in 41st Street. I am glad to
report, however, that Walter Yorke and
George Zehrung remain friends.
The separation did not involve Borth-
wick. Some little time before it came
poor Borthwick had died. He had been
in ill health for many months and, during
his retirement from business, Yorke had
managed to buy out his share in Edited
Pictures. In fact. Borthwick was still
living and Zehrung was still a joint
tenant when Yorke contemplated another
association, the long-to-be-sustained one
with Dr. Ilsley Boone.
Page 156
The Educational Screen
Boone, and another impressive gentle-
man, with a beribboned pinc-nez, named
Dr. Carl T. Pierce, who was a vice-
president of Urban's Kineto Company,
had some office space of their own
in the Masonic Temple Building. As
trained educators and able promoters
they had won an exceedingly attractive
non-theatrical prize, namely the contract
to supply pedagogical motion pictures to
the New York City schools. A little
poetic justice lay in this, too, for in
Kleine's catalogue submitted to the New
York Board of Education in 1910, the
stronger educational items had come
from Urban. In the interest of present
clarity, and to prepare for discussion
later, it is important here to sketch the
circumstances in which this present con-
tract was awarded.
The Director of Visual Education for
the New York City school system — an
office recently established — was E. E.
Crandall. The country as a whole had
just been swept by a great impluse to
use films in the classroom and, in the
spring of 1922, Dr. Crandall, a little
envious, perhaps, of visual education
centers developing in Chicago and Wash-
ington, had become president of a Man-
hattan group calling itself the Visual
Instruction Association of America. In
this organization, Rowland Rogers,
largely by virtue of his recent exper-
iences as editor of an educational reel
lately circulated in theatres, was chair-
man of the Curriculum Committee.
Rogers, incidentally, had rented office
space from Boone. Here, obviously, was
a situation out of which a carefully
adapted commercial group might make
money by supplying the film needed.
Boone became the visible representative
of the idea and, requiring a company
status to make a contract with the City,
formed a close organization called
Argonaut Pictures. As far as I know,
it was not a resurrection of the Argo-
naut Flms, Inc., announced in October,
1916, the principals of which were Oscar
A. C. Lund, William H. G. Wyndham-
Martyn and H. G. Crosby, especially as
the last-named group had been capitalized
for $250,000. Boone was still seeking
capital, and employed for general pro-
motion of that sort, one Dr. Russell, a
Baptist minister from Syracuse.
What this pedagogical Argonaut also
did not have worked out were the not
inconsiderable details of where the films
were coming from and of their physical
handling. But Boone, being a resource-
ful person, looked around and saw Walter
Yorke as the very man to fill the gap.
Walter was agreeable because it meant
a profitable outlet for his wares and
services ; so Boone and Argonaut, being
richer in ideas and contracts than in
funds, brought theii* belongings to a
larger office space at Edited Pictures.
I knew Boone very well indeed, and,
in common with a great many others,
genuinely liked him. He was reserve
pastor of the Ponds Reformed Church
in the little New Jersey community of
Oakland. He had been connected with
the Nassau County Welfare Board and
the Rockefeller Interchurch World Move-
ment, and had had some editorial ex-
perience with a religious publishing
house. He knew a great deal, too, about
prevailing teaching methods in the grade
schools. With assurance and ease he could
converse on terms of complete equality
with either ministers or school officials.
Also, he could show Yorke what to pro-
vide and what to omit in his classroom
subjects. Altogether he was an excellent
man for an unassuming non-theatrical
distributor to have around.
The relationship of Boone and Yorke
lent many an interesting sidelight on the
latter's character. Yorke never changed
his attitude towards the business from
the time when he experimentally juggled
film cans for the Y.M.C..\. When he
came to head his own enterprise and
stand among the few consistently sub-
stantial figures in the entire non-
theatrical field, he still was to be found
by unsuspecting strangers, working in
the vaults and at the cutting-tables,
completely and sincerely deferential to
his humblest customers. I never have
met a man so lacking in affectation in a
business where affectation is a prevail-
ing vice.
If one came in asking for the head of
the establishment, Yorke invariably then
referred him to Boone — if Boone was in.
He felt that he could be a better judge
of values by remaining an observer and
by attending to his own department of
the business. There is an amusing story
about that. A gentleman who had long dealt
with Edited Pictures, without knowing
much about its personnel, once stopped
on his way out and, putting his hand
on Walter's shoulder said confidentially:
"I've just been talking to the boss about
how efficient you are. He said some
complimentary things about you, and I
wouldn't be surprised if he gives you
a raise.^ Walter just thanked him
earnestly, and said nothing about it to
anyone. The incident became known
only because there was a witness.
There were various assistants in the
place. There was the kindly and willing
man-of-all work, Emil Eppright. There
was Boone's daughter, doing typing.
There was Freddie, the film boy for
George Zehrung during his tenancy. Two
women working variously for Yorke and
Zehrung, sat at the film inspection tables.
But, above all, there was Madge
Brotherton. She had general charge of
the front office. Miss Brotherton had
been with General Film while De Lorme
f^ext Month
June brings the tenth install-
nnent of "Motion Pictures —
Not For Theatres." The Farm
Bureau Federation establishes
its own non-theatrical circuit;
Educational Pictures, Inc., is
formed by Earle Mammons, but
capitulates to the public pref-
erence for slapstick comedies;
and Watterson Rothacker sets
up the first company exclu-
sively to produce pictures for
deserving non-theatrical clients.
was working out his non-theatrical plans;
she had been with Community Service;
she had seen this field grow from the
beginning.
An attractive, highly intelligent girl,
with plenty of spirit, she had seen so
iTiuch imcompetence, bluff and general
dishonesty in various phases of this fan-
tastic motion picture industry, that she
particularly prized the genuine, practical
unassuming character of Walter Yorke.
About 1927, Walter Yorke and Madge
Brotherton were married. For the in-
crease of the happiness which they have
known bountifully since, I wish with all
my heart that the union might have been
much earlier.
The association of Yorke and Boone
to serve the New York City school
system was based on something more
than a contract and a mere premonition
that the work would become profitable.
The possibilities had been somewhat ex-
plored. George Kleine's painstaking
demonstration before the Board of Edu-
cation in 1910 had led, in 1911, to suc-
cessful local experiments with classroom
films and to Superintendent Maxwell's
recommendation that, at the start of the
next school year, projectors be installed
in educational institutions throughout the
City. In the autumn of 1912 the Brooklyn
Teachers' Association had conducted
further tests and, sporadically during the
War period and in the few years im-
mediately thereafter, those favorable
findings had been confirmed.
Leipziger Paves the Way
Even the system for handling the films
had been organized to a surprising de-
gree, although not with the express in-
tention of providing them to classrooms.
The person who had done this was the
extraordinary Dr. Henry M. Leipziger,
supervisor of the Free Lecture Bureau
of the New York City Board of Educa-
tion from 1889 until December 1, 1917,
when he died.
The Bureau existed to provide adult,
popular education from the lecture plat-
form, using school auditoriums after
school hours, and presenting competent
speakers who were either willing to donate
their services or to give them for nomin-
al sums representing their expenses. The
plan had been instituted with apparent
success in 1888, at the suggestion of the
New York World; but attendance fall-
ing off during the second year in the
six schools used for the experiment.
Miles O'Brien, Commissioner of Educa-
tion, appointed Leipziger.
Leipziger was then a man of about
thirty-six years of age. He had been
born in Manchester, an English Jew,
coming to America at the age of eleven.
He had been educated in the New York
City public schools and, in 1872. had
become a teacher there. He studied law
and was admitted to the bar in 1875 ; but
he never practiced, continuing as a
teacher until about 1880, when an attack
of consumption obliged his resignation.
As his health then slowly responded
to remedial treatment, he was made the
head of the newly-formed Hebrew
Technical Institute, where he speedily
showed his administrative genius.
(To be continued)
May, J 939
Page 157
Evaluation of Still Pictures for
Instructional Use - Pan iii
By LELIA TROLINGER
Secretary. Bureau of Visual Insfruction
University of Colorado, Boulder, Colo.
IT is highly improbable that many
teacliers will take the trouble to
grade eacli picture used by assigning
values for the various qualities. After a
few have been graded, it is much more
likely that they will hastily check to see
if most of the qualities are average or
above, and judge the picture as a whole
on that basis. The chief value of the score
card is probably in its power of sug-
gestion to a teacher who is interested.
Many teachers unconsciously consider a
number of the qualities listed on the
score card when they select a picture.
However, some of the most important
qualities may have been overlooked. This
score card merely suggests the criteria
which a teacher may use in selecting
pictures for use in the classroom, and
adds values which represent what ex-
perts in the field of visual instruction
have indicated as appropriate. In the
distribution of points to indicate value
lies the superiority of the score card
over a check list without numerical
values. The fact that experts judge
truthfulness as more than twice as im-
portant as color in a picture may be of
interest and value to teachers. Whether
the teacher uses the scorecard to grade
each picture, taking each quality separ-
ately, or whether she merely estimates the
value of the picture after becoming
familiar with the various criteria de-
pends upon individual habits. The im-
portant thing is that she will probably
take more qualities into consideration
than she would have done if she had
never seen the score card.
Overview of Plan of Procedure
The first consideration in planning
the experiment was how to set up an
experiment which would prove to be
reliable and valid, and which would
indicate whether or not the score card
had value in aiding teachers to select
pictures for classroom use. It was evi-
dent that there would have to be a
comparison of grades given to pictures
both without and with the score card,
but that would prove nothing unless
some means could be found to arrive at
a standard which could be used as a
basis of measurement. After considera-
tion of ways and means, the judges
who had assisted in the information of
the score card were asked to help again
by evaluation of a group of pictures.
Then using the same pictures, with
those evaluations as a basis, compari-
sons were made with the grades g^ven to
the pictures by teachers and students, first
Third and concluding article of series begun in
March. The three, including all supplementary
material and cuts of the twenty pictures used in
the study, will be ready in reprint form in June.
without and then with the score card,
to see if any noticeable improvement
resulted.
Selection of a Unit of Study for
Reference
Since the value of a picture depends
greatly upon where it is to be used and
in what connection, it was necessary
to select a unit of study for reference,
and also to designate the grade level.
Through the courtesy of the Denver
Public Schools, permission was given
to use a portion of their course of
study. The unit chosen was selected for
two or three reasons. From a practical
standpoint, one had to be selected for
which pictures would be available. Also
it was thought wise to select one which
would have general interest, since it
was planned to have data supplied
from as widespread area of the United
States as was possible. Regional in-
terest also played a part in the selec-
tion. The unit finally chosen was one
on the American Indians. This subject
seems to be of almost nationwide in-
terest, and most courses of study in-
clude one or more units on the Indians
during the elementary school course. In
the Denver course of study, four units
are offered in the third grade on the
American Indians. One was sufficient
for this study, and the one dealing with
the Indians of the Southwest was se-
lected. Topics emphasized in that unit
are food, clothing, shelter, art and re-
ligion.
Since teachers in eastern states might
be unfamiliar with the background, the
habits, and characteristics of the
Indians of the Southwest, a short sum-
mary of the information given in the
bibliography of the course of study for
that unit was made. One or two refer-
ences were included in the reading for
that factual background for the teachers
who were to take part in the experi-
ment. This factual background given
as a basis for the material to be pre-
sented in the unit also insured to some
degree a more uniform consideration of
the pictures. Copies of the unit and
also of the factual background are
given in the appendix.
Selecting the Pictures
The selection of the pictures* was
more or less a subjective matter. The
•All tw»nty pictorca us«d in the rxperfanent
will tw reproduccM) in the complete reprint, to-
scethor with much material necessarily omitted
in these installments, plug apiiendices. biliio-
craphies. etc. The reprint (Price 50 cenU) will
be ready June 1st. 1989.
writer felt that it would be wise to
include a few pictures on which there
would be relative uniformity of opinion.
Hence several excellent pictures were
chosen. A few were selected because they
were definitely poor in quality. In fact,
some were so poor that it is a question
whether a teacher would ever be justi-
fied in using them. Some of them show
practically every quality which good
pictures should not have : hazy, inartis-
tic, underexposed, fuzzy in outline, poor
selection of finish and paper, no sug-
gestion of relative size, inappropriate
to age-level, etc.* Some of the pictures
were chosen because they were good
for some teaching situations but were
questionable for the unit used in the
experiment. In general, an attempt was
made to select the pictures so that some
were good, some fair, some bad and
some very bad. A truly excellent pic-
ture is likely to be judged that by all
studying it, but it takes a poor picture
to determine discrimination. A strong
argument for the need of definite stand-
ards is the general acceptance by so
many teachers of these exceedingly poor
pictures as valuable aids.
The final evaluation of the pictures
was of course dependent upon the judg-
ment of the experimenters. However,
an Extension class in visual aids, com-
posed of experienced teachers, was in
progress at the time the pictures were
being selected. Lantern slides of about
a hundred Indian subjects were avail-
able for which there was access to the
negatives. These were shown on the
screen and the teachers were asked to
select a group which they considered
worth using, another which were con-
sidered excellent, and a third which
would be of no value. In the process
of elimination, the group of some
twenty-five or thirty finally were select-
ed from the hundred. From that group,
after removing those which were to a
certain extent duplications, seventeen
pictures were selected. Two railroad
companies, the Atchison. Topeka and
Santa Fe, and the Denver and Rio
Grande Western, had offered to make
one or two pictures for the experiment.
Several subjects which were not repre-
sented in the group selected from the
negatives belonging to the Bureau of
Visual Instruction of the University of
Colorado, were listed and these two
railroad companies selected what they
considered good prints of those subjects
and submitted them for the experiment.
When the pictures were made from
the available negatives, through a mis-
Page 158
The Educational Screen
understanding, several were made on
the wrong type of paper for good photo-
graphic results. Five complete sets of
the twenty pictures were made alto-
gether. In order to make considerable
contrast and bring out certain qualities
given on the score card, several of these
poorly printed pictures were retained.
A number of others were made on dif-
ferent paper. The prints made by the
railroad companies were of a still dif-
ferent finish. The result gave a rather
wide variation in the pictures. Some
which might be classed as good from
an instructional standpoint, were poor
technically speaking and vice versa.
This plan seemed advisable if discri-
mination was to be exercised. The
number of twenty for the group was
purely arbitrary. More than twenty
seemed to make too cumbersome a
group to ask teachers to evaluate.
Fewer than twenty might have been
criticised because of the lack of variety
in subject-matter. Actually in teaching
the unit, many teachers during the three
to five weeks usually given to the sub-
ject would use from twenty to forty
pictures. Others might use fewer.
Twenty seemed to be a usable group
which would be free from severe criti-
cisms from either angle.
The pictures were numbered by
chance, and following the title, a short
descriptive paragraph was typed on the
back of the picture. The first form
made definite suggestions as to grade
placement depending upon the judgment
of the subject doing the work as to
the excellence of the picture. Teachers
were asked to consider 90 — 100 as ex-
cellent; 80-89 as good, 70—78 as fair,
60 — 69 as poor, and below 60 as very
poor or of little value, discriminating
as much as possible within those gradu-
ations of those which might be termed
good, excellent or fair. Without these
suggestions, it was feared that the term
"good" might mean seventy to one and
ninety to another. The pictures were
numbered and a number corresponding
to the number on the picture was pro-
vided for the grade of that picture.
Instructions for Grading the Pictures
In order to make the experiment as
objective as possible, care was taken
to make the instructions for the persons
grading the pictures clear and concise.
Certain data had to be explicit, hence
the first instruction sheet included a
number of statements which could be
checked for that information. Besides
the general results, a comparison of
the grades given by experienced
teachers, with several years actual
classroom teaching, by inexperienced
teachers, and by teachers who had some
training with visual instruction proced-
ure, seemed advisable and offered op-
portunity for interesting contrast. Pro-
vision was made on the first instruc-
tion sheet for these and other data
which made comparison possible.
The second instruction sheet which
accompanied the score cards was brief
since more of the detailed information
was included on the first sheet. It did
explain the method of use of the score
card and contained blanks for tabu-
lating each specific quality listed on the
score card.
A letter was sent to those who were
to conduct the experiment, giving full
instructions for the procedure. Along
with these instructions and the pictures
were sent also the second instruction
sheets and the score card for the second
part of the experiment. Returns from
the first one or two groups indicated
that there was confusion about two points,
so an addendum was made to clear these
points. Those who had misunderstood
were given a chance to correct that
misunderstanding. Apparently with
that correction, the instructions were
clear since later the teachers seemed
to have no difficulty in completing the
forms. Of course a few evaluations
were incomplete or mis-read, but in
general the returns which had to be
discarded were few in comparison with
the total group which assisted in the
experiment. In the experiment proper
238 returns were used and 53 discarded
because they were incomplete.
When the pictures and the tabulation
forms weie ready and a suitable letter
prepared, the questionnaires of those
who had helped to make the score card
were checked. Those judges who had
participated in making the score card
and also had consented to aid in the
experiment were listed. There was no
special order in the list. It was more
or less in the order in which their
letters had been received and filed.
Some judges had indicated that they
could aid by having teachers or stu-
dents in classes in education grade the
pictures ; others were willing to grade
the pictures themselves but had no
facilities for helping beyond that. The
two groups were listed separately and
letters were written, to two or three at
a time, asking them when it would be
most convenient for them to render the
aid that they had promised. The dif-
ferent sets of pictures were then booked
to these judges who were evaluating the
pictures themselves or having it done
by groups of students or teachers, as
fast as the limited number of sets of
pictures could be scheduled. With each
shipment of pictures, went a form letter
to the judge with full instructions for
his part of the work ; enough forms of
both the first and the second part to
accommodate the number of persons he
had indicated would help him when he
suggested the dates for his part of the
work; the same number of factual back-
grounds, outlines and score cards. The
judge was asked to let at least four
days elapse between the first and the
second part of the experiment, and
those aiding were asked to refrain
from a discussion of the experiment
until the second part was finished.
While no check was made on the man-
ner in which the judges actually con-
ducted the work, the high caliber of the
men and women who were assisting
and their interest in the work, would
insure an honest and careful attempt
to carry out the instructions in the most
scientific manner.
When the tests were completed, the
two forms of each person participating,
the pictures and any otiier data which
they did not care to keep, were returned
to the writer and placed on file in the
order in which they were received.
During the summer school, evaluations
were made by classes in visual aids
and other related subjects taught by the
writer. These classes were composed of
teachers from many sections of the
United States. Several classes during
the school year at the University of
Colorado were given a chance to assist,
and since most of these were prospec-
tive teachers, it gave a further cross-
section of ability.
The collection of the actual data was
begun in the fall of 1935, continued
through that school year, was carried
on during the summer of 1936 as exten-
sively as could be done, and was con-
tinued in the school year of 1936-37 to
about the first of January, 1937. .\ few
reports from judges were received after
that date, but the student-teacher eval-
uations were completed in January for
the experiment proper.
Teachers who are interested in com-
paring their estimates of the pictures
with those the judges and experiments,
will find a complete summary of the
grades, including the means which were
not actually used in the report of the
study, in Table III.*
Scope of Data
Sixty-seven questionnaires were sent
to national, state, city and county of-
ficials to secure the data for the score
card. Of the thirty-five who returned
the questionnaire in time to be used,
thirty-three indicated that they would
be willing to help again in grading the
pictures if an experiment was under-
taken. When the pictures and forms
were ready for the experiment, letters
were written to these thirty-three, stat-
ing that the preparatory work was com-
pleted and asking them when they could
carry out their part of the experiment
most conveniently. Because of changes
during the lapse of time between their
first help and the request for the second
part, several found it impossible to aid
further. One or two judges' data sheets
had to be discarded because they were
incomplete or did not follow the out-
lined plan. Nineteen judges contribut-
ed to the picture scores which were
taken as the basis of comparison.
Teacher and student returns numbered
291, but of this group S3 were incom-
plete and were discarded. While the
number of judges who assisted was
small, the geographic distribution of the
total number of those who took part,
including the judges, was national in
scope. Twenty-eight states, from Rhode
Island to California, from Minnesota
to Florida, were represented in the final
collection of data.
Possible Causes for Unusual Variation
in the Grades Given to the Pictures
A few extreme cases appeared in the
grades given the pictures by both the
judges and the teacher-student group.
To minimize the effect of these ex-
treme cases, the median (see appendix)
•Table III will appear in the reprint.
May, 19)9
Page 159
of the scores was chosen as the measure
of central tendency. The great varia-
tion may have been due in part to in-
dividual likes and dislikes. The emo-
tional reaction to pictures is likely to
he more pronounced than it is to the
printed page. Pictures which create a
favorable reaction on one person may
have the opposite effect on another if
the latter has not had sufficient prepa-
ration for them. The reaction of
teachers who had little or no previous
knowledge or interest in Indian culture
and Indian life, despite the factual
background which was given to each
person helping with the experiment,
would not be the same as that of a
teacher who had a richer background
for the subject.
The unit for which the pictures had
been selected was a third grade project.
Only a fractional part of those partici-
pating in the experiment were third
grade teachers. Naturally the reaction
of the third grade teachers differed
from that of teachers of advanced
grades, high school, or of principals and
superintendents. High school teachers,
when attempting to evaluate the pic-
tures for the third grade level, often
expressed a doubt concerning their de-
cisions even when the age level was
consciously considered.
Also different standards for grading
contributed undoubtedly to the varia-
tions on the grades. To one person the
numerical score of a good picture may
be ninety; to another it may be eighty;
while to a third it may be seventy-five.
Scores for pictures are not unique in
this respect. Tests have shown that in
as concrete a subject as arithmetic, the
same paper when graded by different
teachers may vary almost from zero to
a hundred when graded on a percentage
basis. The same thing happened in this
experiment. One hundred points repre-
sents a perfect score. Yet grades for
a specific picture had a range in some
cases of almost a hundred.
Rank CorreUtions
Most teachers, however, despite vari-
ation in standards for grading do make
comparisons of one paper or picture
with another when evaluation of a
group is being made. That is, if one
picture is graded eighty, one which is
considered just a little better is graded
eighty-one, eighty-two, or eighty-five.
This difTerentiation is even more pro-
nounced when a number of qualities are
considered. Evidence of this, statistic-
ally speaking, was the fact that in
general the quartile deviation for the
scores with the score card was greater
than it was without the score card. Be-
cause of the tendency to base grades
more or less upon comparisons between
pictures or qualities, the calculation of
ranks of the pictures was selected as a
straightforward method which would
give greatest reliability to the conclu-
sions.
The pictures were ranked according
to the scores given by the medians of
the judges. Then ranks were assigned
to the pictures based on the scores of
the various classifications of the teach-
ers and students, both with and without
the score cards. A comparison of
ranks gave a basis for comparison to
discover if the score card actually was
helpful.
Table I* gives a complete summary
of the rank correlations of the various
group classifications. In every case,
the correlation between the judges and
the group under consideration was
greater with the score card than it was
without it. In every case except one,
the correlation between the judges and
the group under consideration was
greater than it was between the same
group with and without the score card.
The one exception was in the group of
teachers who taught on the grade level
of the unit to which the pictures were
referred. Since in many schools the unit
on Indian life is given in second, third
or fourth grade, teachers who taught
in any one of those three grades were
grouped together. In that group, the
correlation between the grades given
with and without the score card was
.026 higher than was the correlation
between the judges and the group with
the score card. The number of teachers
in this group was relatively small, too
small to make any conclusions about it
definite, statistically.
The results of the group which had
courses in visual instruction was disap-
pointing. Judging by the rank correla-
tion, their course had contributed little
to their ability to judge pictures for
classroom use. However, the explana-
tion of this lack of ability may lie in the
fact that more than half of those re-
porting that they had had courses in
visual aids, reported also that they were
students with no teaching experience.
They had had no opportunity to test
their knowledge in a concrete situation.
Part of this same group reported that
they had had experience under a visual
instruction director. Since they had had
no teaching experience, except as stu-
dent teachers, this lack of actual class-
room experience under a supervisor
may have affected that group correla-
tion somewhat also.
With the exception of the inter-group
correlation of the second, third and
fourth grade teachers, the highest cor-
relations without and with the score
card with the judges and within the
group, was for those teachers who had
had from one to five years teaching
experience. Again, however, this was
such a small group that conclusions
cannot be drawn from it with any de-
gree of certainty. Teacher training
institutions during the past ten years
have placed much more emphasis upon
visual aids than was done previously
and it is possible that had a larger
number been represented in this group
in the experiment, the results would
have been similar. The difference of
the rank correlations of those in the
groups which had had more than five
years experience was so slight as to be
Reliability of the Experiment
In order to check the score card for
•Tabic I will appear in the reprint,
negligible.
reliability, a second small experiment
was performed in the summer of 1937.
In two classes in summer school, the
teachers were asked to help in the ex-
periment. The object of the experiment
was not explained, and no information
was given in advance of the method.
This time they were given the pictures
with no score card and with all the
instructions which had been given to
the original group who had helped.
They graded the pictures just as the
previous group had done. After two
days, they were given the same pictures,
the same instructions and asked to re-
grade them, again with no score card.
The following week they were asked to
grade the pictures with the score card,
and after two or three days, were again
asked to grade them with the score
card. This was done in the attempt to
see whether or not the correlation be-
tween the same group under the same
conditions would be as great without
the score card as with it.
About ninety teachers assisted during
the summer, but several forms were not
complete. Eighty-one cases without the
score card were complete. Eighty were
complete with the score card with the ex-
ception of one picture in one case. This
omission was not discovered until most
of the data was tabulated so that case
was included for the other nineteen
pictures. The teachers in the group
represented a fair sampling. Seventeen
states were represented. Both gradu-
ate and under-graduate students, ex-
perienced and inexperienced teachers,
and grade levels from kindergarten to
public school executives, were repre-
sented in the group.
Comparison of the results was made
for the two grades given the pictures,
both without the score card and with
the score card by means of the Pearson
"r" (see Table H*). The correlations
were not high for either group but for
all except three pictures, that is for
85% of the pictures, the correlations
were higher for the grades with the
score card than without it.
The pictures were then ranked just
as they had been in the first part of the
experiment, by means of the medians.
The rank correlations were computed
and it was found just as in the experi-
ment proper, the rank correlations were
higher with the score card than without
it, and also that the correlation between
the judges and the group with the score
card was higher than it was between
the group itself without and with the
score card (See last part of Table 1.
Present Status of Standards for
Judging Pictures
In establishing standards for judg-
ing pictures, most authorities have se-
lected arbitrarily a few qualities which
are desirable for an instructional pic-
ture and have emphasized those particu-
lar qualities in their writings. Experi-
mentation is very meager. Most of the
qualities seem to comply with accepted
laws of learning, but diflFerentiation of
values of different qualities remain to
*Table II will appear in the reprint.
(Concluded on page 178)
Page 160
The Educational Screen
AMONG OURSELVES
Notes from and by the Department of Visual Instruction, N.E.A.
Conducted by the Editorial Committee
Etta Schneider, Chairman
What Are We Teaching in Our Audio-Visual
Aids Courses This Summer?
By W. GAYLE STARNES
In Charge of Audio-Visual Aids
University of Kentucky, Lexington, Ky.
SOON several thousand teachers and prospective
teachers will enroll in summer-session general
audio-visual aids courses in colleges and univer-
sities throughout the nation. What shall we have to
offer them? Will the courses be a study in electricity,
optics, or mechanics of motion picture projection, de-
pending upon the whims or "special interests" of the
instructors? Or will they deal impartially with those
aids usually included in the teacher's syllabus?
Last September a student who had completed gen-
eral courses in audio-visual aids in two of our better
known universities enrolled in our institution as a
candidate for a graduate degree in audio-visual aids.
On a preliminary examination he omitted several items
pertaining to the stereoscope. He frankly admitted he
knew nothing of this mstrument as a teaching tool.
This student has an excellent record, both in scholar-
ship and teaching experience, and it is quite safe to
assume that had the stereoscope been discussed in
either of his courses, he would have been able at least
to identify it as a visual aid.
A superintendent remarked, after having made an
"A" in a "general" course, "My time was wasted. All
we did was sit in a hot, stuffy room and look at motion
pictures for an hour and fifteen minutes every day
during the term."
Ballyhoo and the spectacular nature of certain aids
have spread the erroneous impression that most other
visual aids have been supplanted as teaching tools by
the newer ones. A prominent high school principal
said publicly not long ago, "Our school has kept up
to date in the use of audio-visual aids : years ago we
used flat pictures and excursions ; when lantern slides
became popular we substituted them for the older aids ;
then we discarded the slides for the silent motion pic-
tures; and now we use only sound motion pictures."
It is up to us who believe in the scientific use of
these materials as teaching tools to combat such ignor-
ance. It is doubtful whether we shall ever be able
to educate this principal — he knows too much already —
but we can help his teachers and those who will become
his teachers.
A director of visual instruction in a city school sys-
tem was asked to submit a syllabus for a general course
which might be taught in the summer school of a large
university. The director included in his outline those
topics generally accepted by authorities in the field. He
was informed that he was at least ten years behind time.
The university wanted a teacher who was up to date —
one who would devote the course to "talkies." The
director did not get the job.
Not long ago the writer was called into an emergency
conference. A critic teacher in a teacher training in-
stitution had to be absent the next day and a student
teacher who had had no previous experience was to
conduct a certain class. The student teacher, hurriedly
selecting a film from our catalog, remarked, "I surely
hope this film is in, since I have to take charge," and
"Will it run the full period ?" When it was explained
as gently as possible under the circumstances that
several hours of preparation on the part of the student
teacher would be necessary before the film could be
used elTectively, and that she needed more than ever
the supervision and guidance of the critic teacher when
a film was to be used, she began to discuss the possibili-
ties of other plans — and when she was informed the
running time of the film was eleven minutes, the idea
of having the film-aided lesson was definitely discarded.
Last semester a very intelligent looking young lady
enrolled in our general audio-visual aids course. At
the first class meeting the usual preliminaries, including
a brief outline of the course, were discussed. At the end
of the period, the young lady came to the instructor and
explained that she had enrolled in the course to learn
how to operate a motion picture projector and that if
the course included "philosophy and methodology, I
don't want it. I have had enough of that in other edu-
cation courses." She was advised that, if after hearing
an explanation of the course she still felt that learning
to operate a motion picture projector was all there
should be to it, she should not take the course, and that,
if she would come to the laboratory some afternoon,
the boys would teach her to operate the projector.
It is very doubtful whether students taking their
first course in the field should be permitted to follow
their special interests to the exclusion of a fundamental
understanding of the general philosophy and techniques
of the use of all the tools usually included in the term
audio-visual aids. It is doubtful whether students can
pursue their special interests intelligently without this
fundamental understanding. Because those who are
vitally interested have not spoken and written in inde-
finable terms so indispensable to the vocabularies of
some educators, and because we have not tried to
May, 19}9
Page 161
shroud tlie use uf these materials in mystery, most
teachers think that the only qualification necessary to
be called an expert in the field is the knowledge of how
to operate several projection machin\.^. Therefore, it is
our duty to get across — if we can — in our general
courses the idea that there is more to this audio-visual
aids business than the speaker at the education meet-
ing was able to tell in sixty minutes.
We hasten to explain, lest some misconstrue the first
sentence of the preceding paragraph, that we believe
students should be permitted to make detailed studies
of their sptcial interests. At the University of Ken-
tucky this is taken care of by allowing students to enroll
in specialized and problems courses, ajter they have
successfully completed the general course.
When the students have completed our general
courses this .summer, will they —
1 . Understand that there are many audio-visual aids,
not just two or three;
2. Have incorporated into their philosophy of edu-
cation the fundamental principles underlying the
use of these aids ;
3. Appreciate the fact that the various aids have
definite contributions to make in particular teach-
ing situations and that the effective use of each
aid must be accompanied by, in addition to gen-
eral methodology, techniques peculiar to that in-
dividual aid ;
4. Realize that the work of the teacher who uses
these materials scientifically is increased, not de-
creased ; that unusual care in planning is essential ;
5. Before using any aid, ask themselves questions
similar to the following:
Why am I using this particular aid?
What objective or objectives do I expect to
satisfy by its use?
Is this the best aid available for this particular
purpose ?
Will the hoped-for end be worth the time and
trouble required in the use? Or could I ac-
complish the desired end without the use of
any audio- visual aid?
6. Fully understand that the use of audio-visual
aids should be a part of the curriculum, just as
is the use of books and laboratory apparatus, and
not supplementary to it; and
7. Know the sources and cost, and understand the
care, storage and of)eration of the various aids?
Many of us do not fully realize the enormous respon-
sibility that rests ujKJn us who are now engaged in
teaching audio-visual aids courses. Because of the
comparative newness of the courses as part of the
teacher education curriculum more than an average
amount of attention is focused upon it. The college
administrators are watching to see whether it has any
real contribution to make. Their decision will deter-
mine the role such a course will play in the future in
teacher education. If the gross misuse of many of the
aids is not checked, the movement will eventually pass
into oblivion. labelled, "just another of the many pass-
ing fads in education." Therefore, what we are now
teaching will greatly affect the future of the entire
audio-visual aids movement.
New Englanders in the News
Come very interesting activities have been reported
'^ from members in the New England area, and we
are summing them up briefly here for your perusal.
1. Boston University's School of Education ap-
pears to be a veritable bee-hive of visual activity since
the appointment of Abraham Krasker as Director of
the Division of Teaching Aids. Courses for teachers
and administrators are only a portion, though a major
portion, of all the services offered here. Other activi-
ties are : 1 ) Establishment of film libraries in the vari-
ous subject areas, starting with biology ; 2) An edu-
cational theatre in which current educational film re-
leases are oflfered to education students for review and,
incidentally, for education ; (similar activities are going
on at Teachers College, Columbia University, and at
the School of Education of Ohio State University.)
3) Visual education service for small school systems,
by which $10,000 worth of material will be available
to member schools at a nominal fee.
2. The Harvard Film Service at the Biological
Laboratories received newspaper publicity through the
Associated Press facilities, by the announcement of the
remedial reading motion pictures now being developed
there. Mr. James R. Brewster, one of our loyal mem-
bers in the D.V.I., is the director.
3. The lOth Annual Visual Education Conference
of the New England Section of the D.V.I, attracted
an audience of about 400 persons on April 8th. One
of the talks which drew much comment at this con-
ference was that of Mr. C. A. Lindstrom, of the Motion
Picture Office, U. S. Dept. of Agriculture — who was
recently appointed chairman of the Committee on
International Understanding through Visual Aids for
D.V.I. We print here a copy of this address in full :
Address by Mr. C. A. Lindstrom
¥ N 1934 a momentous convention was held in Rome.
■*■ For the first time in history delegates from practi-
cally every country in the world met to discuss and
plan the utilization of a medium of expression that
speaks a universal language. The fact that thinking
men and women of many nationalities and varied walks
of life would come from all comers of the world to at-
tend the International Congress of Educational and In-
structional Cinematography was evidence of the high
valuation placed upon the motion picture as an aid to
learning. As I look back upon developments in the
educational, instructional and informational motion pic-
ture field since that time, I am inclined to think that
this convention was the fulcrum with which the moun-
tain of doubt was removed from the minds of thousands
of those who were hesitant to employ this upstart in the
educational field and fashion him to serve their needs.
There was apparent a quickening of interest in non-
theatrical motion pictures, and this interest galvanized
into action in various ways and in all parts of the
world. In this country, to point out what I consider
as significant steps, a survey was made, the first of its
kind, of visual aids available in schools, which was
published in the National Visual Education Directory.
This has been of valuable service to both producers and
Page 162
distributors. There has also been established a Motion
Picture Project in the American Council on Education,
various other educational motion picture projects have
been set up by funds from various foundations, and
film libraries have been established in most of the State
Universities.
However, we still seem to lack systematic method of
financing, of production of pictures on an adequate
scale, of acquisition of prints and equipment adequately
to serve our needs, and we have fallen woefully short
of reported accomplishments abroad. The last survey
showed some 10,000 motion picture projectors of all
kinds available in the schools of this country with a
population of some 130,000,000 people. Compare this
with the figures which a foreign observer reports from
Germany. Says he, there are now nearly 30,000 pro-
jectors installed in the schools of Germany, the ultimate
goal being 70,000. They have in use some 250,000
copies of some 500 school films. The service, however,
is not free. Each public school child must pay 20 pfg.
per term for three terms a year, trade school pupils
double that amount and high school and university stu-
dents one mark per term. About 7,000,000 marks an-
nually are provided for the film service by this means.
With almost twice the population we have a little more
than one-third of the facilities for showing films in
schools. We are pitifully behind in the number of films
made for school use and woefully short in the number
of prints available. This is a challenge.
Though I have no recent figures from other Euro-
pean nations, it is a generally known fact that they are
using motion pictures extensively and systematically
for the development of their moral and intellectual life
and ideals. As a delegate from this Government to the
Congress in Rome in 1934, I had an opportunity to
study the use made of motion pictures in agricultural
extension in several European countries. I learned
that since 1921 France has had an organization operat-
ing on a budget of 2,000,000 francs annually for the
acquisition and circulation of agricultural films. We
have nothing approaching that in this country. In
Sweden a producing company working in close co-
ordination with governmental and educational authori-
ties had acquired or produced up to 1934 about 2,700
school film subjects with an unknown number of prints.
These films provided 5,000,000 study periods annually
for the country's pupils. If my figures are right, that
would be the equivalent of 100.000,000 film study
periods in a country with our population.
Are we doing as well, and if not, what are the dif-
ficulties and what can we do about them? Here are a
few things that can be done.
One of the questions that we in the Department of
Agriculture frequently are asked is, "What films would
you recommend for such and such a study?" This
points to the need for study, evaluation, classification
and cataloging of pictures advertised as educational. I
know that this subject is taboo among many heads of
visual education departments who would rather place
their own evaluation on any pictures in their library.
but as one who has had to answer the complaints of
teachers throughout the country, I'm sure that in the
absence of better advice, such a catalog would fill a
(Continued on page 169)
The Educational Screen
DIVERSITORIALS
1 N the June issue we shall summarize the five months'
mfancy of the Film Evaluation Project. It seems
to hold excellent promise of going places and doing
thmgs m the coming school year. The number of dif-
ferent films evaluated has now passed 800, with from
one to fourteen cards on each film.
■ An April "Diversitorial" fulminated a bit over the
New York State "Crews bill." It seems that, at about
the tnne of our writing, an amendment was added to
guard against misunderstanding and assure free use of
sub-standard film by schools. Those schools attempting
use of 35mm films, however, may still find grave diffi-
culties in their way. We are indebted to Ward C.
Bowen for the information.
■ We would urge readers not to miss a syllable of
Gayle Starnes article in the D V I section, "Among
Ourselves," in this issue (page 160). It is a trenchant
commentary on things as they are, unfortunately, which
should be healthfully thought-provoking for thousands
\yho still suppose "motion pictures" and "visual instruc-
tion" to be synonyms. Films are inevitably visual in-
struction, but visual instruction is far, far bigger than
films. A hammer is a highly important carpenter's
tool but certainly not his whole kit. Visual teaching
confined to films is a pedagogic cripple.
■ Last month we listed 80 visual instruction courses
to be given this summer. We now add some 40 more
(page 168). This represents about 50% increase over
last month's list, and likewise 50% increase over the
total list for last summer ! . . . which is rather unmis-
takable evidence of progress.
■ As this issue goes to press the "first" Midwestern
Visual Education Forum is under way. Prospects for
a meeting of real significance were excellent. If real-
ized, the Midwestern Forum should become an annual
function of high value. With this "first" conference over,
another is near at hand. The "ninth" National Confer-
ence on Visual Education (DeVry Foundation) begins
its four-day session June 19th, notable for its abundant
showings of new educational films on a wide range of
subjects. Coming after schools are closed, hundreds of
teachers too busy during the term are free to be present
and attendance has increased remarkably at each suc-
ceeding meeting. (Full program on page 170).
■ To our extreme regret, this May issue lacks an item
common to all our May issues for many years past,
namely, the full program of the session of The Depart-
ment of Visual Instruction of the N E A, always held
in conjunction with the summer meeting of the National
Education Association. No information whatever has
been forthcoming. We can therefore pass on to our
readers merely our earnest hope that the meeting will
take place in San Francisco on July 3rd and 4th next,
at headquarters unknown. Nelson L. Greene.
May, 19 }9 P«8e »63
A Farm Program --In Hand-Made Lantern Slides
By ANN GALE Art Department, Lindblom High School, Chicago
ygrr hen the farm is studied in the primary grades,
lantern slides prove very helpful for the final program
whether it is a party, an assembly or just a special class
exercise. The various stories that children have created
about each phase of the farm study may be given as each
slide is shown on the screen.
These six pictures may be traced on slides and projected
on the screen for such a program.
1.) The trip to the farm.
2.) The arrangement of the farm buildings and fields.
3.) Corn, one of the important plants grown on the farm.
4.) Wheat, another important farm plant.
5.) Farm animals — cows and sheep.
6.) Morr farm animals— chickens and horses.
The sim-
plest type
of ha n d -
made slide
is made by
drazving or
tracing o n
finely fin-
ished etched
glass with
ordinary
medium lead
pencil. Col-
or, by spe-
cial crayons
or inks, en-
hances t h e
slides great-
ly. Fine ef-
fects are ob-
tained b y
blending
wit h 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 pic-
ture.
ooao
oOoo
aOao
II
(-^
Page 164
The Educational Screen
THE FEDERAL FILM
*i
A page edited by Arch A. Mercey
Assistant Director, United States Film Service,
Washington, D. C.
Government Filmstrips
'I^HE number of inquiries received by the Film Serv-
■^ ice regarding sources of filmstrips indicates that
this relatively economical visual aid is being used ex-
tensively by visual instruction teachers and others
throughout the country. The thought occurs that an
even wider utilization would be made of filmstrips,
were potential users assured of their effectiveness and
a continuance of supply.
The Cooperative Division of the Farm Credit Ad-
ministration has prepared an excellent and comprehen-
sive filmstrip titled, "Co-op Cotton Moves To Market."
This strip, on 35mm. film, consists of 85 frames or
pictures illustrating the development, organization,
operating practices and policies of cooperative cotton
marketing associations. Supplementary mimeographed
lecture notes, also prepared for use in presenting the
subject, accompany the strip. Electrical sound record-
ings of the notes, 30 minutes in length, are available
for those who have suitable sound equipment for their
presentation. Address Director of Information.
This filmstrip has been developed for the use of the
cotton cooperatives in their membership meetings, teach-
ers of vocational agriculture in regular and evening
school classes, and agricultural extension agents in
community and club meetings. It would also be of
considerable interest and instructional value to classes
in economics or economic geography, since the frames
trace the story of cotton from the cotton field through
the various steps ot procedure — "Hauling Seed Cotton
to Gin," "Map of Areas Served by Cotton Co-ops,"
"Hedging-Wire to A.C.C.A.," "Warehouse-Weighing,"
"Sales— In Touch With World Markets," "Foreign
Sale — Closing the Hatches of Loaded Ship," being some
of the legends included.
The Farm Credit Administration also has the film-
strip "Applj'ing for Production Credit," consisting of
34 frames; "The Profitable Use of Farm Credit" in
53 frames ; and "Loans By Federal Land Banks and
Land Bank Commissioner" in 50 frames ; avail-
able for purchase at reasonable prices, or brief loan.
The various Divisions of the Department of Agricul-
ture have filmstrips ranging from the Agricultural Ad-
justment Administration's "Wheat Storage in the
Ever-Normal Granary" to the miscellaneous "Rural
Colonial and Early American Homes and Gardens."
There is also "Filmstrips and Their Preparation," in
48 frames. The filmstrips available from Agriculture
are purchasable at prices of from 45 to 60 cents. For
further information address the Extension Service.
The Bureau of Fisheries, Department of Commerce,
has filmstrips averaging between 50 and 70 frames each
on the following subjects: "Fisheries of New England,"
"The Oyster and the Oyster Industry," and "Salmon
Fisheries of the Pacific Coast." There is no charge
for the loan of the strips but the borrower is expected
to pay return postage. They are distributed to schools
and other groups upon request, and may also be pur-
chased for from 50 to 75 cents.
The Rural Electrification Administration has pre-
pared for 35mm. film strip projectors only a series of
strips with prepared lectures. These strips showing
the general rural uses of electricity, the advantages and
uses of the electric water pumping system, and how to
obtain the best satisfaction from electric light on the
farm are purchasable at a price of 55 cents each from
the comm.ercial producer.
In-Service Training Film Studies
A number of Federal officials in administrative and
personnel posts are studying the general use of the
motion picture as an implement for in-service employee
training. Films made by the Federal Government and
by business organizations are being screened by a
group of officials who hope to explore the possibilities
for further use of both the motion picture and the slide-
film. Winston B. Stephens, Coordinator and Director
of Training of the United States Civil Service Com-
mission and Dr. Lyman S. Moore, Consultant in Pub-
lic Service Occupations of the Office of Education, are
acting as sponsors of the informal exploratory study.
The first program, held on April 27th, included War
Department training films, a film on telephone line con-
struction shown to new C.C.C. enrollees, and two busi-
ness sales-training films. Major R. T. Schlosberg ex-
plained the general use of training films for army in-
structional purposes. The next program scheduled will
include general organizational films for employee in-
formation. After the film screenings, demonstrations
and discussions of slidefilm will be held.
How Are Governmen+ Films Shipped?
The question frequently arises as to how Government
films are shipped. Some Government films are sent
under frank. The franking privilege is extended to
shipments weighing four pounds and under. This in-
cludes all 16mm. one-reel films and some two-reel films.
Shipments weighing over four pounds are sent express
collect. In cases where the exhibitor is located a great
distance from an express office, films are shipped parcel
post. In such cases it is necessary for the exhibitor
to send the stamps to cover cost prior to date of ship-
ment. Information on the amount of postage neces-
sary may be obtained from the post office; however,
it is necessary to obtain from the agency distributing
the films the exact weight. Shipping weight of one
reel of 16mm. film varies 1 3/2 to 4 pounds. Shipping
weight of one reel of 35mm. film varies from 5 to 9
pounds.
May, /93 9
Page 165
It's the ideal way to measure students' progress
in speech and music instruction — to make records
of important radio programs and school activities
•A- -if -A-
An RCA Victor Recorder in your school will
prove extremely useful and valuable. For one of
these fine new instruments will enable you to
make greater progress with students retarded by
faults in speech. Because an RCA Victor Recorder
i-ieans discovering and correcting speech defiden-
cies far more effectively than ever before!
You will also find an RCA Victor Recorder of
great value in determining your pupils' progress
in speech and music instruction . . . for the study
of foreign language pronunciation. ..for recording
of radio talks by prominent speakers — talks you
may use advantageously in class at another time
...and for the recording of school plays, dramas
and debates. You can do all this — at amazingly
low cost — with the splendid new portable RCA
Victor Recorder illustrated here. For further de-
tails send the coupon.
New RCA Victor Recorder offers you these 4 essentials:
1. R»corda and r«produc«s with amazing accuracy
2. Sturdily constructed . . . witlistandi hard usage
3. Utmost dependability 4. Extremely simple operation
RCA Victor Portable Re-
corder MI- 12701... comes
in an attractive gray carry-
ing case. Is so light it may
be easily carried from room
to room. Records at speed
of 78 r.p.m. on 10' or 12'
records, using outside-in
recording method. Is de-
livered to you complete
with amplifier, visual indi-
cator meter, and famous
RCA Aerodynamic Micro-
phone. Has picl(-up tone
arm and speaker for im-
mediate play-back. An ex-
ceptional value.
Medern eclieele utmy medera with RCA redte twbee
In ttieir seund eoullMnenl
Page 166
Th: Educational Screen
NEWS AND NOTES
yetn^ htLC-^ nAattoni^ on iLijiii-^Lcat^it Jioltta^ anJi evenU In tke vImuiL tiell.
Conducted by Josephine HoflFman
Denver Schools Produce Films
The production of educational films for the city's
entire school system has been undertaken by the teach-
ers and students of Denver, under the direction of Dr.
Roy A. Hinderman, school special service chief. Many
schools throughout the country have made films but
this citywide project is one of the most significant to
date. Five subjects, approximately 400 feet in each,
are to be completed by June 1, 1939. Titles are:
Denver's Food Supply, Shelter in Denver, The Pro-
tection of Our Health, How to Have a Good Time in
Denver, How to Get a Job in Denver.
The project is under the general advisement of
Charles F. Hoban, Jr., and F. E. Brooker, of the
American Council on Education. The responsibility
of administration and supervision has been delegated
to commi.tees consisting of teachers and students, each
committee supervising the production of a motion
picture relative to its assigned subject. The work has
been divided into four parts: (1) organization of ma-
terials, (2) preparation of scenarios and shooting
scripts, (3) photography, (4) editing.
One of the aims of the project, as stated by Dr.
Hinderman, is to determine the practicability and edu-
N. Y. WORLD'S FAIR
When you visit the Fair step in
to see us, and discuss your
1 6mm. Film plans for 1 939-40.
Educators are cordially invited
to make full use of our projec-
tion room facilities for the
screening of films, both sound
and silent.
Send for Free Catalog of over 1200
Entertainment and Educational Subects
WALTER O.GUTLOHNiNc.
cational values to be derived from having
ils
35 West 45tli Street
Dept. E-5
New Yorli. N. Y.
.j; pupils and
teachers cooperate in the production of films to be used
in the study of community life. It will be interesting
also to discover the extent of community as well as
school participation that was promoted by the project.
Educational Motion Pictures at
Horace Mann School
For the past two years the faculty of the elementary
department of the Horace Mann School, Teachers'
College, Columbia University, lias conducted a study
of motion picture aids as an integral part of the cur-
riculum. The teachers felt that there were times when
a film would serve the needs of the children better
than any other material available. Two difficulties were
frec^uently encountered. Often no suitable film could
be found after extended search ; or, if a film were
found, it might not be available at the time it was
needed in the classroom. Since the need for a study
and investigation was evident, the study was under-
taken. As the experimental use of films proceeded, it
was seen that a survey of the available films was
necessary, and in addition criteria were needed for
their selection and evaluation. These were developed as
the films were used.
When a teacher decides that a film will serve as an
aid to learning, better than any other material available,
she consults the catalogues and chooses the film that
gives promise of meeting her specific need. Since the
descriptions in the catalogues often are meager, this
sometimes is difficult. Upon its arrival, the film is pre-
viewed by all the faculty that are interested in that
particular subject. Those who feel it is worthwhile
for their groups, invite the children to see it the next
day. This gives opportunity for the teacher and
pupils to decide what points of emphasis are of
greatest significance to them. Definite questions are in
the minds of the children as they see the picture.
Afterwards, a discussion is held in which the pupils
and the teacher make an evaluation of the film. Often
questions or differences of opinion arise and the
group wishes to see the film a second time to settle
these. A copy of the evaluation is sent to the chairman,
who makes a composite for the school files.
Though the study is still in an experimental stage,
some tentative conclusions may be drawn at this time.
Progress to date indicates that both faculty and
children are becoming increasingly critical of films and
their use. Evaluations by the children make an
especially significant contribution to the study. Know-
ledge of available films is increasing, while areas in
which films are needed are appearing. Techniques of
using motion pictures as aids to children's learning are
improving as greater use is made of films. A detailed
account will be written later in the year by Miss
Florence Taylor, who has directed the study.
May, 1959
Page 167
l*r('-s4sisoii AiiiKMiiictMiicnt: —
16 MM S-O-F EDUCATIONAL FILM SERVICE
50 reels on a fee service for I939-40 school year
Write for complete details
LEWIS FILM SERVICE 105 East First Street
WICHITA. KANSAS
New Director for Los Angeles
The Los Angeles Board of Education announced
the appointment of a permanent director of the
Visual Education Section, in the person of Bruce
Findlay, former Assistant Superintendent of
Schools, and of late, head of the Conventions De-
partment of the Chamber of Commerce. The Visual
Education Department has been without a perma-
nent director since the death of Mr. Charles Roach.
The choice of Mr. Findlay is a happy one for he is
vigorous, constructive, progressive, and a fine ad-
ministrator.
Indiana Visual Meeting
Till- Southern Indiana Visual Education Conference
took place at the University in Bloomington, Saturday,
April 1. 1939. Mrs. Pauline J. Ellis, Indiana Uni-
versity Visual Service, and Lorin Ashbaucher, Bloom-
ington High School, presided over the sessions. Some
of the topics discu.ssed were: "Visual Aids in New-
Types of Courses Contemplated as a Result of the
University Survey" — Dr. W. W. Wright, University
School of Education; "Micro-slide Projection" — Merle
Wimmer, Bargersville ; "Visual Education Program
of Evansville" — Alex Jardine; "WPA Museum Pro-
ject"— Mrs. Mary Addington ; "Visual Aids in Science
Teaching" — Dr. Murvel Garner, Earlham College ;
"Sound Films" — Dr. H. A. Gray; "Federal Govern-
ment Films" — Ray B. Linville, Lafayette. Classroom
demonstrations of lantern slides and sound films were
interesting features. A Round Table discussion at the
luncheon meeting was led by George Mclntire, Presi-
dent Visual Section, Indiana State Teachers Associa-
tion.
School-Made Public Relations Films
An interesting contribution to the series of reports
presented at one of the "Informal Conferences" during
the recent NEA convention at Cleveland was the show-
ing of a public relations motion picture, entitled Re-
porting through Movies, produced by Mercer County
Schools, West Virginia, and photographed by Godfrey
M. Elliott of the Oakvale Schools. The film was pre-
pared to show the possibilities in the use of the public
relations movie. The footage consisted of excerpts
from three previously-produced films to illustrate :
(1) the city or county system film showing samples
of elementary school work, such as music and art ac-
tivities, (2) The city or county film which attacks
a particular problem common to the entire school
system, and (3) the film produced by the individual
school. The Mercer County Schools have produced
over 4000 feet of 16mm film on this subject in the
past three years, believing that it is the most valuable
and eflTcient contact they have with the taxpayer and
public in general.
Illustrate your Experiments
to the entire Class with the
Spencer Science Projector
Here are but a few of the experiments wkich can
be most eflectively dramatized by projection to the
entire class with the Spencer Model B Delineascope.
1. Magnetic lines of force
2. Properties of magnetic fields
a. Oersted's Experiments
b. Motion of a magnet in a magnetic field
3. Surface tension
a. Soap film experiments
b. Mercury Ameba
4. Mechanics
a. Hooke's Law ^
b. Elastic limit ,,
5. Polarized light
Majority of the many phenomena
6. Electrolysis
a. Polarization at anode
b. Crystal growth
c. Farady Effect
7. Precipitation Experiments in Chemistry
8. Thermometer and other meter readings
9. Contours of insects, small animals, plants, etc.
Details too small for the class to see in the expcTi-
ment itself, are readily observed when magnified
through projection. Transparent materials can be
projected in true colors. The contours of opaque
materials can also be projected. When motion is
present it is shown vividly on the screen.
Investigate this new and better method.
Write Dept. S12 for compUte information.
Spencer Lens Company
BUFFALO. N. V.
MICROSCOPES
MICROTOMES
PHOTO MICROGRAPHIC
EQUIPMENT
RCFRACTOMETCRS
COLOKIHETCR*
•PECTROMITCRS
PROJECTORS
Page 168
The Educational Screen
WPA Film Bibliography
The publication of a three-volume bibliography on
the motion picture, compiled by the WPA Federal
Writers' Project of New York City, will be sponsored
by the Film Library of the Museum of Modern Art.
The work, tentatively titled "The Film in America,"
is intended to provide the world's most comprehensive
guide to the literature of the motion picture. Volume
1, now being published, comprises 9,000 book and
magazine references grouped under five general head-
ings— history, aesthetics, technique, and academic study
of the motion picture, selected articles and reviews of
3,500 important films, including material as old as
1887. Preliminary work for the other two volumes is
under way.
"The bibliography was conceived," declared Mr.
John Hay Whitney, president of the Museum Film
Library, "as a means of bringing order to the chaotic
state of the motion picture's vast literature." To pro-
duce the work it was necessary to catalogue more than
25,000 film references culled from public, private and
university libraries.
Summer Courses in
Visual Instruction, 1939
{Supplement to April List. Compiled in co-
operation with Society for Visual Education)
(Figures in parenthesis show credit hours)
California
Claremont College, Claremont June 26-July 31
Problems in Reading (3), Problems of Vision (3)
Kelley-Spencer-Wirt
Canada
Normal School, Victoria. B. C. July 1-Aug. 5
Principles and Methods of Audio-visual
Instruction (2i^) L. J. Clarke
Colorado
University of Denver, Denver June 19-July 21
Vitalizing Instruction Through Visual Aids
(2.5 quarter hours) Eugene Herrington
Iowa
Iowa State College, Ames June 13-Aug. 26
Lecture demonstrations (no credit) H. L. Kooser
Kansas
State Teachers College, Emporia May 31-July 28
Visual Education 60 (2) Dr. Cram
Louisiana
Southwestern Louisiana Institute, Lafayette June S-Aug. 4
Visual Instruction in the Primary Grades (3) and
Visual Instruction in the Upper Elementary
Grades and High School (3) Myrtle Rodgers
Michigan
Michigan State Normal, Ypsilanti June 26- Aug. 4
Visual Auditory Aids in Education (4) Floyd Leib
Missouri
University of Missouri, Columbia June 12-Aug. 4
Problems in Visual Education (2) W. C. Bicknell
New York
Columbia University, New York City July 5- Aug. 11
Laboratory Course in Visual Education, Ed. 117Ax (1)
Etta Schneider
Visual Materials and Techniques in Junior High
School Social Studies (1 or 2) W. H. Hartley
Visual Materials and Techniques in Teaching Social
Studies in the Intermediate Grades
(1 or 2) W. H. Hartley
Cornell University, Ithaca July 3- Aug. 11
Observational Aids (2-3) P. G. Johnson
New York University, New York City July 6- Aug. 11
Visual and Auditory Materials in the Social
Studies (2) Dr. D. C. Knowlton
Si. Lawrence University, Canton July 3- Aug. 11
Research and Planning for tlie Educational
Motion Picture (2) Evelyn S. Brown
Administration of Visual Aids (2) Everett L. Priest
North Carolina
Appalachian State Teachers College, Boone
June 6-July l.S and July 18-Aug. 25
Visual Education (3) Orby Southard
July 19- July 28
W. M. Gregory
W. M. Gregory
July 12-Aug. 11
John S. Mclsaac
June 19-July 29
Lester O. Johnson
Sister M. Sylvia
Sister M. Sylvia
July 3-Aug. 11
Harold E. Miller
Ohio
Western Reserve University, Cleveland
Visual Aids in Education (3)
Graduate Problems in Visual
Instruction (3)
Pennsylvania
Geneva College, Beaver Falls
Visual Education (3)
Gettysburg College, Gettysburg
Visual Education (3)
Marywood College, Scranton
Visual Aids to Teaching (3)
Motion Picture Appreciation (1)
Muhlenberg College, Allentown
Visual Instruction (3)
Texas
East Texas State Teachers College, Commerce
June S-July 15 and July 15- Aug. 25
Audio- Visual Instruction (3) W. W. Freeman
Sam Houston State College, Huntsville June 6-July 14
The Administration of Audio- Visual Education (3)
E. E. Sechriest
Virginia
State Teachers College, Harrisonburg
June 12-July 21 and July 22-Aug. 25 Dr. W. J. Gifford
University of Virginia, University June 19-July 29
Visual Aids to Curriculum Activities (1) John A. Rorer
Washington
University of Washington, Seattle
June 19-July 19 and July 20-Aug. 18
Audio and Visual Aids to Teaching Dr. Francis F. Powers
Wisconsin
The Stout Institute, Menomonie June 26-Aug. 4
Visual Education (2) Paul C. Nelson
Experiments in Visual Education (2) Paul C. Nelson
Central State Teachers College, Stevens Point June 19- July 28
Audio-Visual Education (3) C. D. Jayne
State Teachers College, Superior June 12-JuIy 21
Audio-Visual Education (2) Herbert Kimmel
Courses will also be offered at the following institutions
but we do not have complete data on them.
Pennsylvania: State Teachers College, Kutztown (Allen
Buebeck) ; Elizabethtown College, Elizabethtown (R. P.
Bowman); Shippensburg State Teachers College, Shippens-
burg (Leslie C. Krebs) ; Susquehanna University, Selins-
grove (George Fisher) ; State Teachers College, Millersville
(A. Stienhocser) ; Lehigh University, Bethlehem (W. R.
White). Texas: Stephen F. Austin State Teachers College,
Nacogdoches (W. A. Miller) ; McMurray College, Abilene
(T. F. Huggins). Canada: University, Saskatoon, (E. A.
Chatwin) ; Regina College, Regina (E. A. Chatwin) ; Uni-
versity of Manitoba, Winnipeg (Andrew Moore).
Correction: W. J. Truitt will conduct the course in
Audio-Visual Education at the University of Florida during
the second term of the summer quarter, and not Mr. Goette.
Miss Ruth Livermon, as well as Miss Gibbony, has been
named as instructor in the course at Asheville, North Caro-
lina, Normal and Teachers College, listed in the April issue.
May, 7 93 9
Page 169
Among Ourselves
(C (>ii/imii'(/ /mill patje 162)
real need, encourage the use of motion pictures for edu-
cational purposes and increase their usefulness.
Second : There are qualified motion picture producers
willing and anxious to produce educational pictures if
they could but have reasoiiahlc assurance that the pic-
tures would be acceptable to educators. This points to
the need for study and development of a complete pro-
duction plan covering the entire curriculum of at least
primary and high schools. Such a plan should list
subjects in each course that are considered suitable for
screening, include the preparation of an outline for
each, and the supervision of production. With the
school authorities of the entire counJry as prospective
purchasers and with the assurance of acceptability that
supervision by qualified authority would give, pro-
ducers probably would be willing to risk the necessary
production expenses.
Third : Organization for distribution should be ex-
tended and improved. Every state should have its cen-
tral library located with reference to accessibility rather
than other considerations, to act also in a promotional
and advisory capacity, and with the thought uppermost
that decentralization of physical handling should take
place as fast as libraries to serve smaller geographical
or administrative units can be set up. These are some
of the things that can be done.
In the Department of Agriculture in Washington
we are trying to make our own contribution. There has
been in the Department at Washington a imit produc-
ing and distributing, since 1913, motion pictures on
better ways to raise hogs and crops, timber, cattle and
children, in fact on almost all conceivable subjects re-
lated to activities with which the Department has to
do. In that time hundreds of subjects have been pro-
duced, but unlike Shakespeare, and wine, motion pic-
tures must not be old if they are to be appreciated.
The result is that negatives must be discarded after a
few years, so we are able to maintain a library of only
some 200 subjects, the annual accretions offsetting the
annual discards. Our free distribution service is
limited by the number of both personnel and films, and
these are sufficient only to take care of extension needs.
Hence we have been obliged usually to tell teachers
who apply for films that the only way they could obtain
one of our films was by purchase. The replies and
discussions with teachers confirmed our belief that
shortage of funds was one of the greatest obstacles to
more general use of films in schools. With this thought
in mind, Mr. Raymond Evans, Chief of the Depart-
ment's motion picture service, conceived the idea of
reediting Department motion pictures into subjects of
one-half reel or more, thus giving educational institu-
tions the benefit of the use of negative already taken
with costs charged ofT against other projects, and
further reducing unit costs by cutting the lengths to
about 200 feet 16mm. thus bringing the cost finally
to within a figure that it was felt educational institu-
tions could afford to pay. Through the financial co-
operation of the American Eilm Center, Inc., it has
{Concluded on page 175)
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Page 170
The Educational Screen
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Program of Nafional Conference on Visual
Education and Film Exhibifion
(DeVry Founda+ion)
June 19 to 22 inclusive,
at Francis W. Parker School, Chicago
MONDAY, JUNE 19
9 to 12 .\. M.— Film Showings— "George Washington's Rail-
road" (Chesapeake and Ohio RR), "Our Plant and Its Peo-
ple" and "Diesel Simplicity" (Caterpillar Tractor Company).
Address: "Visual Education in CCC Camps'— Arthur Hatch,
CCC District Educational Adviser, Baltimore, Md.
Panel Discussion (1) Puppetry in Movies: Little Black
Sambo— A. P. Heflin, Lane Technical H. S., Chicago, Movies
of Marionettes — Kathryn Troy, Chicago Park System, Jerry
Pulls the Strings — American Can Company.
Panel Discussion (11) County Systems of Visual Education:
H. E. Ryder, Co. Supt. of Schools, Fremont, Ohio; C. D.
Vermilya, Co. Supt of Schools, Ottawa, Ohio; Wm. E.
Morse, Co. Supt. of Schools, Boise, Idaho.
2 to 3:00 P. M. Address: "Visual Education Advances at the
Glassboro State Teachers College"— George W. Wright,
Supr. Principal, Public Schools, Glassboro, N. J.
Film Showings— Dr. Broadbent's film "Child Growth and
Development of the Face" (presented by Dr. John W. Rich-
ardson, Western Reserve University, Cleveland, Ohio).
"From Pinheads to Parades" (a show-up of camera sins',
by Dr. James E. Bliss, Western Reserve University),
"Federal Housing Administration Film" (George T. Van der
Hoef, Chief, Radio and Motion Picture Section, FHA, Wash-
ington).
7:30 to 9 P. M.— Address: "The United States Film Service"
Arch A. Mercey, United States Film Service, Washington
p. C.
"China's Struggle and Recovery" — Movie lecture by Captain
Patrick Smith,
TUESDAY, JUNE 20
9 to 12 A. M.— Film Showings— "Harvest of the Years"
(Ford Motor Company), "Secrets of Success" (extracts from
Hollywood productions, by Dr. I. E. Deer, M.P.P.D.A.)
"Poetry and Geography Dramatized" (Mr. and Mrs. Matz,
Chicago).
Address: "The Movement for Better Films," Mrs. Richard
McClure, Better Films Council, Chicago.
1 to 3:30 P. M.— Film Showings— "Start the Music" (Stand-
ard Oil Company), "Citrus on Parade" (California Fruit
Growers Assoc).
Illustrated Address — "Teaching Television," DeForest Train-
ing School. Chicago. Address — "Laboratory Technique in Re-
lation to Sound''— Stuart Grant, Pure Oil Co., Chicago.
7:30 P. M. — Film Showings— "Recreating the American
Indian" and "American Geography," — E. W. Cooley, Wau-
watosa. Wis.. "Teaching Lettering by Movies" — Prof. Justus
Rising, Purdue University.
WEDNESDAY, JUNE 21
9 to 12 A. M.— Film Showings— "Hold that Farm" ((Allis-
Chalmers), "Firestone Films" (Firestone Tire and Rubber
Co.) "Foreign Color" (Mexico, Morocco, Libya) — Walter
L. Brabski, Cleveland, "Snow Fighters" (International Har-
vester Co.)
Address: "Status of Visual Education in Illinois'' — Alvin
B. Roberts. Supt. of Schools, Gilson, 111.
Business meeting — Election of Resolutions Committee and
Conference Council.
1 to 3:30 P. M.— Film Showings — "Ohio Travelogues"— B.
A. Aughinbaugh, Director, Visual Instruction, State Dept. of
Education, Columbus, Ohio, "Birds in Color" — Wm. L.
Zeller, Peoria, 111. "Movie Studies on Economy of Motion"
— L. W. Cochran, Director Visual Instruction, University
of Iowa, "Recording and Controlling Eye Movements in
Reading" — Prof. B, F. Holland, Universitv of Texas.
6:30 P. M.— Banquet.
THURSDAY, JUNE 22
9 to 12 A. M.— Film Showings— "Good Neighbors" (U. S.
{Concluded on page 171)
May, 19}9
Page 171
IN AND FOR THE CLASSROOM
Conducted by Wilber Enimert
Director Vitual Education, Stat* Taachari Collaga, Indiana, Pa.
A Synchronized Visual-Sensory Experience
By RUTH S. BASTIAN
Brighton Avenue School, Atlantic City, N. J.
'T'HE opera '•Aiila", with its Egyptian background
■*• was told, then read to a group of sixth grade
children as an integrated ex])erience during a cor-
related stuily of ancient Egypt, and modern Egypt.
A few of the children had heard all or part of the
opera over the radio, given by local Italian opera
groups, or on the music pier where operas are fre-
quently given by well-known operatic stars. The
music of the opera was played on the victrola, se-
lecting the better known compositions with which
tluy should be familiar. There was an interest in
telling this story to other children who were study-
ing Egypt. We decided to present it for an audi-
torium program. Someone .said, "Let's make the
0])era story into a play". But many problems arose ;
costumes, stage scenery, and settings were difficult.
The class had been using slides in the stereopti-
con, showing scenes of different countries we had
been studying. They wanted to know if they could
make slides similar to those we were using, which
would tell the story. One boy volunteered to bring
scrap glass, another to have his father cut it with
an electric glass cutter. A committee of boys meas-
ured the slides to obtain the dimensions. Ten cent*;
purchased some carborundum (600 M.) at the hard-
ware store. A committee was shown how to hand-
etch the glass by placing a small amount of the
powder between the glass slides and rubbing the
two together until smoothly etched on one side of
each piece. We tried the glass in the slide machine
and discovered that the etching must be carefully
done or there would be uneven and blotchy places.
Some discarded bicycle tape was used for binding
the edges of the slides for easy handling.
We owned a very fine colored edition of ".^ida"
recently published as an authorized edition of the
Metropolitan Guild, which was used for ideas of
characters and scenes. The pupil-artists in the
Program of Visual Conference
(Concluded from page 170)
Documentary), "Shock Trojps of Disaster" (Rebecca Hor-
wich Reyer, for W.P..\.), "U. S. Coast Guard Films," ".Mways
Trust a Lifeguard" (Goodyear Tire and Rubber Co.)
Address: "Visual Education in Colorado" — Arthur L. Payne,
Director Visual Instruction, Public School, Greeley, Colo.
1 to 3:30 P. M.— Film Showings— "Fit for the Future"—
Major Henderson, Culver Military Academy, "The Red
Poacher" and "Michigan's Land of Hiawatha" — Clarence J.
Tinker. State Dept. of Conservation, "Siren" and Vacation-
land" — Eugene Sanborn, Wisconsin Dept. of Conservation,
"The Man at the Wheel" (March of Time). "A New Series
of Geography Films" — F. C. Wythe, New York City.
room sketched with jjcncil on the glass, scenes and
characters. The others colored the costumes and
scenery, or settings. Some printed names and
labeled the slides so that they could be placed in
numerical order. Most of the work was accom-
plished in free periods during the day and in the
art period.
The next problem for consideration was that the
story must be told to the audience. The group
decided to do just what is done on the radio. The
characters were to speak their parts without acting.
We needed the opera music so we enlisted the music
supervisor's assistance in obtaining some of the
most important and famous selections from the
opera, for example, "Celeste Aida", "Grand March",
Ballet music, "O Terra Addio", and others.
The cast wrote their parts taken from the words
used in the libretto of the opera. The whole scheme
was synchronized in this manner. The announcer
presented the author of the opera Verdi by showing
a slide of him, and the pupil representing him told
briefly the story of his life and why he had written
the opera. The audience could not see the char-
acters in person but the slides portrayed them,
while the children created the per.sonality. The
whole opera was presented in this way. The
commentator gave the parts which were explana-
tory between the speaking parts. The slide which
illustrated the scene was thrown on the screen,
the characters spoke their lines, and where there
was a solo, a ballet, or duet the composition from
the opera was played on the victrola. The whole
effect was the complete opera, almost as it would
appear on the stage, over the radio, or in films.
As an introduction to the performance a brief
discussion on why we are interested in this story,
as integrated with our study of ancient Egypt and
geographical knowledge attained, was given.
This performance held the attention of an as-
sembly of several hundred children ranging in age
from eight to fourteen. The length of the opera was
approximately forty-five minutes. A check-up was
made in an average fourth grade to check under-
standing and comprehension of the story, and ap-
parently a large majority thoroughly enjoyed the
contribution to their learning. Music supervisors
might question the use of this tragic opera, pre-
ferring "Hansel and Gretel", or perhaps "Lohen-
grin", which definitely have their place as children's
operas with an appeal. The writer would like to
add this comment, that in this modem age with
thrillers, for comic strips, movies, picture maga-
zines and stories which excite the senses, surely the
opera may substitute for the tawdry.
Page 172
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
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YOU CAN'T CHEAT AN HONEST MAN
LETTER OF INTRODUCTION
MAD ABOUT MUSIC
(and many others)
Write to Universal's Non-Theatrical
Department for further information
regarding short and feature-length
pictures, travelogues, cartoons
and other motion pictures.
CATALOeUE 16
UNIVERSAL PICTURES
COMPANY, INC.
Rockefeller Center New York, N. Y.
CIRCLE 7-7100
Suggested recordings of "Aida" for possible use
are : the complete opera, Victor Musical Master-
pieces Album 54; Celeste Aida (Heavenly Aida),
Victor 7770; Grand March (Triumphal Scene Act
II.), Victor 11885 Parlophone E. 11041; Ballet
Music (Act II), Polydor 66584; O Terra Addio
(Farewell to Earth) and Finale Act IV, Victor
3040-3041.
Suggested reference book is "Aida", the author-
ized edition of the Metropolitan Opera Guild, Inc.,
giving the story of Verdi's greatest opera. Adapted
by Robert Lawrence, illustrated by Barry Hart. Pub-
lished by Silver Burdett Company, New York, 1938.
Method for Holding Slides
By MAX R. KLEIN
Instructor of Industrial Arts,
Public Schools, Cleveland, Ohio
A SIMPLE device for holding the lantern slide in
place while making the copy on it is herewith
illustrated. When making home made slides it is some-
limes necessary to have the slide in position for ruling
straight, parallel lines as for graphs and charts, or
for ruling parallel lines to guide freehand lettering. A
heavy cardboard, slightly thicker than an etched glass
slide, should be used along with a small sized draw-
ing board, T-square, and thumb tacks or staples. With
a sharp knife or razor blade, cut out from the card-
board a rectangle, 4 inches by 3^4 inches, the size of
a standard lantern slide. When the slide is placed into
the cut out area, "square-up" the slide so that the
horizontal edges are parallel with the T-square ; then
with thumb tacks or staples fasten the cardboard to
the drawing board. When necessary to draw verticle
lines use an ordinary drafting triangle (a 45 degree or
30-60 degree) held firmly on the upper edge of the
T-square blade, thus assuring lines at right angles
to the horizontal. With a little practice it will be
found that accurate and neat homemade slides are
{-T HUM 6 TACK.
1 5PACL fOR. JCUT OUT|
GLASS Ito fIT i DR-AWING
.slidlJ board
The Ensemble
easy to make with this device. The slide, as shown
in the illustration, similates a small drawing area upon
which an idea may be developed for projection. If
permanency is desired, a cover glass should be placed
over the finished etched glass slide, then bound with
tape in the usual manner for finished slides.
May, 19)9
Page 173
AMONG THE
AND BOOKS
MAGAZINES
Conducted by The Staff
The English Journal — Hi},'h School K(iitit)n (28:
\20-l2'>. I'chruary .59) "A Preview of an Investi-
gation of Motion-Picture Class and Cluh Activi-
ties," by Constance McCuIlough, Hiram College,
Hiram, Ohio.
This article gives in some detail the information
secured from a study of the techniques in use for
teaching motion picture appreciation. The data
obtained represents 40 classes and 40 clubs, mostly
from senior high schools. The motion picture study
clubs reported on the nature of their organization,
money-raising schemes, how funds are used, com-
mittee activities, typical programs at meetings,
amateur film production, conmiunity cooi^eration
and contacts, and club attempts to educate school
and community in film discrimination. The teachers
of classes in motion picture evaluation told of the
materials used as texts, activities engaged in (many
similar to those tindertaken by the clubs), topics
for study, problems encountered, and how stand-
ards of evaluation are established. The writer, in
conclusion, warns teachers and club-sponsors that
the study of motion pictures in school will not hold
a respected and secure place in the curriculum
unless they show tangible proof of the educational
worth of such activities.
Modern Language Journal (23: 357-361, February
'39) "Using Films and Slides Effectively," by
Edward G. Bernard.
.\ discussion of the visual techniques to be uti-
lized in teaching modern languages. Films and slides
are declared to be valuable for creating interest in
and teaching the civilization of the country whose
language is being studied ; also for vocabulary and
composition. Sound films are helpful in pronuncia-
tion work. The importance of advance preparation
of the class for a film is stressed, and various meth-
ods of conducting a film lesson are suggested. A
number of effective variations can be devised by
an ingenious teacher. Reviews of six French films
complete the material.
(23: 367-370, February '39) "French by Sound
Pictures," by Clifford S. Parker, University of New
Hampshire, Durham.
Some concrete evidence of the value of films in
foreign language instruction is oflfered in this article
a])pearing in the same issue.
A questionnaire was passed out at the showing
of a French talking film to find out how much of
the language the audience understood. 70 per cent
of the audience was taking a French course and
half had just read the play. It was found that only
advanced students are likely to understand the
dialogue and profit by it. The author's conclusions
parallel those of Mr. Bernard, namely, that such
films have value mainly in stimulating interest in
French and in giving authentic views of French life.
Education (59: 415-417, March '39) "A Director
of Visual Education in Science," by Kenneth
Edwards and H. S. Busby.
The functions and activities of a director of
Visual Education in Science, to which subject of
the curriculum this issue is devoted, are briefly set
forth to be : careful selection of material and adapt-
ing it to the curriculum, training in the principles
of audio-visual projection and in the technique of
instruction, distributing and scheduling the mater-
ials. A not unimportant duty of the director also
is the instilling, in the heart of the students, of a
desire to develop a scientific attitude.
The Illinois Teacher (27: 200-201, March '39) "A
New-Type Visual Commencement," by C. C. Logan
and Hal Hall.
The Senior Class and Faculty of the University
High School, Southern Illinois State Normal Uni-
versity, presented a commencement program last
year which was a radical departure from the tradi-
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Page 174
The Educational Screen
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other filmslides, either
single or double frame,
and 2" x 2" glass slides.
PROJECTOR
Kodaohrsme pictures made with miniature cameras by students can be mounted in
2" X 2" glass slides and projected life size with the SVE Tri-Purpose Projector.
The Model AA illustrated above has a 300 watt lamp and may be used in audi-
torium as well as classrooms. It also has as standard equipment, the SVE Rewind
Take-up which rewinds Picturols and other flim strips as they are being shown.
Inc.
Write for literature today.
Society for Visual Education,
Dept. 5ES, 100 East Ohio Street, Chicaqo, II
tional type. Instead of the usual speeches, the
program consisted of a one-act play dealing with a
current social problem, and thirty minutes of pic-
tures of school activities and students, particularlj'
members of the graduating class. Several hundred
candid and posed pictures had been taken through-
out the school year and converted into filmstrips
and slides for projection. Such a vitalized pro-
gram as described herein receives more publicity,
increases attendance, and stimulates greater
audience-interest. Doubtless, many other schools
will be inspired to initiate a similar procedure.
The Journal of Geography (38: 58-62, February
'39) "The Use of Toy Projection Aids in the
Teaching of Geography," by Harold Gluck, A\^alton
High School, New York City.
"The purpose of this article," declares the author,
"is to show how suitable equipment may be ob-
tained at little or no cost." By "toy projection
aids," he means the great variety of devices which
have been introduced on the market for the amuse-
ment of children but which can be used to great
advantage by the geography teacher. And he tells
how. Among these devices are the postal card
projector, the magic lantern, 8 mm and 16 mm mo-
tion picture equipment, still film slides.
Proceedings of Pennsylvania Conference
The second annual Audio-Visual Education Con-
ference was held at the Pennsylvania College for
Women, Pittsburgh, on March 31 and April 1, as an-
nounced in our March issue. Approximately two hun-
dred representatives from schools, colleges, clubs, and
social agencies attended the sessions. Durably bound
mimeographed proceedings of the conference may be
obtained for 25c by writing to James S. Kinder, Director,
PCW Film Service, Pennsylvania College for Women.
Source List of Films on Current Problems
Films of Everyday Life is the title of a 61-page bibliography
of selected films on current problems compiled by Hilla Weh-
l-.erg for the Production Committee of the Metropolitan Motion
Picture Council, 100 Washington Square East, New York City.
The purpose of this valuable compilation is "to give organiza-
tions interested in making films a cross section of the work
already done in their respective fields." The 236 films are
classified under the following 24 subject-grc ps : Agriculture
and Rural Life, Business, Civil Liberties, Consumers and Coop-
eratives, Crime Prevention, Culture Patterns. Education, Health,
Housing, International Relations, La' or. Marriage and Family,
Mental Hygiene, Political Science, Racial Relations, Recreation,
Religion and the Community, Safety, Social Service, Unemploy-
ment, Vocational Training, War and Peace, Youth, Mis-
cellaneous.
Data is given on each film as to producer, number of reels,
whether 16mm or 3Smm, sound or silent, distribitor, and con-
tents. The price of the directory is $2.00, but members of the
Motion Picture Council may obtain it for SOc.
Los Angeles Bulletin on School Journey
The School Trip — Elementary Superintendents' Bulletin
No. 5. Published by Los Angeles City School District, January,
1939. 24 pages.
This bulletin contains a comprehensive account of the work-
ings of the "School Journey" in the Los Angeles school system.
Preparations for a "trip" are described in full detail. Then
scores of trips regularly made in and around the city are listed,
with transportation directions. Several of these journeys are
May, 19)9
Page 175
Have you discovered ^
NATURE NOTES*
TP:ACHERS, park naturaliitts. others write u«.
"Why haven't I known about NATURE NOTES
before?" "A biR help in my work." "It human-
iua nature itudy." "Ha« excellent illustrations."
There's no other magazine quite like NATURE
NOTES. ThouKh small in size, it is packed with
authentic nature lore. Not dry — not too sentimental
— it treats nature like the fascinatinK subject (t la.
Send 25c coin or stamps for a 4 months' trial and
embark on a voyage of discovery. Bett4>r still, send
II for a full year's subscription. (SPECIAL — 6 free
back numbers with each new yearly subscription,
while our .supplies last, i
NATURE NOTES
The Magazine of Outdoor Information
UU PROSPECT ROAD PEORIA. ILLINOIS
selected for detailed treatment — an account of purpose and pre-
paration by the teacher, and written reactions by pupils — in-
cluding the Airport, a Museum, a Dairy, the Harbor, San
Fernando Mission, Griffith Park Observatory. Bibliographic
references are plentiful throughout and the bulletin concludes
with some seven pages of suggestive discussion in the form
of two essays on "Understanding the Child" and "Every Teacher
a Counselor" which are thoroughly worth reading for all con-
cerned with School Journey activities. — N.L.G.
Among Ourselves
(Concluded from fxtge 169)
been possible to put the plan into effect for experimental
production.
If this plan works out, we hope to be able to make
these shorts available at perhaps $7.50 per 2(X)-foot
unit complete imth study guide, through the Association
of School Film Libraries. Of course, the subjects avail-
able will l)e those related to agriculture. However, we
feel that the acquisition of these films will have a tend-
ency to encourage greater use of films and consequently
the purchase of films on other subjects which can not
be made available at such low cost. It was not until
the price of the Ford came down that the more ex-
pensive cars became popular. So we feel and hope it
will be with films. We hope to have a number of films
completed and available for purchase in the near future.
Announcement will be made through the Association
of School Film Libraries of subjects available.
Editors Who Have Helped
Requests from our Editorial Committee for con-
sideration of problems in visual education were met
with whole-hearted support by several publishers. We
heartily endorse the following to our members:
Nation's Schools (Chicago and N. Y.) Each month
film listings are given, together with reviews of new
educational releases. Look for the June issue, in which
a special "portfolio" on the administration of visual
education will appear.
School Science and Mathematics (Chicago) Begin-
ning in February, a motion picture review service for
science teachers was initiated. See also the excellent
articles on motion pictures appearing in the March and
April issues.
Scholastic (N.Y.C.) "Sight and Sound" includes
film reviews and news notes for the teacher of social
studies or English.
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Page 176
The Educational Screen
THE FILM ESTIMATES
Being Ihe Combined Judgments of a National Committee on Current Tfieatrical Filmt
(A) Discriminating Adults (Y) Youth (C) Children
Date of mailing on weekly service is shown on each film.
Ballerina (French-English titles) (Mayer-Dur-
styn) Expertly picturizes life in isolated art
world of French Opera ballet school. Earnest
little pupil trying to help teacher cripples for
life teacher's rival. Remorse, struggle, forgive-
ness make real drama. Charming child acting
and dancing. 4-25-39
(A) (Y) Very good of kind (C) Bevond them
Beauty for the Asking (Lucille Ball, Patric
Knowles) (RKO) Glittering sets and supposed
"insight" into doings of the cosmetics business
help little this thoroughly artificial, unconvinc-
ing triangle theme. Nothing objectionable, just
dull and unreal^ often absurd, and dramatic
unity lacking. 4-18-39
(A) Mediocre (Y) Hardly (C) No
Blackwell's Island (John Garfield, Rosemary
Lane) (Warner) Utterly exaggerated, cheaply
sensational stuff about crude racketeer who is
jailed, but cows warden and runs huge prison
to suit himself until foiled by colorless re-
porter-hero. The crass, ignoramus villain steals
the picture. 5-2-39
(A) Preposterous (Y) No (C) No
Broadway Serenade (MacDonald. Ayres. Ian
Hunter) (MGM) Lavish, costly musical hung
on trite, obvious plot of little interest. Jean-
nette sings beautifully, but Tchaikowsky's
music is brutally mangled in grotesque cli-
max that strives to be colossal. Notable role
by Al Shean as old music-master. 5-2-39
(A) Elaborate (Y) Good of kind (C) Little int.
Crisis (Produced in Sudetenland) (Mayer-Bur-
styn) Strong, straight-forward, anti-Nazi docu-
mentary film tracing Hitler doings from Aus-
trian Anschluss to rape of Czecho-Slovakia de-
serted by democratic allies. Thought-provoking,
full of authentic details, vivid portrayal of world
danger, fine narrative accompaniment. 4-18-3&
(A) Very good of kind (Y) (C) If it interests
Dark Victory (Bette Davis, George Brent)
(Warner) Artistic, unusual, deeply-moving film,
splendid in all respects. Notable for direction
and Bette's superb portrayal of girl who re-
adjusts her life and bravely awaits tragic
death that faces her. Fine restraint and char-
acter values. Tender love story. 5-2-39
(A) Excellent (Y) Very sad (C) Too mature
Disbarred (Otto Kruger, Gail Patrick) (Para)
Clever, engaging criminal - lawyer - racketeer
gaily accepts disbarment, installs innocent
lawyer-heroine to win crooked trials for his
gang, thwarts justice consistently until hero-
ine learns truth and changes sides. Well
acted. 4-11-39
(A) Hardly (Y) No (C) No
Dodge City (Errol Flynn, de Havilland) (War-
ner) Lavish Technicolor western thriller, bury-
ing history in seething melodrama. Railroad dis-
places stagecoach, hero shoots heroine's brother,
longest and smashingest barroom fight ever
done, golden spike driven, lurid gun-fight in
burning train, andjheroine forgives hero. 4-11-39
(Aj Depends on taste (Y) Thrilling (C) No
Family Next Door (Hugh Herbert, Joy Hodges)
(Univ) New series of domestic comedies a la
'Jones Family, but less sense and more bedlam.
Harebrained father, social-climber mother, rat-
tlebrained son with big money-making dreams
are caricatures. Slapstick realism with all the
stock laugh-devices. 4-18-39
(A) Hardly (Y) (C) More or less amusing
Hound of the Baskervilles (Rathbone, Bruce,
Greene, Barrie)(Fox) Fine screening of classic,
notable cast and settings, with story content
by Doyle, not Hollywood. Result, artistic thrill-
er absorbing in character, action, atmosphere
and natural dialog. Should start "Holmes"
series with same cast. 4-25-39
(A) (Y) Excellent (C) Very exciting
I'm from Missouri (Bob Burns, Gladys George)
(Para) Usual Burns drawl-comedy but he is
crude mule-raising banker( !) and married to
dainty Gladys George( !). Starts as amusing
Missouri realism, then a slapstick invasion of
society in England which is laughable unless
too preposterous. 4-11-39
(A) Depends on taste (Y) (C) Mostly amusing
King of the Turf (Menjou, Roger Daniel) (U A)
Well-acted, sentimental, "horse" melodrama
about former great racetrack figure, now a
drunken bum, regenerated by track-struck boy
who proves to be his son ! Coincidence over-
worked, ethics mixed, logic of depressing end-
ing doubtful. 5-9-39
(A) Depends on taste (Y) Doubtful (C) No
Lady and the Mob (Fay Bainter) (Columbia)
tavely. thoroughly improbable comedy of rich,
belligerent little old lady bent on curing
wrongs regardless of method. Hires gang to
fight gang. Whole story burlesques reality but
Fay Bainter gets full values from greatly
overdrawn role. 4-18-39
(A) Perhaps (Y) Probably good (C) Doubtful
Let Us Live (Fonda, O'Sullivan) (Columbia)
Engaging, innocent newly-weds suddenly caught
in preposterous miscarriage of justice, ar-
tificially induced, and District Attorney gloats.
Her heart-breaking struggles finally free hus-
band from death cell, but whole agony is
still gratuitous and harrowing. 5-9-39
(A) Depends on taste (Y) (C) By no means
Lucky Night (Loy, Robert Taylor) (MGM) Gay.
flippant stuff. Couple "broke", park bench,
steal dime, slot machine, roulette, prosperity,
food, drink, drunken marriage unremembered
— whole achievement blessed by her rich, in-
credibly "understanding" father ! Clogged by
much pseudo-philosophic "talk." 5-9-39
(A) Depends on taste (Y) Unwholesome (C) No
My Son is a Criminal (Alan Baxter. Jacqueline
Wells) (Columbia) Unpleasant, strong melo-
drama. Fine, retired police-chief father wants
son to join department but latter is unsus-
pected head of hijacking gang, using his police
contact to advantage. Son is finally killed by
his own father in a robbery. 5-2-39
(A) Mediocre (Y) No (C) No
My Wife's Relations (The Gleasons, Davenport)
(Republic) Second in Higgins Family series.
Realism and character interest spoiled by car-
icature acting, poor low comedy, and impossible
child conduct. Boorishness in drawing-room,
chair-smashing, water-squirting are features.
Waste of Davenport. 4-25-39
(A) Worthless (Y) No value (C) No
Mystery of Mr. Wong (Karloff) (Monogram)
Well tangled little thriller about couple of so-
ciety murders over "cursed" jewel. No clutch-
ing hands, secret panels or grewsomeness. Kar-
loff iwnderously impressive as James Lee Wong
of the Collier stories, supported by fairly
adequate cast. 5-9-39
(A) Perhaps (Y) (C) Fairly good
Mystery of the White Room (Bruce Cabot)
(Univ) Complex and absurd "Crime Club"
thriller laid in "hospital" where routine con-
sists of few operations and many duet scenes
of doctors kissing their pet nurses, stupid com-
edy, plus impossible murders by jealous little
nurse tossing tiny scalpels ! 4-25-39
-(A) Stupid (Y) No (C) No
One Third of a Nation (Sylvia Sidney, Leif
Ericson) (Para) Sincere, earnestly-acted argu-
ment for slum clearance. Argues more eloquently
through dialog than visually, despite vivid scenes
of tenement squalor and disease-ridden fire-
traps. Many weaknesses as drama, but focuses
attention on serious social problem. 5-2-39
(A) (Y) Good of kind (C) Too mature
Pirates of the Skies (Kent Taylor. Rochelle
Hudson) (Univ,) Breezy headstrong hero, fired
from Air Police service, still tracks down from
the air a bank-robbing gang making its es-
capes by plane kept cleverly hidden. Very or-
dinary in acting, cast and direction. No undue
thrills or violence. 4-18-39
(A) Mediocre (Y) (C) Perhaps
Prison Without Bars (British) (UA) Powerful,
finely acted, Korda-directed story of life in girls*
reform school. New superintendent transforms
system and its effects convincingly, sacrificing
her own romance for sake of heroine, the
leading inmate. Appealing, absorbing, and
technically well done. 4-11-39
(A) Interesting (Y) Very mature (C) No
Saint Strikes Back (George Sanders, Wendie
Barrie) (RKO) Well-known fiction character,
suave adventurer, uses incredibly clever talents
(and quite dubious methods) to help girl clear
deceased father's name and unmask crooks who
framed him. Lively, fairly absorbing, well
acted, improbable, very involved. 5-2-39
(A) Fair (Y) Perhaps (C) No
School for Husbands (English cast) (Hoffberg)
Naive effort at breezy, sophisticated society
comedy about supposedly irresistible playboy
teaching husbands how to restore wifely affec-
tion by risque methods. Acting, dialog and
direction all too lacking in deftness and
subtlety to convince or amuse. 4-11-39
(A) Amateurish (Y) No (CJ No
Sergeant Madden (Wallace Beery. Tom Brown)
(MGM I Beery in sympathetic, convincing role
as humble but worthy policeman whose ideals
and example inspire one son but fail to keep
the other from downward path of crime.
Rambling plot, gangster atmosphere, but total
effect probably distinctly wholesome. 4-18-39
(A) Fair (Y) Mostly good (C) Unsuitable
Smiling Along (Gracie Fields) (Fox) British-
made hilarious farce-comedy of trials of tour-
ing vaudeville troup finally outwitting crooked
manager who fired them. Typical English clown-
ing done with artistry even to the slapstick.
Gracie again proves her right to be England's
outstanding comedienne. 4-18-39
(A) (Y) (C) Very good of kind
Society Smugglers (Preston Foster. Irene Her-
vey) (Univ) Intricate little puzzler of chase
by U. S. Secret Service after clever gang of
transatlantic diamond smugglers. Heroine
planted with gang is key of whole action.
Some hectic romance included. Minimum of
guns and fists. 4-25-39
(A) Hardly (Y) Fairly good (C) Hardly
Story of Alexander Graham Bell (Don Ameche,
Fonda, L. Young) (Fox) Detailed, well-acted,
appealing picture of Bell's struggles, romance
and final triumph in developing the tele-
phone. More narrative than drama, but of
real value as a document on America's
economic history. 4-25-39
(A) (Y) Very good (C) If it interests
Three Smart Girls Grow Up (Deanna Durbin,
Winninger) (Univ) Excellent cinema. Winsome
star, even lovelier in voice and finer in acting
than ever, manipulates her two sisters' tangled
love affairs in rare comedy. Songs deftly inte-
grated with plot. Winninger splendid as
absent-minded father. 5-2-39
(A) (Y) Delightful (C) Good
Twelve Crowded Hours (Richard Dix) (RKO)
Mere formula thriller about elusive bag of
stolen bills, heroine kept in peril to help news-
paper-publisher-hero clinch evidence against
gang. Thick with usual gunplay, hard drink-
ing, heavy villainy, stock heroics, etc. Dix
deserves better. 4-26-39
(A) Mediocre (Y) No (C) No
Wuthering Heights (Merle Oberon, L. Oliver. D.
Niven) (UA) Masterful screening of Emily
Bronte classic of sombre atmosphere and fan-
tastic mood, true to its period, splendidly net,
cast, and directed. Old-time love story power-
fully told from childhood to final tragedy and
eerie aftermath. Notable achievement. 4-1S-39
(A) Excellent (Y) Mature but good (C) No
With a Smile (Maurice Chevalier) (French-
Eng. titles) (Malmar) Engagingly brazen
hero with disarming smile, untroubled by
ethics, elbows way to top. despite friend or
foe, from door-opener on curb to head of the
national Opera. Clever acting and panto-
mime. Continental sophistication. 4-25-39
(A) Good of kind (Y) No (C) No
Whispering Enemies (Dolores Costello, Jack
Holt) (Columbia) Hero heads racket of whis-
pering campaigns against products of rival
firms, forcing them to fail. Finally repents,
confesses, goes to jail, becomes hero when he
foils jailbreak, and marries heroine whose
business he had almost ruined ! 5-2-39
(A) Stupid (Y) No (C) No
May, 1959
Page 177
Publications on the Visual Teaching Field
EDUCATIONAL SCREEN
The only magazine in the field of riinal and andio
Tiinal iaitroction. Official organ of the Department of
Visual Initraction of the National Edacation Association.
Discusses methods, procedures and results with various
tjrpes of visual teaching aids to instruction, and provides
up-to-date information on progress and developments
{•nerally. A clearing-house of thought, fact and ex-
perience on all phases of the field. Published monthly
except during July and August
Subscription : $2.00 one year ; $3.00 two years.
VISUALIZING THE CURRICULUM.
By C. F. Hoban, C. F. Hoban, Jr., and S. B. Zisman.
Presents in theory and in practice the basic methodology
of visual instruction in relation to classroom procedure.
Throughout the text the theory of visual aids is applied
to textbook illustration. "Visualizing the Curriculum",
itself a splendidly "visualized text", provides an abundance
of technical guidance in the form of illustrative drawings
of photographs, reports of school journeys, suggestions
for mounting materials, for making slides, film strips, etc.
It incorporates up-to-date material, provides a fine balance
in the treatment of various teaching aids, evaluates various
types of aids, and defines the functions and values of each
in the learning process.
320 pp. illus. Price $3.50.(20% discount to schools)
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-
ganizing the Audio-Visual Service," "Source List of Ma-
terials and Equipment."
180 pp. Illus. Paper binding, $1.25; Cloth, $1.75.
PICTURE VALUES IN EDUCATION.
By Joseph J. Weber, Ph. D.
An unportant contribution to the literature of the visual
field. Presents in tmusually interesting form the results
of extended investigations on the teaching values of the
lantern slide and stereoeraph.
156 pp. Illus. Price $1.00 (67c to E. S. 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.)
THE STEREOGRAPH and LANTERN SLIDE
IN EDUCATION. By G. E. Hamilton.
The most comprehensive discussion yet published.
47 pj). Price 15c.
"1000 AND ONE" FILM DIRECTORY
"1000 and One"— the Blue Book of Non-Theatrical
Films, published annually, is famous in the field of visual
instruction as the standard film reference source indis-
pensable to film users in the educational field. The current
(I4TH) edition, recently published, lists some 4S00 films,
carefully classified into 147 difierent subject groups (In-
cluding large group of entertainment subjects). Shows
whether 16 mm or 35 mm, silent or sound, title, number
of reels, summary of contents, sources distributing the
films, and range of prices charged.
104 pp. Price 75c (25c to subscribers of E. S.)
THE EDUCATIONAL TALKING PICTURE.
By Frederick L. Deverenx.
Presenting preliminary solutions of some of the more
important problems encountered in adapting the talldng
picture to the service of education. The first six chapters
deal with the development of fundamental bases of pro-
duction, with the experimentation which has been con-
ducted, and with suggested problems for future research.
The remaining chapters discuss the effective use of the
sound film in teaching.
220 pp. Illus. Price $2.00. (20% discount to schools)
HOW TO USE THE EDUCATIONAL SOUND FILM.
By M. R. Brunstetter, Ph. D.
Discusses the utilization of the educational sound film,
and lists and illustrates techniques for placing the film
into effective service in the classroom. The procedures
suggested are based upon extended experience in studying
teachers' use of sound films and in helping to organize
programs of audio visual instruction in school systems.
Two valuable Appendices and a full index.
175 pp. Illus. Price $2.00. (20% discount to schools)
MOTION PICTURES IN EDUCATION IN
THE UNITED STATES. By Cline M. Koon.
A report on the instructional use and indirect edtica-
tional influence of motion pictures in this country. HiviHeH
into nine units. Treats the motion picture (1) as an edu-
cational influence : (2) in the service of health and social
hygiene; (3) in governmental service and patriotism;
(4) in vocational guidance ; (S) in international under-
standing: (6) Motion picture legislation; (7) technique
of production and distribution ; (8) systematic introduc-
tion of films in teaching; (9) general educational problems
of films in teaching.
HOW TO MAKE HAND-MADE LANTERN
SLIDES. By G. E. Hamilton.
Simple directions for making this economical and in-
creasingly popular teaching aid.
24 pp. Price 10c.
TO ORDER, Check Material Desired and Fill in Blank Below
Subscription to THE EDUCATIONAL SCREEN
U. S. 1 year, $2.00 D
Foreign 1 year, $3.00 D
Canada 1 year, $2.25 D
To subscribers
Price of E. S.
"1000 and One" Film Directory t .75 D I -SS D
Viiumliiinc the Currieulam S.EO Q
(To SchoolB) «.80a
The Andio-Viauml Handbook
Paper Bindinc 1.25 Q
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Some VUual Aids 1.00 Q
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How to ITse Educational Sound Film 2.00 O
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Motion Pictures in Education in
The United States 1.00 Q
(To Schools) ... ._ son
StereOKraph and Lantern Slide in
Education .IB D
How to Kake Handmade Lantern
Slides „ 10 n
2.80 D
2.80 D
1.25 0
1.75 D
.«7n
.67 n
2 00D
l.SOD
2.00 o
l.SOD
1.00 n
.son
.WD
.10 D
2 years, $3.00 D
2 years, $5.00 D
2 years, $3.50 D
Educational Screen
64 E. Lake St.. Chicaeo
I have indicated items desired and enclose check for S.
Name.
School or Street.
City.
Sute.
Page 178
The Educational -Screen
^^^^^^1
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1
AMICK
The
Phantom
Canyon
Regular prices:
14x30— $10.00; Framed— $22.50
CLASS MEMORIAL SALE PRICE
Sheet— $6.66; Framed— $15.00
This and other important Indian Subjects
together with hundreds of Fine Art publi-
cations now on sale.
Write for our Twentieth Annual Class
Memorial Sale Catalog mailed free.
THE COLONIAL ART COMPANY
Oklahoma City
World's Largest Picture House
Chicago
16 mm Association Formed
The Allied Non-Theatrical Film As-
sociation was organized at a meeting re-
cently held in New York City. Its mem-
bership is composed of manufacturers of
16 mm motion picture equipment and
those engaged in the production, distri-
bution, and the sale and rental of 16 mm
films. Officers were elected as follows :
President, Bertram Willoughby of Ideal
Pictures Corporation ; First Vice-Presi-
dent, Harry A. Kapit of W. O. Gutlohn,
Inc. ; Second Vice-President, Wm. Hed-
wig of Nu-Art Films ; Secretary, Thomas
J. Brandon of Garrison Films ; Trea-
surer, W. O. Post of Post Pictures.
Other members of the Board of Di-
rectors are: J. H. Hoflfberg. of Hoffberg
Pictures, S. C. Atkinson of General Films
Limited, Laurence Saltzman of Audio-
Film Libraries and H. T. Edwards of
Edwards Productions. Objectives of the
Association include the bringing about of
closer cooperation among the various
firms in the field and that of producers
and distributors with the 16 mm film
users. By concerted watchfulness and
action it hopes to put a stop to the duping
and bootlegging of prints and to prevent
legislation adversely affecting the inter-
ests of the 16 mm field. Present member-
ship consists of thirty firms, with an ex-
tensive membership drive under way.
Timely Historical Subject
Sea of Strife, a two-reel film dis-
tributed by Pictorial Film Library, 130
West 46th Street, New York City, is a
historical document of considerable timely
interest. It presents the fascinating story
of the Mediterranean Sea, showing how
it has always been the scene of conflict
between nations from ancient to modern
times. Scenes from old silent films por-
tray the battles of the Romans and Car-
thaginians. The narrator then proceeds
down through the ages to the present
with shots of the Ethiopian War, the
Spanish War. Mussolini and the British
fleet, pointing out Italy's rise to naval
power until today it shares control of
the Mediterranean amicably with Great
Britain. Pictorial offers this subject in
both 16mm and 35mm sound. Commen-
tary is by Hal Baumstone.
Bell & Howell New Models
and Price Reductions
March 1st Bell & Howell announced
an entirely changed sales set-up, new
motion picture camera and projector
models, sweeping price reductions,
simplification of lines and replacement
of catalog letter-and-number designa-
tions of most models with easy-to-re-
member proper names.
The new prices of the Filmo 141
16mm. camera range from $115.00 to
$160.50, the Filmo 70's from $124.00 to
$243.50. and the Filmo 121 from $76.00
to $121.50. In the silent 16mm. pro-
jector line, model JJ becomes "Diplo-
mat," reduced from $242.00 to $198.00;
model 129-D the "Showmaster," re-
duced from $222.00 to $215.00. The
Filmosound 16mm. sound-on-film pro-
jector line has been simplified. Five
models covering a wide range of audi-
torium requirements are offered, rang-
ing in price from $276.00 to $410.00 for
four of them, and $875.00 to $1550.00
for the 1200-watt "Auditorium" model.
Evaluation of Still
Pictures
(Concluded from page 159)
be determined. The desirable qualities
seem to fall into two well defined
groups, the one relating to technical
qualities and the other to the instruc-
tional qualities of a picture.
Conclusions which Seem Evident from
the Experiment
a. In every group classified accord-
ing to teaching experience and in the
total group as well, the rank correla-
tion indicated that the score card in-
creased the ability of the teachers to
grade the pictures more nearly in ac-
cord with the evaluation given by the
judges.
b. With the score card, the rank of
the pictures by the teachers and judges
were in closer agreement than the
teachers were with themselves when the
grades given without and with the score
card were compared, except in one case
where the teachers were actually teach-
ing on the grade level of the unit used
in the experiment.
c. Teaching experience in itself was
no indication of superiority in the scor-
ing of the pictures.
d. Visual instruction courses or
work under a supervisor seemed to have
had little effect in the ability to evaluate
specific pictures for a designated unit
of study, but the inclusion of so many
who had had work only as practice
teachers with no actual classroom ex-
perience may have affected the results
in this group.
General Conclusions
a. The extreme variation of individ-
ual scores indicates a need of greater
standardization in the important work
of evaluating pictures for instructional
purposes.
b. It must be remembered that this
score card on which the experiment is
based is a compilation of the opinions
of men and women who are working in
this field of education and who are
as nearly competent to judge standards
as any group which is available. How-
ever, they would be the first to disclaim
authority in their opinions. The pro-
posed score card offered in this study
probably needs revision and refinement.
It is a beginning from which perhaps
a more reliable score card may be
constructed. Some of the over-lapping
qualities possibly should be combined.
Other qualities, in actual practice, may
be found to be over-emphasized. A
more objective method of scoring each
item might be more effective. Further
experimentation is needed to determine
more specifically the value of most of
the qualities listed on the present score
card.
c. If classroom teachers and visual
instruction directors will continue the
work of testing and checking the
qualities which are desirable for an in-
structional picture, the results can be
combined into a set of standards which
will be a valuable contribution to edu-
cation.
May, 19}9
Page 179
STREET SAFETY
PREPARED IN COOPERATION WITH THE NATIONAL SAFETY COUNCIL AND
THE AMERICAN AUTOMOBILE ASSOCIATION
IMPRESS the "do's" and "don'ts" of street
safety on your students' minds clearly,
dramatically, and unforgettably through
these films, prepared in cooperation with
the National Safety Council and the
American Automobile Association.
FOR ADVANCED GRADES — One full
reel, for use with advanced grades, illus-
trates fundamental safety principles de-
signed to govern the outdoor activities of
older children or adults. Price, $24.
FOR PRIMARY GRADES — A half reel,
for primary grades, employs a trained
police dog as well as human actors —
demonstrates cardinal points of street
safety by the indirect method. Price, $12.
36 OTHER EASTMAN CLASSROOM FILMS ON HEALTH
There are additional Eastman
Classroom Films on Bacteria ...
Modern Basketball Fundamen-
tals...The Blood... Body Frame-
work...Breathing. ..The Living
Cell. ..Circulation. ..Circulatory
Control.. .Cleanliness (Bathing,
Clean Clothes, Clean Face and
Hands, Keeping the Hair
Clean) . . . Digestion . . . Diph-
theria . . . The Feet . . . First Aid
(Care of Minor Wounds, Car-
rying the Injured, Control of
Bleeding, Life Saving and Re-
suscitation)...Food and Growth
...Modern Football Fundamen-
tals...Good Foods (A Drink of
Water, Bread and Cereals,
Fruit and Vegetables, Milk)...
Home Nursing (The Bed Bath,
Routine Procedures, Special
Procedures)... The House Fly
...Mold and Yeast. ..Muscles...
Posture... Sewage Disposal...
Skin... Teeth... Tuberculosis
and How It May Be Avoided.
•
For further details write Eastman
Kodak Company, Teaching Films
Division, Rochester, N. Y.
Whm yov'm of Ihm Naw York World's Fair, bo iwr* to vUU rim Kodak Building and <m "Iho Grootnt Photographit Show on Barth"
Eastman Classroom Films
Page 180
The Educational Screen
HERE THEY ARE
A Trade Directory
for the Visual Field
FILMS
Akin and Bagshaw, Inc. (6)
142S Williams St., Denver, Colo.
Audio-Film Libraries (5)
661 Bloomfield Ave., Bloomfield, N. J.
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 175)
Dudley Visual Education Service (4)
736 S. Wabash Ave., Chicago
4th Fl., Coughlan Bldg.
Mankato, Minn.
Eastin 16 mm. Pictures (6)
707 Putnam Bldg., Davenport, la.
Burns Bldg., Colorado Springs, Colo.
Eastman Kodak Co. (1> 4)
Rochester, N. Y.
(See advertisement on outside back cover)
Eastman Kodak Co. (4)
Teaching Films Division, Rochester,
N. Y.
(See advertisement on page 179)
Eastman Kodak Stores, Inc. (6)
Kodascope Libraries
356 Madison Ave., New York City
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 Classroom Films, Inc. (2,5)
35-11 3Sth Ave., Long Island City.
N. Y.
Films, Inc. (6)
330 W. 42nd St., New York City
64 E. Lake St., Chicago
925 N. W. 19th St., Portland, Ore.
Garrison Films, Inc. (3, 6)
1600 Broadway, New York City
General Films, Ltd. (3, 6)
1924 Rose St., Regina, Sask.
156 King St., W. Toronto
Walter O. Gutlohn, Inc. (6)
35 W. 45th St., New York City
(See advertisement on page 166)
Harvard Film Service _ (3, 6)
Biological Laboratories,
Harvard University, Cambridge, Mass.
Guy D. Haselton, Travelettes (1, 4, 5)
7936 Santa Monica, Blvd.,
Hollywood, Calif.
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 175)
Lewis Film Service (6)
105 E. 1st St., Wichita. Kan.
(See advertisement on page 167)
The Manse Library (4, 5)
2439 Auburn Ave., Cincinnati, O.
(See advertisement on page 175)
Norman-Willets Co. (6)
318 W. Washington St., Chicago.
Pictorial Film Library, Inc. (6)
130 W. 46th St., New York City
(See advertisement on page 175)
United Projector and Films Corp. (1, 4)
228 Franklin St., Buffalo, N. Y.
Universal Pictures Co., Inc. (2)
Rockefeller Center, New York City
(See advertisement on page 172)
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 (1, 6)
347 Madison Ave., New York City
19 S. LaSalle St., Chicago
351 Turk St., San Francisco, Cal.
MOTION PICTURE
MACHINES and SUPPLIES
The Ampro Corporation (6)
2839 N. Western Ave., Chicago
(See advertisement on page 146)
Bell & Howell Co. (6)
1815 Larchmont Ave., Chicago
(See advertisement on inside back cover)
DeVry Corporation (3, 6)
1111 Armitage St., Chicago
(See advertisement on page 148)
Eastman Kodak Co. (6)
Rochester, N. Y.
(See advertisement on outaide back cover)
Eastman Kodak Stores, Inc. (6)
Kodascope Libraries
356 Madison Ave., New York City
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
Hirsch & Kaye (6)
239 Grant Ave., San Francisco, Cal.
Holmes Projector Co. (3, 6)
1813 Orchard St., Chicago
(See advertisement on page 173)
Ideal Pictures Corp. (3, 6)
28 E. Eighth St., Chicago
(See advertisement on page 176)
Norman-Willets Co. (6)
318 W. Washington St., Chicago
RCA Manufacturing Co., Inc. (5)
Camden, N. J.
(See advertisement on page 166)
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 174)
Victor Animatograph Corp. (6)
Davenport, Iowa
(See advertisement on page 169)
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 Co.
1336 N.W. 1st St., Oklahoma City, Okla.
(See advertisement on page 178)
SCREENS
Da Lite Screen Co.
2717 N. Crawford Ave., Chicago
(See advertisement on page 170)
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
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 176)
Keystone View Co.
Meadville, Pa.
(See advertisement on inside front cover)
Radio-Mat Slide Co., Inc.
1819 Broadway, New York Citv
(See advertisement on page 175)
Society for Visual Education
327 S. LaSalle St., Chicago, 111.
(See advertisement on page 174)
Visual Education Service
131 Clarendon St., Boston, Mass.
Visual Sciences
Suffern, New York
(See advertisement on page 175)
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
STEREOGRAPHS and
STEREOSCOPES
Keystone View Co.
Meadville, Pa.
(See advertisement on inside front cover)
STEREOPTICONS and
OPAQUE PROJECTORS
Bausch and Lomb Optical Co.
Rochester, N. Y.
(See advertisement on page 146)
Eastman Kodak Stores, Inc.
Kodascope Libraries
356 Madison Ave., New York City
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
Hirsch & Kaye
239 Grant Ave., San Francisco, Cal.
Keystone View Co.
Meadville, Pa.
(See advertisement on inside front cover)
Norman-Willets Co.
318 W. Washington St., Chicago
Spencer Lens Co.
19 Doat St., Buffalo, N. Y.
(See advertisement on page 167)
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
REFERENCE
NUMBERS
(I)
indicates
■ilent.
firm
supplies
35
mm.
(2)
indicates
aonnd.
firm
supplies
36
mm.
(3)
indicates
firm
supplies
35
mm.
sound an
d site
nt.
(4)
indicates
silent.
firm
supplies
16
mm.
(5)
indicates
sound-on-
firm
film.
supplies
16
mm.
(«)
indicates
firm
supplies
It
mm.
sound and silent.
E 1 M (C ATIO MAL
fhe Magazine Devoted Exclusively
10 the Visual Idea in Education
IN THIS ISSUE
Electrifying English
A Case for Integration
through Slides
Motion Pictures —
Not for Theatres
PROCEEDINGS
OF THE FIRST
MIDWESTERN FORUM
ON
VISUAL TEACHING AIDS
JUNE, 1939
PubJio Library
Kansas City, iv o.
Teachers Librar
VOLUME XVIII, NUMBER 6
WHOLE NUMBER 173
The Tower of the Sun and one of the Elephanf Towers which
flank fhe mam entrance of fhe Golden Gafe Exposition.
/ 25c A COPY * $2.00 PER YEAR
...with INSTRUCTIONAL FILMS
made solely for classroom use
TEACHERS who have used Qass-
room Films find their pupils
learn more quickly, more thoroughly
— remember more clearly. Slow
motion, time-lapse, microscopic and
animated photography — integrated
with oral interpretations — demon-
strate complex points in a way that
is vivid, dramatic, unforgetable!
Classroom Films differ funda-
mentally from other films. Each one
is produced as an integral part of
a unit of instruction in a particular
course. Emphasizing the salient fea-
tures of a specific body of subject
matter, it may be employed
(1) to stimulate interest in a new
unit of instruction
(2) as a direct teaching aid in pre-
senting material otherwise difficult
or impossible to present
(3) to enrich or extend the con-
tent of a unit
(4) to summarize or review a
unit's work.
Erpi Classroom Films, Inc., offers
you scores of true teaching films
covering a wide range of subjects.
Write today for your copy of the
catalog which gives full information.
!'"**i!!..ffia5ai»JT0 THE CLASSROOM ^
BIOLOGICAL SCIENCE SERIES
PHYSICAL SCIENCE SERIES
HUMAN GEOGRAPHY SERIES
MUSIC SERIES
ART SERIES
PRIMARY GRADE SERIES
TRACK AND FIELD ATHLETIC SERIES
CHILD PSYCHOLOGY SERIES
Erpi Classroom Films Inc,
35-11 Thirty-fifth Avenue, Long Island City, N. Y.
1^' An \n%\\\K}\\on devoted exclusively fo the service of Education
[7^£ EDUCATIONAL SCREEN
JUNE. 1939
VOLUME XVIII
Contents
Electrifying English
Walter Ginsberg
A Case for Integration Through Slides
Paul S. Miller and Mildred A. Schenck
Motion Pictures — Not for Theatres
Arthur Edwin Krows _. ..
Proceedings of the First Midwestern Forum on
Visual Teaching Aids
Diversitorials
Annong Ourselves — Notes from and by
The Department of Visual Instruction
Conducted by The Editorial Committee..^.,...,
News and Notes
Conducted by Josephine Hoffman _.
The Federal Film
Conducted by Arch Mercey.
In and For the Classroom
Conducted by Wilber Emmert.
Among the Magazines and Books
Conducted by the Staff
Current Film Releases
Among the Producers
Film Estimates
Here They Are! A Trade Directory of the Visual Field.
187
189
191
195
209
210
213
214
216
220
222
224
226
228
NUMBER SIX
Th* EDUCATIONAL SCREEN publlthed monthly nc»pi July «nd August by Tlia
Educttional Scr»«n, Inc. Publication Office, Pontiac, Illinois; Eiecutiv* Office, 64
East Lala St., Chicago, Illinois. Entered at the Post Office at Pontiac, Illinois, as
Second Class Matter. Copyright, June, 1939. by The Educational Screen.
Address communications to Executive Office, 64 East Lake St., Chicago, III.
$2.00 a Year (Canada. $2.25; foreign, $3.00) Single Copies 25 cti.
THE EDUCATIONAL SCREEN, Inc.
Directorate and Staff
Nelson L. GrMA*. Editsr Jtsaphlne Htffaaa
Emiyn I. Ottur F. Dun McClmky
Wllbir Emnvt ManUr R. Gr—mt
Am S*l< Stella E»lyi Mnn
Page 184
The Educational Screen
KEYSTONE
Handmade'
Lan tern 'Slide
Materials
Are the Best
Keystone Etched Glass is mud-ground, with a satiny
surface that has no superior in the possibiUties of
even, smooth projections.
Keystone Lantem-Slide Crayons are free from all
wax, which is found in all ordinary colored pencils
or crayons; they have fast, true colors and a com-
position that will stand the heat of a lantern — the
only lantern-slide crayons or pencils made for the
purpose. Results, colorful and beautiful projections.
Keystone Lantem-Slide Ink is the successful result
of years of experimentation to get a coating that
would resist heat and produce durable, attractive
high colors.
Keystone Cellophane and Carbon Paper are the ap-
proved products of a long period of investigation
and experimentation to get a durable, attractive
cellophane and a carbon paper that would produce
clean clear-cut copy on the screen-
All other items in the list of endorsed Keystone
Handmade-Lantern-Slide Materials are of the best
and highest quality, thus assuring a high level of
interest on the part of the pupil and, therefore, the
effective and continued use on the port of the
teacher.
The successful and continued use of handmade lantern slides depends to a very large
degree on the attractiveness of the slides that can be made from the materials furnished.
Before you permit anyone to sell you something "cheaper but 'just as good'," investigate
the real economy of using exclusively Keystone Handmade-Lantern-Slide Materials.
Keystone View Company
Meadville, Penna
Junr, 1939
Electrifying English
(Concluded from May Issue)
IN THK field oi pliotoprajjhic reproductions English
teachers undoubtedly are familiar with the photosta-
iiig of library material and the photo-reprint meth-
od of reproducing textual and pictorial material in
quantity. In 1936 the English Jourttal described the
photo-reprint method of producing the school pajjer, a
method that has in many places given new life, if not
life for the first time, to the school paper." And in the
Spring of 1938 the Teachers College Bureau of Pub-
lications had occasion to make available to English
teachers full-size photographic reproductions of rare il-
lustrative Shakespeare materials. '^ But here let me
tell you about the most recent and most thrilling de-
velopment of photographic reproduction — a develop-
ment for our purpt).ses reallv of only the last two years.
I am referring to microphotography.
What is microphotography ? It is a young genius in the
miniature camera family, related to the candid camera
so much in amateur vogue, in that it uses the same size
him, 35mm — also the size of the professional movie
film. Books, charts, manuscripts, pictures of all kinds
are photographed on the microfilm in the form of
minute stills, each occupying a "frame" of space. Eight
to sixteen frames occupy a foot of this film. Thus
eight to sixteen pages of a book can be placed on a foot
of film, at a cost varying with the librarj- or lalioratory
where the work is done from about one to three cents a
"frame" or page.
An entire book in microfilm literally can be carried
in that much-stuflFed vest (xjcket ! Recently I inquired
at the New York Public Library's newspaper division
for a certain September day's copy of the New York
Herald-Tribune. The attendant handed me a small
container no bigger than four and one-half inches in
diameter and two inches high, and said. "Here is the
Tribune for the whole month of September, Sunday
editions, too." It was on microfilm, and he showed me
to the nearest reading machine.
As with so many things that arc new, the idea is old.
In this case it goes back to the French photographer,
Dagron, who in 1870 had to send information out of be-
sieged Paris. He reduced the document photograph-
ically, then wrapf)ed it around a pigeon's leg. But
electric developments have brought microphotography
around to its promising stage of today. The essential
equipment for viewing niaterial on the microfilm is a
reading machine or projector. The most recent as well
as the cheapest instrument, costing less than a good
typewriter, has the economy of being used either as a
>> Oinsbcrit, Wiltfr "LowOmI Production of the S«hool Paper," MnfHth
Journal, December, 1S86.
''Jewptt. IdB A. and OiBuheric. Walter Tht Hhakttptart CoUtMon,
Bureau of Publicatiani, Trarberi College, Columbia (JniTrniitr, 1038.
Page 187
A discussion of potential values deriv-
able front microphotography for English
classes trhich fete schools have yet realized.
By WALTER GINSBERG
English Department, Teachers College
Columbia University, New York City
reading machine for the individual or as a projector for
the group.
What can microphotography do for us English
teachers? For one thing, it makes library walls dis-
appear! The magic microfilm camera has penetrated
tlie great rejx)sitories of recorded culture. Materials
w^e could not even dream of having — the rare, the in-
accessible, the cumbersome — now we can have them,
arranged in proper sequence for vivid presentation to
the class with the projector, and for re-examination by
the individual student after class with the reading ma-
chine. Using 35mm strips or rolls of safety film, the
libraries will copy their books and manuscripts on your
demand, for your i)ermanent possession at a cost almost
negligible. Through the Bibliofilm Service of the
American Documentation Institute,*' the vast resources
of the Library of Congress and other great Washington
reserves may be microfilmed to your order. Among
other institutions ofTering the service of microfilming
are the New York Public Library, the Huntington
Library and Art Gallery in California, the libraries of
the University of Michigan, the University of Chicago,
the Massachusetts Historical Society, Yale University,
Harvard University. University of North Carolina,
Brown University, and the University of Washington.
Think of the wealth of rare books, manuscripts, special
collections, and other materials made available! Nor
do we have to stop at the edge of the Atlantic. From
the libraries of Cambridge, the British Museum, and
Bodleian in England you can order through University
Microfilms at Ann Arbor, Michigan. University Micro-
films now is engaged in filming all the books printed in
England before 1550, and making the positive prints
of the films available here on a subscription basis.
The Bibliofilm Service will put the teacher's own
materials on microfilm, in the form of a pictorial film-
strip. The costs of this significant service depend on
the amount of work involved in the copying and titling,
but the general rate is commensurate with the very
low charge for microfilming the libraries' own mater-
ials. Additional film prints of the negative in the
microfilm process can be had as easily as extra prints
of the snapshots you took on the beach last summer.
In this regard, microphotography becomes an amaz-
ingly low-cost form of publishing.
Precursive H. G. W'ells, contemplating the develop-
ment of microphotography and what it means for the
preservation, release, and exchange of information, ex-
claimed. "It . . was the beginning of a world brain . .
a sort of cerebrum for humanity . . which will constitute
a memory and also perception of current reality for the
» Bibtioflim Serrice of the American Documentation Institute O/o
Tnited Stntes Department of Affricnlture Library, WaBhincton, D. C.
Page 188
The Educational Screen
entire human race . . In these days of destruction,
violence, and general insecurity, it is comforting to
think that the brain of mankind, the race brain, can
exist in numerous identical replicas throughout the
world. . ."'^
Mr. Wells' imagination was excited by the possibili-
ties of microphotography for intellectual progress. Let
your own imagination play a bit upon the possibilities,
if not for the intellectual progress of all mankind, then
for the progress and enrichment of the work in English
teaching. Let your imagination play, and soon you will
be fashioning applications that will excite you tremend-
ously !
In order to explore and suggest a few types of
possibilities, I have taken representative materials,
and have placed them on a strip of microfilm. The
strip becomes a series of projected stills, each held
before the group or individual for as long as the dis-
cussion study may demand. With splendid results,
I experimentally had these materials microfilmed r^^
1. Rare Library Materials: From the Shakespeare
First Folio, 1623, showing the title page with
portrait, introductory pages, and Macbeth as it
appeared in print for the first time ; from Holin-
slted Chronicles, 1586-7, historv of Scotland, the
3.
scientific day, we may have a resurgence of inter-
est in the old materials. At least some of these
crumbling, precious volumes become preserved
for future generations and available to all.
Scenes from Outstanding Stage Productions :
English teachers need such material and have
bemoaned the difficulty of securing it. Here I
have examples of how we can present to the en-
tire class scenes showing the Orson Welles
Caesar and the Maurice Evans Hamlet. Past
productions, too, could well serve our work. In
1923 David Belasco presented David Warfield as
Shylock in a very notable production of Merchant
of Venice. To commemorate the accomplish-
ment, Mr. Belasco issued for limited distribution
a souvenir of the production, containing about
thirty beautiful photographs illustrating the vivid
scenes of the play. What these could do for a
class now studying the work, all English teachers
know. But no copies of the book can be had for
classroom use. That is, no copies in the old sense.
For I have taken it with me to the classroom, all
of it on microfilm, and right in that vest pocket !
Scenes from the Photoplays : Probably no ma-
terials are in greater demand than those of the
PMft^
i5ipmi9 Tbjo f^rt f5»< Tl»nft fii 6^ W*
f-oiouyjt 3 Qiof 6' ifiie of t^tt^mouq
fyimtit Spoil toll)nc(te5(eout$
(>, 1 ;(ol»n( foCunJ to t§f bntt
a boutr 6'6nectf8n0r(gi»i(mrl bol&lir
ire. 5oIt fomtl ««Ct« miO; 6u 9(B» lltt BtoBBf
fltit Cfrifftifr 6t die a (joe« fttjttr
J-|lli:fminpaC[aurifofttri»f!!(64W«l«ttt«
f totjurixu? aiatt* UXjtfc tUftfiapmaij ftflje
Cftiptffonftvntftotffff nobfix
j( Itial 6c faiijfil inHliiK* * 8i»«<" Sonte
IVlsatnorffnl t5<pn6omtlo»iKrrtOB8»
C<ulo(6i«"afllor.brnl»u6ul7t'«
r,ie|tr(iiicflanl>6iBC4uiiO"eO'"i6'i'"*
iiioMr&tuglien iwonf <nC 6tB [oCKmanaflt
Ca<t(llU«llOi«fi«li«frO>il«u(."Oi»:it«Jt
flart>r6.tta»«n^*"'"^"^'"5* * ...
bits manrl'"»f'"'"^''» ''"*"'"
The Workcsof William Shakcfpcrarf,
conwiningall his Comedies, Hiftorics, and
Triiictlics.-Tnj'rly fetfbnh, according lo ihtti fini
0T{JG )N.^LL
The Names of the Pnncipill Aftors
millilicrcHUycs.
gra /,;,,„„ J*4#...<.
Smiriqillmi.
^^H ffe* J"' B"* %•
%if7liArmin.
J,lnH,.m,,ns>.
tl^JUmOfiin.
^..ufi«rukp-
:>(MiM^Ft,U.
u tlliitii K.tfff-
fUVrJ'raixJ.
IhmtiTMfr.
7<jMluT»h.
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From the 1490 Pynson illustrated "Can-
terbury Tales", a page of the "Prologue."
From "Holinshed Chronicles," used
by Shakespeare, the title page.
Courtesy of New York Public Library
From the Shakespeare "First Folio,"
a page showing the names of the actors.
pages giving the sources of passages in Macbeth;
from the 1490 Pynson illustrated Canterbury
Tales, the "Prologue" ; from Washington Irving's
Knickerbocker History of New York, a page of
manuscript showing revisions in Irving's own
hand ; from the Lenox Collection, a rare portrait
of Washington Irving. Here are some things the
students have heard us tell about, but which
neither they nor more than a very few of us
have ever seen. It it interesting to contemplate
that through this development of the modern
" From an address before the World Congress of Universal Documenta.
tion. 1937, Paris, quoted by .*<rience Service, Washington, T>. C.
"These were demonstrated by the author during his address at the
Natiomal Council of Teachers of English, St. Louis, Missouri, Not.
36, 1938.
authenticated motion picture. As literary and
historical background, and in connection with
photoplay appreciation, we here have a technique
for presenting still materials to the class. I have
taken scenes from Tale of Tivo Cities, David
Copperfield, Well Fargo, and The Citadel.
4. Looking at Life : Making vivid to the whole class
at once certain important meanings. For example,
from Life magazine, contributions of the negro to
American culture, and candid snaps showing
natural, eflfective gestures in public speaking.
5. Written Expression of Students : Here is a tech-
nique for presenting the students' compositions to
the entire group. Useful in theme discussion and
June, 19}9
Page 189
correction, this is the kind of aid English teachers
are eager to have.
These suggesteti possibilities can no more than mere-
ly indicate all the implications of microphotography for
enriching the English program. I could go on to elab-
orate concerning teachers and students creating their
own strips as cooiierative group projects, or teachers
in different sections of the country recording and ex-
changing visualizations of the significant social and
literary background of their own locales. Mut perhaps
enf>ugli has been .said to intimate that microphoto-
grafjhy as a visual aid has vast significance for English
teaching.
In cf)mmenting on the recent notable advances in the
new machines to help communication and thought, the
Regents' In(|uiry into the Character and Cost of Public
Education in the State of New York observes, "Any
ediicatifHial system which ignores these new methods
and mechanisms will soon find it is out of date."'* ."Mert
English teaching, with its active awareness of radio and
motion i>ictures and other scientific develo])ments,
seems far from the danger of becoming out of date.
However, any coinprehensive cognizance of the appli-
cations of scientific advances to the teaching of English
surely must include the tremendous |X)ssibilities of
microphotography.
The motion picture, the radio, microphotography
today — television before tomorrow. What next for the
'• Kriuirl of tha t^CKmU' Inquiry, £<i««aMoii for Amtrican Li/t, 1088,
MKiiawHill. New York.
PhotOKraph by Vandamm Studio
Scene from the Mercury Theater production of
"Caesar", with Orson Welles as Brutus.
company of English teachers? Tireless marchers in
the educational legion striving ever to gain new salients
of progress, we wheel into the corridor of scientific
advancements. From far ahead the call echoes and re-
echoes, growing louder and louder, finally reaching us
with its clear crescendo to "Forward!" into new fields
whose "margin fades for ever and for ever" as we
march with the torch of progress held high. And we
know, it's an electric torch !
A Case For Integration Through Slides
THE term integration as applied to the learning
process has frequently been the cause of much con-
fusion. This confusion has existed in the minds
of pupils.
Among the major problems which confront the
teachers is the inability to form a clear concept of the
organization of subject matter in an integrated unit.
Some have thought of it as a combination of several
subjects, while others have considered it in the light
of parallel subjects or courses. For our purposes we
are considering integration as a process of learning
which takes place in the minds of pupils. The pres-
entation of subject matter is the means through which
the pupils interpret and understand certain related con-
cepts. The extent to which these concepts are under-
stood by the learner depends to a large degree upon
the methods employed.
It is almost universally accepted, that all teaching
may be enriched and learning facilitated by means of
practical methods which bring the pupil in direct con-
tact with objects and concrete experiences. Unfor-
tunately, many teachers are unable to provide facilities
Hotv student-made lantern slides can
clarify and enrich learning not only for
the class hut for the rest of the school.
By PAUL S. MILLER and MILDRED A. SCHENCK
Eastern School, East Orange, N. J.
for such a procedure, because they lack the training
and experience themselves.
The purpose of this article is to explain how one
method was employed by means of sensory experiences,
which was considered a valuable aid in clarifying
ideas, as well as giving opportunity for the develop-
ment of the important educational process — self ex-
pression.
At the beginning of the school year in September,
the fourth grade began the study of music designated
for that grade. The first rote song which was taken
from Beethoven's "Sixth Symphony" aroused the
curiosity on the part of some pu])ils about the person
who comiwsed this selection. The inipils were anxious
to learn .something of Heethoven's Iniyhood. how he
happened to become a com])oser. his experiences in
early life as a musician, and how he became famous.
The study was not confined to Beethoven and his com-
positions, but included other comjKjsers and their pro-
ductions. However, there were certain favorites, chief
among them was Haydn, or "Paim" as they loved to
call him.
Page 190
The Educational Screen
The "Childrens' Symphony" and how it was written
made an especial appeal to the pupils. It was evident
at this point that definite avenues of learning were
manifesting themselves and that, under proper direc-
tion, excellent results might be achieved.
Those who wrote compositions found a new use for
the dictionary. They realized that correct spelling and
correct sentence structure were essential. Those who
had a desire to express themselves through the medium
of art, discovered that it was necessary for them to
read extensively the lives and experiences of the com-
posers. It was in connection with this activity that
the idea found expression in the form of slides. The
learning process
had now changed
from that of drill
and mastery of facts
to a game, which
was interesting and
to which each could
make his contribu-
tion.
Before the pupils
proceeded with the
project it was nec-
essary to conform
to certain principles
in the learning pro-
cess. In order to
meet this require-
ment the topic was
presented with the
following aims in
view :
1. To keep the
project within
the range of
ability of the
pupils.
2. To give each
pupil a task to
perform that
was of vital
interest to
him.
3. To assist each
pupil in the
preparation of
his material.
4. To encourage
him to com-
plete his work
in a satisfac-
tory manner.
5. To exercise
critical judg-
ment in select-
ingthe subject
which each
pupil wished
to present.
When there was
sufficient evidence
Samples of Pupils' Slides
pradice a^ nc^ ■
v>(as TT^cwie, ^^
NofvHOU
that these aims had L;1iW "Bacl, v.<.ik«l mil.»-t. \^r^^
been accomplished, the actual work of making the slides
began.
Making the Slides
Each pupil selected a subject with which he was al-
ready familiar and began to draw the figures on slides.
The illustrations shown here represent a few of tne
types of subjects chosen. The slides consisted of pieces
of plain cover glass, size 3j4x4 inches. A large can of
carborundum was purchased at a low cost and the
pupils soon learned how to cover the slides with this
emulsion. In this way they prepared their own etched
slides. Colored drawing pencils were used to draw the
figures on the slides. In order to protect the drawing,
another piece of glass, size 3^x4 inches was placed
over the drawing. Each slide was bound with tape in
the usual way.
Wlien the task was completed, the group decided
that they would like to share their knowledge and ex-
periences with other pupils in the school. The method
that was agreed upon, was to present the unit before
the school assembly. Since it was impossible for the
entire class to participate, the pupils selected those
whom they considered most capable and those who
had prepared the best slides.
Probable Outcomes
To the individual pupils participating, the activity of-
fered desirable learning activities through :
1. Vicarious experiences:
a. Self-reliance, b. Initiative, c. Exercising judg-
ment, d. Listening to others, e. Sense of pride in
achieving, f. Opportunity for creative ability.
2. Generalizing experiences :
a. Evaluating, b. Comparing, c. Selection and or-
ganization of facts.
3. Expressing one's ideas by means of :
a. Discussing, b. Dramatizing, c. Demonstrating,
d. Characterizing.
4. Sensory Experiences :
a. Observation, b. Construction, c. Accuracy, d.
Obtaining data from original sources, e. Identify-
ing, f. Visualizing.
It is generally accepted that learning is not a matter
of the intellect only, but also of the emotions. The
method used in this project illustrates how it is pos-
sible to integrate the activities which encourage the
pupil's growth, with full consideration of his needs,
interests, aptitudes and abilities.
F. Dean McClusky Honored
Dr. F. Dean iVIcClusky, active leader in the visual
instruction movement, was honored on Sunday,
May 28, 1939 by the Board of Trustees, the Board
of Administration, and the Faculty of Scarborough
School on the occasion of his tenth anniversary as
Director of Scarborough School, Scarborough-on-
Hudson, X. Y.
The guest of honor was presented with a sound
motion picture projector ! Best wishes for the con-
tinued success of Dr. McClusky. Other school
boards please take notice, and follow suit !
Junr, 19} 9
Motion Pictures —
Not For Theatres
By ARTHUR EDWIN KROWS
Editor of "The Spur," New York City
Page 191
The Tenth Installment. How an educa-
tional film company was sidetracked into
presenting slapstick comedies and, on the
other hand, how a theatrical war evolved
the first company of record to special-
ize in making industrial motion pictures
TO New Yiirk's lecture service Leip-
ziger applied the unprecedented
method of advertising to the public
and. presently, the system arose into great
popularity. In 1890 he relinquished his
school work entirely in its favor. Among
those whom he persuaded to lecture there
were such celebrities as Theodore Roose-
velt. Woodrow Wilson, Talcott Williams
and Hamilton Wright Mabie. From
186 audiences in 1889, with an appro-
priation of $15,000, the number arose to
1,295,907, with expenditures of $140,000.
in the season of 1914-1915. After that,
the growing circumstances of the World
War. theatrical motion pictures, the auto-
mobiles and other distractions easily to
be understood as we look backward,
exacted their toll and the system
dwindled as rapidly as it ha<l expanded.
In 1928 the last glow of the educational
torch, which he had carried, flickered
out : and all remaining is an annual
lecture given in memory of somebody
named Henry M. Leipziger at the Town
Hall in New York City.
It was fortunate that during Leipzig-
cr's heyday the New York Superinten-
dent of Schools was William H. Max-
well. Here was a man enthusiastic
about new trends in education; and his
rei>eated efforts to introduce them, into
the classrooms under his control, had
led to many a newspaper cartoon and
jibe satirizing "Maxwell's Fads and
Fancies." The free lecture system stood
high among the alleged "frills" enjoying
his support. He did not long survive
his remarkable supervisor for he, him-
self, died in 1920.
I recall Dr. Leipziger quite well. He
had a habit of dropping in unexpectedly
on some one of the lectures, always at the
last moment and always requiring a
chair on the platform and an introduc-
tion to the audience. A man of medium
height, dressed in dark clothes, with a
delicately white, heavily-bearded face, he
always seemed to enjoy himself without
outward signs of pleasure. He invariably
gave a short talk, and usually made the
local superintendent thoroughly uncom-
fortable by his mere presence, which
was that of a severe schoolmaster with
scholars going through a probation
period.
Even his remoter centers advertised
distinguished names. I, myself, heard
among other talks in the svstem, twenty-
eight lectures on art by Ernest Fenollosa,
as many more on jurisprudence by
George Kirchwey. then dean of the Co-
lumbia Law School, and a series on
natural evolution of species by Samuel
S. Schmucker, of the University of
Pennsylvania. As time went on there
was scarcely a scliool building within
Earle Hammons founded Educa-
tional Pictures Corporation believing
that the public craved instructional
films and discovered that theatrical
audiences assemble to be amused.
the city limits where free lectures were
not to be heard for two evenings a week
from 8 to 9 P.M.
The extreme case to which the more
experienced speakers liked to refer with
amusement, was that of a school on
Barren Island, where New York City
disposed of much of its garbage. Over
there was a little community composed
principally of the workers and their
families. The visiting lecturer was
obliged to remain over night, invariably
receiving a cordial welcome but scarcely
enjoying his stay.
I have dwelt upon all this because I
want to make clear that the non-theatri-
cal readiness of the New York Board of
Education in this period was unique, as,
indeed, were the sources of material
supply. Most of the lectures given for
Leipziger were illustrated with lantern
slides, which meant, of course, that the
halls had to be equipped with stereop-
ticons, each set requiring an operator
who ordinarily was also the janitor of the
building.
Magic Lantekns As Stepping Stones
About 1911 Leipziger had begun to
feel the serious need of having motion
picture equipment, especially for the
lecturers on travel, most of whom by
now were making their own cinemato-
graphic films in addition to their jwn
lantern slides. Their training in still
photography had made the next step into
animated pictures entirely logical and,
now that they had the films, if Leipziger
could not provide the means of exhibition,
well, there were other lecture circuits
which could and at better prices than
the ten or fifteen dollars apiece which
the New York Board of Education could
squeeze out for them. Some of the lec-
turers, indeed, carried their own projec-
tion equipment at first, although that
did not by any means insure their success
with it because strict fire regulations
were likely to rule them out. But in
1913 Leipziger met the requirements of
the National Board of Fire Underwriters,
and was able to boast of four free lecture
centers permanently equipped with pro-
jectors.
The stereopticon equipment, and trften
the slides, too, were purchased and rented
largely from Dr. Leipziger's good friend,
Mr. Schwanhauser, of the Beseler Slide
Company. Nevertheless. Leipziger counted
no friendships in business ; and he
authorized the establishment of a little
handyman machine shop of the Bureau's
own, for the repair and maintenance of
the large number of stereopticons in serv-
ice. That shop now gradually took over
a used film projector or two which might
be sent out on very particular occasions.
Sometimes these particular occasions
were to show films for the politicians
who wished to impress their constituents,
although the irritable and conscientiotjs
Leipziger naturally did not respond
kindly to that sort of thing. In all events,
the stock of motion picture projectors
grew and stereopticon equipments tended
to become mere attachments on them.
Booths were built and especial operators
trained. The development was inevitable
but, unfortunately. Leipziger, who was
paying the penalty of broken health for
having burned the candle at both ends
during his early life, could not live to
see it.
It was to be expected, when principals
and teachers began to call for films in
the classroom, that the Board of Elduca-
tion would think of the equipment used
by the department of lectures, and used
almost exclusively at night. Leipziger
could have no serious objection — indeed,
he might easily become enthusiastic —
if they used his equipment for classroom
tests in visual education. The only
trouble was that his work was done ; this
new phase was to be carried out by
others.
Toward the close of his life he either
had appointed or had had assigned to
him the services of Miss Rita Hoch-
heimer. a former grade school teacher;
Page 192
The Educational Screen
and it became her duty to pass on the
subject matter of all films used in the
schools. When Leipziger then died and
was succeeded in his post by Ernest
E. Crandall, Miss Hochheimer was con-
firmed in her position. When the lecture
system was about to end, Crandall
dropped the old title Supervisor of Lec-
tures and became Director of Visual
Education. He held this place until about
1931, when illness obliged him to take
a leave of absence. During it he died.
Crandall's superior, Dr. Eugene A.
Colligan, assistant superintendent of
schools, was himself interested in visual
education and, instead of replacing Cran-
dall with Miss Hochheimer, as was
generally expected, took on the duties of
the position personally. About 1934
Colligan was made president of Hunter
College, but his successor still kept the
work in his own charge without chang-
ing the status of Miss Hochheimer.
But Crandall and Rita Hochheimer
were in command when Boone and Yorke
began the active operation of Argonaut
Pictures to serve the New York City
schools. They speedily found that Ilsley
Boone, besides knowing a great deal
concerning the film industry which they
did not, was able also to converse with
them in terms of pedagogy, while Walter
Yorke kept the machinery of supply
going smoothly. Consequently, for the
time, at least, they were well content to
have the Argonaut arrangement.
Sudden Systems of Distribution
In 1919 free films were especially rife,
and strong hearts still not as stout as
Walter Yorke's would have beeh daunted.
One of the many enterprises indirectly
threatening his own plan of rental was
that of the Bureau of Education of the
United States Department of the Interior,
with its 4,000 reels — many duplicates, of
course. Persons in charge of that col-
lection at Washington were begging for
an appropriation to keep the reels in
circulation and to care for them properly ;
but it did not come. In 1920 they solved
the problem by depositing the reels in
lots averaging 113 each, in thirty-five
extension departments of Staje univers-
ities, normal schools, departments of edu-
cation and museums. Each of these
agreed to act as a distributor to local
applicants.
The university extension departments
went to work with a will on this new
activity handling the Government films
and also all other likely subjects they
could acquire. They issued annual and
even monthly catalogues which in bulk
as in listings, put the primitive Urbanora
and Kleine catalogues to shame. National
advertisers found the institutions splen-
did outlets for their propaganda reels,
and theatrical companies discovered that
these eager, non-competitive exchanges
woidd even release their outworn sub-
jects on a rental basis. George Kleine
had been one of the first of the regular
producers to make his releases avail-
able in those places. As for Walter
Yorke, he was philosophical about it,
as one would expect him to be, having
made up his mind about "free" films long
previously, and being satisfied that the
more persons who were stimulated to
the use of non-theatrical subjects, the
more he would ultimately find to serve.
Another blow must have come from
that outgrowth of the great agrarian
crusade of the past half -century, the
American Farm Bureau Federation,
founded in 1918 at Chicago. July 1.
1921, the powerful organization estab-
lished a Farm Films Service in connec-
tion with the Illinois Agricultural As-
sociation. Samuel R. Guard, director of
the Department of Information, of which
the Farm Films Service was a part, tried
at first to obtain what he considered
authentic farm subjects from the theatri-
cal producers, but relinquished that plan
in bitter disgust at the outrageous "hick
types" which he found there. The serv-
ice then produced two films of its own:
"Spring Valley," in five reels, and "The
Homestead," in two. Several other, pre-
viously existing films were adapted.
Farm Bureau picture distribution was
twofold. Any State Federation was privi-
leged to purchase prints at cost and to ar-
range distribution in its own territory
or, the general offices at Chicago would
book the films at the local theatre, the
manager paying therefor either a flat
rate or a percentage of the receipts. The
Bureau also supplied portable projectors
at cost. In 1922 there were produced for
the Federation twenty-five new reels ; and
it was reported officially that during the
year films had been supplied for 3,609
meetings attended by 721,800 persons.
Guard resigned October, 1923, and
H. R. Kibler, who succeeded him, re-
ported for that year that Farm Bureau
pictures had been used in 331 counties
in thirty-five States, statistics which were
further broken down to 3,552 meetings
having an estimated attendance of 1,-
670,600 persons. In 1925 the organization
chart showed that 1,000 County Bureaus
had projection equipment. There was a
new subject, inspiringly called "My Farm
Bureau," produced by Homestead Films,
Inc. In 1927 the Farm Bureau story was
given another twist, resulting in a six-
reeler produced by the .\tlas Educational
Film Company. Of this subject, fifty
prints were in circulation, furnished to
County Farm Bureaus for transportation
charges only.
In 1928, to the fifty prints just men-
tioned had been added twenty-five prints
each of six new features, making 200
reels in all available. Four other subjects
were in production, and plans were in
process for ten more in 1929. But here
the mystery clears. The annual report for
1928 admits that to help pay for the
pictures, advertising space was being
sold in them — in the half-dozen just
made, to the sum of $72,000. Clear now,
also, is the statement that, at the Na-
tional Publicity Conference in Chicago,
September 20, 1923, plans had been made
to provide every Farm Bureau without
charge with a projector and a regular
film service.
The organized farmers always have
been a rich body for exploitation. Many
film enterprises have sought them out.
In January, 1921, the national press
conveyed news of the Farmers' Film
Corporation. According to the announce-
ment made on its behalf by William E.
Skinner, secretary of the National Dairy
.Association, the new corporation "will
enjoy the cooperation of" the Federal and
State Departments of Agriculture and
State Agricultural Association, grange
movements and cooperative buying and
marketing associations. "One of the first
undertakings," concludes the report, "will
be to help the American Bankers' As-
sociation to raise the billion dollar trade
expansion fund recently decided on at
the Chicago conference." Not to help
the farmer, you see, but to persuade him
to help the bankers.
With the best of intentions, no doubt,
the Farm Bureau, in selling advertising
space, was playing the ancient game of
self-deceit called "playing both ends
against the middle." It's a familiar way
to pass the time in non-theatricals ; but
it does not serve there any more than
it does in any other sensible business.
Chapter IV A New Profession
WHEN the motion picture business
began in earnest in the United
States the theatrical companies
m.erely dabbled on the side, as has been
seen, in non-theatrical production. On
the other hand, when non-theatrical pro-
ducers started to arise, they generally
aimed to lift themselves out of such
petty endeavor into the realm of higher
profits in the theatre. In other words
(although in another sense), it was the
old story, that theatrical pictures come
first.
Impetus was given to theatrical re-
lease of so-called "educationals" by the
formation of Educational Pictures, Inc.,
in New York, in May, 1915. It was the
first considerable and successful effort
to establish a distributing system ex-
clusively for "shorts" — although it is an
interesting comment on the changing
times that shorts in 1915 were as long
as the features of 1911 and 1912.
The head of Educational Pictures was
Earle W. Hammons, thirty-three years
of age and determined to come up in the
world. Son of a well-to-do Southerner
engaged in a mercantile line, Hammons
had had an excellent preliminary educa-
tion in private schools of Arkansas and
Texas before coming north to attend
Columbia University. There, instead of
devoting himself to a "gentleman's'' pro-
fession as he had been expected to do,
he studied business subjects. In 1907,
after some varied small experiences, he
entered the expanding line of New York
suburban real estate. Here he did fairly
well for awhile ; but he was diverted
suddenly to films by a chance discussion
of the releasing arrangements for Rainey's
Hunt Pictures, shown at a banquet of
real estate men at Briarcliff Lodge, in
Westchester.
At least, that is how the story usually
is told. It seems, however, that Ham-
mons had already considered trying for
a share in the profits of this dazzling
June, 19)9
new tiliii iiidiistry. which al lliat time still
had njiisidcrablc prodiictioii activity in
the New York mctroixilitan area. Inter-
ested particularly in what mijtht be dune
hy a persim with little or no nio'iey cap-
ital, his attention had been calletl to the
ease of Catherine Carter. Mrs. Carter,
seekinK new material to distribute to her
own clients, had found a younij man
with an uiuisnally iK'autiful travel subject
which he himself, had produced in the
Cascade Mountains in the State of Wash-
ington. The young inan was Robert
Cameron Bruce and the film, entitled
"When the Mountains Call." was his
first motion picture made to sell. He
was having a desperate time in opening
the market. Mrs. Carter had obtained
some bookings for him ; but Hammons
believed that he could manage the re-
leases more profitably, although he was
not quite sure how it might be done.
At that juncture came the invitation
to Briarclifif ; and the more intimate story
has it that Mrs. Carter loaned Hammons
her husband's dress suit that he might
make a proper appearance at the speaker's
table. It is quite possible, therefore,
that the discussion of releasing arrange-
ments on the Kainey pictures was not so
fortuitous after all and that Earle
Hammons. him.self, may have started it
for his own information and profit.
Edvcational Pictures, Inc.
Armed now with a larger knowledge
of how such special productions were
distributed, Hammons began an inten-
sive investigation of possibilities lasting
a couple of months. Then he formed
Educational Pictures, Inc. It is interest-
ing to recall that, just about eight months
previously, in October, 1914, another
Educational Film Company, headed by
one C. L. Nagely. had announced its
formation in New York to book educa-
tional features in "one-night stand"
theatres.
Hammons had at first a small office
at 171 Madison Avenue, and his concern
started with the very modest capital
(for the film business) of about $5,800.
Mrs. Carter, greatly interested, is said
even to have suggested the "student
lamp" trade mark, drawn by Carl Heck,
which Hammons later made so well
known ; but, to her lasting indignation,
she was not declared in on the incorpora-
tion. Hammon's first release was the
three-reeler made by Robert Bruce,
"When the Mountains Call," and the dis-
cerning exhibitor who officiated at the
debuts of the two promising men just
named, by providing a Broadway theatre,
was S. L. Rothafel — "Rothapfel," as he
spelled his name then. "Roxy" was al-
ways ready to stand back of persons and
pictures interesting him. But, of course,
a single release did not mean success
for Hammons. It was a hard, uphill
road which he still had to travel, learn-
ing and pioneering.
All the while his capital was dwin-
dling ; so he sought more. He found a
mo<lerately wealthy man, George A.
Skinner, who presently invested about
$,10,000 just l)ecau.se he was interested
in films to be used in education. Skinner
was not thinking of "educationals" in
the loose sense understood by mast
One of Carl Laemmle's plans to
break the hold of General Film Cor-
poration on the motion picture in-
dustry led to the Chicago start of the
first "commercial film" company,
theatrical exhibitors ; he had visions of
films particularly in schools — and for
a time he officiated as president of Edu-
cational Pictures. Inc. In his desire to
shape events as he saw them, he caused
to be built at Providence, R. I., under
the name Coronet, a fine little studio,
with an excellent laboratory.
The location was chosen, I understand,
at the suggestion of a friend named
Burnham. It stood on Elmwood .\venue,
at one end of Roger Williams Park, as
the more extensive studios belonging to
I-'rederick S. Peck of General Film, stood
at the other. Here Skinner handled the
processing and general assembly of "The
Valley of the Ten Thousand Smokes,"
the production of which he had arranged
with the National Geographic ExiJedition
to Mt. Katmai, .Maska. Here. also, was
processed "Unhooking the H(X)kworm."
the notable subject utilizing the researches
of Dr. Charles W. Stiles, made by
Coronet for the International Health
Board of the Rockefeller Foundation —
and, through its wide exhibition in trop-
ical countries, said to have saved thou-
sands of lives.
Hammons was sympathetic toward the
.strictly educational aspects of motion
pictures; but he felt that there was suffi-
cient product in existence to meet im-
mediate needs which were still formative
in many directions, and that at this time
the energy of the incorporators should
be directed toward the establishment of
a distribution system. Skinner had dif-
ferent ideas, so Hammons proposed buy-
ing him out ; and he succeeded in doing
this in 1917 for the sum of $65,000. The
money was provided by a newcomer to
the concern, the automobile man, Wil-
liam Mitchell Lewis. Skinner told me.
years afterward, that his reason for hold-
ing out for a high figure was that he
didn't want to ga
While this removed some of the ob-
stacles in the way of Hammons, it still
did not make possible the expansion
which he desired. But here he was to find
Page 193
an unex|>ected solution. It is said that
Skinner, directly or indirectly, had intro-
duced him to Bruno Weyers, the man
who opened the way to it ; and, if this
is true, the circumstance was to prove
to Hammons worth every cent which
he had paid to his former jartner. Weyers
was in 1918 the New York representative
of the historic Hudson's Bay Company,
of London, as agent for which he had
shipped all the foodstuffs .sent by the
United States to the French Government
during the War. But now the War was
over; and Weyers transferred his alleg-
iance to Educational Pictures as vice-
president and member of the Iward. For
Hammons he arrange<l a meeting in Lon-
don with Sir Robert M. Kindersley, gov-
ernor of the Hudson's Bay Company, who
made due investigation and eventually
agreed to finance the exchange system
which Hammons so much wanted.
From then on the growth of Educa-
tional Pictures, as a sheerly commercial
venture, was swift. In 1920 the newsreel
"Kinograms," was released through its
exchanges. There were many more sig-
nificant pictures on its programs : Bruce
scenics— Bruce fulfilled contracts with
Educational forfourtecn consecutive years ;
nature studies by Tolhurst after the
manner of F. Percy Smith ; the fine Dit-
mars "Living Book of Nature"; the
"Newman Traveltalks" ; Lyman Howe's
"Hodge Ptxlge" and — pardonably — a
"Hudson's Bay Travel Series." But more
and more it became clear that the short
subjects most demanded by the theatres
were slapstick comedies.
Presently Hammons, influenced, no
doubt, by the strictly business considera-
tions of his associates as well as by his
own commercial prudence, yielded to the
pressure and slapstick comedies — Jack
White's. Lloyd Hamiltcm's, "Mermaids"
and the rest — became the characteristic
output, strangely belying the trade mark
and arousing indignation among educa-
tors who did not know the story.
George .\. Skinner died in New York
Dccemlier 21, 1935, aged sixty-four, all
the years of his life since his adventure
with Earle Hammons devoted to the
higher uses of the motion picture screen.
He was treasurer of the Payne Fund,
which conducted a three-year study of
the effect of films on the health, char-
acter and conduct of children, and an
organizer of the Motion Picture Re-
search Council to act on the findings.
How ever Big Business men in New-
York may have regarded the matter,
there were, in the early years, certain
geographic and economic factors at
work in the Chicago area to change the
IHjint of view that in the educational
field theatrical pictures come first. These
circumstances, no doubt, were largely
also those of cities recently built, un-
hami)ered by tradition, engaged in com-
paratively new industries such as the
manufacture of reapers, automobiles and
cash registers, and with younger men
in command. Among the very first
business organizations to use films in
industry had been the International
Harvester Company of Chicago, the
Ford Company of Detroit and the Na-
tional Cash Register Company of Day-
ton.
Page 194
The Educational Screen
The vision behind the "Ford Educa-
tional Weekly," although that enterprise
had been scorned as "subsidized" and as
a "failure," was symptomatic in that
quarter of an appreciation of twentieth
century opportunities of which the non-
theatrical field was most decidedly one.
But, along with the noble thoughts, one
must bear in mind that the "Patents"
situation being what it was, and Chicago
being at a distance from the New York
headquarters of General Film, the
protestation of a non-theatrical purpose
might also effectually mask the rise of
a theatrical insurgent. Who knows,
indeed, but that the circumstance which
I am about to mention, was the reason
why the Patents Company issued its
warning phrase, forbidding its licensee
exhibitors to show advertising pictures
"supplied by others?"
Watterson Rothacker
In all events, out of the dabbling of
the theatrical men from above, and the
ambitious attempts of the non-theatrical
fellows from below, and during the in-
dustrial stirrings in the Great Lakes
country, there evolved the first signifi-
cant, responsible, exclusively non-theatri-
cal concern. The place was Chicago,
the time late in 1910, and the name
was the Industrial Moving Picture
Company.
It was organized by a triumvirate
— Carl Laemmle, then a rapidly
arising rival of the Patents Companies,
who had "gone Independent" in the
spring of 1909. his vice-president,
Robert H. Cochrane, and Watterson R.
Rothacker, who since 1907 had been
western manager of the amusement
weekly, the Billboard. The purpose was
stated as to specialize in educational
and industrial subjects, although it is
possible that this was at first a mere
blind, because Laemmle, having broken
with the Motion Picture Patents Com-
pany, was being forced to produce films
to supply his nine Independent theatrical
exchanges. But in November, 1910
Laemmle moved to New York from
Chicago to conduct his battles with
"General Flimco," as he elegantly termed
his opposition. And, having plenty to do
in that respect, he disposed of his stock
in this industrial venture to Rothacker,
in the fall of 1913.
Rothacker, who thereafter controlled
the business, still believed that there was
a future in the special line indicated in
the first announcements, and possibly
he saw his opportunity as being quite
as shining as Laemmle's. Certainly,
from the start, he prosecuted the work
vigorously and intelligently. The breadth
of his view was demonstrated in January,
1914, when other non-theatrical produc-
tion specialists had mushroomed into
being, and he, himself, either initiated
or immediately supported a plan to or-
ganize them. In doing this he followed
the current example of the Patents group
and the Independents in the regular field.
Rothacker's purpose was, of course, for
a mutual benefit, stabilizing prices,
standardizing product, educating clients.
It was not the step of a man of narrow
A meeting was called in Chicago at
that time ; and there was appointed a
national committeee comprising W. R.
Rothacker, Charles Stark of Essanay
Film Manufacturing Company and J.
Alexander Leggett of Pathescope. The
group was commonly referred to as
"the ad-film men." A rival call to
organize was issued July, 1914, by New
York producers who probably feared a
concentration of industrial business in
Chicago. This appeal was signed by
Harry J. Elkan, manager of the indus-
trial department of Pathe : Arthur N.
Smallwood, of the Smallwood Film
Company which you may recall is the
concern which had just tried to emulate
Pathescope by importing the German
projector called Kinnx. and J. M. Torr.
editor of Motion Picture Publicity.
Their meeting was scheduled for
August 15 at Brighton Beach. But
Rothacker's next move was quicker and,
still earlier in August, the ad-film men — -
later to be known more respectfully as
The Screen Advertisers' Association —
held a New York meeting of their own
at the Hotel Claridge, strengthening
their union and unanimously reelecting
the members of their national committee.
In the spring of 1914 Rothacker ad-
vertised his concern, took exhibition
spaces at the Coliseum in Chicago and
Grand Central Palace in New York to
show the industrial pictures he had made.
In 1917 he issued for general distribu-
tion a booklet entitled Why to Advertise
with Motion Pictures and, in 1916, he
had opened in Chicago a new plant
having 7,000 square feet of floor space,
said to have been the largest institution
anywhere devoted exclusively to that
purpose. He rather studiously avoided
the term "non-theatrical," no doubt be-
cause, after all, his most prosperous
line had become nmning the film labora-
In September
Those who have followed this
first detailed non-theatrical his-
tory since the start of its pub-
lication in these pages in Sep-
tember, 1938, will be qiad to
hear of its continuation through
the issues of the year to come.
As in the case of each install-
ment until now, the narrative
will add steadily and richly to
that store of valuable informa-
tion which ultimately will com-
plete for the reader an unprece-
dentedly clear perspective in
viewing this important phase of
visual education.
If you wish to profit from
this otherwise unobtainable rec-
ord of far-reaching, costly,
practical experience in all non-
theatrical departments, you will
maintain uninterruptedly your
status as a subscriber to this
magazine.
tory for theatrical accounts, and theatres
were then considered to be — as they still
are in many quarters — the only proper
show place for films of any type. It was
Rothacker who printed the "million
dollar Chaplins" and other features of
the First National Exhibitors' Circuit of
New York in 1917. He also confined
his own productions to industrials, so
as not to compete with his steady
customers, barring a few shorts in 1917,
such as "Zeppelin Attacks on New York"
and "From Studio to Screen," shovdng
how movies were made.
He rented his studio to theatrical pro-
ducers, having at first announced that
his work would extend beyond mere
commercial productions, but he had one
unpleasant experience when a company
used the stage to make an allegedly
salacious picture. "Watty," as his friends
affectionately called him. had to explain
to the authorities that he was only the
irresponsible landlord. The new studio
was publicized thoroughly from the
time the plans were laid. When it was
completed, just before the formal opening,
he gave an elaborate "studio ball." to
486 guests seated at tables about an
improvised dance floor, receiving gener-
ous attention from the press.
Those who knew Watterson Rothacker
in those early days were not surprised
at his success. From the start he was
clearly of the type called "hustler."
He knew how to meet people and to
handle them ; he knew much about adver-
tising and he manipulated personal pub-
licity with skill ; he was intelligent and
quick; he was young. Above all — and
this was highly important then — he was
not afraid. Whether the available busi-
ness was for laboratory service or in-
dustrial production, he was there to get
it. Well known in both New York and
Chicago, he was completely at home and
self-sufficient in either city. Surely the
infant mdustrial division of the non-
theatrical field needed just such a pioneer.
His staff at the opening of the new
studio, or shortly thereafter, included
E. H. Philippi, sales manager ; L. W.
O'Connell, formerly of Lord & Thomas,
advertising consultant; W. C. Aldous,
laboratory superintendent; E. H. Spears,
lately assistant to Dr. Charles E. K.
Mees of the Eastman Kodak Company,
as laboratory expert, and Vincent Colby,
in charge of animated cartoons. At this
same time Rothacker boasted of having
nine cameramen on staff working on as
many projects, and talked of opening
another studio on the Pacific Coast.
From 1914 on, for upwards of twenty-
five years, one frequently encounters the
name of Rothacker's organization as pro-
ducer of advertising subjects. In 1914
alone, the concern referred proudly to
a variety of films which it had made for
the lumber industry ; a paper-making
subject for Peabody, Houghteling &
Company of Chicago; one for the H. J.
Heinz Company of Pittsburgh, and vari-
ous items for the State of Michigan to
show at the forthcoming Panama-
Pacific Exposition.
In that early time Chicago had at
least one other concern claiming
{Continued on page 208)
June, 19)9
Page 195
Proceedings of the
Midwestern Forum on Visual Teaching Aids
{Held in Chicago, May 12 and 13. 1939)
GENERAL SESSION
(9:00 A. M., Friday)
AFTER Registration — which
reached the gratifying total
of 385 for this first "annual"
meeting of the Forum, the morn-
ing session was opened by the
presiding Chairman, Noble J.
Puffer, Superintendent of Cook
County Public Schools, Chicago,
Illinois.
Opening Remarks: How to Get
the Most out of this Forum, by
Donald P. Bean, Chairman of the
F"orum Committee.
(Given below in full)
¥ KNOW that you are not here under
false pretenses. The committee's orig-
inal announcement about this meeting in
the April, 1939 issue of The Educational
Screen warned those who were not se-
riously interested in visual education that
they should not attend this meeting. The
preliminary programs which were dis-
tributed in advance of the meeting also
indicated that this would be a working
convention for teachers who wanted help
through the exchange of information
about their experiences with various
teaching aids. Your Chairman has at-
tended visual education meetings, so-
called, for many years, and has always
wondered why the problem is almost in-
variably presented from the wrong point
of view. Even progressive educators con-
sider the establishment of a service de-
partment for the administration of vistul
and auditory aids the correct step to their
proper use and development. If, as so
often happens, this activity merely be-
comes a clearing house for films and
equipment, the administration has only
mistaken mere use with effective use,
and much use with educational progress.
When I called the committee that ar-
ranged this program together, I found
nearly all of them shared these feelings,
and my conviction that the greatest need
in this field today is adequate and ac-
curate information with reference to the
content of films, and serious attention on
the part of teachers to the method of
choosing and using these visual tools in
terms of the teaching objectives of the
classroom. Motion pictures and the radio
are new media of communication which
have effected a revolution in the thinking
of the public at large, and which should
make an equally large contribution to
the educational process once their logic
and grammar are more perfectly under-
stood. We are sorry that it was necessary
to restrict the program entirely to the
visual aids, but with two days only at
our distribution, it seemed well to keep
this initial program, at least, concen-
trated on one of these media — the visual.
May I call your attention to certain
special features of the program.
The Classroom Clinics. As the pro-
gram indicates, this meeting will break
up into three sections, roughly graded
as to school level, separate groups for
those interested in elementary school
problems, in high school problems, in
teaching problems at the college level.
Showings of films and visual materials
are scheduled for every classroom clinic,
and for every program of this Forum.
They will be shown also at the banquet,
and between programs in the exhibits.
This was not accidental, it was planned
in line with the point of view already
expressed of acquainting you with a wide
range of materials, particularly new ma-
terial, available for school use.
Discussion periods also are arranged
for every session of the Forum. The
committee hopes particularly that the dis-
cussion at the general se.ssion on Saturday
morning will be quite frank as to whether
this program has started anything that
is worth while, and whether it should be
continued in the future. Your Chairman
has just returned from attendance at the
Tenth Institute for Education by Radio
in Columbus, Ohio, under the auspices
of the Ohio State University. He has
had the pleasure of attending most of the
ten conferences, and has been impressed
with the way in which two groups of
people, a few educators and a few radio
people, who starte<l the meetings ten
years ago, have slowly, through the
years, worked out a technique of ex-
changing information, of increasing par-
ticipation in studying techniques of the
production and use of radio which have
cemeted the groups into one of the most
effective conferences which it is his plea-
sure to attend.
The committee which started this pro-
gram has no axes to grind. If it has any
ambitions, they are merely hopes that
the program as planned will be so useful
that it will lead to a series of meetings
which may progress along these same
lines. The scope of the program is ex-
plained by the variety of educational in-
terests represented by this committee. I
have been asked questions as to the
auspices of the meeting and the method
of selection of the committee so that I
believe this is the appropriate time to
explain the circumstances that lead to
this meeting. The Bell and Howell Com-
pany last fall entertained in this same
hall several hundred school administrators
of this district with a very pleasant
dinner. I was one of the guests on that
occasion, and made the mistake of sug-
gesting that the meeting should lead into
a series of meetings along similar lines.
Officials of the Bell and Howell Company
did not let the matter rest. They asked
me to suggest nominations for a com-
mittee which might undertake such a pro-
gram. They took the initiative of calling
the group which I suggested together.
When the group met and it seemed ad-
visable to seek the support of all com-
mercial interests represented in this field,
they voluntarily urged the committee to
seek that form of support and to plan a
program which should be to the best
interests of all commercial and educa-
tional interests in this field.
A Kodachrome Journey to Our
National Parks was vividly con-
ducted by Earl A. Trager, Na-
tional Park Service, who showed
a great number of beautiful Koda-
chrome slides, with verbal ex-
planations accompanying.
Address: New Film Sources and
Ho^v to Get Infortiiation about
Them, by Fanning Hearon, Exec-
utive Director, Association of
School Film Libraries, Inc., New
York City.
(Extended abstract given below)
W^E hear a great deal these days about
the btx)ader usefulness of motion
pictures and "the educational motion pic-
ture problem." There never has been so
much talk, nor so much stirring around.
The thought that the motion picture can
be used for something besides fictionized
Editor's Note: The close-packed two-day program of the first
Midwestern Forum yielded a total, in manuscript and stenotype, of
over 100000 words. The minute-mileage of pictures shown is not
known. Space and cost considerations preclude complete re])rinting.
nor is it necessary. A large fraction of the recorded utterance
naturally concerns the immediate moment and situation, matter of
little value apart from the occasion itself. By omitting this, and much
that is inevitably rejietitious or of very minor value, the full essentials
oi this significant meeting can be made available to all.
About one third of the full Proceedings (20.000 words) apjiears
in this issue. This, with the other two thirds, will l)e reprinted in a
48-page, 6x9 pamphlet available at 50 cents, jxistage prepaid — or 25
cents to subscribers of The Educ.\tionai. Screen.
Page 196
The Educational Screen
entertainment, and that in being so used
need not be dull, is running riot. Our
amateur intellectuals and sixteen-year-old
cynics have come upon an intriguing new
word, and are wearing it over their
hearts, or on their sleeves. The word is
"documentary," used to describe this
new type of film which moves in the mist
between fairyland fiction and schoolhouse
dullness.
Scotland's John Grierson and Britain's
Paul Rotha say it is a dramatization of
reality, and they are about right. As a
pot boiler I should like to throw in "a
factual improvement on reality." The
Europeans have known about this social
usefulness of the motion picture for a
long time; the Russians, the Germans
and the British have been especially suc-
cessful. With the much publicized film
"The Plow That Broke The Plains"
it began to dawn on Americans that there
could be movies on things other than
people in love or pollen in transit. The
maker of that film, Pare Lorentz, has had
as much good influence on the film of
dramatized fact in this country as
Griffith had on Hollywood. Until Lorentz
broke the new ground with his "Plow"
and then surged over us with his
"River," except for those glorious strug-
glers such as Strand, Steiner, Van Dyke
and the Woodards, we were complacently
content. Now the makers of our business
or selling films are planning "docu-
mentaries" on the social significance of
chocolate laxatives and touch tuning.
Producers of our classroom pictures are
out to document everything. The Gov-
ernment is documenting its documents ;
young parents are documenting their
children ; college coaches look at Monday
morning documents of Saturday after-
noon defeats ; even Hollywood wants to
document somebody. The iron is red
hot. What's to be done about it? The
answer lies in the effective distribution
and use of the products of all this ac-
tivity. People who make films for the-
atrical use don't have to wonder whether
they will be shown. They know. So
that phase of picture making is a busi-
ness. If this situation can be brought
over into the field of educational,
documentary and industrial films, this
phase also will be a business. The solu-
tion of the "educational motion picture
problem" is to organize the audience;
first the educational audience, then the
whole non-theatrical audience. How do
you organize an audience? As for the
educational audience, made up of schools,
colleges and universities, we must locate
the institutions which have projection
equipment or are interested in securing
such equipment. This is difficult. But by
next October, if the plans of the Car-
negie Committee on Scientific Aids to
Learning materialize as expected, this in-
formation will be in hand.
Meantime the Association of School
Film Libraries is going along with what
information it has. This Association is
a non-profit organization supported by
the General Education Board, a Rocke-
feller foundation. Today, eight months
after its incorporation, its membership
includes 47 of the largest school system
and university film libraries in the U. S.
Interpreting the -Association's program in
terms of what the members "get for
their money," it may be said that :
( 1 ) They ha\e access to a competent
source of information on educational uses
of motion pictures, particularly film
sources and evaluations.
(2) They may purchase films which
non-members can not buy ; films which,
in most cases, have lieen limited to
theatrical exhibitions.
(3) They will be organized in an ef-
fective cooperative association through
which they can take united action.
In addition to the active members,
there are nearly two hundred subscribers
to the Association's catalog of selected
and evaluated films. It is not to be
all-inclusive but will include and describe
those films which recognized authorities
have found to have outstanding educa-
tional value. The catalog is loose-leaf in
design, will grow in volume, and will
contain about 250 pictures, with full de-
scriptions. It will indicate instructional
areas where each film seems appropriate,
to which maturity levels best adapted, and
to what educational objectives it seems
best to lend itself. So, this IS a begin-
ning. We are rounding up the audience ;
getting places to show all these films we
are talking about.
We are also preaching a new gospel,
that we must display some new wares.
In this we had an encouraging degree of
success. We have made progress on four
fronts. We have secured the 16mm. edu-
cational rights to the March of Time ;
we have established contacts in several
European countries and are distributing
the better educational and documentary
films from these countries to U. S.
schools and colleges : we have the spon-
sors and producers of our more desirable
industrial films offering free prints to
our member libraries ; and we are being
approached by film people who ask us
what they should produce, and how. There
is one front along which we have only
begun to move. It is one which might
well lead to the 16mm. release of cer-
tain selected subjects, made in Holly-
wood, but perfectly suited to the class-
room and auditorium. Such shorts as
are being produced by Metro-Goldwyn-
Mayer on great personalities, and those
on the virtues of Democracy by Warner
Brothers are superb for educational use.
If these companies would turn them
loose in 16mm. after they have run their
box-office courses, good-will would pour
into the coffers of MGM and Warner
and all the rest. These efforts to get
new films from new sources are not di-
rected against the U. S. producers who
have made such substantial contributions
to the whole educational film situation.
Our hope is that these pioneers, who have
already done so much, and those of us
who are comparative newcomers and
want to do so much in the future, can
get to know each other better. The As-
sociation is concentrating on the opening
of new film sources, not on interfering
with existing sources. It also sees a place
for itself as distributor of films which
sponsors and producers want handled
through non-commercial channels, or as
distributor of films which producers have
not wanted to release through other fa-
cilities. In our European contacts we
think we have something quite worth-
while. There are film makers over there
— independents, not the majors — who have
products which should get into the Amer-
ments of education and the big city and
ican schools. Most of these films lean
in the documentary direction, and the
best ones come from England. The people
with these films are not certain what to
do about getting them around America,
just as we are not certain how to get
ours around over there. Among these
are such well known products as "Night
Mail," "Today We Live" and "Housing
Problems" and the much heralded new-
comers, "The Londoners" and "New
Worlds for Old."
One of our high hopes is that we
shall be able to organize the distribution
of the sponsored industrial films that are
worthwhile for the educational audience.
It seems absurd that this particular
phase of the non-theatrical distribution
problem, the one many people consider
the worst jumbled, is protebly the simp-
lest to solve. The answer lies, sprawling,
in the production treatment of the in-
dustrial film itself. If the sponsors of
these films will do the right kind of
production, the colleges and schools will
pay for such films — not set up regula-
tions prohibiting their exhibition. Busi-
ness can accomplish its purpose and yet
make important contributions to Educa-
tion— by simply turning off the ballyhoo
and turning on the facts. Let industry
and commerce dramatize their lives and
not advertise their gadgets. The Gov-
ernment will endorse, work on and dis-
tribute films on dams sponsored by ce-
ment or steel, and on Indians or national
parks sponsored by railroads or oil com-
panies, ."^nd out of all this will come
films for Education which producers of
pictures for strictly educational use can
not afford to make until many more
schools and colleges are in the market
for prints. We are working on the
immediate situation by asking industrial
film sponsors to place prints of certain
selected subjects on permanent deposit
in our member libraries, to avoid the
constant shipping back and forth of
prints. Prints of films endorsed by the
Association will be deposited in the
country's largest libraries and kept in
constant circulation with regular exhibi-
tion reports to the sponsors.
Encouraging indeed is the turning of
film producers to the Association for
advice on what to make and how to do
it so the finished product will strike the
right chord and sell the most prints. Also
encouraging are the producers with com-
pleted jobs who want to know what to
do with them. Until we have more in-
formation on what the users want, we
can only .say that "they want films on the
social sciences and vocational guidance."
Analysis of the cry for films "on social
sciences" seems to mean that they want
movies with people in them ; movies on
the relations of human beings to each
other and the things around them. Films
on "vocational guidance" are films which
tell people where to find jobs, something
we all should like to know.
]uHe, 19)9
Page 197
StaiidiiiR on all these facts and specu-
lations we like to visualize, not so fat
away, the time when there will be a co-
operative association of large non-the-
atrical film libraries— one, two. three or
more in each state — built probably around
the universities, the colleges, the dcpart-
connty school systems. When that time
conies — and it will — the ccrta.nty ol dis-
tribution and use which characterizes
theatrical production will have spread
into the non-theatrical field and made
that, too, a business and not a noble
experiment.
Film Showing of a release of
"March of Time" on the Prob-
lem of Relief.
Address: Evaluating Visual Male-
rials jor Specific Teaching Prob-
lems, by Charles F. Hoban, Jr.,
American Council on Education
Film Project.
(Abstract by the author below)
'T'HF. Motion Picture Project of the
.American Council on Education is
now carrying on a three-year program
of film evaluation under a grant from
the General Education Board. The first
six months of the three-year period were
spent in formulating plans, constructing
evaluation instruments, and selecting
demonstration centers. In the spring of
1938 a preliminary evaluation center was
established at the Tower Hill School,
Wilmington, Delaware. Here, as in the
centers established in the fall of 1938,
dims were evaluated under actual class-
room conditions by Iwth teachers and
students.
During the past summer the Project
cooperated with the Workshops of the
Progressive Education -Association in mo-
tion picture activities and in these Work-
shops trained some of the personnel for
the evaluation centers.
In the fall of 1938 evaluation activities
were continued at the Tower Hill demon-
stration center and activities were started
in the Santa Barbara City Schools, Santa
Barbara. California ; The General College,
University of Minnesota ; and the Denver
Public Schools, Denver, Colorado. The
demonstration center at Denver diflPers
from the other three. Five films will be
priKluced in the current year. Teachers and
students will cooperate in all phases of
the production of these films, and the
production activities will be evaluated in
terms of their value to the students,
teachers, and community groups, in addi-
tion to the evaluation of the films which
will be conducted in the same manner as
in the other centers.
On the evaluation forms used in ' the
demonstration centers teachers are asked
to indicate the purposes for which the
film was used, how well the film served
these purposes, the strong and weak points
of the film in terms of these purposes,
and a brief suggestion of the teaching
methods used. The teachers are also
asked to suggest other situations or units
in which the film should prove valuable.
.\s the evaluation program has pro-
gressed the need for adequate descriptions
of film content has become increasingly
apparent. In June, therefore, the Project
plans to begin previewing activities to
.secure such statements of content for
new films and films for which no ac-
curate description is available. It is
planned to release these through the
.Association of School Film Libraries,
Inc., together with the preview appraisals
compiled at the Progressive Education
Association Workshops last summer. It
is also planned to release the descriptions
of film content to educational journals.
In addition to the regular evaluation
data secured, at each of the centers some
special studies on film use are in prog-
ress. It is planned to release these
utilization studies shortly in the Ameri-
can Council on Education Studies Series.
The first of these will be the Health
Study which will deal with the use and
effect of films related to the problems of
tuberculosis. This will be followed by
the Grade Level Study which, as its title
indicates, will be concerned with the out-
comes of film use on the elementary grade
levels.
LUNCHEON AND ROUND
TABLE FOR DIRECTORS OF
VISUAL EDUCATION
(12:30 P. M., Friday)
Chairman, J. E. Hansen, Chief, Bu-
reau of Visual Instruction. Uni-
versity of Wisconsin ; Secretary.
Samuel N. Stevens, Dean, Uni-
versity College, Northwestern
University.
This proved to be an extraor-
dinary session, in a private dining
room filled to capacity, and lasted
continuously for four solid hours.
Many speakers participated in a
total utterance of over 24,0(X) words.
Condensation has been obviously
necessary, but the full gist of every
speech has been carefully retained
on the three major topics of discus-
sion ; ( 1 ) The Production of Visual
Materials, (2) The Administration
of a Visual Program, (3) Training
Teachers in the Use of Visual
Materials.
(The complete discussion will
appear in the Reprint).
Elementary School
Clinic
(2:00 P. M., Friday)
Introduction by V. C. Arnspiger,
Erpi Classroom Films, Inc., followed
by class session of 2nd Grade stu-
<lents from Elgin Public Schools,
taught by Miss Effie Lundgren.
using the Erpi picture, Mexican
Children. Audience discussion fol-
lowed. Clinic closed with a discus-
sion of Harvard Reading Films by
Harry O. Gillet, PrincijMil, Univer-
sity Elementary School, University
of Chicago.
( Entire Clinic will appear
in the Reprint)
High School Clinic
(2:00 P. M., Friday)
Discussion of Motion Pictures
in American History by Robert
B. Weaver, University of Chi-
cago Laboratory Schools. Class
Demonstration in Social Science,
with students from the Francis
Parker School, Chicago, prepared
and taught by James Mitchell,
using selected films on Pasteur
and Anthra.v. Clinic closed with
showings of foreign geography
filtns with graded French and
.Spanish dialog.
(Full transcript will appear
in the Reprint)
College Clinic
(2:00 P. M., Friday)
Round Table Discussion by nu-
merous college professors on How
Effective Are Visual Methods in
College Science, with much inter-
esting difference of opinion and re-
ports on research already conducted.
Clinic closed with discussion by
Selby M. Skinner, University of
Chicago, on Demonstration Labora-
tories in General Science Courses.
(Recordings of this clinic too
meager for reprinting)
ANNUAL BANQUET
(6:30 P. M., Friday)
Donald P. Dean, University of
Chicago Press, Presiding.
After an ample menu, enjoyed by
an ample gathering, the Chairman
introduced guests, announced fea-
tures of the coming program, and
introduced the speakers as follows:
Address: The Classroom of the
Future, by Ralph W. Tyler,
Chairman, Department of Edu-
cation, University of Chicago.
(Given in full below)
'T' HIS Conference has vividly illtis-
trated the rapid development of vis-
ual education materials and techniques.
These demonstrations might lead the en-
thusiast in visual education to describe
the classroom of the future as a place
in which visual materials occupy the
major teaching role. Such an obvious
prediction may not, however, be justified.
A cyclical development of new pro-
cedures and new materials in education
frequently occurs. A new method is
Page 198
The Educational Screen
inaugurated; it may then be enthusiasti-
cally received and for a short period of
time it is rapidly adopted throughout
the country. Then the enthusiasm wanes,
and in a few years only traces of this
method are to be found in the practices
of our schools. Is visual education des-
tined to be a passing phase or will the
classroom of the future find visual ma-
terials occupying a significant place in
teaching? The answer to this question
I believe depends upon the steps taken
by you who see the possibilities of these
new techniques and materials and who
are responsible for their development.
Two common tendencies account for
much of the cyclical character of educa-
tional development in this country. If
these can be avoided, I believe that a
continuing and sounder development is
possible for visual education. The first
of these tendencies is to consider an
educational technique or material as good
for every purpose, thus failing to diflfer-
entiate among the several objectives
which we seek in general education. It
seems to me clearly possible that a cer-
tain specific educational film may have
great value in clarifying certain sig-
nificant problems in the social science
class without at the same time develop-
ing such other objectives as the acquisi-
tion of important information, the de-
velopment of effective ways of thinking,
or the development of more desirable
social attitudes. Another film may be
particularly effective in shifting attitudes
without promoting other educational ob-
jectives. If visual education materials
are to occupy an important place in the
classroom of the future, teachers need
to know the probable eflfects each type
of material will produce. This means that
studies must be made to find out whether
and to what extent a given type of
material affects the attitudes of students,
their acquisition of information, their
sensitivity to important problems, their
ways of thinking, their interests, or their
appreciations. It is not enough to say
that this material has educational value.
We need to find out what kinds of value
each type of material has so that teachers
may choose materials in terms of their
educational objectives. If this is not
done, many teachers will select materials
blindly because they have heard that they
are helpful in education. Then they
will discover, to their disappointment,
that the materials did not produce the
particular effects desired. The recognition
that teachers have several important edu-
cational objectives and that certain ma-
terials are helpful for some objectives
and not for others, will go far toward
eliminating the initial blind enthusiasm
which in turn is likely to be followed by
a waning confidence in visual education.
The second danger to be avoided in
the development of effective use of visual
education is the failure to recognize in-
dividual differences in students. Students
differ in abilities, in interests, and in
the kinds of media through which they
learn most effectively. Some students
with a background of concrete experience
and a large measure of ability to abstract
and to generalize may get very vivid
ideas through reading. It is conceivable
that visual materials add very little to
their understanding in certain fields. On
the other hand, there are other students
who learn most effectively through more
concrete and graphic presentations. Vis-
ual materials may be particularly valuable
for them. We need to recognize these
differences in students and to study visual
materials not only in terms of what
kinds of educational values they may
promote but also for what types of stu-
dents they are most helpful. This kind
of study will help to eliminate unwise at-
tempts at using the same materials in the
same way for all students.
I believe that the classroom of the
future will involve a considerable use of
visual materials but that the effectiveness
of these materials and their permanence
in the program largely depend upon the
steps taken by the group represented
at this Conference. You must recognize
that there are several objectives of gen-
eral education and that there are in-
dividual differences in students. If this
group carefully studies each type of
visual material in terms of the objectives
it may serve and the types of students
whose learning it will facilitate, then I
believe that visual education will occupy
an increasingly important place in the
repertoire of teaching.
Film Showing: First public
showing in this country of the
English documentary film, The
Londoners. Presented by Fanning
Hearon.
Address : Planning Educational Pic-
tures, by V. C. Arnspiger, Erpi
Instructional Films, New York
City.
(Brief abstract given below)
N planning for an educational film, it
is necessary to determine what the
objectives will be. No educational film
is the work of one man. Someone has
given the definition of a documentary
film as follows: that quite often they
grow out of the result of one individual
spraying the landscape with a camera,
and editing a film which, if it is not
accepted by the theatres, becomes a
documentary film.
Much research and investigation is
necessary in planning an educational film.
(1) Curriculum research. Scope of
subject matter must be broader than
exists in textbooks. Make sure there
should be a film in this particular field.
What elements can be presented by means
of the spoken word? What elements
may be presented by group discussion?
What can be developed in laboratory type
of procedure? These are some of the
questions to be considered. The breaking
down of subject matter is more or less
a subjective thing and opens up possi-
bilities for enrichment of such material.
(2) Production research. How can
research contribute to production devices
and techniques? In planning a film,
close attention to detail is necessary.
The film should provide a powerful stim-
ulus to creative thinking and action.
I
(Ruth Livermon's pupils' activities cited
here). No film has been made which
has not necessitated the use of new pro-
cedures and devices. There must be a
close connection between the film and ex-
perience. Final working script must rep-
resent certain specifications.
(3) Utilization procedures in the
classroom, (a) Be sure that every pupil
knows definitely what the purposes in
seeing the film are; (b) There should be
an immediate discussion after seeing the
film. Divergence of interests on the part
of the students after the film showing
can be shown in the voluntarily selected
drawings they make after the film. Out
of that will grow creative work.
The speaker concluded with a strong
plea for simplicity in teaching and
stressed one of the great objectives to be
attained in the use of right films, namely,
the fostering of better international
understandings.
Film Showing: The Mexican Peo-
ple, an Erpi Instructional Film.
Address: Hollywood and Educa-
tional Pictures, by Ralph Jester,
Vice-President, American Pic-
tures Inc., formerly of Paramount
Pictures.
(Abstract given below)
Y OU will notice that I am ambassador
without portfolio from Hollywood.
Whatever I say, about any persons, living
or dead, is purely intentional. Let me
say that the outstanding keynote of
Hollywood's attitude toward education
is one of monumental disinterestedness.
This it seems to me is an extraordinary
paradox.
Hollywood producers are the greatest
educators of today, if by education we
mean the instillation of ideas in the public
mind, a development of social attitudes.
This is true in spite of their lack of
interest in education. Consider what
these producers can do to or for the
people of the nation in such a picture, for
example, as "The Confessions of a Nazi
Spy."
Why has Hollywood shown so little
interest in education? The psychology
of the producer is different from that of
the professional educator. They think in
different terms. They have been trained
in the show business and their main aim
is to please. Educators do not care
whether the pupils are pleased or not.
Pupils do not pay to see pictures in the
classroom. The teacher can, therefore,
do as he pleases. Therein lies the dif-
ference between education and entertain-
ment.
Each picture contains an emotional
overtone. It is possible to produce docu-
mentary films that have a low emotional
overtone. It is up to the educator to
determine what that tone sliould be, par-
ticularly in Social Science films. In this
field will motion pictures find their
greatest opportunity.
Going back to the Hollywood producer.
In my opinion, very little can be ex-
Jum, 1939
Page 199
pccted from Hollywood for years to
come in the production of educatioiul
material. Hollywood producers are terri-
fied by the thought of education as teach-
ers by the thought of entertainment. I
hold out little hope lor the riM-ase of
shorts to the educational field. There
have been gestures made to evaluate
shorts, institutions set up and organized,
and it is indicated that these materials
may be available any minute. The root
of the matter is the attitude of ex-
hibitors of whom the producer stands in
awe. If box office returns are jeopard-
ized the producer will drop the idea of
releasing to the educational field. li
children see pictures in schools, it is going
to cut down their desire to see them in
the theatre, reason some exhibitors. This
is just as fallacious as saying that read-
ing their textbooks will cut down on
their reading of books outside the class-
room. Making them picture-minded
might make people enjoy pictures more
provided the pictures they see are good.
There has been a lack of success in
presenting the idea to Hollywood pro-
ducers. Educators have often taken a
belligerent attitude toward them, which is
the way to get nowhere fast. If a spirit
of cooperation can be developed between
the educator and producer, and the latter
approached in the right way, he can be
awakened in course of time to the needs
and wants of the educational field.
Film Showing : A Fitzpatrick Travel
Talk in color, Rural Hungary.
Address: Hmv Can We Use Motion
Pictures to Humanise Knowledge?
by Edgar Dale, Ohio State Uni-
versity.
(Given in full below)
PERIODICALLY we are pulled up
' short by the fact that some scientific
or sociological idea, which we thought
was widely accepted, turns out not to be
so widely accepted after all. Those who
followed the testimony in the Scopes
monkey trial some 12 or 13 years ago,
were struck by the large number of
persons who had by no means accepted
the evolutionary hypothesis.
Have we accepted vaccination against
small pox as a universal way of meeting
this disease? I doubt it very seriously.
As a matter of fact, the president of
the Iowa Parent-Teacher Association
recently pointed out that Iowa was one
of the worst states in the Union as far
as smallpox was concerned. Has our
public education system given us vaccina-
tion against the viruses of racial and
religious hatreds? Let Meredith Nichol-
son answer this question for Indiana.
He said, "Indiana has spent hundreds
of millions of dollars for education in
the last fifty years. What has she got
for all that expenditure? Three hundred
thousand members of the Ku Klux Klan,
turning the state into a bedlam of vio-
leiKe and bigotry." And don't forget
too, that the state which nurtured Horace
Mami recently appointed a peanut poli-
tician as its state director of education
and that this state director of educa-
tion recently retired under pressure. The
state of Michigan recently put through
a ripper bill which destroyed the civil
service system — amid protests not only
of groups such as the League of Women
Voters, but also to the tune of criticism
of conservative papers like the Detroit
News.
Also, some of the bills current in our
national legislative halls look suspiciously
like the Alien and Sedition Act of 1798
— an act which ignominiously failed to do
what it was supposed to do. Now do
these illustrations merely show the in-
tractability of the human animal or do
they show something else? I believe
that they show something else. I believe
that somehow or other many of these
basic social, economic, or biological
problems have never actually been made
clear to the public. They may have
blindly accepted them — or what is more
likely the case, failed to show their antag-
onism— but they never really understood
them.
There is a genuine difference between
being informed and having understanding,
yet in many cases the mass of our citizens
never were even informed in these areas.
Why is there a bottle-neck between those
who know and those who don't know?
Why is it so hard to transmit methods
of thinking, ideas, and ideals to the
population at large ? One thing is certain :
We have failed in this country to
democratize or socialize — or humanize,
if you will — knowledge and understand-
ing. We have not given individuals a
feeling of participation with respons-
ibility in the community of thought,
feeling, and action of the group. This
diffusion of verified knowledge is abso-
lutely indispensable if we are to have
genuine progress. Certainly we cannot in
a democratic society have effective partici-
pation of our citizens in our government
unless they do share in this store of veri-
fied knowledge. Certainly, one of the
things that dictatorship nations have sup-
plied is that they symbolize heroic qual-
ities in a leader or leaders. Furthermore,
they effectively publicize what they have
done. We have been altogether too lax
and have failed to dramatize our great
democratic achievements. Somewhere
near ten million dollars, for example, is
being expended right now in Columbus
on housing projects, projects for the
housing of students at the Ohio State
University, and others of this type,
yet all too rarely in our press do we have
any dramatizing of how a democracy
does things for its citizens.
Now the question arises : Why are we
in this dilemma? There are, of course,
many reasons and perhaps the reasons
which I discuss are not the best ones.
They are, however, significant ones which
must be taken into account in any
study of the entire process. One of our
basic difficulties is. of course, the fact
that scientific discoveries have moved
ahead in airplanes, while social inventions
involving the democratization of these
findings have trudged behind on foot.
Furthermore, our great universities —
here I am thinking especially of our state
tmiversities — have all too frequently seen
their campuses as bounded by the walls
of their classrooms. They have not seen
the vision of their classrooms extended
to the utmost boundaries of their own
states.
A second reason is that some of our
experts have had no genuine concern
with the socialization of their findings.
Indeed, some of the them dread what
they term "popularization." I suppose
that a typical bad dream of a college
professor is that he finds himself a popu-
lar teacher on the campus, with students
flocking to his courses. That, of course,
brands him as not being a scholar.
A third reason is that we have not
been willing or known how to distribute
these findings. One professor with whom
I was recently conversing on this topic
said that a student of his recently came
to him and complained about the dif-
ficulty of the textbook which the professor
himself had written. The professor said
"Thank you." The student queried, "Why
are you thanking me?" "Why," replied
the professor, "I would not have con-
sidered it a compliment if you had said
the book was easy."
And finally, of course, we must realize
that the adult population of this country
has an eighth-grade education or less,
that about two-fifths of the population has
a reading ability on the sixth-grade level
or less.
This is a long but necessary introduc-
tion to my simple thesis. It is that
we should begin now to use the motion
picture as a device to socialize verified
knowledge. I need not elaborate with
this group the fact that pictorial sym-
bols, pus simple vocabulary, will help
insure understanding. It is perhaps
equally unnecessary to point out to you
that literally millions of people see the
March of Time releases each month,
which give in the compass of some
twenty minutes a much clearer notion
of what is going on in the country than
perhaps any other single source.
Specifically, how might one go about
preparing such a curriculum? First of
all, I want to make it clear that I should
integrate this device with other devices,
including radio, panel discussions, and the
like. My discussion here merely of the
motion-picture medium does not suggest
that I think this medium should carry
the burden alone. It is rather that I am
showing only the role of the motion
picture.
First of all. I believe that we must begin
now to show the problems, the benefits,
of living in a democratic nation. I think
we quite commonly forget the glorious
contribution of our public education pro-
gram to the citizens of the state. In our
zest for correcting some of the evident
deficiencies of that program, we very
frequently ignore the basic contributions
that have been made. The genuine ap-
preciation which each of us individually
feels in regard to that public education
program should be dramatized into a
compelling document.
Similarly, we need to show very clear-
ly contributions made by other phases of
community life, especially those phases
supported by public taxation. J. Ray
Stine. principal of the Akron High
Page 200
School, recently made a film in which
he showed to the people of Akron the
basic broad values that accrued from the
meager sum of money spent on public
health in that city. We need, further-
more, motion pictures which show the
rise of the public health movement in
this country, and just what the govern-
ment is doing to aid in this particular
area. Hundreds of government meat
inspectors are working at this very mom-
ent in the stockyards in order that health-
ful meat may be provided for this nation.
A second significant area which we
need to socialize understanding relates to
the question of human liberties. We
have failed, I believe, to give to the
common man an understanding of the
great struggle we have constantly had
for these liberties — for freedom of speech,
freedom of assembly, freedom of relig-
ion, freedom of the press. I see no great
difficulty in developing a series of two-
reel motion pictures in these particular
areas, pictures which would be pro-
foundly interesting. It is bromidic, of
course, to say that freedom must be
earned by every single generation, yet
I think it is quite true. Therefore, as
equipment in re-winning our civil liber-
ties we ought to provide these experi-
ences of great fighters in the field of
civil liberties for all our citizens. We
forget that the restrictions on civil
liberties which our earlier Americans
found so distaseful have the distressing
habit of bobbing up again and again. We
should be fortified with the earlier ex-
periences in combatting these restrictions.
A third basic area in which we are
illy informed is the broad basic problem
of the conservation of natural resources.
Wc had in 1903 an epochal film entitled
'The Great Train Robbery" ; we had
another in 1936 called "The Plow that
Broke the Plains", that might well have
been called "The Great Soil Robbery,"
because it showed how America was rob-
bing itself of its basic resource, the good
earth. This has been followed up by
another film, "The River," again demon-
strating the need for conservation of soil
resources and the impact of these prob-
lems of human relationships. We need
scores of similar films, and we trust that
the Department of Agriculture, or what-
ever government department finally ends
up with the motion-picture division, is
going to pursue vigorously this particular
area. In this particular connection they
should pay little attention to self-ap-
pointed critics who bark at the heels of
progress. I have found only universal
praise for these two films.
A fourth significant area in which we
should produce films relates to a basic
method in modern-day living. I refer
to dramatizing on celluloid specifically
what we mean by the scientific method
and some of its great contributions. Nor
should this prove a difficult task. Our
public health laboratories, our govern-
ment laboratories, with testing of vac-
cines and serums, exemplify the utiliza-
tion of control methods. The photo-
graphing of some of the identical twin
studies that have gone forward would
provide a good opportunity for a Pete
Smith short, and if done with the dignity
of the Doctor Carver short, should
develop a good deal of social under-
standing on how the scientist is attempt-
ing to set up some kinds of controls
in order to make his conclusions more
valid. In this same connection, I suggest
that colleges of education might well
consider seriously the production of films
showing statistical techniques. Much
cloudy thinking is being carried forward
in this country today because of a lack
of understanding of central tendencies,
of correlations, and the like. The use
of animated devices would, I believe,
help the layman understand just what the
scientist is about when he uses statistical
methods. Basic in all of this program
of the humanizing of knowledge is the
portrayal of these problems as basic
human problems, their impact on people
themselves. Therefore I would suggest
most strongly that we utilize to the ut-
most current motion pictures which
would be very valuable as introductions
to the films with more specific content.
For example, as a fore-runner of films
dealing with civil liberties, what could
be more useful than the showing of
Paul Muni in "The Life of Emile Zola"
or the more recent picture, "Juarez."
Similarly, films dealing with scientific
method would be made more valuable
if they were seen in the context of the
experience of viewing "The Story of
Louis Pasteur." Other suggestions in
reference to the other areas which I have
mentioned will readily occur to you.
I trust that in this direction I have
not given an impression that our educa-
tional problem, as far as the humanizing
of knowledge is concerned, relates only
to passing on what is already known.
Clearly we must develop a citizenry who
are capable also of utilizing this infonna-
tion in the solution of problems. There-
fore, one basic suggestion is that we not
only socialize solutions to problems, but
that we also socialize understanding of
the problems themselves, with the clear-
cut inference that each one of us has a
responsibility for helping to solve them.
The weakness of visual instruction,
it seems to me, is that it has not had a
sufficiently broad base. It has merely
accepted the status quo and has attempt-
ed to do better the things we are now
doing. The significance of these new
agencies of mass communication would
he lost indeed if we only continued to
do better some of the things that
ought not to be done at all. Today
human understanding is no longer limited
by the literacy involved in the interpre-
tation of the written word : instead we
have available in our hands ways of
speaking and portraying which can be
understood the world over. The use of
this power is the basic challenge facing
those interested in the field of visual
materials.
Film Showing: Man oj Conquest,
the AI id western premiere of this
feattire film, by special arrange-
ment with Re])ublic Pictures.
The Educational Screen
Elementary School
Clinic
(9:30 A. M., Saturday)
Class Demonstration, Science in the
Third Grade, arranged by J. S.
Mcintosh of Evanston Schools,
students from Lincoln School.
Evanston, taught by Miss 11a M.
Rice.
(Given in full l)elow)
Chairman Waggoner: We feel that
this type of program is getting right
down to the teacher's real work. This
morning we have another elementary
school demonstration and Mr. Mcin-
tosh, who has charge of the visual in-
struction in Evanston, will have charge
of this group. Mr. Mcintosh is to
teach a course this summer at North-
western University in visual and radio
education. After this class demonstra-
tion there will be a discussion con-
ducted by Mr. Blough of the University
of Chicago Elementary School. I take
great pleasure in presenting to you Mr.
Mcintosh who will have cliarge of the
class demonstration.
Mr. Mcintosh: It really is a pleasure
to be here and that expresses the thanks
of the class, of Miss Rice and of my-
self. Miss Rice, whose third-grade
class had been studying flowers and
plants, is here with her students. So
this morning we are going to have an
Erpi film, which the class has not seen,
and see how it works out in the regular
line of class duty. We are not having
a special show.
I want to tell you a little about our
visual education set-up. Visual educa-
tion in Evanston school District 76 is
entirely an extra-curricular activity
from the business end. I teach a full
program in addition to directing this.
However, the teachers and all the ad-
ministrators cooperate in every way to
make it a smooth working program
The Nichols School boys in the seventh
grade attend an elective which meets
three times a week, called "Visual Edu-
cation Service." They come to this
class to learn how to run slide pro-
jectors, motion picture projectors, and
opaque projectors. Whenever a teacher
wants a film or some visual aid ma-
terial she sends in an order for it. We
furnish it, when the time comes, and a
boy is assigned to operate the pro-
jector. Previews and motion picture
guides are used extensively.
The class is composed of twenty-four
this morning. Thirteen, I believe, are
third grade and eleven are fifth grade.
The fifth grade students are former
students of Miss Rice. The reason we
patched our class this morning, so to
speak, was because many third grade
students could not come. It is not at
all a select group.
The study which led up to the pres-
ent study in plants started from a study
of foods and of the tropics, of bananas,
pineapples, etc., then grains, wheat,
corn and oats. In connection with the
study of grains they used the follow-
June, I9}9
iiiK tilni>: tlhcal, H'heat Farms, and
From ll'hcal lo Hrcad. They also drew
pictures and wrote stories oi\ their ex-
IKTienco. They collected com and
wheat and oats and also arranged col-
lections of food products from these
Krains, such as corn Hakes and Wheat-
ies. The;, planted these different grains
in soil and in water to sec how well
they would grow.
Since September there had been
standing in the room an Amaryllis plant
with one bud on it. On March 22 it
burst forth in bloom. By the 1 4th of
.April there were blossoms and that de-
rinitely started the study of flowers. In
connection they used these films : Hotv
I'ltmis Live and Grotv, The Paris of a
Plant. The IVork of a Flower. From
flower lo Fruit. Flowers at Work and
Plant Growth. They are now in the pro-
cess of studying the Relation of Plant
Groiiih to Man.
Koots have been studied this past
week. They dug up a dandelion to see
what kind of root it had. They studied
roots on a pussywillow that had l)een
put in water. They learned something
about the names of these different types
of roots. The adventitious root of a
pussywillow is exhibited here today,
with other papers and diagrams related
to their study. It is one that is not
mentioned in the film this morning.
They are also starting the study of
minerals and food values, and they have
taken a trip to the water works and
noticed the way the water is filtered.
The reason I mention these things is
not to confuse, but to tell you some of
the different branches that their think-
ing is going on these days.
Now. I do not know what the reac-
tion of the class will be this morning,
for there is little possibility of a stage
demonstration of a class being natural.
.Miss Rice and class are now going to
take over.
Miss Rice: Boys and Girls: This is
lor the benefit of the children who have
come along as guests. My children have
seen flowers and plants at work and
now we are going to see some pictures
n roots. I want you to think about the
type of picture that you are seeing as
' you watch the picture this morning. You
kiiow that sometimes they make a series
of drawings and then they speed up
the cariiera and make them seem to be
in motion. Do you know the name for
^ that type of picture? You see it often
in the movies.
Harmon: Fast motion?
Miss Rice: Usually it is in connec-
I tion with cartoons. .Animated cartoons.
They seem to have life. They seem to
be moving. Then you will also see some
pictures that were taken through a
microscope. The little organisms are so
small that they have used a microscope
first and then photographed through
that, and. of course, you must remem-
; ber, too, that the action in growth that
you will see take place so quickly in
the picture does not happen in nature.
You know how slowly the .Amaryllis
opened up and how we watched it for
days and so remember that the growth
IS not as rapid as it seems to be. Listen
as carefully as you can and watch for
old and new facts about roots. Now
I think we are ready to start.
(Shounng of film)
Miss Rice: .Ml right, now boys and
girls, we will turn our chairs around
in two rows, please. How did you like
that? Come on now, speak up. This
isn't the way you act in school.
Betty: I liked it a lot.
Miss Rice: Why did you like it?
(Interru/ttion for microphone adjusl-
mcnt).
Timmie: Those were short movies.
Miss Rice: Did you think it was
short? We did not have any time-
piece, Jimmie. Now would you like to
talk first about why you liked the pic-
ture ? Betty ?
Betty: Well, it left no question in
our minds.
Miss Rice: .About what?
Betty: .About how the plants grow
and how their roots grow.
Miss Rice: Marie, did you have
something you would like to say?
Marie: Because the man spoke very
distinctly.
Miss Rice: Yes, the sound track was
very good. .Arc there any other com-
ments about the picture? How about
you who are guests today? What did
you like abaout it?
Margie: 1 thought it was very in-
teresting the way they made it go
faster so that we could see the growth.
It did not take as long as it would have
in real life.
Miss Rice: Yes, that is a wonderful
apparatus that they have, isn't it, be-
cause, of course, it would take months
to se.- the growth of the plant. Any
other comments?
Elaine: Well, I think it was nice
because our room has not studied roots,
but .vet we got a little sort of essay
of it right thtn.
Miss Rice: Do you suppose vou might
write some papers about this picture
and send them down to me some day?
Would you like to do that? If you have
a little spare time, you ask Miss Fitz-
gerald if you may not use that spare
time to write a little essay, as you called
It, about this picture.
Harmon: You learn a lot from that
little picture.
Miss Rice: From one little picture,
^es. I think so. Perhaps we will let
you tell us after we discuss a little
more thoroughly what you got out of
it.
Mary: It told me everything about
the roots.
Miss Rice: Well, when you say
"everything" that is pretty broad. Could
you give us more details?
Mary: Well, it taught me how the
root protects itself, how the root helps
the plant, and about difiPerent kinds of
roots.
Miss Rice: You didn't hear very
many kinds of roots mentioned. While
we are at this point, what roots did you
hear named? Just a minute. Let's see
if some of these friends of ours cannot
tell us. What roots did you hear named?
They gave them specific names?
Page 201
Scott: Dandelion.
Miss Rice: Yes. What kind of root
is the dandelion? Scott, did you get the
name of the dandelion root? Well, we
have one with us. Do you want to
unwrap it now, John, and show it to the
children? Perhaps this will help you
to remember the name.
Scott: I hope it isn't soggy.
Miss Rice: Well. I think it won't be
soggy after being out of the ground
two days. Turn it up so that we can
see it. will you. Can you pull out some
of the little hairs?- We arc interested
in the root, not the plant. Does that
look very much like the one you saw in
the picture?
Students: Yes.
Marie: I heard the man mention
"adventitious root."
Miss Rice: Did you all hear him
mention "adventitious root'? What root
was he talking about then?
Marie: The pussywillow.
Miss Rice: I didn't hear him talking
about that. I am afraid you are a little
mixed up, aren't you? He talked about
the fibrous root, and what plants did
he mention when he talked about
fibrous roots? Barbara.
Barbara: Rye, wheat.
Miss Rice: Betty.
Betty: He talked about grass and
grains.
Miss Rice: Yes. Now. we are a little
off my plan here. 1 had a little plan,
but 1 guess we will have to change a
bit. Now, we have talked about a few
old facts. There are other roots that
he mentioned that you haven't talked
about yet.
Carroll: Secondary roots.
Miss Rice: Did he mention second-
ary roots ?
Students: Yes.
Miss Rice: When did he mention
secondary roots? What ro<its are they?
He didn't call them secondary roots,
did ho. class?
Students: Yes.
Miss Rice: Well. I missed that.
Barbara: After he talked about the
primary root then he referred to the
secondary roots.
Miss Rice: And they are the roots
that do what ? Betty Anne, can vou tell
us what secondary roots do? When do
they grow, that is what we want you
to tell us, or where do they grow?
Tommy.
Tommy: They grow out from the
fibrous roots.
Miss Rice: No. Carroll.
Carroll: They grow out from the
main root.
Miss Rice: Yes. In this sound
track today they mentioned main roots.
They did not say "primary roots," I
do not believe. All right, did you hear
two new things about fibrous roots,
that is, we didn't say them in just that
way? Marie.
Marie: That they live two years.
Miss Rice: Fibrous roots do some-
times and there was something else
when he first showed us the fibrous
roots, that is, he said two things about
them that we haven't mentioned. Elaine.
Elaine: I think it was the other root
I was thinking about.
Page 202
The Educational Screen
Miss Rice: Well, he told about the
number. Do you remember the word
he used when he said that there are
many of them? He didn't say "many."
What was that? He said "numerous."
There is one other thing about the
fascicled roots. They are formed how?
Did you get that? That was the
dahlia plant shown after we saw the
dandelion. Betty.
Betty: I think it was
Miss Rice: Something about the
main root. What does it do?
Betty: The main root parted and
then that made other roots.
Miss Rice: Yes, that is how you
have that number of roots. All right,
now some of the new things that we
heard about roots. Jimmie.
Jimmie: .■\bout that cartridge thing.
Miss Rice: What did you learn about
that particular part?
Jimmie: I learned if you cut the tip
off of the main root if there is some
copper in the ground, it will poison the
root. I wonder how it does that.
Miss Rice: I would like to know,
too. Perhaps we will have to find that
out through reading. I was wondering
why the root one time went right down
to the copper. Why didn't that turn
aside like the first one did, Margie?
Margie: Because it didn't have the
guard on the front.
Miss Rice: Dennis.
Dennis: Because one of the edges
were off.
Miss Rice: Yes, it had been cut off.
What part had been cut off? Jerretta.
Jerretta: The tip was very sensitive
and it could sense anything that would
be poisonous.
Miss Rice: Yes, and what is the tip?
What part of the root is that, Marie?
Marie: The cap, I think.
Miss Rice: Well, there is a cap there
first. That is the root cap and what
does the root cap do? What does the
root cap do? Mary Ellen, did you get
that?
Mary Ellen: No, I didn't get that.
Miss Rice: Elaine.
Elaine: It protects the plant.
Miss Rice: What part of the root?
It is a very important part just behind
the root cap.
Mary: It protects the sensitive part.
Miss Rice: And what it that sensi-
tive part? It is a very important part
of the root. Mollie.
MoUie: It is the tip of it.
Miss Rice: The root tip and what is
that part? That is the important part
of the root.
Mollie: I don't know.
Miss Rice: What happened down
there at the tip? What did it do?
Mollie: It cut off.
Miss Rice: But when the roots went
down through the ground, what were
they doing?
Mollie: Boring.
Miss Rice: Well, yes, they pushed
their way through the ground. Betty.
Betty: Taking minerals in them.
Miss Rice: Well, when you saw the
root extending on down through the
ground, what do you call that?
Jimmie: Growing.
Miss Rice: Growing, yes, that is the
important part. That is very important
to remember.
Jimmie: The ink spots told you that.
Miss Rice: Yes, that was a very nice
experiment that they gave us. Could
you tell us how you understood that?
I think you could. Scott, could you
explain that?
Scott: It showed how it grew, how
far down it went.
Miss Rice: Yes, and where did you
see the most growth in the root?
Scott: At the end of the root.
Betty: At the end of the root.
Miss Rice: At the end of the root,
Betty says. Harmon.
Harmon: It seemed to stretch.
Miss Rice: Yes, it seemed to stretch.
Well, that is the part that is growing.
You remember how the parts near the
upper part of the root were so close
together and he told us what, Carroll?
Carroll: That they were a certain
distance apart.
Miss Rice: They put the little spots
on the root and then you saw it grow
and there was not much growth at the
end. Mollie.
Mollie: I didn't quite understand —
I forgot — I think there are sacs on the
end.
Miss Rice: Little sacs. What did
he call those little things on the end
of the root? My old standby s here.
Come on, somebody else. What did you
hear him call those little things she
calls "sacs" at the end of the root?
Carroll.
Carroll: Cells.
Miss Rice: Yes, and what is a little
cell?
Carroll: It is a little room, a tiny
room.
Miss Rice: Yes, there are all kinds
of cells. These are little rooms of what?
Marie.
Marie: Protoplasm.
Miss Rice: Now, what did you learn
about those cells at the tip of the root?
What happens to it as the root digs
through the ground?
Marie: They take the minerals.
Miss Rice: No, not the ones that
I am thinking of. Perhaps you are
thinking of something different. Har-
mon.
Harmon: They get the starch and
sugar and the water.
Miss Rice: Yes, eventually. We are
talking now about the picture where
the cells were shown at the end of the
growing root, the root cap. Betty.
Betty: They get rubbed off.
Miss Rice: Yes, they are worn off,
but you did see one that had an ac-
cumulation of cells, too. Mollie.
Mollie: When they are rubbed off
how do the roots grow new cells ?
Miss Rice: What do you think about
that? She has asked us a question now.
What do you think? Jerretta.
Jerretta: I think that they would
have to grow new cells because if they
didn't they wouldn't be able to absorb
these sugars and minerals from the
ground.
Miss Rice: Yes, they must.
Marie: I think the magnification
view of the protoplasm growing around
was very nicely done .
Miss Rice: Yes. What is proto-
plasm, Marie?
Marie: It is the life of all plants
and animals.
Miss Rice: Yes, and you could see it
moving very easily ; as Marie says, that
magnified picture was wonderful.
Betty.
Betty: We tried just about that same
thing, not quite. We cut off the end
of a dandelion root and put it in some
red ink and then the next day we took
it out and found out that it had taken
up all the moisture and it was all red.
The ink was red and it was the only
moisture that it could take up, so it
took up the red ink and it was all
red the next moring.
Miss Rice: Thank you. I am glad
you told us that. Where are the root
hairs ? Where did you see the root
hairs ? Betty Anne, can you remember
where you saw the root hairs on these
roots ? On what part of the roots
are they?
Betty Anne: The sides.
Miss Rice: Yes, sure, they have to
be. John.
John: They are on the secondary
roots.
Miss Rice: Yes, usually, but they
have a specific case. Gene, you haven't
said anything. Come on, where did you
see root hairs growing?
Gene: On the main root.
Miss Rice: Yes, sometimes. That is
on the tap root, for instance, and it
certainly has hairs on it, but where are
the root hairs? He told that very
distinctly. Margie.
Margie: In the last plant they
showed there were hairs. Those mag-
nifications there were hairs that were
sticking out. They were to protect the
plant.
Miss Rice: Is that right? Do the
root hairs protect the roots ?
Students: No.
Miss Rice: No, they do not do any
protecting, but where are the root
hairs ? Jimmie.
Jimmie: Not on the growing part.
Miss Rice: No, they are where then,
Jimmie?
Jimmie: They are not around the
tip, they are back here.
Miss Rice: Behind the growing part,
I think would be a good way to say it.
Yes, they are behind the growing
part. What are these little root hairs
really, Carroll?
Carroll: They are countless roots
that won't grow into bigger roots.
Miss Rice: Yes, they don't grow any
larger. What else can you tell about
these root hairs, Mollie?
Mollie: They suck water and food
from the ground.
Miss Rice: And they are cells, aren't
they? Don't you remember the one
picture that said it was a cell bud
that burst through the side of the root
and then continued to grow?
Mollie: Yes.
Miss Rice: Well now, we have
talked about the protoplasm. We
brought that up. I read an interesting
June, 19}9
Page 203
thing that I think will help us to un-
derstand the growing of roots. It said
it was like laying a railroad track.
Thry put down sonic tracks. Then the
cars come over with more ties and
rails and they use those, put down a
bit more track, then more cars come
along with more ties and track and
they build another section, and keep on
in that fashion. I thought that was a
pretty good explanation.
Now, let's talk about the experiment
with the tube of sugar water and the
pure water. What did that explain?
Shall we let sonic of these folks talk
this time?
Student: They explained that if it
has been kept in the water long enough
the -.ugar will go to the top.
Miss Rice: Yes.
Student: When the plant has a cer-
tain kind of thing on the bottom.
Miss Rice: Well, of course, that
membrane took the place of what? Do
you know, Barbara?
Barbara: The wall of the cell.
Miss Rice: Yes, and can you go on
and explain about that, Barbara? What
did that show us?
Barbara: That showed that the cell
sac in the root draws the sugar water
in to take it up to the plant leaves.
Miss Rice: Yes, it goes on up into
the plant. Did you have something to
add to that. Betty?
Betty: When it gels mixed with the
cell sac. the soil, it goes up then, be-
cause the cell sac goes to the bottom
again and then the water is up on top,
just like cream goes to the top of the
milk and the milk goes to the bottom.
Miss Rice: Yes. What name is
given to this process of water being
absorbed through the cell wall into the
plant, Jimmie?
Jimmie: Osmosis.
Miss Rice: Yes, that is the name of
the process. Do you suppose we could
do that experiment at school?
Students: Yes.
Miss Rice: If we had the right kind
of tube and a bit of membrane we
could. You have already answered the
question about what happens to the
water, that the minerals, the foods
that are taken in through the root
hairs — what is the purpose of old roots
after they have grown? What is their
purpose? How do they work? What
do they do? Martha, you haven't said
anything. What do old roots do?
Scott.
Scott: After they have grown they
get the water and minerals out of the
ground.
Miss Rice: Well then, new ones
come you see, and I think they told us
very distinctly what the purpose of the
old roots was. Elaine.
EUine: Don't they help to hold the
plant in the ground?
Miss Rice: Yes. What word did he
use? Did you catch that word? That
meant to hold it there.
EUine: To anchor it?
Miss Rice: Yes, they are like an
anchor. They hold the plant there.
What is the purpose of the new roots,
the young roots and the root hairs.
Betty Jane? John, what is the purpose
of the new roots, the little roots, the
hair roots?
John: To suck in the water and
minerals from the ground.
Miss Rice: Yes. And where do the
new roots appear? After the root starts
to grow and then the secondary roots
appear, where do they come, Gene?
Gene: Out of the main root.
Miss Rice: Yes, they come out of
the main root and where abouts?
Where is their position?
Gene: About the middle.
Betty: The part behind the growing
tip.
Miss Rice: In what direction do the
main roots grow, Betty Anne?
Betty Anne: Downward.
Miss Rice: Yes. And there was an
experiment in this picture today with
the primary root. What did they do
with the primary root, Scott?
Scott: They put it in the light and
showed how it would go down.
Miss Rice: Yes, it turned away from
the light. What other experiment did
you see with the main root, Betty?
Betty: How they put it sidewards
yet it would not go down.
Misa Rice: Horizontal. They made
it go horizontal, and then what did it
do?
Betty: It went down. It didn't keep
growing horizontal.
Miss Rice: Yes, they have a will of
their own, haven't they? Mollie.
MoUie: There is one thing I couldn't
understand. I think it was steel or
something.
Miss Rice: We talked about that a
few moments ago. Would you like to
talk about that again? What didn't
you understand?
Mollie: How it uses the plant poison.
Miss Rice: Well, I don't know
whether I can tell you that either. We
may have to ask some of these boys
about that. Harmon.
Harmon: Chemicals come from the
ground and if could be a lot of chemi-
cals in the ground which make poison
in the copper.
Miss Rice: Do you mean the re-
action of the chemicals in the ground
on the copper?
..Harmon: Yes.
Miss Rice: They just don't like the
copper that is in the cartridge or in
the bullet, and you understand why
that one died and the other one didn't,
don't you? Why was that, Mollie?
Why did the one go off away from the
cartridge and the other one just stood
up?
Mollie: Because the tip was not cut
off.
Miss Rice: Yes. What part is the
tip? What is down there at the tip?
What is it doing? Jimmie.
Jimmie: The growing part.
Miss Rice: You want to remember
that is important. The tip is the
growing part. Betty.
Betty: Maybe the same thing hap-
pens when the baby seeds get on the
stone. They cannot find any food to
grow with so that they have to die.
Miss Rice: How did you happen to
bring that up? Have you read about
that or what?
Betty: No, I haven't read about it.
I just saw another movie where the
baby seed landed on a stone and tried
to climb through the soil and get
minerals but it could not.
Miss Rice: Do plants ever have
more food than they need?
Students: Yes.
Miss Rice: And then what happens?
Marie: Then they just make more
starch.
Miss Rice: They turn it into starch
and do what with it?
Marie: And store it.
Miss Rice: Yes. Where is food
stored in plants ? Can you name some
parts, Jerretta?
Jerretta: In the cells.
Miss Rice: Yes, but parts of the
plant in which it is stored. Miriam?
Miriam: Sometimes in the roots and
leaves.
Miss Rice: Yes, and any other place,
Barbara?
Barbara: In the stalks.
Miss Rice: And one more place.
Student: Leaves.
Miss Rice: I think she mentioned
leaves.
Marie: The seeds.
Miss Rice: Can you name some of
the plants that have food stored in
the roots that we eat, Miriam?
Miriam: Tap roots.
Miss Rice: In the tap roots. Will
vou name some tap roots for us?
Miriam: Beets, carrots, turnips.
Miss Rice: All right. Thank you.
Can you think of some others, Har-
mon?
Harmon: Broccoli, isn't it?
Miss Rice: Would that be roots? Do
you eat the roots of broccoli ?
Harmon: No, but you eat the leaves.
Miss Rice: Yes, you eat the leaves.
Then it isn't a tap root. We are talk-
ing about the roots that we eat. Could
you mention any more, Elaine?
Elaine: Parsley.
Miss Rice: Parsley?
EUine: No, I don't mean parsley.
I mean parsnips.
Miss Rice: What part of the pars-
ley plant do we eat?
EUine: It would be the leaves.
Scott: Potatoes.
Miss Rice: Yes, our good friend the
potato. Mollie.
Mollie: Turnips.
Miss Rice: Yes, I guess maybe that
was not mentioned. Do you know any
seed plants where we use the seeds
instead of the roots? Could you name
those, Carroll?
Carroll: Grains.
Miss Rice: Yes. Some others. That
takes in quite a few. We saw a movie,
you know, about what plant? It was
a whole story of this one little plant.
We use the seeds.
Barbara: Peas.
Miss Rice: Yes, that is a very com-
mon one, I think. We saw in this pic-
ture a carrot that grew a new plant.
How did that happen? Why was that
possible? Jimmie.
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The Educational Screen
Jimmie: Because it had food stored
there.
Miss Rice: Yes. And when did that
plant appear? Anne.
Anne: In the fall.
Miss Rice: No, I don't think so.
Anne: The next year.
John: The next spring.
Miss Rice: Yes, the next spring it
would come out, and do you know what
happened to that plant that grew the
second year? What did it produce?
Marie.
Marie: Leaves.
Miss Rice: Yes, it grew a plant
right out of the top of the carrot, but
what would that plant produce that is
very necessary to man?
Marie: .Another carrot.
Miss Rice: Well no, it would not
grow another carrot. It used up the
food in the carrot that we saw there
to produce that plant. Then what did
that plant produce that is very essen-
tial? Betty.
Betty Jeanne: Seeds.
Miss Rice: Yes, that is the plant
that puts forth the new seeds.
Scott: Where does the carrot have
its seeds?
Miss Rice: Can any of you answer
that? Where does the carrot have its
seeds? It is like the parsnip. They
grow in the same place.
Carroll: Above the ground.
Miss Rice: They would be above the
ground, yes. At what time of year
would they appear?
Students In the fall.
Miss Rice: That might be something
for you to look up, Scott and see if you
can find out a little more about that.
I guess you mentioned that you liked
the sound track, Marie.
Marie: I did.
Miss Rice: Do you have any more
comments about the pictures or are
there any things that you saw that
we haven't touched on? Mollie.
Mollie: It showed in the main root
where this sugar came in. I think it
looked like cells in rows.
Miss Rice: Yes, it was very inter-
esting, a little complicated but in-
teresting. Elaine.
Elaine: I think the same thing that
Mollie said, that they made it simpler
by using the little lines instead of
making all the tiny cells that really do
belong in there.
Miss Rice: Did you see the starch
gather in one of the pictures? What
did that make you think of, John?
John: Our potato. We sliced a little
bit of potato and we had some iodine
and iodide.
Miss Rice: That is right, potassium
iodide. That is a good word.
John: .And we put the potato in the
pan with the iodide and it turned
black.
Miss Rice: And that indicated what?
John: Starch.
Miss Rice: We could see where the
starch had gathered. Jimmie, did you
have something to say? Harmon.
Harmon: What is the percentage of
starch in a potato?
Miss Rice: I don't know. Harmon.
I think you will have to find that out
for me. Marie.
Marie: It showed so very plainly
how the roots grew out.
Miss Rice: But you must remember
that roots do not grow that fast.
Marie: Yes, I know that.
Miss Rice: It is much slower than
that. .And it magnified the root hairs
very nicely and you could see the
protoplasm. What do you think about
the value of pictures ? Do you like to
have pictures in school?
Student: Yes.
Bl^iss Rice: Why?
Student: Because thev teach vou a
lot.
Miss Rice: All right, thank you.
Mollie.
Mollie: They show so many things
you want to see and you haven't seen.
Miss Rice: We would not be likely
to see these things happen, would we?
It is a good point. Margie.
Margie: And it is lots more fun
than reading a lot of books. I mean
when you can see how they develop
instead of reading about it.
Miss Rice: Would you say that you
wound want to give up books entirely?
Students: No.
Miss Rice: No, you would not want
to, but this is a nice variation. Scott.
Scott: Miss Rice, I like books some-
times because you can go back over
them and check up and see if you
are right.
Miss Rice: That is a good point.
Yes, you can always go back and see in
black and white whether you are cor-
rect about something. Betty.
Betty: Sometimes the books were
written so long ago that they hadn't
discovered some things yet, and so it
is always nice to have other things
that can show you what they have dis-
covered and then you know if the
books are right or wrong.
Miss Rice: Yes, changes take place
constantly. Juliana.
Juliana: Sometimes the books use
big words and you cannot understand
what they mean.
Miss Rice: Did you all understand
"protoplasm" this morning? Did you
get that pretty well from the picture?
Students: Yes.
Carroll: Well, sometimes you read
something in a book and you do not
understand it and when you see it in
the movies you understand it.
Miss Rice: It makes it just a little
clear, doesn't it. Scott.
Scott: When you do not understand
it, you can ask your teacher and show
her the book.
Miss Rice: You mean that if you
are using a book and you do not under-
stand it you can ask the teacher?
Scott: Yes, you can ask the teacher.
Miss Rice: Well, of course, there
might be things in pictures that we
would not understand, but there are
certainly many things that are clearer
because of pictures. Well, I think if
you haven't arty more comments, we
will call our work over with, Mr.
Mcintosh.
Chairman Waggoner: .As I told you
before, this will be discussed and
evaluated by Mr. Blough, and I want
you people to participate in this dis-
cussion, if he asks you to, the same as
these very willing youngsters did. I am
glad to present, Mr. Blough.
Mr. Blough: Whenever we use one
method in a classroom in preference to
another, we supposedly do it because it
will accomplish certain aims which we
are otherwise unable to do. Then Miss
Rice asked the children about this
method and, in their own language, 1
should like to tell you what they said
in case you in the back of the room
did not hear. One said, "It teaches
you a lot," another, "You would not be
able to see these in any way except by
seeing them pictured here," another.
"It is a lot more fun to see it than
it is just to read about it." Another
very good point was made that some-
times you read books that have old
copyrights on them, but these films are
likely to be up to date, which I be-
lieve is a very scientific attitude for a
third-grade person to have. When
Miss Rice suggested that they would
not care to give up books entirely,
there were several reasons, and one
of the very important ones was that
you cannot take this picture home with
you but you can take a book home and
look it over at your leisure.
I believe these things were significant
in the presentation. It explained point?
that had not been quite clear to the
pupils For example, their idea of
root hairs probably until now had not
been quite clear and I think the film
helped to clarify some of those things.
I feel that the explanation and the pic-
ture and the various manipulations of
fibrous roots gave them a clearer idea.
I think it also helped to stimulate
further discussion and to clarify things.
For example, the osmosis experiment.
Are you now planning to do that?
Miss Rice: Well, I thought we
would try it, yes.
Mr. Blough: That is a little bit diffi-
cult, probably for the third grade, but
I think since they have seen it happen
here, they could set it up and get
whatever they can from it.
Miss Rice: Yes. In the Teacher's
Guide it suggested that you use a car-
rot, that you insert the tube in the car-
rot and then give the carrot water.
Mr. Blough: Which would be a very
much simpler way than the one they
showed in the picture. I think that
this film, used in the way that it is.
would stimulate some pupils to do fur-
ther studies by themselves. For
example, the boy who wanted to know
about the cartridge and just how that
worked can perhaps find out some
material for himself.
I think a film like this is also im-
portant because it presents things in
sequence so that children can get the
relationship. Sometimes when you set
up experiments and discuss them on
successive days, you are not quite so
likely, perhaps, to get a good sequence
in the child's mind. Here, presented
from the beginning in a logical order.
June, 1959
Page 20)
scicntitically thought out, the child can
get a better idea of sequence. And I
believe that a fihii like this, through
its mental imagery, could correct any
wrong ideas he has. So many times
when I am talking about root hairs in
third grades, or about the process of
how plants take in water, I would give
anything to know what actually is the
mental image of the discussion. Here
they can actually see growth taking
place. (I was very glad to hear Miss
Rice sev,.>ral times make the point that
roots actually were speeded up there
and that they really do not grow as
fast as this.)
Again, they could see what the root
cap does, they could see the ri>ots push
along into the ground. It is one thing
to tell them, or to let them read a
story that tells where growth takes
place, but you could see the growing
region here. A summary and film used
as it was given here is a very enjoy-
able thing for children, whereas a
summary which more or less presents
the material in the same way again
might not function nearly as well.
Such a summary also helps children to
bring out the important points from
materials which they have studied, to
discuss them as we have seen here, and
also to connect material previously
studied to the new material in better
integration.
Now, I had that to say and one
other thing before we finish. I think
that Miss Rice would agree that we all
need a little advice about how to use
films. So many times when you see
a performance like this, you think,
"Well, I will go home and start that
out." I think there are several pit-
falls that we might point out before the
discussion is over, some things that
might not work as easily as they appear
to work here, but before doing that,
are there questions you would like to
ask Miss Rice about her procedure?
Member: Miss Rice, how much time
is devoted to this particular film? Do
you tie up the next day?
Miss Rice: Well, we won't tie up
any more than we did today excepting
perhaps a little art work. I shall cer-
tainly let them draw anything they
want to draw as a result of seeing this
picture. I previewed this picture. I
do not usually do that. I do not have
time, but the guides that go with the
pictures are very good and it is really
an easy matter to read it yourself and
then discuss it with the children. I
think they should be prepared for what
they are going to see. There were new
things today. For instance, the root
cap. We had not mentioned that and
that was a little confusing to them,
you see, and I hope that with other pic-
tures that we will perhaps be able to
get through our library it will be
clearer to some of them.
Member: Is it particularly valuable
to show a picture twice?
Miss 8ice: Yes, it is sometimes. Of
course, with our set-up our boys from
the junior high school come over and
operate the pictures for us and I do
not like to take too much of their
time.
Member: I mean does it always turn
out to bo worthy of the extra effort?
Miss Rice: Yes, I think it is. They
say, "I really didn't know that." For
example, I didn't really know that sec-
ondary nwts had been mentioned in
this picture. I didn't hear those
words.
Member: Have you ever tried run-
ning the film first with sound and then
running it without sound the second
time, letting the youngsters see what
the eyes missed? Letting them ask
"What does that mean?" and answering
it on the spot ?
Miss Rice: We have not tried that,
but 1 think it would be very good.
Monday 1 had "Plant Growth.'' That
film is a silent film. They talked cons-
tantly. I was sorry Mr. Mcintosh
wasn't there because it was all very
spontaneous and fun.
Question: Do you feel the need of
stills taken from the film afterwards ?
Miss Rice: I think that would be a
very fine thing.
Question: And do you not get the
feeling that the teacher and the child
are both talking about the same point
through the film or through anything
visual on a screen which you cannot
do with a book?
Miss Rice: Yes, definitely. No, you
cannot.
Question: Would you want to build
up as much preparation in presenting
this film at the beginning of the unit,
before the youngsters have done any
reading or any research on the prob-
lem, for the purpoiie of setting up
through cooperative effort the goal of
the unit? Would you prepare them?
Miss Rice: Well, 1 don't know. I
am just going into it rather blindly.
I haven't had any training. I should
think it would be a good thing. I
guess I have never shown a film that
we haven't had some study first. I
think when I am through with this I
should like to try that.
Member: It seems to me that it is
a very important phase of visual edu-
cation, for a preview of the unit and
for the purpose of setting up goals that
they are going to look for.
Miss Rice: Oh, yes, I think that
you can start out very nicely that way.
Mr. Blough: Would not a film like
this be very good shown first perhaps
and then shown after the study?
Member: That is what I had in mind.
Member: Do you find that films of
this sort encourage outside activities,
you might say hobby activities, on the
part of your youngsters ?
Miss Rice: Yes, I do.
Member: Under normal circum-
stances would you have more ex-
pressional activities? I would say that
probably the talk was a little longer
than ordinary and I wonder whether
you would have broken it up under
normal circumstances where you would
have a blackboard, for example?
Miss Rice: Oh, yes, definitely. Oh,
yes, they go to the board and write and
I write, too, during the conversation.
Then, of course, too, it depends on
how lo:ig after you have seen a pic-
ture before you have another scheduled
period. You do not always have your
full discussion imjnediately after a
picture.
Member: There you have to let the
youngsters have free play?
Miss Rice: Yes, I do not usually
ask as many questions as I did today.
I let them talk a little more.
Question: These are all along the
same line but I was wondering when
the children were talking how much
meaningful vocabulary had been built
up before the picture and how much
they got out of the picture.
Miss Rice: I brought the ingredi-
ents to school.
Question: Now, that is what I was
trying to get at on "osmosis".
Miss Rice: Yes, I had explained
that.
Member: In other words, here is the
point. 1 believe that if you build up a
meaningful vocabulary before they see
the picture, they appreciate the picture
because they can understand the pic-
ture and the meaning of the words.
Miss Rice: I would never show a
picture otherwise with as many differ-
ent words as this has in it — osmosis
and protoplasm.
Member: .And you build that vocab-
ulary not by telling them about it but
showing them: It was a senseful
vocabulary, not a memory one?
Miss Rice: No, I think they under-
stand fully.
Mr. Blough: About protoplasm, I
think you never need to apologize for
third grade children not knowing
protoplasm and osmosis, because I
think if we got right down to brass
tacks and asked people in this room
just what is protoplasm, we would have
a lot of people troubled.
Member: Do you find that the
children who have trouble in reading
are helped? I think this gives them
all an equal foundation.
Mr. Blough: I believe that this would
even be a help to children who have
difficulty in reading, in visualizing what
they do read, a reading readiness, we
might say, for as high up as the third
and fourth grade.
Question: Where we have films like
that, that arc adapted to a wide range
or shall we say to a wide age level
range, is the teacher justified in pro-
viding her own continuity, for example,
on the third grade level cut out the
sound track and do her own explaining
of the film?
Miss Rice: When it is as clear and
understandable as this, I do not see any
reason for it myself.
Question : I was thinking that many
of the vocabulary difficulties might be
simplified
Miss Rice: Yes, on the other hand
you cannot call "osmosis" anything else
and so they might just as well be pre-
pared for it and then hear it from
someone else.
Mr. Blough: It is my opinion that
many times we encounter a vocabulary
at the third grade level which, we only
really begin to teach, and when they
Page 206
The Educational Screen
are encountered again later in another
connection, in a further study of
plants, we will say at the sixth grade
level, we have begun the concept in
the third grade and it is added to in
the sixth and perhaps again in biology
and in high school. Do you think
that is true?
Miss Rice: Yes, I do. Of course, we
keep a vocabulary list when we make a
study like this, but I do not attempt
to have them learn the words to spell
them. I think copying them is suf-
ficient. But they do keep their list, and
I know that some of my children who
are on the lower level in reading can
read those words very nicely and they
recognize them when they come back
to them.
Mr. Blough: I think learning to
spell the words would even be a dis-
tinct detriment to these children.
Miss Rice: Yes, I think so to. I
do not think it is at all necessary.
Question: Miss Rice, do these chil-
dren know what elapsed-time photog-
raphy means ?
Miss Rice: No, I have never used
that term with them, but "Visualizing
the Curriculum," by Hoban, Hoban and
Zisman, explains these types of photo-
graphy very nicely.
Member: You are not going to have
these children make pictures like these,
are you ?
Miss Rice: No, I want them to draw
to see what their reaction will be. I
would have had them do that today
right here, but some of them need to
get back.
Question: Have you a microscope in
that class?
Miss Rice: Yes, I have one that
I bought and they are very fond of it.
This is part of their leisure time work.
They sometimes make slides. That is
just something more that they can do.
The study of the Amaryllis was really
very interesting. It is a beautiful plant
to begin with and we are now watch-
ing the seed cases form.
Question: Would you use in con-
nection with this your other film ?
Miss Rice: Oh, yes, From Flower to
Fruit. Then we saw the parts of the
plant and we saw pollination. If you
will look at those pictures on display
back there. I think you will see pic-
tures that are an outgrowth of these
pictures that they have seen.
Mr. Blough: I do not know if there
is need to summarize this or not.
There are several things that could be
brought together in this discussion. In
the first place, whenever we show a
film to children we ought to be very
sure that they have the purpose of the
film in mind so that they know what
to look for; otherwise, the thought
processes might be either confused or
totally absent.
I think that there is a grave possi-
bility of showing too much film at one
time, too long a film for the third
grade at one time. I think a short
film, other things being equal, might
be better than one that stretches their
minds over too long an amount of
science content.
Question: At this point, right in that
connection, might I ask this question,
frankly, to dispel a little of my own
ignorance: Is this an unusual situa-
tion? Is this class going into this de-
tailed minute study of the life of plants
a usual procedure in the third grade in
Evanston? Is that a part of the cur-
riculum outline, or is this the out-
growth this year, this semester, this
time of a blossoming of an Amaryllis
plant in Miss Rice's room?
Mr. Mcintosh: I think I can answer
that in part, and that is, in the first
six grades they have not set curriculum
at all. This happens to be the usual
procedure for this third grade. It may
be entirely diflferent in another third
grade.
Question: I see, well, isn't it fine
that you have that flexibility of the
curriculum, because I wondered if you
gave your third graders this detailed
study of plant life, which I must tell
you has more detail than my tenth
graders are getting in biology right
now. I used the same film a week ago
and we did not go into it to anywhere
near the detailed extent that we saw
done so beautifully today, and if it is
repeated again in the sixth grade there
will be no need for high school biology.
Mr. Mcintosh: I would not be will-
ing to go all the way with you on
that.
Question: I just want to check my
thinking in that regard. It seems to me
that these science concepts which we
teach throughout the elementary and
secondary schools is a matter of pro-
gressive understanding, that at our
lower levels there are certain levels of
understanding or meaning that we can
inject into those science principles and
as we go through the grades we begin
to add deeper and more meaningful
concepts to the science children, so that
I do not think your biology is in
danger at all.
Question: I am not worried about
my job, but it occurred to me that cer-
tainly the root hair concept, the osmos-
is concept, the classification of roots,
the purposes of roots, and so on, are
fundamentals which are, after all, the
heart of the whole subject.
Question: In the high school we ex-
pect them to understand why.
Question: Why what?
Question: What the theories are
underlying the principle of osmosis.
Mr. Blough: I think it is a very im-
portant thing in this connection to
look at this class as a whole and not
think that because one person has made
the corect response to what "osmosis"
is that we have taught osmosis to this
whole group. Their idea at the present
I believe is that "osmosis" means that
roots suck up moisture. Now, you are
not content with that in the sixth grade,
are you?
Question: No.
Mr. Blough: So I think they have
the beginning experience here. I think
when you get up into your field you go
a great step farther, and just because a
child mentions "protoplasm" and two or
three people say the word and have
an idea, I think we should be very
careful. Not being derogatory or tear-
ing down this lesson, but so many
times you and I judge our own lessons
by the reaction which we get from two
or three of the smart kids who maybe
knew it before. I think that we ought
to be very sure that we make allowance
for that.
Question: I should like to ask one
question as to the feasibility of this
type of film for third graders. As I
sat here this morning and looked at
that film I did not feel that it was at
all suitable for the type of idea that
you want that child to get into his
mind. I believe that the film at the
start should have told that a root is
an anchor for a plant and that if those
children tried to pull dandelions from
their own lawns they would understand,
and secondly, that that root in there as
an anchor is also an absorbing organ
that takes the plant water and minerals
from the ground up through the stem
to the leaves, and stop there.
Mr. Blough: That is what I won-
dered, if you let third grade people get
a wide spread and try to do too much.
I think that is what the sister had in
in mind when she asked how long you
would spend on this film. Now, of
course, we do not know what Miss
Rice has planned to do with this at
the end. If Miss Rice had done only
that much there would have been many
people here who would have said, "I
saw such a little bit of that, I couldn't
get the idea." I think that is always
the difficulty in a demonstration lesson.
Question: That is why I suggested
that the teacher provide her own con-
tinuity at the lower level where we
are using materials over a wide range.
Mr. Blough: Yes, and I think it is
possible that seeing this film more
than one time would be advantageous.
Mr. Mcintosh: May I say on this
point that Miss Rice feels that she
does not like to have a film shown
twice to these third-graders because
that makes a period of some twenty-
four minutes of seeing films. Of course,
in the upper grades we do show the
film twice in the same class period.
Question: Have you ever tried using
films with sound and then quiet?
Mr. Mcintosh: Some of the teachers
in the district have and, in fact, some
of them preview them and write their
own continuity. Someone suggested that
procedure, which we use. It all depends
upon the teacher who uses the film.
Mr. Blough: I think that a teacher
who knows the third grade surely could
do a very good job of that and leave
out a great deal of the vocabulary and
concept development which she might
only want to touch on in her group.
Question: Do you have any better
teachers than Miss Rice in the third
grade ?
Mr. Mcintosh: Thank you.
Question: In the showing of the film
the second time on another occasion,
do you have your own library that you
can draw on? We have to rent for the
elementary schools as well as for the
high schools. That makes it very dif-
June, 1939
Page 207
ficult to use it again another day than
the day for which it is scheduled.
Mr. Intosh: We rent most of our
films. Ot course, there are over 125
teachers who send in orders for films
and quite often orders overlap. We have
been sometimes justified in bringing them
back a second time on that basis. In
the seventh and eighth grade, for in-
stance, this film would have been used
at this time..
Question: Have you tried the mak-
ing of any films in your grades at this
level ?
Mr. Mcintosh: VV'e have not gone
beyond films directed at publicity, that
is, films regarding the activities of
schools for P.T.A. use. But we make
a good many stills, on field trips, etc.
Students have those very cheap 35mm.
cameras and they take pictures with
them and develop them in the dark
room. Not on this level, but in the
seventh and eighth grades. Parents
often come along with their motion
picture cameras and take shots not of
subject matter value but of trip value
which indirectly may help, but often
they do take stills of the thing they ac-
tually see, such as the water works,
etc., formal flower gardens, or some-
thing of that sort, and sometimes leaves
and animals. They go in pretty strong
for animals, of course. But there is
no direct, formal effort toward that sort
of thing as subject matter value.
Mr. Blough: Then I should like to
say in summarizing that 1 think it is
very important to be sure that the film
is at the proper grade level, which I
believe is pretty difficult. I would think
twice before spending too much time
with films that are too advanced, in the
first place because they confuse. I
think we sometimes fall short when we
try to have a child see a film too dif-
ficult for him and to try to remember
part of it and to connect it up with the
simple experiments he is doing. I think
that we ought to see the film before
we use it. I am almost sure that you
should never show a film without see-
ing it. In the first place, there are
films and films about roots and you
could get a film about roots, no matter
what the title was, that might stress
things that would be entirely in con-
trast to what you are trying to do.
Question: Will you carry that out
to its logical conclusion? I have in
mind film orders for next year. We
have ordered them clear through next
June, 1940. Would that mean that be-
fore I could logically make my selec-
tion of a film on roots for my own
class I should view several films on
roots and then make my selection and
write my order?
Mr. Blough: I would say this. For
this level, if I wanted to use a film for
teaching, not for pleasure and not to
give a rough idea, I would never show
it to a third grade without having seen
it first myself because it might make
me decide to write my own continuity.
Now, for your situation in the tenth
grade, I believe that is another matter.
Qneation: I handle the visual edu-
cation for my school and I have en-
couraged teachers to come in for pre-
views of their films, social science
teachers, for instance. Those things
are definite, a factual subject matter
and they ought to see them in advance.
Well, the actual physical limitations
of time just prevent them and we just
simply, if you must know it, never use
previews.
Mr. Blough: I would still contend
that is what I would do. I believe also
that, especially for an elementary
school, when I am using a film to
teach I would not have the slightest
idea what to do otherwise. How could
I possibly plan a discussion of this in
any kind of a logical way without hav-
ing seen it first. I know that is dif-
ficult, but I am putting it as a caution
to the rest of you when you use them.
I agree absolutely that it is very dif-
ficult.
Mr. Mcintosh: Your point is well
taken, I want to agree with Miss Rice
that a good many of the films she uses
she does not preview because of her
particular limitation of time. Other
teachers do preview them. However, if
she does not use an Eastman film or
an Erpi film she does preview most of
them.
Then there is another thing that we
do. All of our films are previewed, if
not by the teachers, by this club of boys
who often write the sequence to send
along in advance in addition to any
guides that come. I remember that we
had a film called, "Beautiful Holland,"
which, incidentally, was a beautiful pic-
ture. We got it from some shipping
line, I believe, and the boys just recent-
ly, last week, wrote up a sequence of
scenes for it and sent it a half-day in
advance because that was the only
arrangement that could be made.
Question: May I ask this question
right on that point? That particular
film came from our library and it is
that type of film that I am asking this
question about. Would the teachers
find it valuable in this particular prob-
lem that is being discussed now if the
supplier of the film gave — I do not
mean one of these sales talks manuals
that teachers would not have time to
read — she could look at the film before
she could read it — I mean taking an in-
dividual film and breaking it down and
saying it has the following sequence,
not dramatic sequence, not photo-
graphic sequence, but, for instance, it
shows the original desigm of the root
and it shows the root hairs, etc.? There
would probably be only a few places
where this particular film could be
used, but I am thinking of a chart that
has the sequences down one side and
has types or classes of course across
the other way. A gentleman said that
he has ordered his films for June. 1940.
Immediately, not next June but im-
mediately, he gets a study of all of
these films and he gets a chart and he
says, "These can be used in history and
geography or human relations, and this
can be used in physiology and botany,"
etc. and showing these various se-
quences, not for us or for one individ-
ual to say, "You ought to use it here."
Say, for instance, under botany you
would have a particular thing that it
might contribute. Whether you like it
or not, it tells you what the film says
and where it would be of value. Would
that be useful and, if so, would the
teachers use it in cases where they do
not have time to preview the film?
Question: I feel that particularly
those of us who are acting as the di-
rectors in the local schools would like
to have some data like that, supplied
by the makers of the films or the rental
bureaus, whatever they are, which will
enable us to have at least a crude evalu-
ation of the film.
Mr. Blough: To how many people
in here would that sort of chart be
very useful or welcome? If you were
selecting films to how many people
would that be a distinct help? Are
there people who feel that it isn't of
sufficient value to need it and that it
would not give you enough value for
the time it would take to prepare that
kind of thing?
Question: Would that be given in
your manual when you send out that
list of rental films or would it come
with the film, because, after all, it
would be for people who are looking
ahead and planning and I know that I
would not want to pay the freight. I
know that I used to pay freight on
things that I would not waste time
showing, so I think that ought to be
briefly stated before.
Question: It could not possibly be
included in the catalogs unless the
catalogs were charged for. Take our
library. For instance, we have 1200
films. If we sent out 1200 charts that
would be a book of 1200 pages. But
those lists would be sent to you on re-
quest. It would be a good thing to do
and if the teachers want it.
Question: I should like to ask one
more question. I am quite sure that
the film here is for the seventh grade.
Question: I was just looking it up
on Erpi's rating. It is from the fourth
to twelfth. I think we saw that these
youngsters, being of a superior mental
caliber, certainly took on this film. I
do not know that my tenth graders
would pick up the idea of "osmosis"
any better than these little nine-year
olds did.
Mr. Mcintosh: I do not know how
superior they are. They were just
taken from the class.
Question: They have had a back-
ground that many children from the
ordinary schools do not have.
Chairnuin Waggoner: I wish that
we could continue this discussion, but
I want to take this opportunity to
thank Mr. Mcintosh and Mr. Blough
and certainly Miss Rice and the stu-
dents for coming here. I want to
thank Bell & Howell for doing the pro-
jection.
I should like to know, is it the
opinion of you people who are here
that this sort of demonstration, or this
sort of clinic, as we chose to call it, is
very much worth while, very much
better for us teachers than it is to hear
Page 208
somebody talk for an hour and a half?
(Approval) I think you will authorize
me to carry that to the group as a
whole. I believe that you people who
are here will do that. I hope we will
have another such clinic in another
year.
High School Clinic
(9:30 A. M., Saturday)
Physics demonstration with the
film, Molecular Theory of Matter,
arranged by Carl Benz, Hammond
High School, Hammond, Indiana,
and discussion led by P. S. Godwin.
Township High School, Thornton,
Illinois.
(Partial transcript will appear
in Reprint)
College Clinic
(9:30 A. M., Saturday)
Presentation of some very re-
markable microscopic films in
Biology, discussion led by Ralph
Buchsbaum, University of Chi-
cago. Showing of very fine color
film, made and discussed by R.
H. Uhseld, Bell and Howell Com-
pany. Discussion of Harvard
Remedial Readings For College
level.
(Brief abstract will appear
in the Reprint)
FINAL GENERAL SESSION
(11:00 A. M., Saturday)
Chairman, John A. Bartky, Presi-
dent, Chicago Teachers College
General Topic, Producing Visual
Materials in the Local School.
Demonstration and discussion of
varied school activities in this line
including Marionette Movies, by
Arnold Heflin, Lane Technical
High School, Chicago ; Slides and
FilmslideSr by J. Kay White. Pjin-
cipal, Pershing School, Berwyn.
Illinois. Lyle F. Stewart, Oak
Park High School, and G. F.
Hairiilton, Keystone View Com-
pany, Meadville, Pennsylvania ;
and Microslides, by I. P. Daniel,
Lake View High School, Chicago.
The session closed with brief re-
ports from Classroom Clinics, gen-
eral discussion of what the Forum
had accomplished, and brief Busi-
ness Session.
(Full abstract will appear
in the Reprint)
Motion Pictures —
Not for Theaters
(.Continued from page 194)
devotion to "commercial" and industrial
films. It was called the Advance Mo-
tion Picture Company ; and it seems to
have begun in 1912. George L. Cox, a
former writer and director for the Selig
and American Companies, had been en-
gaged as "master of production." In
the summer of 1913 he had become
general manager. Functioning in that
place he tried valiantly for a year or
so to emulate Rothacker's talent for
keeping his activities in the public eye,
but with little success ; and the Advance
Company faded then into the background.
The Atlas Educational Film Company,
which claims a beginning in 1913 will
be discussed later in another connection.
There doubtless were many other early
film enterprises which it would be point-
less to recall, although, as a matter of
proving the observation that companies
were frequently organized in the non-
theatrical field merely as a way of en-
tering theatrical production, an example
or two of that type may be cited. Here,
for instance, in January, 1913, at an
obviously unpromising New York ad-
dress, is begun the Commercial Motion
Picture Company which quickly essays
to make theatrical offerings, and which,
almost precisely one year later, is an-
nounced as having been absorbed by the
Life Photo Corporation. Or witness
the declaration of Rath & Seavolt, com-
mercial film makers of St. Paul, in
September, 1914, that they "will en-
large their business and enter the regular
production field." And that this method
remained a popular one was attested in
June, 1916. when the tantologically named
Niaeara Films Motion Picture Company,
at Niagara Falls, N. Y., declared its
establishment "to produce religious, ed-
ucational, historical, travel subjects and
liic/li class comedies." The italics are mine.
But it was not necessarily lack of
principle or vision which kept the non-
theatrical producers close to the theatre.
Rothacker, himself, as I have pointed
out, maintained a prosperous theatrical
laboratory. There simply was not, in the
non-theatrical field, a profit commensu-
rate with the amount of labor then
required to serve it. That fact is still
generally true. If one looks attentively
enough at almost any apparently pros-
perous non-theatrical production venture,
he will soon see that its real strength
is derived from some closely allied, more
substantial line of business.
Non-Theatrical Departments
In many respects, therefore, the pro-
ducers who dabbled in non-theatrical pro-
duction, were in sounder position and
more reasonably fitted to pioneer. The
Edison Company, largely because of the
great inventor's personal interest, never
ceased to favor educational efforts while
that motion picture enterprise lasted.
As late as 1915, it will be remembered,
Edison's films on chemistry, physics,
natural science and history were being
released and, in June of that same year,
Eugene Nowrfand and Seldon Warner
The Educational Screen
of the Edison Company were giving
lectures on the past, present and future of
educational pictures.
Industrial production was less altruis-
tic and probably at that time more ad-
visable. Virtually all members of the
Patents group, along with Edison, dipped
into propaganda and advertising pro-
duction at every opportunity — although
none of these went at the development
as systematically as did the great In-
dependent, Carl Laemmle, of Universal.
When Laemmle sold his interest in
Rothacker's company in 1913, he did not
long remain out of industrial produc-
tion. Only a couple of years elapsed
before he instituted a department for that
kind of service at his New York head-
quarters in the Mecca Building. This
move was no doubt partly at the urgence
of one Harry Levey. Levey's name will
be recalled by many New Yorkers, not
for his film achievements, but for his
widespread advertising that he would
clean gloves for five cents per pair.
His proudest boast then was that he had
plastered Dr. Parkhurst's abandoned
old Fifth Avenue Church from top to
bottom with one-sheets stating that
Levey the Cleaner would renovate gloves
at the given price. But that was an old
business. Levey had looked with shrewd
appraisal at this rapidly growing new
film industry, and had decided that his
fortune lay in the une.xploited line of
commercial production. Laemmle ap-
proved his enthusiasm and took him on.
Of course, Levey was determined to
make a go of it. By canvassing the
indrstries he obtained orders for ad-
vertising pictures, selling at prices as
high as the traffic would bear, and oblig-
ing the scenario writers, directors and
cameraman who made the reels for him,
to work within inversely small budgets
What came between you see, was profit.
His stafT included Carlyle Ellis, first
borrowed from the "Universal Weekly"
as a scenario writer and soon impressed
as a director, and William Ganz, a
cameraman. Ganz, in later years, set
himself up as a commercial producer
in New York, and made good. .\nd Ellis,
from this strange debut, was to gain
a none-theatrical eminence of his own.
Another cameraman who cranked there
for I^e\ey in these days before the War,
but was destined for higher achievement,
was .'Mbuin Mariner. By way of demon-
strating the mad fortunes of this strange
business. Mariner, just a few years
earlier, had "cranked" as house cinema-
tographer to the King of England.
Divers devices carried Levey through
the fantastic nightmare of the World
War ; and May 8, 1921 he sprang into
the spotlight as subject of an interview
in the editorial sect'on of the New York
Times. In a statement bulwarked with
handsome figures of how many users of
non-theatrical films there were in
.America, he announced the incorpora-
tion of National Non-Theatrical Pic-
tures, himself as president and with
forty-two exchanges over the country
which would supply films, projectors,
screens and operators to those who
wished to have their own private film
shows.
(To be continued)
June, 1939
Page 209
UIVERSITORIALS
The National Film Evaluation Project
THIS ))r()ji'Ct iirigiiiatfd in wishful thinking at maga-
zine hi-adquarters, and was announced w'ith wist-
ful hoping in our issue of last January. It differed
fundaniintally from other jirojects, already under way
or comemi)laled. in that it ( 1 ) gathers nation-wide in-
dividual judgments of teachers actually using the film
in class teaching, not the judgments of committees or
selected individuals viewing the film a|iart from the
class situation; and that it (2) will produce results in-
creasingly reliahle and authoritative I)ecause these are
liased on nuiltiple professional opinions rather than on
the fixed and final dictum of a single judge or com-
mittee. The consensus opinion afforded b\' this project
will not remain fixed, for additional cards will con-
stantly affect the averages. Logically, as new film
production improves, the evaluation on a given film
I)reviously produced may be expected to become lower
gradually, for later score cards w-ill tend to show a
lower estimate on an old film in comijari.son with the
newer and often l)etter productions. The judgment of
the Committee is likely to become more severe and
discriminating with the general improvement in educa-
tional film production as time goes on.
The project has received a national approval nothing
short of enthusiastic, but approval was not enough.
Success depende<l wholly on active cooperation from
teachers and the start was made at the wrong time of
year to gel it. Nevertheless, cooperation has fully
kept \ysice with approval, even to the bitter busy end
of the school year with welcome summer in the offing,
when vacation anticipations compete seriously with
labors of love. We could have hoped for nothing more,
and our sincerest thanks go out to the more than 500
teachers, principals. su|)erintendents. directors and su-
pervisors in the visual field whose splendid cooperation
has made pos.sible this auspicious start.
l-'igures and statistics on the work change with every
mail for the cards still come in. At this writing, how-
ever, some 420 teachers in 160 schools in 36 states have
put thousands of signed Score Cards into our cunui-
lative file which is planned for an ultimate 150.000
cards. DiflFerent films evaluated to date number 9,^8.
There is a guide card for each. Behind the guides
already stand from 1 to 24 cards on each film. In the
fall we shall begin consultations on the problem of
weighting the ([uestions and averaging the cards so as
to produce the most accurate and u.sable percentile score
for each film.
With so much encouraging evidence in liand on the
project, our Septemlx-r plans are growing. With the
new .school-year, every teacher already identified with
the work will hear from us direct. The present evaluat-
ing committee bids fair to remain practically intact and
we shall aim at a 200^^ increase. This should mean
a still greater increase in the influx of cards from the
sheer momentum of a successful project.
AlVORD to our present 420 judges. Although cards
are still coming in. the scoring .season may be
considered about clo.sed. There remain some hundreds
of 10-card booklets still outstanding and only partially
used. Please try not to lose them in the summer shuffle.
The cards remaining will Ik- just as usable in the fall
as now . Our letter to you in September will name your
booklet's serial number and the numljer of cards therein
that have not yet found their way home. We hope to
learn that you have it, and that cards from it will
resiune their travels.
The Score Card, as it now stands after a second re-
printing, embodies slight modifications suggested from
various sources after some three months of actual use.
It is doubtless susceptible of further improvement. We
earnestly invite the whole field to recommend changes,
additions or subtractions. We hope for change in the
direction of greater simplification if it can be accom-
plished without vitiating eflfectiveness of results. It
should be Ixirn in mind that the standard index-card
size is compulsory from filing considerations. Therefore
in proposing additions some corresponding omission
should be indicated.
One specific change in the card is contemplated for
next fall, on which we shall appreciate a reaction from
our present judges. We may omit the Business Reply
form now printed on the back of the card, supply
instead a Ku.siness Reply cnveIof)e for return of 10
cards in one mailing, and thus leave the back of each
card blank for additional remarks when needed. This
plan will mean considerable saving in postage cost for
the project, but we would like assurance from our
judges on the following points: (1 ) Will the mailing of
10 cards at once, instead of individually, be an accept-
able procedure? (2) Will you be inclined to make use
of the back of the card occasionally for comments
(which are most valuable in the final records)?
The Midwestern Forum on Visual Teaching Aids
'T'HE experimental first session of the Midwestern
■• Forum is now historj'. and a pleasant bit of his-
tory it is for the visual field. We doubt if there has
been jiresented. in the same length of time, more varied
food for thought and stimulus to action. That crowded
day-and-a-half was a rich congeries of theory and
practice, vision and experience, description and demon-
stration, methods and materials, production and distri-
bution, the pro and con of many actual and hypothetical
((uestions. together with certain flaws and foibles equally
illuminating with the rest of the matter, both for those
who attended and for those who will read. A study
of the class demonstrations, for example, will yield
interesting evidence both for and against the procedure
used. To .see faults is the e.s.sential first step toward
their elimination.
To extend the values of this meeting beyond the few
hundreds who were present, to the thousands who
could not attend, we are printing full Proceedings (see
page 195). We have undertaken this rather costly
venture because we believe the material valuable to the
field. It is not only profitable reading for every teacher
seriously interested in visual education but should jirove
an excellent addition to the text material used in any
and all courses in visual instruction.
Page 210
The Educational Screen
AMONG OURSELVES
Notes from and by the Department of Visual Instruction, N.E.A.
Conducted by the Editorial Committee
Etta Schneider, Chairman
Visual Instruction at the NEA
Convention in July
A UDIO-Visual instruction will receive a just
•^^ share of attention at the meetings in San Fran-
cisco, in keeping with the theme, "The Respon-
sibilities of Our Profession." Among other import-
ant problems to be taken up in the General Sessions
are Radio in Education, and Use of Visual Education
in Forming Attitudes of Children.
The Department of Visual Instruction has care-
fully arranged a program which will supplement
the other programs on the responsibilities of our
profession.
Monday, July 3, 2:00 P. M.
Everett Jr. High Gymnasium
"The Development of the Photoplay Appreciation
Movement" will be the theme of a joint meet-
ing to be held with the Department of Second-
ary Education, N.E.A.
Speakers: John Dugan, Princeton High School,
Princeton, N. J. ; Gardner Hart, Supervisor of
Visual Education, Oakland, Gal. ; Frieda
Lichtman, Julia Richman High School, New
York City; Corda Peck, CoUinwood High
School, Cleveland, Ohio.
Presiding : Rita Hochheimer, President of the D.V.I.
Discussion Leader: William Lewin, Chairman,
Committee on Motion Pictures, Department of
Secondary Education.
Wednesday, July 5, 10:00 A. M.
Room 403, Civic Auditorium
"Pre-release Showing of U. S. Dept. of Agricul-
ture Films."
Prepared with the cooperation of the U. S. De-
partment of Agriculture and the American
Film Center, N.Y.C.
Wednesday, July 5, 12:30
Mural Room, Women's City Club, 465 Post St.
Luncheon meeting for the members of the D.V.I.
and their friends. Place to be announced.
About $1.25.
Wednesday, July 5, 2 :00 P. M.
Business Meeting — For members only.
1. Report of Committee on Cooperation with
Warner Bros.
2. Report of Committee on International Re-
lations with the aid of Films
3. Report of the Constitution Committee
4. Illustrated report of the Metropolitan Branch,
D.V.I. Showing of sound film slides.
5. Election of Officers.
Members of the D.V.I, are urgently requested to
return their ballots before June 15th in order that the
nomination slate may be as representative as possible.
Send in your nominati(jn for officers and additional
members of the Executive Committee.
Experimental Production Carried
Out by Metropolitan Branch
¥N April, 1938 the Carnegie Committee on Scien-
tific Aids to Learning, under the direction of
Dr. Irvin Stewart, voted a grant to the Metropolitan
Branch of the D.V.I, to produce talking film slides
for experimental use. The Executive Committee of
the Metropolitan Branch accepted the grant, and
working as a committee of the whole, laid out the
areas in which it seemed to them desirable to under-
take experimental production.
It was decided to produce films in the following
areas :
a) Safety — primary
b) Story-telling — primary
c) Nature study — Intermediate
d) Graphic charts — junior high school
e) Foreign languages — junior high school
f) Democratic living — senior high school
g) Vocational guidance — senior high school
Further consideration revealed that one of the
topics would have to be temporarily postponed. For
this reason the filmstrip on foreign languages was
omitted. For each of the other topics a sub-com-
mittee was appointed to be in charge of production.
In addition, a production committee which was
made up of representatives from commercial or-
ganizations as well as education, directed the pro-
duction of each film for technical quality.
Six sound filmslides are now available, and will
be presented to the members of the national or-
ganization at the July 5th meeting. Three of the
films (the first three listed above) are in color; the
others are in black and white. During the coming
school year, it is planned to try out these materials
in schools in order to determine their educational
value.
Address all inquiries to Dr. Irwin Stewart, Com-
mittee on Scientific Aids to Learning, 41 E. 42nd
St., New York City.
Are You Meeting the Responsibili-
ties of Your Profession? ? ?
'T'HE theme of the N.E.A. Convention, "The
■"■ Responsibilities of Our Profession," calls to mind
the kind of responsibilities which we in visual in-
struction are being called upon to meet. Closest
to the heart and mind of every teacher today is the
problem of making democracy stable and irrevoc-
able. The radio and the cinema are splendidly
facing the issues, and their representatives are look-
lune, 19}9
Page 211
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iny to us lor moral and ])liysical support which can
assure them that they are serving educational ends.
Xo doubt many social organizations are being
formed in each community to strengthen the cause
of democracy. There are many ways in which
motion pictures can be put to proper use for this
purpose, and toward this end there have been
established in New York City recently two groups,
which can do much to benefit our mutual cause:
1. The Film Division, of the Theatre Arts Com-
mittee, 132 West 43rd Street, N. Y. C.
This organization has undertaken to promote the
production of socially significant dramas, motion
pictures, and radio programs. It includes in its
membership some of the outstanding writers, di-
rectors, and actors whose support is invaluable in
the campaign for better films. Read TAC Magazine.
At a recent meeting in which the problem of
censorship was discussed. Miss Rita Hochheimer,
our President, presented the point of view of the
educator.
2. Film Audiences for Democracy, 342 Madison
.\venue, N. Y. C.
This organization has a three-fold purpose:
a) To build a nationwide mass organization of
movie-goers who, as consumers, will demand and
get progressive, pro-democratic motion picture en-
tertainment from the industry which they support.
b) To encourage patronage of films which de-
fend and strengthen American democracy against
intolerance and bigotry.
c) To expose and combat reactionary film prop-
aganda.
Beyond this, it is hoped to be able to distribute
information about 16mm. motion pictures to be
used as instructional aids in high school and adult
groups.
Professor Henry Pratt Fairchild, of New York
University, is chairman of this organization. Among
the group of educators in the Executive Commit-
tee are Miss Hochheimer and Etta Schneider. Read
Films for Democracy.
Two other organizations w^hich have been carry-
ing on important work are :
1. Peace Action, a peace group in Columbus of
D«-L!ie Model C <or large classrooms and assembly halls. In
this model, the screen surface Is either Da-Lite Glass-Beaded
or Da-Lite Mat White, is mounted on a heavy duty metal spring
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J7t^ "£^
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AS WELL AS STUDENTSI
Increasing use of visual aids during the past school
year has probably brought you many demands for
new screens and for replacement of old screens which
have become damaged or •worn.
OA-KlTF
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Page 212
The Educational Screen
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35 mm. General Science, 11 rolls, $20
FILM Principles of Physics, 7 rolls, $12
SLIDES Principles of Chemistry, 8 rolls, $14
Order on approval or send for free iolder and sample
VISUAL SCIENCES, Suffem, New York
Sound and Silent
IGrnm Films
for instruction and entertainment
in classroom or auditorium
FEATURES — SHORT SURJECTS
available from the
largest film library
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Also large selection of 8 mm films
Send for complete eatalogi
Ideal Pictures Corporation
28 E. Eighth Street Chicago, III.
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Larffeat. Most Successful Agency in the West
which our famous i;a.st president. Edgar Dale, is
a leading- member. That group started a round
robin to Charlie Chaplin for a peace movie, and a
recent appeal to Warner Brothers for non-theatri-
cal distribution of that great screen epic. Lije Oj
Emile Zola, both of which we are confident will
not go unanswered. Can it be that The Dictator
had some beginnings from this movement?
2. The Institute for Propaganda Analysis, New
York City, is distributing materials of instruction
for high school and adult groups on propaganda
tricks found in current films, newspapers, and radio.
Teachers are meeting the responsibilities of their
profession when they cooperate with groups out-
side of their own profession whose ends are in
harmony with their own. By such concerted efforts
can we hope to be heard in the complexity of our
modern civilization.
They, Too, Are Serving Our Cause
A hasty survey of recent magazine articles on
motion pictures or other aspects of visual instruc-
tion reveals a surprising number of our own mem-
bers represented, all expressing their views in
periodicals of a broad scope. This is a great aid to
the cause of visual instruction, for we resolved some
time ago that not alone among ourselves should
we promote the effective use of visual aids, but also
among other educators in all parts of the country.
Notice the wide variety of professional journals
represented by the following articles :
Dale, Edgar (Public Opinion Quarterly, April, 1939). "The
Public Relations of the Motion Picture Industry." Nov.
1938.
Dale, Edgar (Nation's Schools, November, 1938) "Movies
That Distribute Ideas."
Astell, Louis A. (Journal of Chemical Education, March,
1939) "Significant Aspects of Visual Aids in Chemical
Education."
Gregory, William M. (New Era, March, 1939) "Visual
Radio Lesson in Cleveland Schools."
McClusky, F. Dean (The Instructor) "Problems of Visual
Aids," monthly issues.
Roberts, Alvin B. (School Activities, January, 1939) "In-
troduction to Visual .Aids."
Reed, Paul C. (Educational Trends, February, 1939)
" 'Free' Educational Films."
Mendenhall, James E. (The American Teacher, Apn\, 1939)
"New Material? of Instruction."
Schneider, Etta (Church Property and Administration, Sept.-
Oct., 1939) "Education and Motion Pictures."
Ramseyer, Lloyd L. (Educational Administration and Super-
vision, February, 1939) "Teaching Social Awareness with
Motion Pictures."
Dale, Edgar and Ramseyer, Lloyd L. (American Educa-
tional Research Association Bulletin, 1939) "Visual and
Auditory Aids : Implications of Research for the Class-
room Teacher."
The above articles have all reached audiences
which are usually unlikely to give serious considera-
tion to this important aspect of the curriculum.
Equally important, of course, are the excellent arti-
cles which have recently appeared in the pages of
Educational Screen by members of the D.V.I, on
important professional problems. All of these ef-
forts can do much to make appropriations for ex-
penditures involving visual materials im]>ortant
parts of the budget. Keep it up !
June, 1939
Page 213
NEWS AND NOTES
p^eina pttcf nclaticns en Miinificant JLoutai anJL
outai anA, events tn lite visual rield,
Conducted by Joeephine Hoffman
Visual Meeting in Oklahonna
A conlVrciK'f on \ isual Mducation will take place
July 10-11 at the University of Oklahoma, Norman,
sponsored jointly by the University Extension Divis-
ion, the State \VPA Museums and the State Depart-
ment of Education. The convention will he o|)ened hy
Hoyd (junninj;. director of visual education for the Uni-
versity Extension Division. Mr. S. B. Zisman of Texas
A & M College will discuss "Utilizing Local and Re-
gional Re.sources for Visual Education." Other
.sjH*akers will include university faculty members, visual
education leaders from high sch(>ols and colleges, school
suj)erintcndents and State Museum workers. J.
Andrew Holley, director of curriculum of the state de-
partment of education, will lead a panel discussion on
jtrogrtss in the rural schools of Oklahoma in the field
of visual education. A panel tm using local museums
in teaching will be led by Powell Hoyd, State Museum
I )irector. One of the highlights of the program will be
an exhibition of Oklahoma .school-made films.
Central Jersey Visual Institute
More than XX) teachers and administrators are
reported to have attended the second annual Central
Jersey \"isual F.ducation Institute held May 11 in
Highlan<l I'ark. The latest methods of visual teach-
ing technique were demonstrated in twelve educa-
tional clinics which were held on different subjects
in the curriculum, from elementary to senior high
^chool level.
.Arthur M. Judd, supervising principal of North
Brunswick schools, was general chairman of the
Institute and conducted the series of general lec-
tures which preceded the clinics. A demonstration
on "The Technitpie of the Preparation, Presenta-
tion and Follow-up of Silent Motion Picture Films"
was given by Dr. Walter F. Robinson, president of
the New Jersey Visual Education -Association, the
sponsors. He was followed by Dr. Guy Bruce.
Head of Science Department. Teachers College of
Newark, who illustrated "The Use of Home-made
l-".t|uipment for Teaching Elementary Science."
Launch Radio Series on Federal Exhibits
The Office of Education, I3ei)artment of the Interior
in coo]ieration with the Columbia Broadcasting System,
is presenting a new weekly coast-to-coast radio series
interpreting and sujiplementing the F'ederal Exhibits at
the New ^'ork World's Fair. The program is on the
air every Sunday, 2 to 2 :30 p.m. EDST, over CBS and
affiliated stations. The new series, titled "Democracy
in .Action" succeeds the Office of Education program
".Americans All — Immigrants .All." recently named by
the Women's National Radio Committee, as the "most
original and informative program" of the year.
The purpose of the series, according to Commis-
sioner of Education John W. Studebaker, is to promote
wider understanding of demcx-ratic processes and
functions as revealed by the ways in which our -Ameri-
can government ojx'rates, and tf) extend the values of
the Federal Exhibits at the New N'ork World's F'air.
The weekly dramatizations will include descriptions
of more than one hundred Federal agencies at work.
The script exchange of the Office of Education will pre-
serve the scripts for future use in schools.
Motion Pictures and Art
-A section of Motion Pictures, conducted by Elias
Katz, is now a regular monthly feature of the maga-
zine Design. This section covers the making of mo-
tion pictures as a creative art activity, the appreciation
of the motion picture as an art form, and the use of
films for instructional purposes in art teaching. Art
teaching films are listed and reviewed, one outstand-
ing film of the month from the art point of view is re-
viewed, and the production of motion pictures from the
art aspect is described and explained. All art teachers
are invited to communicate with the editor of this sec-
tion, giving the benefit of their experience in the use
(Concluded on page 219)
NEW FEATURES
In 1 6mm. Sound
FORBIDDEN MUSIC
by Oscar Strauu, composer of "A Walti
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lunmy Durante and Richard Tauber.
SPY OF NAPOLEON
Historical drama with Richard Barthelmess.
e
The PRISONER of CORBAL
toclurinq Nils Asther. Noah Beery, Haxel
Terry.
e
WHEN KNIGHTS WERE BOLD
with Jack Buchanon and Fay Wroy.
SOUTHERN ROSES
The LILAC DOMINO
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Send for Free Catalog of ovar 1200
Entertainment and Educational Subjects
WALTER O.GUTLOHNiNc.
35 West 45th Street
Dept. E-i
New York. N. Y.
Page 214
The Educational Screen
THE FEDERAL FILM
A page edited by Arch A. Mercey
Assistant Director, United States Film Service,
Washington, D. C.
Government Filnns Exhibited at Two Fairs
Fair-going teachers will have an opportunity to see
a variety of Government motion pictures at the Golden
Gate International Exposition where a daily showing
of 35mm. films is scheduled in the Federal Building
on Treasure Island. In addition to the prize-winning
"The River" and "The Plow That Broke The Plains,"
the following films are being exhibited : "Washington —
The Nation's Capital," "Business Pulse of the Nation"
(Department of Commerce), "Couriers of the Nation"
(Post Office Department), "Social Security of the
Nation" (Social Security Administration), "Labor of
the Nation" (Department of Labor), "Help by the
Carload" (Government Printing Office), and "Shock
Troops of Disaster" (Works Progress Administra-
tion). The Services are represented by "United States
Navy" (Navy Department), "U. S. Marines" (U. S.
Marines), and "The Army Carries On" (War Depart-
ment). The Department of Agriculture is showing five
films — "U. S. Department of Agriculture — Its Aims
and Functions," "Clouds," "Tree of Life," "Muddy
Waters," and "Sugar Cane" ; the Tennessee Valley
Authority one, "Wasted Waters" ; and the Veterans'
Administration one, "Service to Those Who Served."
Programs of films to be shown in the Auditorium
of the Federal Building at the New York World's Fair
will include a selection of representative films from
Government agencies which are of interest to edu-
cators. In addition to these programs, "The River"
and "The Plow That Broke The Plains" will be shown
in the Science and Education Building, and all Works
Progress Administration films will be screened daily in
that agency's building.
These showings of Government films will be of in-
terest to teachers aware of their existence and alert
to additional suggestions for their visual instruction
work in the next school year, and will, no doubt, stimu-
late the curiosity of fair-goers unaware of their Govern-
ment's participation in the realm of motion pictures.
The individual films will not only denote the different
types of Government movies and the purposes for
which they are made, but will provide as well a sub-
stantive reply to the query, "Why does the Government
make movies?"
New Directory Lists Seventeen New Pictures
The June issue of the Directory of U. S. Government
films, now in preparation by the United States Film
Service, contains seventeen new pictures recently pro-
duced by various Government agencies. Among the
new films, which are of varied appeal and interest, are
the Department of Agriculture's "Re-Creation," a
3-reel film (sound and silent) showing how one family
escaped the distractions of city life through a vacation
in the National Forests, and "Picturesque Guatemala,"
a 2-reel film (sound and silent) showing the new
Inter-American highway connecting the United States
with Panama City and the methods and machinery
used in making roads. Glimpses of the life and occupa-
tions of a friendly people are also shown. Of interest
particularly in the Western area of the country, and
introduced recently by clips in the commercial news-
reels, is "The Mormon Cricket," which depicts the life
history, migration, and damage done by this pest of
western Agriculture.
The Department of Interior adds four new pictures
to the list, including "For the People," a 2-reel film
tour of the recreational spots afforded the people in the
Nation's Capital : the National Youth Administration
two ; the Works Progress Administration one ; and the
Bureau of Fisheries one. "Design and Construction
of Three Small Homes," recently revised by the Federal
Housing Administration, is of interest for its step-by-
step construction of small homes from foundation to
completion. This film is in the 16 mm. sound edition
only.
Baltimore Theatre to Show All Government Films
The Westway Theatre, 5300 Edmondson Avenue,
Baltimore, is currently running a unique advertisement
in connection with the regular announcement of its
forthcoming feature. The advertisement, which is at
once suggestive of what might be done in the way of
theatrical distribution of Government films, states : "To
better acquaint you with the beauty, progress, and de-
fences of your country, we have arranged to exhibit
through the courtesy of Government Dept., their entire
library of film in conjunction with our regular pro-
gram. Every man, woman, and child will find these
subjects of educational value as well as entertaining."
The manager of this theatre, J. I. Elliott, has availed
himself of the relay service of the United States Film
Service to secure the films of the various Departments,
and consonant with the popularity of the individual
films, it is planned to run some for a week's booking
and others for three-day showings. "The Story of the
Coast Guard" inaugurated the series, and "Submarines
and Service," "The River," "Good Neighbors," and
pictures depicting phases of South American life and
industry are scheduled for early showings.
NBC Televises Federal Films at Fair
Those attentive to the uses made of Government films
will be interested to know that the National Broad-
casting Company's Television Production Division is
regularly televising from one to three Government made
films per week on its experimental schedule at the
New York World's Fair. Non-Government shorts are
also used. One-reel films containing some action are
the type being requested for the program, which
presages the future trend of film re(|uirements for
television purposes.
June, 19}9
Page 21S
Teach visually the modern way
with Spencer Delineascopes
Teaching takes on new interest both to pupils and instruc-
tors when projection dramatizes the presentation of subjects.
And economy joins with efficiency, for one set of material
whether it be glass or film slides, actual specimens, or opaque
illustrations from books, magazines or prints — serves the
entire class.
Spencer builds quality equipment to meet practically every
class room or auditorium need, ranging from the Combina-
tion Model VA for lantern slides and opaque material, shown
above, to the various instruments illustrated to the right.
Write Dept. T12 for literature which describes Spencer
Delineascopes in detail.
Model GK Anditorinm Delincucope (7S«-waH)—
for 2"x2" Knd 8^''x4'' slides, either natural color
or black and white.
Model MK Dellneaacope
—for 2"x 2" slid**. This
100-watt instrument
projects slid(« with a
brilliance and clarity
heretofore possible only
with larser. more costly
equipment.
Model B Science Deiineascopc
— projects lantern slides, ma-
terial in Petrie dishes, and ex-
periments in bioloffy and physics.
Teacher faces class : screen la
in back of him.
Spencer Lens Company
MICROSCOPES
MICROTOMES
PHOTOMICROGRAPHIC
EQUIPMENT
REFRACTOMETERS
COLORIMETERS
SPECTROMETERS
PROJECTORS
Page 216
The Educational Screen
IN AND FOR THE CLASSROOM
Conducted by Wilber Emmerl
Director Visual Education, State Teachers College, Indiana, Pa.
Improvement of iDStruction Through Graphic Presentations
1" N considering the content of the course in visual
■*• instruction, the writer heartily endorses the stand
taken by the spokesman of the Department of
Visual Instruction of the National Education As-
sociation for May, 1939. and recorded in the Educa-
tional Screen for that month, namely : that a bal-
anced, well-rounded course, including all the various
visual-sensory aids should be the aim of each instruc-
tor in this area of the teacher teacher training program ;
and recommends further that all persons, beginners as
well as veterans, conducting summer courses in this
field, deliberately stress some of those phases which
have generally been neglected.
The area of Graphic Materials including as it does,
the illustration, the cartoon, the poster, the m-ap, the
chart, the graph (pictorial, bar. area diagram, and line
graph), and the diagram, constitutes a fruitful region
for a departure from the course heavily weighted with
motion picture materials. Since graphic materials are
so usefully integrated with other visual aids, a clear
understanding of the psychological implications, the
standards for construction, and the techniques for the
use of these abstract, symbolic representations should
appreciably enrich the methodology of the classroom
teacher.
The alert, progressive teacher has, perhaps, in some
thoughtful mood remarked, "I noticed that the motion
picture just used started off with a map, at another
point there was an animated diagram, then a summary
of the findings was presented in chart form." Or, "Why
is it that the cartoon motion picture is so popular at
the theater?" Again, "Why do the financial pages of
the newspaper, and the government bulletins present
their statistics in graph form?" "Specifically, what are
these symbolic representations, and why are they so
effective as communicative devices?" "Might not these
types of presentations and techniques be used in the
schools?" "How can I learn about tlieni and know
the standards they should meet?"
One answer to these questions is : that tlie teacher
preparation should include a course in visual aids and
sensory techniques ; and that such a course should have
a unit on graphic materials, with actual experience in
constructing and evaluating such devices. Another
solution lies in a study and mastery of the literature
in this area of learning. Of course a study of the
literature should constitute a part of the work in the
organized course, but the teacher-in-service can profit
immeasurably by self-directed study.
To assist both the teacher of visual instruction and
the teacher-in-service there is given here, (1) a brief
bibliography of ]:)ublications in which graphic presenta-
tions are delineated; and (2) some quotations to indi-
cate the nature of the materials in the references.
The books cited are those most likely to be on the
library reserve shelves for the course in visual instruc-
tion, together with a few which might be conveniently
"borrowed" from the education department. The list
is intentionally brief, but the books contain concepts
and techniques which are fundamentally sound.
REFERENCES
1. Dent. Ellsworth C, "The Audio-Visual Handhook."
2. Dorris, Anna V., "Visual Instruction in the Public
Schools."
3. Hoban, Hoban. & Zisman. "Visualizing the Curriculum."
4 Knowlton, Daniel C, "Making History Graphic."
5. McCall. William A., "How to Measure in Education."
fS. Williams. J. Harold. "Graphic Methods in Education."
7. The Educational Screen Magazine (See the December
Index each year).
8. Arkin and Colton, "Graphs : How to Make and Use
Them."
In discussing the forms and functions of graphic
materials, Hoban, Hoban and Zisman state that:
"The illustration is a pictorial representation convey-
ing information in the manner of still pictures.
"The cartoon is an interpretive illustration or sketch,
giving a point of view or portraying things and
scenes through syiubolization.
"The poster is a more or less geometrical abstract
of a scene, action or idea for the purpo.se of creat-
ing strong and lasting impres.sions.
"The map is a graphic means of showing location,
direction and size by relatively huge reductions in
scale, conventionalizing areas and their colors, and
conveying information by symbols.
"The chart is a formal arrangement of facts for
making comparisons, for summarizing, for showing
quantities and developments.
"The graph is a chart form of presenting statistics
and relations of quantities to time.
"The diagram is a highly conventionalized geometric
presentation showing interrelations of parts and
the flow of operations."
The text which follows these definitions clearly in-
dictates the scope of each form, the standards they should
meet, and the technique for individual use as well as
the manner in which they may be integrated with other
school work.
In Hcnv to Measure in Education (Cha])ter 12).
McCall concisely lists seventeen simple standards for
the construction and placement of tables. The students
should be given opportunities to construct and evaluate
tables, books, bulletins, government reports, maga-
zines and the daily newspapers abound in such graphic
materials. Such sources should serve for practice
materials and as standards for individual construction
work.
The references listed contain similar sets of standards
for each of the various graphic forms, together with
the techniques for their use. Teachers and students
I line, J 9 59
Page 217
SATISFY
FUTURE MAGELLANS
Travel via the picture route . . . pictures of far places,
strange lands and customs . . . help to satisfy the inner
desire of young adventurers . . make geography lessons
vivid and vitally interesting.
In teaching any subject, to pupils of any age, B&L
Balopticon projected pictures— make every instruction
period more interesting . . . make learning a pleasure . . and
lessons unforgettable.
B&L Balopticons are available for projecting still
films, lantern slides, photographs, clippings and even actual
objects and specimens. Write for descriptions and prices.
Ask for catalog E- 1 1. Bausch & Lomb Optical Co., 688
St. Paul Street, Rochester, N. Y.
BAUSCH &- LOMB
rOK YOUII EVES, INSIST ON BAUSCH t LOMB EyCWEAB. MADE FItOM BAUSCH * LOMB
CLASS rO BAUSCH « LOMB HIGH STANDAIIDS OF PRECISION
Page 218
The Educational Screen
SEEING
IS BELIEVING!
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
THAT CERTAIN AGE
SERVICE DE LUXE
NEWSBOYS HOME
SON OF FRANKENSTEIN
YOU CANT CHEAT AN HONEST MAN
LEHER OF INTRODUCTION
MAD ABOUT MUSIC
(and many o'fhers)
Write to Universal's Non-Theatrical
Department for further information
regarding short and feature-length
pictures, travelogues, cartoons
and other motion pictures.
CATALOGUE 16
UNIVERSAL PICTURES
COMPANY, INC.
Rockefeller Center New York, N. Y.
CIRCLE 7-7100
are urged to become proficient in the use of graphic
materials in their class work. Since they employ ab-
stract symbols as the means of communication, con-
siderable latitude is allowed for creative work on the
part of those using them.
A Convenient Film Carrier
By BURDETTE BUCKINGHAM
Director of Teaching Aids
Public Schools, Quincy, Mass.
XT AVE you ever tried to unlock the door of your
automobile while carrying a double-armful of
16mm movie films? The experience may serve to en-
rich the vocabulary, though not with words suitable for
classroom use. The best procedure seems to be simply
to drop them all on the sidewalk and in the gutter. The
business of finding
the keys and get-
ting the door open
may then be under-
taken with complete
freedom, and the
reel cans may be
recovered from be-
neath the car singly
or in twos and
threes.
To make things
easier for us under
these circumstances,
certain suitcase-like
carrying cases are
available with com-
partments for the
reel cans. This is a
great improvement
over the previously
described "scram-
ble-grab" system, but these cases are relatively expen-
sive, they weigh as much as four or five reels of film,
and occupy the same space, whether completely filled
or half empty.
To overcome these objectionable features, a simple
film carrying device was designed. This carrier can be
produced in the average school wood-working shop for
less than a dollar. It is lighter than two reels of film
and can expand with the needs of the situation to ac-
commodate from three to twenty reels, taking up almost
no space when empty. All in all, it has proved to be
the answer to many a profane invocation.
The device consists of a handle fastened to a top
disk of oak, a bottom double disk of plywood, and a
pair of cotton webbing straps which connect the top and
bottom with the film cans securely compressed between.
This makes a compact one-hand package from what
might otherwise be a very amateurish juggling act.
Additional Summer Courses
Northivcstcrn University. Evanston, 111. June 19-Aug. 12
Visual Aids and Radio in Education (3) J. S. Mcintosh
Louisiana Polytechnic Institute. Ruston June S-Aug. 5
Audio-Visual Aids in Teaching (2) R. H. Mount
Method of use illustrated.
June, 1939
Page 219
News and Notes
(Concluded from page 213)
of films or inquiring as to methods and materials. Mr.
Katz may be addressed c o Motion Pictures Section,
6P Bedford Street. Xew York City.
Film Screenings af Columbia
To extend interest in tlie possibilities of the educa-
tional film and to assist teachers in their selection, the
Student Council of Teachers College, Columbia Uni-
versity, is sponsoring a weekly evening film program.
Emphasis is given to recent releases in order that
teachers may l)ecome acquainted with the new material.
Represented on these programs are the films of educa-
tional film producers, theatrical producers, government
and public services agencies, and industrial concerns.
Elach program is followed by a discussion of the poten-
tial values and uses of the films. Critical reviews arc
prepared, .so far as is possible, by members of the fac-
ulty or advanced graduate students in whose field the
subject matter of the tilm falls.
Ohio School-Made Films
A study of film production in Ohio schools with
s[>ecial reference to films dealing with public relations,
has been completed by William Wagner, a graduate
student in the College of Education at Ohio State Uni-
versity, according to the April issue of the Nezvs Letter.
This study discloses that 38 schools in that state have
already produced such films, and plans are being formu-
lated for a conference of such schools, to be held on the
Ohio State Univer-sity campus in the near future.
Hollywood Motion Picture Forum
The sixth annual session of this Forum will be
held on July 14 and 15 next at the Academy of Mo-
tion Picture Arts and Sciences Theatre in Holly-
wood. The chairman is Bruce Findlay, Director of
Visual Education in the Los Angeles Public
Schools. Notable features are trips to a Motion
Picture Studio in actual production, and to a Radio-
broadcasting studio. The meeting is timed to make
it easy for teachers attending the San Francisco
meeting to include the Forum also in their itinerary.
1 6mm Sound Film in Color Shown
in Public Theatre
The initial performance of 16mm. sound film, in
color, on the regular 35mm. screen of a public theater,
was given recently in the Rockefeller Center Newsreel
Theater. New York City. It was agreed by the many
attending theater executives that only the trained eye
of one experienced in motion picture projection could
distinguish that a change had been made from 35mm.
to 16mm. film. Projection was made from the same
booth, covering same length of throw, and the 16mm.
pictures completely filled the regular theater screen
used for 35nnn. pictures. The film shown was a
special subject in color titled On the Ice showing
famous skaters performing on the Rockefeller Center
skating {wnd. The machine used was one of the new
Bell & Howell Filmoarc, 16mm. arc-lamp sound film
projectors.
LOOK FOR THIS
INSIGNIA
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RADIO "W
16 MM
SOUND PICTURE PROJECTOR
THAT FITS EVERY NEED
aemoM»'»t« " ,^.;,+Un.t Sound
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VICTOR ANiMATOGRAPH CORPORATION
DAVENPORT, IOWA
CHICAGO - NEW YORK
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ANIMATOPHONE leni SOUND PROJECTORS
Page 220
The Educational Screen
AMONG THE
AND BOOKS
MAGAZINES
Conducted by The Staff
The New Era (March. '39) "The Visual Radio
Lesson in Cleveland Schools," by William M. Gregory.
The mechanical set-up. organization and work-
ing of the successful radio-visual teaching method
developed in the Cleveland Public Schools, is
described here concisely and definitely. The educa-
tional station WBOE was established in 1938 and
through its 150 sets placed in all elementary schools,
lessons for teachers and pu])ils are Ijroadcast, ac-
companied by the showing of lantern slides. These
lessons are prepared six months in advance by ex-
pert teachers in the curriculum centre concerned,
and the visual material carefully chosen from the re-
sources of the Educational Museum. A table shows
the sets, grades and subjects for the radio material
in lantern slide form that is now in use. This ma-
terial has been in process of organization since
1934. A program of last fall's radio lessons is also
reproduced.
Science Education (23:83-86, February '39) "The
Relative Value of Sound Motion Pictures and
Study Sheets in Science Teaching," by Roy V.
Maneval.
The results of six previous investigations on the
value of educational sound films, are summarized
JUDGED BY ITS MERITS
• HOLMES Sound-on-Film
Projectors are. a revelation
to users of motion picture
equipment, when they become
acquainted with their su-
perior operating qualities,
enduring service and finished
workmanship.
• Holmes Projectors
are precision -built,
and all materials en-
tering into their con-
struction must stand
the most rigid of engineering
tests.
Speaker
Unit
li mm Projector Unit
and Amplifier Unit
— locl(ed together.
• The Holmes laboratory checks every ma-
chine on performance as to smooth mechanical
action, quietness, picture and tone quality.
It must be a superior product, and at no
increase in cost.
"Write for catalog and ask about
our free demonstration offer.
HOLMES PROJECTOR COMPANY
Manufacturers of 16 mm and 35 mm sound projectors.
1813 ORCHARD STREET CHICAGO
briefly by the writer. He then goes on to present
the experiment made with eighth grade science
pupils at Horace Mann Junior High School of
Tulsa, to determine the relative value of two meth-
ods of instruction: (1) by the use of educational
sound motion pictures ; and (2) by the use of printed
study sheets, made to resemble parts of science
texts and workbooks as nearly as was practical. Of
the 300 ])upils replying, 70.3% preferred the sound
film method and 62.67'; thought they learned more
by the sound film than b}' the use of study sheets.
The data collected indicated that, when testing for
immediate recall, study sheets were superior,
whereas, when testing for delayed recall, the pupils
taught with sound films retained the factual ma-
terial better.
Secondary Education (8:74-77, March '39)
"School Films with a Purpose," by Godfrey M. El-
liott, Oakvale, West Virginia.
This discussion gives some sound, practical ad-
vice on the production of school films for use in the
public relations field. The writer declares that
most school newsreels are merely 16mm snapshot
albums, serving a limited purpose but do little to
build up intelligent understanding of the school.
Technical problems in the production of school
films are easily solved. The greatest problem is
the intelligent planning of the picture. The scen-
ario must be carefully constructed to tell a story,
using as few titles as possible, showing what the
child does at school and why. The entire develop-
ment of a project cannot be shown because of the
time element. In illustration, Mr. Elliott outlines
the scenes which should be shot in the presentation
of a Home Economics lesson and, as an example
of an academic subject, a Mathematics class at
work. The question of editing is also covered.
School Science and Mathematics (39: 342-351,
.April "39) "A Science Teacher Looks at the Class-
room Film," by H. Emmett Brown, Teachers Col-
lege, Columbia University.
Here is a thought-provoking survey of educa-
tional films by a well-known name in the field. Mr.
Brown has had long experience with classroom
films and has contributed to the literature on the
subject. Although convinced of the value of films
as an aid in teaching, he confesses that several ob-
jectionable features have troubled him at various
times in his work with films.
His enumerated criticisms apply to certain fea-
tures of the films themselves, and of their produc-
tion and use. He contends educators are prone to
claim too many values for films, they embrace the
new too eagerly, neglecting older and equally valu-
able aids. Some of the faults he has found with
films are that they often lack the vital element of
June, 19)9
Page 221
motion, attempt to cover too much ground, are too
general, often dull and inaccurate, do not have the
right balance between too much and too little de-
tail, fail to stress the imaginative side, contain
poor photography, outmoded acting and clothes,
objectionable advertising, and have misleading titles.
Library Journal (64: 212-214. March 15, '39)
"The School Library Adopts Movies," bv Phyllis
Raymond and Eleanor Child, Greenwich, Conn.
The manner in which the school library at Green-
wich High School cooperates with the Photoplay
Club reveals an activity that is gaining in popular-
ity throughout the country. The collection of the
club which is displayed on the library's shelves in-
cludes books, magazines and pamphlets on movie
appreciation, script writing, amateur movie-mak-
ing and -stories that have been filmed, press sheets,
clippings and other related material. The library
bulletin board is often devoted to pictures illustrat-
ing outstanding movies and film reviews. School-
prepared exhibits in the library are frequently
stimulated by movies, as is the reading of books re-
lated to outstanding films.
School Life (24: 199-200, April '39) "School
Tours." by Carl A. Jessen, Specialist in Secondary
Education.
Field trips are becoming more and more com-
mon as teachers in increasing numbers are recogniz-
ing the importance of learning through concrete
experience and observation. Most school excursions
are local in character. To learn what was being done
by schools systems in conducting longer tours, the
Office of Education sent an inquiry form to school
superintendents in 326 cities in the United States
having 30,000 or more population. The summary of
these reports discloses some interesting facts as to
destinations, purposes, costs and educational sig-
nificance.
A Comparative Study of Photoplays and Scenarios
"Selected Historical Photoplays and Scenarios as
Extracurricular Aids in Eleventh Grade Social
Studies," is the title of a dis.sertation by Arthur
Lawrence Marble, prepared under the direction of
the Committee on Studies, Los Angeles.
The purpose of this study was to observe, with
experimental technique, the reactions of high school
pupils to historical narratives presented in two
forms : ( 1 ) the original script, to be read in the
classroom, and (2) the photoplay itself, to be shown
in the auditorium. George Washington High School
in Los .-\ngeles was cho.sen for the investigation.
Steps in the procedure are described — class group-
ing, construction and analysis of the tests, experi-
mental organization, and follow-up. From the evi-
dence obtained, it was concluded that selected his-
torical photoplay scenarios may be an important
aid to social studies as: (1) the learning possibili-
ties of the film scripts compared favorably with the
motion pictures, particularly in common verbal
elements of plot and dialog, (2) the reading of scenarios
increased appreciation of historical photoplays, and (3)
they developed more interest in the field of social
studies.
• How the Motion Picture
Records our Civilization
DOCUMENTARY FILM
By PAUL ROTHA
Through the creative reporting of social facts
in film, motion picture photographers have given
the public a contact with life that is deeper,
more significant, and more intimate than any-
thing the other arts or journalism have been
able to achieve. In Documentary Film, Mr.
Rotha presents a complete and lucid account of
the background, aims, methods, problems and
technical aspects of this new form, from its be-
ginnings to the present, in this country and
abroad. Illustrated $3.75.
W. W. NORTON & CO., 70 Fifth Avenue, New Yerii
for your summer classes
HOW TO USE THE EDUCATIONAL
SOUND FILM. By M. R. Brunstetter
Educational Screen says: ". . . . an excellent sum-
mary and trenchant discussion of the art of teaching
with 'films' .... pertinent and helpful information
on the unique characteristics of sound films, teach-
ing purposes served by them, the necessity for
careful integration." $2.00
Among schools using:
Oglethorpe University Columbia
University of Florida U. of So. California
Oregon Agricultural College
THE EDUCATIONAL TALKING
PICTURE
By Frederick L. DEVEREinc School and Society
says: ". . . . a wealth of information and counsel.
.... He sees in the talking picture a vivacity,
versatility and grip." $2.00
MOTION PICTURES IN EDUCATION
IN THE UNITED STATES
By Cline M. Koo.n. ". . . . presents in concrete,
detailed fashion what every teacher and adminis-
trator in the United States ought to know." —
Edgar Dale, Ohio State University. $1.00
Write for illustrated broadside, For a Sound
Education, describing visual aid materials
sponsored by the University of Chicago, in-
cluding New Plan texts in the physical and
biological sciences.
THE UNIVERSITY OF CHICAGO PRESS
5750 Ellis Avenue, Chicago, III.
Page 222
Current Film Releases
New Motion Picture on
Typewriter
Harmon Foundation, 140 Nassau
Street, New York City, have just com-
pleted a motion picture. Know Your
Typewriter, showing what a typewriter
is and how to use it. The film was made
in cooperation with the six major type-
writer companies, and is the first of its
kind to be produced. A three-reel 16mm
silent subject, it is designed for use by
school and club groups as an aid in
teaching typewriting to persons "from
seven to seventy." The picture gives
clear-cut technical information on the
working of the mechanical elements of
the machine and places emphasis on type-
writing as an art of today. The setting
up of letters, statistical work, stencils,
and the like, is demonstrated. The proper
posture in working at the typewriter is
also shown.
This film may be rented or purchased
on a lifetime-lease-of-the-print basis.
Reference Outlines, of value in building
a study program around the film, are
available.
The American Films Foundation
A new educational non-profit organi-
zation, called The American Films
Foundation, Inc., announces the produc-
tion and distribution of a series of one-
reel sound films "upholding the free in-
stitutions and the moral and spiritual
ideals which constitute the foundations of
the national greatness of the United
States," as stated by John Beardslee
Carrigan, Executive Vice-President,
formerly editor of Movie Makers Maga-
zine. Louis M. Bailey is National
Director of the Foundation, which in-
cludes in its leadership fifty officers and
members of the National Advisory
Board, representative of ediication and
other broad interests. The purpose of
this venture is to utilize the motion pic-
ture as a medium of mass-education on
vital economic and social questions.
The production schedule calls for
twelve films a year for monthly release,
free of charge to schools, churches,
clubs and other non-theatrical outlets,
as well as to theatres. Scripts are pre-
pared by Mr. Bailey in collaboration
with authorities outstanding in the fields
covered by the films. A considerable
percentage of the footage in each picture
must be especially produced. James
Clemmenger, radio commentator, is the
narrator for the films. Subjects already
available include The American Way.
which tells how the Constitution protects
our liberties. The Right to Work, deal-
ing with labor and capital and Oh. Say
Can You See, a presentation of "every
man's" share in the tax burden. Prints
of these films are distributed by many
non-theatrical libraries, and are also sent
directly from American Films Founda-
tion headquarters at 542 Fifth Avenue,
New York City.
A unique feature of the theatre distri-
bution of the films lies in the activity
of local contacts who arrange with
theatre managers for the pre-viewing
and showing of the pictures when they
are ready for release. After seeing that
the film is booked, these local contacts
send news stories to the local papers and
see that heads of such groups as the
American Legion, Parent Teachers As-
sociations, Federation of Womens Clubs,
and others, are informed of the theatre
showing of the film and urged to see it
because of its free availability in 16mm
or 35mm for their organization, or for
school and church use.
New Release in Historical Series
The second subject in the series of
educational sound films on the history of
the United States has been produced by
International Geographic Pictures, 52
Vanderbilt Avenue, New York City. This
new release, entitled Territorial Posses-
sions of the United States, covers in de-
tail the acquisition of the insular posses-
sions of this country, and of Alaska and
the Canal Zone. Animated maps are
used to show the locations and sizes, and
authentic scenes of the possessions are
supplemented by original motion pictures
of historical events and personalities. Fol-
lowing the precedent established in the
first film. Territorial Expansion of the
United States, the film concludes with a
review map which re-emphasizes dates
and important facts.
Garrison Adds Foreign
Language Films
To its long list of foreign language
films available on 16mm soundfilm. Gar-
rison Films, Inc., has added Three Lucky
Fools, featuring Tito Schipa (Italian) ;
Fight to the Last produced by the Chi-
nese Government ; Sous Les Vcux D'Oc-
cident, based on Joseph Conrad's novel
(French) ; The Oppenheim Family,
based on Lion Feuchtwanger's novel
(Russian) ; Childhood of Maxim Gorky,
based on the author's "My Childhood."
Copies of the Check List of for-
eign films are available free of charge
upon request to Garrison Films, 1600
Broadway, New York City.
Movie Shows Making of
Cartoons
Cartoon movies in the making are re-
vealed by Lowell Thomas in the Univer-
sal 16mm. film Cartoonland Mysteries.
available on rental from the Bell &
Hewell Filmosound Library. In this film
the production of an Oswald Rabbit car-
toon Softball Game is explained in in-
teresting and hilarious detail. Those in-
terested in what goes on behind the
scenes in Hollywood can see a rip-roar-
ing cartoon in the making, and then, on
the same program see the finished result.
The Educational Screen
the completed cartoon movie. Or the
order can be reversed ; the complete car-
toon being shown first, followed by the
film showing how it was done. For
further information write Films Division,
Bell & Howell Company, 1801 Larch-
mont Avenue, Chicago, Illinois.
Gutlohn Announcements
Walter O. Gutlohn, Inc., announce the
release of a one-reel French film in
16mm. sound entitled Learning Through
Play (En se donnant la main). This
picture has been made by the University
of Nancy and represents a most inter-
esting study of the co-operative spirit of
children at play.
Educators who plan to be in New
York for the World's Fair are cordially
invited to avail themselves of the Gutlohn
facilities for the screening of films.
An American Red Cross Film
A one-reel motion picture entitled
Footsteps, which dramatically portrays
the training of the Red Cross Nurse and
the humanitarian work she performs, has
been prepared for free distribution by
the American Red Cross. The purpose of
this documentary film is to acquaint the
public with the scope and nature of the
activities of the Red Cross in behalf of
mankind. The picture illustrates the in-
tensive education given the student nurse,
with interesting and colorful glimpses
of the inside of a great hospital.
Red Cross nurses can serve in three
different classifications. Footsteps gives
striking views of what reserve nurses do
in time of war, in hurricanes, floods,
epidemics. Another field is that of Home
Hygiene Nursing. The final sequence
pictures the self-sacrificing work of the
Red Cross Public Health Nurse who
serves in remote sections where doctors,
nurses and hospitals are few.
This film, a William J. Ganz Production,
may be had in 16 mm or 35 mm. without
cost (except for transportation charge)
by writing to Douglas Griesemer, director
of public relations, American Red Cross,
19 East 47th Street, New York City.
Bell and Howell "Silents"
Silent motion picture projector users
will be interested to learn that there has
been no lag in the production of educa-
tional silent films, as shown in the latest
catalog of 16mm. silent films issued by
Bell and Howell Company, 1801 Larch-
mont Avenue, Chicago. This catalog
now lists 365 silent film titles. Of these,
58 have been added since the last print-
ing, about six months ago. Among the
new subjects added, the following titles
indicate the typically educational trend :
Sahara, Workaday France. Modern Rome,
Maguey Culture in Mexico, Bread from
Acorns. Present-Day Germany, and four
Eskimo films by Comm. Donald B.
MacMillan.
Film on Plastics
The story of a fast-growing industry
is told in Modern Plastics Preferred, the
(Concluded on page 225)
Jum, 19)9
Page 223
answer your
School Sound
Questions
AS A MODERN EDUCATOR you are doubtless
XJL giving much thought to an RCA Victor
centralized i^ound system for your school. You
are well aware of the administrative aid ren-
dered by such a system. You know how valu-
able it is for students . . . how it enables them,
in any or all classrooms, to have the benefit
of fine educational radio programs . . . hear
recordings, lectures • . . receive instructions
. . . even, with the aid of an RCA Victor Re-
cording Attachment, make their own records.
You know these advantages — but in your
• • •
Tradrniirk "RCA Victor" n%MftrA U. S. Hal. Off. h» RCA Mf(.'C<>., Inc.
Modern •chuuUiraj>'ino4lern with RCAradin tiibeiiin their •ouadequipm«nl.
mind there are many questions about this
equipment. Its cost, how it will fit in with
your school layout — these and other things
are bothering you.
Why not let RCA Victor help solve your
problem? We maintain a staff of school sound
experts — men whose engineering knowledge
and familiarity with school requirements will
be extremely helpful to you. Just fill in and
mail the coupon and we'll send one of these
men to see you — without cost or obligation.
ii
ii
11
fi
II
t'omden. New jj^f <-"'"f>«nv. ,„,,.
SOUND SERVICE FOR SCHOOLS
RCA Manufacturing Company, Inc., Camden, N. J.
A Service of the Radio Corporation of America
Page 224 The Educational Screen
AMONG THE PRODUCERS ^^e« tL c.^^e.cJ
TLttftA OM-naunce new ptaJiiccti hhA JLeveLi>vm,enU at Lntete^t to tke tieiJi.
New Amprosound Model
Ampro Corporation have brought out
a new sound-projector Model "UB" en-
closed in a sound-proof blimp case, af-
fording extreme quietness in operation.
The machine has an amplifier output of
IS watts, undistorted, a 12-inch perma-
nent magnet field speaker and 750 watt
lamp. In addition to the usual features
of Ampro projectors, the new model has
several innovations, such as a speaker-
hiss eliminator which enables the operator
to obtain full volume without hiss, even
at low voltage ; and an amplifier signal
Sound-Proof Model "UB"
light which indicates when amplifier is
on, and location of volume and tone
control knobs.
With the sound-proof blimp case, the
projector is designated as Model "UB,"
selling at $365.00, and with standard
case, as Model "U," selling at $345.00,
Complete specifications and features will
be sent upon request to The Ampro
Corporation, 2839 North Western Avenue,
Chicago.
Picture Units for Classroom Use
A unit of teaching pictures on "The
Farm," the seventh in a series of such
units, has just been published by Inform-
ative Classroom Picture Association,
Grand Rapids, Michigan. This portfolio
of teaching pictures consists of twenty-
one 8^" X 11" black-and-white draw-
ings, by Kreigh Collins, illustrating the
main types of farming carried on in the
United States and portraying farm life
in a way that is vitally interesting to
children. Each picture is printed on an
individual sheet of heavy, durable paper.
A full sheet of early elementary text,
l)y Elizabeth Webster, accompanies each
picture. This reading material is printed
in large type, and the vocabulary and
sentence structure especially chosen for
second and third grade children. Five
thousand words of later elementary text,
by Raymond E. Fideler, are provided for
Grades 4-5-6.
Other units in this social science series
are entitled "Pioneer Days," "Indian
Life," "Life in Colonial America,"
"Knighthood — Life in Medieval Times,"
"Early Civilization" and "Christmas in
Many Lands."
Victor Announces
All-Purpose Projector
The new Victor Add-A-Unit Anima-
tophone, just recently announced, provides
16mm motion picture and sound equip-
ment adaptable to all requirements. This
new multiple-variation and multiple-use
motion picture projector and sound sys-
tem, manufactured by Victor Animato-
graph Corporation, should be practical
and economical, because units may be
added as desired and all units of the
machine are interchangeable.
The Animatophone basic projector
which is complete in itself, provides silent
or sound motion pictures, microphone fa-
cilities and phonograph record amplifi-
cation for an average size room, without
addition of any Add-A-Unit equipment.
Adding an amplifier and another larger
size speaker furnishes sound motion pic-
ture or public address facilities for a
large auditorium. Broadcasts, recordings
and announcements may be relayed to as
many rooms as desired, when the Central
Radio P.A. Sound System unit is added.
According to Alexander F. Victor, presi-
dent, other units may be added to make
possible the showing of sound pictures
«Di..jjmf,f« ,oo....sptAKEi. 1 1, .."'.;■.','.'.',•;;..
Victor Basic Projector and Units
in one location, while public address or
music amplification are being used in
another.
Complete information about this new
all-purpose motion picture and sound
system may be secured by writing to the
Victor Animatograph Corp., Davenport,
Iowa.
New Eastman Product
A new, compact, efficient and inex-
pensive projector for 2 x 2-inch slides,
the Kodaslide Projector Model 1, is an-
nounced from Rochester, New York, by
the Eastman Kodak Company. Sturdily
made and retailing at only $18.50, this
new projector is said to possess operating
conveniences and a quality of construction
that are unusual in its price range. It is
suitable for showing either Kodachrome
"stills" or black-and-white positives.
With a 10-foot throw, its 4-inch Kodak
Projection Lens yields a 26 x 38-inch
picture from a double-frame 35mm. trans-
parency, or a 30 X 44-inch screen picture
from a Kodak Bantam transparency. The
projector lens is free from distortion and
chromatic aberration, and is well-cor-
rected against astigmatism. Owing to the
efficient design of the optical system, ade-
quate screen illumination is obtained from
a 100-watt projection lamp. A disk of
special heat-absorbing glass prevents
overheating of slides.
The Kodaslide Model 1 does not utilize
a slide carrier. Slides are simply fed
through a slot equipped with light springs
which hold the slide steadily in the
plane of focus. The Kodaslide Ready-
Mount Changer, magazine feed device,
can be used with this model.
B & H Installs "Vaporating"
Laboratory in Hollywood
The Peerless-Vaporate film treatment
which has been offered by the Bell &
Howell film laboratory throughout the
middle west for the last two years, is
now available also from the Hollywood
laboratory of the company located at 716
North La Brea Avenue.
In the recent report issued by the
Research Council of the Academy of
Motion Picture Arts and Sciences on
"Release print film preservative tests,"
the committee of experts stated : "These
tests indicate that because of the fact that
a film preservative contributes to better
projection as well as longer life, all re-
lease prints should be given some treat-
ment before being placed in use." Con-
ditions for preservative treatment were
described as follows: (1) "Prevents
scratches in new or green emulsion. (2)
Thoroughly lubricates the emulsion so
that it will not adhere to any part of
the projector. (3) Impregnates the
gelatine with a fixed chemical which will
not be dissipated by the intense heat of
the projection lamp, but which will take
the place of the moisture that is with-
drawn to thus prevent warping and
June, 19}9
Page 225
YOUR PREE COPY
of 1939-1940
SEASON
CATALOG
16mm Sound and Silent
EDUCATIONAL
CLASS ROOM
and
AUDITORIUM
MOTION PICTURES
will Be Ready for Mailing Sept. 1st
Fifteen Hundred Subjects
Free and Rental
Send Name and Address
to the
Motion Picture Bureau
of the Y.M.C.A
NEW YORK
347 Madison Ave.
SAN FRANCISCO
351 Turk St.
CHICAGO
19 So. LaSalle St.
Universal lb
SOIND PROJLCTORS P&
New All-Purpose Model
Combined utility is offered in this
newly designed 1 6MM Sound Pro-
jector. Precision built. Completely
flexible for the varied demands
of classroom anil auditorium.
Complete, ready to operate
Universal Sound Projector
SENTRY SAFETY CONTROL CORP.
1921 Oxford St.. Phil... P«.
Show Room— 1600 Broadway. N. Y. C.
buckliiiR. (4) Retain the film's pliabil-
ity indefinitely."
All of these conditions are met by the
V'aporate treatment, which was one of
the processes subjected to these tests.
DeVry Arc Projector
The DeVry Corporation has added
a new professional 16mm. Arc Lamp
Sound Pro-
jector designed
for large audi-
torium and
theatrical use,
to their exten-
siveline of pro-
jectors. This
machine incor-
porates alt of
the essential
35mm. me-
chanical r e -
qui rements
necessary for
heavy duty use
including a
.sprocket inter-
mittent system.
By means of
a new develop-
ment in forceil
draft ventila-
tion, it is pos-
sible to use a
specially de-
signed high
intensity arc
lamp without creating heat at the pic-
ture aperture.
This machine makes possible the use
of 16mm. sound films in large auditor-
iums, as it is said to deliver a 20x24
ft. picture at a distance of over 125
feet from the screen. It has a 4000 ft.
16mm. reel capacity.
Micro Attachment
for Leiti Projector
Microscope slides may be projected
onto a screen as easily as ordinary
2x2 inch glass slides with a new at-
tachment which fits onto the Leitz
VIII-S projector. This accessory is a
valuable aid to the teaching of biology
and chemistry, as the teacher can pre-
sent the microscope slides to the class,
by projection so that all the students
see the same thing at the same time.
The Micro Projection Apparatus con-
sists of a microscope stage with clips to
hold a microscope slide; an objective
carrier into which either of two micro
objectives may be screwed: and a bar
on which the objective carrier slides.
Two micro objectives are available for
use with this apparatus, the one giving
a inagnification on the screen of about
twice that of the other, with the pro-
jector used at the same distance from
the screen in each case. In use, the
apparatus takes the place of the lens
carrier and slide changer on the VIII-S
projector. The change from straight
projection to micro projection can be
easily and rapidly made. Full informa-
tion on this equipment may be obtained
from E. Leitz, Inc., 730 Fifth Avenue,
New York City.
Current Film Releases
(^Concluded from page 222)
first non-technical, non commercial film
on the subject of "plastics." This 16 mm
film was produced in sound and color
for Modern Plastics Magazine, by the
T. W. Willard Motion Picture Company
of New York City. It pictures the
origin of the various plastic materials
in the laboratory, their production in
steel molds with pressure and heat, and
also other processes. It shows their ap-
plication for products used in every con-
ceivable industry, which are better look-
ing and better functioning.
Gold Mining Filmed
Canada's gold mining industry comes
to the screen in a motion picture film
with sound narrative, produced by the
Department of Mines and Resources, Ot-
tawa, in conjunction with the Canadian
Government Motion Picture Bureau.
Three reels of 16mm film, each a story
within itself, have been released. The first
reel depicts scenes of placer mining in
the historic Klondike gold rush days,
lode-gold mining and underground min-
ing. The next reel shows the various
steps of the process for the recovery
of the gold, followed by a reel on the
refining of the rough bullion at the Royal
Canadian Mint. Copies of the film may
be borrowed from the Director of the
Government Motion Picture Bureau.
Page 226
The Educational Screen
THE FILM ESTIMATES
Being the Combined Judgments of a National Committee on Current Theatrical FUmt
(A) Discriminating Adults (Y) Youth (C) Children
Date of mailing on weekly service is shown on each film.
Almost a Gentleman (James Ellison, the dosr
"Ace") (RKO) Unpretentious story notable for
remarkable performance of police dog. Embit-
tered revengeful hero trains him for dog-show
to beat hated ex-brother-in-law's entry. Sen-
timental dog murder trial and a kidnapping
are other ingredients. 5-23-39
(A) Fair (Y) Fairly good (C) No
Arizona Wildcat (Jane W ithers) (Fox) Moretom-
boy stuff for Jane in lively, hilarious Western.
Jane, a la Paul Revere, rouses old bandit gang
of her foster father, a retired Robinhood, to
catch Sheriff, who is really a murderous outlaw
"hiding out." Impossible doings by Jane
as usual. 5-16-39
(A) Hardly (Y) Fair (C) No
Big Town Czar (Barton MacLane, Tom Brown)
(Univ) Potentially decent kid brother climbs
from slums to college, but leaves to join "big
shot" big brother in racketeering. Good minor
characters outweighed by crudity and deprav-
ity of principals. Mostly gratuitous trash by
columnist Ed Sullivan. 5-30-39
(A) Trash (Y) (C) By no means
Boy's Reformatory (Frankie Darro, Grant
Withers) (Monogram) Slum hero takes "rap"
for boy pal, becomes trusty in reform school,
to which his pa! soon comes also, framed by
a gang. Seemingly faithless to trust, hero leads
escape but only to aid in trapping whole gang.
Dull stuff. 5-16-39
(A) Stupid (Y) Worthless <C) No
Calling Dr. Kildare (Ayres, Barrymore) (MGM)
Second of promising series on medical profes-
sion, with same cast in tensely human char-
acter play. But now young Kildare must inno-
cently treat gunshot wound, tangle with law,
and fall in love with a gangster's moll ! Series
cheapened for supposed "punch." 5-23-39
(A) (Y) Mostly good (C) No
Confessions of a Nazi Spy (Robinson, Lederer,
Lukas) (Warner) Vivid, sensational film on
clash of ruthless Nazi ideals, propaganda and
espionage with U. S. Government Secret Serv-
ice. Masterful, absorbing drama frankly anti-
Hitler but not pro-war. Notable screen achieve-
ment to make this country think. 5-30-39
(A) Notable (Y) Mature but good (C) No
East Side of Heaven (Crosby, Blondell, Auer)
(Univ) Light, heartwarming story featuring
adorable baby and Bing's lullabies. Crooning
cab-driver gets involved in marital troubles
of rich couple and takes care of baby until
their reunion, his own wedding postponed
thereby. Amusing dialog and situations. 5-16-39
(A) Entertaining (Y) Very good (C) Good
Fight for Peace (by Hendrik Willem Van Loon)
(Warwick) Huge composite newsreel with good
vocalogue— 30 years ago to date — showing war
and politics in Russia. Italy, Germany, Japan,
China, Spain, etc. Some grisly scenes, much
faking, but whole is grim, thought-provoking
and definitely anti-war. 5-30-39
(A) Good of kind (Y) Mature (C) No
First Offenders (Walter Abel, Johnny Downs)
(Colum) Fine youth convicted of murder, turns
"tough guy" in prison and on release (unex-
plained pardon) seeks revenge on assistant D.
A. But latter's farm for young ex-convicts works
cure. Well-acted film with earnest message
and character values. 5-23-39
(A) Thought-provoking (Y) Mature (C) No
Flying Irishman. The (Douglas Corrigan) (RKO)
Corrigan's life and story of his famous flight
told in simple biographical style. Interesting
as fine example of determined ambition and
perseverance winning out over poverty and dis-
couragement. Appealing personality atones for
woeful lack of acting ability. 6-6-39
(A) Fair (Y) Very good (C) If it interests
For Love or Money (June Lang, Robt. Kent)
(Univ) Much hilarious fun and hectic thrill in
preposterous yam about $50,000 cash lost in
transit between big racetrack bookie and un-
known millionaire winner. Hectic romance,
dire death threats, crazy chase sequences, nitwit
actions, and nobody suffers after all. 6-6-39
(A) Depends on taste (Y) Doubtful (0) No
Gorilla. The (Ritz Brothers. Anita Louise) (Fox)
Re-filming of old burlesque mystery thriller.
Slapstick antics of the Ritz Brothers as dumb,
frightened detectives fail to amuse and stock
scare devices, secret panels and the like, fail to
thrill. Absurd, complicated plot. Patsy Kelly
provides best comedy. 6-6-39
(A) Hardly (Y) Prhps. amus. (C) Too exciting
Inside Story (Michael Whalen, Jean Rogers )
(Fox) Columnist writes booze-inspired invita-
tion to "loneliest girl" from "loneliest man."
Clip-joint hostess answers and they jaunt off
together. Her gangster boss, fearing she
may '*talk," tries murder but hero saves and
solves all. 5-16-39
(A Fair of kind (Y) No (C) No
It's a Wonderful World (Colbert, Stewart)
(MGM) Lively, hilarious, clever series of bur-
lesque adventures. Detective-hero, fleeing law
and chasing murderer at same time, is crazily
"helped" by "poetess" heroine. High comedy
values largely ruined by bellowed dialog, rau-
cous noise, and over-crude slapstick. 5-30-39
(A) Only fair (Y) Probably amusing (C) No
Juarez (Muni, Aheme, Rains, Garfield, Daven-
port, Crisp, Sondergaard, Bette Davis) (Warner)
Masterpiece of historical drama, accurate, pow-
erful, splendidly written, acted and directed,
and at same time document on democracy vastly
impressive in present world situation. Just as
good with fewer grewsome scenes. 6-6-39
(A) (Y) Outstanding (C) Too strong and beyond
Lady's from Kentucky (Raft, Drew. Herbert,
Pitts) ( Para) Rural settings and fine horses
sole interest in trite, artificial, feebly-acted
story of unconvincing character - transformation
of tough, unprincipled gambler-hero. Much
footage on bookies and betting. Hugh Herbert
minus "woo-woo" a welcome change. 5-23-39
(A) Hardly (Y) Very doubtful (C) No
Mikado. The (D'Oyly Carte Opera. Kenny Bak-
er) (Univ) Expert. English-made version of
famous light opera, rich in color, costume and
sets, delightfully sung and acted with all the
flavor, spirit and satirical humor of orig-
inal. Should please all lovers of Gilbert and
Sullivan. 6-6-39
(A) (Y) Excellent (C) If it interests
Mr. Moto in Danger Island (Peter Lorre) (Fox)
Typical of the series, with fragile, goggle-eyed
little Moto outwitting and outpunching every-
body. Impossible heroics, grewsome thrills.
absurd hokum for the unthinking, with some
very dumb comedy for relief. Unintentionally
comic at times. 5-30-39
(A) Hardly (Y) Perhaps (C) No
Never Say Die (Bob Hope. Martha Ray e) (Para)
Utter nonsense farce about hypochondriac at
Alpine hotel, expecting early death from wrong
diagnosis, crazily involved in romance and
marriage. Would-be clever wisecracks, crude
slapstick and low-taste buffoonery make hi-
larious fun for the low I Q's. 5-23-39
(A) Futile (Y) No value (C) No
On Trial ( Litel, Lindsay. Janet Chapman )
(Warner) Third screening of old Rice melo-
drama, intelligently done, modernized a bit
with radio and airplanes, suspenseful, and with
notable child role. Tamer than present-day
thrillers and more convincing. Really above-
average Class B picture. 5-30-39
(A) Good of kind (Y) Mature (C) No
Outside the Walls (Michael Whalen, Virginia
Weidler) (Colum) Honest, released convict,
frankly admitting jail-term, seeks work but
meets endless trouble. Even his little daughter
scorns him. but he flnally wins her back
and she saves him from being framed for
return to jail. 5-23-39
(A) Passable (Y) Fair (C) Hardly
Persons in Hiding (Lynne Overmann, Patricia
Morison) (Para) Unpleasant yarn of poor
country girl in city. Loves at first sight a
wretched petty thief and turns ruthless crim-
inal to make a big-timer of him. Overmann's
convincing role as G-Man, and work of Federal
Bureau of Investigation, only merit. 5-9-39
(A) Hardly (Y) (C) Decidedly not
Return of the Cisco Kid (Warner Baxter, Lynn
Bari) (Fox) Engaging Mexican Robinhood, after
his fake execution, meets heroine on stagecoach
he had meant to rob. Instead, redeems her mort-
gaged ranch from tricky Sheriff with Sheriff's
own money. His thwarted romance is pleasantly
pathetic. 'Thriller not over violent. 6-6-39
(A) Good of kind (Y) (C) Good thriller
Risky Business (George Murphy, Dorothea
Kent) (Univ) More sensational gang-melo-
drama. Excessively brave radio-announcer, old-
time pal of big gangster, turns detective and
executioner. Fastens kidnapping upon his pal,
shoots him dead, and announces achievement
over the air himself I 5-16-39
(A) Mediocre (Y) Doubtful value (C) No
Rose of Washington Square (Power, Faye, Jol-
son) (Fox) Another "Alexander" echo of the past
— old Broadway actors, singers, dancers readily
identifiable— with many weak spots and ana-
chronisms. Heroine loves devotedly hero, an in-
curably crooked and contemptible cad. Rather
cheap stuff cloaked in heavy sentiment. 5-30-39
(A) Depends on taste (Y) Doubtful (C) No
Society Lawyer (Pidgeon. Bruce) (MGM) So-
phisticated society romance, murder and swank
gaiety in night-clubs and penthouses. Smooth
lawyer, aided by heroine and cabaret owner of
checkered past, traps the arch-gangster. And they
have Virginia sing ! Remake of 1933 picture.
"Penthouse." Well acted and directed. 5-16-39
(A) Good of kind (Y) Better not tC) No
Some Like It Hot (Bob Hope. Shirley Ross)
(Para) "Small time" promoter breezes along
on bluff and brass till his troup deserts and
climbs high. Devoted heroine brings down-and-
out hero back into picture. Tortured "swing"
music a big feature. Cheap exploitation of a
ne'er-do-well. 6-6-39
(A) Feeble (Y) Little value (C) No
Sorority House (Ann Sheridan, James Ellison)
(RKO) In silliest "college" to date, slim-
brained girls emote endlessly over Sorority bids,
till humble country girl wins the bid and the
philandering College-doctor-hero. Less saccha-
rine heroine would have helped some, but stuff
is largely amateurish and inane. 5-30-39
(A) Silly (Y) No (C) No
Streets of New York (Jackie Cooper, Martin
Spellman) (Monogram) Wholesome, telling
story of social and fistic struggles of clean,
true boy to overcome slum antecedents and
win law education. Worthy little picture de-
spite over-sentimental bits, some obvious ser-
monizing, and rather ineffective ending. 5-23-39
(A) Fair (Y) (C) Mostly good
Spirit of Culver (Jackie Cooper, F. Bartholo-
mew) (Univ) Surly vagabond boy. sent to Cul-
ver (by American Legion ) is painfully re-
bellious till fine roommate and comrades restore
his patriotism. Return of his father, supposed
dead hero, and Freddie's cabaret romance,
doubtful plot values. Total effect good. 5-9-39
(A) (Y) Very good of kind (C) Fairly good
The Hardys Ride High (Rooney. Stone, Holden,
Haden) (MGM) More pretentious and less in-
teresting of series. Supposed sudden wealth
starts family on hilarious social expansion.
Bubble bursts and they are themselves again.
fortunately. Mickey's role offers fine chance for
overacting and he takes it. 5-16-39
(A) Good of kind (Y) (C) Mostly amusing
They Made Her a Spy (Sally Eilers, Allan Lane)
(RKO) Hero and heroine. Secret Service op-
eratives, are planted as members of spy ring but
unknown to each other. All is solved by suicides
and killings. Features supposed gang-shooting
of Chief of F. B. I. and a suicide dive from top
of the Washington Monument ! 6-6-39
(A) Ordinary (Y) No (C) No
This'll Make You Whistle (British) (C & M)
English-made farce comedy about irresistible,
philandering hero, hampered by well-meaning
pals, finally winning his one real love. Fran-
tic but mistaken effort to be funny a la Holly-
wood, with antiquated slapstick, stale laugh
devices, and naive overacting. 5-9-39
(A) Absurd (Y) No (C) No
Union Pacific (Stanwyck, McCrea, Overmann.
Tamiroff) (Para) Typical DeMille historical ex-
travaganza, costly and long, on pioneer railroad
building to end all railroad building. Valor and
villainy, riot and romance, bullets and booze,
death and disaster, mileage and multitudes, on
a mass production basis. 5-9-39
(A) (Y) Very good of kind (C) Strong
Women in the Wind (Kay Francis, William Gar-
gan) (Warner) Aviatrix-heroine, to get money to
save her crippled brother, tricks hard-boiled ace
aviator into letting her fly in women's trans-
continental air-race. She wins both prize and
hero, naturally. Just another airplane thriller
of little distinction. 5-16-39
(A) Ordinary (Y) Perhaps (C) Hardly
Zero Hour (Otto Kruger, Frieda Inescourt)
(Repub) Grim little story, with some fine char-
acter acting, about producer suddenly crippled
for life when about to marry girl he has
trained to stage-stardom. His refusal to marry
and final suicide release loyal heroine for
stage success and another love. 5-23-39
(A) Good of kind (Y) Mature (C) No
E 1 HI C ATEdD MAL
MdiSiill^
he Magazine Devoted Exclusively
0 the Visual Idea in Education
SEPTEMBER. I
public Ubrary
^ -ity, Mo.
Library
9 39
Kansas City,
Teacbers
VOLUME XVIII. NUMBER 7
WHOLE NUMBER 174
[^C^O■i^-^^ A-M
IN THIS ISSUE
The Radio and
Visual Aids
'Measuring Some "Intangible"
Effects of Motion
Pictures
The Status of Visual
Instruction by
Projection in
Illinois
Motion Pictures —
Not for Theatres
ConsTKisT OF Natubi Notes
25c A copy * $2.00 PER YEAR
i\ute how conveniently targe periodicals are used.
Teaching Technique with the
Spencer Delineascope
Today's treasure chest of pictures is an almost
bottomless one. News weeklies, travel maga-
zines, educational publications, photographs,
post cards and lantern slides yield a wealth of
material which can be magnified vividly and
dramatically in the classroom by means of this
Spencer Combination Delineascope.
This type of instniment is rapidly being
recognized as the logical teaching aid in current
events, history, geography, art, and many other
subjects. Material is always available and at
no cost. Indifference is transformed to eager
interest when students summarize their projects
by opaque projection. Grade school children
enjoy operating the instrument.
The Spencer dealer in your vicinity will be
glad to arrange a demonstration. Or, if you
prefer, we will send you an illustrated folder
upon request. Write Dept. W12.
Spencer Lens Company
MICROSCOPES
MICROTOMES
PHOTOMICROGRAPHIC
EQUIPMENT
REFRACTOMETERS
COLORIMETERS
BUrrALQ I I SPECTROMETERS
PROJECTORS
Dfi
£ EDUCATIONAL SCREEN
SEPTEMBER, 1939 VOLUME XVIII
NUMBER SEVEN
Contents
Diversltorlals
234
The Radio and Visual Aids
W. M. Gregory
235
Measuring Sonne 'Intangible' Effects of Motion
Pictures
Lloyd L. Ramseyer
237
The Status of Visual Instruction by Projection
In Illinois
Alvin B. Roberts
239
Motion Pictures — Not for Theatres
Arthur Edwin Krows
242
Among Ourselves — Notes fronn and by
The Departnnent of Visual Instruction
Conducted by The Editorial Comnnittee.
246
Film Estimates
248
Teaching Fundamentals of Blocking — in Hand
■made
Lantern Slides. R. N. Southard
249
Among the Magazines and Books
Conducted by the Staff
250
The Federal Film
Conducted by Arch Mercey
256
News and Notes
Conducted by Josephine Hoffman
258
In and For the Classroom
Conducted by Wilber Emmert
262
Current Film Releases
266
Among the Producers
268
Here They Are! A Trade Directory of the Visual Field...
272
The EDUCATIONAL SCREEN published monfhiy except July and August by The
Educatlonel Screen, Inc. Publicetlon Office, Pontiac, Illinois; Executive Office, 64
Eeit Lele St., Chicago, Illinois. Entered at the Post Office at Pontiac. Illinois, at
Address communications to Executive Office, 64 East Lalia St., Chicago, III.
$2.00 a Year (Canada, $2.25; foreign, $3.00) Single Copies 25 ets.
THE EDUCATIONAL SCREEN, Inc.
Directorate and Staff
Ndun L. GrMiii. Editor Jouphlne Hrtau
Evelyn J. Bahrr F. Dtln McClusky
Wllbcr EiniMrt Stanley R. Greene
Ann Gale Etta Schneider
Page 232
The Educational Screen
SATISFV
FUTURE MAGELLANS
Travel via the picture route . . . pictures of far places,
strange lands and customs . . . help to satisfy the inner
desire of young adventurers . . make geography lessons
vivid and vitally interesting.
In teaching any subject, to pupils of any age, B&L
Balopticon projected pictures — make every instruction
period more interesting . . . make learning a pleasure . . and
lessons unforgettable.
B&L Balopticons are available for projecting still
films, lantern slides, photographs, clippings and even actual
objects and specimens. Write for descriptions and prices.
Ask for catalog E- 1 1. Bausch & Lomb Optical Co., 695
St. Paul Street, Rochester, N. Y.
BAUSCH &• LOMB
FOR yOUR EYES, INSIST ON BAUSCH > LOMB EYEWEAR, MADE FROM BAUSCH t LOMB
CLASS TO BAUSCH « LOMB HIGH STANDARDS OF PRECISION .........
September, 79 19
Page 233
Now ^^^ School Con Afford
TAIKIN6 MOTION PICTORES ~
New Low-Cost Sound Projectors are within the reach of All
Many hundreds of schools have adopted the new Amprosound
Projectors. Their low prices have brought them within the reach of
every budget. With these remarkable new models you can project
sound pictures inexpensively — anywhere and at a moment's notice!
You simply set up the machine, plug it in and turn it on. It is as
simple as that! All controls are centralized on one convenient illu-
minated panel. Threading has been simplified so that it is as easy
as on the ordinary silent projector. Truly — the merest novice can
operate these new units as easily as a radio.
Another important feature of Ampro's new Models X and Y is
the extreme quietness of operation. There is none of the customary
objectionable loud hum. When you are right next to the projector
itself you are scarcely conscious of its operation. The proof of all
this is the fact that no case or "blimp" is required to cover the
projector when it is being operated.
Convenient portability is another characteristic of the new
Amprosound models. These machines can be packed in a few
moments' time — they swing into operation as easily and as quickly
as a portable typewriter!
AMPRO
PRECISION CINE EQUIPMENT
Ampre (erporitUa, »3» M. Weiltia Ate. Chicago, III.
MANY OTHER UNUSUAL FEATURES!
In addition, the new AraproHound Unitft offer numerouH other special
features and advantages that make (hem today's Krentest sound projector
Talu«?s. These include: A Quick-Cleaning Optical System; Kconomical
Operation, with the standard pre-fooused projection lampM; New Simpli-
fied Design — it is just mechanically impossible to tear film pArforalion —
and fast Automatic Rewinding. And to top these all are the new low
prices so that now even the most infrequent user of sound films can no
longer afford to be without efficient stmnd projection equipment. Send
coupon below for full details.
NEW LOW PRICES
Model **X*'- — equipped with 60 cycle A.C. motor, indudlnt;
1000 foot reel, S" dynamic speaker, complete accessori(f«
and cords, comes in one case all weighing only
49 lbs
Model '*Y" — equipped with Universal A.C.-D.C. motor for
both silent and sound film speeds, including completf
accessories and cords, with 12" dynamic speaker. comeK
in 2 compact cases
(Model "Y" also is available in one case, complete accessories, with S'^
speaker. — Can also be obtained Reverse and Still Picture Button at
slight extra cont.)
$275
$295
Plea«« ftcnd mr ibe bpw 1939 Ampro <UtaloK. 1 am parllralarly tntereited lat '^
[_j New Atnproonund Model* "X" sod "V"
n Ampro 16 mm. hilrol and Coovrrlihtr to Sound Projector*
l_] All Ampro 16 mm. Sound I'mjerlors including Ampro<Arc
n Ampro 16 mm. Conlinuon* Projector* (for Ui»play*— World** Fair
and CoDvcnlion Exhibit*)
Namm
. SiaMl.
Page 2 34
The Educational Screen
'^ii/et5itoti€il5
The Film Evaluation Project
IN VIEW of the most auspicious beginning last Spring, the
project for a national evaluation by teachers of films used
in their own classrooms will be substantially extended during
this school year. The March-to- June experimental effort
brought in thousands of Score Cards from more than 300
teachers in 36 States, on 1095 different films. Our new plans
contemplate a Judging Committee of a thousand teachers. All
present judges will hear from us shortly by direct mail.
The first elementary data to be printed on results so far will
appear in the forthcoming 15th edition of "1001 Films." An
entirely new feature of that edition will be a complete Alpha-
betical Listing of the nearly 5000 films appearing in the body
of the book under subject classifications. This alphabetical
list will indicate the 1095 films so far evaluated. One * after
a film means that at least one Score Card has been received
on that film. Two ** mean that Score Cards in file are fairly
numerous. Three ♦** mean that the Score Cards are approach-
ing the number needed for a significant rating of the film from
multiple teacher judgments.
Each teacher on the Judging Committee this year will
receive free copy of the new "1001 Films". The alphabetic
listing will permit checking off those films already evaluated by
the teacher, and will also show the films on which Score Cards
are most needed. As the **♦ films reach the quota needed for
a reliable composite rating, all judges will be advised and will
omit scoring said films thereafter.
An Addition
THE Educational ScRrEN plans to add an Editorial Ad-
visory Board of Ten. We want it thoroughly representa-
tive of and satisfactory to the field, and it should therefore
be elected by the field as well as the magazine. To this end
we sent ballots to twenty-four outstanding leaders in visual
instruction — eight in the West, eight in the Mid-West, eight
in the East and South. Within ten days, 18 of the 24 ballots
came back, and the rest are expected soon. Announcement of
the new Board will be made in October.
An Enlargement
WE suspect that our enlarged department "The Literature
in Visual Instruction — A Monthly Digest", formerly
called "Among the Magazines and Books", will be emphatically
approved by many readers. We invite your careful perusal
of same and your reaction by mail, if and as the spirit moves.
Address Miss Etta Schneider, the new Departmental Editor.
Something New in "Surveys"
THE Roberts survey of the status of visual instruction pro-
jection in the schools of Illinois, presented in this issue,
impresses us as the sort of thing greatly needed for all the
48 states. Among the many questionnaire "surveys" previously
made in various areas, this one is more or less unique (1)
in showing a return of about 30% on nearly 2000 question-
naires; (2) in being thoroughly concrete and practical in its
quest; (3) in keeping the number of questions asked within
reasonable bounds ; (4) in avoiding hypothetical questions to
which only vague answers can be made and which therefore
yield statistics of a meaning and value quite uncertain; (5)
finally, in being concise, precise, and factual, less pretentious
and more effective, and thus presenting simply, clearly and
accurately an actual status quo.
We hope to offer similar surveys of other States at intervals
as frequent as possi1)le. A standard questionnaire, the same
form to be used in all States, would yield data readily tabulated
into totals for the entire country. Mr. Roberts' data for
Illinois are much more complete and informative than any
previously gathered. A questionnaire similar in size and scope
would doubtless produce equally reliable results in any State
if, the Union.
Airlines and Schools
A TRIO of Marbles from California, father, mother, and
five-year-old son, visited us this summer in Michigan.
Arthur L. Marble gives the summer courses in visual instruc-
tion at the University of Utah. This year he added a novel
feature to the course which we would pass on to other Directors
of Visual Courses for judicious imitation wherever the situation
permits.
Mr. Marble convinced the authorities at a trans-continental
airline base at Salt Lake City that it would be to their ad-
vantage to furnish a 21 -passenger ship with crew for one-hour
flights by members of his classes, who might wish the ex-
perience, at the bargain price of $1.00 per head for the hour.
Seven flights were made during the course, the Director and
20 students filling the plane for each flight.
The benefits to all concerned must be obvious. The students
gained a visual knowledge of the Great Salt Lake area over a
100-mile radius obtainable in no other way; and the great
majority, making their first flight, became real flying enthus-
iasts. The airline company, at minimum advertising cost and
effort, achieved 141 whole-hearted boosters for the flying idea
who will inevitably communicate their glowing convictions to
thousands of their pupils, all potential customers for the air lines
immediately or in the very near future. We urged Mr. Marble
to consider seriously the idea of developing on a nation-wide
scale such cooperation by the airlines with the visual instruction
field. There are real and practical values there for both the
schools and the airlines.
The Film Estimates
THIS month marks the completion of 13 consecutive years
of the Film Estimate service as printed in this magazine
and elsewhere. More than 5000 theatrical features have been
covered since September, 1926. Our problem of "space" be-
comes more serious every year as the visual movement grows,
despite the increase we have made in the number of pages with
each succeeding volume. The current volume (XVIII) for
example, carries 12% more pages in its first 6 issues than the
corresponding issues of Volume XVII, but space requirements
arc still pressing.
We plan, therefore, to gain a bit more space, for material
specifically on our field of visual education in schools, by
dropping the Film Estimates from the magazine hereafter.
(This does not apply to the weekly service of Film Estimates
nor to syndication of same in other publications). Therefore,
unless there is a very wide and strident chorus of objection
from our readers, the pages of Film Estimates in this issue
will be the last to appear in the Educational Screen.
N.L.G.
THE RADIO
AND
VISUAL AIDS
Summarizing the major steps involved and
equipment used in Cleveland's remarkable
adaptation of radio for visual instruction.
By W. M. GREGORY
Educational Museum of Cleveland Schools
ONE hundred twenty-three schools are eciuipped
with radio receiving sets, projectors, and the
complete set of lantern slide lessons. This forms
a network that binds closely together the classroom
work of pupils, teachers, and visual aids.
The lessons are broadcast from WBOE (41.5 mc)
which is owned and operated by the Cleveland Board
of Education. The three radio studios are on the sixth
floor of the Cleveland Board of Education Building.
At Lafayette School is located the 500 watt Collins
transmitter room and broadcasting antenna. The qual-
ity of reception has been reported as satisfactory in 94%
of the outlets. An increase in the height of the anten-
na will create better reception for all schools.
The results of the experimental broadcast of radio
lessons in 15 minute periods have justified the cost and
extra planning in that the type of supervision has
changed, courses of study are more mobile juid visual
aids are in active use.
1. The School Unit.
1. A school unit for radio visual lessons. A short
wave high frequency receiver and loud speaker at the
center, two projectors, the units of lantern slide lessons
and the scripts. Each elementary public school in
Oeveland has this equipment ready for use. Radio
lesson slides in each building (1939) are listed as fol-
lows:
Title
No. of Units
No. of slides
Art
2
68
Art — Junior high
2
59
Elementary Science
6
181
Geography
6
288
Geography Maps
1
50
Health and Hygiene
6
67
Handcraft
1
12
History
3
128
History Maps
1
25
Kindergarten Stories
1
29
Safety
4
165
Adult Education (your
child) 2
98
Social Graphs
1
50
Writing
1
50
Total
37
1270
2. One of the Selection Committees.
2. Committees select the visual materials and
prepare the script for each radio lesson. This is the
art committee consisting of the art director, the art
supervisor, and a representative of the Educational
Museum. There are twelve committees working to ad-
just the lessons to pupils. Elementary, junior high,
and senior high schools have special centers for the
experimental class room work of each committee. The
visual materials are supplied by the Educational Mu-
seum for these trial lessons. When the material is
found to be suitable to the grade level it is then re-
turned to the Educational Museum to be duplicated
and organized into lantern slide lesson sets for each
school in the city.
The various committees prepare the lesson script
for the broadcast, the guide sheets for the class room
teacher and make the necessary adjustments tliat are
required for the city-wide use of curriculum materials.
Page 236
3. Visual material is frequently obtained by the
camera for special use. Captain Roth of the police
department and Miss Georgiana Downing of Robert
Fulton School are making a jx)sitive safety picture to
be used city-wide to train pupils to do the safe thing
at a hazardous crossing. This picture becomes the
basis of a script that is written at Robert Fulton School
under the direction of Georgiana Downing, principal,
and Leslie R. Silvernale, safety supervisor. The script
thus prepared is used in trial lessons with pupils and
becomes a definite part of the Cleveland Course of
Study in safety. The Safety Council of Cleveland and
other organizations are interested in these broadcast
lessons. This particular item is only one of the many
where the camera brings into the classroom local situa-
tions that have valuable lessons for the entire school
system. Local materials have been secured in social
studies, covering voting, street cleaning, water supply,
.-,. ■■Shuulin^" a scene lu: a salcly piclu!'--.
garbage disposal, sewage disposal, shipping of heavy
raw materials, and other important civic activities.
4. Art sketches, graphs, diagrams, charts and
maps are drawn to fit lessons in history, geography,
health, elementary science, safety, and other subjects.
This is a series of simple basic sketches for history
which have been rotaprinted on thin, clear transolene
and made into cheap lantern slides so that all classes
may have the material at the time needed. Special
artists make the sketches which are approved by the
various committees.
The Educational Screen
These simple sketches have proved to be an excel-
lent aid to all the pupils in a class. This method of
displaying materials by the lantern slide where all may
clcarlv see has been found superior in the radio lessons
to the use of similar material in a text book.
5. Assembling duplicate sets of lantern slide les-
sons to be sent to classrooms in Cleveland for radio
S. Assembling slides for radio lesson.
broadcasts. These sets have been selected as above by
committees and are the basis of radio lessons. The
slides for each subject are assembled about fifty in a
slide box. Each box has the slides for a division ; e.g. in
elementary geography there are six boxes, one each
for 4B, 4A, 5B, 5A, 6B, 6A. This gives a teacher the
exact material required for the grade level of her class.
The small box is a convenient method of handling the
material. Each subject has its colored labels so that
the slides for various subjects are easily identified.
It is well to note that all lantern slides used in the
Cleveland radio lessons are returned at the close of the
spring semester to the Educational Museum for replace-
ments, corrections, changes in the pictorial subjects, etc.
6. This fifteen minute radio history lesson is in
progress in one of the 120 5A history classes of Cleve-
land. It is received from the central station over the
radio loud speaker at the left. The specially prepared
map is projected onto the screen in a semi-dark room.
About 4,500 pupils are receiving this lesson. This is
a method of using modern tools to put the ideas of the
course of study into operation in the classrooms of a
large city school system. This lesson uses a map and
two or three lantern sides from the especially prepared
set of lantern slide lessons which is retained by the
teacher as a basic set for the semester's work. The
lantern slides are always at hand for check up and
review. There is an added advantage in having ma-
terial selected for the grade level.
Series of sketches for history.
visual-radio classroom.
September, 19}9
Page 237
7. This is tlie rcpular program for radio lessons.
Each lesson is 15 minutes in length and in each lesson
there are silent periods for pupil activity. The radio
lesson is not one of mere jiassive listening but it pro-
vides frefiufiit opportunity for questions, checking, and
otiier activities.
In the spaces reserved for junior and senior high
schools are broadcasts of current events, discussion of
modern ])rol)lenis. Jind other types of activities suited to
the secondary levels.
These experiments with visual radio lessons in Cleve-
land have indicated the value of these new tools as fol-
lows :
1. High grade mass instruction.
2. Exposure to good English.
.?. Pointed use of maps, charts, and pictures.
4. Guidance in observation.
5. Presentation of new ideas.
Time Mon. Tues. Wed. Thurs.
Fri.
9 :1S 6B Spellinj! t)B Spelling oB Spelling
6B Spelling
9:35 4B 5B-A 2A
Geography Science Arithmetic
10:00 5B Histof) 2B Music 6B English 4B-A
Jr.-Sr.H.S.
10:35 Science
Programs
11 :00 6B Art 3B-A 4B Health
Science Reserved
11.30 For
1 :35 5B Spelling 5B Spelling 5B Spelling Programs
2:00' 4B Music 5B Science YourChild ^o Junior
SB Spelling
Primary
Tryout and his and Senior
Safety
Lesson School High
2:40 Parents of Schools
Pre-School
Children
3:15 ElcmPhys.
Ed. Tchrs.
1st & 3rd
Tues.
7. Schedule for radio lessons.
MEASURING 'INTANGIBLE' EFFECTS
OF MOTION PICTURES
By LLOYD L. RAMSEYER
President of Blufiton College,
Bluffton, Ohio
Some systematic testing for other than factual
values derivable from use oi documentary films
IT is a generally accepted fact that motion pictures
are an aid in the teaching of factual information.
Many experiments demonstrate clearly the useful-
ness of films for this purjio-se. It is now generally con-
ceded that if films are ])ro])crly used in the cla.ssroom
they will result in a saving of time and energy in teach-
ing the informational subject matter of the usual course
of study.
We must admit, iiovvever, that the communication of
information is only one of the many aims of instruction
in any subject and in any classroom. W'e want to create
awareness of problems, desirable .social attitudes, clarity
of thinking, and the like. Much less work has been
done in the measurement of these so-called "intangible"
results of the use of films than in the measurement of
the increase of factual information.
The study rejxjrted here concerned itself primarily
with the attempt to reach some of these non-factual ob-
jectives. Motion picture films of the docimientary
type were used. The study consisted of the use of two
groups of films. In the first group were films dealing
with the work of the \N'P.\, in which Hands and vari-
ous parts of Work Pays America were used. The second
group dealt with the problem of .soil erosion, The Plow
that Broke the Plains and The River being used.
Answers were sought to such questions as the fol-
lowing : What effects do such films have on the social
attitudes of pupils? Do films make individuals more
conscious of the existence and importance of social
problems? Do such films aid people to see the social
implications of situations involving the social problem
in question? What effect does such a film have on
the relative importance which pupils attribute to human
and finincial values? Do individuals think more clearly
and consistently about these problems after seeing a
motion picture than they did before?
Nearly two thousand individuals in the schools of
Ohio were included in the experimental and control
groups. These individuals were enrolled in fourteen
widely scattered schools in the state of Ohio, the com-
nmnitics chosen representing different ])opulation types.
Subjects ranged from the seventli grade to and includ-
ing adults. Only a part of this total group was used
in the attempt to find answers to some of the questions.
In connection with attitudes, however, data are avail-
able from the entire group.
Movies and Attitudes
The Payne Fund studies have shown quite clearly
that tlicatrical motion pictures do affect the social at-
titudes of children. Little has Ijeen known, however,
about the effectiveness of less highly dramatic and more
factual films, shown under school conditions. All
showings in this study were under normal school con-
ditions. In all cases but one, sixteen millimeter pro-
jection equipment was used. Showings ranged from
thirty to forty-five minutes in length.
Attitude tests used were built and scaled by the
use of Thurstone technique. Two sets of tests were
employed. One of these measuretl attitude toward the
Page 238
The Educational Screen
WPA and was used in connection with the WPA pic-
tures. A test on attitude toward government help in
the control of soil erosion was used in connection with
the soil erosion pictures.
A total of 784 individuals was in the experimental
groups which saw the WPA films. They showed a
shift in attitude in the direction of a more favorable
attitude toward the WPA as a result of seeing the pic-
ture. The shift in mean score was from 6.61 to 7.27.
This change was fifteen times the probable error of
the difference in means. After a period of two months,
the difference between the attitude then shown and the
original attitude was still six times the probable error.
A total of 600 individuals was in the experimental
group which saw The Plow that Broke the Plains.
They, to, made a shift in attitude which was in the
direction expected, more favorable to government help
in the control of soil erosion. Before seeing the picture
the median attitude test score was 8.09, which changed
to 8.42 after seeing the picture. The difference in these
scores was 11.4 times the probable error. After two
months, much of the change still remained, the dif-
ference between the attitude then shown and the ori-
ginal attitude being 6.9 times the probable error.
A group of 134 high school pupils saw The River.
The mean attitude test score of this group was 8.25
before seeing the picture and 8.53 after .seeing it. This
difference was 7.6 times the probable error. In this
case no attempt was made to find the retention of the
attitude change.
Failure to secure a greater shift in attitude toward
government help in soil erosion control was partly due
to the fact that most pupils were originally very much
in favor of such control. This made further shifts
difficult to secure.
Several hundred individuals were included in control
groups. Tests were given to these groups at the regular
intervals but no stimulus material was presented. Al-
though there was some change of score without the
picture, these changes were not of statistical significance.
From these data it is evident that documentary films
of the type used do change social attitudes, and that
these changes do have a degree of permanence.
Movies and Social Awareness
Change of attitude is some evidence of increased
awareness to the existence and importance of a social
problem. Another efl^ort to get at this question was
made through the use of essay type statements made
by pupils. Some of these indicate that the individual
had a better grasp of the significance of the problem
after seeing the picture than he had before seeing it.
Some of these statements, made after seeing the WPA
pictures, follow.
"I believe the motion picture broadened my understanding
of the work of the WPA."
"It made me feel better toward them because now I know
what they do and how much good work they do."
"These pictures have made me a little less prejudiced against
the WPA and I now realize some of its good works."
"It did make me change my mind in some degree mainly be-
cause it increased my rather limited understanding and knowl-
edge of the subject."
Some of the statements collected from those who saw
the soil erosion films provide more clear cut evidence
of increased sensitivity to a problem. A few of these
are quoted below.
"It made it clear how serious it was. I didn't think much
about it when I read about it in the papers."
"The picture opened my eyes to things I never knew
existed."
"I never sensed that the Great Plains were in such a dis-
tressed situation."
"I have read about the dust storms in the Great Plains but
I never realized it was such a terrible thing. Something should
be done about it soon."
"The picture showed me that soil erosion problems are too
big for the individual farmer to handle."
"It gave me the idea that soil erosion is a very serious
problem facing us today."
Statements such as these indicate an increased con-
sciousness of the importance and seriousness of the
social problem involved as a result of seeing the film.
Movies and Ability to see Social Implications
In order to find an answer to this problem a type of test
was constructed in which a social situation was described
and then a series of possible results were given. Some
of those given actually would be results, others would
not be. Four situations of this kind were included in
the entire test. One of these is given here as a sample
of the type of material used. Pupils marked these
possible effects as either "results," "uncertain," or
"not results " They were also asked to mark the three
most important and the three least important results.
Condition III Some people are unemployed who have never
been trained to work in factories, to dig with a pick and shovel,
or to do white collar jobs such as clerical and office work. Many
of these people, however, are good actors, fine musicians, or able
painters. The government might pay these people, at the
regular rate for such work, to put on plays, organize and play
in orchestras, or to beautify public buildings with works of
art. If the government does this, then:
1. Folks who work at other jobs won't be provided for
as they should.
2. It will take large sums of money for things we could
get along without.
3. Some of the finer things of life will be encouraged.
4. These people will feel that their art is really worthwhile.
5. Many artists, actors, and musicians will come to this
country from abroad.
6. There will be an increase in the demand for supplies
for musical instruments.
7. These people can furnish necessary clothing for their
children.
8. The pay of musicians will be lowered.
9. The public will be entertained by the work of the actors
and musicians.
10. These people will have a chance to practice and im-
prove their art.
11. The public will become less interested in worthwhile
things.
12. Attendance at motion picture theatres will be much
larger.
13. More supplies will be sold for painters.
14. Artists will have money to buy food for their families.
15. Owners of public halls can rent them for these musical
entertainments and plays.
In general, after seeing the picture, pupils were bet-
ter able to differentiate the results which would prob-
ably follow the condition described from those which
would not be results. Changes in ability to pick these
effects were not phenomenal, but there was a distinct
trend in the direction of a clearer insight into probable
consequences of the condition described. In so far as
the values were concerned, there was a general shift
(Concluded on page 261)
September, 1939
Page 239
STATUS OF VISUAL INSTRUCTION
BY PROJECTION IN ILLINOIS
By ALVIN B. ROBERTS
Principal Haw Creek Township
High School, Giison, Illinois
An original and significant survey
of Illinois schools with the excep-
tion of Chicago and Cook Coiuity.
THE major purpose of this study
was to determine not only wliat is
being done in the field of visual
instruction in the state, but how it is
being done also. School men of today
are not only interested in what is being
done today, but wliat schools will be
doing four or five years hence. This, of
course, cannot be accurately determined,
but supposition can be based upon certain
trends. Those who are interested in fur-
thering the cause of visual instruction,
by assisting teachers, principals, or super-
intendents with their particular problems
in this field, may find the results of this
study helpful.
True, a number of national surveys
have been made, but frequently only the
larger schools were contacted. These
surveys, of course, cannot reveal the
problems pertaining to the small schools
only. In other studies, only schools
owning projectors have been contacted.
Such a study cannot show the reaction of
the sch<x)ls not owning projectors in re-
gard to the development of a visual aid
program. A national survey cannot pre-
sent the problems of any one state, and
it is only when these local problems arc
known that real progress can be made.
The information used in the preparation
of this article was obtained through the
questionnaire method. These question-
naires, which were limited to projection
material only, were sent to 1987 schools
or school .systems in the state of Illinois,
with the exception of the schools of
Chicago and Cook County. All private
schools recognized and accredited were
contacted also. In all, 558 schools returned
the questionnaire. Of this number, 315
reported that they owned projectors and
were carrying on a visual instruction
program. Owing to the fact that all
schools did not check each item, the pcr-
CHART I
CloMilteation 0/ SehooU Conduclinp A
TiMuat InMlrurtiou Propram
Number of
Oto
ISl to
301 and
PupiU
160
SOO
Above
ToUl
Elementary
28
16
26
64
HiRh School
45
30
28
103
Elementary A
HiKh School
41
S7
70
148
ToUl>
109
82
124
816
Grand ToUl of All Schools Ill
centage when given (beginning with
Chart III) is based on the total number
of replies to each item. Chart I shows
how the schools were classified and
grouped according to size. There is a
fairly even distribution for each classifi-
cation. From a study of this chart it
would seem that the schools of the ele-
mentary group arc not keeping pace with
the other two. Only sixty-four ele-
mentary schools rei)orted ; this is approx-
imately 11% of the total number of
schools reporting. This may be due to
the fact that teachers have felt that
movie films and slides were more suited
for the advanced grades and high school.
It is true also, that films for the lower
grades, especially the primary, are just
beginning to come on the market.
In studying the high school group, one
may be inclined to say that the smaller
schools are doing more in the field of
visual education. However, one should
keep in mind the fact that twenty-eight
high .schools of 301 pupils or above is a
much higher percentage of the total num-
ber of that size in the state, than forty-
five of the high schools with an enroll-
ment of less than 150. In the combined
high school and elementary group, one
may assume that the larger schools are
most active in the use of visual materials.
It is surprising to note in Chart II
the number of 3Smm. projectors (88)
fully convinced of the value o{ the sound
film as a teaching aid.
In regard to the other projectors listed,
it would seem that these have been pur-
chased to supplement the movie projector.
This is not true in all cases, but a check
shows over 2.6 projectors per school
reporting. In the still projector group,
the 35mm. film strip and the opaque ma-
chine rank nearly equal for future pur-
chase. Since the opaque machine may be
equipped to handle either lantern slides
or 35mm. strip film in addition to the
opaque material this probably accounts
for its selection. The 35mm. strip film
projector, is no doubt, being considered
because of price and better adaptability
for individual classroom use. The I'xZ"
lantern slide projector has not been on the
market long enough for schoolmen to
become fully acquainted with it.
In reply to the question "Which of the
above projectors have you found iriost
satisfactory?" a great variety of answers
was received. It was impossible to tab-
ulate these, but the great majority re-
ported, "It depends on what the teacher
CHART U—Prolectorii (Ownrd)
SCHOOL AND SIZE
81
Is
li
2S Si
^1
■82
1
41
fcl.
H K c
S6mm. Sound 1 1 2 3 27 10
S6mm. Silent 2 3 IS 6 11 3 4 18 61 1
16mm. Sound 1 I 9 15 11 19 8 8 86 108 132
16mm. Silent 9 9 17 21 16 19 20 11 38 160 81
Lantern Slide 5 16 14 13 23 10 17 37 134 11
2" X 2" Slide 222 284 6 21 6
S6mm. Film Strip 6 5 16 14 13 7 12 27 100 28
Opaque 1 1 6 8 8 13 2 6 18 68 22
TOTALS 19 16 58 91 69 100 54 64 183 654 285
owned by the different school groups.
However, 61 are for silent film, and from
the comments of the person making the
report, practically none of these machines
is in use. Please note that only one
school expects to buy a 35inm. silent
machine. Nearly evcr>' one of the 35mm.
sound machines are owned by the larger
schools, and used almost wholly for audi-
torium purposes.
On the basis of the number owned, one
might say that the 16mm. silent is most
widely used. However, only 31 schools
are planning to buy the silent machine,
while 132 are contemplating the purchase
of sound machines. This is probably due
to three factors : the price of sound ma-
chines has been greatly reduced during
the last few years : more sound films are
now available; and schoolmen are more
is trying to do." It is very encouraging
to find that educators as a group recog-
nize the value of other projectors, even
though the movie is at the present time
receiving major emphasis.
A study of Chart III shows that less
than one-seventh of the schools reporting
on this item own movie cameras, birt
approximately one-third have made films.
Over eighty-one percent reporting on the
use of school-made movies believe that
they will have a place in our visual
instruction program of tomorrow. The
glassl>ead screen appears most widely
used, the plain white is second, and the
aluminum-coated is third.
The section of the questionnaire deal-
ing with materials owned, materials
rented, and the source of rented ma-
terials, was so poorly filled out that the
Page 240
The Educational Screen
section could not be tabulated. How-
ever, eighty-eight schools reported us-
ing the film library of the University
of Illinois. Fifty-two were securing
films from industrial concerns. Other
sources listed by a few schools were
the Y. M. C. A., the State Department
of Public Health, and the Federal Gov-
ernment. Seventeen schools are using
the film libraries of other states.
In reply to the statement, ".Approx-
imate annual expenditure for visual
aids", the answers ranged from 0 to
$1120. In many instances the higher
figures evidently included the price of
machines and other equipment. Many
schools seem to be depending entirely
upon free material for the visual pro-
gram. The annual expenditures most
frequently given was thirty dollars, and
CHART ni—EqmpmenI
SIZE or SCHOOL
= g 15
An
School own
a movie
camera ?
Has your
school made
films?
c u
SI
5S
eg
&1.
Yes
No
1
16
G
36
5
25
26
27
9
66
40
239
279
Yes
No
2
14
7
16
7
28
14
7
11
14
10
14
Believe in
use of school
made movies ?
23
24
30
80
150
230
Yes
No
15
2
20
3
30
7
14
4
28
21
6
39
16
SCREENS:
Glassbead ....
White
Aluminum-Coated
193
44
237
17
9
5
17
12
13
9
9
23
12
5
15
16
4
12
15
36
26
16
TOT.VLS
145
106
56
CHART IV — Administration
SIZE OF SCHOOL
S.g
— LT ^O
Have a director
of Visual
Education ?
Who*s respon-
sible, if not?
Do students
handle
material ?
Yes
No
1
23
1
37
7
20
4
23
1
33
11
50
25
247
272
Supt.
Prin. 15
Teacher 2
15
10
5
1 1
24 13
13 7
1
12
11
12
16
4
12 28
9 19
6 9
74
123
58
Yes
No
13
6
19
7
21
13
22
4
22
13
19
12
43
18
268
Do students
operate
projectors ?
Yes
No
17
9
12
22
21
5
19
15
14
12
23
150
110
260
Do students
care for
projectors ?
Yes
No
4
16
7
25
13
12
15
11
11
19
6
14
19
41
82
165
CHART V— Instruetion
SniOOI, AND SIZE
5S tdi
15
Room
Class
Special
14
6
l9
18
30
17
IS 13
23
12
2c4
eg
SK2
u o o
1&2
22
15
23
13
16
10
41
32
Number of
times films
were shown
One
Two
Three
Four
More
195
128
3 1 13
5 8 16
2 5 6
1 6 1
6
14
6
1
2
1
3
4
5
12
15
10
8
16
49
97
48
28
255
Use of films ?
Introduce
Information
Review
4
16
2
2
15
6
24
5
1
19
4
Preparation
required of
students?
16
5
4 3 4
19 16 42
3 1 4
24
171
31
226
Yes
No
17
6
17
13
14
9
11
9
12
14
31
21
135
90
225
Is sufficient
folJow up
sriven ?
Yes
No
16
2
19
2
22
3
16
36
10
169
29
198
Do teachers
get maximum
value?
Yes
No
6
13
11
12
4
11
12
14
6
16
12
36
69
125
Type of movie
preferred ?
Silent
Sound
6
7
6
2
13
9
13
13
4
17
6
15
13
13
10
9
10
35
81
120
201
Length of film ?
Reg. 400 ft.
Shorter
Longer
11
2
5
2
3
12
1
7
12
2
7
10
1
6
8
7
19
4
9
6
24
3
14
115
9
66
180
Have you found
industrial films
satisfactory?
Yes
No
10
4
11
1
25
21
8
22
2
21
20
3
15
5
49
3
194
21
215
Have you an
inter-commun-
icating sound
system ?
Yes
No
1
16
12
2
19
1
30
2
25
3
18
6
25
2
21
6
52
21
217
238
Have teachers
tried ''sound-
ing" a silent
film?
Yes
No
1
12
8
6
14
2
25
4
16
6
13
2
24
6
13
9
46
36
171
207
the second in rank was sixty dollars.
Since the membership fee with the
University Library is thirty dollars, one
may assume that the majority of these
schools arc using one and two mem-
berships respectively.
One finds that fewer than one tenth
of the schools have directors of visual
education, as shown on Chart IV, and
the majority of these are found in the
larger schools. Further study of this
chart shows that in the majority of
cases the principal is responsible for
the program, the superintendent is next,
and the teacher last in this capacity. A
large majority of the schools depend
upon students for handling material,
caring for and operating projectors.
In Chart V one notes that in every
case the greater number of schools are
showing materials in individual class-
rooms. This procedure, of course, is by
far the best practice if the rooms can
be darkened so that they are suitable
for projection purposes. One will also
note that the great majority of schools
show films more than once, the greatest
number twice. It would seem that
the common use of the film as a teaching
aid is for information. The great ma-
jority of schools require student prepar-
ation and sufficient follow-up to get the
most good from the film. However,
despite the fact that preparation and
follow-up work is required, sixty-four
percent of those reporting feel that their
teachers do not get the maximum value
from the films used.
Of the schools reporting on the type
of film preferred, over sixty percent
favor the sound film. In the great ma-
jority of cases those who gave reasons
for their selection stated that tlie sound
film made the situation more lifelike.
As to length of film, the preference
was for the standard 400 foot lensth.
This, however, may be due to lack of
experience with films of other lengths.
Over ninety percent of the schools re-
port that they have found industrial
films satisfactory. Very few schools
report using an inter-communicating
sound system. A few schools have
found it satisfactorv to provide sound
for a silent film, either in the lecture
form or in a background of music.
Probably one of the most valuable
sections of the questionnaire was that
dealing with teacher training. In Chart
VI one finds that more than seventy-six
percent of the peo{)le reporting feel
that the teacher's lack of training in the
use of visual aids hinders the develop-
ment of the visual program. Opinion
is rather evenly divided on the formal
course in the university or teachers col-
lege and the formal extension course
which would provide the teacher an op-
portunity to experiment with these ina-
terials in her own classroom. It would
seem that the great majority favor the
short, informal course of eight or ten
meetings held in the local school and
conducted by a well qualified person
at reasonable expense. However, the
questionnaire called for the type or com-
bination of types of the course or
courses preferred. On this basis, the
short, informal course ranks third in
individual preference.
September, 19)9
Page 241
Undoubtedly, most of us are interested
in the outcome of tlic visual education
program in tlu- State of Illinois within
the next few years. Judging from
what has happened in other states and
from the data on trends in Chart VII,
one may expect more film libraries
^ervicing fewer schools to be estab-
lished. It seems that at present most
schools arc considering the establish-
ment of lilm libraries at the various
teachers colleges. Very few schools will
he able to build up film libraries of
their own, and as the chart indicates,
most of these will be in the larger
schools.
What are the most essential problems
to be considered in furthering the de-
velopment of visual instruction in our
own state? These may be summarized
as follows :
1. An annual appropriation should be
included in the school budget for the
purchase or rent of slides, strip films,
or movie tilm. either silent or sound.
This study shows that many schools
own projectors but have no funds avail-
able for renting or purchasing materials
to use in them. In some instances local
organizations purchase the projector for
the school, not realizing what it will
cost to provide material to use in it.
Consequently, the school program is
based entirely on films for free distri-
bution. Because of this these schools
arc deprived of the use of the best class-
room films. The school board and the
people of the community should have
an opportunity to see some of the good
classroom films. In time they will see
tlie need for providing these materials
for the teachers' use.
2. Elementary schools should be en-
couraged to make wider use of visual
materials. One may more fully recog-
nize the need for the above when he
realizes the outstanding values that
come from tlie use of visual materials.
The need is also more apparent when
one stops to think of the great number
of students that drop out of school
shortly after completing the elementary
work. If it is necessary for these
pupils to discontinue their education
before completing the twelve years, it
is essential that their elementary work
be more extensive ; this, of course, is
one of the chief functions of visual
materials. If. through the use of visual
aids, school work is made more inter-
esting, the tendency to leave school
may be checked.
3. Schools should provide a director
of visual education. This does not
imply a full-time director, because in
many schools the work would not re-
quire it. However, the director should
have sufficient time to devote to the
development of the program, and in
addition, time to assist each teacher
with her problems concerning the use
of visual materials.
4. Schoolmen in general should be
acquainted with the service of the Uni-
versity Film Library. Less than one-
third of the schools returning the
questionnaire reported using sources
from which good classroom films are
available.
5. Industrial concerns preparing
films for school use should be encourag-
ed to provide the very best films pos-
sible, and to furnish teachers' manuals
with them. The films should be planned
to fit into the regular classroom pro-
gram.
6. More schools should use student
help in administering the visual pro-
8. More attention should be given
to the special uses of visual aids.
These special uses include assembly
programs, vocational guidance, adult
education, entertainment during noon
hours, and selling the school to the
community through school-made movies
showing the numerous activities of the
school.
CHART VI — Tracker Trainino
JM'UOOL AND SIZE
k
if i|
8*? S7
*.l
§s «2
n It Hi III . I|
- is2 isS HI
i$i S=9 uxS QnS
Do you believe
teacher lack of
Y«
11
10
21
27
1§
17
25
22
46
196
training hinders
266
derelopment of
No
6
1
S
7
6
8
6
6
18
6«
your prosram !
TypeofCouneT
Formal courne
in the uni-
versity and
teachers
eollesea?
Formal
extension
course pro-
vidinff the
teacher an
opportunity
to experiment
with visual
material in
her own class
room 7
Short in-
formal course
in the local
(chool?
11
10
11
67
76
267
10
13
12
126
gram. This not only provides valuable
training for the students, but gives the
classroom teacher and visual director
more time to devote to the educational
side of their work. This training will
be of special value to the boys and
girls who are planning to enter the
teaching profession.
7. Schools should be encouraged to
rent projectors (circuit service) only
when finances arc such that purchase
9. If the school is to receive one
of the greatest values from the use of
visual aids, that is. presenting more
material in a shorter period of time,
teachers should use films to introduce
the unit of work. The schools can
solve this problem only with the help
of the film libraries. Probably in the
future, films may be retained by the
school for a longer period, and through
the establishment of more libraries
CHART VII— Trend*
4
4
4
S
t
t
t^s
1
So
g
8*
t|
El
II
t1.
35§
SCHOOI. ANn SIZE
1
Is
'12
if
^2
li
c
8
i=!
-
Do you believe that.
dependinic entirely
upon the lanre rental
libraries for material.
Yes
6
6
12
13
11
7
12
12
30
Ill
you can develop a
No
9
t
11
18
«
15
20
16
28
130
241
viitual aid proKram
that will meet the
needs of your school ?
Do you believe small
libraries servicinir
from eiKht to fifteen
Yea
11
i
9
19
!>
9
21
15
24
121
schools would more
No
6
6
11
10
11
12
9
9
24
99
220
adequately mt-et your
needs?
Has anything been done
in your section of the
Yes
S
3
6
4
2
3
1
3
10
16
state in settintr up
No
11
9
12
2S
20
17
28
22
44
191
226
small libraries?
Do you expect to build
Ye-*
2
2
5
6
4
s
9
2
10
44
up a library of movie
246
films in your school ?
No
14
10
15
10
20
18
22
24
48
201
for the time being is out of the question,
or when the rented projector is to be
used to sell the community the idea
of a visual program. At best, such
rental servics arc very inefficient, and
if continued over a period of years, it
is cheaper to buy a machine and arrange
a program using materials from the
University Library that will more
adequately meet the needs of the school.
servicing fewer schools, the films will
be available when needed.
10. Training in the use of visual
aids should lie provided for teachers
now in service, and for those planning
to enter the profession. Formal courses
given by institutions preparing boys
and girls will meet the need of the latter
group. In addition, opportunity should
(Concluded on page 267)
Page 242
The Educational Screen
MOTION PICTURES-
NOT FOR THEATERS
By ARTHUR EDWIN KROWS
Editor of "The Spur," New York City
The story of the pioneer producers continues
into the second year of the first detailed history
of the non-theatrical field. This Eleventh In-
stallment deals principally with Frank A.
Tichenor and his Eastern Film Corporation.
IN 1921 the name, National Non-
Theatrical Pictures, and implications
in the announcement of its character
• — forty-two exchanges, library of films,
availability of projectors, with operators
and screens — were especially significant.
It was clear that Harry Levey had en-
countered the gravest existing problem
in the whole "educational" field —
distribution — and he now, as Earle Mam-
mons had done in a larger way, was
subordinating all else to overcoming it.
At that task let us leave him for the
time, adding only that in the same week
when Levey left Universal, his place
was taken by a young civil engineer,
a Princeton graduate, who had no previ-
ous knowledge of films but a great en-
thusiasm for promoting new business.
The newcomer's name was Clinton F.
Ivins. So the Universal industrial di-
vision continued.
A Champion Arises
Prodably no non-theatrical outgrowth
of a theatrical firm had stranger begin-
ning than the phoenix which arose from
the ashes of General Film. And I do not
mean the library plan of Mrs. Dolese and
Mr. DeLorme. When that corporation
had been in happy circumstances, Frank
A. Tichenor, a young Kentuckian en-
gaged in the production and distribution
of stereoptican slides in New York, had
bought an interest in it worth about
$30,000. Then came the adverse patents
decision which doomed the enterprise.
Tichenor saw that the wealthy backers
were preparing to write off their lossses
and withdraw, and he persuaded them
to let him fight the battle a little longer
and save the investment which meant so
much to him. They liked his spirit and
administrative ability and consented, mak-
ing him executive vice-president and gen-
eral manager that he might have the
necessary powers.
He at once took drastic steps to cut
expenses and, by reefing the sails suf-
ficiently, he even dared hope that he
might ride out the storm, keeping the
concern permanently in business. Un-
happily, he did not succeed that far, al-
though human nature being what it is,
it is unlikely that anyone else at all could
have accomplished more in the industry
as it stood. Indeed, few could have done
as much. Tichenor not only saved his own
investment ; he salvaged what remained
of the investments of the men who had
shown their faith in him. And two,
especially, Frank H. Hitchcock, the coun-
sel for General Film who had been post-
master-general in President Taft's cab-
inet, and Frederick S. Peck, Republican
national committeeman, became his stead-
fast friends from then on.
Shortly before the ultimate and in-
evitable collapse of General Film,
Tichenor fomied a concern called Photo
Play Productions, and under that name
engaged in making what later proved to
be a highly valuable property, the film
version of Edward Peple's "The Littlest
Rebel," starring Dustin Farnum and
with Mary Miles Minter — or Juliet
Shelby, as she was known then. Al H.
Woods, the theatrical producer who had
staged the play originally on Broadwaj-,
was an old friend of Frank Tichenor —
so far back that he had been the first
business associate the promising young
man had had when he came to New
York from Kentucky to enter the theatri-
cal game. It may be remarked, in-
cidentally, that while Tichenor came from
the South, his father had lived most of
his life in New England. Isaac Tichenor
in the direct line, was one of the first
Governors of Vermont.
Peck owned the General Film studios
at Providence, R. I., and he wished to
exploit the place further — for it still held
elaborate lighting and stage equipment
and large stocks of scenery, properties
and costumes — so he had Tichenor join
him in an organization known as Eastern
Film Corporation, the main offices to be
situated in New York. Tichenor already
had his Photo Play Productions offices
in the 23-story "skyscraper" at 220 West
42nd Street, newly erected by Asa
Candler, the "Coca-Cola King," and
Eastern Film was given the same ad-
dress. Of course, anyone wanting to
start an active film business in New
York City, with cutting rooms and stor-
age vaults, had to locate in one of the
buildings approved for the purpose by
the National Board of Fire Underwriters.
In that same building was a new film
enterprise of the Miles Brothers, staunch
Vigorous, alert, resourceful and extra-
ordinarily competent, Frank A. Tiche-
nor was a powerful factor in steadying
non-theatricals with lessons learned in
theatrical production and distribution.
Independents and implacable enemies uf
the Patents group. At San Francisco, in
1902, Barry J. and Herbert Miles had
opened what is said to have been the first
film exchange, following with another,
shortly afterward, at Los Angeles. But
the early vicissitudes of the Patents wars,
when General Film began its own
"licensed" exchanges, had forced them
out, and they had come East to carry on
in the main opposition camp. In 1910
they occupied their own building on Sixth
Avenue in New York ; and Herbert was
secretary there of the Film Service As-
sociation. He now had with him a
younger brother, Joseph R., who had en-
tered the business with characteristic
family enthusiasm for it, and who was
destined to be the sole survivor of the
line in it, although Herbert outlived hirH.
One of the new screen interests then
awaiting exploitation was represented
notably in the remarkable animated draw-
ings of Winsor McCay. Herbert Miles
decided to develop the line as a serious
business so, with the newspaper car-
toonist, Charles R. Macauley, he formed
the Kine Cartoon Film Corporation, tak-
ing a suite of offices for it in the Candler
Building. Among the artists engaged to
produce for liim were Percy L. Crosby,
later to become the creator of "Skippy";
Frank Nankivell ; Foster M. FoUette, of
the New York Sunday World ; Gregory
La Cava, one day to become a celebrated
Paramount director ; and Arch B. Heath,
cartoonist on the New York Globe and
an important present subject of attention.
Joseph Miles had nothing to do with
this venture. At this time, in fact, he
and his brother were so far estranged
that they did not speak to each other.
And then, besides, Joseph had a totally
different idea of how to succeed in the
film business. In the same building, 220
West 42nd Street, he had set up a group
September, 19)9
Page 243
of tilni cuttiiig rooms which could be
rented ^cparately by jiersons working on
independent prtnluctions. As part of the
layout there was a large projection room,
open to those who wanted to show their
new features t</ the regular distributors
and state rights buyers. Somewhere in
the scheme had figured an architectural
plaster company which had seen its op-
portunity for a grandiose gixnls display.
The projection room was therefore lined
on both sides with large casts of lovely
Statues, and the anteroom had around
the top a deep frieze in high relief re-
peating scenes from the Roman Arch of
Trajan, or something like that.
Apart from the graveyard effect of so
much statuary, the r<x>m was the most
comfortable and convenient of any of
the viewing parlors available to public
use. It could be made to accommodate
approximately 125 spectators if necessary.
Projection was with duplex arc equip-
ment as in the theatres ; and it was seldom
idle. It is easy to see how the stream
of traffic brought with it also a heavy
volume of business for the cutting rooms.
But, as the business increased, so in-
evitably, did the rent and, about in the
spring of 1917, Joe Miles was obliged to
move. He went with his equipment and
some of his regular customers first to
the Leavitt Ruilding, 130 West 46th
Street, and then to the Godfrey Building,
at 729 Seventh Avenue. About 1937 the
organization moved to the old Universal
Building at 1600 Broadway. There, to
this day, his widow — a sister of Harry
Gribbon, the quondam Mack Sennett
comedian — continues the concern. It was
in 1914, I believe, that he began his
celebrated Lloyds Film Storage, where
one could deposit reels on call at a
nominal fee and with assurance of pro-
tection against fire or other hazard.
Eastern Film Corporation
It was the sjace which Joseph Miles
left in the Candler Building that Frank
Tichenor took over. He at once re-
opened the projection room, then and
long afterward known to the entire in-
dustry as the "Simplex" — a name taken
from that of the standard projection ma-
chines used in the booth — mercifully
cleared out the statuary and provided
some cutting space for those who wished
to engage it. He threw his energy into
developing new business and, before long,
virtually all features, novelty subjects,
industrial subjects and educationals pro-
duced for showing anywhere in the
United States as well as a huge voltmie
of export pictures, were being screened
there.
As far as his neighbors knew,
Tichenor's concern was then just Photo
Products, Inc. Eastern Film had been
speedily incorporated; but formal an-
nouncement was not made to the trade
tmtil late in August, 1915. Even then
Tichenor's name did not appear in the
publicity material. Everything was in
the name of F. S. Peck, president. It
was stated, however, that Eastern had
been organized for several months, and
that it already had produced several
pictures.
The best customer Tichenor had for
his Simplex Projection Room was the
National Board of Censorship which, in
the spring of 1916, changed its forbidding
name to the National Board of Review,
the group Iwing actually opiiosed to
censorship in the current understanding
of the word. The Board was situated in
the Candler Building then. It had taken
over the top floor rooms of the old
Society of American Dramatists and
Compo.scrs ; and it was very convenient
for them to carry their records back
and forth between their quarters and the
fifth floor screening rooms. William
McGuire, then the executive secretary, I
long had known because the reviewing
committee of the Censor Board originally
did its work at the previews attended
by the pioneer trade paper reviewers. He
was commonly to be seen in Tichenor's
office, discussing the films of the day.
The New York State Censor Board
began its work there, too, continuing
until place was found for it in the State
Building downtown. When they left, they
took Tichenor's chief operator, .Abraham
Jacobson, with them. .Another good cus-
tomer, for a time, was the American Red
Cross, which expanded its wartime work
in offices on the third floor, space which
Tichenor took over after they moved.
In later years, when Tichenor's projection
business was at its peak, he had at one
time five screening rooms in the building,
all under his control.
For awhile Eastern Film continued to
seek place in the theatrical field ; and a
subsidiary called the Jaxon Film Cor-
poration, producing originally at Jackson-
ville, Florida, released two slapstick
series called respectively, "Sparkle
Comedies" and "Pokes and Jabs." To
these were briefly added "Finn and Had-
die Comedies." That plan did not last,
however; and soon Eastern Film began
The production manager of Eastern
Film was Arch B. Heath, an outstand-
ing example of the non-theatrical pro-
ducer who is not deterred by budget
limitations from personally accomp-
liihins anything at all required for
screen effectiveness.
taking on what proved to be its proper
stride for many years, the production of
industrial and social service films. Tiche-
nor naturally had contacts with many
leaders of big business , and through them
he hustled many a jirofitable accotint.
Knowing the necessity of economy in
this undeveloped field, he prided himself
on doing the work at rock-bottom prices
(which he certainly did) ; and he fre-
quently allowed his clients as much as
a year in which to pay. I have heard
him tell prospective customers that if they
didn't like their subjects on first screen
examination, they wouldn't have to pay
at all. It need scarcely be added that
there were plenty of social service or-
ganizations, experienced in the art of
l>«gging. ready to take extreme advant-
age of that offer. In such circumstances,
not to forget that Frank Tichenor really
knew the business of production in amaz-
ing detail, it is no wonder that many
concerns which had never sponsored films
before, succumbed to the idea.
In the beginning, Tichenor had, in ad-
dition to the Jacksonville plant and the
small studio in the Candler Building, the
studio at Providence. The Florida studio
was disposed of when theatrical produc-
tion was discontinued. As to the really
extensive Rhode Island plant — actually
a large converted brewery — with its in-
door and outdoor stages, its well-filled
scene docks and property rooms, its light-
ing equipment, its paint frames and pro-
cessing laboratories, perhaps two-thirds
of all that was destroyed in a serious
fire; but, even after that, there remained
a rich supply of materials with which to
make non -theatrical subjects. Conse-
quently, Providence was where most of
Eastern Film's production was done, the
staff going there from New York, as the
work was required. Consequently, also,
a large number of industrials still cir-
culated by various former clients of
Eastern Film, show their characters
moving around Rhode Island streets and
houses.
Notable among the repeat customers
for which Eastern made commercial films
were the duPont interests of Wilming-
ton, Delaware ; the American Wallpaper
Association, the Public Service Corpora-
tion of New Jersey, the American
Society for the Control of Cancer, the
National Board of Fire Underwriters,
the Glens Falls Insurance Company, the
Aetna Fire Insurance Company, and
the State of Pennsylvania, for which
the numerous sesqui-ccntennial reels were
made. And, because of Tichenor's inter-
est in politics, campaign films became
another regular source of revenue.
Personnel
Frank always supervised production
closely. But he did his managing along
with all of his other interests. In such
circumstances, any man is obliged to
choose, for his own success, between be-
ing either an executive or a craftsman.
He preferred the former, and therefore
did not interfere writh his workers as long
as they achieved proper results. His sec-
ond-in-command, his general manager,
was Jacob H. Gerhardt, the beloved
former treasurer of the old New York
Page 244
The Educational Screen
Dramatic Mirror which was now gasp-
ing its last breath in its fatal struggle
with a changed new world. Gerhardt,
after working on the staflf there under
Harrison Grey Fiske almost since boy-
hood, had been spared the pain of being
in at the death by being made purchas-
ing agent and general manager of Gen-
eral Film under Tichenor. When Tiche-
nor left General Film, Gerhardt himself
had been made vice-president and general
manager to succeed him, thereby becom-
ing the last of the executive chiefs of the
once oowerful Patents group.
Arch B. Heath, long in charge of pro-
duction for Eastern Film, was one of
the most versatile of men. He could do
in a practical way about anything the
business required, from making effective
animated drawings and photographing
microscopic life, to writing vigorous sell-
ing scenarios, producing them, designing
and building the scenery, cranking the
camera if need be, and possibly even play-
ing a part— not to forget developing the
film, cutting and editing it and match-
ing the negative. .And, oh, yes, project-
ing the picture. Even that complex state-
ment scarcely begins to do justice to his
many-sided talents.
Arch had once been a semi-professional
baseball player on the same team with
Robert L. ("Believe-it-or-not") Ripley.
Both men had been newspaper artists
for the sports pages. Arch had learned
drawing as an office boy, merely catch-
ing the trick from the staff cartoonists.
His ability had soon asserted itself, how-
ever, and he ultimately became sufficiently
celebrated through his cartoons signed
"Fields" (because he did not want that
work to interfere with his other activi-
ties), to succeed Herbert Johnson with
the Associated Newspapers Syndicate
when Johnson left there to join the
Philadelphia Public Ledger and the
Saturday Evening Post.
Arch was still drawing for the news-
paper syndicate while employed by
Tichenor. I've had many a chat with
him while he was working after hours
to finish his strip. He had come into
motion pictures as an animation artist,
merely out of curiosity, being taken on
as a successful political cartoonist who
might create screen propaganda for Wil-
son's campaign for the presidency. But
the best-laid plans of mice and men gang
so very aft agley, that, instead of serv-
ing the Democrats, he allied himself with
the Republican Party and remained there
ever after.
The way it came about was this : He
was employed as I stated a while back,
by Herbert Miles in the Candler Build-
ing, and Tichenor, at the same address,
naturally became aware of the fact. Keep-
ing notoriously late hours himself, he
realized one night that one of the anima-
tion artists was as insatiate a worker as
he was. He opened conversation with the
young man and learned that his name was
Arch Heatli. The acquaintance and
mutual liking developed rapidly. Pres-
ently Tichenor engaged Heath to become
his general manager of production.
August 22, 1917 the young cartoonist
came to his new job with high expecta-
tions— only to have them dashed by news
No more lovable figure ever brought
practical business methods into the
conduct of a non-theatrical organiza-
tion than J. H. Gerhardt of the old
"Dramatic Mirror."
on the 23rd that the Providence studio
had been burned to the ground.
The shock was eased, however, by as-
surance that his job still remained. He
was sent promptly to Providence to see
what might be done to repair a certainly
discouraging situation. He found that,
while grave damage had been wrought,
a few buildings, some scenery and a
store of lighting equipment still remained ;
and with these he started into production.
In 1918, to serve patriotic feeling in war-
time, he even made a twelve-reel serial,
"A Daughter of Uncle Sam," which was
released by General Film. Then, by de-
grees, as General Film died its inevitable,
lingering death, Frank Tichenor withdrew
from theatrical production and turned to
the inviting possibilities of making com-
mercial subjects.
Tichenor was temperamentally the sort
of man the non-theatrical field needed
for certain phases of its development. Un-
like most of the so-called Big Business
men, who have come into the field and as-
sumed that all was needed to meet its
problems is plenty of money and equip-
ment, he believed, rightly and in the way
that so many others are failing to learn
year in and year out, that the proper at-
tack was to begin small and expand into
the large. Nor had he any illusions about
money coming in easily, which has been
another curse of so many adventurers
hereabouts. No one in his employ ever
worked harder or more earnestly at
relevant problems than "the boss." Then
he always was ready to gamble on new
propositions, provided they appealed to
the imagination — the more the merrier.
Consequently, at all stages of his adult
life and in whatever line engaged him,
he has been surrounded by subsidiary
corporations — enterprises requiring faith,
which ultimately do succeed, and by
desks, safes and framed certificates repre-
senting lost causes which he has decently
buried when everybody else, lacking in
imagination, has given them up. This
ready championship of the under dog,
this prompt willingness to share in am-
bitious undertakings of smaller men, make
Frank A. Tichenor a glamorous, admir-
able figure in this Iiistory.
About 1924 he acquired a struggling
trade paper which had been born a little
ahead of its time, the Aero Digest. Throw-
ing into it the main stream of liis abund-
ant energy, he carried it in a remarkably
short time to a position of inlluence and
prosperity in the new industry of avia-
tion. He followed, a little later, by buying
another air-minded publication, the Sports-
man Pilot. In the meantime the coming
of talking pictures had made silent ones
obsolete. Arch Heath had gone to Holly-
wood to direct two-reel comedies for
Hal Roach and features for Pathe and
Universal. Gerhardt remained, but he
had slid naturally over into publishing
duties. I became the problem employe,
for I was the production manager of
Eastern Film then, and even I could not
be blind to the inevitable end. But at
last I moved to a new connection where
I could take a salary in lietter con-
science, continuing my foolish infatua-
tion for the tlieatre.
Talking picture production equipment
was then especially expensive ; and the
existing non-theatrical business, held in
abeyance, did not justify its installation.
Tichenor considered it, of course; but
at the crucial moment, about 1932, along
came another publishing opportunity to
distract him. The old Outlook — Lyman
.Abbott's famous weekly to which
Theodore Roosevelt, one of Frank Tiche-
nor's greatest heroes and friends, had
been contributing editor — was for sale.
The news stirred also the sentimental
interest of F. S. Peck, and together they
bought it, Frank becoming the publisher.
Presently he became also publisher of
The Spur and the Plumbing and Heat-
ing Trade Journal. He had by this time
moved to the Spur quarters on Madison
avenue, at 53rd Street, where Al Smith
was to join him as editor, and run the
circulation of Netv Outlook to a peak
of approximately 700,000 copies.
Before leaving the Candler Building
he sold the few remaining bits of ap-
paratus used by the old Eastern Film to
Leroy Phelps, a non-theatrical producer
from New Haven. It seemed the end of
Eastern Film Corporation. Yet, if one
dropped into the offices of New Outlook
in 1935, he would have found J. H. Ger-
hardt still the right-hand man of Frank
Tichenor ; in the private anteroom he
would have seen faithful Kathryn Healy.
who had joined in the General Film days,
still busily clicking her typewriter on
the boss's heavy correspondence ; in the
art department would have been seated
no less a person than Arch Heath com-
manding; and I, myself, might have been
discovered in the editorial rooms.
Could it really be that Frank Tichenor
was out of the film business? Well . . .
just the other day at luncheon, Frank
said to me while I was incorrigibly
talking films, "If ever I get this pub-
lishing situation in hand, maybe . . . ."
And he stopped with a faraway look in
September, 19 i9
Page 245
his eyes which could mean only one
thing — he'd like to conic lack.
Many well known directors, camera-
men, litni cditiirs and players have found
employ nitiit at Kastern Tilni at various
times. .\s an expression of the man
Tichenor, there was always nset'nl work
aronnd him to be done. There may not
lia\c hecn much money to he made in
the performance of it, for his prices were
low and everything had to fit somewhere
into the budget. Hut qualified men — and
Tichenor has always had a keen eye for
probable inefficiency — could always drop
in on him when they needed a few dol-
lars to tide them over, finding something
practical to do to earn it. Tichenor gave
me my own first real opportimily to
direct pictures. He even permitted me to
take on a second before he had seen
immediate results on the other.
John K. Holbrook was for alxmt three
years both director and cameraman for
Eastern. One of the best remembered
cameraman there was Howard Green,
who later became Technicolor's chief of
camera staff when that concern was
situated in Boston. He is with the same
organization now, emjiloyed by the head-
quarters in California, but, as I write,
in China. Howard did most of the
tamera work in the first productions
personally directed by Arch lleath. An-
other phirtographer for Tichenor was
Spencer Bennett, subsequently a success-
ful director of serials for Pathe. Still
aTiother was John Geisel, who attained
distinction as a staff talking-newsrecl man
lor Fox in Berlin.
The latest EUistern cameraman to at-
tain prominence was Harry Stradling,
although before he came to Tichenor he
had been well known as a photographer
of theatrical features. His father and his
uncle also had achieved distinction in the
line in HolIywocKl. At al)out the start of
the Harding presidential campaign Tiche-
nor was seeking an extra man to send to
Washington to photograph the Republican
leaders there. I learned that Stradling
was at liberty, and had tlic laboratory
with which he was then doing business
send him in. Stradling, working under
Heath. pro<!uced such splendid jxjrtraits
of the officials under the extreme dif-
ficulties of having to photograph them
in their own offices by daylight and at
their convenience, that he was kept on at
Eastern for a long engagement. It term-
inated only in 1929 when Robert T. Kane
took him to France and gave him com-
mand of the entire camera department
at Joinville. I heard occasionally from
Harry after that, and always to the same
eflFect, that he was quite satisfied to re-
main in Paris where, in his opinion, life
was simpler. He quickly prove<l his worth
and subsequently was taken over by
Alexander Korda's organization in Eng-
land to become the star cameraman there.
"The Citadel" and "Pygmalion" are re-
cent examples of his work.
Holbrook
HoLBKooK was still a comparatively
young man in the Eastern Film period,
but he had been better known in the
pioneer days of the industry when he
had been in charge of photography for
American Pathe and also for the Whar-
tons in their heyday at Ithaca, N. Y.
He was the son of a professor of mathe-
matics, in which subject he speedily had
become proficient, specializing in the
science of optics. In 1895 through friends
of his father, he obtained his first posi-
tion in the factory of the Manhattan
Optical Company at Cresskill. N. J. Af-
ter nearly four years of training there
where he had the goo<l fortune to work
under a distinguished English specialist,
he started his own concern, the Standard
Optical Company, at Newark, N. J., con-
tinuing there for ten years.
In the meantime, motion picture studios
had been arising, mushroonilike, all
through this area on the outskirts of
New York, and Holbrook necessarily
became interested in their optical prob-
lems. The optical business, you will re-
member, was a corridor through which
came many pioneer motion picture men,
including George Kleine and Siegmund
Lubin. Holbrook's first motion picture
idea was a color process ; and he took
it to Jacques A. Berst, executive head of
American Pathe. Berst saw that Hol-
brook possessed valuable technical back-
ground in optics but insufficient knowledge
Next Month
In Oclober readers will be
introduced fo J. R. Bray, the
arflst who cornered the patents
on animation processes and
produced thousands of feet of
important educational subjects.
Here also will be found the
story of the unpublicized
teacher who probably fii^t In-
vented the slide film. Thus the
fascinating record unfolds for
the benefit of regular subscrib-
ers. Make sure that your name
is on the list to receive every
installment.
about practical motion picture needs, so
he arranged for him to make a first-hand
study. Holbrook therefore joined the
camera department of the Pathe studios
at Bound Brook, X. J. and, by virtue of
his scientific training, arose speedily to
command of the photographic division.
Among the many productions on w^hich
he worked in this period was Arthur B.
Reeve's 33-episode serial starring Pearl
White, "The Exploits of Elaine," still
said to be the longest motion picture
"chapter play" ever made. When Pathe
contracted to do the preliminary work
for the Whartons, Holbrook went to
Ithaca; and. later, still under his Pathe
arrangement, he served in the same
executive way for Hearst's Cosmopoli-
tan Films, being called upon there, as an
optical expert, for much trick photog-
raphy. There were also cinematographic
side trips to the Pacific Coast and to
the Amazon. It was a busy time. Then,
about 1925, he came to Frank Tichenor.
Holbrook left Eastern Film about 1928
to join a new company organized by
Catherine Carter with an address in the
l-'rench Building, 551 Fifth Avenue, New
York. Since last we met Mrs. Carter
she had toiled her way upward — upward
in business and upward on the avenue.
Now she was preparing to enter pro-
duction as well as to expand her system
of film distribution. To accomplish these
things she formed a four-way partner-
ship under the name Carter Cinema Pro-
ductions Company. Two of the shares
were held by Holbrook and herself, and
the other two were taken respectively,
by Mrs. Carter's close friend, Lida Haf-
ford, and Alison J. Van Brunt, elderly
director of safely education for the Pub-
lic Service Corporation of New Jersey.
Van Brunt, incidentally, had bought
most of his safety motion pictures up to
that time, from Eastern Film. He be-
came treasurer of the new concern and
Holbrook, naturally, was placed in charge
of production.
Business went very well for a while,
there being, in one period, six pictures
simultaneouly in work. The subjects
were mainly for the milk interests-
Sheffield Farms, Borden's, the Dairy-
man's League and others. The partners
formulated high plans, one of them to
realize a pet notion of Jack Holbrook's,
to start a "Motion Picture Institute of
American Industries," producing films
on various great lines of endeavor. But
then, as at times in all commercial ac-
tivity, there came a lull. For a few weeks
more money went out than came in.
Van Brunt, as treasurer, became fear-
ful and critical of the business adminis-
tration. He had only a couple of hundred
dollars of his own invested, having in-
duced a friend, a coal man in Newark,
to put up a small sum for part of his own
share. Nevertheless when the next de-
mand for operating funds came in, he
refused to countersign the check. And
when Van Brunt, whom I knew very well
indeed, said "No," he meant precisely
that. The other partners — save, iKissibly
the coal man — took counsel, and it seems
to have I)cen decided that with such a
treasurer the business could not con-
tinue. So, one account has it, they
planned to frighten Van Brunt out by
deliberately permitting the outlook to
become bleak. And, very quickly. Van
Brunt and his friend the coal man were
glad to sell their interest.
Mrs. Carter became treasurer now;
and the relinquished fourth share was
used to bring in a remarkable old-timer,
Carl Gregory. His work was to be that
of a camera specialist, employing the in-
teresting "trick" equipment maintained
in his shop at New Rochelle, including
his famous optical printer upon which the
most complicated multiple exposure ef-
fects were possible to create. But Gregory
soon rebelled at the idea of being just
a cameraman when he felt that his long
experience had qualified him to command
production, and he resigned in disgust.
Lean years followed for Gregory
(largely because of the coming of sound
pictures) until he eventually found a
place with the U. S. Forestry Bureau
at Washington. About 1937 the Govern-
ment rewarded him with the much. bet-
ter place he now occupies, in charge of
the film division of the National .\rchivcs.
(To b* eeafiaaad)
Page 246
The Educational Screen
^,
mon
9
o.
U%±EL(JE±
L
Notes from and by the Department of Visual Instruction, N,E,A,
Conducted by the Editorial Committee
A Word from the President
IN the following article the writer attempts to set
forth what he considers the most urgent problems
in the visual instruction field. These problems will be
treated briefly under three headings :
(1) Training teachers to use visual aids intelligently
and effectively; (2) Making visual aids available to
the individual classrooms; (3) Providing adequate
school facilities for effective use of such aids.
The writer believes that if we could get the faculties
of our teacher-training institutions and the members of
our state departments of education to take time out to
viev; fifty or one hundred of our modern teaching films
and thus gain some familiarity with the wealth of ma-
terials in these latest aids to learning, we would have
little difficulty in initiating teacher-training programs
throughout the breadth of our country. The lack of
information regarding these modern teaching aids on
the part of a vast majority of those responsible for teach-
ing-training is almost unbelievable. Yet these same
educators would consider themselves derelict in their
duties if they did not keep themselves abreast of all
the latest professional books and textbooks in their
respective fields. Apparently it is up to the leaders in
the visual instruction movement to acquaint others with
the wealth of visual aids now available. Until this is
done we shall have difficulty in getting our teacher-train-
ing institutions to incorporate training in the use of
these visual aids as an integral part of the teacher-
training program.
Until the use of visual aids becomes almost universal
there can be no question regarding the need for special
teacher-training courses. None but those familiar with
this latest aid can (1) instruct teachers and prospective
teachers as to what materials are available and where
they can be secured; (2) give instruction in the selec-
tion, care, and operation of the various types of equip-
ment; (3) instruct in film appreciation and evaluation;
(4) instruct in the organization and administration of
the visual education program; (5) instruct in the more
technical problems of production of materials of instruc-
tion. Special courses are offered in library training,
likewise special courses are offered in such fields as
manual arts, home economics, art, and music, without
any apparent objection from those responsible for our
teacher-training programs. Too often the argument
against special training (and the insistence that such
training in visual instruction should be given as a part
of other methods courses) is an excuse on the part of
the more academically minded educators to avoid the
offering of special courses. Experienced teachers who
have taken special courses in visual methods in our
summer sessions are almost unanimous in volunteering
that these courses are among the most helpful they have
ever taken. It seems poor economy, however, to wait
until teachers are actually in service before training
them in the use of the most modern devices and tech-
niques. Such training should be part of the training of
every prospective teacher.
Another problem needing study and solution is that
of making these materials of instruction actually avail-
able to the classrom teacher. At present educational
motion pictures and lantern slides are available to few-
teachers in most states. In a slowly but ever increasing
number of states, state libraries, organized either as
part of state universities or state departments, are mak-
ing these materials available to schools in their respec-
tive areas. A few of our larger cities are providing
libraries of visual aids for the use of their teachers. But
the vast majority of teachers in the United States are
still denied the use of such aids as the motion picture —
a product of science and industry which has been
available in entertainment form to the smallest and
remotest crossroads towns for many years. This situa-
tion should and can be remedied. Certainly all school
systems in cities of more than twenty or thirty thousand
inhabitants can afford to establish central visual aids
libraries. All states which have not already done so
should be urged to establish central state libraries. In
the larger and more populous states branch libraries
in strategic centers should be established. The state
libraries with their branches would serve rural, village,
and small city schools and also offer a supplementary
service to the larger city libraries in these cities. The
problem of actual distribution from the central and
branch state libraries to the individual schools needs
study. The possibility of delivery of materials by
truck or car from state branch libraries or county
libraries should be looked into. These are problems
which need the cooperation and support of state edu-
cational leaders and cannot be solved by departments
of visual instruction alone with their present lack of
financial support.
In the opinion of the writer the greatest obstacle to
the inauguration of effective visual instruction programs
lies not so much in the lack of trained teachers and the
lack of suitable teaching materials as in the woeful
obsolescence of practically all of our school buildings —
even many of those million dollar plants built in recent
years with the aid of Federal funds. To those of us
who believe that the projected picture is one of the most
September, 19)9
Page 247
effective, if not the most effective, of teaching devices it
is difficult to tliink of an educational setup as modern
and coni[)lc'te which fails to make j)rovision in its class-
rooms for the ready use of projection equipment. School
officials and architects exhaust every possibility in pro-
viding proper light in school buildings in order that
reading may be properly facilitated, yet little or no
thought is given to making the projection of pictures
readily possible. It seems to the writer that a school
plant to be considered modem in this age must have
( 1 ) provisions for darkening all classrooms — not
merely one projection room in each building, (2) con-
veniently located electrical outlets in all classrooms,
(3) projx^rly mounted screens in all classrooms, (4)
projection tables available for all rooms, aind (5)
proper acoustical treatment throughout where needed
to allow satisfactory sound reproduction. This may
seem like a big order but it is no more costly than the
many other provisions we are accustomed to making in
our school plants, and if these provisions are built into
buildings as tlu-y are constructed they will cost little
and what little cost there is will be accepted as part of
the cost of a niodern school building. In fact any
additional cost that might be entailed for these facilities
could be more than offset by a little less ornatcness, a
little less marble trimming, a cheaper grade of plush
or velour drapes in the auditoriums, a slightly less ex-
pensive swimming jxx)!, etc, etc. Xo school official
who recently has had built a typical twentieth century
school building can justly argue that visual instruction
IS too expensive and that the modern building facilities
for providing visual instruction are out of reach.
Until classrooms can be readily darkened, projectors
conveniently set up and connected to a source of elec-
tricity, and pictures easily projected upon a good screen
surface without tran.sporting classes to the auditorium
or to some dark cell back of the fuel bin in the base-
ment, other promotional work will be largely futile.
The writer believes that visual instruction leaders can
render no greater service at the present time than the
promotion of better physical facilities in our school
buildings.
The Department of Visual Instruction might well
dedicate itself for the coming year to work on the above
problems, especially the two last named. Splendid work
has been done in promoting and developing the ideology
of visual instruction and it would seem that more em-
phasis might well be placed on the actual accomplishing
of our objectives through the furtherance of a more
concrete program. J. E. Hansen
News Item
Your correspondent wishes to announce the in-
auguration of a digest service for the Department, to
be included in monthly issues of the Screen. It is
indeed heartening to see how many articles are being
written by members of the Department, and published
in a wide variety of journals. Please keep us informed
of your literary efforts in our field.
Although I have been empowered to continue with
our Editorial Committee, it will be necessary for me
to designate certain changes. Members of the Committee
have, in the past, been slow to contribute to our work
and I should like to solicit the cooperation of interested
members who would like to become a member of the
Editorial Conmiittee. One of our most important tasks
continues to keep the members informed of news
"among ourselves."
Incidentally, please note that for the next few months
I have "gone commercial." I have been asked to assume
managing editorship for a project under the sjwnsor-
ship of ll-.c Creative Educational Society, Mankato,
Minnesota. The project involves compiling a collection
of photographs for children in the first six grades, with
special emphasis upon the needs of rural children.
Visualized Curriculum Series has its offices at 55 West
42nd St., N. Y. C. E. Schneider.
The San Francisco Meeting
REPORTS of addresses given on July 3, 4, 5 last
have been slow in coming in, due probably to the
fact that most persons concerned have been away all
summer and have not had a chance to submit copies.
A copy of the address given by Frieda Lichtman, of
New York City, Ix-fore the joint meeting of the De-
partment and the Dejiartment of Secondary Education
is at hand. This interesting talk described some techni-
ques u.sed in New York City junior and senior high
schools to improve the movie tastes of students. See
the proceedings of the N.E.A., 1939 for details.
Resolutions and other business passed during the
Business Meeting of July 5th, at which Miss Rita
Hochheimer presided were :
1. Tliat a protest be made to the National Educa-
tion Association regarding a program given at the
general session in this field, in which cooperation from
our Department was not solicited. It is requested that
any arrangements in the future for a visual education
program for the general sessions of the N.E.A. be made
through the Department of Visual Instruction.
2. The following officers have been elected for 1939-
40:
President : J. E. Hansen, Director, Bureau of Visual
Instruction, University of Wisconsin, Madison. First
Vice-President: Miss Marian Evans, San Diego, Cal.
Second Vice-President: Miss Etta Schneider, N.Y.C.
Secretary-Treasurer : Pro tem Mr. Don C. Ellis, N.Y.C.
Executive Committee: Miss E. Winifred Crawford (3
years) ; Dr. Edgar Dale (2 years) ; Dr. F. Dean Mc-
Clusky (3 years) ; Dr. Charles F. Hoban, Jr. (one
year) ; Mrs. Grace F. Ramsey (one year) ; Mr. Nelson
Greene (2 years).
3. The committee report, prepared by Mrs. Grace
Fisher Ramsey, was recommended for mimeographing
and distribution to the members of the Department. It
deals with School-Museum Cooperation.
4. The Committee to Cooperate with Warner Bros,
in making available their short subjects in 16mm for
school use was empowered to continue their efforts.
5. The Report of the Committee on International
Relations was read by Mr. Lindstrom, chairman. His
committee was asked to continue its work on the use
of films in foreign countries for international under-
standing.
6. The Editorial Committee reported progress in
(Concluded on page 260)
Page 248
The Educational Screen
Jnz ^iim cIi±iimatE±
Being the Combined ludgments 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.
L' Alibi (Eric Von Stroheim) (French-English
titles) (Columbia) Somber, frank, sophisticated
continental drama. Tricked by ruthless murderer
into accepting bribe to provide false alibi which
implies illicit relationship with him, cabaret-hos-
tess heroine struggles under his menacing in-
fluence till truth is revealed. 8-8-39
(A) Depends on taste (Y) and (C) By no means
Andy Hardy Gets Spring Fever (Same cast plus
Helen Gilbert) (MGM) Probably best of series to
date. Andy's love-affair with his teacher, and its
repercussions on all concerned, is thoroughly
entertaining. Mickey replaces his old bag of
tricks with real acting. Overdone bits are
due to script, not Mickey. 7-25-39
(A) Fine of kind (Y) Excellent (C) Good
Angels Wash Their Faces (Dead End Kids, Ron-
ald Reagan, Ann Sheridan) (Warner) Dead End
Kids, made city officials for week, go on lawless
rampage, manhandle regular officials, catch croaks
who framed their chum into prison. Preposterous
stuff, glorifying gutter English, roughneck
actions, triumphanttoughness of alley rats. 9-5-39
(A) Depends on taste (Y) No (C) By no means
Bachelor Mother (Ginger Rogers, David Niven)
(RKO) Entertaining, laughably absurd farce.
Shop-girl heroine impulsively befriends found-
ling baby, and hilarious complications start when
everyone assumes it is her own. Clever, sophisti-
cated dialog, avoids offense. Ginger again dem-
onstrates her ability as a comedienne. 8-29-39
(A) Very amnsing (Y) Amnsing (C) Harmless
Back Door to Heaven (Wallace Ford. P. Ellis)
(Para) Grim, emotional social melodrama, well-
acted, simply told. Dreary picture of life of ap-
pealing small-town poor boy who becomes criminal
through adverse circumstances, going from re-
form school to penitentiary and then death sen-
tence. Preaches tolerance, understanding. 7-4-39
(A) Fair of kind (Y) Depressing (C) No
Beau Geste (Cooper, Milland, Preston, Donlevy)
(Para) Frankly "not historical", here is grim,
brutal, bloody melodrama at its best, human
and appealing as well as thrilling. Devotion of
three brothers takes them, after theft of family
jewel, through Foreign Legion life with tragic
heroism. Technique fine. 9-12-39
(A) (Y) Very good of kind (C) No
Blind Alley (Chester Morris, Ralph Bellamy, Ann
Dvorak) (Columbia) Tense, grim "different"
thriller. Ruthless killer invades home of psychol-
ogy professor, terrorizing all, till latter, using
psycho-analysis to probe the twisted mind,^ re-
veals the subconscious obsession and by so doing
supposedly destroys the power to kill, 6-20-39
(A) Good of kind (Y) Grim (C) No
Blondie Takes a Vacation (Lake, Singleton,
Larry Simms) (Columbia) Third in series is
good, elementary nonsense farce. Everything
goes wrong on family vacation to two moun-
tain hotels, but comes out all right. Boy and
dog steal picture. The impossible child is
cleverly amusing. 9-12-39
(A) Hardly (Y) Fair (C) Amusing
Boy Friend (Jane Withers. George Ernest) (Fox I
The zestful Jane in another precocious role, get-
ting entangled with police department and rack-
eteers. Also experiences her first crush on boy,
whose brother gang kills. The youngsters un-
cover the crooks, captured after nerve-wracking
chase. Wild, improbable stuff. 7-18-39
(A) Hardly (Y) No value (C) Unsuitable
Bridal Suite (R. Young, Annabella, Connolly)
(MGM) Concocted to make ostentatiously en-
gaging a rich, hard-drinking, worthless play-
boy, who dodges his Parisian fiancee to chase
humble heroine through Alpine snowslides.
Fine cast wasted on cheaply risque story and
action more ridiculous than funny. 6-13-39
(A) Stupid (Y) (C) Certainly not
Bulldog Dmmmond'g Secret Police (John How-
ard, Heather Angel) (Para) Hero still post-
pones wedding to heroine to run down villains
seeking buried treasure. Thick with killings,
murderous machinery, subterranean floods, and
much "comic relief". Usual character of series
changed to lurid melodrama. 6-13-39
(A) Hardly (Y) Doubtful value (C) No
Captain Fnry (Aherne, McLaglen)(U. A.) Vig-
orous, exciting semi-historical melodrama of
early Australia. Robin-Hood-type hero and band,
escaped British convicts, lead oppressed settlers
against powerful, cruel landowner. Much fight-
ing, hard riding, etc. Fine acting, deft comedy
relief, lovely scenery. 6-20-39
(A) Very good of kind (Y) Strong (C) No
Career (Edward Ellis, Ann Shirley) (RKO) La-
bored attempt at realistic small-town drama,
vehicle for two young "discoveries" quite un-
impressive in small roles. Overloaded with
characters, dull romance and banal dialog. Only
feature, fine role by Ellis, with continuous
drunks, Errol and Hatton, for comedy. 8-1-39
(A) Dull (Y) Little interest (C) No
Charlie Chan in Reno (Toler, Cortez, Phyllis
Brooks) (Fox) Toler thoroughly satisfactory as
successor to Oland and cast improves. Adequate-
ly complicated, with more comedy than shud-
der, and some soDhisticatioii is introduced. Will
probably please all who enjoy the famous
Chan series. 7-25-39
(A) Good of kind (Y) (C) Mostly good
Chasing Danger (Preston Foster, Lynn Bari)
(Fox) Brazen American cameraman and low-
comedy pal run roughneck course of impossible
heroics through Algiers, sneering at foreigners,
manhandling heroine, mowing down all opposi-
tion with fists and guns and getting their
pictures ! Poor ad for America. 7-18-39
(A) Hardly (Y) Formula thriller (C) No
Climbing High (Jessie Matthews, Michael Red-
grave) (British-Gaumont) Fine stars wasted on
rowdy, overdone-slapstick farce which achieves
some sophisticated touches at same time. Dizzy
doings center around complicated romance of a
photographers' model (shown in intimate
noses) with wealthy socialite hero. 8-1-39
(A) Ordinary (Y) and (C) No
Please be sure to read the
Diversitorial on the Film
Estimates
{on page 234)
Clouds Over Europe (British) (Richardson,
Olivier) (Colum) Lively, delightful spy-thriller-
comedy of character and action. New radio
power-ray threatens England's aviation. Thrills
and amuses without slapstick or wisecrack.
Subtle in humor, in satire of British ways, and
"detective Hammond" is memorable role. 6-27-39
(A) Excellent (Y) Excellent (C) Good
Code of the Secret Service (Ronald Reagan)
(Warner) Theft of government engraving plates
sends G-Man hero on trail of counterfeiters in
Mexico. Falls repeatedly into their hands and
makes countless escapes until local police finally
aid him in their capture. Lively thriller with
small dose of romance and comedy. 8-29-39
rA) Hardly (Y) Passable (C) Exciting
Conspiracy (Allan Lane, Linda Hayes, Barrat)
(RKO) Lurid melodrama of Americans caught in
totalitarian country. Hero, suspected of aid to
enemy, helped to escape bold football coach, now
running low-life cafe, and siren cabaret hero-
ine. Hide-outs, speedboats, airplanes, fists,
guns, police, etc. A potboiler. 9-12-39
(A) Mediocre (Y) No value (C) No
Dark Eyes (HarryBauer. SimoneSimon) (French,
Eng. titles) Doting father conceals headwaiter
job from sheltered daughter who has secret ro-
mance with worldly banker ; climaxed by at-
tempt to seduce her in private dining-room and
father's intervention. Uninteresting, slow-moving
story. Simone poses, Bauer fine as usual. 8-22-39
(A) Mediocre (Y) No (C) No
Daughters Courageous (Lane sisters. Rains, Gar-
field) (Warner) Hilarious romances of four very
modern daughters of broken home, complicated
by deserter-father's return, about-to-be step-
father, and sullen crook as hero and chief
lover. Incessant action, sprightly dialog, but
semi-convincing and too long. 7-25-39
(A) Good of kind (Y) (C) Very doubtful value
Each Dawn I Die ( Jas. Cagney, Geo. Raft) (War-
ner) Built for maximum thrill and shock. Welter
of incredible violence, brutality, inhumanity in-
side prison. Suffering hero, framed by corrupt of-
ficialdom is freed only through preposterous self-
sacrifice of hardened "lifer." Machine-gun-carn-
age for climax, "rechnically fine, well-acted. 8-8-39^
(A) Depends on taste (Y) and (C) By no means
6,000 Enemies (Walter Pidgeon, Rita Johnson,
Nat Pendleton) (MCIM) Probably most nauseat-
ing prison film to date. Appalling orgy of gory
brutalities, gruesome killings, repulsive close-
ups. Generally distorts prison management —
warden a mere caricature. Nothing rings true.
An inexcusable production. 8-1-39
(A) (Y) and (C) Terrible
Everybody's Baby (Prouty, Byington, Denny)
(Fox) Another "Jones Family", but more
nonsense farce than human interest comedy.
Centers on "modern" baby raising. Struggle
between fashionable, faddist "doctor" and old-
fashioned ideas, with the latter winning out
in slaps^tick style. 6-13-39
(A) Mediocre (Y) Probably amusing (C) Hardly
Ex-Champ (McLaglen. Nan Grey, Tom Brown)
(Univ) Sentimental, unpretentious tale about
self-sacrificing ex-prize fighter, scorned by the
snobbish, worthless son he educated. To cover
latter's embezzlement father plans to "throw" a
fight he's handling, but is saved by an amusing
mistake. Unconvincing and unimportant. 6-20-39
(A) Hardly (Y) Doubtful (C) No
Exile Express (Anna Sten. Alan Marshall) (Gr.
Nat) Spy-murder of doctor for his chemical
secrets. His fine Secretary, not yet naturalized, is
suspected and ordered deported. Hectic adven-
tures on transcontinental train for Ellis Island.
Improbable, but convincing quality of heroine
and hero help much. 7-25-39
(A) Fair (Y) Probably good (C) Hardly
Five Came Back (Kent Taylor, Wendy Barrie, et
all (RKO) Strong tense, rather well-done, well-
acted thriller of varied character interest, grim
action and suspense, as airliner with assorted
passengers does forced landing in South Amer-
ican jungle, menaced by distant savages. Heroic
self-sacrifice of some to save others. 7-11-39
(A)Verygoodofkind (Y) Strong thriller (C)No
Fixer Dugan (Lee Tracy, Virginia Weidler)
(RKO) Feeble, poorly directed and edited film.
Clumsy attempt at melodramatic thrills against
background of small-time circus. Precocious
child role and crude characters of principals
largely nullify plot appeal and entertainment
values. 8-1-39
(A) (Y) and (C) Poor
Forbidden Music ( Richard Tauber, J immy Durant)
(World) Gay British-made operetta featuring
Tauber's fine voice. Thin but novel, agreeable
plot. Princess bans music in mythical kingdom,
till people pay taxes : Durante, who fails to be
funny, and Tauber cause musical revolution and
;:olve financial problem in hazy ending. 9-5-39
(A) Fair (Y) Fairly good (C) Little interest
Forgotten Woman, The (Sigrid Gurie, Donald
Briggs) (Univ) Heavy, emotional melodrama de-
picting misfortunes of persecuted heroine. Inno-
cent husband killed in hold-up. she is unjustly
jailed, baby born in prison and kept from her till
happy ending with remorseful D. A. who had
convicted her. Unconvincing and dreary. 9-5-39
(A) Hardly (Y) Unsuitable (C) No
Four Feathers I Ralph Richardson, C. Aubrey
Smith ) ( U. A. ) England's Sudan campaign in the
80's provides thrilling background for grim, viv-
id military-adventure spectacle. Concerns young
hero, branded a coward, who redeems himself by
extreme daring, sacrifice, heroism. Fine tech-
nically, photographically, histrionically. 8-22-39
(A) Fine of kind (Y) Very strong (C) No
Frontier Marshall (Randolph Scott. Cesar Ro-
mero) (Fox) Thrilling, lusty super-western, less
pretentious than "Stagecoach". "Dodge City",
etc. Absorbing, colorful story, capably directed, of
how Wyatt Earp (historical character) brought
law and order to Tombstone. Much shouting. Con-
vincing character and atmosphere. 9-12-39
(A) (Y) Very good of kind (Cl Too exciting
Girl and the Gambler. The (Leo Carrillo. Steffi
Duna) (RKO) Cheap, inferior version of the
.^tage play, "The Dove." Carrillo amusing as
the Mexican Robinhnod, but film plays up sor-
did cafe life and indulges in broadly suggestive
dialog. Ample shooting, fighting and hard
riding for supplementary action. 8-1-39
(A) Mediocre (Y) and (C) Unsuitable
Girl from Mexico (Lupe Velez, Donald Woods,
Leon Errol) (RKO) Lively farce, occasionally
funny, frequently mere slapstick, built round
the cyclonic antics of Lupe, a "radio discov-
ery" of hero. Hilarious complications as she wins
recognition and also hero from his calculating
society fiancee. 7-11-39
CA) Hardly. (Y) Not the best (C)-No
{Continued on page 269i
September, I9}9 Page 249
Teaching Fundamentals of Blocking — In Hand-Made Lantern Slides
By R. N. SOUTHARD
Public Schools, WesdDury, Long Island, N. Y.
THESE slide illustrations have been used by the football
squads and proved very satisfactory when the squads have
been forced inside due to inclement weather.
(1) The blfx'ker should approach fast in such a manner as
to break through the defensive man's hands and aim
towards the pit of his stomach.
(2) He has broken throuKh the hand defense and his body is
starting to make the longest ixjssible blocking surface.
(3) His arms are fully outstretched; right leg beginning to
raise with the hip making bodily contact; turning on his
side towards the first movement in preparatory to the
block.
(4) Good contact; right leg still liighcr — continuing move-
ment of the roll.
(5) Roll progressing still further with a result that the de-
fensive man is being forced down.
(6) Completion of the block — defensive opponent on the
ground forced out of play by offensive blocker.
The sim-
plest type
of It and -
made slide
is made hy
drawing or
tracing on
finely fin-
ished etched
glass with
ordinary
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
with cray-
ons. About
one - third
inch margin
should be
left all
around the
slide. The
slide is read-
ily cleaned
Tvith soap or
washing
pozvder to
receive
a neiv pic-
ture.
^
\ (t
Py
n^\
ij
\7^
^
^
//
Page 2 50
The Educational Screen
^ns. J^iiEXatwi^ in ^ l/iiuaL lJn±t%uation
A Monthly Digest
Conducted by Etta Schneider
Techniques of Utilization
Films in the Learning of Foreign Lan-
guages— by W. S. Hendrix — Journal
of Higher Education, 10:308-11 June,
1939
An interesting clue to the possibility
of the talking picture for teaching a
foreign language is the reaction of na-
tives of Mexico to American films, and
the beginning of an understanding of our
language solely from this medium.
Foreign-language films cannot alto-
gether be depended upon to aid in lan-
guage instruction. Frequently, the lan-
guage is spoken in such a fashion as not
to be easily understandable to the audi-
ence. What is needed for our purposes is
a careful presentation of the average
e very-day life, customs, and manners of
the country whose language and civiliza-
tion we are studying. While it is help-
ful and interesting to have pictures show-
ing beautiful landscapes and magnificent
architecture, we would like to have, for
example, a series of films showing edu-
cation from the elementary grades
through the universities. One film
should be devoted to a rural school, show-
ing the costumes of the children as they
arrive at school, the schoolhouse itself,
and the curriculum. More films depict-
ing, for France, rural or small-town
conditions would be very helpful in our
understanding of French society, politics
and economics, as well as French litera-
ture and art.
A series of speaking films on the fol-
lowing subjects, still using France as an
illustration, would be of great help in
foreign-language instruction : a series of
films, on education in general ; on rural
life ; on agricultural resources of France ;
on the mineral resources ; on important
historical places ; on architecture ; and
then on the picturesque landscapes. Films
of these types for all the countries whose
languages, customs, and civilizations are
being taught by modern language depart-
ments in this country, would be very
valuable.
The Slow-Motion Picture as a Coach-
ing Device — by Roy E. Priebe, Los
Angeles, and William H. Burton, U.
of Southern Cal. — School Reviezv, 47 :
192-8 March, 1939
This investigation was designed to
secure evidence of the value or lack of
value of slow-motion pictures as a coach-
ing device, with particular reference to
the high jump. Attention was given to
the use of these pictures in presenting a
new form of jumping, in diagnosing and
correcting errors, and in stimulating
practice. The high jump was selected be-
cause it contains factors of fundamental
importance in various other athletic
events. Timing, coordination, natural
ability, facility in given skills, and other
factors are involved. Forty pupils at
Polytechnic High School, Los Angeles
responded to a call for volunteers for the
experiment. The experiment covered six
weeks of the regular track season. Dur-
ing the teaching period the students were
shown pictures of champion jumpers at
slow and normal speeds. During the third
week, slow-motion pictures of the boys
were taken during the regular practice
period and shown to them. Detailed an-
alytic discussion of good form, defects,
and coordination took place. During the
fifth and sixth week the experimental
group saw its own pictures and also
those of the champions again and engaged
in further discussion.
Audio- Visual Instruction: Possibilities
in Home-Making Education — by
Mary Booth, East Texas State Col-
lege, Commerce, Tex. — Practical Home
Economics, 17:178 June, 1939
The use of radio, filmslides, and motion
pictures have been found effective in
East Texas State College. However, the
two important problems still remain: the
training of teachers, and the lack of
funds.
This year the State Board of Educa-
In this issue we are inaugurating a
feature In EDUCATIONAL SCREEN
which has, to a more limited extent,
been well covered previously in the
section, "Among the Magazines and
Books." It is planned to provide a
classified digest service, covering
current writings in educational and
lay magazines, and in books. No at-
tempt will be made to evaluate the
material, other than to summarize in
greater detail those articles which
appear to contain the most valuable
matter.
We should like to make this serv-
ice as practical as possible for our
readers. We therefore invite recom-
mendations, or criticisms with respect
to the system of classification and
that of review. It will be noted that
certain articles may fall under more
than one classification. We can list
them but once.
tion in Texas is permitting each rural
aid school to include a sum up to $35
per school for visual aid materials. The
best way to secure funds is to make a
start, and demonstrate the value. A list
of sources of filmslides and films on
home-making is given.
Manual for the Educational Sound Film,
"Living and Learning in a Rural
School" — by Anne Hoppock, Warren
County, N. J. — Bureau of Publications,
Teachers College. Columbia Univer-
sity, N. Y. 1939
This two-reel sound film is the re-
sult of a study made by seventh and
eighth grade pupils in a rural school on
motion picture making. The resultant
film is suitable for teacher-training.
The manual includes much valuable
information necessary for an adequate
understanding of the situations depicted
in the film. It describes the school, the
nature of the students and their environ-
ment, setting in which the film pro-
ject developed, and the manner in which
the teacher proceeded to follow their in-
terest. Supplementing the information
about the ."Mlamuchy School provided by
the film. Miss Hoppock gives a detailed
account of the school program and the
children. Questions for discussion, and the
scenario are also included.
School-Made Visual Aids
Teacher-Made Visual Aids — by Ellis C.
Persing, Western Reserve Univ., Cleve-
land, Ohio — Science Education, 23:195-
7 April, 1939.
Teachers often find the commercial
films, slides, or still pictures inadequate
to serve local needs and set about pre-
paring them themselves. Travel provides
an excellent opportunity for taking pic-
tures of pertinent phenomena. Specimens
and pictures collected during week-end
trips by the teacher offer rich opportunity.
The miniature camera is having a great
influence on teacher-made visual aids.
Candid shots of children in action, por-
traits, photostatic copy work, landscapes,
close-up of flowers, minerals, etc. are
all easily possible with the better made
precision miniature camera. Good en-
largements, made from these negatives,
can be made at a nominal cost. Lantern
slides can likewise be made from any of
the good negatives, and at low cost if the
teacher is interested in photographic
work. Transparencies may be held up td
September, 19}9
Page 2S1
the light or pastt-d uii the wiiiduw, and
need nut alwavs be projected. The de-
velopment of color film is making it
possible for teachers to photograph
colored objects with the same case with
which they take black and white.
One group of teachers priKliiced a film
entitled, ".\nimals of the 7.in>," in black
and white and in color. .Xnothcr group
made a .series of enlargements from
miniature camera negatives. .Xnother
group is working on color. .Altho the
standard sets of slides are of the highest
quality obtainable, it is still |>ossible for
teachers to make goinl materials them-
selves. College courses on photography
are growing in popularity, and should
continue to grow.
Show the Public — Through Movies I —
by J. Henrich Hull, Supt. of Schools,
Keencshurg. Colo. — School Executive,
58:16 May, 193^.
School-made films are very effective
for community programs, to show all
children in action, at close range, and
within a limited space of time. But care-
ful planning is necessary to produce a
film adequately informative al>out the
school, as well as to present the school's
program from the point of view of the
philosophy, results obtained and methods
used. The director and administrator
determine the type of picture to be made,
and the audience for which it is intended.
The cameraman, the teachers, the script
girl, the electrician, and the actors should
all work together in planning the produc-
tion. Good film for school purpose*
should be well edited and titled, natural
and artistically simple, adequately sup-
plied with close-ups. Progressive schools
might p«rmit the children to determine
for themselves what is to be filmed.
Administration of Visual Aids
Portfolio: Visual Aids to Education —
Nation's Schools, 23:34-48 June, 1939
A series of articles by educators in
many parts of the country, and on various
aspects of visual education. Especially
valuable are the suggestions for schools
of various sizes, ranging from the small
community to the large city school.
Sources of films are also furnished in
one of the articles.
When Showing Films — by Alex Jar-
dine, Evansville, Ind. — Nation's Schools,
23:68 May, 1939
A bulletin to teachers on the care
of films and projectors to avoid damage.
Survey of the Sound Motion Picture
Situation in the Rocky Mountain
Region — Bureau of Visual Instruction,
Univ. of Colorado — Colorado School
Journal, 54:No.7:S April, 1939
In October. 1938 a questionnaire was
sent out to about 500 school officials in
Colorado and neighboring states in an
eflfort to find out if there was need for
supplementing the 16mm. silent film
library of the University with a sound
film library. Most of those replying
favored waiting until the fall of 1939.
With only 16 schools in Colorado that
reported sound projectors, and not all of
those able to subscribe to a film service,
it seems evident that, at present, the de-
mand for a sound film library is not
enough to warrant the expenditure neces-
sary. Many schools stated that they had,
or were buying a sound projector, yet
would not have funds to buy any sort of
film service.
Visual Education in Rural Elementary
Schools — by Richard L. Davis, Princi-
pal, and Charles Edgecomb, Supt. of
Schools, Selma, Calif. — Sierra Educa.
Nni's. p. 28 June, 1939
Contrary to the belief of many, the
initial cost and the subsequent upkeep
of a visual education program in the
average school district is not at all pro-
hibitive. The first problem is that of
getting a projector. The beginner in a
small school will find that the silent
16mm. is best for his purposes. Although
sound films are sometimes desirable, it
is not at all necessary at the start to
provide for them. Screens for classroom
or auditorium are not expensive. The
next problem is that of arranging for
suitable environment for showing films.
Darkness can be achieved by hanging
curtains of inexpensive monk's cloth on
rods of half-inch pipe. This was a good
project for sewing classes. Sources of
films, free, rental and purchase are then
listed.
The Thursday assembly period each
week has, in addition to student activities
in music or dramatics, a reel or two of
educational film. After school hours each
week the upper grades are invited to see
a film. Once a month, a five-cent admis-
sion is charged and feature films shown.
Wherever possible, the film material is
correlated with the curriculum by the
teachers. Primary grades are shown
films in a special assembly, but such
material is still scarce. Opportunities for
community cooperation through films are
many in rural areas.
The Librarian Speaks: A Symposium —
— Sight and Sound, 7:177 Winter,
1938-9
Some of the problems and sugges-
tions which librarians of film libraries
would make to users to facilitate prompt
service.
Research and Evaluation
The Effectiveness of Educational
Motion Pictures — by A. W. Reitze,
Jersey City, N. J. — Ind. Arts and Vac.
Ed.. 28:152 April, 1939
This study was made with college-
preparatory, vocational, prevocational,
high school and elementary school classes,
and shows the need and practicability
of using more educational films with pre-
vocational and vocational groups. This
study was carried out for a Ph.D. degtree.
Evaluation of Still Pictures for In-
structional Use — by Lclia Trolinger,
University of Colorado — Educational
Screen, 1939 47pp. i)aper, 50c.
(Partially printed in the Educational
Screen for March, April, May, 1939)
The investigation dealt with the
reliability of standards for selecting still
pictures for teaching. First a score card
was devised, based on the combined
judgments of a group of experts in visual
instruction, as given on a questionnaire.
The experiment consisted of submitting
first a series of photographs to the
collaborating educators ; and then using
them with teachers and students, both
with and without the aid of the score
card, to see if any noticeable improvement
resulted. The experimental unit selected
was the American Indian, and a series of
20 pictures (reproduced in the booklet)
was sent out to experienced, inexperienced
and student teachers.
It was found that the score card ap-
peared to increase the ability of the teach-
ers to grade the pictures more nearly in
accord with the evaluation given by the
judges. With the score card, the
rank of the pictures by the teachers and
judges were in closer agreement than
the teachers were with themselves.
Visual Education in Modern Edncation
— by Gardner I,. Hart, Supervisor of
Visual Ed., Oakland, Ca\.— Childhood
Education, 15:363-66 April, 1939
A review of the values to be ex-
pected from the use of silent and sotind
films, lantern slides, stereographs, diora-
mas, charts, graphs and other aids.
Documentary Films
Moving Picture Goals — by Eric Knight,
Screen Writer. — Theatre Arts Monthly,
23:57-64 Jan., 1939
The immediate progress of the film is
not coming in the overworked fictional
field. Perhaps the best progress in film
in the last decade has come, not from
Hollywood, but from the documentary
wings. It would seem that the present
goal for documentary would be a ready
interchange of ideas and men between
Britain and America, a constant striving
for technical standards to equal the gen-
eral concepts and ideas being expressed,
and a concerted drive to teach the public
that a live camera observing life itself
and its problems can be far more excit-
ing than a Hollywood highlight on the
star's cheek-lKine. Perhaps the goal that
can be seen most clearly, and the one to
which such pitiful progress has been
made, is the educational film. Everyone
admits that the film is a masterful teacher.
Extensive experiments at Harvard cleared
up the misconception that it taught only
in a quick-surface way. .Ml agree, films
are a strong, vehement method of teach-
ing. We do little about it beyond agree-
ing on it.
There are several obstacles : One of
the greatest is the school bodies who
presume that, somehow the film is amuse-
ment, not 'schooling,' and that even if it
does teach quickly and well, it is a dis-
honest way of getting knowledge, duck-
Page 2 52
The Educational Screen
ing the proper amount of tedious 'boning'
in the good old-fashioned way at a book.
Another bar is that most educational
films are sadly lacking in one of two
ways : either they are made by an edu-
cator who knows his subjects, but not
how to speak clearly in the new visual
language, or made by a good film man
to whom subject-matter is secondary. A
third obstacle is that many teachers feel
the class passes beyond personal instruc-
tion into the realm of standardized knowl-
edge groups.
Whatever the immediate bar, it is in
educational films that there is the great-
est progress to be made at this time. The
U. S. Army, commonly supposed to be
backward, has been using films for knotty
technical instruction at its highest schools
for more than 13 years. Perhaps educa-
tion boards don't mind being 13 years
behind the army. In general, such pro-
gress as we have had in the field of the
film during the last decade, has come
from the groups where we can boil film-
making down not to massive studios and
great technical staflfs, but to the smaller
groups.
Film-making today is still a highly
technical job. It requires a man who
knows a camera, a man who knows sound-
recording, and a man who knows what
he wants to say through the method and
how to say it. These qualities can be
found wrapped up in one man. Small
groups can make films cheaply. These
films can be stirring to watch. With the
cheapening of cost of materials needed
for production, as more young men grow
up to 'think' in terms of filmic expres-
sion, we shall get more worthy efforts.
That there is little small-group produc-
tion today should not be taken as a dis-
couraging factor. It is exactly the re-
verse : a sign of the unexplored state of
the field — one of the few in which a
young man can pioneer and get in ahead
of the rush. For no one can doubt that
the demand for non-Hollywood films will
increase with the future.
So, roughly, we have this situation
today: an unlimited supply of potential
sponsors who look longingly toward any
method of using the screen's power to
extol their industries, explain their prob-
lems or popularize their points of view.
For today political parties are calling in
film men from the small groups ; several
large manufacturers have agreed recently
to subsidize non-fiction films. There is
the demand, and the supply. Where these
two things exist a link will always be
formed between them. Much of the
future of small-group production depends
upon how this link is made. If the sponsor
insists on, and gets, a vapid or clumsily
propagandistic film of his industry, he
will have something refused by the pub-
lic. If he adheres firmly to high stand-
ard, and gets the producer to make a
production of authenticity, one that seeks
to tell its story thru the real magic and
excitement of industry, plus the human
dignity of those who toil in it, then there
will be many outlets. Such films, with
the truest of all propaganda — the propa-
ganda of truth — will need to seek no new
audiences. The old audiences will accept
them. Reaching those audiences presents
a prol>lem, but one that can be overcome
by cooperation.
Teaching Social Awareness with Motion
Pictures — by L. I,. Ramseyer, liluff-
ton College, Blufi^ton, 0\\\o— lid. Ad-
min, and Sup. 25:127-32 Feb., 1939.
Reprint available from author. See
also article by same author in this
issue of Educational Screen.
Unreeling History — by James Miller,
Current History, 50:39-42 May, 1939
When history moves fast and fate-
fully, the average citizen's feeling is one
of irritated confusion. He welcomes the
documentary film, which turns all the
talk about war and revolution and unem-
ployment and housing and fiood control
into something he can see and hear and
feel. Attempts to define documentary
films are risky. Pare Lorentz says he
did not know he had made a documentary
until someone told him. Essentials which
"documentary" films have in common
are : they are all dramatizations of ideas ;
they dramatize their ideas by dramatizing
factual material ; and they dramatize
this material in terms of human beings
and human interests. Also they are fre-
quently charged with being propaganda.
The charge is seldom dodged, because
they do present arguments, predetermined
points of view. They deal with more
than entertainment values — they are
thought-provoking. Documentary be-
comes, then, a new instrument of com-
munication among peoples, helps them to
see through the chaos of world affairs
and understand one another's lives.
Among the documentary films produced
since 1919 are: Nanook of the North,
Moana, Man of Aran, Potcmkin, Berlin,
Rain, New Earth, Night Mail, Voice of
Britain, Housing Problems, Plow Tliat
Broke the Plains, and The River. Pare
I^orentz is now working on Ecce Homo,
based on technological unemployment.
Among the film makers in tliis field are :
Frontier Films, American Documentary
Films, Inc., History Today, Inc., March
of Time.
Perhaps the most rankling problem of
the documentary movement is that of dis-
tribution. It is associated with travelogues
and educational films whose chief at-
tributes have been dullness. For the most
part documentaries have had to depend
upon pressure generated among audience
groups.
Film guilds and societies are active
not only in the U. S., but in Canada,
England, New Zealand, .Australia, and
even South Africa. Film (Audiences)
for Democracy, headed by Professor
Henry Pratt Fairchild, is one such pres-
sure group to promote the showing of
pro-democratic films. In England and
Russia documentary films are backed by
the government and are accepted in
nearly all regular theatres. If the docu-
mentary film can reach the millions upon
millions of persons who go to the moving
pictures every week, if it lives up to
its promise of enlightenment, and if it
remains in their control, it can become an
impressive addition to what are called
the forces of civilization.
Museums
Children's Museum of Indianapolis — by
Grace Blaisdell Golden, Executive
Secretary — Childhood Education, 15:
408-12 May, 1939
Description of the work of the
museum which Mrs. Roosevelt praised
very highly in a recent column.
The Child Explores His World — by
Catharine Kneeland, Harmon P'ounda-
tion, N.Y.C. — Childhood Education.
15:357-62 April, 1939
An account of the Brooklyn Child-
ren's Museum, to be used as background
for the 2-reel motion picture depicting
the unique work of that institution. The
film, together with an excellent study
guide, is available for sale or rental from
the Harmon Foundation, 140 Nassau
Street, N.Y.C.
Photoplay Appreciation
Training Film Taste in America — by
Ernest DverSight and Sound, 7:179
Winter, 1938-9
A critique of the photoplay apprecia-
tion movement in .American schools.
Courses in photoplay appreciation are
more extensive in the U. S. than abroad :
these are given as formal courses in
schools and colleges ; as photoplay ap-
preciation clubs in high schools ; and as
part of the work in English.
That much of the photoplay apprecia-
tion work is uncritical, is evident. Some
of the descriptions given of photoplay
lessons makes one wonder what else
American schools have to do with their
time. Study guides are inadequate, as
they appear to contain little more than
publicity blurbs. Some of them deal with
films not worth wasting time over in
class ; most of them are critical only on
points of detail ; they never think of
challenging the major assumptions of the
films they describe (the booklet on the
Charge of the Light Brigade, for ex-
ample, is a masterpiece of complacency) ;
and only rarely do they contain questions
of value for an understanding of film
form. They represent a triumphant ex-
ploitation by the Hays office of the gulli-
bility of the teaching profession.
The 'Movie' as an Agency for Peace
or War — by Albert Benhani, National
Council for Prevention of War —
Journal of Ed. Sociology, 12:410-17
March, 1939
The motion picture industry is
(luoted as being able to exert its in-
fluence for peace or war. And, since
many elements go into the creation of
film content, and many pressures brought
to bear on its development, the screen
cannot accurately be termed a spontane-
ous reflection of public thought and senti-
ment. Illustrations are then cited to in-
dicate the relationship between the U. S.
Navy and Army Departments and current
films. It is reasonable to assume that in
the future, propaganda from the screen
will be more subtly cloaked than during
the past war. The only really effective
defense which a public can set up against
September, 19)9
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It has the volume you need for a
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its price is easily within the scope of
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Study this RCAVictrola's features.
Visit your RCA Victor dealer for a
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the true fidelity of reproduction it
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Modern trhools slay modern tcilh RCA Radio
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RCA Victor has many other fine t'ictrolas — uilh or uithmtt radio —
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A Strvict of th* Radio Corporation of Amorica
Page 254
The Educational Screen
such propaganda is to know how to
recognize it and how to deal with it.
A public opinion, continuously ex-
pressed thru the channels by which it
can be heard by those who produce the
films, is the only control of screen fare
desired in a free country. The safeguard-
ing of the right of free-expression of the
screen rests not only on the industry it-
self but on the millions of people who
comprise the great movie-going public.
The Movies As a New Educational Tool
— by Muriel T. Bain, Muskingum Col-
lege, New Concord, O. — Educational
Method, 18:362-6 April, 1939
Skillful guidance in selection of films
from many angles through the school
program is preferable to a single course
in photoplay appreciation. Teachers of
dramatics, English, geography and science
found current films pertinent to their sub-
jects and worthy of discussion. The work
of developing movie discrimination can
begin in the elementary school, and could
well be extended to include the parents.
Using New Educational Tools — by
Edgar Dale, Ohio State University —
Educational Method, 18:347-52 April,
1939
Some of the questions which chal-
lenge the teacher as the result of the
development of movies, radio, and news-
papers as means of communications of
ideas and understanding. How can these
be used to increase our understanding of
reality? How can they be used for the
spread of scientific knowledge? How can
they be used to reconstruct many out-
moded stereotypes? How can they be
used so that they will promote, not
stultify thinking?
An Experimental Course in Cinema Ap-
preciation— by Sherman P. Lawton,
Stephens College, Columbia, Mo. —
English Journal (College Edition)
28:230-2 Mar., 1939
In a course in English composition,
written papers, oral performances, out-
side readings, and dramatizations were
based on current films with interesting
results.
Other References
Artists of the Movies — Theatre Arts
Monthly, 23 :424-8 June, 1939
Liberty Bells in Hollywood — Christian
Century, 56 :310 March 8, 1939.
Medicine in the Movies — Hygeia, 17:
486-9 June, 1939.
Artists' Point of View: Films for De-
mocracy— by R. M. Pearson, Forum,
101:175 March, 1939
Hollywood Waves the Flag — by Frank
S. Nugent, Nation, April 8, 1939
Clinics in Crime — by B. J. Thompson,
Commonweal, 29:686-7 April 14, 1939
One Man's Meat: Hollywood's Stand-
ard of Living — by E. B. White,,
Harper, 179 :217-9 July, 1939
Cinema Censorship — by V. F. Calverton,
Current History, 50:47 March, 1939
Motion Picture Reviews
Science Motion Picture Reviews — by
H. Emmett Brown, Chairman of Com-
mittee— School Science and Mathema-
tics, monthly
Social Science Motion Picture Reviews
— by Robert B. Nixon, Wayne, Penn.—
Social Studies, monthly
Music Motion Picture Reviews —Music
Educators' Review, monthly
Films for Teaching Occupations —
Occupations Magazine, monthly
Motion Picture Review — Nation's
Schools, monthly.
New Catalogs and Source Lists
Catalog of Films for Classroom Use —
Selected and classified by the Advisory
Committee on the Use of Motion Pic-
tures in Education — Teaching Film
Custodians, Inc., 25 West 43rd St.,
New York, N. Y. Includes short sub-
jects released by Hollywood producing
companies under limited conditions for
school use. 50c.
Films on Human Relations — Edited
and distributed by the Commission on
Human Relations, Progressive Educa-
tion Association, 30 Rockefeller Plaza,
N. Y. C. Excerpts from feature films
which have been used with success in
course on human relations under the
direction of Dr. Alice V. Keliher.
Available to schools under limited con-
ditions.
Catalog, volume I — Association of
School Film Libraries, 9 Rockefeller
Plaza, N. Y. C. Lists films which may
be obtained through the Association.
Exclusive rights to March of Time re-
leases, available only to members of
the Association.
Films of the Pacific Area — Compiled
and edited by the American Council
Institute of Pacific Relations, Inc.
Published by American Film Center,
Inc., 30 Rockefeller Plaza, N. Y. C.
25c, 1939. A listing of 16mm. films
and their sources on the many islands
and countries located in the Pacific
region, including Alaska, China, Dutch
East Indies, Mexico, Nicaragua,
Siberia, etc.
Film List of Motion Pictures in Sports
for Women — Compiled by the Motion
Picture Committee, National Section
on Women's Athletics, American Ass'n.
for Health, Physical Education, and
Recreation, N.E.A. Valuable because
it is an evaluated listing, with specific
recommendations for teaching.
Motion Pictures at the New York
World's Fair, 1939 — Department of
Feature Publicity, A''. Y. World's Fair.
Mimeographed. See also the reviews
of many of the films contained in this
compilation in Film Survey for June.
July, August, 1939 (Film Audiences
for Democracy, 342 Madison Avenue,
N. Y. C.) and TAC Magazine
(Theatre Arts Committee, 132 West
43rd St., N. Y. C.) July, 1939.
Book Reviews
An Alternative for Revolution and War
— by Albert E. Osborne, 124 pages,
cloth $1.25. The Educational Screen,
Chicago, 1939
This volume, which has just appeared,
is by a veteran in the educational field
who sees visual education in the large,
a thing of vast possibilities which are
little recognized as yet. It is a poten-
tial world force, not a mere classroom
device. It is the open road, if rightly
understood, to a "more humanity-cen-
tered" education, to a world-wide inter-
national understanding which is the one
hope for ultimate banishment of war.
The book is the resultant of years of
thought and study, of thousands of inter-
views with teachers, principals, superin-
tendents, scholars, of consultation with
outstanding thinkers of our day. The
Introduction is by Dr. John R. Patterson,
former Professor of Education, New
York University. Various theses in its
pages carry the endorsement of some of
the most eminent names in America.
It opens with the "tragic need for
bigger men and women" with a world
environment instead of a local horizon ;
the power of pictures to achieve this on
the premise that the world is innately
good ; the need for psychology and
psychiatry, for more nature study, more
liuman geography, more knowledge of
folkways, more incentive to action for
the common good. It is earnest and
thought-provoking argument for higher
goals in education, valuable reading for
teachers, principals, superintendents,
school boards, and curriculum commit-
tees. It will rouse wholesome reflection
on H. G. Well's dictum, that "the future
is a race between education and catas-
trophe." N.L.G.
The Audio Visual Handbook — by Ells-
worth C. Dent. Published by the So-
ciety for Visual Education, 100 E. Ohio
Street, Chicago. 111. 212 pages, cloth
bound. Price $1.50.
The new 1939 revised edition (third)
of this work, by the same author and
publisher, is a notable addition to the
literature of the field. It is an able, sound,
practical presentation of essential infor-
mation valuable to any teacher active in
visual instruction. It shows a fine dis-
tribution of emphasis on all visual aids,
their characteristic values and special
techniques in the teaching procedure.
After an introductory chapter on the
present status of the field, its experience,
experiment and activity in industry and
school, the book gets down to cases.
Chapter II treats individually the black-
board, school journey, plays and pageants,
models, museums, maps and graphs, sand
table, photographs, opaque projector,
stereographs, slides, filmslides, silent films,
and others. Then, a chapter on sound
aids, phonograph, radio, recordings, sound
systems ; another on audio-visual aids,
sound filmslide, sound motion picture, and
television. Chapter V treats the organ-
ization of an audio-visual service and
the final chapter gives sources of in-
formation, materials and equipment.
N.L.G.
September, 1939 Page 255
I
Just 0££ The Press!
Our 20th Anniversary Catalog
listing over
3500 different motion picture subjects!
Selected subjects . . for school entertainment . . for vitalizing the
study of Literature, History, Geography and Social Sciences . .
16 mm sound — 16 mm silent — 8 mm silent
•
16 mm sound features from both major and independent producers including:
ABRAHAM LINCOLN BRING 'EM BACK ALIVE
SUTTER'S GOLD JUVENILE COURT
MAGNIFICENT OBSESSION NAGANA
RAINBOW ON THE RIVER RIVER OF UNREST
WHEN KNIGHTS WERE BOLD TUNDRA
KILLERS OF THE SEA CRIME OF DR. CRESPI
HOOSIER SCHOOL BOY BOY OF THE STREETS
BLACK BEAUTY APRIL ROMANCE
DIAMOND JIM CUSTER'S LAST STAND
and hundreds more
Featurettes and short films on a wide variety of subjects, including:
ROBINSON CRUSOE THIS IS CHINA
THE WAY OF THE WILD HISTORY OF AVIATION
THE NEGRO FARMER HELL BELOW ZERO
WALTER DAMROSCH FINGERS AND THUMBS
FISH FROM HELL PRINCIPALS OF MAGNETISM
and hundreds more
Rental prices greatly reduced on many. . . Many 16 mm sound subjects avail-
able at less than $1.00 per reell
IDEAL PICTURES CORPORATION
28 E. EIGHTH STREET CHICAGO, ILLINOIS
WESTERN DlVISIONi 2402 WEST SEVENTH STREET, LOS ANGELES, CALIF.
Page 2 56
The Educational Screen
^ns. jEciEzaL ^jiLm
A page edited by Arch A. Mercey
Assistant Director, United States Film Service,
Washington, D. C.
INSTRUCTORS returning to their desks this fall will
i find many reallocations of Government agencies and
their motion picture divisions, brought about by the
President's Reorganization Plans No. 1 and 2, effective
July 1, 1939.
The United States Film Service was transferred to
the Office of Education, which was itself shifted to the
newly established Federal Security Agency. The name
of the Service has been retained, however, and its pro-
duction, consultative, and distributive facilities will
continue unchanged, although it is anticipated that even
greater service may be given the teachers and schools
of the country by this alignment with the new Federal
agency.
The new Directory of U. S. Government Films dis-
tributed by the Film Service is now in revision and
will indicate the various reorganization changes as they
affect departments having motion pictures for distribu-
tion. We suggest that you write for a copy of the new
Directory.
Among the new pictures listed in the Directory is
Winter Sports in the National Forests oj California, pro-
duced by the Department of Agriculture, portraying op-
portunities for winter sports offered by California's
national forests. Agriculture has also recently prepared
teacher's guides for The Tree of Life and The ABC of
Forestry. The film Picturesque Guatemala, which
Agriculture has been distributing, will henceforth be
distributed by the Pan-American Union. Under the De-
partment of Interior is listed Service to Those Who
Served. This picture has had a new section added show-
ing glimpses of veterans' hospitals in the East, with
scenes of the Cancer Clinic at Hincs, Illinois. The
Consumers' Counsel Division (now in the Department
of the Interior) has recently revised its picture Know
Your Coal, the laboratory scenes from which have been
particularly successful among schools.
The Children's Bureau of the Department of Labor
has two new pictures. One is The Feet, showing de-
tails of structure and arrangement of the arches; the
best mechanical use of the foot; the points of a good
shoe and harmful effect of improper shoes. This film
was made in cooperation with the American Posture
League. The other picture is ])^ozv I Am Two, being
the third in the "Judy's Diary Series." Th6 first pic-
ture in the series, formerly called Judy's Diary, has
been re-titled From Morning Until Night. The Child-
ren's Bureau has reviewed and is prepared to recom-
rpend non-Governmental films on juvenile delinquency,
street safety, andirecreational programs for boys. It
has also recently acquired a film strip which is for sale
only, showing the effect of rickets on children and meth-
ods of prevention and cure. The price of the strip is
$2.00 and it is also available with Spanish titles. In
addition, the Bureau has acquired two sets of lantern
slides. One set is available only to physicians ; the
other is suitable for general distribution and covers
Birth and Mortality statistics.
The Navy Department has a new picture titled Re-
pair, Supply, and Relief, which describes the functions
of supply, repair, and hospital ships accompanying the
United States fleet. About October 1, the Department
will have another picture, tentatively called South
American Cruise, which will be a travelog of the coast
of South America with view's at the major seaport cities.
The Federal Housing Administration is again mak-
ing available to the public its Better Housing News
Flashes. They will be lent in 35mm sound. On 16mm
film, they are for sale only and no free distribution is
contemplated. In this connection, the FHA has a
new technicolor picture called Miracles of Modernisa-
tion, which is currently being restricted to theatrical
distribution. Your local theatre manager will be glad
to let you know when it is to appear at your theatre.
The National Youth Administration (Federal
Security Agency) has three new pictures in color :
NYA Builds A Seaplane Base, Youth Visits Our Na-
tion's Capital, and Royalty Visits the White House.
The Social Security Board has available for immediate
release. Social Security for the People, running four
minutes. The U. S. Housing Authority has recently
released Housing In Our Time showing operation of
the USHA program.
Medical schools will be interested to know that the
Veterans' Administration is just releasing a color pic-
ture. Cancer Among the Veterans. This is a scientific
picture especially arranged for the medical profession
and distribution is restricted solely to medical organiza-
tions and medical schools.
Considerable interest has been evinced in the films
mentioned in the last issue of Educational Screen as
being screened at the Golden Gate Exposition. None
of these films is yet available for free distribution, but
the following may be purchased on proper authoriza-
tion : Washington — The Nation's Capital, The Business
Pulse of the Nation, Couriers of the Nation, Social
Security for the Nation, and Labor in the Nation. Ap-
plications for purchasing these films should be addressed
to: U. S. Golden Gate International Exposition Com-
mission, Department of Commerce, Washington,- D. C.
September, 1939
Page 257
SEEING
IS BELIEVINGI
No mat+er 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!
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SPIRIT OF CULVER—
Jackie Cooper, Freddie Bartholomew
YOU CANT CHEAT AN HONEST MAN—
W. C. Fields. Edgar Bergen, Charlie McCarthy
THREE SMART GIRLS GROW UP— Deanna Durbin
THE FAMILY NEXT DOOR—
Hugh Herbert, Joy Hodges
EASE SIDE OF HEAVEN— BIng Crosby
THAT CERTAIN AGE— Deanna Durbin
EX-CHAMP— Victor McLaglen
THE SUN NEVER SETS—
Doug. Fairbanks. Jr., Basil Rathbone
UNEXPECTED FATHER—
"Sandy", Mischa Auer, Dennis O'Keefa
WHEN TOMORROW COMES—
Irene Dunne, Charles Boyer
THE MIKADO—
Kenny Baler, Jean Colin, Martin Green
(and many others]
Write to Universal's Non-Theatrical
Department for further information
regarding short and feature-length
pictures, travelogues, cartoons
and other motion pictures.
CATALOGUE U
UNIVERSAL PICTURES
COMPANY, INC.
Rockefeller Center New York, N. Y.
CIRCLE 7-7100
HE NEW VICTOR Series
40 Animatophone contains all
the industry has strived to
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economically adaptable to pub-
lic address service, phono-record
reproduction, radio amplifica-
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and only the Victor Animato-
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motion picture projector of to-
day and tomorrow.
This 16mm Sound Motion Pic-
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easily portable, and so brilliant '
in performance that it is des-
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Likewise, new standards of per-
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VICTOR ANIMATOGRAPH
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DAVENPORT. IOWA, U.S.A.
CHICAGO • LOS ANGELES • NEW YORK
Page 258
The Educational Screen
16 MM Sound
FILMS For HISTORY CLASSES
Territorial Expansion of the U. S. to 1853 2 reels
Territorial Possessions of the United States 2 reels
Life of Theodore Roosevel* I'/z reels
Spirit of the Plains (Westward Movement) I reel
Sea of Strife (Cavalcade of the Mediterranean) 2 reels
Abraham Lincoln (Walter Huston portrayal) 10 reels
Drake the Pirate (Elizabeth & Spanish Armada 8 reels
Lincoln (Gettysburg address occupies % of reel) I reel
'Write for complete list of educational films and
Catalog of entertainment subjects.
AUDIO-FILM LIBRARIES
661 Bloomfield Ave.
DIoomfield. N. J.
A NATURE FILM OF THE ARCTIC
••TUNDRA"
ONE OF OUR NEW 16 MM SOUND FILMS
Please specify sound or silent when writing for free catalog.
Lewis Film Service, 105 East First Street
WICHITA. KANSAS
"POETIC GEMS" _Bc,oriai
adaptations of the Poems of
EDGAR A. GUEST
A Series of 13 Single-Reel Subjects on 16mm. Sound Film
"The Fight for Peace"
Authentic Historical Spectacle
8-Reel Feature — 16mm. S.O.F.
"Wild Innocence"
Australian Nature Drama
6-Reel Feature — 16mm. S.O.F.
Exceptionally intimate and all
embracing World Travelogues
A Series of 31 Single-Reel 16mm. Subjects — Sound or Silent
"PORTS O'CALL"
POST PICTURES CORP.
723 SEVENTH AVE. NEW YORK CITY
35 mm. General Science. 11 rolls, $20
FILM Principles of Physics, 7 rolls. $12
SLIDES Principles of Chemistry, 8 rolls, $14
Order on opproTol or send for ire* folder and sconple
VISUAL SCIENCES, Suffem, New York
VIVID VISITS
TO THE FAR CORNERS OF THE WORLD
Entertaining-Instructive T6mm. S.O.F. Features
Across the World with Mr. and Mrs. Martin Johnson
Explorers of the World
I Conquer the Sea
Sonth Sea Adventures
Send card for details. Reasonable rental.
OHIO FILM SERVICE— 1377 Penhurst Bd., Cleveland, Ohio
HAKE YOUR OWN
TYPEWRITER SLIDES
For Screen Projection
USE RADIO MATS
on Bale by Theatre Supply Dealers
Write for Free Sample
RADIO-MAT SLIDE CO., Inc.
181* Broa4wm]r,Dept.V. NewTorfcatT
^Y.
ECVl
ar
Theatrical Shorts for School Use
Six hundred short subjects in 16mm sound are now
available to the school field from the libraries of six
major theatrical production companies, as announced by
Mark A. May and Will Hays at the July meeting of the
National Education Association in San Francisco. An
organization has been formed to handle the distribution
of these subjects, called Teaching Film Custodians, Inc.,
the trustees of which are: James R. Angell, President
Emeritus of Yale University and Educational Director
of the National Broadcasting Company ; Willard E.
Givens, Executive Secretary of the National Education
Association ; and Carl E. Milliken, Secretary of the
Motion Picture Producers and Distributors of America.
The films have been selected by an Advisory Com-
mittee of educators as being the most suitable for edu-
cational use. The major part of the reviewing work
was completed in the summer of 1937 by the seven
reviewing panels appointed by the committee. 432 of
the 600 selected have been compiled in a 320-page
catalog which classifies the films into six main divi-
sions: Art and Music; Literature and Biography;
Sciences; Social Studies; Health, Physical Education
and Recreation; Practical Arts and Vocations. A gen-
erous description of each film is given, along with brief
resume of the panel's appraisal.
The pictures are available for an experimental period
of three years under the most favorable possible terms,
without any financial return to the producers. Teaching
Film Custodians, Inc. is permitted to lease or rent them
at the following rates: $5.00 for two weeks or less,
$10.00 for one-half a school year; $15.00 for a school
year; $25.00 for two years; $30.00 for three years.
These prices are for one reel, black and white prints.
A copy of the film catalog can be secured for 50
cents from Teaching Film Custodians, Inc., 25 West
43rd Street, New York City.
Human Relations Film Series
Another important announcement made by Mr. Hays
at the San Francisco meetings was that the motion pic-
ture industry is permitting the Commission on Human
Relations of the Progressive Education Association to
extend the use of the series of films on human relations
to a greater number of schools than were included in
the original experiment, and has agreed to provide addi-
tional films for the project. These pictures take the
form of excerpts from existing non-current photoplays
and vary in screening time from five to thirty minutes.
All are in 16iTim sound and are available on a rental
basis.
The Commission has completed nearly 75 subjects
in the series. About 100 pictures finally will be included.
The work is supervised by Dr. Alice Keliher under a
grant from the General Education Board of the Rocke-
feller Foundation. A list of the films, with study ma-
terials and complete information, may be obtained from
the Progressive Education Association, 45 Rockefeller
Plaza, New York City.
September, 19)9
Page 259
<^yVo^£:i
Motion Picture Equipment Survey
Tlie Committee on Scientific Aids to Learning is
making a "Survey "f School Experience with Motion
Picture E(|ui|)ment," under a Carnegie grant, in order
to provide schools a basis on which to judge and select
motion picture projectors. The survey form asks about
the quantity of equipment, the age and extent of use,
tl'.e nature of troubles, the cost of maintenance and
suggestions for improvements of projectors. All schools
furnishing information will receive, without charge, all
rc]X)rts published.
Directing the survey is Herbert R. Jensen, 506 Ad-
ministration Building, Minneapolis, Minn.
New York University Courses
Two new courses dealing with motion pictures will
Lc offered both terms of this school year by the School
cf lulucation. New York University : one on "Class-
room and Educational Use of Motion Pictures" (30
hours: 2 ]X)ints), a ])ractical course on teaching tech-
niques; the other on "Elementary Film Making for
Educational Purposes" (60 hours: 4 points). The
latter course, to be given Thursdays from 6:15 to 8KX),
will acquaint teachers with the techniques of making
their own films and IxMiefit others interested in the
l)r(p<hiction aspect of motion pictures. The University's
well-known course on "The Motion Picture : Its Ar-
tistic. Educational and Social Aspects," richly illus-
trated with sound and silent films, will be repeated this
vear also.
Documentary Film Makers Organize
The Association of Documentary Film Producers
was formally organized during the summer, with head-
<|uartcrs at 1600 Broadway, New York City, to develop
I he field of the documentary film, artistically and tech-
nically, to publicize and promote wider production and
distribution of such films, and to facilitate exchange
of ideas and information among independent, creative
film makers. Among its members are many well-
known documentary makers. Joris Ivens, president.
Paul Strand and W'illard Van Dyke, first and second
vice-presidents, head the organization.
Regular membership is open to all persons "sub-
stantially interested" and "active" in the production of
"independent, creative films." Associate membership
is open "to those not eligible to regular meml)ership, but
who have proved their sympathy to the aims of this
organization."
The Association has been sponsoring the showing
rf British and .Xmerican documentary films at the
■Science and Education Building at the New York
World's Fair. Information as to the contents of the
programs can be obtained from Fair authorities. The
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1 1
Page 260
The Educational Screen
16MM. SOUND ON FILM
for
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Altogether 300 Features and 600 Shorts
from which to pick your prof^rams
Not One Mediocre Picture in Our Library
Film Rental Catalogue — Film Sale Catalogue
"Write for them
CINE CLASSIC LIBRARY
1041 JEFFERSON AVK. BROOKLYN, N. Y.
2
EDUCATIONAL SOUND FILMS BRING THE
HISTORY OF THE TERRITORIAL GROWTH
OF UNITED STATES VIVIDLY TO LIFE.
TERRITORIAL EXPANSION OF THE UNITED STATES
FROM 1783 TO 1853 (2 reels) Depicts the Erciwth of the
United States from colonial infancy to full continental s'ature.
Animated maps are used extensively and boundary disputes are
clearly explained. The subject is portrayed in a manner to
accord with modtrn teachinR methods.
TERRITORIAL POSSESSIONS OF THE UNITED STATES
(2 reels) Continues the story of American Expansio.n. It shows.
in chronological order, how Alaska. Hawaii, and the other
possessions were acquired. Animated maps and authentic views
of America's far flung outposts. Original mi;tion pictures of
historic personalities and events.
Study guides are being prepared for both films.
Write for descriptive literature
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City, a four-reel film on municipal planning, financed
by the Carnegie Corporation, is being shown regularly.
Florida Film Session
A two-day showing of about forty new educational
films in six curricular fields, was conducted by the
General Extension Division of the University of Florida
at Gainesville June 23 and 24 to acquaint Florida edu-
cators with new productions. Lectures and class dem-
onstrations com])leted the program.
SMPE Fall Convention
Hotel Pennsylvania, New York City, national head-
quarters of the Society of Motion Picture Engineers,
will be the scene of the twenty-fourth annual convention
of the Society, to be held October 16 to 19, inclusive.
The technical progress which the motion picture in-
dustry has made in the past year will be reviewed at
tl'.e Convention, in many outstanding technical papers
presented by the industries' leading engineers and
executives.
Progress in Wyoming
An increasing and more effective use of visual
aids in the schools of Wyoming is promised by a
resolution adopted at the State Convention of the
Education Association at Rawlins last year. The
resolution reads : "Sufficient educational films are
now available that the school authorities in Wyom-
ing should give special attention to the introduction
of all forms of visual aids to education." It is
anticipated that the sectional meetings at the Dis-
trict and State conventions in the fall of 1939 will
give teachers an opportunity to become better ac-
quainted with the latest trends in the field through
panel discussions and demonstration lessons.
Among Ourselves
(Concluded from page 247)
the development of the Fir.st Yearbook of the De-
partment. The Society for Curriculum Study has ap-
pointed Edgar Dale to act as chairman, in collabora-
tion with F. Dean McClusky, chairman for our De-
partment. The Joint Yearbook will show how visual
aids can be integrated into the modern curriculum.
7. The Committee working with the Sloan Founda-
tion regarding the ]jroduction of films on economic
problems recommended that the Foundation proceed
with its ]5lans, and add to them a program of teacher
training in the use of films for economics. (Since the
meeting, an Educational Film Institute, under the di-
rection of Dr. Spencer Pollard, economist from Har-
vard, has been established at New York University
by the Sloan Foundation.)
8. The Teacher Training Committee has sent out
a questionnaire regarding techniques of instruction to
summer session instructors.
9. The revised constitution was passed, and copies
will be mailed to members.
10. The Educational Screex shall continue for
the next year to be the official publication for the De-
partment.
September, 19i9
Page 261
Intangible Effects of Motion Pictures
(CoiiiluJiJ Jrom payc Zi~ )
Iroiii considcriiiff money values as most important to
the consideration of human vahies as important.
Much more work of this type needs to be done
Ixjfore we can say conclusively that motion pictures
of this type help the pu|)il to think through social situa-
tions more clearly or that they help him to change
his sense of values. There is an indication from these
data that such is the ca.se. Certainly it touches an
import;:nt pha.se of education, one which merits much
more intensive study.
Movies and Clarity of Thinking
.\n attempt was made to get at consistency of thought
by a ditTcient method. The assumption was made that
if students agreed with attitude test statements which
have a wide range of scale values, they .show incon-
sistency in their thinking. This conclusion was drawn
after a careful examination of the statements in the
attitude test on government help in soil erosion control.
If the range in statements agreed with should decrease
alter seeuig the picture, this would then \k an indica-
tion of more consistent thinking.
\\ orking on this assumption, the standard deviation
of the scale values of the attitude test statements with
which each of 112 college students agreed was deter-
mined. They were then shown The Ploiv that Broke
the Plains, retcsted, and the same measure of con-
sistency applied again. The mean standard deviation
was 1.77 before seeing the picture and 1.62 after seeing
it. This difference was 3.1 times the probable error of
the difference in means. Although this ratio is not
quite high enough to assure us of statistical significance,
it gives us very great probability that the difference is
i!ot a chance one. .\ distribution of scores in this parti-
cular case reveals that three very atypical individuals
out of the 112 prevented a greater difference. If the.sc
three had Ix^en omitted the difference would have been
.21 instead of .15 and would have given us statistical
significance.
Here again more work needs to be done before we
can hazard the assertion that a motion picture such as
The Ploxv will help pupils to think more consistently
about the problem of government help in the control
of soil erosion. The evidence we have presented, how-
ever, points rather convincingly in that direction.
We have here, then, evidence concerning important
phases of education. The evidence concerning changes
of attitudes resulting from the u.se of documentary films
is quite conclusive. We may feel sure that such films
shown to pupils in school will have an influence on
what they think about .social problems. There is very
great reason to believe that they may also influence the
ability of pupils to see the implications of social prob-
lems and to think consistently. They probably in-
fluence the .sense of values which pupils hold. There
is little doubt that they can increa.se the social aware-
ness of pupils, even for social problems which have
been written about repeatedly in our newspapers and
magazines. This type of results of our visual education
program may prove even more important to modern
education than the increased ability to acquire facts
which it provides.
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Page 262
The Educational Screen
Jj,
n an
d fox tkz uLi
a±±%oom
Conducted by Wilber Emmert
Director Visual Education, State Teachers College, Indiana, Pa.
Teach with Comparison
//QTOOD like a stone wall"; "Clear as a crystal";
iD "Ran like a deer" ; "Swam like a fish" ; "With
clock-like precision" ; "Patient as Job" ; "Fought like a
tiger" ; "Cunning as a fox" ; "Pretty as a picture" ;
"Roar like a lion" ; "Similar ...."; "Equal to . . ."
Why do people use such expressions? Can teachers
find in this technique a valuable teaching tool? What
is significant, educationally, about these figures of
Hundreds of
FILMS
For You to Choose From
tailCafiOnai_And your choke need not
be limited. Literature, science, travel, nature,
music, art — in fact any type of picture you
-w^ish. Our extensive library of 16 mm. films,
both sound and silent, is made up of "proven
pictures" used by accredited schools throughout
the country.
Enf erfainment_Because we add many
ne-w entertainment films to our library every
month you are able to rent the latest produc-
tions as soon as they are released. Literary
classics, cartoons, -westerns, mysteries, sports,
musicals, dramas, religion — and all carefully
selected for both school and home show^ings.
Free Cataloas ^
* *%»%i^ -^^^i^fc^i**^^^ ** . — Pqj. yQur convenience we
have prepared two catalogs — one devoted to education
and the other to entertainment.
Rental rates are included for all
films. Send for either or both of
these catalogs. Please mention cata-
log number 12E (education) and
number 2 IE (entertainment).
INCORPORATED
234 Clarendon St. Boston^ Mass.
speech ? Undoubtedly the user is seeking to impart in-
formation, create attitudes, and develop appreciations
by resorting to the well-known principle of teaching
that the new is learned in terms of the old — i.e., build-
ing new concepts on a background of past experiences.
There is no doubt but that eiTective teaching really
begins when the teacher uses such words as "like",
"as", "equal to", "resembles", "similar to", "stronger
than" and other comparisons. In short, when the
teacher begins to compare the unknown with the known,
the new with the old, the strange with familiar, the
general with the specific, children are given a real basis
for understandings.
Obviously, comparisons need not be limited to the
verbal method of communication, but may be used with
all concrete materials and pictorial and graphic repre-
sensations. The alert teachers in every subject will find
opportunities for using comparisons in the presentations
of new materials. The excursion, object, pictorial, and
graphic presentations will fvu-nish situations to teachers
for developing effective comjiarison techniques.
In addition to the illustrations of comparison techni-
ques given below, teachers will find in the methods used
in textbooks, laboratory manuals, the newspapers, the
magazines, posters, billboards, wall charts, exhibits and
displays, demonstrations, the motion pictures, and radio
presentations, fundamental similarities, points of essen-
tial diflferences, contrasts, and other comparisons.
Even though sensory experiences are provided, there
is no assurance that the teaching will be effective unless
the pupils are taught to observe all the factors carefully,
to draw inferences, develop insights and see relation-
ships of both the concrete and of an abstract nature.
The teacher must lead the pupils to further activities,
insights, interests and the solution of new problems
upon the basis of the sensory experiences, and through
comparisons drawn from these experiences.
One plan for using comparisons can be based upon a
series of activities which enable the pupils to study
environmental relationships by using themselves as the
standards for comparison. This will not only provide
information, but will aid in clarifying concepts, develop-
ing attitudes, and gaining fvmdamental skills. For
example, a clear concept of time intervals may be gained
by counting the pulse. The pulse rate comparison
technique is widely used, to cite one instance, by the
amateur photographers in timing some of their work
which nuist be carried on in absolute darkness. Hot
and cold are relative terms, with the bodily temperature
taken as the basic standard for determining whether a
thing is hot, cold, or hike warm. Likewise a sense of
distance and a plan for measuring distance can be gained
by having the pupil pace a predetermined distance,
(Continued on page 264)
September, 19)9
Page 263
Real Progress
comes only through cooperative effort. The familiar common problems of
visual instruction can not be solved by individual institutions, but together these
institutions can accomplish a great deal. T
The new cooperative organization of film users extends to the schools and
colleges an invitation to membership ... An invitation to its privileges which
include the right to purchase certain selected films for the first time; a cumula-
tive catalog of only the good pictures; a regular news letter and a constant
Information service on specific questions.
We shall be glad to have you write us for complete information.
Association of School Film Libraries, Inc.
9 Rockefeller Plaza, New York, N. Y.
WARNING
To .-ill Superinlcndenis:
It has come to our attention that some unscrupulous persons
arc offering for sale and Iiave sold to schools as new equipment
stcoiid-hand or reconditioned motion picture projectors.
To protect you and your schools from such misrepresenta-
tion we are offering the following suggestions. Ascertain
the factory nunil)ers on the projector you buy and send them
to the manufacturer of the projector being offered to you
for sale with the request that you be advised whether or not
Ut? said projector is new or second-hand. Sometimes agents
accept projectors in trade, and if they are unscrupulous enough
to resell them as new they can quote prices on them that are
far below the market prices of new equipment.
It is advisable to be very cautious when buying (especially
as "new") any projector of a different make than the one
regularly sold hy the agent offering it.
When an agent offers exceptional inducements in the way
of free auxiliaries, bear in mind that there are standard prices
for each make or projector, and if there is any deviation from
that price, or gift of auxiliary equipment, the cost has to come
from some one other than the manufacturer — be sure it isn't you.
Our interest in the matter is the result of damage done to the
films of the Exchange by unsatisfactory equipment, plus the
fact that those meeting with such damage, or other projector
troubles, become disheartened in their very laudable efforts to
use the motion picture in their school work.
If any cases of the nature noted come to your attention,
please advise us, and if you have any doubts as to how to
protect yourself, or your school, against such unethical prac-
tices, we shall be glad to do what we can to help you.
Cordially,
B. A. Al'CHINBAVr.H
Director of i'isual Instruction
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Page 264
The Educational Screen
S. V. E. Tri-Purpose
Model AA. 300 Watts
Head swivelled for
showing double frame
horizontal filnr>slide.
THE VERSATILE
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PROJECTOR
Shows
PICTUROLS
Educational filmslides, produced
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or more pictures.
OTHER
FILMSLIDES
Strips of 35 mm. film either single
or double frame (horizontal or
vertical) made by teachers ot
members of the student body us-
ing ordinary miniature cameras.
Also educational film slides pro-
duced by other companies and
listed in the S.V.E. catalog.
Double Frame Verticol Film
MOUNTED FILM
Individual frames of black and
white or color film, mounted in
2" X 2" glass slides or in Koda-
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Double Frame Horizontal Film
of the
The advanced optical system
S.V.E. Tri-Purpose Projector assures
brilliant life-size images from any oi
the above types of film. A patented
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styles — Model CC, with 100 watt lamp,
lens, slide carrier, and case, $35.00 —
Model AA, with 300 watt lamp, lens,
slide carrier, S.V.E. Rewind Take-up
and case, S57.S0.
Mail Coupon For Literature!
SOCIETY FOR VISUAL EDUCATION, INC. -.«/ g-
Depl. 9ES, 100 E. Ohio St.. Chicago, III.
Send literature on S.V.E. Picturols and S.V.E. Proiectors, including
the versatile Tri-Purpose models.
NAME
SCHOOL
CITY STATE
New Fall Catalog
NOW READY!
IIVTERIVATIOIVAL FILlU BUREAU
59 E. Van Buren St., Chicago, III.
Teach with Comparison
(Continued from page 262)
count the number of step.s taken, then calculating the
length of the stride. Pupils can find many uses for
this unit of measurement. Other comparative stan-
dards, such as, "As high as I can reach" ; "Just as tall
as I am" ; "It weighs just as much as I do" ; "As wide
as my hand" ; and others, can readily be developed.
Smell, taste, and sounds are also based upon bodily
reactions for their comparisons and identifications.
.\nother idea is to trace out, understand, and use
standards contained in some common expressions. For
example : "A pint is a poimd the world around". Is
this a true statement? It is always true? Under what
conditions is it true? A simple laboratory exercise
will furnish the exjaerimental evidence, and will also
assist in answering such questions as : How much does
a gallon of water weigh ? A gallon of milk ? A gallon
of gasoline?
.'\ second illustration. "From the tip of his Royal
finger to the tip of his Royal nose is one yard. The
story is told of the little girl, who had often seen her
mother measuring cloth in this manner, say; "Mamma,
smell this string for me and see how long it is." Many
people use this convenient method of measuring cloth,
rope, twine, etc., by the "arm's length plan" — from
finger tip to the tip of the nose. After a few experimen-
tal trials one can become ver}' skilled in measuring
things by the yard in this manner.
Pictures are used mainly to convey correct images of
persotis, places, things, or relationships in order that
these new concepts may form the basis for judging and
comparing in new situations. Teachers cannot be
too careful, therefore, to select pictures that convey
whole truths, and not half-truths. A familiar illustra-
tion is that of the child who declared that a hijipopota-
mus was no larger than a rabbit. The child, on being
questioned as to why he had come to that conclusion,
produced an illustrated book showing a rabbit on one
])age, and on the opposite page the picture of a hip-
I)opotatnus. Both pictures were absolutely the same size
and both animals stood out in bold relief without a
single object in either .picture to afford a basis for com-
parison that might convey the real truth regarding the
relative sizes of these two vastly different animals.
Obviously, there should be in the pictured scene some
familiar unit of measurement by means of which in-
telligent comparisons may be made of size, form, dis-
tance, etc. Teachers who study the techniciues used
in educational motion pictures, for instance, will ob-
serve that people are often included in certain types
of scenes as the standard for comparison. Likewise,
rulers are often pictured in motion picture scenes. In
the case of some small objects they are photographed
while being held in a person's hand.
The map has customarily been used to represent
the shape, length, breadth, and area of countries. In
the geography books each country or continent often
September, 19 }9
Page 26S
has a map to itself on a sheet of its own so that, for
instance Xorth America. Russia, and Scotland all ap-
pear the same size. The only help the pupil gets
is from the little scale of miles, which he is likely to
overlook or never understands. The pupil is not likely
to j;ct a vivid, lasting concept of the relative size until
a better basis for comi>arison is jiresented. The inser-
tion in the corner of the map, of a map of the same
area drawn to a very small scale, together with an out-
line make of some standard country drawn to the same
scale, will form a real basis for coni])arisons and make
the presentation meaningful. A map of the state in
which the pupil lives might appear in the comer, for
instance, of the continents, of India, China, the United
States, etc. An effective way to illustrate, for example,
the relative sizes of the countries of the home state
is to have the pupils make a tracing of the whole state
and the counties from the wall map, then color the
tracing with a flat wash, cut out the counties and use
them for comparisons with other counties, other states,
countries, etc.
The motion picture makes use of this technique with
its fade-outs and fade-ins, and does it very effectively.
It is most impressive to see the whole North .American
continent pictured, then to have the map of .Maska glide
from its location and be superimposed upon the United
States, and discover that when .Maska is so placed that
it touches the United States toundaries on the North, the
northeast, the soutbest. the south and the we.st. Teachers
can also u.se the lantern slide projector and the opaque
projector for this same purpose, and secure most ex-
cellent results. First, the outline of the whole area
can l)e traced on the blackboard and afterwards num-
erous comparisons can be made by shifting the pro-
jector to the profjer positions. Newspapers and maga-
zines often use this juxtajX)sition technique. For in-
stance, a most enlightening newspajier j)icturc appeared
just I)efore the outbreak of the present European War.
showing the relative air route distances from important
centers in Europe as compared with some distances
in the United States. It consisted of an outline map
of the United States, with state Ixjundaries and principal
cities indicated. There was superimposed on this map the
map of Europe with the air distances marked on heavily
drawn arrow lines. To many people it was a most
amazing revelation to find that the distances from capi-
tals of the various nations are so relatively short in
comparison with distances in the United States. With
this realization it was a bit easier to understand why
strong fortifications seem to be necessary and why
conflicts are likely to occur frequently.
The whole area of graphic representations will pro-
vide the teacher with opportunities for developing
techni(|ues for her.self and aid in leading the pupils to
developing skills of this sort. The construction of ex-
liibits and displays necessitates a knowledge and use
of comparisons if their messages really reach the
audience to whom they are directed. Roth teachers
and pupils will be tremendously benefited if definite
efforts are made to use comparisons for teaching and
for learning things definitely.
By BRYAN EMMERT
Western Slate Teachers College.
Paw Paw. Michigan.
APPROVED !
Approval and "A" ratings have been given to many
of our 16mm. Sound and Silent Films by Dr. Mark
May's Advisory Committee on the Use of Motion
Pictures in Education and by other representative
groups. Evaluations furnished upon request.
* * *
Just Released in
16MM. SOUND
Available for rental or sale.
• SCHOOLS
An unusual documentary film showing a progressive
education school in action. A carefully prepared
presentation featuring a group of young children.
The only film ever taken with complete dialogue
by children in the classroom. Two reels.
SEASONS And Their CAUSES
A fine, factual film with commentary by John Martin.
One reeL
SPY OF NAPOLEON
Costume pictiire with historical background. 10 reels.
POLAND
A detailed picture of the new Poland created since
the World War, with the great port of Gdynia,
which was built from a fishing village. 1 reel.
Send lor catalog o( over 1500 Educational
and Enlertainmenl subiecis — lor rent or sale.
WALTER 0. GUTLOHN <nc
35 W. 45th St Dept E-9 New York
Page 266
The Educational Screen
Cuixsnt ^jiLm <^\^L
Monogram Non-Theatrical
Department
Three months ago, Monogram Pictures,
one of the theatrical producing companies,
inaugurated a Non-Theatrical Depart-
ment with Joseph A. Kehoe in charge.
This new department is releasing films in
35mm sound to schools, churches, steam-
ship lines, hospitals, state and federal in-
stitutions, and other non-theatrical outlets.
The establishment of this department
opens up a vast library of films hitherto
unavailable for such purposes. Boy of
the Streets, starring Jackie Cooper, and
Romance of the Limberlost, starring Jean
Parker, are two outstanding films offered.
Both have been highly endorsed by im-
portant committees and organizations.
Other pictures available are Streets of
New York and Gangster's Boy. with
Jackie Cooper, Atlantic Flight, with Dick
Merrill, Hoosier Schoolboy and Little
Pal. with Mickey Rooney, Barefoot Boy
featuring Marcia Mae Jones and Jackie
Moran, Under the Big Top. Jack Lon-
don's IVolf Call, and the Mr. Wong de-
tective series starring Boris KarloflF. The
Department also handles westerns with
such stars as Tex Ritter, Tim McCoy,
Tom Keene, Jack Randall and John
Wayne.
Film Series on Puppets
In answer to many teacher-requests,
Bailey Film Service, 1651 Cosmo Street,
Hollywood, are including a series of
films on puppets and puppet making
among their new fall releases. These
films, available in both silent and sound
editions, were produced under the super-
vision of Miss Portia Hawley, well-
known on the Pacific Coast for her
puppet work in the public schools.
The first half-reel shows the making
of a very simple hand puppet so that
children in the early grades can follow
it clearly. The second half-reel shows a
little more advanced hand puppet with
built-up features. And the third half-
reel shows the construction of a simple
theatre, the operation of the puppets, and
a short puppet play. These puppets should
not be confused with the more com-
EUIZI
plicated marionettes, operated with strings.
Produced to closely follow the plan
of a book, "The ABC of Puppets," writ-
ten by Miss Hawley, and soon to be
published, the pictures are for beginners,
no matter what their age or grade level,
so they may be widely used throughout
the school curriculum. Continuity and
study sheets are furnished with the prints,
which may be both rented and purchased.
New Gutlohn Releases
Walter O. Gutlohn, Inc., 35 W. 45th
St., New York City, distributors of
16mm sound films, have added the follow-
ing pictures to their extensive library :
Forbidden Music — (8 reels), an oper-
etta satirizing European dictatorships,
with music by Oscar Strauss, starring
Jimmy Durante and Richard Tauber ;
The Lilac Domino — (7 reels), a musical
comedy with June Knight and Michael
Bartlett. Prisoner of Corbal — (8 reels),
Rafael Sabatini's great emotional romance
set against the spectacular background
of the French Revolution ; Southern
Roses — (8 reels), a musical comedy with
melodies by Johann Strauss ; Spy of
Napoleon — (10 reels), a story of tur-
bulent Europe of the late 19th century
with the court of Napoleon III as a
setting; When Knights Were Bold —
(8 reels). Jack Buchanan and Fay Wray
in a tuneful comedy of what would hap-
pen if you were transported to the Mid-
dle Ages.
Edgar Guest Poems in 16 mm
A new scries of 16mm films for the
non-theatrical field is announced by Post
Pictures Corporation, 723 Seventh Ave.,
New York City. Under the general title
Poetic Gems, the series consists of
thirteen one-reel pictorial adaptations of
the famous poems of Edgar Guest, the
themes of which are rich in the philoso-
phy of human happiness and are reflected
in artistic photography with a musical
background, and narration by Normal
Brokenshire.
Post Pictures also have acquired the
exclusive 16mm rights to a new series
of sound films featuring Tim McCoy, to
be released at the rate of one a month.
BIGGER. BETTER, MORE VALUABLE!
ISfh Annual Edition
"1000 and ONE" FILM DIRECTORY
Ready Oct. 2nd!
The same hanily desk size — 6 x 9 inches — but contains more pages, more films,
more service! A valuable new feature this year is an alphabetical list of the
titles of the more than 4500 films included in the new directory.
Insure receiving the new edition promptly. Remember subscribers to Educational
Screen pay 25c for their copy of "1000 and ONE". (Regular price 75c). Send
your subscription or renewal NOW.
EDUCATIONAL SCREEN "cLigo: m*"'*
Castle September Offerings
Titles of films issued this month by
Castle Films, R.C.A. Building, New
York City, are Washington, Ride 'Em
Coii'boy, The Pirate Ship. Washington
is an interesting document of the nation's
capital, showing the government build-
ings, Smithsonian Institution, Lincoln
Memorial, Washington Monument, etc. in
striking sunnner and winter scenes. All
tlie thrills of a rodeo are afforded by
Ride 'Em Cozcboy — bronco busting, trick
riding, bulldogging, roping. The Pirate
Ship is an amusing mouse romance in
cartoon form. Castle will also issue a
special news parade entitled War in
Europe, showing all of the events lead-
ing up to the new war, as well as pictures
taken during the next few weeks.
New Eastin Subjects
An exclusive new release of Lorna
Doone is offered by Eastin 16mm Pic-
tures Company, Davenport, Iowa. This
stirring picturization of Richard D.
Blackmore's immortal love story fea-
tures Victoria Hopper as Lorna, with
John Loder and Margaret Lockwood.
Much of the ten-reel picture was filmed
in the Doone country itself. Also just re-
leased by Eastin on an exclusive basis is
The Last Wilderness, which features
Howard Hill, the World's Champion
Archer. This 5-reel film, made by Jerry
Fairbanks in the wilds of Wyoming,
shows stirring scenes and rare glimpses
of wild life there. Narration is by Gayne
Whitman.
Additions to Films Inc. List
Films to be added this fall to the
"School List" of Films Incorporated, 330\
W. 42nd St., New York City, are: Th,
Buccaneer, historical romance of Jeai
Lafitte, played by Fredric March ; High}
Wide and Handsome, story of the laying
of the first oil pipe-line, combining history
with music and romance ; 100 Men and a
Girl, delightful musical picture with
Deanna Durbin and Stokowski ; Wells
Fargo, epic story of the first transcon-
tinental express, and Souls at Sea, star-
ring Gary Cooper. These pictures have
been selected for their educational and
cultural content and are offered to schools
with integrating Study Guides.
Films, Incorporated has also obtained
exclusive 16mm distribution rights to the
Paramount short subject series Popular
Science, and those on Unusual Occupa-
tions. Both are produced in color. The
former are fascinating portrayals of cur-
rent scientific discoveries and research —
highlights in the practical application of
mechanical science, covering the latest
inventions, new mechanical "gadgets" and
devices, all the various developments of
Science's modern wonderland. The sub-
jects have wide general appeal, and are
especially interesting for classes in Me-
chanics, Physics, Chemistry, etc. The
Unusual Occupation subjects also have
high entertainment value and are stimu-
lating material for courses in Vocational
G'lidance.
i
m
September, /9J9
Page 267
^ttL55loom 7itm6 U/a^te lime UnUid
they TEACH better, quicker, and more thoroughly than ordinary
methods — and at the same time give the student a more personal contact with the
subject under consideration.
Many films do waste time . . . but we like to think our
"Educational Films of Merit" perform the way a good classroom
film should. Many teachers have told us they do — but you haven't!
It's your opinion we want, for in your teaching experience you have
seen a great many films in action! Thus you can contrast ordinary films with
"Educational Films of Merit" — all recently produced. We want
you to tell us what you want in films — then we can make them for you!
For our new catalog — sale or rental — clip and mail the coupon on the
right. 1 Don't forget your name and address!)
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dzducationaL \7iLm± of <:y\/{s,%it
SOUND AND SILENT CLASSROOM FILMS
BAILEY FILM SERVICE
1651 Cosmo Street
Hollywood, California
Foreign Features Re-edited
The Intematiunal Film Bureau, 59 E.
Van Buren Street, Chicago, is re-editing
the French films Carnival in Flanders,
Mayerling and Pearls of the Crown for
showing in assembly periods. They will
oflfer the films for two days' use at the
one-day rental price. The re-edited ver-
sions permit of showing one part of the
film on the first day and the remaining
part the second day. The original 12-reel
version of Pearls of the Croivn is also
available. Copies of the dialog in these
subjects are loaned without charge to
teachers using the films.
Roosevelt Movie
Garrison Films, 1600 Broadway, New
York City, announces the release on
16mm sound film of the one reel musical
short, A Musical Message From Holly-
wood, directed by Frank Tuttle and Her-
bert Bibcrman, featuring Charles Purcell
and "The Notables" Quartet. The picture
introduces the popular song, "Mr.
Roosevelt, Won't You Please Run again."
Prints are available for immediate un-
restricted outright .lalc.
More Films for College Center
A list of British Documentary films
has been added to the rental library of
the College Film Center, 59 E. Van Buren
Street, Chicago. This organization has
also added to its list of films for history
and social sciences, which now consists of
40 subjects selected by committees of
teachers and educators.
Timely Shorts
Some one-reel subjects in 16mm sound
appropriate to the season are offered
by Pictorial Films, Inc., 1650 Broadway,
New York City, among which is Football,
which goes behind the scenes of the game
to show how the players learn their
lessons, with movements analyzed by the
slow-motion camera. Chinook's Children
is a beautiful winter film, photographed
at a New Hamp.shire kennel, showing
the care and training of sled dogs sired
by Chinook, Admiral Byrd's antarctic
lead dog. Fascinating scenes of winter
sports and magnificent scenery are re-
vealed in such films as: H'inler Magic.
lyinter Holiday, Snowscapes, Frosty
Frolics, Skiing with Hannes Schneider,
High School of Skiing and Dangerous
Climbing. Many of these subjects have
a fine musical background.
Audio-Film Announcements
.Audio-Film Libraries, 661 Bloomfield
Avenue, Bloomfield, New Jersey, an-
nounce the release of two films. Terri-
torial Possessions of the United Stales,
and Lincoln, The former is a two-reel
16mm historical subject describing the
acquisitions of Alaska, The Wake Islands,
Hawaii, Porto Rico, The Philippines and
our other possessions, with accompany-
ing maps, animations, and narrative. In
Lincoln, the Gettysburg address is de-
livered by Lincoln and Civil War soldiers
harmonize in singing "Tenting Tonight."
Visual Instruction
in Illinois
(Concluded from page 241)
be provided for the use of visual
materials by the practice teacher. Form-
al extension courses will reach a larger
number of those who have completed
their formal education. Such courses
will give the teacher an opportunity to
experiment with these materials in her
own classroom. Teachers colleges, film
libraries, and other institutions inter-
ested in education will find it quite
valuable in terms of educational re-
turns, to provide capable instructors to
conduct special informal courses in
the larger school systems. Such a course
will more adequately meet the demand
for teacher training today.
U. The Illinois Education Associa-
tion should appoint a committee to study
the various types of organizations of
the smaller film libraries now in use in
the eastern states. The advantages
and disadvantages of each plan should
be noted, and this material made avail-
able to the institutions interested in
establishing such libraries.
In summarizing, one may justly con-
clude that if interest in the use of
visual materials continues to grow as
rapidly as it has in the last five years,
and along the lines indicated by this
survey, Illinois will soon rank among
the states leading in the use of visual
aids.
Page 268
The Educational Screen
c^moncj tnE iJ\oduaE%±
Where the commercial
lirms announce new products and developments of interest to the field.
Film Slide Story of the Clock
Visual Sciences, Suffern, New York,
announces a new roll of 35mm safety
film slides. Timekeepers Through the
Ages, which traces the clock from
earliest antiquity to the present day. The
treatment is pictorial throughout ; and
while it admirably supplements this com-
pany's film slide series in General Science
and Principles of Physics, the work is
complete in itself and may be used alone.
It is suited to classroom work, general
assembly programs, club talks, etc. The
price for the entire roll of 39 frames is
two dollars.
Slide Set on Safety
Keystone View Company, Meadville,
Pa., now have ready the third unit in
their Safety series. Safety in Sports and
Recreation, consisting of thirty slides,
ten of which are in color. The two
preceding units are titled Safety in the
Home, and Safety on the Highway.
Teachers' manuals accompany the sets.
Some of the subjects treated in the
new unit are : dangerous sports, sunburn,
poisonous plants, safety with camp tools,
proper clothing for safety, boat rescues,
swimming rescues, resuscitation, skiing,
safe and unsafe practices in bicycling,
riding at night, etc.
New SVE Equipment
In the new attractive little folder on
SVE projectors circulated by the Society
for Visual Education, 100 E. Ohio
Street, Chicago, there appears announce-
ment of the new SVE Tri-Purpose
Model DD which, like the AA and CC
models, shows single and double frame
filmstrips and the 2x2 glass slides. It
sells for $49.50 complete with carrying
case.
Also new is their special slide carrier
for the Eastman Kodachrome Ready-
Mounts in 2x2 size, which are thinner
than ordinary 2x2 glass slides. This
device fits the SVE miniature projectors
EK and AK (which show only the small
size slides), as well as Models CC and
AA and the Argus Models A, B and
CP.
Kodak Data Books
Worthy reference material for any
photographer's library, four new Kodak
Data Books at nominal prices are an-
nounced by the Eastman Kodak Com-
pany. Rochester. These books, now
available through Kodak dealers, present
a tremendous amount of specific, practical
information in handy pocket-size form.
Kodak Films (56 pages, IS cents) dis-
cusses photographic characteristics of
films, film speeds, meter settings, uses
and processing of each film. Koda-
chrome, Photography In Color (52 pages,
25 cents) explains exposure technique
both in daylight and artificial light, use
of a photoelectric exposure meter, movie
and "still" filming ; and provides full
specifications and data tables. Wratten
Filters (40 pages, 15 cents) deals with
filters from both the practical and theo-
retical standpoints, demonstrating use of
them and the Kodak Pola-Screen. East-
man Photographic Papers (48 pages, 15
cents) offers full information as to the
characteristics of various brands of East-
man photographic papers. A number of
formulas are included in the section on
toning.
Sound Slide-Film for
Photographers
Suggestions on hpw any camera fan
can "shoot" high calibre pictures in-
doors have for the first time been in-
corporated in a 25-minute talking slide
film produced recently by General
Electric. Entitled "Pictures Indoors
with G. E. Mazda Photolamps," the new
talkie is expressly designed to serve
camera clubs and other groups, who
want expert instruction in photoflash
and photo-flood technique. Consisting
of more than one hundred, "how to"
slide pictures, the film thoroughly
covers the fundamentals of indoor photo-
lamp photography, telling its story in
non-technical terms. Projected pictures
Illustrating an effective lighting set-up.
illustrating the essentials to be observed
feature a French doll as the subject, doll-
house-size camera and lighting equip-
ment. The presentation also includes
numerous examples of interesting indoor
pictures taken under the lighting setups
described.
Any group that wants a copy should
mail its request direct to Incandescent
Lamp Department (166) of General
Electric Company, Nela Park, Cleve-
land, Ohio. By agreeing merely to pay
for transportation charges and to re-
turn film and records promptly, tlie new
photolamp talkie will be supplied by the
nearest division sales office of the
Company.
Revised DeVry Catalog
Free Films for Schools, a 64-page
booklet listing alphaljetically over 1400
free films from over 300 sources, has
just been revised and reprinted by the
DeVry Corporation, 1111 Armitage
Avenue, Chicago. Cross references under
60 different headings show at a glance
what films are available for school pro-
jects. Physical data of each film is re-
corded, the number of reels, whether
16mm. or 3Smm., and whether sound or
silent. Names and addresses of sponsors
or distributors of each film are also listed.
The catalogue is a well printed 6x9
book and sells for 50 cents.
B & H 8mm. Accessories
A new 2-inch viewfinder objective for
use with available two-inch telephoto
lenses is announced by Bell & Howell
for use in the Filmo "Aristocrat" Turret
8 Movie Camera. The two-inch lenses
with the new viewfinder objective permit
8mm. film users to shoot distant scenes,
recording images sixteen times as large
as with the regular half-inch lens.
For some time the wide-angle lens has
been the accessory most demanded for
8mm. Filmo Cameras. Responding to this
demand Bell & Howell has introduced
the Hyper Cinor Lens Attachment which
serves two valuable purposes. It doubles
the lens angle, and it includes provision
for focusing. When normal use of the
lens is desired the attachment is un-
screwed and removed.
The new Bell & Howell Focusing
Alignment Gauge for use with the Filmo
Turret 8 meets the requirements of close-
up photography, as it permits the opera-
tor to focus exactly, as well as to obtain
the exact boundaries of the close-up
picture. Since the Critical Focuser (an in-
tegral part of the Filmo Turret 8) and
the lens in photographing position are
exactly parallel, it is only necessary to
slide the Focusing Gauge block to the
right and revolve the selected lens back
into place in order to photograph the pic-
ture precisely as focused and framed in
the Critical Focuser.
For further information on these items,
write Bell & Howell Company, 1801
Larchmont Ave., Chicago.
September, 19)9
Page 269
Film Estimates
(Conlinut'd from page 248)
Good Gfrla Go to Pariii (Joan Blondcll, Melvyn
Di)Uul«sM<'<>lumbiai Hrt»ad. wiphislic-al^'d farce,
with iniTiilibU' doinirH "f uncunvt-ntinnal, ex-
•BlU'raUtlly natvr waitn-Ks. rrazily involved in
•traiKhttninK out the cheap affairs of wealthy.
■rnselesK family. DubiouB ethir.n. some suKKest-
Ive nituatinnfl. absurd romantic element. 8-1-S9
(A» Depends on taate (Y) Very doubtful (C) No
Golden Boy )Wm. Hnlden. Stanwyck. Menjou)
(Columbia) Stn»nic. finely 8ct*d drama of emo-
tional conflict in violinint-hern whose temporary
denertion of music for financial succeitfl in ftirht
rinB faiU to brinir happiness. Mature romantic
element with heroine of sordid pant IH im-
portant st«)ry i'l<-mi'nt. 9-5-89
(A) Very Kood of kind (Yl Doubtful (C) No
Goodbye. Mr. Chips (Robert Donat. Greer Car-
son> (MGM> Great achievement. Splendid por-
trayal of joys and norrows of fcentle clawica
teacher, of boy life in venerable Rnfrlifih school,
of British cultural traditions, of humanitarian
life, idealu and service. Fine international in-
fluence when-ver it can be appreciat«*d. 6-27-89
(A» Excellent (Y» Excellent (C) Good
Grarie Allen Murder Case (Gracie. Warren Wil-
liam > (Para) As blunderinir amateur detective
in hilarious murder-mystery comedy written
CMpiM-ially for her by Van Dine. Gracie further
confuse?" police with her idiotic chatter and in-
ane actions. Will delight Allen fans but prob-
ably ntit d4'tective-story addicts. 7-4-89
(Al DeiM-nds on ta.stf (Y) Amasinc (C) No
Hell's Kitchen (MnrtCHrrt Lindsay, Ronald Rea-
jranX Warnt-rl Mort- typical toughness by Dead
End kids, now inmnt«-s of Boys' Shelter where
inhumane hrad causes death of one. MakcM
hero of crude illiterate who institutes new or-
der. Preposterous stuff, with ffanfr element
addinK violence and thrill. fl-R-89
(A I Stupid (Y) and (C) Poor
Hotel for Women (Linda Darnell. Ann S'lthern,
Elsa Bdlaxwelh ( Fox » Allurinjf Rlamoriuation of
working itirls' lives in New York. Heroine is
small-town irirl who achieves incredibly swift suc-
cess as advcrtisinjr model, rei'overinit sweetheart
who had jilted her. Eye-appealinjc. artificial stuff,
lavishly set. SparklinK, amusing dialog. 8-29-89
(A) Depends on taste (Y) Sophi.>tticated (C> No
Hotel Imperial (Isa Miranda. Ray MUland)
(Para) Pretentious war thriller. Border-town ho-
tel alternately held by Russians and Austrians.
Spy-hero poking as waiter, heroine seeking cause
of wrtmged sister's suicide in same hotel. Both
succeed. Overloaded sets, boisterous action,
jumpy direction make confused thriller. 7-25-S9
(A) Mediocre (Y) No (C) No
House of Fear, The ( Wm. Gargan. Irene Hervey \
(Univ) Well-Ungled. fatrly-well acted murder
mystery. Empty theatre settings achieve eerie ef-
fect, but plot interest is weakened by too much
dependence on stale comedy gags and stock
thrill de\-ices- -secret panel, mysterious voices,
ghost faces and such. 8-8-89
(A» and (Yl Perhaps (C) No
I Married a Cop (Jean Parker. Phil Regan)
(Republic) Flimsy, far-fetched farce of romance
between pn>ducer-heroine and "singing-poHce-
man" hero, complicated when she tricks him
into making song recording for pig character in
comic cartoon ! Elementary doings to the ac-
companiment of much raucous hullabaloo. 8-1-89
(A) and (Y) Mediocre (C> No
Inside Information (Dick Foran. June Lang.
Harry Carcyl (Univ> Rookie Cop's scientific
crime detection methods are opposed by veteran
police captain, who believes in the strong-arm
'*kn(K*k-em-down" way. But herd's methods solve
crime and he sees the light. Elementary stuff.
brutal and unpleasant in spots. 8-1-89
(A) Hardly (Y) Betternot (C) No
Indianapolis Speedway ( Pat O'Brien, Ann Sher-
idan! (Warner I Sensational auto-race thrill
melodrama intersperst'd with news-reel shots of
the annual 500-mile classic. Story tells of ri-
valry of brothers for race-driving honors,
with some cheap elements In romantic compli-
cations. Noisy and unimportant. 9-5-89
(A) Hardly (Y| Doubtful (C) No
Invitation to Happiness (Irene Dunne. Fred
McMurray) (Para) Elite, rich, charming heroine
chases, wins, weds crude ignoramus priie-
fight4-r, "love" being mere physiology. The
"fight game" and little son's aversion t*> father
bring divorce. But final prizefight, long and
gor>', solves all. Well done absurdity. 6-27-39
(A) Depends on taste (Y) By no means (C> No
Invitation to the Watts (Lillian Harvey) (Hoff-
berg) Clumsily-told, poorly acted, sophisticated
musical comedy in time of Napoleon. Absurdly
unconvincing doings center round English
dancer who risks her reputation in elaborate
sebrme to force the Duke of Wurtemburg to
furnish soldiers for England. 8-16-89
<A) Dull (Y) and (C) No
I Stole a Million (Geo. Raft.ClaireTrevor) (Univ)
Dreary film of very dubious merit. Maladjusted
hem's inability to face existing conditions turns
him to career of crime, till long-suffering wife's
plea that he ifive himself up is heeded at last. De-
pressing, vnconvineing stuff creating undeserved
sympathy for criminal. 8-22-89
(A) Depends on Uste <Y» and (C) UnsuiUble
It Could Happen to You (Stuart Erwln. Gloria
Stuart 1 1 Fox I Mixture of pleasing domestic com-
edy and mystery melodrama, with considerable
footagedevoted to unpleasant drinking party. Tal-
ented but meek hero is held for murder ; wife's clev-
erness saves him and secures gotid position for him.
Well directed, acted and writU-n. 8-16-89
(A) Fairly good (Y) Betternot (C) No
Kid from Kokomo (Wayne Morris, P. O'Brien.
J. Blondell, May Robson) (Warner) Thoroughly
distasteful mess. Unsavory fight manager ex-
ploits brawny, dim-witted yokel, abandoned lu
babe, by having drunken old harridan pose as his
mother. Sheaddatoughassoclateas "father." The
fraud revealed, he adopts them as parent* I 7-11-89
(A) (Y( and C) Trash
Kid from Texas. The (Dennis O'Keefe. Florence
Rice) (MGM ) Rather novel and amusing comedy
about conceited cowboy who leaves Texas for
Long Island because of polo complex. Not the
success he expected, he learns his lesson and
when he returns, with team of costumed Indians,
he wins game and girl in weak climax. 6-20-39
iA( Fuir IY> and (C) Entertaining
The Film Estimates have
appeared continuously in The
Educational Screen for 1 3
years.
Most regretfully do we
make the announcement of
their discontinuance. ( See
Diversitorial in this issue,)
King of Chinatown (Tamlroff. Anna May
Wong) (Para) Tamiroff engaging as gamb-
ling-king with scruples about racketeering.
Scoundrel "pals" shoot him, usurp his throne,
but Anna May Wong as his hospital doctor
works his reformation before he dies. Not
over-violent and rather well done. 6-13-89
(A) Hardly (Y) Fair (C) No
Lady of the Tropics (Hcdy Lamarr, Robert Tay-
lor) (MGM) "Madame Butterfly" a la Ben Hecht.
Socialite playboy on world yachting tour drops
family and fiancee for tricky half-caste siren in
Indo-China. Torrid romance. Oriental intrigue
till smooth villainy brings heroine's suicide.
Notable exotic role by Hedy. 8-16-89
(A) Depends on taste (Y) Unwholesome (C) No
i^nin in 1918 (Russian-English i.'tles) (Amkino)
Elaborate, episodic, long-drawn out story of
Lenin's merciless rise to power. Rolf>s by Gorky
and Trotsky. Mass scenes of mobs, armies
and battles. Lenin, national idol, puts mantU
of p<iwer on Stalin's shoulders. Usual Soviet
gloriflsation. 7-18-39
< A) Good of kind ( Y) and (C) No interest
Life aad Lotcs of Beethoven (Harry Bauer)
(French-English titles) Notable for reproduc-
tion of much of Beethoven's music. Story con-
cerns love for fickle Juliette and indifference
to the loving Therese. His gradual deafness
shown by striking technique. Heavily played
by Bauer. 7-4-89
(A) Fair (Y) (C) Little interest
Lacrezia Borgia (French. Eng. titles » (Gallic
Films) Elaborate backgrounds, excellent acting,
in vivid portrayal of life and times of the ruth-
less Borgias seeking pleasure and power. Slow
at times and photography uneven, but mostly
impressive, convincing picture of a grim bit
of real history. 8-22-89
(A) Good of kind <Y) Mature (C) No
Maisle (Ann Sothern. Robt. Young) (MGM)
Glorifies breexy, illiterate, honest, engaging
little chorus-girl heroine, speaking chiefly wise-
crack, who pursues and "gets her man."
Sprawling artificial plot provides extraneous
complications such as a faithless wife, a sui-
cide, and murder trial for hero. 7-4-89
(A) Hardly ( Y> No value (C) No
Man About Town (Jack Benny. D. I^mour)
(Para I Benny's best to date. Fast, frothy, well-
knit musical comedy skillfully blending hand-
somely set song-and-dance numbers with amus-
ing story of A merican actor's farcical en-
tanglement with English aristocracy. Rochester
contributes considerably to the fun. 7-4-89
(A) Verygd.ofkd. (Y) Entertng. (C)Prob.amus.
Man of Conquest (Richard Dix. Edward Ellis.
Gail Hamilton) | Repub. ) Fairly accurate* life
story of erratic, freedom-loving, big souled.
heavy drinking, roughneck patriot-soldier-state*-
man. Sam Houston, ably theatricalized. Vivid
picture of frontier Texas. Notably well done,
especially Ellis' Andrew Jackson. 6-13-89
(A) (Y) Very good IC) Too mature
Man in the Iron Mask. The ( Louis Hay ward, Joan
Bennett) 1 U. A.) Lively, skilfully done version of
Dumas' fabulous, sword-rattling, romantic melo-
drama of court intrigue and dark doings in
time of Louis XIV. Hayward splendid in diffi-
cult dual role. Supporting cast, photography,
settings, costumes, all excellent. H-8-39
(A) and (Y) Very fine (C) Mature and Exciting
Missing Daughters (Richard Arlen, Rochelle
Hudson) (Columbia) Lurid melodrama with
thrills and violence for the uncritical. Gang
set-up lures girls into service in tough danco-
halls. Murder is reward for those who threaten
to "tell." Radio-announcer hero untimately gets
evidence to convict and destroy mob. 7-4-89
(A) Mediocre (Y) (C) No
Mr. Wong In Chinatown (Karloff) (Monogram)
Mildly suspenseful. non-gruesome murder mys-
tery. Chinese war general sends sister to Amer-
ica to buy planes. Rival crook forces attempting
to steal plane funds lead to her murder and
two others. Karloff as Mr. Wong smoothly de-
tects killer. K-22-S9
(A) Hardly (Y) Fair (C) If it interesto
Mutiny on the Blackhawk (Arlen. Devine. Con-
stance McM»re) (Unlv ) Pseudo-historical stuff, any-
thing for thrills. Unspeakable brutalities on be-
calmed slave ship : wild fight between Mexico and
frontier squatter colony ; rescue by General Fre-
mont ; and hero, rampant throughout, revealed
as U. S. Army capUin I 9-12-89
(A) Mediocre (Y) No (C) No
Naughty but Nice ( Dick Powell. Gale Page ) ( War-
ner) Lively comedy about prim young professor of
claKsical music getting mixed up with popular song
publishers, who turn his symphony into swing
tune, trick him into contract, involve him in pla-
giarism suit. Amusing at times, overdone and
tiresome at others. Silly title. 8-16-39
(A) Light (Y) Fairly amusing (C) UnsuiUble
News is Made at Night (Preston Foster. Lynn
Bari) (Fox) Routine but quite mild newspaper-
gangster murder melodrama. Aggressive manag-
ing editor, abetted by persistent reporter-heroine,
resorts to desperate measures to get reprieve
for condemned man until he can uncover real
murderer. Acting better than story. 8-8-89
(A) Mediocre (Y) No value (C) No
On Borrowed Time (Lionel Barrymore. Bobs Wat-
son. Beulah Bondy ) ( MGM ) Gently humorous fan-
tasy depicting Death as a genial, kindly friend,
finely produced, acted, for intelligent enjoyment.
Much charm, humor and human appeal in emo-
tional story blending the real and the unreal.
Some overemphasis in dialog is flaw. 8-8-89
(A)Fineorkd. ( Y) Mature.good (C)Toomature
Only Angels Have Wings (Cary Grant. Jean
Arthur. R. Barthelmess) (Columbia) Kxpertly
directed, photographed, acted, blending spectacu-
lar aviation thrills with absorbing story about
intrepid commercial fliers. Strong, human, con-
vincing stuff. Good character values. Rormu-
tlc element slight but pleasing. 6-20-89
(A) Veryfineofkd, (Y) Gd.butstrong (C) Mature
Oppcnheim Family. The (Russian-English titles)
(Amkino) Grim, powerful portrayal of talented
Jewish family outrageously maltreated by
Nazis. Insults, bruUlities. exile, killings, sui-
cides. Notable character work. Strongly anti-
Nazi. Slow tempo and too much talk lessen
dramatic values somewhat, 6-27-89
(A) Good of kind ( Y) Mature (C) No
Orage (Chas. Boyer. Michele Morgan) (French-
English titles) Finely acted, sophisticate-d theme
of illicit romance showing tragic consequences
when happily married hero becomes infatuated
with another woman. Trite theme, thoroughly
continental in flavor, fairly well done except
for faulty continuity. 7-11-39
(A) Good of kind (Y) and (C) No
Our Leading Citisen ( Bob Burns. Susan Hayward )
(Para ) Serious* controversial drama with timely
theme Capital vs. I^bor. resulting in strike and
bloodshed. Earnest preachment carrying patriot-
ic message. Bob in jitraight role of fine lawyer
whose ideals clash with young hero's until latter
sees light. Much Ulk : vigorous action. 8-22-39
(A) Unusual (Y) P rob. good (C) Beyond them
Panama Lady (Lucille Ball. Allan Lane) (RKO)
Sordid, incredible tale of show-girl heroine,
stranded in Panama, taken to South American
jungle as housekeeper to atone for share in
cafe robbery. More unpleasant and lurid hap-
penings before she finds happy future with
hero who follows her to New York. 7-11-89
(A) Poor (Y) and (C) CerUlnly not
Page 270
The Educational Screen
Panama Patrol (Leon Ames, Charlotte Wynters)
(Grand Nat'l) Agreeably thrilling spy melodrama,
in which instructive exposition of code cipher-
ing by Washington Bureau offers considerable
interest, and hero's tracking down of Oriental
spy ring, in possession of Panama Canal secrets,
entails many suspenseful situations. 7-11-39
(A) Fair (Y) Rather good (C) Hardly
Parents on Trial (Jean Parker, Johnny Downs)
(Columbia) Attempt at earnest message on
theme of too-strict parents. Wholesome qual-
ities of supposed teen-age youngsters help much.
but ridiculous attitude of girl's father and other
unconvincing, melodramatic elements greatly
weaken values. 8-15-39
(A) Hardly (Y) Doubtful (C) No
Quick Millions (Jed Prouty, Spring Byington)
(Fox) Lively, elementary farcical doings of
Jones Family in Arizona, whence they trek to
claim supposed gold mine willed by relative.
Find no gold, but crooks using mine for hide-
out get family crazily entangled with law, till
real bandits are caught. 8-22-39
(A) Hardly (Y) and (C) Amusing
Romance of the Redwoods (Jean Parker,
Charles Bickford (Colum) Obvious thrill stuff
of little merit or interest save for forest set-
tings and scenes of logging activities. Largely
artificial, falsely motivated melodramatic situ-
ations built around theme of innocent man
tried for murder. 6-27-39
(A) (Y) Mediocre (C) No
Rookie Cop (Tim Holt, Virginia Weidler) (RKO)
Simple little thriller with boyish cop for hero,
engaging police dog as chief actor, and Virgin-
ia doing an irrepressible, self-appointed. 9-year-
old detective. Dog's impossible feats made
convincing. Lively fun for youngsters, with
reasonable thrills. 7-25-39
(A) Elementary (Y) Fair (C) Probably good
Second Fiddle (Sonja Henie, Tyrone Power)
(Fox) Sonja's skating and Edna May Oliver's hu-
mor are brightest spots in light, agreeable little
picture inspired by Hollywood's search for a
Scarlett O'Hara. Minnesota schoolteacher gets
coveted movie role, is big success, but studio pub-
licity stunt ruins everything for her. 7-18-39
(A) Pleasing (Y) Good (C) If it interests
Should a Girl Marry (Anne Nagel, Warren Hull)
(Mono) Highly artificial concoction about hero-
ine whose prison-birth threatens her marriage
to doctor-hero. Contemptible rivalry among
hospital doctors, blackmailings, shootings, end-
less emergency operations, etc. Crude stuff that
fails to ring true anywhere. 7-25-39
(A) Poor (Y) No (C) No
Should Husbands Work? (Gleasons, Harry Dav-
enport) (Republic) Another in Higgins Family
series of comedies, more convincing and realistic
than others. Family's blunderings keep husband
jobless until end of film when he succeeds wife as
manager of cosmetics business. More nonsensical
antics by Davenport as grandpa. 8-15-39
(A) Fair (Y) and (C) Probably amusing
Spellbinder, The (Lee Tracy, Barbara Read)
(RKO) Sordid melodrama well acted by Tracy
as successful criminal lawyer, using shady
tricks to acquit guilty clients. When daughter
marries one of them, believing in his innocence,
father kills him and defends self at trial.
Plausible ending. 9-12-39
(A) Hardly (Y) Unsuitable (C) No
Stanley and Livingstone (Spencer Tracy, Hard-
wicke)(Fox) Elaborate, impressive composite of
history, high adventure, African scenery and ex-
traneous romance. More chronicle than drama.
Two heroes divide interest, alternate success and
failure defeat suspense. Great historical moments
finely done, rest of uneven value. 8-15-39
(A) and (Y) Mostly good (C) If it interests
S. O. S. Tidal Wave (George Barbier) (Republic)
Wildly sensational stuff, drably acted, about a
hesitating hero who recovers in time to achieve
happy ending. Villainous politicians nearly
swing election by televising horror film of tidal
wave destroying N. Y., thus driving voters from
polls in panic. Fantastic absurdity. 6-20-39
(A) Hardly (Y) No value (C) No
Star Maker, The (Bing Crosby, Louise Campbell)
(Para) Another entertaining musical echo of the
past. Episodic story, inspired by career of Gus
Edwards, reviews his songs and child vaude-
ville acts which brought him fame. Many
youngsters in cast and new 14 year old singing
"find," Linda Ware, add interest. 8-29-39
(A) Good of kind (Y) and (C) Entertaining
Stolen Life (Elisabeth Bergner, M. Redgrave)
(Para) Artistically produced English film, Berg-
ner sunerb in Hifllicult dual role of twin sisters
with opposite personalities, one of whom assumes
identity of other upon her death. Extraordinary,
hardly credible central situation, but absorbing.
moving drama. Ably directed. 7-18-39
(A) Very good (Y) Too mature (C) No
Stronger Than Desire (Walter Pidgeon, Virgin-
ia Bruce^ (MGM) Another busy-husband neglect-
ed-wife triangle, quite well done, but *'other
man" is so contemptible that wife's interest in
him is incredible. She supposedly shoots the
blackmailer, but lawyer brings out truth at
trial and acquits all concerned. 7-18-39
(A) Depends on taste (Y) No value (C) No
Stunt Pilot (John Trent. Marjorie Reynolds)
(Mono) Ruthless director, seeking real death and
disaster for his airplane thriller, gets vengeance
also on old enemy, hero's opponent in air fight,
by sneaking real bullets into hero's guns.
Chance photographs by boy at play clear hero
and spot villain. Hectic crudity. 7-25-39
(At Poor (Y) No (C) No
Sudden Money (Ruggles, Rambeau) (Paramount)
Winning sweepstakes ticket makes fools of drug
clerk and wife, each squandering money pursu-
ing old college ambitions until loss of it brings
them to their senses. Diverting at times. In-
credible farcical antics, one sequence imitative
of "You Can't Take It With You." 6-20-39
(A) Ordinary (Y) Passable (C^ Unsuitable
Sun Never Sets, The (Fairbanks, Jr., Rathbone.
and fine cast) (Para) Notable portrayal of fine
old English family traditionally devoted to the
Empire's Colonial Service. Highly melodramatic
villainy adds thrill but character values domi-
nate. Intelligent entertainment but perhaps too
"British" for general appreciation. 6-27-39
(A) (Y) Very good (C) Quite mature
Susannah of the Mounties (Shirley Temple, Ran-
dolph Scott) (Fox) Simple adventure tale with
slight plot concerning hostile Indians, building of
Canadian Pacific Railroad, and little orphan's
devotion to "Mountie"-hero. Elementary stuff of
little interest aside from Shirley's winning per-
sonality. Warfare scenes restrained. 7-4-39
(A) Perhaps (Y) Good (C) Enjoyable
Sweepstakes Winner (Marie Wilson, Allan
Jenkins) (First Nat'l) Two cheap, crude race-
track loafers spend most of film trying to
wangle very silly heroine's $1000. so as to
bet it and make $5000 to buy racehorses, etc.
Fathead hero present merely to be heroine's
husband at the end. 6-27-39
(A) Stupid (Y) No (C) No
Tarzan Finds a Son (Weismuller, O'Sullivan)
(MGM) Less distorted and absurd than its fore-
runners. Retains excitingthrills — narrow escapes
from jungle perils, savage brutalities, etc., but
settings, wild animal shots and beautiful under-
water swimming add elements of genuine inter-
est. Small boy character appealing. 7-4-39
(A Perhaps (Y) Good (C) Exciting
Tell No Tales (Melvyn Douglas, Louis Piatt)
(MGM) Above average intricate detective thril-
ler. Douglas does smooth, deft role as news-
paper-man who outwits rival paper, stumbles
on kidnap evidence, involves heroine in hectic
adventures till all is solved and saved. One
drinking episode thoroughly overdone. 6-13-39
(A) (Y) Very good of kind (C) No
400.000,000, The (Joris Ivens documentary) (His-
tory Today, Inc.) Impressive picturizing of Chi-
nese life and thought amid present actual war
conditions, grim and grewsome. Strongly pro-
China but rings true. Good photography, maps,
and properly intermittent narrative by Fredric
March. An important "documentary". 6-13-39.
(A) (Y) Very good of kind (C) Very strong
They All Come Out (Rita Johnson. Tom Neal)
(MGM) Authentic, informative prison film made
in cooperation with U. S. Dept. of Justice. Excit-
ing gang robberies at start, but mostly shows
kindly efforts of prison staff to rehabilitate crim-
inals. Human little story of regeneration of boy
and girl involved with bank-robbing gang. 8-29-39
(A) and (Y) Good of kind (C) Too mature
They Asked For It (Michael Whalen, Joy Hod-
ges) (Univ) Doctor, lawyer, journalist and his
fiancee, leave city to carve out small town ca-
reers. Hard struggle until a supposed suicide,
needing solution as murder, gives them plenty of
action. Dramatic construction faulty, some ab-
surdities, but nothing objectionable. 7-18-39
(A) Mediocre (Y) Fair (C) Perhaps
Torchy Runs for Mayor (Farrell, MacLane)
(Warner) Swift-moving, exciting story of
newspaper reporter's courageous exposure of
crooked boss, who resorts to killing and kid-
napping to thwart her. Slow-witted detective-
fiance rescues her and she wins election. More
painful comedy by Tom Kennedy. 7-11-39
(A) Perhaps (Y) Fair of kind (C) No
Trapped in the Sky (Jack Holt) (Columbia) Very
ordinary, mildly puzzling, moderately violent spy
thriller of loose, unconvincing action, as army-
captain hero patly tracks down foreign spy ring
responsible for sabotage of U. S. airplanes.
Absurd bit of hero doing two-story plunge
through window-pane without a scratch ! 8-8-39
(A) Mediocre (Y) Perhaps (C) No
Under-Pup, The (Gloria Jean, Virginia Weidler)
(Univ) Introducing talented 11-year-oId singer.
Does fine work as engaging child of poor but
happy family who gets outing at rich girls' camp,
triumphs over their snobbish treatment and rights
many wrongs. Much appealing and humorous
action, good cast, fine human values. 9-5-39
(A) Entertaining (Y) Good (C) Very good
Undercover Doctor (J. Carroll Naish, Lloyd No-
lan) (Para) Plausible, convincing, well-acted film.
FBI methodsof trackingdown criminals interest-
ingly shown. Mainspring of plot is the vain effort
of a prominent doctor, grown wealthy from un-
dercover services to crookdom, to shake off
his criminal association. 8-29-39
(A) Good of kind (Y) Doubtful values (C) No
Unexpected Father (Baby Sandy, Mischa Auer,
Shirley Ross) (Univ) Utterly engaging orphaned
baby falls into devoted hands of small-time
actors. Amusing adventures till right man and
girl marry to become foster-parents. Wholesome
characters in none-too-original story. Nerve-
wracking climax with baby on dizzy ledge. 8-8-39
(A) Fair (Y) and (C) Good
Ware Case, The (Clive Brook. Barry Barnes)
(G-B) Unusual, very English, murder-mystery
character drama, smoothly done, about gay, phil-
andering, spendthrift aristocrat, his long-suffer-
ing wife, and lawyer-friend who loyally de-
fends husband of woman he loves. Well con-
cealed mystery, with startling ending. 9-12-39
(A) Good (Y) Mature (C) No
When Tomorrow Comes (Dunne, Boyer) (Univ)
Dignified treatment of unconventional but decent
romance between pianist hero, married, and
waitress heroine. Action not wholly convincing.
Barbara O'Neill fine as mentally -deranged wife,
with whom hero finally remains. Hurricane and
flood scenes are striking backgrounds. 9-12-39
(A) Good of kind (Y) Too mature (C) No
Unmarried (Helen Twelvetrees, Buck Jones)
(RKO) Crudeex-pugilistand brittle cabaret host-
ess are regenerated through love of an orphaned
lad for whom they establish a home. Human val-
ues greatly nullified by unsavory atmosphere at
film's start, and questionable morals in pair's un-
married status till boy is grown. 8-29-39
(A) Hardly (Y) and (C) Unsuitable
Winner Take All (Tony Martin, Armetta, Gloria
Stuart) (Fox) Horse-race, prize-fight concoc-
tion wherein genial Henry Armetta turns
track and ring gambler, and Tony is champion
prizefighter ( !), not singer. Again, the movie
method of money-raising for good cause — bet-
ting other people's money to win more. 6-27-39
(A) Mediocre (Y) Better not (C) No
Winter Carnival (Ann Sheridan. Richard Carl-
son) (U. A.) Scrambled, long drawn-out plot cen-
tering around Dartmouth Winter Carnival and
college romances. Young professor and glamorous
divorcee, pursued by reporters, renew romance
and tire audience with wavering on marriage
question. Carnival sequences best feature. 8-22-39
(A)Onlyfair (Y) Prob. entertaining (C) Perhaps
Within the Law (Ruth Hussey, Paul Kelly)
(MGM) Twice-filmed story of salesgirl, wrongly
convicted of grand larceny, who studies in prison
various shady but non-criminal practices for fu-
ture revenge on store magnate responsible for
conviction. Love for magnate's understanding son
ends avenging career. Hussey promising. 7-18-39
(A) Fair of kind. (Y) Better not (C) No
Wizard of Oz (Judy Garland, Haley, F. Morgan.
Lahr) (MGM) Famous old stage play glorified in
gorgeous Technicolor amplified in typical Holly-
wood style. Fantastic dream experiences of little
heroine picturesque and highly thrilling for all
but over-sensitive children. Mixture of gaudy and
sensational with striking and artistic. 8-29-39
(A) (Y and (C) Very good of kind
Wolf Call (John Carroll. Movita) (Monogram)
Another Zane Grey yarn. New York magnate's
playboy son is sent to radium plant in Arctic to
make good. Detects plotting employes, defeats
their attempt to steal plant, and finds the In-
dian heroine more desirable than the fiancee
back home. Mediocre acting. 6-20-39
(A) Feeble (Y) No value (C) No
Woman Is the Judge (Otto Kruger, Frieda Ines-
cort) (Columbia) Fine woman judge at murder
trial learns culprit is her long-lost daughter,
grown up in crime, who killed to prevent
blackmail of mother. She resigns, takes over
defense, wins, and marries long-devoted D. A.
Passable little thriller. 8-15-39
(A) Fair (Y) Fair (C) Hardly
Women. The (Norma Shearer, Joan Crawford.
Rosalind Russell) (MGM) Sophisticated stage play
screened for wholesale broadcast in Hollywood
glamour style. Devoted wife driven by dizzy, gos-
siping friends joins Reno divorce whirl. Much ex-
cellent acting offset by smart-aleck clowning and
cheap wisecrack from all-woman cast. 9-5-39
(A) Good of kind (Y) and (C) No
Yon Can't Get Away with Murder) (Bogart,
Billy Halop) (Warner) Grim, realistic crime
drama by Warden Lawes, mainly set in Sing
Sing. Association with gangster gets boy in-
volved in robbery and murder. His fear of pal
and consequences almost sends innocent man to
chair. Well-acted, suspenseful, absorbing. 7-11-39
(A) Good of kind (Y) No (C) No
Young Mr. Lincoln (Henry Fonda, Alice Brady)
(Fox) Rambling, episodic fairly historical spot-
lighting of Lincoln in his early thirties in
New Salem and Springfield. Appealing, life-
like, convincing portrayal of slow, shrewd,
lanky, lovable rustic on his way to greatness.
Some scenes rather overdrawn. 6-13-39
(A) Good (Y) Verygo*d (C) G*od
E IM (C ATIOMAL
he Magazine Devoted Exclusively
) the Visual Idea in Education
Silence
of fhe
Night
^
\j i,
H
'-^r^
fii-..
OCTOBER, I
9 3 9
Public Library
Kansas City, i^o.
Teachers Library
VOLUME XVIII. NUMBER 8 \
WHOLE NUMBER 175 ^
PBinliiie by WKt<i>T (Couriwijr of Colonial An ('ooipaDy)
IN THIS ISSUE
Experiencing College
on Location
Adult Preferences in
Educational Film Programs
The Literature in
Visual Instruction
Motion Pictures —
Not for Theatres
25c A copy * $2.00 PER YEAR
HE NEVER SAW
A COWBOY-
Top: B&L Model B Balopticon
for projecting lantern slide pic-
tures. Bottom: Model BDT with
tilting base.
i HE chances are that he never heard the wail of a coyote . . . nor that
he will ever rope a steer . . . but life on the range is familiar to him . . .
through picture books and pictures on the screen. Pictures help chil-
dren of all ages to bridge the gap between facts and comprehension.
That is why so many schools, today, consider B&L Balopticon
projected pictures a necessary part of the courses they teach. B&L
Balopticons provide a most practical means of showing pictures, dia-
grams, etc. to an entire class or group. Slides, films, clippings, pages of
books and even actual objects and specimens can all be used as subject
material. Write for full details, Bausch & Lomb Optical Co., 688 St.
Paul Street, Rochester, N. Y.
BAUSCH g- LOMB
FOR YOUR EVES, INSIST ON BAUSCH X LOMB EYEWEAR, MADE FROM BAUSCH & LOMB
GLASS lO BAUSCH » LOMB HIGH STANDARDS Of PRECISION
Ok
£ EDUCATIONAL SCREEN
OCTOBER, 1939 VOLUME XVlll
NUMBER EIGHT
WHOLE NUMBER 175
Contents
Diversi+orials
276
Experiencing College on Location
H M Sherman
277
Adult Preferences in Educational Film Programs
G. L. Freeman
279
An Elementary School Makes a Utilization Film
Ruth Livermon
.280
......282
A Questionnaire Survey in Georgia
University System of Georgia
Diethylphthatate for hIand-Made Lantern Slides
Grant Paterson
283
Motion Pictures — Not for Theatres
Arthur Edwin Krows
284
Among Ourselves — Notes from and by
The Department of Visual Instruction
Conducted by The Editorial Committee
289
The Federal Film
Conducted bv Arch Mercev
291
Thanksgiving — In Hand-Made Lantern Slides
Ann Gale
292
The Literature in Visual Instruction — A Monthly Digest
Conducted by Etta Schneider 293
Current Film Releases
299
News and Notes
Conducted by Josephine Hoffman
302
In and For the Classroom
Conducted by Wilber Emmert
306
Film Estimates
314
Here They Are! A Trade Directory for the Visua
1 Field. 316
The EDUCATIONAL SCREEN published monthly except July and August by The
Educational Screen, Inc. Publication Office. Pontiae, Illinois; Executive Office, M
East Lake St., Chicago, Illinois. Entered at the Post Office at Pontiae, Illinois, as
Second Class matter. Copyright, October, 1939, by The Educational Screen.
Address communications to Executive Office, 64 East Lake St., Chicago, III.
$2.00 a year (Canada, $2.25; foreign, $3.00) Single Copies 25 cents.
THE EDUCATIONAL SCREEN, Inc.
Directorate and Staff
NeliM L. GrMot, Editor Joiiphlnt Hiffman
Enlyii J. Bikrr F. Dun McCluiky
Wllk<r EMMrt StanlQ R. Qmni
Ann G«U Etta Sctintldw
Page 276
The Educational Screen
'^ii/etditotiaU
The Editorial Advisory Board
TN THE November issue we shall have the pleasure of an-
*■ nouncing our new Editorial Advisory Board of Ten. The
method of selection has been somewhat novel and, we believe,
significant. Ballots were sent to 24 leaders in the field — eight
each in the West, Midwest, East and South — for their 240
choices. A nearly 100% reply was received. Thirty-five can-
didates were named in the voting, votes for each ranging from
one to sixteen.
The results are uncannily logical, producing almost exactly
the list we had hoped to see evolve. It is beautifully balanced
regionally and will prove, we are confident, eminently satis-
factory to the national visual field. The nine top names in the
balloting show three Board Members in each of the three
sections of the country ! For the tenth place four names are
tied, and these four are located respectively in the West, Mid-
west, East, and South! The last ballot — which has just
reached us at this writing — has determined which of the three
sections polled is to have four representatives on the Editorial
Advisory Board !
Publication of the list at this time is prevented by a mere
detail, namely, individual acceptances by the Board-elect. Eight
of the ten are ready and willing ; we have still to hear from
two. There is ample time to complete this formality before the
next issue. In case of unexpected refusals, replacements will
come from the next highest in the balloting which, interestingly
enough, will not disturb the regional balance.
The National Fihn Evaluation Project
A
LL CONCERNED will hear from us soon by direct mail
— original judges and new volunteers present and to come.
The Film Estimates
TN SEPTEMBER we proposed omission of the Film Es-
■•■ timates in the magazine hereafter, and use of the space for
material more specifically concerned with "Visual Instruction"
in American classrooms. The proposal was intended, and was
expected to stand, as a final decision "unless there is a very
wide and strident chorus of objection." We anticipated no
such chorus, but it came. The first week's mail made it quite
clear that the Film Estimate page, now completing one month
beyond thirteen consecutive years, has a value and appeal to
many readers that we little suspected. Here are some excerpts
from the pleas and threats, the former much more impressive.
A Virginia High School says tersely, "We have depended
so on this source of information for all our Council's movie
bookings ! If we aren't able to get this knowledge, we shall
ask that you refund our two-year renewal subscription, mailed
last week to you." — A Pennsylvania Director of Visual Educa-
tion is equally blunt : "A veritable stentorian chorus of howls
will emanate from this School District if you discontinue Film
Estimates ! Why do you suppose we subscribe so faithfully
to your magazine ?" — A Massachusetts Director says : "1 re-
gret your plan to discontinue the Film Estimate Service. That
Service was one of the outstanding features of your magazine.
Each month I went over the list of films with my students
and I feel that it did a lot to steer them into wanting to see
good, wholesome films. I do hope you will reconsider." —
A quite personal note jrom Seattle : "I have been a continuous
subscriber to The Educational Screen since October, 1925,
solely because it contained the Film Estimates. At first my idea
was to help guide my three children in their choice of movies,
but now that they have grown and left home I find I am as de-
pendent on the estimates as I was years ago." — A Supervisor
from Rhode Island tells us how to save space, still retain Film
Estimate values, and adds, "We can get plenty of description
of the films from the industry but there is independence of
thought in your Film Estimates. Our experience with twelve
schools confirms most of your ratings, although Victoria the
Great was found to be more mature and less interesting
than your rating would indicate. Our rating by children dif-
fered from yours by adults !" — From a California school :
"We find the Estimates to be very helpful and worthwhile, not
only in the selection of pictures to be seen by adults, but also
they give the criteria for intelligently selecting pictures for our
children. Not to be menacing, but to be practical, we feel that
our continuance as a subscriber will depend to a great extent
on your maintaining the very able feature of Film Estimates."
— An Ohio P. T. A. District Chairman writes, "I certainly
hope you have a very wide and strident chorus. I have sub-
scribed to this magazine principally for this help. I am very
much interested in motion picture appreciation in Parent-
Teacher groups, as well as visual instruction. We always feel
we can depend on your estimates which cannot be said of very
many lists. They make up a great part of the information we
pass on to our mothers. I do not see how we can do without
your Estimates. Please, oh please do not discontinue!" — An
Ohio teacher adds, "Since September, 1938, when I received my
first copy of your magazine, the above service has been in con-
stant use at school and in my home. Being charged with the
selection of the noon-hour "movies" I have come to rely on
your recommendations. In my home our two children use
them regularly in choosing their motion picture entertainment.
^From a Missouri Visual Instruction Director ive hear, "To
me this is a very valuable department and I know that our
teachers who are acquainted with The Educational Screen
use these Film Estimates actively in Parent-Teachers Meet-
ings and Mother Clubs in answer to frequent questions by
parents as to "What theatrical pictures are good for my
children?" Since this is a matter of great concern to con-
scientious parents and teachers, it seems to me that the drop-
ping of this Department will be a definite loss and one which
cannot easily be replaced. I know that I speak for a large
number of the Teachers of St. Louis County when I say that
I hope very much you will reconsider your decision." — Even
a Dizdsion Manager of one of the biggest commercial com-
panies in the visual field declares, "For many years the page of
Film Estimates has been the best thing in The Educational
Screen. I should be sorry to see it dropped." — A City School
System argues, "For ten years we have been subscribers. We
have appreciated the splendid articles and suggestions in the
magazine, and its position in the van guard in the field of
visual aids. However, the greatest service rendered to us has
come through the Film Estimates. This has been infallible in
our experience. No other listing is equal to it ; none as reliable
or to the point. At various times in making choice of films for
our school, as booker, I have allowed myself to be influenced
by the opinion of some friend whose judgment I felt reliable
even though the subject was not favorably listed in Educa-
tional Screen. Without exception, I have found my friends
were wrong, and the Film Estimates were right. We run three
films daily at our lunch periods. We have done this for thir-
teen years. Choice is a genuine issue with the committee and
Educational Screen has supplied our wants nobly. Our school
enrollment is close to four thousand. It has been over twenty-
eight hundred for these thirteen years of films. Do you
wonder that this is a genuine issue with us?" — and it is signed
by all twelve members of the Visual Education Committee!
We have reconsidered. The Film Estimates will continue.
N. L. G.
October, 19)9
Page 277
EXPERIENCING COLLEGE
ON LOCATION
Being a live, vivid and concrete account oi genuine
accomplishment in the too little used means
to visual instruction known as the School Journey.
By H. M. SHERMAN
Bay Path. Institute
Springfield, Mass.
W" 1 1 1 LE director of visual education in the West
Chester State Teachers College, (Pa.) it
was my pleasure to conduct five school journeys
to New York City. No city in the world can be rich-
er iti material appropriate to tlie teaching process
than is New York, — hence it has occurred to me that
these experiences are worth recording for others who
might make similar ventures.
These journeys grew very, very slowly from my
experiences, study and meditation. In 1929. it fell to
my lot to teach a course in visual Education in Summer
Scliool, attended mainly by teachers in service. I
inherited a textbook from the former teacher, and
proceeded to assign daily lessons of ten to twenty pages
of reading material with which to while away the hot
July days. Perhaps tlie students did not discover the
weakness of the course, since neither they nor I knew
much about visual education. I cannot say whether
my students learned anything from the course. I
learned one good lesson, however: that this was not
visual education. Because no other teacher cared to
teach Visual Education, the course was given to me
in following semesters. I had learned that visual
education is learning through seeing — and doing.
Semester by semester, as time, study and finances per-
mitted, the course grew visually in materials, proced-
ures, and equipment appropriate to such learning.
Eventually, a little school journey to the local tele-
phone office proved quite good educational experience,
I thought, according to the reactions of my students.
Then along came President Roosevelt's inaugural.
Dr. Charles A. Selzer and I organized a bus load of
students and teachers to see the inaugural. Students
and teachers alike keenly appreciated that history les-
son. The success of the journey pointed to further
jwssibilities for the future.
Soon thereafter, I began my graduate work at New-
York University. While in attendance at the 1934
summer session, I took several of the short journeys
over New York offered under direction of the Uni-
versity. It was then that the thought occurred to
me that these little aftemoan journeys could be woven
into a continuous program of experiences for students
in my classes in visual education. Accordingly, dur-
ing the next semester while I was attending week-end
classes at the University, I spent Saturday afternoons
roaming New York City. I studied places, institutions,
educational facts, transportation, streets, traffic ; bought
folders and guides ; interviewed the Cook Travel
Agency and persons in authority at institutions of in-
terest ; I wrote letters ; in fact, I did everything that
could seem to add to my purpose. I tried to piece
facts together into a unified teaching venture and to
imagine how I would guide each event with a class of
thirty or more students.
With great trepidation, I organized the first journey
for May, 1935 as a voluntary event related to the
course in Visual Education. It was a one-day journey,
— a long day it was. too. To go by bus 120 miles to
New York, do a school-teacher's day studying New
York, and returning another 120 miles meant a day
stretched out between 5 :30 A. M. of one day and 2 :30
A. M. of the next. The total cost of the journey,
borne entirely by the students themselves, amounted
to a little less than five dollars each.
Words fail me in describing the mental fears which
haunted me for days and nights preceding this first
journey. What if it should rain all day? What if
the bus broke down? What if a student were injured?
These and a hundred other worries beset me. But,
".'Mi's well that ends well." The day was perfect, the
bus missed not a stroke, and the itinerary clicked with
the regularity of college classes. The students re-
turned weary, but enthusiastic. So thoroughly did
they broadcast and advertise their experiences that it
was a mere matter of course in organizing the following
journeys, — in fact, each time thereafter, a few students
— five to ten — could not be accommodated, and con-
sequently, were refused the right to go.
In planning the second journey, it was agreed to
plan the itinerary for two days and one night. This
W'Orked out much more satisfactorily, since the fatiguing
bus ride could be divided between the two days. The
extra time was precious in the itinerary. Added ex-
pense was involved, of course, in extra meals and hotel
lodging. Notwithstanding, the total expense — bus,
hotel, meals, admissions, a movie of the trip, photo-
graphic printing done by the students in our own dark-
room ujxjn our return, everything — amounted to a little
under ten dollars per student.
In view of the following facts, — (1) the journey
was voluntary, without credit and limited to visual edu-
cation students, (2) many of the students were hard
pressed for money, and (3) each student must pay his
own way, — the over-subscription of bus capacity for
each journey after the first is student testimony of the
value of these experiences. I am quite certain that
no individual could make an itinerary equal to this
one for less than two to three times our proportionate
cost. And, even if he did, the educational facilities of
our organization for learning would be lacking. Stu-
dents frequently commented on the economy of the
journey and the opportunities for learning. It all
Page 278
The Educational Screen
^chool ^ZWirucq < ^.^i^^i
.jsloven''
Poster Publicity for the School Journeys.
comes from the fact that group organization makes
economy and provides increased learning facilities.
There are those who think a school journey is a
mere matter of setting an hour for departure, another
for arrival, a particular time for lunch, a few hours
to see something, and setting a time for returning.
That is not a school journey, — it is a mere journey.
A school journey — and surely a New York School
journey — is infinitely more than that. It is a week's,
or a month's, school crowded into a few hours. It is
a student-teacher enterprise, involving mutual work,
study, preparation and almost endless planning to make
experiences happen for the teaching of real and useful
lessons.
Early May or November seemed to be the time in
our school calendar best suited for this journey, —
depending on which semester of the year the journey
came in. Work was begun five or six weeks in ad-
vance. The first step was to collect the fees assuring
the journey. If enough fees were forthcoming, the
journey would be planned ; if not, no further thought
was given to it. Three or more brief meetings of the
group were necessary for developing organization and
plans. Immediately after the journey was assured, a
date was selected from the school calendar. The date
was made to coincide with a day when the Queen Mary
or the Normandie was to be in port and open for in-
spection. Inspection of one of these ocean liners was
always an important event on the program.
Many things must be considered in organizing an
itinerary. Since we used the bus for our transporta-
tion, our itinerary must be planned to necessitate as
little driving and parking as possible. This is no small
problem in New York City. Several times the driver
and I almost worked ourselves into unwelcome situa-
tions with the police. Generally speaking, however,
the police were very considerate of our problems and
frequently went out of their way to help us.
There were many other complications. The inspec-
tion of the Queen Mary could be made only between
ten A. M. and two P. M. The Stock Exchange was
open only between ten and three. A visit to the Stock
Exchange must be arranged a week or more ahead
and is not easy to change. Rules of the Exchange
admit only twenty-five to the gallery at one time. Dur-
ing the first visits, it was necessary to divide the group
of more than thirty students into two sections. While
one section was admitted to the gallery, the other sec-
tion studied Wall Street and Trinity Churchyard, or
the Brooklyn Bridge and the skyline. At the end of
a half hour, the sections exchanged places. After our
third journey I made use of my improving friendship
with the publicity director to prevail upon him to admit
all of the group at one time. This simplified matters
greatly.
It was necessary to visit the News Publishing Com-
pany at a particular time in order to see the presses
running. We must be at an exact spot at breakfast,
lunch and dinner. Our itinerary kept us busy every
minute, — consequently, the students were always hun-
gry and thirsty. I soon learned it was very important
to select a desirable eating place, and to be there
exactly on time. Though much of the splendid cooper-
ation given me by the students had a direct relation-
ship with their intelligence quotients, I discovered that
a considerable proportion came by way of their vita-
mines.
Some events must come in the day, some at night.
From the Empire State Building early in the first
day we identified our geography of Manhattan ; from
the R. C. A. Building of Radio City we thrilled at the
fairyland of twinkling lights. We must inspect China-
town and the Bowery in late afternoon to see them at
their best — or worst — and follow with our dinner in
the Oriental Restaurant. We must have lunch at the
John Jay Dining Room at Columbia University the
second day in order to make economy of bus driving,
good food, appetites and school atmosphere blend. Now,
put all of the foregoing complications of these last three
paragraphs together, add a score more, and you have
some notion that building and conducting an itinerary
is not a mere matter of departing, arriving, seeing, and
returning.
My problems were not ended once the itinerary was
arranged. Then I must pray no major event would be
cancelled at the last minute to upset part or all of the
itinerary. Once, I received notice only a few days
before the date set for the school journey that the
inspection of the Queen Mary must be cancelled be-
cause the ship was returning immediately for the
coronation of King George. I knew that the Queen
Mary must sail, and that King George must be crowned ;
I knew, too, that we must board a liner. The only
solution was to move our journey up one day in order
to visit the Berengaria. That meant sending telegrams
and reorganizing more than half the whole journey.
At another time, I received a telegram from the World's
Fair Committee only three days prior to our trip that
they couldn't receive us on Tuesday as planned, but
could on Monday. A simple shift in events happened
to solve this problem, however. Cancelling one event
or changing it usually disrupts the whole itinerary
{Continued on page 305)
October, 19} 9
Page 279
ADULT PREFERENCES IN
EDUCATIONAL FILM PROGRAMS
By G. L. FREEMAN
Northwestern University
Presenting some significant results oi
research in a field where all too little
has yet been done — Adult Education.
IX the spring of this year the University College set
itself the no small task of determining something
about adult preferences for educational motion pic-
ture programs. The need for such a survey is easilj'
apparent. On all sides schools, churches and clubs are
presenting motion picture series for supfwsedly educa-
tional ends. Films are being shown in community
auditoriums by various jjrojjaganda groups, and local
societies are organizing to bring to the general public
some of the outstanding developments in documentary,
travel and other non-theatrical films now in so great
abundance. Considerable money is being spent in the
production of new material intended primarily for gen-
eral adult audiences. Even the commercial theatres are
beginning to realize that their programs may do more
than merely entertain — witness the crowds which at-
tend the March of Time screenings, and such 'social
problem' dramatizations as "Blockade," "Life of Etnile
Zola," "The Citadel," "Professor Mamlock" and "The
River." All these developments pose interesting and
significant questions: Just what constitutes the adult
taste in educational movies? What types of program
will he support? It it feasible for an educational in-
stitution to sponsor a series of non-theatrical movie
programs for the adults of its community?
As a part of its extensive project in the application of
visual aids to adult education,' the University College
has been able not only to survey adult opinion about
educational motion pictures, but also to determine by
actual attendance reaction something about the types
of programs most in demand.
Preliminary survey revealed at least seven major
areas of interest to which available motion pictures
might contribute. These were as follows : ( 1 ) social
problems, (2) travel and foreign language films, (3)
applications and appreciation of physical and biological
science, (4) euthenics (mental hygiene, child develop-
ment, personality, culture). (5) historical-documentary
films, (6) art and music appreciation, (7) vocational
and avocational guidance.
H It was decided to develop a representative program
of films in each one of the.se areas, and offer it as a
Friday evening series at Thorne Hall auditorium in
downtown Chicago, between February 17th and April
21st, 1939. The announcement reproduced below was
1. .'Xn educational motion picture scries on contemporary prob-
lems ; Service Studies in Adult Education, Bulletin No. 7,
1939, University Oallege, Northwestern University.
sent to school and club groups likely to be interested,
but no general advertising campaign was engaged in.
Daily papers carried only brief news reports of the
series.
The University College Announces an
Educational Motion Picture Series
Utilizing the vast resources of the screen in the analysis of
contemporary problems. Newly released sound films, with
interpretive comments by members of the University faculty.
Tickets for the entire series (seven events) one dollar; single
admission twenty-five cents.
The Peoples' H'eallh — Are Americas' natural resources being
dissipated? What steps may be taken to save something for
future generations? A series of U.S. and other documentary
films dealing with soil, water, forest and oil conser\'ation ;
including "The Plow that Broke the Plains", "The River"
and "Rain for the Earth".
Racial Prejudice — "Professor Mamlock", a dramatic presen-
tation of the problem. Short feature "Towards Unity". These
powerful films are included on the University College series
in recognition of their tremendous importance to general adult
education in creating racial imderstanding.
Good Neighbors — Americas' destiny faces south. Meet our
partners in new world democracy. Learn how Hispanicans
live and think. A series of timely film releases emphasizing
the cultural and economic life of these people, the revolutionary
background, commercial interests and other common t)onds
which unite their political future with that of the United
States.
Children are Teachers — What can children teach adults about
their own behavior patterns and mental hygiene? How may a
comprehensive knowledge of the pre-school child aid parents in
enriching the home life?
Inside Information — How does the human machine carry
on its vital activities? How may a better knowledge of our-
selves contribute to our well being? Instructional sound films
with superb animation and photographic detail facilitate under-
standing of how breathing, digestions, and other bodily pro-
cesses are carried on.
Science, servant or master — Is scientific advance wrecking
society? Would we be happier with less invention? What
are the responsibilities of the scientist in the modern world?
A short documentary film showing the clash of scientific ad-
vance with forces of organized society. Provides a trasis for
open forum discussion of the problem. Audience participation
invited.
1,000,000,000 Artists — Why do we need avenues of creative
expression? What does artistic expression contribute to a
well-balanced life? How does one get a hobby? A series of
short "how to do it" films on puppet making, painting, cera-
mics, photography, etc.
The public was admitted free to the first performance,
but approximately one-third of the 400 in attendance
had already bought season tickets. Before the showing
of the film program, this group was asked to fill out a
Page 280
The Educational Screen
questionnaire expressing relative preference for the
seven areas of interest, and the general type of ap-
proach to these topics which they favored. Results of
this poll (210 replies) were as follows:
Area of interest
1st
choice
2nd
choice
3rd
choice
weighted
total
1.
2.
Social problems ...
Travel and foreign
.357c
107c
107c
277c
3.
language
Application and ap-
. 67c
147c
87c
127c
4.
preciation of science 87o
Euthenics (mental
7%
127c
107c
hygiene, child
5.
development) ....
Historical,
.177c
Ufo
7%
147c
6.
documentary ....
Art and music
97c
157c
157c
147c
7.
appreciation
Vocational and Avo-
127c
97c
177c
167c
cational Guidance .
87o
57c
6%
87c
In terms of relative preference, the topics rank as
follows: 1. Social problems, 2. art and appreciation,
3. euthenics and historical documentaries, 4. travel and
foreign language, 5. guidance.
As for the general type of introduction to be em-
ployed major preference was given to an interesting
lecture supplement to the films, with interest in study
guides a far second. The weighted scores for each
suggested approach were (a) films only, 10%, (b)
brief introduction from floor, HTf, (c) running in-
tegrative lecture, 40%, (d) introductory films used as
basis of open foruin discussions, 16%, (e) study guides
or program notes distributed, 20%.
Several means were employed in evaluating the pro-
grams given and in obtaining estimates of audience re-
action. The most obvious index of interest in the topics
was the number of persons attending each performance.
While only 133 season tickets were sold, paid admis-
sions varied from a low of about 200 to a high of over
500. Ranked according to attendance, the topic "Our
Neighbors" was first, with "Children Are Teachers"
a close second. Next in order came "The People's
Wealth" and "Professor Mamlock". The programs
having the least attendance were "Science and Society,"
"Inside Information" and "100,000,000 Artists". There
is reason to believe that the excess attendance for "Our
Neighbors" and "Children are Teachers" over the
"People's Wealth" and "Professor Mamlock" programs
was due to special circularization of teachers in the
Chicago schools, and that their general appeal was
about the same as the social problem topics. Atten-
dance to the art appreciation program did not come
up to expectations, but this may have been due to its
unfavorable place in the series.
Another index of audience response was obtained
from questioning, at the end of the series, all of whom
had seen five or more programs. In answer to the
question "what was your relative interest in the topics
covered," this group ranked the programs as follows :
1. The People's Wealth, 2. Good Neighbors, 3. Chil-
dren are Teachers, 4. Professor Mamlock, 5. 100,000,-
000 Artists, 6. Inside Information and 7. Science and
Society ; as to the adequacy of film materials, the
group rated the films in The People's Wealth, Inside
Information, Racial Prejudice and 1000,000,000 as very
adequate Most of the films used for "Children are
Teachers" and "Good Neighbors" were considered ap-
propriate. The film presentation for the Science and
Society program was considered the least helpful.
Manner of faculty introduction was also reported upon,
with the majority of the audience favoring considerable
(Concluded on page 301)
AN ELEMENTARY SCHOOL
MAKES A UTILIZATION FILM
FOR its second attempt at film making the group
at Meadowbrook decided on a utilization film on
the third grade level. Three reasons for its film-
ing were clearly formulated, namely :
1. To show the place of the sound film in the
curriculum of the third grade.
2. To show the varied activities which the sound
film stimulates.
3. To encourage other creative teachers in the use
of the sound film in classroom instruction.
The social studies field on the third grade level cen-
tered around the social living of children in foreign
lands. Mexican areas vivified by the sound film,
Mexican Children, produced surprising follow-up ac-
tivities. Due to these unusually varied results, this sec-
tion was chosen as the subject of the film.
By RUTH LIVERMON
Principal Meadowbrook School
Norfolk, Virginia
The preparation prior to the actual filming, the selec-
tion of material for the script, and the final continuity
required careful planning, thought, and much revision.
Teachers, children, and parents shared in this prepara-
tion. At length the continuity evolved, dividing itself
naturally into two sections, showing:
1. The procedure of the class and the teacher in
using the sound film.
2. The activities growing from the use of this film.
In the procedure the following shots were planned:
1. The teacher selects the film to be studied.
2. She studies the guide book.
3. She previews the film, and selects questions to
be studied.
4. The class is prepared for the first showing of the
October, 19}9
Page 281
5.
6.
film. Purposes are set iij).
The class sees the film.
Discussion takes place immediately after the
showing on the purposes. The class answers
the questions which were raised before the film
showing.
Creative activities wliich followed this procedure
composed the second half of the continuity and the film
as finally finished. These activities included:
1. Group and individual reading materials.
2. Committees of children seeking the assistance of
other groups in the school.
3. Several individuals bring Diego Rivera prints
for study. Others conirilnite Mexican slippers,
tiivs. (lojk, hats, and soldiers.
4lJ,'ci?
like to live
I
I
Large mural in tempera point developed from the film.
4. Art activities :
Finger paint-
ing, Chalk
drawings,
large mural in
tempera paint.
5. Group writing
letters to their
parents invit-
ing them to
see the film
with them the
next day.
6. Commit-
tee showing
their parents
their activities
already com-
pleted.
7. Parents see
the film with
the children.
8. Children tell
their parents
the story of
//ve
A plac'
WheTe'^they. maKa
potters bnght
Burit.,does ncf
spArkle at nignt
They paint demons
^^oh th« plate <
Then the> mika a
^. lot of mites.
Mexico is .a njco.
iwjj^arm land
Where there Is bts
<^ ram and
English class activity growing from
nse of sound film, "Mexican Children."
Mexican meal (notice jug, jars, and tortilla) outside.
the film with the sound cut off.
9. Several parents stay to help in their activities.
They assist the group with a Mexican village of
clay.
10. Making and painting of jars.
11. Committee writing a letter describing the film to
an absent member of the class.
12. Stories and poems made after seeing the film.
13. Physical activities: Boys imitating Mexican
jumping games ; Girls dancing.
14. .\ctivities of the children and parents preparing
for a Mexican meal outside. Beans, tortillas,
and water jugs were used.
15. Buying pottery made by the children.
16. Class leaves the school for a visit to the museum.
Several values derived from the making of this
utilization film on Mexican Children came as by-prod-
ucts of the activity, and from the angle of social living
in a democracy may be important. To realize the pur-
poses of the film, the sharing ot the same experiences
by many was essential. The staff, the children, them-
selves, and their parents were not only in the film,
but cooperated in its planning and production. The
making of the film itself culminated as the final activity
of a rich period on Mexican life for the children. The
growing generalization that to produce a worthwhile
achievement in which many personalities, ages, talents,
skills combine, is a vital learning experience for child-
ren in a chaotic, present day world.
Page 282
The Educational Screen
A QUESTIONNAIRE SURVEY IN GEORGIA
A
1 1 T\ SURVEY in Audio- Visual Education" has
recently been completed by Donald K. White,
Assistant to J. C. Wardlaw of the Division of
General Extension, University System of Georgia,
among schools served by the Division. By courtesy of
Mr. Wardlaw, we are able to present a summary of
results below.
The survey aimed to determine three questions or
problems — (a) preferences as to subjects for new edu-
cational film production; (b) comparative use made of
various visual aids other than sound films; and (c)
opinions on various details in the Division's educational
film library service. A 4-page mimeographed question-
naire, with detailed cover letter accompanying, was sent
to 245 schools, colleges, and school systems using mo-
tion pictures regularly in classrooms and assembly pro-
grams. A return of 52 out of the 245 was secured,
from which the following data were compiled.
Section {A) A classified list of subjects, printed in
the questionnaire for checking those on which new films
are most needed, showed votes as follows : (27 votes)
United States Government. (26) Sex Education or
Social Hygiene. (25) Safety. (24) Photography. (23)
Natural Resources, Hygiene, Public Health. (21)
Citizenship, State Government, Venereal Diseases.
(20) Physiology, Local Government, Birds. (19) Elec-
tricity, Habits and Behavior of Animals, Care of Teeth,
Dentistry. (18) Foreign Trade, Railroads, Air,
Flowers, Bacteriology. (17) Capital and Labor, Evolu-
tion, History of the United States, Vocational Educa-
tion, Heat, Spiders, Home Economics. (16) Unem-
ployment, Ships, Chemistry, Microscopy, Embryology,
Music, Football, Current History, Money and Banking,
Magnetism, Surface Features of the Earth, Fungi, In-
sects, Fishes, Folk Songs, History of the United States
in the Colonial Period, and in the Constitutional Period.
(15) Housing, Basketball, Immigration, Economic Pro-
duction, Molecular Physics, Coast Changes, Manufac-
tures, History of the United States in the War Be-
tween the States, and in the Twentieth Century. (14)
Physics, Baseball, Rivers, Mammals, Electricity, His-
tory of the United States in the Revolutionary Period,
and in the Period of 1845-61. (13) Earthquakes, Busi-
ness Methods, Orchestral Music, Athletics and Out-
door Sports, The English Language, Relativity, Mete-
orology, Ferns, Geographic Distribution of Animals,
Aeronautics, Travel in Germany, in United States, His-
tory of Germany, History of the United States in the
Discovery Period. (12) Motion Pictures, Travel in
England — France-Spain-Japan-South America, History
of Medieval Europe, Sociology, Elementary Education,
Mosses, Oil and Petroleum, Art Study and Teaching,
Vocal Music. The subjects receiving less than 12 votes
each made a still more heterogeneous mass and were
not listed in the final report.
Section (B) The numbers of schools using various
audio-visual aids (aside from sound films) were as fol-
From Division of General Extension
University System of Georgia
lows: (36 schools) Glass slides. (29) Film strips or
film slides. (28) Phonograph records. (26) Opaque
projectors. (24) Radio broadcasts. (20) Still photo-
graphic prints. (12) Sound film strips. (11) Central-
ized sound systems. (8) Recorded radio programs.
It will be noted that "silent films" were evidently not
included in the list.
As to motion picture projectors in use, the reports
showed (16mm) 70 sound, 18 silent; (35mm) 11
sound, 10 silent. About two-thirds of the schools
moved projectors from room to room as needed, less
than one-third used them in auditorium only, a few
in one classroom only. Sixteen schools used projector
amplifiers as public address systems, thirty-one did not.
Just one-half of the schools had phonograph reproduc-
ers with turntables. Radio broadcasting was used
regularly in four schools, occasionally in 18, for spec-
ial events in 11, and not at all in 19.
Section (C) This section concerned solely the op-
eration and policies of the Division's own film distri-
bution service, but it may well prove interesting to other
operators of film libraries. Regarding film catalog, 37
schools preferred arrangement by subjects, with alpha-
betical index; 12 schools preferred alphabetical ar-
rangement with subject index; 6 schools straight
alphabetical arrangement ; one school wanted subject
arrangement alone ; and one asked for Dewey Decimal
system with subject index. Fifty-one of the fifty-two
wanted reviewing time of films stated. A rnajority pre-
ferred that two films on separate subjects should not
be wound together on double reel. Forty-eight out of
fifty-two said that frank comment in catalogs on amount
of advertising in film would aid selection ; four said
"no." With such comment, nine said use of ad films
would increase ; eighteen said it would decrease. As to
addition of comedies to the Division library, nineteen
favored, sixteen opposed ; of "feature" pictures, twenty-
one favored, seventeen opposed.
Perhaps the most interesting item in this section is
the response to the question. "In considering new films
to be added to our library should equal consideration
be given to sound and silent films?" Thirty-two said
"no," twenty said "yes." Of 37 who expressed a
preference between sound and silent, the difi^erence was
still more striking; thirty-five were for "sound" to
two for "silent." Some of the reasons given for the
preference are included in the report : "Sound is just
one more step towards reality." "Silent films don't
put it across." "Commentators usually bring out fine
points in the picture which both teachers and children
are likely to miss." "Many reasons, the most practical
one being that better pictures are being produced today
on sound film." "Double appeal or stimulus seems more
effective ; however, cause more difficulty in operation.
More difficult to keep next room from hearing." "Stu-
dents tire much more quickly when seeing a long silent
October, 19 i 9
Page 283
I'llii).'" ""We carry heavy teaching load. Silent film re-
quires more study for effective use." "Because you can
make a sound film into a silent one by turning off the
stiund." "(iixkI sound films seem to get better attention
and are usually iR-tter understood — certainly with one
showing." "'SouikI films arc probably newest, are more
interesting to pupils." "After responses of students are
better, and retaining of vital points is more lasting."
"Sound is more efficient, since it reacts not only by
means of sight but also sound." "Explanation with pic-
ture better than titles with silent." There is consider-
able food for thought in these responses.
DIETHYLPHTHALATE FOR
HAND-MADE LANTERN SLIDES
By GRANT PATERSON, B.A.
Central Junior High School,
Victoria, B. C.
CONSIDKR.XRLK exix-rimenting with a chemical
[assessing several remarkable characteristics has
resulted in the low-priced production of a num-
ber of aids for our visual education department. This
chemical, diethylphthalate, has the unique power of
partially dissolving the cellulose in ordinarily opaque
paper, rendering it quite translucent without any dele-
terious effects to the writing. The writing can be done
in [KMicil, ordinary ink, or be typewritten — although
the material done in mimeograph, permanent blue-black,
or India inks gives the best results. An unwatermarked
bond paper of a light weight has proved the most effec-
tive type of paper to use.
Teacliers who are actively engaged in the production
of classroom aids should acquaint themselves with the
tremendous potentialities hidden in the peculiar proper-
ties of this chemical. A number of immediate uses
suggest themselves. Small posters dealing with such
scientific attitudes as: "Study nature — not books" or
".\ true scientist is accurate in all his measurements"
could be designed, copied in India ink, placed for a
few seconds in the diethylphthalate solution, then used
as a window display. Good examples of laboratory
drawings can be treated in a like manner and exhibited
as a reward for painstaking effort. A short strip of
Scotch tape is the most effective method of securing
the posters or jjages to the classroom window, although
a drop or two of mucilage at the corners will serve
the purpose equally well.
However, the field in which the material has the
greatest value is in the construction of inexpensive
lantern slides. Drawings, diagrams, and charts can be
prepared in i)encil or coloured inks and the copy can be
immediately converted into a lantern slide of a semi-
l)ermanent nature. Care should be taken, of course,
to keep the material within the projection limits of an
ordinary slide — about 2!4 inches by 3 inches.
If typewritten copy is to be used, it should be care-
fully planned and typed so that it is confined to the
mentioned limiting dimensions. The proper spacing
and arrangement of the items to be included lend at-
tractiveness to the appearance of the projected image.
It is recommended that the copy be confined to twelve
lines of single-spaced typing with thirty-two or thirty-
three spaces to the line.
The sheet is then cut to the dimensions of the stand-
ard lantern slide (3J4 inches by 4 inches), treated with
the solution, and bound between two pieces of lantern
slide cover glass or 20/1000 inch Lumarith slide cover
celluloid cut to size. The binding tape may entirely
cover the edge of the frame, or small pieces of tape
may be used on each edge if the slide is not to be
reserved for future use.
The handling of this chemical does not require any
special laboratory technique or procedures. The pieces
of paper to be treated are laid face upward in a shal-
low basin, preferably glassware, and the solution poured
directly upon it. After a few seconds the paper will
become translucent and can be removed. It is ready
for use when a careful blotting has removed any excess
moisture. Ordinarily the whole process should not
require a treatment of more than thirty seconds, al-
though material as thick as blotting paper will require
a minute or two to allow complete soaking. Any excess
solution remaining in the dish should be carefully
poured back into the container — its properties have in
no way been impaired by contact with the paper. Photo-
graphs with a high-gloss finish cannot be rendered
transparent by this treatment although some success
has been achieved with those of the dull-gloss finish.
Successful blue]5rints have been made using treated
sketches instead of the more costly tracing paper
hitherto necessary.
The treated slide will prove an invaluable teaching
tool in the hands of capable teachers. Outlines, sum-
maries, review exercises, ordinarily written on the
blackboard, may be put on these slides and saved for
future use. Pupils can easily prepare and use these
slides as part of a student report or for classroom
discussion.
A few experiments with this easily obtained and
comparatively inexpensive chemical will reveal possi-
bilities limited only by the ability and energy of the
instructor.
Page 284
The Educational Screen
MOTION PICTURES-
NOT FOR THEATERS
By ARTHUR EDWIN KROWS
Editor of "The Spur," New York City
Part Twelve — Enter John R. Bray and his forty
artists to develop and perfect the magic of
"animation," one of the most useful and po-
tent phases of non-theatrical film production.
OF THE remaining partners Hol-
brook alone was really familiar
with production, so the full bur-
den of that responsibility fell upon his
shoulders. He kept at it as long as he
believed the situation to be advantageous
to him. Then, about four years from
the time he had joined Mrs. Carter, he
withdrew also. Mrs. Carter was wroth
over this and sent out sharp notices of
the parting to clients who might be dis-
posed to switch their accounts to Hol-
brook when he found a new place.
But Holbrook had other friends, and
a lawyer son to advise him. His next
immediate connection, about 1929, was
a partnership with a gentlemanly young
Louisianan named Hal Smith who, a
year or so previously, had established a
film laboratory called Cinelab, specializ-
ing in the production of slide films and
16-millimeter prints. This situation was
much happier than before. Holbrook-
Smith Productions launched into a com-
fortably prosperous business, with offices
in 61st Street, just a little west of
Columbus Circle.
Among other films for non-theatrical
clients, they produced some forty reels
for the Religious Films Foundation and
pictures for the Presbyterian Board of
Foreign Missions, including one made
in South America. After three or four
years, however. Smith and Holbrook
amicably parted. Smith to produce some
pictures, but to continue his laboratory
primarily, and Holbrook to set up a
production concern under his own name.
There, at this writing, like the little old
woman who lived under a hill, if he's
not gone you'll find him there still. As
to Smith's picture-making, after the
separation, he essayed at least one large
production order on his own — ten reels
concerning the American Indian for the
Religious Films Foundation. The client
was lavish in expressed appreciation for
his efforts ; but restless rumor had it
that Smith did all of his extensive travel-
ing to photograph the subject in an
ancient car of expensive make which ate
up most of his profits before they came
'". So with all men of generous spirit.
Eastern Film Corporation had names
of many able men in its long roster : but
the greater number was of workers who
found their ultimate places in theatrical
studios. On the other hand, the enter-
prises of J. R. Bray, mainly theatrical,
sent off a whole company of non-theatri-
cal ventures. Bray's place indeed, was a
veritable brooder in the non-theatrical
field- — as will be presently seen.
The Artist Draws a System
John R. Bray, the son of a Methodist
minister, had been a cartoonist on the
Detroit News. Aspiring to do comics
Blackstonc Studios, New York City
By merging many technical short-
cuts Bray's organizing genius stim-
ulated visual education and greatly
enriched the universal language of
the screen.
for the then prosperous weeklies Lije
and Judge, he came to New York where
their main offices were situated, and
achieved his purpose — although his bread-
and-butter job became a position in the
art department of the Brooklyn Daily
Eagle. There he worked beside Earl Hurd
and Max Fleischer. This was about 1911,
when some of the first notable experi-
ments were being made with animated
drawings.
Winsor McCay's film efforts, especially,
had stirred the interest of his brothers
of the easel, not just because he was an
artist of great ability, but because he had
proved that, as staggering as the task
of making thousands of drawings for a
few feet of film might be, the feat was
not impracticable. His first release,
through Vitagraph, of a "Little Nemo"
subject, had involved 4,000 separate draw-
ings. Other subjects made by McCay
with equally prodigious labor, were
"How a M jsquito Operates" and "Gertie,
the Dinosaur," released respectively by
Laemmle and Fox and also used by Mc-
Cay for his own few personal appear-
ances in vaudeville.
The "Gertie" performance, incidentally,
was highly amusing. McCay stood beside
the screen with a stout whip and uttered
commands to the cartoon dinosaur, lash-
ing her when she failed to obey. Gertie's
tears of humiliation formed a lake; but
on command she drank it up. It made
one think of that passage in the Book
of Job : "Behold now, behemoth ... he
moveth his tail like a cedar . . . His
bones are like bars of iron . . . Behold,
he drinketh up a river, and hasteth not."
Bray, like so many other enterprising
artists of the time, tried his own hand at
this fascinating new avocation ot Mc-
Cay's. He obtained all the information
he could about methods employed, and
concluded that it was possible greatly to
simplify the current methods of both
drawing and photography. Secretly, in a
little farmhouse in Ulster County, N. Y.,
he made one short subject to test out his
theories. It was based on his own news-
paper comic character, "Col. Heeza
Liar," which was popularly supposed to
have been inspired by the hunting ex-
ploits of Col. Theodore Roosevelt, and
was delicately called "Col. Heeza Liar
in Africa." He sold this to Pathe, which
concern released it December 13, 1913,
after paying him $2,000, a small sum for
all the work which he had put into it.
Nevertheless, Bray decided, as a re-
sult of this experience, that the line might
be developed into a paying proposition —
for the person who would organize it
further. In pursuance of that idea he
resigned from the Brooklyn Eagle and
opened a studio in the Neptune Building,
at 23 East 26th Street, New York City.
He had his magazine assignments to
carry him on, but his responsibilities had
increased, for he had married at the same
time. In Bray's case, though, it prob-
ably is incorrect to say that matrimony
made his burden heavier, for Mrs. Bray
joined completely in his interests, and
managed him zealously from then on for
his own protection.
Bray's first important move toward
organization was to buy and patent as
many of the basic methods of animation
as he could. Stories of these negotiations
are vague and usually conflicting; but
he did take out a number of such patents
from 1913 to 1916. In December of the
last-named year Bray Studios was in-
corporated with a capitalization of $10,-
000, to make "animated cartoons, photo-
graphs and advertising." The three prob-
October, 19)9
Page 28 S
ably most vital l>oiiits covered by the
Bray patents were the use of drawings
on celluloid sheets so that a single back-
ground could show through, making it
unnecessary to draw it again each time ;
the "opa<iuing" of celluloids in places
where lines on tlie background and the
celluloid drawings conflicted; and the
use of (X-Ks on the drawing board and on
the animation stand, with corresponding
perforations in the sheets to keep the
successive drawings in register under the
camera.
Tlie |)cg-and-perforation idea is said
to have come from Raoul Uarre, a
French-Canadian artist then working in
New Vork ; and there have been insinua-
tions, too, that Barre had casually men-
tioned to Bray the celluloid scheme as
one used in Paris. But, in all events.
Bray seems to have purchased, for a
satisfactory sum of money, whatever
Barre had of his own to ofTer.
In March, 1915, Bray began a regular
series of animated cartoons released as
part of the "Pathe News"; and their
instant success led nearly every other
important producing company to seek
similar product. Kdison followed ijuickly
with Barre's series, "The Animated
Grouch Chaser"; Wallace A. Carlson
was announced as chief animator for
Essaiiay; Carl Francis Lederer became
the artist for Lubin ; and so on. The
artists generally now really began to see
opportunities in the new line, and set
about developing it; but, to their con-
sternation. Bray at once started suing
for alleged infringements.
However, obtaining injunctions and
judgments, was not a simple matter. The
other artists declared that everything in
the process had been used before Bray
had employed it — by Winsor McCay, for
instance. But Bray replie<l that no one
before himself had applied his particular
methods of simplification. In the fall of
1915 he sued Harry Palmer as a test
case. Palmer stood his ground, Gaumont
continued the release of Palmer's "Kar-
toon Komics" on split reels with travel-
ogues, and Winsor McCay and J. Stuart
Blackcton declared themselves ready to
testify for him. When time came for
trial it was announced that the difficulty
had been settled out of court — and, in
the summer of 1917, Palmer incoriwrated,
his cartoons then being released by Edu-
cational Films, Inc. Bray, himself, was
sued in 1918 by Carl lederer, then of
Rochester, to nullify the patents; btlt
that suit was dropped, too.
In the meantime, the outraged other
artists became very businesslike. They
incorporated and applied for patents also.
Even Barre seems to ha\e felt that he
had something left to protect for, in
jMne. 1916, he incorportaed Barre Ani-
mated Cartoons with an address at Ny-
ack. N. Y.. and in October. 1917, ap-
peared with another development, the
Barre-Bowers Film Corporation, of Jer-
sey City, N. J.
One artist who really had not been
aught unprepared was Elarl Hurd, cre-
ator of the "Bobby Bumps" series. He
had acquired a few imixirtant rights of
his own under the law. Bray needed
access to those as Hurd did to his. So,
early in 1917, Bray and Hurd combined
their patents as the Bray-Hurd Process
Company; and to this combine most of
the large producing companies using
animated cartoons capitulate<l until 1933
when, I lielieve, the principal patents
expired. To obviate possible complica-
tions through the veterans, Winsor Mc-
Cay and Paul Terry — animator of
"Farmer Al Falfa" and the later "Felix
the Cat" — Bray is said to have given
them perpetual licenses under his patents
without charge. Bray tells me that there
were four primary patents — one of
Hurd's and three of his own. I believe
Hurd is working today as an artist for
Walt Disney in Hollywood.
The Pictograph
In 1914 the new organization known
as Famous Players-Ijsky Corporation,
producing Paramount Pictures, was then
starting its upward climb; and its of-
ficers thought, naturally, about all pos-
sible forms of expansion. Suggestive
influences were the screen "magazines"
and new printed journals on popular
science, so one of the items contemplated
was an educational reel. I was one of
Leventhal may not have been first
to animate technical subjects, but
he certainly led in doing that im-
portant work in sufficient quantity.
those who were proposed to edit it; but
I aspired then to the feature film field,
and was cool to the idea.
Among those who were not, however,
was Arthur S. Friend, the treasurer of
Famous Players-Lasky. He prosecuted
the idea, personally investigating the
possibilities and becoming more and
more convinced of its practicableness.
Accordingly, a weekly reel, first called
"Paramount Newspictures" and then
"Paramount Pictographs," was started,
with Edward Lyell Fox, well known war
correspondent-photographer, as managing
editor.
Valiant efforts were bestowed upon
this reel to make it popular. Its associate
editors, aiuiounced in the last days of
1915, were Raymond L. Ditmars, John
A. Sleicher, editor of Leslie- Judge; Wal-
demar KaenipfTert, then editor of the
Popular Science Monthly; and Roger
W. Babson, statistician. The project
went through the usual growing pains
endured by novelty reels; and the spon-
sors were speedily discouraged to learn
that their output was not noticeably
better than competitive releases already
established in the market.
New editors were added to the staff.
George B. Shattuck, for instance, Vassar
professor of geology, was now named in
the list preparatory to the release in parts
of his own new Alaskan films. But
bookings remained scant. Then, in des-
peration. Paramount officials arranged
with the staff of the magazine System
to edit the scenarios. The featured re-
sults included footage on how to sell
goods and lessons in smart table man-
ners. Nevertheless, the reel continued
wan and unhealthy.
At the close of 1916, when "Paramount
Pictographs" had been running thus dis-
appointingly for about a year, J. R. Bray,
with his expanding establishment, pro-
posed to Hiram Abrams, then president
of Paramount Pictures Corporation, that
the entire matter of producing the "maga-
zine on the screen" be referred to him.
Announcements in February, 1917, showed
that this proposition had been satis-
factory and had been accepted. It was
officially stated that "Paramount Picto-
graphs" henceforth would be a split
reel, one-half being an animated cartoon,
the rest an educational miscellany. Ed-
ward Lyell Fox was transferred to the
Paramount publicity department, and
Nathan Friend, a brother of .\rthur who
had been closely interested in the original
project, was appointed business and pub-
licity manager of Bray Pictures.
Under Bray's capable supervision the
magazine reel proceeded creditably for
some months. The full resources of his
staff, with most of the ingenuities now
known to characterize a successful ani-
mation studio, were thrown into the
enterprise, and its reputation grew. Row-
land Rogers, a studious young man with
an impressive scholastic background, was
assigned to collect likely material from
all reasonable sources and to edit it ; and
lesser men in the studio who exhibited
previously unsuspecte<l talents in the new
line, were encouraged to produce. But
as far as Paramount commitments went,
it was all in vain and. in a matter of
one year more, the arrangement was
broken off. Bray, retaining the name,
then moved to a release plan through
the new Goldwyn Pictures Corporation;
but the "Goldwyn-Bray Pictograph" en-
dured only until about the middle of
1920.
Before Paramount definitely decided
to eTid its part in the experiment, there
seems to have been a period of perltaps
eight months in which it continued at
least an "educational department." In
charge was a young man named Carson.
He had been a science teacher in the Los
.\ngeles High School. Pursuing his in-
terest in pictures he had seized as his
Page 286
The Educational Screen
first opportunity "to head in", a place as
assistant property-man in a Hollywood
studio. His most notable service, while
he occupied his chair as the last editor
of "Paramount Pictographs", was as
producer of an exceptional scientific
item called "The Why of a Volcano."
Scenes borrowed from it are still doing
service in many different educational
subjects.
Bray seems to have emerged from this
rather hectic experience with the rights
to not only the title "Pictograph," but
to most of the material produced. His
non-theatrical catalogues, issued there-
after, listed thousands of feet on subjects
which had been shown theatrically in the
"Pictograph." There were the interest-
ing experimental films, far in advance
of their time and still significant to the
industry which has forgotten them, made
by Hugo Munsterberg, Harvard profes-
sor of psychology. They were grouped
in the catalogues as "The Mental Facul-
ties Series." Also, pictures on the Mon-
tessori method of teaching, Bentley snow-
flake studies, and photographic adven-
tures made with the aid of Dr. Sisson's
deep-sea diving machine.
There was a variety of cartoon mate-
rial. Producing a half-reel of comic
animation each week gave plenty of em-
ployment to many artists. There are said
to have been forty artists there at one
period. At one time or another during
the very active years — say from 1915
to about 1923 — most of the leading men
in the line had worked in the Bray
Studios. Credits were given notably to
C. T. Anderson, Walter Carlson, Max
Fleischer, W. L. Glackens, Milt Gross,
Earl Hurd, Pat Sullivan and Paul Terry.
Bray Products
Max Fleischer, subsequently with
Bray, was fairly late in coming into the
work. When Bray left the Brooklyn
Eagle he wanted Fleischer to come
along; but Fleischer preferred a steady
job to a future so speculative. Perhaps
a dozen years later, however, the per-
sistent reports of Bray's success stirred
Fleischer to investigate possibilities. With
his younger brother, Dave — later to be-
come one of the best "gag men" in car-
toon work — he studied the broad situa-
tion and concluded that the real oppor-
tunities for exclusive service were to
develop better "timing" of action and to
achieve a comparative smoothness of
movement.
Accordingly, for about two years, in
their spare hours, the Fleischer Brothers
worked on their first "Out of the Ink-
well" subject. When it was completed
they took it to Bray. He liked it, but
suggested improvements and had the
brothers carry them out in his own shop
for about six months. The release of the
first of the series to reach the public was
made by S. L. Rothafel at the Rialto
Theatre, I think it was, in New York.
It set Broadway talking ; and thereafter
the Fleischers were leaders in their
especial line. I recall the vastly in-
creased effectiveness of the cartoon as
made by them ; and, compared with the
blinking, jerky effects which previously
passed muster, it really was something
to set the critics agog. In 1925, when
Urban had transferred his activities from
the Masonic Temple Building to Irving-
ton-on-Hudson, Max Fleischer edited
briefly for him the two novelty releases
"Reelviews" and "Searchlights."
As digressive as all this may seem
now, it has a distinct bearing on the ex-
pansion of the American non-theatrical
field. A skeptic would have all doubt
removed by reading a list of the per-
sonnel of the Bray organization over
the few years immediately after the in-
corporation of Bray Products. There
to be found are, in addition to Bray and
Fleischer, F. Lyle Goldman, Jack Nor-
ling, Arthur Loucks, Rowland Rogers
and many more who have appeared or
A portrait of Jack Norling, the se-
riousness of which belies the habit-
ual good nature of an extremely able
worker with a wide circle of friends.
who will appear prominently, in one
connection or another, in these pages.
Their leaning toward non-theatricals
was natural. The Bray group, by virtue
of its members, their number, their
proved achievements, their individual re-
sponsibilities, their facilities and their
patents, all made the Bray office a likely
place to apply for any camera novelty —
remembering, of course, that the usual
new client in non-theatricals thinks of
his intended picture first in terms of ani-
mated charts, "phantom" drawings and
trick effects in general, rather than in
those of humanness and fidelity to nature.
These were to be seen in profusion and
at their best in the Bray "Pictograph."
For Bray's part, also, he had anticipated
non-theatrical expansion and had deliber-
ately courted it, even building up a sales
force to solicit industrial accounts.
His sales representatives were picked
for the excellence of their contacts as
well as for their ability to hustle, but,
in considering their number, one must be
careful to differentiate between salesmen
regularly on staff and those outsiders who
merely turned over occasional business
on commission. Thus, he had certain sell-
ing arrangements in the Chicago-Detroit
area with Jamison Handy, probably an
old acquaintance from the days when Bray
drew cartoons for the Detroit News. De-
troit, however, was Bray's home town —
he was born there.
Most of those who were with Bray in
the active time recall Handy as a sales-
man. But he was not a salesman in the
sense so carelessly implied. He was,
rather, an excellent customer, for he ac-
tually represented and headed an indus-
trial film concern in Chicago which had
need of the particular sort of product in
which the Bray animation department
specialized. He merely arranged with
Bray to supply the required footage — and
the ultimate customers were then cheer-
fully listed as Bray clients. This easy ap-
propriation of credit patronage remains a
common practice among the non-theat-
rical producers today ; and apparently
nobody particularly objects.
Handy was familiar with Bray's car-
toon line because he had been comic-strip
editor for the Scripps-McRae newspaper
syndicate. His brother, Ray D. Handy,
had been a cartoonist of some reputa-
tion. Jamison doubtless could have ob-
tained all the animation he wanted right
in Chicago had it not been for the re-
strictions by the Bray patents. In the
loose sense, of course, he was a Bray
salesman. He probably was the agent
who brought in the group of Bray indus-
trial accounts which included the Delco
Company, the Northeast Electric Com-
pany and the Burroughs Adding Machine
Company. .Another reputed Bray "sales-
man" was Rowland Rogers, editor of the
"Pictograph," certain clients apparently
having been brought into line because he
was the nephew of H. H. Rogers of
Standard Oil, with useful connections in
Wall Street.
Leventhal
Among Bray's artists was J. F. Leven-
thal, with rather a flair for scientific
animation. He joined the studio group as
an architectural draughtsman who wanted
to become a screen cartoonist. His at-
tempts to realize that ambition proved
imsatisfactory, so he delivered an entirely
new line of material which Bray pres-
ently exploited as "animated blue prints."
A good example of it was "A German
Submarine Mine-Layer at Work," ap-
pearing in one of the "Paramount Picto-
graphs."
Some of this film attracted the atten-
tion of our old acquaintance Maurice
Ricker. friend of Walter Yorke and later
belonging to the War Work Council of
the Y.M.C.A. It suggested to him the
possibility of using animated diagrams
for the training of .American doughboys
in the A.E.F. ; and Government officials
being agreeable, the order to proceed was
given to Bray. In February, 1918, there-
fore, Leventhal was assigned to Fort Sill
to gather data. When he returned, how-
ever, he had an entirely different scheme,
which was to animate blocks, represent-
ing the military units, by that same meth-
od which had been used by J. Stuart
Blackton years before, apparently to
bring children's toys to life.
The mysteries of this were unfolded
before the fascinated eyes of Leventhal's
cousin, Francis Lyle Goldman, of St.
Louis, a young architect with a bachelor
of science degree from the University of
Illinois, who was finding his profession
an incomplete fulfilment. Goldman's fer-
tile imagination was kindled by what he
saw. One suggestion leading to another,
October, 19i9
Page 287
he was taken on by Bray. He speedily
became a specialist in scientific anima-
tion, too, with a leaning toward the medi-
cal, a very useful Itent, as it proved. It
was Goldman who did the celebrated mov-
ing representation of the human larynx
for the "Pictograph," showing how a
person talks.
Levcnthal became known, for public-
ity purposes, as "Director of the Bray
Motion Picture Engineers." In that ca-
pacity, and notably with the assistance of
W. J. Nirgenau, he developed methods
for many sorts of pedagogical pictures,
based on Bray's patents. An outcome of
this activity was the notable series of
twelve reels, on communicable diseases
and personal hygiene, called "The Science
ot Life." It was originally produced
under Government supervision for gen-
eral educational use ; and even today it
remains one of the most serviceable pro-
ductions in that especial department. In
October, 1924, the U. S. Public Health
Service, under supervision of Surgeon-
General H. S. Gumming, issued a group
of lectures to be delivered with "The
Science of Life" in high schools and
colleges.
"Government supervision" is entirely
insufficient as an explanation of the mak-
ing of "The Science of Life." The dom-
inant spirit was Dr. Maurice Ricker, who
wrote and directed, for the United States
Public Health Service, the production for
which Bray obtained the contract. The
circumstances required, of course, that
Ricker shoidd be working frequently at
the Bray Studios, .^nd because there is
so much of interest still to be told con-
cerning that association, it is worthwhile
at this juncture to inquire more at-
tentively who this man Ricker was.
He was born July 18, 1869. at Wataga,
Illinois, whither his people had removed
from the New Hampshire home where
his ancestors had settled in the seven-
teenth century. He was a graduate stu-
dent of the University of Illinois and ob-
tained his bachelor of science degree at
Drake University in 1892. From 1892
until 18% he was a high school teacher
of science at Marshalltown. Iowa, where
he married and became father of the
daughter who, in due course of time, was
to become the wife of William Beebe.
Various other teaching and lecturing
experiences carried him on to Burling-
ton, Iowa, where he resumed as a high
school science teacher from 1899 to 1906,
with concurrent duties as lecturer for
the Montana University Biological Sta-
tion. I'ollowing that he began a twelve-
year period as principal of the Des
Moines High School, concluding it in
1918 to join the University of Iowa ex-
pedition to Barbadoes and .'\ntigua as
biologist. It was in 1927, long after his
Bray association, that he became assist-
ant educational director of the United
States Public Health Service, and he
maintained that connection for seven
years. Some of his subsequent history
will appear as this narrative proceeds.
His interest in picttires began very
early, apparently stimulated in the main
by his use of stereopticon slides for lec-
ture purposes involving nature study and
social hygiene. His authorship of "The
Science of Life" and his ability to direct
it cannot be questioned in the face of his
extraordinarily well-adapted background.
Another important Bray instructional
series was "The Elements of the Auto-
mobile," made in collaboration with the
U. S. War Department, or, more par-
ticularly, with Major R. A. Osmun of
the Quartermaster's Corps, Motor Trans-
port Division. The motor transport pic-
tures were part of the Government's
great plan for rehabilitating the soldiers
returned from the World War, by voca-
tional training. In September, 1920,
Major-Gencral P. C. Harris, Adjutant-
General of the Army, announced the
award of contracts to produce such films.
The pictures, including these from Bray,
were to be used to illustrate a few of
the 107 educational subjects then being
studied in more traditional fashion by
approximately 105,000 veterans. One of
the contracts was for the making of
thirty-five sets of ten reels each, which
gives some idea of the plan for simul-
taneous showings. But there was plenty
or red tape and a formidable system to
be met in reaching the ultimate consumer.
When the pictures had been completed,
approval and acceptance had to come
from representatives of the Motor Trans-
port Corps. After that, an official of the
War Plans Division of the General Staff
had to approve and accept. Then the pic-
tures were to be taken over by the Edu-
cation and Recreation Division, Storage
Service of the Quartermaster's Office,
from which the reels were supposed to
be sent over the world to all military
departments of the Army, as well as to
those places in Panama, Hawaii, Germany
and the Philippines, where the various
.Army schools taught automotives.
However, it was in this very year,
1920, that the wartime regimentation of
the United States was reluctantly break-
ing down once more into the independent
pursuits of peace. Whereas, during the
Arthar Loucki: the business half of
virtually the only offshoot of the
Bray organization which luis gone on
uninterruptedly in non- theatricals.
storm period, workers had clustered,
through a sort of instinct for mutual pro-
tection, they now went forth bravely on
their own. The Bray organization be-
gan to disintegrate like most of the others
which had prospered in the abnormal
circumstances leading up to and continu-
ing throughout the War. Other causes
within the industry — cancellation of
theatrical contracts, for instance — may
be cited as more direct reasons ; but
change was in the air everywhere in 1920,
and Bray Products was no exception in
the long list of producing companies
which were adversely aflFected by it.
This Way Out
The artist Paul Terry had been one
of the first restless souls to depart. He
left to do "Felix the Cat" and his clever
"Aesop's Fables," one of the most popu-
lar animated subjects of the silent film
days — and Frank Moser, long afterward
to be Terry's partner in producing
"Terrytoons," went off, too. You see,
animation is that peculiar sort of work
which requires for successful business
more persons than one — animators,
tracers, "opaquers," "in-bctweeners" and
so on — and. when an individual left Bray
to head his own new enterprise, he
usually tried to take a number of others
along.
It is not to be supposed from this, of
course, that Frank Moser was a worker
in the second line. For two years, be-
ginning in 1910, he had been of sufficient
newspaper importance to substitute for
J. N. Darling ("Ding"), as chief car-
toonist on the Des Moines Register. In
1915 he had done a series of animation
subjects for the Eldison Company in New
York, and a year later he had founded
the animation department for the Inter-
national News Service in the same city,
animating the first "Krazy Kat," "Bring-
ing Up Father," "Jerry on the Job,"
"Happy Hooligan" and "Little Jimmy,"
all then current comic strip favorites in
the Hearst newspapers. He was with
Bray during the Paramount period. When
he joined Terry in 1919 it was to make
".Aesop's Fables" until those amusing
drolleries had reached the astounding
number of 430 separate releases.
Bray had difficulty not only in keep-
ing his organization intact, but he was
obliged to meet suits, including one
brought by two of his own men. It ap-
pears that Jam Handy had told Rowland
Rogers about a motion picture collection
in Dayton which seemed to be a desirable
property. It appears that, on Bray's
ready promise to distribute it, Rogers and
Handy had bought it. Then Bray, so that
story goes, couldn't carry out his part
of the bargain; and they sued him for
non-fulfilment of contract and back salary,
winning a judgment of $18,000.
This seems to have happened in the
time when Bray included in his activities
the promotion of pictures accredited to
the Dayton Photo Products Library.
Specifically, the Daypho idea seems to
have involved a paper film for "opaque"
projection. The special projector was
quite cumbersome and, owing to the dif-
ficulties of illumination in all siKh de-
vices, presented only a small picture on
Page 288
The Educational Screen
the screen. It was backed originally by
a Mr. Willis, well known as a music
publisher, and then taken up with en-
thusiasm and further financing by the
Wurlitzer Music Corporation of Cin-
cinnati.
But, how ever accurate or otherwise
these details may be, it is a fact that
Handy and Rogers here parted company
with Bray, Handy keeping his head-
quarters in Chicago to become one of
the largest non-theatrical producers in
that area, and Rogers, as already stated,
setting up his own non-theatrical busi-
ness in New York.
It is the New York scene which for the
moment concerns us for the purpose of
keeping perspective ; and immediate at-
tention naturally centers there anyway,
. because New York had been the real
war capital of the United States, with
many non-theatrical ventures to serve
the varied commercial interests situated
there at that time.
In the exodus from Bray Products and
reluctant to go, for he was not a man
to enjoy changes of allegiance, was Jack
Norling. Jack was familiar enough with
animation — no one could be with Bray
without developing a certain expertness
that way- — but his prime job had come
to be to write and to produce stories to
be made out "on location" and sometimes
using actors. There were not many of
the Bray crowd who could produce pro-
fessionally in that sense, away from the
animation stand ; yet he had somehow ac-
quired the knack. He had been a photog-
rapher in the Army, and Leventhal, in
producing his Army pictures, had taken
him on and brought him into the Bray
group. But Bray couldn't afford to keep
him any longer with the business drop-
ping off, and Jack now had to help him-
self.
As with all the other Bray men doing
creative production, Norling necessarily
had made outside friends by working
intimately with clients in developing pic-
tures to their liking; and it was one of
these who opened the way to his dignified
departure. The friend this time was
Arthur Loucks, assistant advertising
manager of the Burroughs Adding Ma-
chine Company. Arthur felt that with
himself to care for the management and
Jack to produce, they would make an
excellent combination. So, indeed, they
did.
Hence, about 1923, the new non-thea-
trical firm of Loucks & Norling loomed
on the New York horizon. They had
ruptured no friendships ; so they began
by taking offices in the same building with
Bray and by contracting with him for as
much of his business as they could handle.
They continued doing it almost up to the
real advent of sound pictures in 1926.
Then they were obliged to leave Bray
with his financial worries, moving to
other quarters under the sheltering wing
of Du-Art, a commercial film laboratory
in SSth Street.
Carpenter-Goldman
A PARTICIPANT in the original exodus
from Bray's was Francis Lyle Goldman ;
and his separation also was friendly. By
this time Frank, in his dogged but cheer-
ful search for scientific subjects be-
fitting animation, had become fast friends
with Arthur W. Carpenter, a kindred soul
over at Prizma, where they made color
pictures. Film color processes consti-
tuted a natural line of inquiry for Gold-
man because pictures of anatomical sec-
tions, of the human larynx, for instance,
almost demand hues and tints for proper
effect. Arthur Carpenter was "process
manager" for Prizma, but he wanted to
develop a color separation method of his
own ; so it was proposed that he, with
a little money which he had put by,
should join Goldman in forming their
own concern. That was how the Car-
penter-Goldman Laboratories came into
existence. They had hard sledding for
a time; but at the end of three or four
years of plugging, they found themselves
possessed of a specialized, scientific, non-
theatrical production service which was
well known and really prosperous.
But Arthur Carpenter was by nature
and temperament a research man, not
really interested m just commercial re-
sults. In 1908 he had been an associate
in photographic research in the Jefferson
Physical Laboratory at Harvard. After
that he had held, among other identities,
posts as radiographer and research
photographer of the Massachusetts State
Psychopathic Hospital, field director in
the Peabody Museum Expedition Service
and officer in the Chemical Warfare Serv-
ice for the U. S. Army. It is said that
during his expedition work he was one
of the archaeologists who opened the way
to some of those ancient Mayan ruins
in Yucatan.
For awhile he worked very conscien-
tiously with Goldman; but presently the
archaeological urge returned him to his
former interests. Perhaps, too, his strong
methodical sense found Frank's im-
promptu methods a bit disturbing. But
he was prompt to realize, when his at-
tention was called to it, that, although he
had invested money in the Carpenter-
Goldman Laboratories, he was rarely in
town long enough to give the firm his
proportional share of attention; and he
agreed, like a gentleman, to sell out his
interest at Frank's first opportunity to
take it over.
In the meantime Goldman had become
more than ever impressed with the neces-
sity of having a pedagogical point of
view to supplement his own technical one
Next Month
The November installment will
continue the story of the Bray
alumni, but moves quickly into
the curious history of what hap-
pened when the National In-
dustrial Conference Board be-
came interested in what a film
can do as an instrument with
which to influence public rela-
tions. The rise of Carpenter &
Goldman, Rufus Steele, William
Brotherhood — and especially, on
this occasion, Carlyle Ellis.
in working upon educational subjects.
Seeking some person to supply it, he
found, about 192S, Joseph W. Coffman,
vice-president and production manager of
the Graphic Films Corporation at At-
lanta, Georgia. Coffman was a man close
to his own age — Goldman was born in
1893, Coffman in 1895. The latter had
been engaged in commercial production
for only a couple of years, but in 1922
he had entered upon a year's work as su-
pervisor of visual education in the Bir-
mingham, Alabama, and Atlanta public
schools. During the War he had served
as a first lieutenant in the .\.E.F. Air
Service. He was a native of Clarks-
ville, Arkansas.
When he was taken on he more than
justified Goldman's expectations ; and
with his energetic and scientifically pre-
cise assistance, the Carpenter-Goldman
Laboratories waxed stronger than ever.
They took a suite of fine offices in the
Canadian-Pacific Building on Madison
Avenue. They engaged a staff of perhaps
a dozen artists and animators. They did
work for their competitors and employed
those friendly business rivals to handle
odd jobs for them whenever practicable.
It was a happy time until sound pictures
came, although, in the case of this firm,
the revolution swept it to greater heights.
Only — we must not anticipate the course
of our story.
The Man Who Walked Alone
The same post-war circumstances
which had so sorely hit Bray Products,
had turned the eyes of others toward
possibilities in non-theatrical production.
One of the most interesting of these newly
attentive persons was another New
Yorker, Mason Wadsworth. He had been
an actor, I believe, and was known also
as the husband of an emiment lady medi-
cal specialist. During the great conflict
he had been close to the work of the
National Industrial Conference Board —
organized in May, 1916, mainly to pro-
mote the welfare of American manu-
facturing lines. He became an intimate
friend of its president, Magnus Washing-
ton Alexander.
Seeing the enormous power of all these
great organizations moving shoulder to
shoulder toward the great objective, vic-
tory, and seeing, moreover, that they held
together for awhile even after the War —
for with all their pooled interests they
could not disentangle at once — Wads-
worth conceived that there was a fortune
to be made by inspiring them with another
common purpose, to advertise their goods
and services on the screens of the world.
It is a very sound principle, to seize
existing sources of energy which have
lost their outlets, and give them new
channels of useful service ; and in 1920
there was plenty of evidence to support
the reasonableness of Wadsworth's plan.
Special articles in newspapers and na-
tional magazines currently proclaimed that
American theatrical films, witheut spe-
cific intention to do so, were teaching
American methods and selling American
goods around the globe.
(To be continued)
October, 19)9
<^,
Page 289
cO.
L
rnoncj \uu%±eluz±
From and by the Department of Visual Instruction, N.E,A.
Conducted by the Editorial Committee
Photoplay Appreciation at Collinwood*
By CORDA E. PECK, Collinwood High School, Cleveland
IN' AN' informal broadcast over a Cleveland radio
station, a number of Presidents of Federated
Women's Clubs interviewed me about Photoplay
Appreciation in my school. Their first question was:
"Miss Peck, some of us learn with surprise that Mo-
tion Pictures are studied in the class room. Do people
in general receive this news with surprise?"
My reply was, "Yes, they do. Frequently, I hear
people say, "Do you mean that high school hoys and
girls study movies and get credit for it?' When I
reply, "Certainly," they sometimes flippantly remark
that they wish they were in school again, but after a
moment's reflection, they agree that a very great many
leisure hours are spent in the movie-theatre, and that
enjoyment for these hours might well l)e increased.
I mention this incident because it serves two pur-
poses:
(1) To point out that to the general public — which
includes many, many high schools — the study of the
photoplay is still a very new subject, and to many
people, still an unknown subject.
(2) That in speaking to this group I assume the very
opf)osite to be true. It is a pleasure to speak a few
minutes to a group who, I assume, understand what it
is and to whom the movement need not be defended nor
■ . justified.
■ The American Educational Theatre Association
In the fall of 1937, The Coordinating Committee
for Drama in Secondary Schools included the study of
the photoplay in the program of the American Educa-
tional Theatre Association, and formally introduced it
I in New York City at its December convention. Con-
siderable interest was voiced, but teachers of dramatics
in general confessed that they were too busy with the
production of their plays to find time to do anything
with pictures. I would not have 3'ou think I speak
lightly of them, for they have a most ambitious and
creditable program, and being a teacher of dramatics
myself, I can heartily sympathize with their prob-
lem. However, I am glad to say that at the convention
in December 1938, much progress had been made. The
program meeting was very interesting and well at-
tended, but the most interesting part took place at the
Executive Meeting where the question to be decided
was whether time and money were to be spent on a
•Address delivered at the San Francisco N.E.A. meeting,
July 3, 1939, before the joint session of the DepartnienU of
Secondary Education and Visual Instruction.
project to interest teachers of dramatics in the photo-
play. I am happy to say that even though there was
some opposition, that they voted to do so, and further-
more, that they showed much more interest than they
had the year before. I think I'd like to present a few
of their conclusions and plans :
(1) To determine what arc the criteria of the
teachers of dramatics in relation to the critical apprecia-
tion of the photoplay, to determine what are the im-
plications of these criteria, and finally to write a brief
curriculum unit embodying these ideas.
(2) To invite one hundred or more teachers of dra-
matics to supervise an experimental project in Photo-
play Appreciation, returning a report as to its interest
and effectiveness in their dramatic program.
These determinations grew out of the following as-
sumptions :
(1) That motion pictures are essentially dramatic
presentations.
(2) That in many rural or small town schools,
motion pictures and radio are the only dramatic en-
tertainment available.
(3) That discussion of pictures is one of the chief
topics of daily conversation, and therefore, good speech
practice, as well as a means of developing critical habits
of thought in speech.
(4) That many teachers of dramatics have been
slow to include the photoplay in their program because
of their preoccupation with legitimate theatrical activ-
ities, and their too heavy jjersonal programs.
(5) That teachers of dramatic art have rich possi-
bilities in this field to develop, as well as illustrative
material already available, in studying costuming, sett-
ings, story development, acting, dialog, sound and
voice culture.
(6) .And, finally, that principals and superintendents
should be encouraged to recognize the extra-curricular
value — wherever its curricular value might find
opposition.
The Course at Collinwood High School
The beginning of Film Appreciation at our school
may be attributed to:
(1) The intense interest of the teacher.
(2) The faith and cooperation of a principal who
believes in a liberal curriculum.
(3) A recognition of the very great interest the
students have in motion pictures.
Page 290
The Educational Screen
Briefly, this is the history of our growth in this
subject :
First, in an English class of low I. Q. technical boys,
I substituted a unit of photoplay study for a required
unit of poetry. The interest evidenced by the boys was
surprising. In another English class of very bright
students I added a unit of photoplay study. Again,
remarkable interest was shown.
The following semester we started an elective class
without credit, but before the term was over, credit was
granted for the course. The next semester, we had
two classes with credit ; the following five semesters
we had three classes. Lack of teacher time prevented
more classes.
I should like to briefly outline some of our class ac-
tivity in our classes this jjast semester.
January — June, 1939
students — 115 students from llA, 12B, and 12A grades met
twice a week in Film Appreciation.
Pictures studied — Young in Heart, Victoria the Great, Wings
of the Navy, Gunga Din, Wuthering Heights, The Mikado,
The Adventures of Huckleberry Finn, The Story of
Alexander Bell, The Story of Vernon and Irene Castle,
A Man to Remember, Love Affair, Snovif White and the
Seven Dwarfs, F"erdinand the Bull, Union Pacific, Juarez,
Young Mr. Lincoln, Goodbye, Mr. Chips.
Books used — Hozv to Appreciate Motion Pictures, by Edgar
Dale, (We had a set of these) ; Film and School, by Rand
and Lewis, (A few reference copies).
Magazines — The Photoplay Guide — Educational and Recrea-
tional Guides, New York City ; The Film Guide — Harold
Turney, Los Angeles ; The Hollywood Spectator, Holly-
wood.
Displays — A complete set of research sheets and pictures of
Victoria the Great, presented by R. K. O. —
The entire story of Vernon and Irene Castle, in stills, pre-
sented by Harold Hendee of R. K. O. —
The panel displays of the Motion Picture Distributors and
Exhibitors, Inc. for Young in Heart, Wuthering Heights,
Gunga Din, The Mikado, Union Pacific ; and Film Guide
display sheets for Juarez.
Theater Parties —
Victoria the Great — We invited 600 students to see this
picture in our school. Preparation for this picture was
made in all the classes invited to be guests. They came
from English classes studying Victorian literature, from
history classes studying the same period, from art classes
and from clothing classes.
A Man to Remember — We showed this picture to 300 stu-
dents, 200 from high X classes.
Love Affair — Students in Film Appreciation attended the
Commodore Theater to see this film. They invited friends
or parents. About 225 attended.
Participation with outside activities
(1) The Cinema Club conducted a panel discussion on The
Merits of the Double Feature. The speakers were a super-
visor of education, a film distributor, and a student. The
student came from our classes.
(2) At the student session of The Youth Division of the
Cinema Club Festival, two of our students gave talks.
(3) Two of our students participated in a round table dis-
cussion on The Life of Emile Zola.
(4) Two of our students broadcasted over W. H. K. on
"Over The Coffee Cups" hour. They were invited to speak
on "Film .Appreciation at Collinwood High School" by
the radio chairman of the Cleveland Federation of Women's
Clubs.
(5) Two of our students are participating in the Union
Pacific Pictorial Notebook Contest conducted by Cecil
B. De Mille.
I wish I had time to tell you how much the students
enjoy these classes. They enjoy the exchange of
opinions, estimates, and comments that grow out of
the problem or the story. They make very intelligent
observations on art, on writing values, directional
touches, acting ability, and on various skills. They
learn to recognize that there are several types of pic-
tures and they learn to develop standards for judging
them. They question whether the life problems are
real, the characters true to life, whether the plot ends
logically and naturally, whether the theme is significant.
This last year all students have heard much about war
and propaganda. Personally, I have thought that in
our classes studying current pictures we have had a
splendid opportunity to talk over these problems sanely
and practically.
Some of the discussion of these problems is very im-
pressive, because it has been preceded by a visual ex-
perience which made the problems very real to the
student. The photoplay is a dramatic presentation, and
it is precisely because it is essentially dramatic that it
has such great influence. We have welcomed Social
problem pictures. The movies offer an opportunity
for some splendid propaganda in favor of democracy,
love for American traditions, understanding of many
races, and love of world peace. It would be wise for
all pictures to succeed first as a well-written dramatic
story, excellently portrayed in a visual sense ; it may
include some theory, some plan, some philosophy, and
if it does, it is the privilege of the audience to analyze
the truth of that theory, that plan, or that philosophy.
In other words, I mean the social, political, or ethical
significance should logically be a part of the dramatic
sequence. To teach this underlying truth of an ar-
tistic experience is one of the fine services photoplay
appreciation classes can render a large movie audience.
Some objections to classes in movie appreciation have
been made on the ground that students do not need
preparation to understand a picture. This criticism
came to my mind vividly recently when I listened to a
round table discussion by twelve bright students who
had seen The Lije of Emile Zola.
The students revealed that they had been exposed to
such teaching about propaganda. They discussed at
length that the picture was propaganda related to the
Jew. For thirty minutes their discussion leader waited
for someone to .say that the picture taught racial toler-
ance, and the need for justice that is founded on truth.
The students were so "propaganda" conscious, that they
failed to mention the essential theme of the picture.
Such discernments have long been recognized as a func-
tion of a class studying drama ; surely they are also
desirable to the true appreciation of our better films.
Then finally, I am sure, our classes develop a de-
lightful interest in those many charming little details
which many of our students do not see — wonderful as
they are. People are quite observant about physical
beauty, of persons, of costumes, and of scenery, but
frequently fail to notice some small detail which adds
the keen edge to enjoyment. How dramatically the
little umbrella incident summarized Emile Zola's early
years of poverty and struggle ! How fine that the di-
rector recognized its u.sefulness ! The music that sym-
bolized Snow White's fear — the music that accompanied
Victoria the Great's angry pattering feet across the hall
— their appropriateness added to our pleasure. Point-
ing out many of these things to each other adds to our
general experience, and at Collinwood High School we
think it worthwhile.
October, 1959
Page 291
^liz ^jsdszaL ^jiim
THE U. S. Signal Corps has a most comprehensive
program of army training films. The increased use
of the motion picture as a training device as well as
the interest in the measures lieing taken by the Army
to be prepared for any national emergency make con-
sideration of the Signal Corjis' program particularly
timely.
Objectives
The Army is responsible for training recruits and
making them effective soldiers in our national defense
program. Every feasible means of training soldiers
should be, and is, employed by the Army in the metam-
orphosis from raw recruit to dependable military unit.
Visual instruction plays an extraordinary role in the
teaching and training program. The objective of the
films is to help the military instructors present definite
phases of instruction on a definite subject to a definite
group.
The same principles of Army operations as ordered
by the general staff can be shown in the same way
at Fort Benjamin Harrison, Indianapolis, as they can
at Fort Benning, Georgia, or Fort Riley, Kansas. Thus,
uniformity in teaching and uniformity in interpretation
are accomplished.
Films, however, are used only when they teach the
desired phases of instruction in a manner which can
be approached by no other method. Thus, if a certain
sequence of operations can be learned through the use
of a series of charts, photographs, or a slide fihn,
usually no motion picture of that phase of military work
is produced. Effectiveness in teaching, coupled with a
study of the cost per unit, are necessary criteria in the
consideration of training film production.
Steps In Training Technique
I The steps in the Army training technique offer an
excellent pattern to many in civilian life who face train-
ing problems.
1. The instructor prepares and schools himself
thoroughly in his subject matter. He must know in
detail before he is able to assist in training others.
2. The instructor explains to those whom he is in-
structing.
3. Demonstrations of various types as illustration
are employed.
4. The students themselves practice the movement
or operation they are supposed to learn.
5. The instructor examines the student in order to
test the effectiveness of the teaching operation.
6. Any points remaining unclear are checked on
and clarified by the instructor.
These, then, are the steps which army instruction
indicates are most effective in a teaching program. This
A page edited by Arch A. Mercey
Assistant Director, United States Film Service,
Washington, D. C.
breakdown readily lends itself to the utilization of the
teaching or training film, particularly in operations 2
and 3. For exan.ple, the Army may want to institute
a new method of first aid to the wounded. To do this
successfully, the Army can elect to purchase first aid
kits and supplies to the thousands of American soldiers
and have military instructors demonstrate at each point
of troop location. Or the Army can make a film in
which the methods of instruction are all clearly and
graphically set forth in pictorial form with off stage
narrative on the sound track explaining and implement-
ing the operations shown in the film. A film made on
first aid can be shown in any part of the U. S. or its
possessions, wherever an Army unit might be with as-
surance that the material presented is given in the
authoritative and prescribed manner. In short, com-
plete standardization in first aid training is accomp-
lished.
Moreover, it is obviously not possible to take all the
U. S. troops out onto battlegroimd terrain for certain
operations which may simulate military activity. The in-
creased impossibility of taking the National Guardsmen,
R.O.T.C. and Reserve Corps to outdoor locations is
also apparent. The terrain, therefore, together with
the heavy equipment or special apparatus must be
brought into the classroom by the way of sound film.
The Army also has certain phases of instructional
work requiring a knowledge of the mechanism of of-
fensive and defensive weapons. In such cases an ani-
mated film is an effective method of teaching the actual
workings of such weapons. The film on recoil mech-
anism of a 75mm gun, for example, indicates the vari-
ous mechanical features of the gun and how each part
of the gun operates to make a successful firing piece.
Training Films Diversified
The present Army training film library of 50 sub-
jects, includes a diverse selection of subjects and many
subjects are awaiting action and funds for further
development of the framing film program. Some of
the topics treated in the film program include Tactical
Employment of Chemical Troops in an Attack; Map
Reading; Infantry Crossing an Unfordable Stream;
Reconnaissance and Occupation of a Position; Sensing
of Field Artillery Fire; First Aid; Infantry Hasty Field
Fortifications and numerous other subjects. These
topics indicate the problems facing the Signal Corps
experts in making their motion pictures and further
implement the basic principle that nothing should be
filmed that can be taught by any other method in
terms of equal effectiveness and cheapness.
The Signal Corps maintains its own laboratory and
motion picture directors, animators, cameramen and
(Concluded on page 301)
i
Page 292
Thanksgiving — In Hand-Made
By ANN GALE
THIS year, with so much discussion of the day for Thanks-
giving, offers an excellent time for intermediate and upper
grade children to investigate the history of Thanksgiving as a
holiday here and in other times.
(1) Way back in Biblical times the seven day Feast of the
Tabernacles was a kind of thanksgiving at harvest time.
(2) In Athens the Greek women gave thanks offerings at
harvest time every year in the temple of Demeter, the goddess
of plenty.
(3) As far back as the Saxons in England Harvest Home
was celebrated. This was a general feasting and rejoicing
over good harvests.
(4) Our first Thanksgiving was celebrated in December of
1621 when the handful of Plymouth colonists gave thanks for
The Educational Screen
Lantern Slides
Art Department, Lindblom High School, Chicago
their harvest. They entertained Massasoit and ninety Indian
braves at the three day feast.
(5) Thanksgiving was observed somewhat irregularly until
1631 when a special day was appointed in Boston to give
thanks for the arrival of a ship with provisions. This took
more the form of a religious holiday.
(6) From then on the New England states observed by
proclamation a Thanksgiving day at various times. President
Lincoln in 1864 proclaimed the last Thursday in November as
a holiday.
Use blue for skies of 1-2-4-5. For 3 use red, orange and
yellow for people and violet and blue for walls. Use red,
orange, violet and blue for clothing in 4. Put green over blue
for water in 4.
The sim-
plest type
of hand -
tnade slide
is made by
drawing or
tracing on
finely fin-
ished etched
glass with
ordinary
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 *^
with cray-
ons. About
one - third
inch margin
should be
left all
around the
slide. The
slide is read-
ily cleaned
with soap or
wa s h in g
powder to
receive
a new pic-
ture.
''(Kvftc N
<yi Y <:-
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-5
October, 19)9
Page 293
^liE J^iiExaturz in ^ l/iiuaL Unitxuction
A Monthly Digest
Conducted by Etta Schneider
Techniques and Materials
The Use of Visual Materials in Zoology
— l)y John W. Price — Journal of
Higher Education, 10:311-13 June,
1939
How to present living things, and to
show students the true nature of them
is the task of the teachers of zoolog>'.
Their aim is to present to students
animals as they really are, without dis-
tortion. Life is good enough as it is. It
need not be dramatized or exaggerated
or clothed in sentimental sap to hold the
interest. Visual aids hold first place with-
out doubt in the ever expanding list of
modern devices for studying and teaching
zoology.
In the teaching of zoology, films can
do three things probably better than any
other device available to us. First, they
portray movement. The conventional
method of teaching mitosis, for example,
has been considerably improved by an
unusual film made by Dr. Carl Hartmann.
Then, films can overcome the limitations
of seasons and time. We need not wait
until spring to follow the life span of the
butterfly. And third, films have over-
come the limitation of distance. Films
on oysters, amphibia, reptiles, birds,
mammals and insects are available now,
and the list is growing rapidly. How bet-
ter can the distribution and ecology of
an animal be presented in a classroom
than by a well-composed film of that
animal in its own habitat? To be sure,
these are like taking field trips by proxy,
but most of our students cannot be world
travelers.
Visual Aids Program — by W. A. Miller,
Rusk, Texas — Texas Outlook, 23 :No.
6:28 June, 1939
You do not have to be a wealthy
school to participate in a well-balanced
visual aids program. The problem is
chiefly making use of the things about us
in everyday life. The average individtial
thinks of visual education as the act of
teaching by the use of projection equip-
ment and that alone, little realizing that
the projector is merely one of the many
aids . . . That school which is able to
to buy the motion picture machine or the
opaque projector is fortunate indeed and
can do a splendid piece of work, but those
schools which are not able financially to
do this should not fold their hands in
resignation to their fate. Objects and
specimens for the school museum may
be found in fields, on a creek nearby,
stored away in the attic of the homes of
the children, in the storeroom of the
community store, or better still supple-
mented by models which are the handi-
work of the boys and girls.
Still pictures, ranging from lantern
slides to textbook pictures, are found in
magazines that are tossed about from
place to place. Cut these pictures out,
mount them on an inexpensive manila
paper, catalogue them and use them.
The stereoscope has been placed in dis-
card. It will bring to life and enrich a
child's appreciation of a picture. It may
be had by inquiring in your community.
Use your maps, charts, globes and car-
toons from the daily or weekly news-
papers. . . . Why, then, Mr. Administra-
tor of the small school, should your or-
ganization not receive its portion of so
rich a heritage when it is yours for the
asking.
Teaching Social Studies Through Docu-
mentary Films — by Arch A. Mercey,
U. S. Film Service, Washington, D.
C. — Journal of Higher Education,
10:303-8 June, 1939
Teachers of the social sciences are
particularly fortunate in having available
film sources in the documentary field,
both through the theatrical and non-
theatrical channels. We do not have in
.\merica a general magazine devoted to
the best interests and significance of the
film. A strong responsibility therefore
rests on the teacher who uses films in
his classes. The industrial film, partic-
ularly some of the newer ones, can have
definite contributions to the social
studies. Moreover, some of the industrials
are superior to some of the Hollywood
short subjects.
Many problems remain between the
teacher and his greatest realization of the
possibilities of the motion picture for
social studies : the scarcity of film ma-
terials for proper classroom use, lack of
a proper educational distribution setup,
problem of proper evaluation of present
materials, the lack of adequate projection
equipment, and the production by schools
of their own films. Motion pictures can
play the role of projected field trips. By
bringing pictures to the classroom from
the outside world, the teacher is taking
his class on a field trip to every comer
of the earth and the teacher can in fact
dramatize problems of the social sciences
in his own area thru the use of the
camera. Problems of housing, public
administration, conservation, politics, and
economics can be shown dramatically
thru the camera eye. Problems which
are too often academic can become reali-
ties when pupils have to work with the
subject-matter. This is particularly true
of municipal administration, conser\'ation,
housing, and government.
We Get Into the Movies — by Harriet
Montague,— FoZ/o Review 41 :329-3S
June, 1939
A review of certain current theatrical
films in which leading characters are
deaf. Appearing in a periodical for teach-
ers of handicapped children, it has parti-
cular interest in pointing out to them
the opportunities for furthering self-re-
spect among their students. "On the
whole," says the author, "we may feel
very well satisfied with the kind of at-
tention deafness is getting in the field
of art."
New Materials and Equipment in the
Teaching of Mathematics — by B. R.
Ullsvik, Madison, Wisconsin — School
Science and Math. 39:432-42 May,
1939
Includes list of motion pictures,
articles dealing with films in mathema-
tics instruction, posters and other ma-
terials.
Radio and Visual Aids in Elementary
School — by William M. Gregory —
Social Education, 3:415-17 Sept., 1939
Description of the Qeveland radio
project, using the ultra-high frequency
channels, in which lantern slide sets are
sent to the classrooms for use during
the broadcast lessons. Sets of slides
are sent to the teachers at the beginning
of the school term and permitted to stay
there during the entire semester.
Neglected Areas of Curriculum Imple-
mentation— by Floyd E. Brooker —
Educational Record, 20:241-55 April,
1939
All educational objectives listed by
our institutions of learning are being
furthered to some degree by the public
press, the theatre, the radio, and the
motion picture. These institutions exist
only because they satisfy definite human
needs. Recently educators have discov-
ered "human needs", and are now be-
ginning to develop curricula around these
needs.
To a surprising degree the radio and
the motion picture are serving the same
objectives cherished by educators. Edu-
cators must constantly ask themselves
two questions : first, for the attainment
of educational objectives what experi-
ences are desirable for children of vary-
ing ages and lackgrounds ; and second,
how can these experiences be made con-
crete, vivid, and accurate as they are
presented in the classroom and as the
child "experiences" them? One of the
salient failures of our educational sys-
Page 294
The Educational Screen
tern arises from the fact that from the
first grade through our universities
"verbal symbols are substituted for sen-
sation, perception, observation, and activ-
ity with regard to life's events."
It is the purpose of this discussion
to suggest that the motion picture and
the radio offer a means through the
limitations in the classroom, and that the
school people must give the same serious
consideration to the implementation of
the new curricula that they have already
given to the development of the ob-
jectives of those curricula. Radio and
motion pictures offer to the educator
media of communication that resemble
language to the degree that all media
of communication deal with symbols, but
that differ quite basically from language
in the sense that they present, in pictures,
in sound, or in combination portions
of reality and enlist the interpretation
of the student in re-creating the whole.
Motion pictures because of their com-
mand of color, pictures, and sound, offer
a potentially wide range of usefulness
in serving educational objectives. In
their mechanical aspects the motion pic-
ture offers three advantages : the mas-
tery of time and space, the indication
of patterns of intelligibility, and the real-
istic quality of their recording and pre-
sentation of experience.
School people have not been entirely
stationary in their utilization of these
new ways of implementing the curricu-
lum. Some have been enthusiastic and
have forged ahead placing people in
charge of their development and per-
suading their colleagues of the advan-
tages. Others have been interested and
lose no opportunity to gain new insight.
Others have done neither of these, they
have not been in schools or colleges
where these instruments were available,
or they have experienced difficulty in
securing and using them.
Perhaps the greatest need in the whole
field of curriculum implementation is
more serious consideration of all the
teaching tools, of which the motion
picture and the radio are but two, and
the contributions each have to offer in
serving particular educational objectives.
Strides are being made in this direction
already by educational organizations and
institutions. These activities have had
the support of foundations and promise
to provide the school administrator and
instructor with a better guide to cur-
riculum implementation than has been
hitherto available.
The Motion Picture Project of the
American Council on Education under
the direction of Charles F. Hoban, Jr.
is well advanced in its three-year pro-
gram. Four demonstration centers have
been established : U. of Minnesota Gen-
eral College, Santa Barbara (Cal.) City
Schools, Tower Hill School (Wilming-
ton, Del.), and Denver (Col.) Public
Schools. At the first three of these,
teachers are using motion pictures
wherever they seem to fit into the class-
room work, and whenever they are avail-
able. They make careful and detailed
records. Other organizations interested
and active in the field are : Association
of School Film Libraries, which has
made available to schools the most sig-
nificant issues of March of Time; Uni-
versity of Minnesota Visual Education
Service, which has undertaken the pro-
duction of twelve documentary films on
the history and development of Minne-
sota ; school-made film developments, 53
disclosed by a survey of the National
Council of Teachers of English; work
of the U. S. Film Service in coordinat-
ing federal film activities ; educational
film production activities of the U. S.
Department of Agriculture ; and the
newly organized American Film Center
which will assist in the production of
more effective educational films.
Critical Problems i^ School-Made Films
— by Edgar Dale — American School
Board Journal, 99:31 Sept., 1939
The making and using of school-made
films implies in many cases a reorienta-
tion of curriculum practice itself. In
this program of film making we are
introducing an idea in curriculum con-
struction which can and may have far-
reaching implications in the curriculum
itself. Some reasons for this point of
view are :
1. The very act of analyzing cur-
riculums to discover possibilities for films
often brings forth extremely revealing
data. In public-relations films, for ex-
ample, schools may discover a tre-
mendous approval for certain school ac-
tivities which they did not realize existed
before.
2. Some films — not all, by any means
— offer an unusual opportunity for co-
operative activities among the various
departments of the school.
3. Certain films made by the school
offer a unique opportunity for planning.
There are certain functions which the
film medium can fit admirably, but not
unless they do so, should film making be
undertaken.
School-made films should not be di-
rected at wide distribution, but rather
should be specific and localized in char-
acter. They can be the result of much
film pioneering, where commercial firms
are not adequately exploring. Local
films to be used in other areas should
be accompanied by ample supplementary
material in the form of a manual.
The matter of distribution may be
attacked as follows : School-made films
must be reported, (a) through extension
divisions of state universities, or other
film libraries ; (b) through the Depart-
ment of Visual Instruction of the N.E.A. ;
(c) through the cumulative listings in
the Wilson Catalog; (d) through the
Association of School Film Libraries.
Secondly, full details as to content, length,
quality of photography, and price should
be furnished; and thirdly, some central
place for annual or quarterly reviewing.
Principles underlying film production:
1. It is essential that careful planning
be made in any production program.
2. Beginning productions should be
simple in character, short, and easily
executed.
3. Students should be given an op-
portunity to plan the subject matter and
material in certain films. In the planning
stage an entire class can contribute. In
the actual production stage, a few per-
sons should have responsibility.
4. The film topic should be selected
for permanent interest and value to the
school.
5. Film guides should be prepared
for films which will circulate outside.
6. Techniques of reporting films made
and plans for their distribution should
be worked out by educational film pro-
ducers.
Motion Pictures in Physical Education
— by Thurston Adams, Rollins College,
Winter Park, Florida — Teachers Col-
lege, Columbia University, N. Y. 1939
57 pp.
This experiment was carried on at the
University of North Carolina, where the
entire staff of the Dept. of Physical
Education and Athletics were well ac-
quainted with the value of films for
teaching. Pictures of skilled tennis play-
ers, as well as film records of "learners"
in action were used. First pictures of
expert performers illustrating the serve
in tennis were shown. Then the learners
were photographed at an early stage
so that they might study their faults in
terms of experts' technique. Finally, the
learners were re-photographed at a more
advanced stage in their progress so that
they might perceive the faulty techniques
which had persisted, and might also dis-
cover the progress made.
Excellent details are given regarding
the camera equipment used, the plans
and procedures in photographing, the
script used, and the camera technique.
Chapter III is valuable for all persons
interested in using the motion picture
camera. It describes in simple terms the
use of proper lenses, cameras, tripod, ex-
posure meter, films, splicer, projectors,
.screens, and total cost. Among the ob-
servations reported by the author as
being significant for other physical edu-
cation instructors are : Use slower-than-
normal speed ; the motion picture is an
ideal medium for presenting the entire
motion involved in a skill, and it can
be stopped at any position for detailed
study; pictured movement supplements
verbal descriptions in a very unique
fashion ; details can be demonstrated
easily; the film can show the student
how much practice he needs to perfect
a skill by pointing out to him his in-
dividual errors ; students learn to be more
intelligent critics of all physical edu-
cation activities after observing and
analyzing their own performances ;
teaching with motion pictures seems to
stimulate objective criticism ; if it is
possible to make only one film of an ac-
tivity, it is preferable to produce the
film of expert performers as the teach-
ing film. With good films instruction
time can be cut an estimated 50% with-
out sacrificing learning results; an in-
structor-made film demonstrates exactly
what and how the instructor himself
wishes to teach.
October, 1939
Page 295
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 ENTERTAINMENL NO GREATER
PICTURES ARE AVAILABLE
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YOU CANT CHEAT AN HONEST MAN—
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THREE SMART GIRLS GROW UP— Deanna Durbin
THE FAMILY NEXT DOOR—
Hugh Herbert, Joy Hodges
EASE SIDE OF HEAVEN— BIng Crosby
THAT CERTAIN AGE— Deanna Durbin
EX-CHAMP— Victor McLaglen
THE SUN NEVER SETS—
Doug. Fairbanks, Jr., Basil Rathbone
UNEXPECTED FATHER—
"Sandy", Mischa Auer, Dennis O'Keafe
WHEN TOMORROW COMES—
Irene Dunne, Charles Boyer
THE MIKADO—
Kenny Baker, Jean Colin, Martin Green
(and many others)
Write to Universal's Non-Theatrical
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Page 296
The Educational Screen
School Joiuneys
Expanding the Classroom — by Harriet
Woods, Normal Training Critic,
Woodbine, Iowa — Midland Schools,
54:12 September, 1939
An excellent summary of the history
and status of school journeys in our own
country and abroad. Among the values
listed are : opportunity for the teacher
to get better acquainted with her pupils;
arouses a spirit of inquiry, develops the
power of active investigation in the
visualization of other areas, in special
schools mentally deficient children are
segregated from normal pupils, and the
school journey by bringing them into
immediate contact with their environment
is one of the means by which the ban
of backwardness is being revived. Any
given area is made up of landscapes that
are natural and cultural. By noting the
relationships between activities repre-
sented by the cultural landscape and the
natural environment represented by the
natural landscape, the geographical land-
scape may be more easily interpreted.
The school journey must be carefully
planned, and well-organized. One week
of a school journey offers more varied
interests and materials to work over and
digest than many times this amount of
regular school experience.
Trips in an Experience Curriculum —
by Nelle Morris, University School,
Ohio State University — Childhood
Education, 15:347-51 April, 1939
In the Ohio State University elemen-
tary school, setting aside a definite time
for trips has proved a satisfactory plan.
For purposes of general understanding
and cooperation from parents and uni-
versity students, these trips are generally
scheduled on Thursday afternoons.
Parents understand that study trips all
over the city or into adjoining environ-
ments are a part of the school's program.
There is no compulsion about a weekly
trip and there are circumstances which
often make other experiences advisable.
Lantern slides, a motion picture film,
some person brought in to share his ex-
perience with the group, science experi-
ments, or some other activity related to
the study are often used as substitutes
for a trip, or to further clarify a trip
which has been taken previously.
The classroom teacher is always in
charge of the trip. Before going, the
children and teacher of each group set
up standards of conduct which will help
make the trip pleasant. With respect
to modes of transportation used, some
very significant experiences require no
mode of conveyance because they are
within walking distanoe. To have a
variety of transportation experiences is
in itself an educational experience.
Walking, street cars, taxis, university
bus, school bus, are the modes which
have been used for trips. All these ex-
periences are rich in situational oppor-
tunities for exercising caution and re-
sponsibility conducive to safety. The
children have the advantage of educative
guidance in experiences which involve
some of the characteristic hazards of
every-day living. Surely this is much
more defensible than the over-cautious
avoidance of school trips and experiences
to which some school authorities resort
as a safety measure.
Study trips are an excellent means of
arousing and encouraging intellectual
curiosity and a scientific attitude on the
part of children. Even primary children
can begin to think critically ; to develop
a problem-solving attitude of mind; to
seek answers to their own problems ; to
seek for cause and effect of happenings;
to want something better than a guess,
and to try to validate their answers. A
greater interest of parents in the school
is often aroused through hearing their
children discuss their experiences. Some
vital, shared experience such as a trip
taken by the whole group, brings about
group unity tlirough supplying group
concern. By providing stimulation for
further study and inquiry, trips lead to
other trips and provide for a continuity
of many other purposeful activities.
A group of seven-year olds went to
visit a food shop. Thep became inter-
ested in the sources of the different
foods and why foods have to be shipped.
This led to further discussions about
climate and soil and also to an awakened
interest in the globe and maps. As the
study progressed, they decided to make
a food map of the U.S. A large window
blind was fastened to the blackboard,
and a lantern slide map of the U.S. pro-
jected on to the blind. The children
traced the outline with sharpened cray-
olas. In order to find out what foods
are raised in different states, one wrote
to a friend in Michigan; others to friends
and relatives in other states. One child
whose father had a short wave radio
set talked to five different states and ob-
tained information. Pictures of the foods
were drawn on the map. Books, pic-
tures, encyclopedias and dictionaries
were put to use. They took a trip to a
refrigerator car to see how foods are
preserved while being shipped long dis-
tances. A booklet, illustrated with lin-
oleum block prints was made. The
study culminated with a visit to a whole-
sale market and bought produce which
they sold to their parents and other
visitors at retail.
It is only through many first-hand
experiences, which the teacher so plans
and guides that the child senses the re-
lationship between these experiences and
himself, that he acquires a stock of
meanings valuable for his living and
thinking, builds up a rich, meaningful
vocabulary, and is ready to understand
the writings of others.
Are Field Trips Doomed in Wisconsin?
by Haym Kruglak, Milwaukee Voca-
tional School — Wisconsin Journal of
Education, 72:20 Sept., 1939
Implications of the recent ruling _gn
teacher liability for student injuries in
Wisconsin. Teachers are urged to con-
tinue, the practice of making school
jourfleys, but they must exercise par-
ticular care in planning for the trip, and
make school trips a necessary part in the
curriculum of every school in Wisconsin.
Maps
Gradations in Map Learning — by Clara
M. Shryock, Wilmore, Pa. — Journal
of Geography, 38:181-7 May, 1939
Too often the ability to read maps
is inadequate to meet either the pupil's
needs in school or the adult's needs in
everyday life. Some of the causes of
this are: a) thrusting the map with
its many symbols upon the child before
definite concepts of physical or cultural
features have been built up; b) inade-
quate equipment; c) lack of uniformity
in the use of map symbols ; d) inclusion
on a map of too much data for the size.
Third Grade. Children acquire some
understanding of the adjustments people
in the home conununity make to the ele-
ments of weather and climate; how the
community depends upon other regions
having natural environments different
from their own; direction (if not taught
earlier) is taught. Their only map need
at this time is a simple map of the local
community developed by the group under
the guidance of the teacher. However,
unless the teacher has had training in
map-development and can skillfully direct
the children's efforts, it is advisable to
defer map work until the following year.
Fourth Grade. Gaining of world un-
derstandings of simple, direct one-step
relationships between certain human ac-
tivities and contrasting types of natural
environments at varying distances from
the equator. No particular region studied
as such. Political divisions are not im-
portant here. Slated globe for teaching
shape of earth, equator, etc. Location of
rivers, cities, etc. are built up. A
physical-political globe, at least 16 inches
in diameter, with few symbols should be
used.
Fifth Grade. Human-use regions of
the U. S., showing the work activities
of the people as they are dependent upon
the environment, and then industrial
areas. Relationship between distribution
of population and natural environment.
Maps showing seasonal temperature, sea-
sonal and annual rainfall, natural vegeta-
tion, density of population by means of
color-bands or dots, and maps showing
distribution of cultural features are in-
troduced as the need arises. The children
now read maps for distribution of natural
features, highlands and lowlands, sea-
sonal and annual rainfall, etc. They use
the scale of miles in measuring direct or
airline distance from one place to an-
other; they read direction in degrees and
miles.
Sixth Grade. An understanding of the
geographic personalities of the various
countries in which the culture is very
similar to that of the U. S., and then
those of countries in which the racial
heritage is different. A world map show-
ing the principal uses of land, daily
weather map, slated base maps of the
continents studied, and a good atlas are
used. Areas of high pressure and low
pressure; longitude; projections, etc. are
taught.
Junior High School. Understanding
geographic individualities of countries
October, 1939
Page 297
CHILD CARE: Feeding the Infant— A de-
tailed picturization of the routine of feed-
ing the breatl-fed and bottle-fed boby.
The preporation of ulentilt used, lh« pro-
cedure of malting up the feeding formuloj
and the feeding oporationt are shown. The
addition of other foods to the diet os or-
dered by the doctor is illustrated in the
preparolion and feeding of orange |uice,
soft solids, and cod-liver oil. A strictly
modern instructional film of unquestioned
value. Price includes printed teachers*
guide and transportation. 1 reel,
16-millimeter
$24
'hi Id Care
CHILD CARE: Bathing the Infont— Vari-
ous types of equipment which moy be
employed in bathing the baby ore
shown in use, as well as the correct
methods of handling the infant during
the bathing operation. The enamel tub,
the folding rubber tub and canvas
table, and the "Spray-tray" are used.
The routine of dressing the baby is
also shown Full-screen close-ups illus-
trate the cleaning of the nose, ears, and
eyes, and the baby's clothes. Price in-
cludes guide and transporta-
tion. 1 reel. 16-millimel«r
$24
EASTMAN announces a new two-reel pres-
entation of the more, important aspects of
child care, a subject vitally important to the
future welfare of both students and community.
Both reels have been carefully prepared, and
can be relied upon as fully authoritative. To
make certain of prompt delivery, order them
now for your school library.
Eastman Classroom Films on Health also in-
clude Bacteria . . . Modern Basketball Funda-
mentals . . . The Blood . . . Body Framework . . .
Breathing . . . The Living Cell . . . Circulation
. . . Circulatory Control . . . Cleanliness (Bathing,
Clean Clothes, Clean Face and Hands, Keeping
the Hair Clean) . . . Digestion . . . Diphtheria . . .
The Feet . . . First Aid (Care of Minor Wounds,
Carrying the Injured, Control of Bleeding, Life
Saving and Resuscitation) . . . Food and Growth
. . ; Modern Football Fundamentals . . . Good
Foods (A Drink of Water, Bread and Cereals,
Fruit and Vegetables, Milk) . . . Home Nursing
(The Bed Bath, Routine Procedures, Special
Procedures) . . . The House Fly . . . Mold and
Yeast . . . Muscles . . . Posture . . . Sewage Dis-
posal . . . Skin . . . Teeth . . . Tuberculosis and
How It May Be Avoided. For details, write
Eastman Kodak Company, Teaching Films Di-
vision, Rochester, N. Y.
Eastman Classroom Films
Page 298
The Educational Screen
where there are dual cultures, that of
the transplanted ruling people and that
of the native people, India and the coun-
tries of Latin America, for example. A
world view is completed, and the children
should be able to think of the entire
world in terms of population patterns,
work patterns, political patterns, and the
natural environmental factors which help
to explain these patterns. A region is
studied in relation to the world environ-
ment, and interdependence understood.
Maps may now include isotherms and
isobars, contour maps ; maps drawn on
Mercator and Gall projections may now
be used.
Senior High School and College. Maps
should be more varied and complex than
before.
The Map in Modern Education — by
George T. Renner — Teachers College
Record, 40:703-24 May, 1939 (Reprint
available from Bureau of Publications,
T. C. 20c)
As newer visual and auditory instru-
ments have appeared, some of the older
visual instruments have been re-scrutin-
ized, one might almost say in certain
instances, re-discovered. . . . Few know
how to learn from maps and fewer yet
know how to teach from them, and yet
'maps constitute one of the most useful
instruments in visual education.' . . .
Todays, maps take many forms and are
used for a multitude of purposes. They
are used in museums, world's fairs, com-
mercial exhibits, murals and other inte-
rior decorations. Despite all these tech-
nical and commercial adaptations of the
maps, its largest use is in education.
The map is not intended to be a pic-
ture of the earth in miniature. On the
contrary, the map is a highly conven-
tionalized graph drawn upon a mathe-
matical base and more or less covered
with symbols. None of these has in-
trinsic meaning; indeed, the entire map
is extrinsic in connotation. One cannot
simply exhibit a map and expect that
the student will learn by merely looking
at it. The map is about as easy for
the beginner to read as is a foreign
language.
Among the elements which can be
presented by means of visual aids are
size, form, position, perspective and
depth, color, and motion. Each of the
objective aids commonly used presents
certain elements of reality while sacrific-
ing others. If the map be examined, it
will be found that sound is absent, as
are also motion, perspective, and dimen-
sional depth. Likewise color as a natural
attribute is lacking, although color is
often employed for arbitrary conventional
purposes — a circumstance which is highly
confusing. Position and locus are present,
but in such a manner as to necessitate
teaching the geometric elements of the
map and its geomatical orientation in
nature. Form is present but is so highly
conventionalized as to require special
training in reading and interpretation.
Size is entirely fictitious but may be
deduced if the mathematics of scale and
ratio be taught. One must conclude
therefore, that the map possesses a low
degree of total reality.
The principal purpose of the map is to
present data. To most teachers it is
an instrument on which places must be
located. It does have this function, but
such a conception is highly inadequate.
Other functions of the map are: (1)
Maps afford means for visualizing large
or remote areas ; (2) Maps provide a
basis upon which to visualize descriptive
information ; (3) Maps provide a basis
for inferential thinking; (4) Maps show
location; (5) Maps help to show rela-
tionship; (6) Maps afford the means
for regional synthesis ; (7) Maps pro-
mote interest. The map certainly should
not be introduced too early into the
teaching process. The globe should not
be used formally before the fourth or
perhaps the fifth, although informal no-
tions of the shape of the earth may be
gained in the primary years. The re-
mainder of the fourth grade should be
devoted to a study of the local com-
munity or region. In the fifth grade, the
home region should be located upon
and related to the globe. The globe
in this grade should not be used to teacli
revolution, rotation, and geomatical re-
lations as is traditionally done, but
should be employed to give the pupils
accurate notions of land and water dis-
tributions, hemispheres, continents, coun-
tries, and cities, and a few other working
concepts of the world they live in. Next
the wall map of North America should
be introduced and its relation to the
globe studied. Next should come a map
of the U. S. and finally that of the home
state. From this point on, the map be-
comes an active instrument in teaching
and learning. Later, maps of other
countries and continents, as well as the
world map, may be introduced. Grad-
ually, maps showing more specialized
data should be brought into use, so that
by the end of the senior high school
the average student should be able to
secure information from practically all
types of maps with considerable facility.
Principals of Map Teaching, involving
eight steps, and a summary of various
examples of malpractice with maps, con-
clude the article.
Research
Elementary Principles and Techniques
of Cinematographic Analysis as Aids
in Athletic Research^by Thomas
Kirk Cureton, Jr., Springfield Col-
lege, Springfield, Mass. — Research
Quarterly of the American Assn. for
Health, Physical Ed. and Recreation,
10:3-24 May, 1939
Motion pictures of athletic skills can
do much to assist in the teaching of
those skills. Purposes for which an
analysis of athletic performances can be
made are: 1) To estimate the major
factors governing performance and their
relative importance ; 2) To derive the
scientific principles of coaching, includ-
ing an understanding of the physical
mechanics of the skill; and 3) To lay
the basis for a philosophical interpre-
tation of athletic performance based on
relatively accurate theoretical consider-
ations subject to some degree of verifi-
cation.
It may be said that genuine progress
in the analysis of rapid movement began
with the development of cinematography.
The fundamental principle is that direc-
tions of movement (angles), dimensions,
time relations, and indirect values of
force and velocity may all be obtained
from the projected film. Thus, athletic
performances can be studied and inter-
preted in terms of recognizable scientific
principles instead of the empirical guesses
and vague suppositions of the past.
Among the factors to be considered
in taking a cinematic record of athletic
skills are : basic equipment, camera
angles, measurement of linear distances,
measurement of speed and force, avoid-
ing errors of perspective, lens aberra-
tions, water refraction, scaling, enlarge-
ments, and the like. The study gives
specific illustrations by means of dia-
grams and previous investigations to
enlarge upon t'ne techniques and principles
here listed. See also the extensive bib-
liography.
Effectiveness of a Sound Motion Pic-
ture in College Physics — by C. J.
Lapp, University of Iowa — American
Physics Teacher, August, 1939
A study was made in a college physics
class, using the Erpi film, "Electrody-
namics" with students who had had no
previous knowledge of elecjtricity. It
attempted to ascertain the learnings to
be expected from two showings of the
film, and the effect of using a study sheet
before one of the showings. The evalua-
tion was in terms of 1) Acquisition of
factual materials ; 2) ability to transfer
new learnings to specific new situations
not used in the film; 3) Learning dif-
ference of various ability levels ; and
4) difference in learning of specific items
produced by the two methods ( with and
without the study sheet to direct obser-
vation).
Film Appreciation
The School Library Adopts Movies —
by Phyllis Raymond, High School
Librarian and Eleanor D. Child, Direc-
tor of Audio-Visual Education, Green-
wich, Conn. — Library Journal, 64:212-
14 March IS, 1939
A Library Committee of the Green-
wich High School Photoplay Club, with
the guidance of the faculty sponsor, has
initiated an unusual type of service for
students. On a separate table in the
library, sheltered by some three-foot
double-shelving, the committee places
books, magazines, pamphlets and the like
on movies. On the table are loose-leaf
notebooks containing pictures or clippings,
and other related materials. The library
bulletin board is often devoted to pic-
tures about movies. Near an exit of the
library are arranged the weekly programs
of all the nearby theaters, sent at the re-
quest of the committee. Short reviews
from some of the reviewing guides are
frequently cut out and pasted next to the
programs.
It was found that many departments
in the school became interested in cur-
rent theatrical films.
October, 1959
Among the Producers
Eastman Enlarger
A new rniiisparcncy Kniarger, for
making cnlarRcd negatives from Koda-
chronie transparencies, or black-and-
white film positives without using a dark-
room, is available from Kastman Kodak
Co. Similar in constnictioii to tlic popu-
lar Kodak 16mm. Enlarger for making
enlargements from home movie frames,
the new Kodak Transparency Enlarger ac-
commodates either double-frame (IxlJ^-
jnch) 35mm. film transparencies or those
made on No. 828 (Kodak Bantam) film.
It loads with cither Kodak .Surer- X.\
Panchromatic Roll Film, XX616, or
Kodak Panatomic-X Film, FX616. Each
Enlarger is supplied with a filter frame,
incorporating three Wratten Filters. By
means of these, interesting effects can
be obtained. Retail price of the Kodak
Transparency Enlarger, complete with
three filters, special masks for 35mm. and
"Bantam" frames, and operating instruc-
tions, is $18.50.
New Victor Silent Projector
One of the outstandinK features of the
new Victor silent projector. Model 16,
includes the disappearing reel arms that
securely lock into place when extended,
and snap back into the body of the pro-
jector, out of the way, making a small
Page 299
Cuxiznt '\Jitm cJ^ztt
compact neat unit. With fewer mov-
ing parts, plus a new shuttle assembly,
the machine performs quietly and is ex-
tremely simple to operate.
The automatic "Rewind-As- You-Show"
is a big time saver and convenience.
It rewinds used films as the next reel is
being shown. The projector also has the
famous Victor feature which eliminates
mutilation and damage to films. A series
of "trips" immediately throw projector
into neutral if film is not threaded or
tracking correctly, or is out of sprocket
mesh.
The projector accommodates 400 and
1600 ft. Models, and smaller reels also.
It comes equipped with 750 Watt Lamp
unless otherwise specified. Accommodates
all lower wattages as well as the latest
1000 Watt lamp.
New Film on Child Care
A two-rtel silent film, entitled Child
Care, has been completed by Eastman
Teaching Films Division of Eastman
Kodak Company, Rochester, N. Y. One
reel is devoted to "Bathing the Infant,"
showing the use of various types of
equipment helpful in the procedure, cor-
rect methods of cleaning, handling and
dressing the baby. The other reel is on
•Feeding the Infant", presenting in de-
tail the feeding of the breast-fed and
bottle-fed baby. Care of utensils used,
and preparation of the feeding formula
and other foods in the diet are shown. A
teacher's guide accompanies the film.
Timely Cinema Films
Grand Illusion, last year voted by the
National Board of Review the best film
of the year from any country, is now
avadable in 16mm for New England dis-
tribution from Cinema, Inc., of Boston.
This fine French motion picture (with
English titles) presents the humaniUrian
case agmnst war which, at this time, de-
serves the careful consideration of people
everywhere.
Also offered by Cinema, Inc., are the
new educational "Documentary Films."
These films dramatize the material and
processes of everyday enterprise both here
and abroad, creating in motion picture
form the story of contemporary adven-
ture. They are recommended as a val-
uable addition to any visual education
program.
Two illustrated catalogs, one devoted
to education and the other to entertain-
ment, have just been issued by Cinema,
Inc., 234 Clarendon Street, Boston, Mass.
These 16 mm. sound and silent motion
picture catalogs giving complete descrip-
tions and rental prices, are available upon
request.
Television, Radio Films
for School Use
Two one-reel sound motion pictures,
produced by Pathe for theatrical distri-
bution, have been made available to
schools, churches, clubs, and other com-
munity groups at no rental charge. These
films, titled Air Waves and Television,
£:ai£i
are sponsored cooperatively by the
Radio Corporation of .America, National
Broadcasting Company and the RCA
Manufacturing Company. They were
produced under the supervision of Ells-
worth C. Dent, Educational Director of
RCA Victor.
Air Waves tell the spectacular and
entertaining stor>' of radio broadcasting,
beginning with scenes of its earliest
formative stages and developing up to
its present-day advanced status. Tele-
vision opens with scenes of experiments
in the laboratory and moves into a
sequence on television reception in the
home. This is followed by a televised
horse race and another sequence show-
ing the details of broadcasting from the
NBC Studios.
"It has been our purpose," Mr. Dent
said, "to produce these films in such a
way that they will be especially valuable
for use in connection with the communica-
tions unit of General Science courses and
of general interest to school groups of
all ages— from the fourth or fifth grade
through college. Accordingly, neither
film contains direct advertising; merely
appropriate identification of the labora-
tories and studios concerned."
The national non-theatrical distribu-
tion of the films, which arc available
in 16mm or 3Smm, is being handled by
the William J. Ganz Company, 19 East
47th Street, New York City. Prints will
be available also through many university,
state and city visual instruction bureaus.
Documentary on Education
A two-reel 16mm film on progressive
education, entitled School, has been pro-
duced by Mrs. Lee Dick, New York City,
in cooperation with the American Film
Center and Progressive Education Asso-
ciation. Mr. Edward Anhalt assisted in
the supervision. The film was made at
the Hessian Hills School at Croton-on-
Hudson and shows the regular activities
of children of the fifth grade. There is
no commentator, the sound track being
entirely devoted to the unrehearsed con-
versation of the children and to a musical
accompaniment.
This documentary has been shown
throughout the summer at the Education
Building at the New York Fair.
BIGGER. BETTER. MORE VALUABLE!
75fA Annual Edition
"1000 and ONE" FILM DIRECTORY
Ju»t Published
The same handy desk giz^— 6 x 9 inches— but contains more pages, more films,
more service! A valuable new feature this year is an alphabetical list of the
litles of the more than 5000 films included in the new direclorv.
Insure receiving the new edition promptly. Remember subscribers to Educational
Screen pay 25c for their copy of "lOOO and ONE". (Regular price 75c). Send
your .subscription or renewal NOW.
EDUCATIONAL SCREEN "cLi^Sr ,"'•'*
Page 300
The Educational Screen
IfUuitt&te
AMERICAN HISTORY
PICTUROLS
These convenient rolls or strips of 35 Tnm
film visualize the history of America from
its early discovery through the recent
world war. Each Picturol contains 30 or
more still pictures, maps, charts and dia-
grams which can be projected to any size,
for study by the entire class. The 15
Picturols on American History listed here
are for use in Junior and Senior high
school classes and are especially valu-
able for review purposes.
1. Discovery and Exploitation
2. The English Settlement and
Colonial Conflicts
3. The American Revolution
4. The Beginnings of the
American Nation
5. Establishment of the Amer-
ican Nation at Home and
Abroad
6. The Rise of the New West
7. Expansion to the Pacific
8. Sectional Conflicts
9. The War for Southern
Independence
10. The Country During Civil
Wartime and Reconstruc-
tion
11. Mechanical and Industrial
Progress
12. Big Business and the
Farmer-Labor Protests
13. Political and Social Reform
14. America as a World Power
15. The United States in the
World War
Write for the Picturol catalog containing the world's largest listing of educational film strips.
SOCIETY FOR VISUAL EDUCATION
Dept. lOES, 100 E. Ohio St., Chicago, III.
Travel Shorts and Features
A new series of 16 mm. travel pictures
in color have just been released by
Walter O. Gutlohn, Inc., New York City.
A Trip around the World on the Stella
Polaris — 4 reels, silent — depicts fascinat-
ing scenes of the romantic South Sea
Isles, Dutch East Indies, Singapore,
Ceylon, South Africa including Durban,
Port Elizabeth and Capetown, Victoria
Falls in North Africa, French Morocco,
St. Helena, Canary Island, and
Gibraltar. Denmark — 1 reel silent — con-
tains colorful scenes of the changing
of the guard, the King's birthday celebra-
tion and a yacht basin. There are also
views of famous statues and churches.
Norway, another silent reel, shows North
Cape, fishing near the midnight sun, a
fjord village, the city of Trondheim, Ber-
gen Fisheries, Stave churches and archi-
tecture of the Hanseatic League period
and views of Oslo. Sweden is a picture
of life in rural and urban Sweden — agri-
cultural scenes and views of Stockholm
and Gothenburg. The King's Jubilee cele-
bration at Dalecarlia, and the city of
Visby are also seen.
Gutlohn also announces the release of
the 1938-9 Monogram features in 16mm
sound. A total of 21 pictures are included,
among which are : Barefoot Boy, inspired
by Whittier's poem, with Jackie Moran ;
Under the Big Top, a circus picture fea-
turing Anne Nagel, Jack La Rue ; Mys-
tery Plane, based on the famous cartoon
strip "Tailspin Tommy", with John
Trent as the star ; Starlight over Texas,
a western featuring the cowboy trouba-
dour, Tex Ritter ; The Mystery of Mr.
Wong, an exciting mystery based on
Hugh Wiley's story with Boris Karloff
as Mr. Wong.
An unusual documentary film entitled
School is another new Gutlohn release.
This is a a 2-reel picture of a progres-
sive education school in action with class-
room dialogue throughout. Seasons and
Their Causes in 1 reel, with commentary
by John Martin, is also available.
Films on Current Topics
Audio-Film Libraries announces the
addition of several new films to their
16 mm sound library. War in Europe is
a timely release on the momentous events
in Europe filmed as they happened. It
includes historic scenes of mobilization
in England, France, Poland and Ger-
many, evacuation of women and children
from Europe's Capitals, Germany's
lightning land and sky invasion of Po-
land, Poland striking back, ending with
Soar starts with the Plebiscite of 1935
showing the people and industries,
1935 showing the people and industries,
especially steel and coal, over which
France and Germany are now fighting
on the Western Frontier.
The following three films are available
free of charge under certain regulations.
These films are in the nature of screen
editorials, with narration by Lowell
Thomas.
Men and Machines discusses the ques-
tion of American initiative and "rugged
individualism" vs. government regula-
tion. America Marches On shows the
growth of cooperative business financing
and the modern corporation. In Frontiers
of the Future, research opportunities in
business through new inventions and in-
dustries are depicted to show that youth
still has opportunities.
Correction
In our September issue we erroneously
reported that Audio-Film Libraries of
Bloomfield, New Jersey had "released"
the film "Territorial Possessions of the
United States." This film is a produc-
tion and release of International Geo-
graphic Pictures of New York City,
which Audio Film has added to its dis-
tributing library.
Sound Film on Sponges
Pictorial Films, Inc., 1650 Broadway,
New York City, has ready for October
release a new 2-reel, 16mm sound film
entitled Sponge in the Making, photo-
graphed in full Kodachrome at Tarpon
Springs, Florida by John Gonatos, expert
sponge diver and cameraman. The film
tells the complete story of the sponge,
with a great many underwater scenes of
an unusual character. The color photog-
raphy brings out the natural beauty of
the locale.
October, 19 i 9
Page 301
I
Adult Preferences in Film Programs
(Comlndtd jnim />iij/«' -^'" »
participation or informal lecturing on the part of an
authority on the subject.
The third means of evaluation was provided by
studies made by a selected group of five auditors who
observed audience reaction during each j^rogram and
in the lobby immediately tiiereafter. These auditors
were skilled educational and theatrical critics and their
comments were highly analytical. According to the
opinion of this group, tiie first two programs failed to
register eflfectively with the audience due to lack of in-
tegrating presentation from the floor. While program
notes carried the essential thread which bound the
films into a unity, many persons were heard to express
the wish that a more detailed and personalized intro-
duction had been given. On the other hand some in-
trotluctions appeared too long, — with the audience
becoming distinctly restive when on one program two
faculty members used up an entire hour before a single
film was shown. The best technique appeared to be
a fifteen minute introduction, with brief two-minute
integrative comments made during the change from one
film topic to another. Extensive program notes were
also recommended since most people in attendance
tended to take their program notes home and often
asked for additional copies.
No mention is here made of actual film selections and
costs for the program, but these are available upon
application'. The total budget for the series was about
$400, and the returns showed a slight profit. Upon the
basis of this year's experience, it seems that a more
homogeneous scries of topics would command larger
audience appeal. The University plans to offer next
year two such programs (1) a foreign language series
and (2) a documentary film series. Each series will
be in charge of a single faculty member who will act
as moderator at all sessions and invite different faculty
members to comment on the special topics.
The Federal Film
( Concluded from pai/t- 291 )
laboratory technicians. The photographic set-up is
headed by Major R. T. Schlosberg, who has both
military and civilian assistants. Technical experts in
the various arms of the service for which a film is
being made cooperate with the motion picture director
from the Signal Corps in the production of the train-
ing filni.
The Signal Corps makes both sound and silent films
in 16mm and 35mm editions. These films are avaliable
to army units, National Guard, R.O.T.C. and Reserve
Officer units.
Through years of experience the Army has found
that training films :
a) implement teaching but do not act as a substitute
for the teacher ;
b) insure uniformity of demonstration and interpre-
tation of Army technique;
c) give troops and other units vicarious experience
in important attributes of military tactics, train-
ing and participation ;
d) give an admirable device for training large groups
of men in a short space of time in an emergency.
Siies and prices for every school
in the complete new group of
v%
1iEC0RVIN6VISC$
There's something distinctly
new in modern schools these
days. It's the RCA Victor
Recorder. And as one principal
said recently, "Schools have been
quick to purchase the RCA Victor
Recorder because its advantages
to the school are not only nu-
merous— but as easy to see as the
nose on your face!"
Just as the RCA Victor Re-
corder itself offers many excellent
advantages, so too, do RCA Re-
cording Discs. These discs pro-
vide a high standard of perform-
ance. They record sound with
exceptional fidelity, are warp-re-
sisting, and may be used with any
This RCA Victor Portable Recorder
MI-12701 is popular in schoolsfrom
coast to coast. It comes in an attrac-
tive gray carrying case — may be
carried from room to room easily.
Records at speed of 78 r.p.m. and
is delivered to you complete with
Amplifier. Visual Indicator Meter
and famous AertMjynamic Micro-
phone. It immediately replays the
records it makes.
Recorder. Prices range from 25c
to $2.00.
These outstanding new record-
ing discs are available in two
types. The de luxe type has an
aluminum base, comes in five
standard si2es-6", 8", 10", 12"
and 16". The economy type has
a specially treated metal cor^,
comes in 6" and 8" sizes.
All discs, of course, have blank
labels for you to fill in when re-
cordings are made. For ftirther
details visit your RCA Victor
dealer, or mail the coupon.
Mmlarn Kkool* *tay modtrn with MA radio tnlws In thalr senwl >iial|iiiniit
Trademark RCA Victor" Reg. U. S. Pat. Off by RCA MfK ( o liu
SOUND SERVICE FOR SCHOOLS
Eiiucatlonal Dcpt.,
RCA Manufactur-
ing Co., Inc.,
Camden, N. J.
A Service of the
Radio Corporation
•f America.
Page 302
The Educational Screen
Now- in St. Louis
A COMPLETE 16mm
SOUND FILM LIBRARY
SWANK NOTION PICTURES
(P. R. SWANK L. P. SWANK)
5861 PLYMOUTH Tel. PArkview 2536
ST. LOUIS, MO.
9 years experience serving Midwestern
schools with 16mm projections and films
Wonderful New Programs for this
FALL AND WINTER — BOOK NOW!
"THE AMERICAN WAY" "WAR IN EUROPE"
16 mm sound film on 16 mm sound film on
Constitutional rights European situation
Write for free sound or silent film catalogrne
LEWIS FILM SERVICE. 105 East First St.
Wichita, Kansas
3S mm. General Science, 11 rolls, $20
v ¥ ¥ Hff Principles of Physics, 7 rolls, $12
* * J^JJ* Principles of Chemistry. 8 roUs, $14
SlilDES Fundamentals of Biology, 4 rolls, $9
Order on approval or send ior free folder and sample
VISUAL SCIENCES, Suffem, New York
HUMAN ADVENTURE
Made by Oriental Jnttitute
The University of Chicago
and many other HISTORY TEACHING FILMS
now available at prices you can pay
Also Teaching Films for ART, FRENCH, ENGLISH,
SCIENCES, SPANISH, and other fields.
INTERNATIONAL FILM BUREAU, 59 E. Van Bare., Cbicgo
A thrilling, dramatic saga of the
gallant North Sea Fishermen from
Scotland. An outstanding docu-
mentary of these hardy trawlermen.
3 REELS ... 16 MM SOUND ON-FILM
PICTORIAL FILMS. INC.
1650 Broadway
New York City
Haye you discovered ^
NATURE NOTES*
TKACHERS, park naturalists, others write us,
"Why haven't I known about NATURE NOTES
before?'* "A big help in my work." "It human-
izes nature study." "Has excellent illustrations."
There's no other magazine quite like NATURE
NCTES. Though small in size, it is packed with
authentic nature lore. Not dry — not sensational —
it treats of nature like the fascinatinis subject it is.
Send 25c coin or stamps for a 4 months' trial and
embark on a voyage of discovery. Better still, send
$1 for a full year's subscription. (SPECIAL — 6 free
back numbers with each new yearly subscription,
while our supplies last.)
NATURE NOTES
The Magazine of Outdoor Information
James H. Sedgwick, Editor and Publisher
4800 PROSPECT ROAD PEORIA, ILLINOIS
yVi
£071
an
American Education Week
The 1939 American Education Week observance
will be held November 6-11, 1939. "Education for
the American Way of Life" is the general theme. As
ill previous years the National Education Association
has prepared materials to assist schools in planning for
this observance including colorful posters, leaflets,
stickers, and packets containing special folders for the
different school levels prepared by field committees in
various sections of the United States. Early planning
will help you make your observance most effective. For
complete information, write to the National Education
Association, 1201 Sixteenth Street, N. W., Washing-
ton, D. C.
Southern Conference on Audio- Visual Education
For the third successive year, the Southern Confer-
ence on Audio-Visual Education will hold its regular
fall meeting at the Biltmore Hotel in Atlanta, Thurs-
day, Friday and Saturday, November 16, 17 and 18.
A rich and varied program is being prepared, A
number of prominent leaders in the field of Audio-
Visual Education throughout the nation will participate
in the discussion of vital topics during the Conference,
Open forums, round-table and panel discussions will be
prominent features of the program. Interesting and
attractive exhibits of motion picture, radio, sound re-
cording, and television will be prominently displayed
and easily accessible. The latest and best 16mm educa-
tional motion pictures suitable for classroom and lab-
oratory use will be shown at the beginning and at the
conclusion, as well as during every session of the
conference.
The directors of the Southern Conference confidently
anticipate the attendance of at least a thousand or more
teachers and school officials interested in the practical
use of these modern teaching tools.
Visual Aids on English Teachers Program
The Friday afternoon session of the 29th Annual
Meeting of the National Council of Teachers of Eng-
lish, New York City, Nov, 30-Dec. 2, 1939, will be
devoted to "Standards for Motion Pictures and News-
papers". Helen Rand Miller, Edgar Dale, Richard
Lewis constitute the Steering Committee, and William
Wood, Evanston, 111,, will preside. The program
follows :
1. Youth Evaluates the Movies — Kathryn Y, Ale-
bach, Senior High School, Reading, Pa.
2. Motion Picture Activities in the High School —
Hardy R, Finch, Greenwich, Conn.
3. Responsibility of School and Community in Es-
tablishing Acceptable Motion Picture Standards —
Wm, F. Bauer, East Orange, N. J.
4. Using Motion Pictures and Newspapers as Ve-
hicles for Teaching Critical Thinking in the English
Class — Violet Edwards, Institute for Propaganda
Analysis, N. Y. C.
October, 19)9
Page 303
JVot
Ei.
At tlie Saturday nioriiin},' session a Demonstration
of Technological Aids in tlie English Classroom for
Growth in Reading will be given by Eleanor D. Child,
and Walter Ginsberg, with the aid of students from
X. ^'. C. schools.
Visual Progress in the CCC
Probably iio .schuol unit has progressed further in
the use of visual aids in a similar length of time than
has the Civilian Conservation Corps. Today each corps
area has a central film library which makes available
to all the camps a large assortment of sound and silent
motion pictures for educational use and entertainment.
Many tiims are also borrowed from the Government
and commercial sources.
A separate department for handling the.se films was
first set up by the Ninth and Fourth corps area early
in ]9.^7. Money to rent the films was taken from each
company's "other funds" and routed thru this office.
It also handled the purchase of projection equipment.
The corps area rental service is still maintained in most
corps areas. Its method of working varies, however.
ICntertainment films reach most of the camps. One
corps area attempts to develop an appreciation of high-
type films by means of a careful selection of subjects.
The film strip also is being used extensively in class
work to illustrate subject matter and bring out details.
A number of camps liave already produced film strips
and motion pictures for their own use. An important
part of the Third Corps .-\rea Film Library is the pho-
tographic service which has made up a collection of
over 1000 negatives of CCC camp activities and has
prepared four reels of 16mm silent motion pictures, one
in color, on camp activities, which forms the beginning
of corps motion pictures for instructional purposes.
In addition to the film and film strips, camp advisers
have introduced the use of lantern slide machines and
opaque projectors. They have also stressed the use of
wall maps, posters, charts, blackboards, globes, various
types of models in the fields of biology and mechanics ;
and have helped instructors and enrollees to build up
botanical, zoological and mineralogical collections.
Films Instruct Adults
Motion pictures are being used to teach health, citi-
zenship, thrift and science in the WPA Adult Schools
of Nashville and Davidson County according to Ed-
mund R. Lingerfelt. S.ate Director of the education
program. During the twelve month period ending
March 1, a total of 30.12.S persons attended 389 show-
ings.
"Hundreds of Nashville people had never seen mo-
tion pictures," Mr. Lingerfelt reported. "A number
of these could neither read nor write but easily under-
stood the sound pictures."
Polaroid Motion Picture
The first full polarized sound motion picture in three
dimensions to be made is presented at the Chrysler
lout
SCIENCE
TEACHERS
VcriLL
THE HIGH EFFICIENCY OF
Glass-Beaded
!^^!r SCREENS
Reg. U.<
The Kreater liRht reflective qualilv of the Da-Lite
Glass- Beaded surface assures in class room or
laboratory, a sharp, clear imaKe and an accurate
reproduction of color values, with all gradations
shown. The beads, applied by Da-Lite's exclusive
proce.s.s, reflect maximum lieht without sparkle or
jflare. This process is the result of 30 years of
leadership in the manufacture of projection screens.
Da-Lite also makes
w'hite and silver
screens, each of
which is outstand-
ine in its field, bnt
recommends the
Glass -Beaded sur-
face for average
class room require-
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for 48-page data
book on screen sur-
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and complete de-
M HIE Mtiicui) tails
cuLuwia •oils.
Consistsof screen,
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folds connpactly
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carrying.
FREE SCREEN DATA
Mail Coupon Now!
DA-LITE SCREEN CO.. INC.
Dept. 9ES. 2723 N. Crawford Ave., Chicago, III.
Please -tend free Da-Lilc book on the Elartral and other Da-UI«
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NaB«....„
School
Addr«aa
Page 304
The Educational Screen
16MM. SOUND ON FILM
for
RENT — EXCHANGE — SALE
A few of our Large Catalogue of
RENTAL SURJECTS
WILD INNOCENCE ■* LOST JUNGLE • GIRL OF THE
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KENTUCKY BLUE STREAK * all PETER B. KYNE'S sub-
jecU: all RICHARD TALMADGE and RIN TIN TIN, Jr.
subjects: all TOM TYLER, JACK PERRIN and JACK HOXIE
WESTERNS: all FRED SCOTT'S MUSICAL WESTERNS.
AltOEether 300 Features and 600 Shorts
from which to pick your prosrrams
tiot One Mediocre Picture in Our Library
Film Rental Catalogue — Film Sale Catalogue
Write for them
CINE CLASSIC LIBRARY
1041 JEFFERSON AVE.
BROOKLYN. N. Y.
TIMELY SURJECTS in 16min Sound
WAR IN EUROPE — Historic wartime scenes in England,
France, Poland and Germany, including mobilization, evacua-
tion of danger zones and Germany's lightning invasion of
Poland. 1 reel. Rental $2.50.
SEA OF STRIFE— The struggle of lUly and Great Britain for
the control of the Mediterranean. 2 reels. Rental $3.00.
THE SAAR — Scene of present French and German front; show-
ing plebiscite of 193B ; steel and coal mining industries. 1 reel.
Rental $1.25.
Write for complete list of educational films and
Catalog of entertainment subjects,
AUDIO-FILM LIBRARIES
661 Bioomfield Ave. Bloomfield. N. J.
VIVID VISITS
TO THE FAR CORNERS OF THE WORLD
Entertaining-Instructive 16mm. S.O.F. FeatHret
AcmsR the World with Mr. and Mrs. Martin Johnson
Explorers of the Woiid
I Conquer the Sea
South Sea .Adventures
Send card for details. Reasonable rental.
OHIO FILM SERVICE— I37T Penhurst Rd., Cleveland, Ohio
PORTER SARGENT PUBLICATIONS
A HANDBOOK OF PRIVATE SCHOOLS, 23d edition, 1192 pages, $6.00.
4000 schools, 17 maps, 300 illustrations. An Annual Review and
Guide Book for all interested in education.
"The information about schools is compiled with care, sifted with
judicial integrity and organized with such lucidity that it cannot
help but be of immense assistance to the parent in search of a
school for his offspring." Edward RaRocque Tinker, The New
York Times.
EDUCATION. 1939, A REALISTIC APPRAISAL, 160 pages, $1.00.
A survey of education as a social process and a great industry.
"Read and road with interest the general appraisal. You are doing
a unique work." — John Deivfjf, Columbia Universitj/.
HUMAN AFFAIRS, 1939, ca 450 pages, for Fall Publication.
The international and domestic muddle realistically presented.
A BRIEF SCHOOL GUIDE. 4th edition. 1939. 178 pages. 25c.
THE SUMMER CAMP GUIDE. 4th edition. 1939. 112 pages. 25c.
Circular<i of any of the above and announcements of
forthcoming publications will be sent on request.
PORTER SARGENT, I i Beacon St., Boston, Mass.
Motors building at the New York World's Fair. In
Tune with Tomorrow is the title of the film, which
shows the making and assembly of a Plymouth car
in a way that seems to bring the various parts directly
into the midst of the audience. This is one of the effects
of extraordinary reality that is accomplished through
the use of polaroid material. All visitors viewing the
film wear special polaroid lenses.
In making the picture a total of 10,960 different
"frames" were photographed by Loucks and Norling.
Two cameras were used to record the scenes as a human
eye would see them, and two projection machines are
used simultaneously for the showing. While the prin-
ciple of combining two disparate views into one to
create a third dimensional illusion is not new, the
polaroid process adds to the pictures something that
has never been achieved before. The stereoptican
principle showed the way to creating depth of back-
ground; the polaroid film now adds immediacy of
foreground.
News from Abroad
India. Although the Central Government receives a
substantial revenue annually from the motion picture
industry, its attitude toward that industry (which oc-
cupies eighth place in the economy of the country)
is a step-motherly one, according to Mr. K. S. Hir-
kelar, founder of the Motion Picture Society of India.
He has prepared a 36-page pamphlet, entitled "Place of
Film in National Planning", in the hope that it will
receive serious consideration from the parties con-
cerned and effect the necessary support from the Gov-
ernment in the production of educational films in
India. Mr. Hirkelar points out the important part
the film plays in other countries as a medium of propa-
ganda, publicity and education and how it can play
a similar role effectively in India if the proper coop-
eration is given by the state. "Having undertaken to
make experiments in educational broadcasting, it is
high time for the Government to consider the claims
of the educational film."
England. The Fifth Annual Report of the British
Film Institute states that the use of films for educa-
tional purposes is increasing in England, 420 new
films having been produced during the year, making
a total of 2600 teaching films now available. The
number of projectors in British schools has increased
to 1490.
Free Moving Pictures for Children and Adults
at Art Museum
The Educational Division of the Philadelphia Mu-
seum of Art announces an important and unique ad-
dition to its educational program — two free weekly film
series, one for children every Saturday, at 2 P. M. and
at 3 :30 P. M. beginning September 23rd, and another
for adults every Sunday at 2 P. M. and at 3 :30 P. M.
beginning September 24th.
Because of the increasing interest in the documenta-
tion of current events as indicated by the wide popu-
larity of the "March of Time" programs, and other
films, radio programs, and books of similar character,
the Museum has decided to devote its entire fall and
winter film program for adults to the development of
{Concluded on page 313)
October, 19)9
Page 30)
Experiencing College on Location
((. onliiiiiiit Iroiit (■at/c ~7^)
much in the fashion of a heavily burdened Christmas
shoppiT who stoops to pick up one of his parcels and
in rescuing it drops four more.
I have learned that on much of the itinerary I could
best serve as guide for the group. The word "guide"
is weak. "Teacher" more accurately describes the
relationship. I can best serve for these reasons: (1)
I have been their teacher, know their names, prepara-
tion, experiences, and manner of life; (2) I have
plaimed the teaching situations of the itinerary. The
chief interference with my assumption of this role was
my ignorance of factual items. To remedy this as
greatly as po.ssible. I did much reading and went over
the parts of the itinerary physically and alone. For
this purpose, I made a trip to the City soon after set-
ting the date to study in detail and at first hand each
step, the while acquiring as many relative facts as pos-
sible. For each successive journey, I studied one new
event in detail. For one journey, I studied Chinatown
almost inch by inch ; for another, Greenwich Village ;
while for another, the housing situation. In the repeti-
tion of accompanying five different groups my fund
of knowledge was considerably improved thereby in-
creasing my own efficiency as guide.
There were exceptions, of course, to the desirability
of my assuming guidance. Members of my party
always bestowed high praise on the guides at the
National Broadcasting Co. These lads were teachers
{Continued on page 308)
■ ISEL/ ALL-PLAY/ ALLS A ^>
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SENTRY SAFETY CONTROL CORP.
1917-21 Oxford Si., Phllodelphio, Pa.
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1938-9 MONOGRAM
Feature Films
/n 76fnin. Sound
BAREFOOT BOY
with Jackie Moran, Morcia Mae Jones, Ralph
Morgan, C>aiie Windsor.
*
UNDER THE BIG TOP
Thrills of the circus with Marjorie Main, Anne NageL
Jock La Rue.
•
TAILSPIN TOMMY in
"MYSTERY PLANE"
From the ioznous comic strip with John Trent
•
STARLIGHT OVER TEXAS
Featuring Tex Ritter, famous singing cowboy.
•
THE MYSTERY OF MR. WONG
with Boris Korloii, supported by Grant >/^then.
Dorothy Tree. Craig Reynolds,
and 1 6 Other "Hit" Features
• • •
RECENT TIMELY RELEASES:
WILLIAM TELL
Thrilling, dramatic accoimt of a notion's struggle
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POLAND
As created since the first World War. 1 reoL
THE SAAR
Showing the strategic industrial importance of *h<«
region in the current war. 1 reeL
Send ior cataloq oi over 1500 Educational
and EntertainmanI itibjects — ior rant or sato.
WALTER 0. GUTLOHN mc
35 W. 45th St Dept E-10 New YoA
Page 306
£1,
n an
CL
The Educational Screen
iizoom
Conducted by Wilber Emmert
Director Visual Education, State Teachers College, Indiana, Pa.
Making Wall Charts for Class Use
NUMEROUS instances occur during the conduct
of the class work of every subject studied when
group consideration of the elements involved seems
necessary and desirable. On such occasions it is im-
perative that the proper group-teaching visual-sensory
aid, such as the wall map, the lantern slide image, the
motion picture, the wall chart, the blackboard drawing,
the object, or model be used. That is, some device of
such magnitude and dimensions that when group at-
THESE FREE MOTION
PICTURE CATALOGS
16mm.
sound
16mm.
silent
contain descriptions and rental
prices on
813 educational films
1,945 short subjects
427 features
%A#p|TE TODAY " Dept. 14E for your copies of
TTI\IIC ■\^V#«I j,^^^^ helpful, illustrated catalogs
listing "proven pictures" used by schools everywhere. For your
convenience, one catalog is devoted to education and the other
to entertainment.
INCORPORATED
234 Clarendon St. Boston, Mass.
tention is centered upon it, each pupil can observe it
advantageously.
Due to limitations imposed by the physical set-up
in many schools, and the expense involved, the writer
suggests that teachers in such situations might well dis-
miss from their thinking, although fully aware of their
values, all thought of projectors and materials for pro-
jection, as well as other commercially made aids, and
direct their efiforts to the construction of some mate-
rials on their own initiative. To this end the teacher-
pupil-made wall chart is recommended.
Teachers need not hesitate to undertake this work
because of their inability to draw accurately and letter
neatly, for the technique suggested consists simply of
tracing with pencil, colored crayon, or ink on the
blackboard, cardboard or cloth, the enlarged image from
a borrowed lantern slide projector, micro-projector, or
opaque projector.* The original may be the picture
or material on a commercially made lantern slide, a
teacher-made lantern slide, a micro-slide, a sketch or
drawing on a piece of paper, the picture, diagram,
graph, or other material printed in a book, magazine or
newspaper.
Even though all the projectors mentioned above are
right at hand, the writer has preferred to make the
wall charts for much of his class work, and has made
well over two hundred such charts. During the con-
duct of one course one semester, all the major dia-
grams, line drawings, and graphs found in the basic
textbook were prepared in this enlarged form to fa-
cilitate the initial presentation, class discussion, and
review work.
Their construction and use revealed that: (1) While any
material such as cardboard, oilcloth, paper, beaverboard, etc.,
might be used, unbleached muslin made the most satisfactory-
material for this purpose; (2) Since the muslin can be pur-
chased in a number of different widths, the forty-two or fort}'-
eight inch width had decided advantages for classroom use :
(3) In general, wax crayon proved much easier to use and
more legible than pencil or inks ; (4) Black, red, and blue were
the colors having the best "carrying qualities" to persons who
viewed the charts from a distance; (5) The cloth must be
hung over a smooth surface for the tracing, and the blackboard
proved the most satisfactory place for the work ; (6) The work
can be carried on in only a partially darkened room, depending
upon the nature of the picture, the condition of the projector,
and the nature and amount of light coming into the room; (7)
If the completed chart is ironed with a medium warm iron, the
*Note — It might be argued that since projectors are necessary
in order to make the enlarged tracings, with no such machines
in the school, it is practically impossible to construct the wall
charts described. The point is well taken, but the obstacle is
not insurmountable. Perhaps a neighboring school has a pro-
jector which might be used some time after school or on
Saturday. The teacher training institution for the area un-
doubtedly has a number of projectors which might be made
available by appointment so that they might be used after
school or on Saturday. The energetic teacher to whom this idea
of teacher-made charts appeals will find some way to secure
the materials and projectors needed for this work.
October, 1959
Page 307
crayon drawings will withstand reiwated washings of the
chart ; (8) The lettering of the parts and the title for the
subject matter of the chart may be made by tracings from the
projected picture, or may be made with the aid of the various
stamp lettering sets; (9) Strong, bold outlines must be used,
but shadings aid in giving quality to pictorial charts; (10)
The picture can be made the desired size by placing the por-
jector the proper distance from the screen, and adjusting for
that distance ; (11) Small children, even in the third or fourth
grade, can make satisfactory tracings; (12) It is not a difficult
matter to reset the projector and "match up" the traced lines
with the projected image even though th machine gets jarred
out of position, or it becomes necessary to put the projector
away and "finish the job" at another period; (13) It is a wise
plan to switch off the light from time to time to make sure
that everything desired has been traced; (14) Sharp focusing
of the image materially accelerates the tracing process; (15)
Charts of uniform width, say, either 42" or 48", are easier to
hang in a pre-<letcrmined, favorable place before the class than
if a variety of widths arc used; (16) Pupil-made charts develop
interest, understandings, and motor and artistic skills; (17)
Due to the fact that the muslin can be rolled or folded without
injury, and thus more conveniently filed away, it is to be
preferred to pai)er or cardboard for the material on which the
copy is made; (18) Since tracings are so easy to make, many
teachers might well take advantage of this means of making
needed classroom aids; (19) Since legibility is extremely im-
portant in such teaching, ' retouchings" can be made by the
teacher or pupils as directed by one who views the chart from a
distance.
The technique, then, of making a tracing, consists of
^electing the original copy, securing the unbleached
muslin of the desired width, placing it in proper posi-
tion against the blackboard, setting up the projector,
placing the copy in the projector, turning on the switch,
bringing the projected iinage of the proper size in sharp
focus on the muslin, standing to one side of the beam
of light and making the tracing of the image on the
muslin, examining the tracing by turning off the light
from time to time to see that everything is being
traced, putting on the proper labels and lettering the
parts as desired.
There are a number of plans which might be used
to display the charts before the group for study and
class use. One method consists of simply unfolding
the cloth and attaciiing the chart to the woodwork
above the blackboard by means of thumb tacks. (In
many classrooms a two inch strip of linoleum has been
placed along the blackboard molding to protect the
woodwork from thumbtack injury and for ease in in-
serting the tacks. Since many classrooms have along
the blackboard molding metal tubing with movable,
adjustable hooks to hold maps in position, grommets
(eyelets) might be put along the top of the chart and
these same map hooks used to support the chart. If
the map hooks are not present, small screw hooks
might well be placed along the molding at the proper
distance to match the spacing of the grommets (perhaps
three) of the chart.
In general, the writer has used the method of mount-
ing the charts on window shade rollers, with the usual
thin wooden strip as is employed with window shades
and maps, at the bottom of the chart. Several sets of
brackets have been installed so that a number of charts
might be used during the conduct of the lesson, and to
provide places for the charts to be displayed for in-
dividual pupil use during the study periods. While the
mounted chart can be readily rolled up or down, and
thus kept in much better condition than the unmounted
ones, the cost of the shade roller and brackets adds
materially to the cost of the device. If there is a lim-
ited amount of storage space, the mounted chart pre-
sents another problem. The unmounted charts con-
sume more time in being put up for use and taken down
after use; they generally do not hang as neatly as the
mounted chart, since folding them causes wrinkles and
there is no weight at the bottom to straighten them.
But they do have the advantages of being less ex-
pensive ; and using less storage space, since they can be
folded readilv. W. E.
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THE MANSE LIBRARY
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16 MM SOUND FILMS
Over 100 Selected Pictures. A card will bring:
our cataloi;.
Page 308
The Educational Screen
You'll Want - - -
"The ABC of Puppets
??
This series of films, one reel and two half-reels,
was made to fill a definite need in the visual education
program for elementary and junior high schools. But
these pictures are for beginners, no matter what their
age or grade level.
They were produced under the supervision of Portia
Hawley, well-known on the Pacific Coast for her puppet
work in the public schools. The films closely follow the
plan of Miss Hawley's book. The ABC of Puppets, and
continuity and study sheets are furnished with the
prints which may be either rented or purchased.
The first reel, 400 feet, shows the making of a
simple hand puppet so that children in early grades can
follow it clearly. The second half-reel shows a little
more advanced puppet with built-up features. The third
half-reel shows the construction of a simple theatre, the
operation of the puppets, and a short puppet play.
For a more detailed description of this series, as
well as a catalog of our other films now available,
kindly fill out the coupon below and mail it to us today.
BAILEY FILM SERVICE
1651 Cosmo St.
Hollywood, Calif.
SOUND AND SILENT CLASSR.OOM FILMS
BAILEY FILM SERVICE, Dept. E-2.
I16B1 Cosmo St.. Hollywood. Calif.
Please send further information on the puppet films. Also
I Sale O: and/or Rental D catalogs.
Name..
I
Address
Experiencing College on Location
y(.'ont\nucd frow page 305)
in every sense of the word. The guides furnished by
the News Publishing Co. were almost as efficient. Only
once did I find an efficient guide aboard an ocean liner.
All of these guides, except one. double-timed us down
deck after deck sometimes stopping with a terse state-
ment such as "This is a tourist cabin", and that was
heard only by three or four of tlie advance students,
f n the course of a deck or two mo.st of the students lost
the leader entirely. Sometimes I succeeded in picking
up this group and we proceeded to study at our own
rate, or join in with another more interesting leader.
In any comment concerning the efficiency of the
guides who served us. special credit must go to Mr.
Biggin of the Cathedral of St. John the Divine. Mr.
Biggin, an elderly gentleman who has worked for years
and years in the atmosphere of cathedral lore, is a
master teacher. A\\ of my groups, except one which
he was unable to meet because of illness, were fasci-
nated by his sunny smile, his cheery and kindly wel-
come, and his marvelous fund of knowledge, as they
sat their way around the Cathedral. The one time
when he was ill, I had to substitute for him. What a
miserable failure I was in this great universe of history,
theology, music, architecture and painting. In all my
life. I have met no greater teacher than Mr. Biggin.
With him as interpreter, the Cathedral of St. John the
Divine was one of the most enjoyed events on the whole
itinerary.
No small portion of the success of our venture de-
pended on the bus driver. Driving a heavy bus from
event to event and deciding what to do with it between
drives requires infinite driving skill, patience, and good
humor. One of the poorest drivers I had was a Phila-
delphia driver who was accustomed to making daily
trips from Philadelphia to New York. He was fre-
ciuentlv at a loss as to how to reach some spot ; he
fretted about traffic, about parking, and about distance ;
and was usually late. Jack Angle, a Short Line Com-
pany driver, who made two trips with us, was an artist
in making the big vehicle respond to his will. He
could go anywhere or be anywhere in New York City
and be there two minutes ahead of schedule. What to
do with the bus was mere child's play for him. At
our invitation, he accompanied us on many of our itin-
erary events. He was a pal, a counsellor, and a trans-
portation expert all rolled into one.
Allow me a repetition, — a school journey is not
merely a matter of departure, seeing, eating, and re-
turning. It is "college on location." At an early
meeting of the group, we organized our learning activi-
ties. Through folders given to us by headquarters
hotel. Hotel Albert, we attempted to understand the
geographic details of Manhattan Island, — its rivers,
harbors, wharves, streets, and the itinerary organiza-
tion. Each student was asked to prepare some topic
relative to our enterprise for brief presentation at op-
portune moments. To list only a few topics, I men-
tion these: "The Chinese — Religion, Customs, Family,
etc.," "The Holland Tunnel". "The Queen Mary",
"How the Stock Exchange Operates", "Greenwich
Village".
October, 1959
Page 309
I
Many other items liad to be decided at our meetings ;
theater program to attend, hotel registration arrange-
ments, parent permissions, financial releases of respon-
sihihty for the director and the school, etc., etc. To
maintain a strict time schedule on the itinerary, a plan
fur holding the group together and to check attendance
was necessary. The thirty students organized them-
selves into groups of six, each with a leader. The
groups learned to stick together and to account at any
moment for the whereabouts of all members. In the
most congested place, I could take attetidance in a
jifTy by calling the names of the leaders. Each leader
accounted for all meml)ers of her group, and every-
body accounted for .Mrs. Sherman, the driver, and my-
self. If one strayed, all were held together while some-
one went in search. Group censure soon taught group
responsibility. Working together became a game in
gowl citizenship : I soon learned to refuse requests
from individuals to make side trips for "just a minute".
The most innocent leaves of absence tend to grow into
delays.
Special preparations in photography were made.
Photography was a part of the Course in Visual Edu-
cation. Students learned the principles of composition
in taking pictures, took their own pictures, developed
prints, enlargements, and lantern slides in our own
dark room. By the time the New York journey came
along they had done considerable photographic work
and were ready to extend their efforts toward the op-
portunities furnished by New York scenes and hap-
penings. On the return from the journey, the dark
room was thrown open one afternoon for the special
use of those students who made the journey.
The moment of departure was full of adventure.
5:15 A. M., Daylight Saving Time, at the "North
Door" of the dormitory was the my.siery hour never
l)eheld by anyone except the night watchman who had
his sleeping habits in reverse. There sat the bus in
the silent dawn. Nobody ever knew how it got there,
because it was there first. Students appeared almost
as mysteriously. Animated but subdued conversations
mentioned alarm clocks, waking roommates, and other
interesting irregularities of the eerie hour. By 5 :30 all
■-(■ats were occupied, "O. K., Driver", — ^the bus snorted,
and we were off. Conversation continued in twos, —
except in the long seat for five at the rear, where an
extemporaneous panel discussion was soon in progress.
And so the jouniey settled into reality. Thirty minutes
later, someone discovered the first peep of sunrise. A
sunrise, ever beautiful, became a special event. Even
the bus was marked "Special". With thirty to help
one watch the sun glorify land and sky, the thrill is
magnified proportionately. Besides being one of the
most inspiring scenes on the itinerary, the sun made two
other contributions. First, it was a good omen as a
guardian of the weather for the day. The unwordal
reaction of the students must have been "We'll have
a perfect day" ; the reaction of the director was a sigh
of relief and a "Thank God". Second, the rising pro-
vided occasion for numerous jests aimed at any accused
of never having risen in time to see a sunrise.
A two-hour ride provided occasion for a halt for our
first "family" breakfast, — in fact, students had made-
inquiry concerning such arrangement an hour before.
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Page 310
The Educational Screen
A strictly maintained schedule, thirty empty stoiiiacJis,
three or four rushing waitresses, and an excited man-
ager clicking the cash register before a hurried take-
off, furnished twenty minutes of vigorous activity.
Soon after continuing on the way again, the bus
was transformed into a schoolroom. A bus makes a
splendid schoolroom, except for the sound effects. In
spite of the noise, the situation is real, and the learn-
ing effective. From the front of the bus, a student
gave a two-minute report on "Newark Airport" which
we were to stop to inspect within the hour. Another
student presented each of the group with a large book-
let given to us by the Cunard Steamship Lines. Under
student direction, the Queen Mary was studied deck
by deck and "beHeve-it-or-not" by "believe-it-or-not".
For another brief period, a student guided the class in
the mysterious working of high finance of the Stock
Exchange. The director butted in frequently. Even
the driver added a bit of authoritative information
now and then. And so the class hour went to "Radio
City", the "Holland Tunnel", etc.
Soon we were approaching the City. "There are the
New Jersey flats about which. Miss Broadhead (Geog-
raphy teacher) told us", said one student. Other such
comments came to me frequently. I am sure there
were many such reactions, spoken and unspoken, in
the two days. In my opinion, this is education at
work.
We reached the Holland Tunnel. Though I have
driven through this tunnel many, many times, it still
thrills me to think how one can dive under the Hudson
River and not get wet. Most of those making the
journey have never been through the tunnel. Their
comments, actions and reactions are interesting. Our
bus classroom lesson has given them just a few minutes
previously the interesting facts concerning its builder,
the difficulties of construction, its size, length, air
circulation, etc. Circumstances teach lessons well.
A detailed tracing of the itinerary would become
monotonous. Suffice it to comment on a few parts of
it. From the first, we had always mimeographed the
itinerary on colored paper with appropriate illustra-
tions. i\ copy was presented to each student on en-
tering the bus. It served to keep them informed of
every minute of the two days, and probably was kept
as a souvenir by many.
The Itinerary
Monday
Leave Main Dormitory
Breakfast in New Jersey
Newark Airport
Wall Street, Trinity Church, Stock Exchange
Lunch at Hotel Albert
Empire State Building and Broadcast over WOR,
"The Microphone in the Sky"
Macy's
Aquarium (If time allows)
Boat Trip to Staten Island
Chinatown Tour under direction of Miss Chung
Pong Chan
Dinner at Oriental Restaurant
Tour of News Publishing Co.
Broadcasting Tour, Radio City
Roof of RCA Building, Radio City
Walk : Times Square, Jack Dempsey's Restau-
rant, Madison Square Garden
Suite Get-together, Hotel .'Mbert
"Taps"
5 :30 A.M.
8:00
9:00- 9:30
10:00-11:20
11:45-12:45
1 :00- 2 :00
2:00- 2:30
3:00- 3:15
3:30- 4:30
5:00- 6:00
6:00- 7:00
8:00- 9:00
9:00-10:00
10:00-11:00
11:00-11:45
12:00-12:30
12:31
Tuesday
6:30- 7:45 Walk over Greenwich Village for those who can
tear themselves away from peaceful sleep
7:45- 8:15 Breakfast Hotel Albert
9:00-10:00 Queen Mary
10:30-11:00 Roosevelt Memorial Field
History Museum
11:00-11:30 Central Park— Pictures
11:45-12:45 Lunch at John Day Dining Room
Columbia University
1 :00- 2 :00 Cathedral of St. John the Divine with Guide
2 :00- 2 :20 Riverside Drive, Grant's Tomb, Riverside Church
to 145th St.
2 :20- 2 :4S Harlem
2:45- 3:00 Fifth Avenue and Central Park
3:00- 3:15 Cleopatra's Needle
4:00- 4:20 Pre-view of World's Fair Grounds and Buildings
5:00- 7:00 Music Hall, Radio City
"Adventures of Marco Polo" starring Gary
Cooper
"Glory of Easter," stage show held over for third
week
"Mickey's Circus", Walt Disney
Orchestra Erno Rapee
7 :00- 7 ;20 Dinner, Horn & Hardart
7:45 Hotel Albert
8:15 "Goodbye"
12:00 West Chester
Wednesday : Breakfast, Eight o'clock classes. Tests
All good students will be alert in class today.
The Stock Exchange always fascinated every stu-
dent,— even the young little miss who never knew any-
thing about money except that her father had it. They
asked many questions and tried desperately to under-
stand the intricacies of stocks and bonds, what the
flapping numbers meant, who the men and boys were,
why there weren't any women members, what the
hieroglyphics on the wall meant. I wonder how many
would have been as alert in a classroom discussion of
the Stock Exchange prior to our visit. I wonder,
too, how many things could be made to grow from the
basic knowledge obtained during the visit if used by a
skillful teacher afterward. No group was ever quite
ready to leave the Stock Exchange at the expiration of
our allotted tiine.
To lend atmosphere to our tour of Chinatown, I
usually secured the services of Madam Chung Fong
Chan. She conducted us through the new blocks of
Chinatown, explained the stores and Joss Houses (Re-
ligious Houses), and gave a twenty-minute lecture on
the Chinese. Afterward, at our dinner at the Oriental
Restaurant, she assisted the students in the manipula-
tion of their chop sticks and in choosing a menu. At
my request, she gave each student her autograph in
Chinese.
All of the unusualities of dinner completed, we
walked down the Bowery, New York's street of history.
First, I had warned all to keep close together, to keep
walking, and to observe fallen humanity. Once, when
I was on the Bowery alone, mapping my tour, I
walked up to a policeman to inquire where Mott Street
was. Just as I approached him, he yanked something
from a Bowery character and slapped him a forceful
blow in the face. Then he turned to me apologetically,
with the cominent, "You see why we do that", as he
showed me what he had taken from the man. It was
a partly filled bottle marked "A\'ood Alcohol". "He
was selling that", added the policeman. A fifteen
minute walk along the Bowery at dusk past bleary-
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Page 312
The Educational Screen
More than
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16 MM SOUND - 16 MM SILENT - 8 MM SILENT
Selected subjects . . for school enter-
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16 mm sound features from both major
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such outstanding subjects as:
Abraham Lincoln
Sutter's Gold
Magnificent Obsession
Rainbow on the River
Killers of the Sea
Black Beauty-
Tundra
Bring 'Em Back Alive
and hundreds more.
Featurettes and short films on a wide
variety of subjects, such as:
This is China
History of Aviation
The Negro Farmer
Principles of Magnetism
Robinson Crusoe
Music Appreciation Series
and hundreds more.
Rental prices greatly reduced on many
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Send for your copy of this 125-page
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IDEAL PICTURES CORPORATION
28 E. EIGHTH STREET CHICAGO. ILL.
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2402 W. SEVENTH STREET, LOS ANGELES. CALIF.
eyed drunks at the steps, of dingy, dirty buildings, with
the din of traffic above, on the street, and below — with
thirty teachers-to-be — makes a silent sermon.
Compare — or contrast — our lesson on Greenwich
\'illage. At 6:30 A. M. of the second day, you will
note, the itinerary scheduled a before-breakfast walk
over Greenwich Village. Twenty to twenty-five stu-
dents usually were able to oust themselves from bed
when the six o'clock phone call sounded. We met in
the hotel lobby and left promptly at 6:30. At the
monument of the Italian hero, Garibaldi, we paused for
a brief student account of the history of Greenwich Vil-
lage. Then, for almost an hour we walked and talked
and examined at first hand, those names and places
which make the history of Greenwich. McDougall
Street, Minetta Lane, Waverly Place, "The Mouse-
trap", "Washington Mews", Bayard Taylor, Thomas
Paine, and numerous other names intrigued us. The
quaint houses, old with history, but neat and clean and
artistic withal, told the story of the artists and writers
who gave their way of life to Greenwich. At dusk of the
preceding day, we had seen life at low ebb in the Bow-
ery ; at sunrise of this day, we were lingering over the
quaint but beautiful community marked by the lives of a
different folk. Greenwich means Green Village, — hence,
Greenwich Village means Green Village Village. The
repetition matters little, however, because it really is a
village extraordinary.
We usually arranged to visit the observation Roof
of the Empire State Building early on the first day.
From this bird's-eye view we attempted to visualize
the place geography of Manhattan and its surroundings.
This helped students to understand the itinerary. Such
a view by day would be incomplete without a similar
view by night, — hence, the view from the roof of the
R. C. A. Building. This Fairyland scene makes Alice
in Wonderland seem commonplace. Students thrill
at it and remember it as a highlight of their experience.
It makes a splendid climax for the ending of a perfect
day.
The inspection of the Queen Mary (or any of the
ocean liners) always excites. Many are the exclama-
tions of amazement as we board the huge floating hotel.
Their exclamations, comments, and questions cause me
to wonder with what accuracy we school teachers have
taught them when children as to the ships of the sea.
I wonder, too, what the experiences these students are
having on board the Queen Mary, even though it is
just for an hour, will have in the lessons which they
will teach their pupils.
A week after our return, our movies, taken at many
intervals of the journey, returned from processing. In
a final reunion, the group greatly enjoyed watching
themselves outdo Hollywood. The camera caught a
star-gazing student sunburning his tonsils looking at a
Wall Street skyscraper — a student waving an imaginary
farewell from the Queen Mary — another playing sea-
sick aboard the Staten Island ferry — a fourth vainly
trying to feed herself with chop sticks. Numerous
such personal touches with a background of New York
scenes make comedy and interest. With the same
individuals enacting the scenario and making up the
audience to view the first showing, none of these movies
could ever fail. Such is human nature.
October, 19 i 9
Page 313
What arc the vahies of such a journey? First, it
represents systematic group study and cooiwration.
The group can get many privileges beyond tlie indi-
vidual,— for instance, admission to the Stock Excliange.
It costs an individual $9.40 for passage to and from
Xcw York City. For a hit more than that, our grouj)
ate, slept, traveled, studied and learned for two whole
days. And they learned more than any hit-run sight-
seeing tour can give, because we were a "college on
location". I am not sjx^aking disparagingly of any
sight-seeing tour, either.
Second, this school journey provided a many-sided
experience. Woven together, these experiences in-
volved at first hand, Geography, History, Industry,
Transportation, Engineering, Finance. Art, Civics,
Philosophy, Literature. In two days, thirty teachers-
to-be had ridden under a river, selected a cabin for an
imaginary ocean voyage, viewed and ridden across a
world famous harbor past Madam Liberty and out
where the ships hove into view from Europe, viewed
a world metropolis from the sky by day and by night,
inspected the behind-the-scene story of the National
Broadcasting Co., visited two universities, heard the
life story of the Chinese in their own Chinatown, en-
joyed a theater program in the world's largest theater,
and called at the historic homes of great artists, writers
and leaders.
For what I have labeled "College on Location" I see
the possibility of valuable development. Perhaps a
college can go on "Location" for a day, two days, a
week. A portable college goes to New York. A
portable staff composed of an art instructor, a Geog-
raphy instructor, a Science instructor, a History in-
structor, a Visual Education instructor, accompanies
the group. The Art instructor interprets Art, the
Geography instructor. Geography, etc. Students make
preparation for very definite objectives. The teachers
direct, analyze and coordinate. The portable college
at another time makes the same organization for the
study of the Nation's capital, for the state capital, for
a coal region. I believe this is possible and practical.
Above all, it is real, — this "College on Location".
News and Notes
(Concludid jrom page 304)
the so-called documentary non-fiction film from its
origins in the newsreel to the present day.
Many outstanding films to be included in the adult
program are Robert Flaherty's "Moana," "Nanook,"
and "North Sea"; "Chang," "Wedding of Palo," "The
Plough that Broke the Plains," "The River," "The
Wave," a feature film about Mexico by Paul Strand,
and commentary by John Dos Passes ; and "Four Hun-
dred Million" by Joris Ivens, the most important recent
film about the Chinese people, and outstanding British
documentaries.
The film series for children will relate, for the most
part, to the work of the Children's Classes in Art Ap-
preciation, and will include films about design, archi-
tecture, painting, sculpture, the graphic arts, the art of
puppetry, weaving and other related fields.
fi/ote the large book being tuied iru/lout mulMatxon.
They look, they SEE,
they LEARN with this
Spencer Deiineascope
In effect a huge magnifying glass which dra-
matically enlarges teaching material to giant
proportions, the Spencer Combination Deiinea-
scope works wonders in the classroom.
Indifference is transformed into eager interest
—an interest which is further heightened by the
fact that students may participate by operating
this simple projector.
And it is an efficient, economical way to
teach, too, since one set of material — whether
glass or film slides, actual specimens, or opaque
illustrations from books, magazines or prints —
serves the entire class.
The Spencer Model VA, shown above, has many
points of superiority. Its optical quality, second
to none, assures bright, clear pictures. Its open
back construction permits of the use of unusually
large books or periodicals. It has a most efficient
cooling system.
The Spencer dealer in your vicinity will be
glad to arrange a demonstration. Or write
Dept. X12 for detailed information.
Spencer Lens Company
BUFFALO. * V.
MICROtCOPCS
MICROTaDEl
PMOTOMICROellAPNIC
EBUIPMCNT
RfFRACTOMFTFRS
COLORIMETERS
•PECTROMETCIIt
PROJECTORt
Page 314
The Educational Screen
_jhs. ^J^llra cZ±tiniats.±
Adventures of Sherlock Holmes (Rathbone, Bruce,
Ida Lupino) (Fox) Absorbing, skillful filming of
Boyle story preserving spirit of original. Eerie,
foggy settings heighten suspense. Arch-criminal
Prof. Moriarty stages murder to divert Holmes'
attention from theft of crown jewels but is
outwitted. Fine characterizations. 9-19-39 '
(A) and (Y) Fine of kind (C) Too exciting
All Quiet on the Western Front (the 1930 pic-
ture with much narrative added) (Univ) The
famous film re-varaped. Sound shows age. tempo
a bit slow, acting a decade old ; some sentimental
scenes now mawkish. Added "sound*' in radio-
announcer style (he says "stummick") adds bom-
bastic emphasis to arraignment of war. 10-10-39
(A) Hardly <Y) Doubtful (C) No
Behind Prison Gates , Brian Donlevy) (Uni-
versal) Absurdly far-fetched tale about detect-
ive-hero who enters prison under assumed
identity of crook killed in bank robbery, to get
from other convicts information leading to ac-
complices and hidden loot. The usual killings
and violent action. 9-26-39
(A) Hardly (Y) and (C) No
Blackmail (Edw. Robinson, Gene Lockhart)
(MGM) Grim, depressing, tense melodrama im-
pressively acted and told. Robinson, fugitive from
chain gang, jailed for another's crime, is double-
crossed again by real criminal and sent back to
brutal camp, villain getting his oil property. Es-
capes, forces confession absolving him. 9-19-39
(A) Good of kind (Y) Too strong (C) No
Coast Guard (Randolph Scott, Bellamy, Dee)
Columbia) Coast Guard heroics by plane, cutter
and dog team built into little formula-thriller,
not too violent; Lady-killer airman marries pal's
girl, loses her by old playboy habits, takes to
drink of course — but illogical happy ending
is achieved. ,^ 10-10-39
(A) Hardly (Y) Only fair (C) Perhaps
Conquests of Peter the Great (Russian-English
titles) (Amkino) Vivid picturization of the life
and achievements of the extraordinary Tsar,
building a greater and better Russia for Rus-
sians. Finely acted and photographed, but over-
.long and obviously aimed at glorifying ends
and ideals of Stalin and his times. 1*^-1**:?^
(A) Good of kind (Y) and (C) No
Death of a Champion (Lynn Overmann, Donald
O'Conner) (Para) Good c!ass-B murder mystery
comedy. Three murders follow poisoning of
dog show prize-winner, and side-show professor,
with boy pal, land killer. Plot rather complex,
narrative not always clear, but action human,
amusing, and conclusion crisp. 9-19-39
(A) Hardly (Y) and (C) Good of kind
Dust Be My Destiny (John Garfield, Priscilla
Lane) (Warner) Strong, depressing melodrama,
notably acted, of embittered waif and his girl
wife, endlessly fleeing law because of undeserved
"record." till final acquittal. Hero monotonously
tough. If good showed through oftener. more
dramatic value and audience appeal. 10-3-39
(A) Very good of kind (Y) & (C) Dbfl. value
Escape from Yesterday (Annabella. Jean Gabin)
(French-English titles) Foreign Legion story,
unusual in direction, photography and highly
individualized characters. Moderate in tension
most of the way but closes with stark realism,
grewsome desert warfare, and uncompromising
tragedy. A very un-HolIywood thriller. 10-10-39
(A) Good of kind (Y) and (C) No
Hawaiian Nights (Johnny Downs. Mary Car-
lisle, Ettienne Girardot) (Univ) Some pictur-
esque island settings, appealing native dances
and music are chief interest in very light, ele-
mentary tale about young hero whose ambitions
to become successful band leader are achieved
over wealthy father's opposition. 9-26-39
(A) Hardly (Y) Fairly good (C) Doubtful int.
In Name Only (Gary Grant, Kay Francis, Carole
Lombard) (RKO) Mature, well-acted, unpleasant
problem drama. Contempt4ble wife, who married
hero solely for money and position, spitefully re-
fuses him divorce for marriage to woman he
loves. Heavily emotional, melodramatic climax
finally brings about desirable solution. 9-19-39
(A) Good of kind (Y) Unsuitable (C) No
Janosik (Czech cast. English titles) Strong,
stirring, notably acted, semi-historical melo-
drama of peasant hero's revolt against brutal
oppression by landowners in 18th century
Slovakia. Grim action occasionally lightened
by robust comedy. Impressive Carpathian
settings. 9-26-39
(A) Very good of kind (Y) Strong (C) No
Being the Combined Judgments of a National Committee on Current Theatrical Fihns
(A) Discriminating Adults (Y) Youth (C) Children
Date of mailing on weekly service is shown on each film.
Magnificent Fraud, The (Tamiroff, Lloyd Nolan,
Mary Boland) (Para) Preposterous yarn, that
wobbles badly in spots, about fugitive actor in
imaginary South American country playing his
greatest role as an assassinated Dictator. Sen-
sational stuff clumsily done. Waste of Tamiroflf
in double role and good cast. 10-10-39
(A) Mediocre (Y) and (C) No
Man They Could Not Hang (Boris Karloff)
(Colum) Gruesome, pseudo-science thriller. Gen-
ial doctor, having perfected boon to surgery —
whereby he kills, operates more surely, and re-
vives patients — is hanged for murder. Revived
by his own methods, he turns to wholesale
murder for vengeance! 10-3-39
(A) Hardly (Y) and (C) No
Million Dollar Legs (Grable, John Hartley,
Peter Hayes) (Para) Lively goings-on in
another pseudo-college whose student body
wants a crew despite faculty. Betting all stu-
dents' cash on horse-race finances this college
function ! Simple ! Some risque lines inserted
gratuitously. Hayes good. 10-10-39
(A) Hardly (Y) and (C) Perhaps
Mr. Moto Takes a Vacation (Lorre, Schildkraut)
(Fox) Lively, involved action follows excavation
of crown of Queen of Sheba. Various crooks at-
tempt to steal it from heavily guarded museum
but Moto concerned mainly with one, interna-
tional thief successfully concealed to implausible,
fighting finish. Some futile comedy. 9-19-39
(A) Mediocre (Y) Exciting (C) No
Nancy Drew and the Hidden Staircase (Bonita
Granville) (Warner) Another in series featuring
the engaging little teen-age heroine as volun-
teer detective. Aided by reluctant but loyal boy
friend, she solves another murder in exagger-
ated, farcical climax. Little violence, no
gruesomeness. 9-19-39
(A) Fair of kind (Y) Good (C) Prob. good
Night Work (Ruggles. Boland) (Para) Addle-
pated couple try to run hotel, adopt boys and
thwart a hard-boiled steeple-jack grandfather
by two-fisted heroics. Considerable mere
slapstick in the mixture. Many elementary
laughs but much dizzy "high-building" thrill
nerve-wracking to many. 10-10-39
(A) Hardly (Y) Fair (C) Exciting
Nurse Edith Cavell (Anna Neagle and notable
cast) (RKO) Powerful documentary picture, de-
pressing but compelling, done with fine dignity
and truth, acting and direction excellent. Ger-
mans not shown as monsters, merely men in
erim clutch of war. Indicts war for greater
horrors than those of the battlefield. 10-10-39
(A) Notable (Y) Mature (C) No
Old Maid, The (Bette Davis, Miriam Hopkins)
(Warner) Notable screening of Pulitzer prize
play, expertly acted. Character values skillfully
preserved. Bette gives convincing, deeply moving
portrayal of unwed mother who becomes bitter
old maid to keep daughter ignorant of their rela-
tionship. Fine in settings and costumes. 9-26-39
(A) Excellent (Y) Too mature (C) No
Rains Came, The (Loy, Power, Brent) (Fox)
Technically striking screening of current novel
laid in India. Torrential rains, floods, earth-
quakes provide tremendous "effects." Story tells
of sophisticated, unsavory characters redeemed
by disaster. Little real character value. Power
unconvincing as Indian hero. 9-26-39
(A) Very good of kind (Y) Better not (C) No
Range War (Bill Boyd) (Paramount) Another
in the perennial "Hopalong" series of ob-
vious, harmless westerns. Hero outwits and
outshoots villains trying sabotage on new
railroad. Lively, elementary story, with all
stock devices, beautiful scenery, and not
over-exciting. 9-26-39
(A) Naive (Y) and (C) Good of kind
Royal Divorce (Pierre Blanchar, Ruth Chatter-
ton) (Para) The wooing, wedding and divorce of
Josephine by Napoleon, elaborately set and
earnestly acted, but with little movement and in-
cessant dialog. Chiefly a series of talking duets
by principals. Typically Chatterton role, and a
convincing Napoleon by Blanchar. 10-3-39
(A) Good of kind (Y) Doubtful (C) No
Saint in London (George Sanders) (RKO) En-
gaging, smooth, very modern Robinhood, helped
and hindered by devoted heroine, tricks and
traps one of London's arch-gangsters. Deft,
suave, quite "English" thriller, agreeably in-
tricate, exciting and humorous. Above average
of kind as entertainment. 9-19-39
(A) Good of kind (Y) Good (C) Perhaps
Silver on the Sage (Bill Boyd) Para) Fair
Hopalong Cassidy Western. Contains the
customary routine elements of hard fighting,
and villainous doings and killings by a gang
of cattle thieves, finally outsmarted and
caught by hero in gun play climax. Very fine
scenery. 10-3-39
(A) Hardly (Y) and (C) Good of kind
Smuggled Cargo (Barry Mackay. Rochelle Hud-
son) (Republic) Fast-moving melodrama con-
cerning California community of orange growers
faced with ruin when cold weather threatens
crop and villain gets their contract by supplying
smuggled oranges. Murder, a mob scene and im-
possible heroics by heroacM to excitement. 9-26-39
(A) Hardly (Y) Ordinary (C) No
Stop. Look and Love (Wm. Frawley, Jean Rog-
ers) (Fox) Crazy title for lively, elementary do-
mestic comedy. Combines some laughable real-
ism with absurd farcical doings as pretentious,
blundering mother almost succeeds in ruining
her daughter's romance. Gratuitous fre^-for-all
fist fight for climax. 9-19-39
(A) Hardly (Y) and (C) Probably amusing
U-Boat 29 (Conrad Veidt) (Colum) Rather vivid,
suspenseful little war-spy melodrama, without
horror or violent thrills, about sinister sub-
marine activities against British fleet base in
Orkney Islands. However, clarity of narrative
is not adequate to intricacy of plot at
times. 10-3-39
(A) and (Y) Good of times (C) Doubtful
Ware Case, The (Clive Brook, Barry Barnes)
(G-B) Unusual, very English, murder-mystery
character drama, smoothly done, about gay. phil-
andering, spendthrift aristocrat, his long-suffer-
ing wife, and lawyer-friend who loyally de-
fends husband of woman he loves. Well con-
cealed mystery, with startling ending. 9-12-39
(A) Good (Y) Mature (C) No
Waterfront (Dennis Morgan, Gloria Dixon) (War-
ner) Crude, cheap melodrama about tough, be-
nighted, waterfront slum-folk living in a contin-
uous riot. Booze, dives, slug-fests, guns, jail,
police, fire-escapes, speed cars, accidents, killings,
heroine slugged unconscious etc. etc. and priest
engineers supposedly happy ending. 10-3-39
(A) Trash (Y) and (C) No
Way Down South (Bobby Breen, Alan Mowbray)
(RKO) Sentimental, often amateurish "Uncle
Tom's Cabin" melodrama with New Orleans and
river backgrounds. Little orphaned son fights
sale of father's plantation slaves by ruthless ex-
ecutor. Elementary comedy, negro chorus, nasal
solos. Bobby's voice does not improve. 10-3-39
(A) Hardly (Y) and (C) Fair
Western Ccravana (Chas. Starrett. Iris Meredith)
(Colum) Run-of-the-mill western, with mediocre
cast doing usual stuff. Much prairie singing,
furious riding, endless gun-play, as ranchers
fight arriving settlers who are backed by gov-
ernment. Villain deliberately shoots little boy.
etc. Anything for thrill. 9-26-39
(A) Absurd (Y) No (0) No
What a Life! (Jackie Cooper, Betty FieW)
(Para) Very human and appealing little picture
of struggles of backward, sensitive, engaging
boy, always in trouble, to adapt himself to high
school life. Some exaggeration and caricature
outweighed by fine dialog, real humor, and
notable character roles. 10-3-39
(A) and (Y) Very good of kind (C) Fairly good
When Tomorrow Comes (Dunne, Boyer)(Univ)
Dignified treatment of unconventional but decent
romance between pianist hero, married, and
waitress heroine. Action not wholly conv-incing.
Barbara O'NeiM fine as mentally -deranged wife,
with whom hero finally remains. Hurricane and
flood scenes are striking backgrounds. 9-12-3i>
(A) Good of kind (Y) Too mature (C) No-
And Also for the Visual Field —
"1000 AND ONE" FILM DIRECTORY
CNew 15th Edition just out)
"1000 and ONE" The Blue Book of Non-Theatrical Films,
published annually is famous in the field of visual instruction
as the standard iSIm reference source, indispensable to film
users in the educational field. The new edition lists and de-
scribes over 5,000 films, classified into 147 different subject
groups (includinK large group of entertainment subjects). An
additional feature this year is a complete alphabetical list of
every film in the directory. Other information includes designa-
tion of whether a film is available in 16mm, or 35mm, silent
or sound, number of reels and sources distributing the films,
with range of prices charged.
128 pp. Paper. Price 75c. (25c to E. S. subscribers)
AN ALTERNATIVE FOR REVOLUTION AND WAR
By Albert E. Osborne.
A stiimilatiiiK. wide-range view of the higher potentialities
of vi.sual instruction in promoting world harmony by a "more
humanity-centered education." A pertinent reply to H. G.
Wells' dictum that "the future is a race between education and
catastrophe."
124 pp. Cloth. Price $1.25.
VISUALIZING THE CURRICULUM.
By C. F. Hoban, C. F. Hoban, Jr., and S. B. Zisman.
Presents in theory and in practice the basic methodology of
visual instruction in relation to classroom procedure. Through-
out the text the theory of visual aids is applied to textbook
illustration. "Visualizing the Curriculum", itself a splendidly
"visualized text", provides an abundance of technical guidance
in the form of illustrative drawings of photographs, reports of
school iourneys, suggestions for mounting materials, for mak-
ing slides, film stri-s. etc. It incorporates up-to-date material,
provides a fine balanc" in the treatment of various teaching
aids, evaluates various types of aids, and defines the functions
and values of each in the learning process.
320 pp. Cloth. Tllus. Price $3.50.
(20% discount to schools)
THE AUDIO VISUAL HANDBOOK. (3rd Edition)
By Ellsworth C. Dent.
Presents in convenient form, practical information for those
interested in applying visual and audio-visual aids to instruc-
tion. 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." "Organizing the Audio-Visual Service,''
"Source List of Materials and Equipment."
212 pp. IHus. Cloth. Price $1.50.
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. Cloth. Illus. Price $1.00
(67c to E. S. 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. Cloth. Price $1.00 (67c to subscribers of E. S.)
Full Proceedings of the Midwestern Forum on Visual
Aids (Held in Chicago, May 1939)
The most complete record ever printed and on one of the
livest visual meetings ever held. Numerous addresses by leading
figures in the visual field, a notable Directors' Round Table
and three complete recording! of classes taught by sound films
are among the rich contents of the 80-pagc l;<x)klet.
80 pages. Paper. Price SOc.
(25c to subscribers of Educational Screen)
HOW TO MAKE HAND-MADE LANTERN SLIDES.
By G. E. Hamilton.
Simple directions for making this economical and increas-
ingly popular teaching aid. 24 pp. Paper. Price 10c.
EVALUATION OF STILL PICTURES FOR
INSTRUCTIONAL USE. By Lelia Trolinger
\ full presentation of the latest piece of research on de-
termination of teaching values of pictures. Development of
the Score Card and elaborate experiment in use of same. Full
documentation, tabulation of results, and appendices. The
latest, most complete and scholarly investigation of a problem
in the visual teaching fiey that has long needed such a
solution 48 pp. Paper. Illus. Price 50c.
THE EDUCATIONAL TALKING PICTURE.
By Frederick L. Devereux.
Presenting preliminary solutions of some of the more im-
portant problems encountered in adapting tlie talking picture
to the service of education. The first six chapters deal with
the development of fundamental bases of production, with the
experimentation which has been conducted, and with suggested
problems for future research. The remaining chapters discuss
the effective use of the sound film in teaching.
220 pp. Cloth. Illus. Price $2.00. (20% discount to schools)
HOW TO USE THE EDUCATIONAL SOUND FILM.
By M. R. Brunstetter, Ph. D.
Discusses the utilization of the educational sound film, and
lists and illustrates techniques for placing the film into effective
service in the classroom. The procedures suggested are based
upon extended experience in studying teachers' use of sound
films and in helping to organize programs of audio visual in-
struction in school systems. Two valuable Appendices and
a full index.
175 pp. Cloth. Illus. Price $2.00. (20% discount to schools)
MOTION PICTURES IN EDUCATION IN
THE UNITED STATES. By Cline M. Koon.
A report of the instructional use and indirect educational in-
fluence of motion pictures in this country, divided into nine
units. Treats the motion picture (1) as an educational influence;
(2) in service of health and social hygiene; (3) in governmental
service and patriotism; (4) in vocational guidance; (5) in in-
ternational understanding: (6) Motion picture legislation; (7)
technique of production and distribution ; (8) systematic intro-
duction of films in teaching ; (9) general educational problems
of films in teaching.
106 pp. Paper. Price $1.00 (20% discount to schools)
THE STEREOGRAPH and LANTERN SLIDE
IN EDUCATION. By G. E. Hamilton.
The most comprehensive discussion yet published.
47 pp. Paper. Price 15c.
TO ORDER, Check Material Desired and Fill in Blank Below
"1000 and O^e" Film Directory t
An Alternative for Revolution and War....
Visualizing the Curriculum
(To Schools!
The Audio-Visual Handbook
Picture Values in Education .».
Comparative EfTectivenesa of
Some Visual Aids „.m.»...
Proceedings of Mid-West Fonm oa
Visual Aids
Evaluation of Still Pictures
The Educational Talkinc Pietar*
(To Schools)
How to Use Educational Sound film
(To Schools)
Motion Pictures in Education in
The United Sutca „
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Stereograph and Lantern Slide In Edueatloa
How to Make Handmade L.antern Slides
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Page 316
The Educational Screen
HERE THEY ARE
A Trade Directory
for the Visual Field
FILMS
Akin and Bagshaw, Inc. (6)
1425 Williams St., Denver, Colo.
Audio-Film Libraries (5)
661 Bloomfield Ave., Bloomfield, N. J.
tSee advertisement on page 304)
Bailey Film Service (1, 6)
1651 Cosmo St., Hollywood, Cal.
(See advertisement on pa^e 308)
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 paee 304)
Cinema Incorporated (6)
234 Clarendon St., Boston, Mass.
(See advertisement on page 306)
College Film Center (2, 6)
59 E. Van Buren St., Chicago.
DeVry Corporation (1, 6)
1111 Armitage Ave., Chicago
(See advertisement on page 295)
Dudley Visual Education Service
736 S. Wabash Ave., Chicago
4th Fl, Coughlan Bldg.
Mankato, Minn.
Eastin 16 mm. Pictures (6)
707 Putnam Bldg., Davenport, la.
Burns Bldg.. Colorado Springs, Colo.
Eastman Classroom Films (4)
Rochester, N. Y.
(See advertisement on page 297)
Eastman Kodak Co. (1, 4)
Rochester, N. Y.
(See advertisement on outside back cover)
Eastman Kodak Stores, Inc. (6)
Kodascope Libraries
356 Madison Ave., New York City
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 Classroom Films, Inc. (2, S)
35-11 35th Ave., Long Island City,
N. Y.
Films, Inc. (6)
330 W. 42nd St., New York City
64 E. Lake St., Chicago
314 S. W. Ninth Ave.. Portland, Ore.
(See advertisement on page 273)
General Films, Ltd. (3,6)
1924 Rose St., Regina, Sask.
156 King St., W. Toronto
Walter O. Gutlohn, Inc. (6)
35 W. 45th St., New York City
(See advertisement on page 305)
Harvard Film Service (3, 6)
Biological Laboratories,
Harvard University, Cambridge, Mass.
Guy D. Haselton, Travelettes (1, 4, 5)
7936 Santa Monica Blvd.,
Hollywood, Calif.
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 312)
International Film Bureau (2, 6)
59 E. Van Buren St., Chicago
(See advertisement on page 302)
Lewis Film Service (6)
105 E. 1st St., Wichita, Kan.
(See advertisement on page 302)
The Manse Library (4, 5)
1521 DanH .Ave.. Cincinnati. O.
(See advertisement on page 307)
Norman-Willets Co. (6)
318 W Washington St., Chicago
Ohio Film Service (5)
1377 Penhurst Rd., Cleveland, O.
(See advertisement on page 304)
Pictorial Films (5)
1650 Broadway. New York City
(See advertisement on page 302)
Swank Motion Pictures (5)
5861 Plymouth, St. Louis, Mo.
(See advertisement on page 302)
United Educator Films Co. (5)
State Theatre Bldg., Pittsburgh, Pa.
107 South Court Square, Memphis,
Tenn.
United Projector and Films Corp. (1, 4)
228 Franklin St., Buffalo, N. Y.
Universal Pictures Co., Inc. (2)
Rockefeller Center, New York City
(See advertisement on page 295)
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 (1, 6)
347 Madison Ave., New York City
19 S. LaSalle St., Chicago
351 Turk St., San Francisco. Cal.
MOTION PICTURE
MACHINES and SUPPLIES
The Ampro Corporation (6)
2839 N. Western Ave., Chicago
(See advertisement on page 311)
Bell & Howell Co. (6)
1815 Larchmont Ave., Chicago
(See advertisement on inside back cover)
DeVry Corporation (3, 6)
1111 Armitage St., Chicago
(See advertisement on page 295)
Eastman Kodak Co. (6)
Rochester, N. Y.
(See advertisement on outside back cover)
Eastman Kodak Stores, Inc. (6)
Kodascope Libraries
356 Madison Ave.. New York City
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
Hirsch & Kaye (6)
239 Grant ,'\ve., San Francisco, Cal.
Holmes Projector Co. (3, 6)
1813 Orchard St., Chicago
(See advertisement on page 307)
Ideal Pictures Corp. (3, 6)
28 E. Eighth St., Chicago
(See advertisement on page 312)
Norman-Willets Co. (6)
318 W. Washington St.. Chicago
RCA Manufacturing Co., Inc. (5)
Camden. N. J.
(See advertisement on page 301)
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 Educator Films Co. (5)
State Theatre Bldg.. Pittsburgh, Pa.
107 South Court Square, Memphis,
Tenn.
Unitrd Projector and Films Corp. (1, 4)
228 Franklin St.. Buffalo. N. Y.
Universal Sound Projector (5)
1917-21 Oxford St.. Philadelphia. Pa.
(See advertisement on page 305)
Victor Animatograph Corp.
(6)
SCREENS
Da Lite Screen Co.
2717 N. Crawford Ave., Chicago
I See advertisement on page 303)
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
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 312)
Keystone View Co.
Meadville, Pa.
(See advertisement on page 274)
Radio-Mat Slide Co., Inc.
1819 Broadway, New York City
(See advertisement on page 307)
Society for Visual Education
327 S. LaSalle St., Chicago, 111.
(See advertisement on page 300)
Visual Education Service
131 Clarendon St., Boston, Mass.
Visual Sciences
Suffern, New York
(See advertisement on page 302)
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
STEREOGRAPHS and
STEREOSCOPES
Keystone View Co.
Meadville, Pa.
(See advertisement on page 274)
STEREOPTICONS and
OPAQUE PROJECTORS
Bausch and Lomb Optical Co.
Rochester, N. Y.
(See advertisement on inside front cover i
DeVry Corporation
1111 .Armitage Ave., Chicago
(See advertisement on page 295)
Eastman Kodak Stores, Inc.
Kodascope Libraries
356 Madison Ave., New York City
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
Hirsch & Kaye
239 Grant Ave., San Francisco, Cal.
Norman-Willets Co.
318 W. Washington St., Chicago
Spencer Lens Co.
19 Doat St., Buffalo, N. Y.
(See advertisement on page 313)
Williams, Brown and Earl, Inc.
918 Chestnut St., Philadelphia, Pa.
Davenport, Iowa
(S-'e advertisement on page 309)
Vi."iual Educational Service (6)
131 Clarendon St.. Boston. Mass.
Williams, Brown and Earle, Inc. (3, 6)
918 Chestnut .St.. Philadelphia. Pa.
PICTURES and PRINTS
Colonial Art Co.
1336 N.W. 1st St., Oklahoma City, Okla.
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.
80und-on-film.
(6) indicates firm supplies 16 mm.
sound and silent.
E 1 M (C ATIOMAL
^igim
he Magazine Devoted Exclusively
I the Visual Idea in Education
Public Library
Kansas City, Mo
Teachers Library
IN THIS ISSUE
Dana Airwaves
The Stream of
Perceptual Teaching
A County Film Library
What I Expect mf the
Administrators
4'
Motion Pictures —
Not for Theatres
.'. ', .V-
-1-^
NOVEMBER, 1939
-''-<-
VOLUME XVIII. NUMBER 9 \
WHOLE NUMBER I 76 ^
End of Autumn
Courtesy ul Natubi Moth
25c A COPY * $2.00 PER YEAR
Z^ llV(moli Loifuie^ a^fUuut [inA
OF MOTION PICTURE SOUND EQUIPMENT
35 MM. SOUND
PROJECTORS
Above — Super DeVry 35
m.m. theatre projector —
streamlined — exclusively
modern in design and
performance.
Above right — Standard
DeVry shown with 4000
ft. magazines and 2100
watt mazda lamps.
Below le/t— The new DeVry 16 m.m. arc sound pro-
jector— Built to professional standards. Unequalled
in construction and performance.
Below — The famous
DeVry Portable 35
m.m. sound projector.
Basically the Original
DeVry creation — com-
pletely redesigned with
every worthwhile
and modern
sound improve-
ment.
Below right — The De
Vry semi-portable 35
m.m. sound projector.
Heavy duty mechanism
and advanced optical
system. This equipment
is ideal for
small theatres
and most audi-
toriums.
'i
Right— Deyry professional 35
m.m. sound camera for single
and double system recording —
extreme right — the DeVry sepa-
rate 35 m.m. recorder.
Below left — (at top) — The new
DeVry "Interpreter" 16 m.m.
sound projector. Almost human
in operation. Superior picture
and sound — moderately priced.
Le/t middle— The DeVry Deluxe
16 m.m. sound projector. Peer
of all portable units 1600 ft.
capacity.
Le/t {at bottom)— The new DeVry
model "Q". Single case con-
struction. Projector, Amplifier,
and Speaker in one unit.
THE HOUSE OF DeVRY
— manufacturers of precision mo-
tion picture equipment for 26
years. DeVry 35 m.m. cameras
and projectors have been the
choice of Hollywood studios and
theatres throughout the world;
and the DeVry line of 16 m.m.
equipment is already the choice
of those who have taken the
time to investigate.
Write for circular on any par-
ticular product listed here, which
does not include DeVry printers,
silent projectors and film stereo
viewer.
GENERAL
OFFICES
and MAIN
PLANT
DeVRY corporation
j-a i
k-=*a.-
f
^
Above — DeVry 16 m.m.
sound camera — built
to professional stand-
ards. 400 ft. capacity.
Below — The DeVry auto-
matic 35 m.m. camera —
choice of ne^vsreel
cameramen and explor-
ers throughout the world.
Above — The DeVry
m.m. separate sound i
corder 400 ft. capacit;
Below— The DeVry
m.m. all purpose came
Built for heavy duty a
dependable use. 100
capacity — black ai
white or color film.
SILENT
MOVIE CftMEJ
1111 Armitage Ave., CHICAG
PLANT No. 2 - 2535 N. ASHLAND AVE. C H I C AG O
Cable HERMDEV
Df.
s. EDUCATIONAL SCREEN
NOVEMBER, 1939 VOLUME XVIII
NUMBER NINE
WHOLE NUMBER 176
Contents
Dana Airwaves
Meldrim Burrill and Glenn Gardiner
323
A County Film Library
Godfrey M. Elliott
325
The Perceptual Stream of Teaching
Wendell Thomas
326
What 1 Expect of the Administrators
Leiand hi. Chapman
328
Motion Pictures — Not for Theatres
Arthur Edwin Krows
329
The Literature in Visual Instruction — A Monthly Digest
Conducted by Etta Schneider
333
Among Ourselves — Notes from and by
The Department of Visual Instruction
Conducted by The Editorial Committee
335
The Federal Film
Conducted by Arch Mercey
339
News and Notes
Conducted by Josephine Hoffman...
340
In and For the Classroom
Conducted by Wilber Emmert
344
Current Film Releases
346
348
Among the Producers ,
Film Estimates
350
Here They Are! A Trade Directory of the Visual Field....
352
Tha EDUCATIONAL SCREEN published monthly aicapt July and August by The
Educational Screen, Inc. Publication Office, Pontiac, lllinoit; Eiecutive Office. 64
East Lake St.. Chicago. Illinois. Entered at the Post Office at Pontiac, Illinois, as
Second Class Matter. Copyright, November, 1939. by The Educational Screen.
Address communications to Eiecutive Office, 64 East Lalie St., Chicago, III.
)2.00 a year (Canada, $2.25; foreign, $3.00) Single Copies 25 cents.
THE EDUCATIONAL SCREEN. Inc.
Directorate and Staff
NdMD L. GrMKt, Edttor Jotephine Hrtru
Enlya J. Bak«r F. Dmii Mcr.Mky
Wllb«r Caawt Stanley R. GrMM
Ann Gait Etta Sehnaldw
Also for the Visual Field —
"1000 AND ONE" FILM DIRECTORY
(New 15th Edition just out)
"1000 and ONE" The Blue Book of Non-Theatrical Films,
published annually is famous in the field of visual instruction
«s the standard film reference source, indispensable to film
users in the educational field. The new edition lists and de-
scribes over 5,000 films, classified into 147 different subject
groups (including large group of entertainment subjects). An
additional feature this year is a complete alphabetical list of
every film in the directory. Other information includes designa-
tion of whether a film is available in 16mm, or 3Smm, silent
or sound, number of reels and sources distributing the films,
with range of prices charged.
128 pp. Paper. Price 75c. (2Sc to E. S. subscribers)
AN ALTERNATIVE FOR REVOLUTION AND WAR
By Albert E. Osborne.
A stimulating, wide-range view of the higher potentialities
of visual instruction in promoting world harmony by a "more
humanity-centered education." A pertinent reply to H. G.
Wells' dictum that "the future is a race between education and
catastrophe."
124 pp. Cloth. Price $1.25.
VISUALIZING THE CURRICULUM.
By C. F. Hoban, C. F. Hoban, Jr., and S. B. Zisman.
Presents in theory and in practice the basic methodology of
visual instruction in relation to classroom procedure. Through-
out the text the theory of visual aids is applied to textbook
illustration. "Visualizing the Curriculum", itself a splendidly
"visualized text", provides an abundance of technical guidance
in the form of illustrative drawings of photographs, reports of
school journeys, suggestions for mounting materials, for mak-
ing slides, film strios, etc. It incorporates up-to-date material,
provides a fine balance in the treatment of various teaching
aids, evaluates various types of aids, and defines the functions
and values of each in the learning process.
320 pp. Cloth. Illus. Price $3.50.
(20% discount to schools)
THE AUDIO-VISUAL HANDBOOK. (3rd Edition)
By Ellsworth C. Dent
Presents in convenient form, practical information for those
interested in applying visual and audio-visual aids to instruc-
tion. The six chapters include discussions on "The Status of
Visual Instruction," "Types of Visual Aids and Their Use,"
"T)T)es of Audio- Visual Aids to Instruction," "Types of Sound
Aids for Schools," "Organizing the Audio-Visual Service,*
"Source List of Materials and Equipment."
212 pp. Illus. Cloth. Price $1.50.
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. Cloth. Illus. Price $1.00
(67c to E. S. 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. Cloth. Price $1.00 (67c to subscribers of E. S.)
Full Proceedings of the Midwestern Forum on Visual
Aids (Held in Chicago, May 1939)
The most complete record ever printed and on one of the
livest visual meetings ever held. Numerous addresses by leading
figures in the visual field, a notable Directors' Round Table
and three complete recordings of daises taught by sound films
are among the rich contents of the 80-page booklet.
80 pages, Paper. Price 50c.
(25c to subscribers of Educational Screen)
HOW TO MAKE HAND-MADE LANTERN SLIDES.
By G. E. Hamilton.
Simple directions for making this economical and increas-
ingly popular teaching aid. 24 pp. Paper. Price 10c.
EVALUATION OF STILL PICTURES FOR
INSTRUCTIONAL USE. By Lelia Trolinger
A full presentation of the latest piece of research on de-
termination of teaching values of pictures. Development of
the Score Card and elaborate experiment in use of same. Full
documentation, tabulation of results, and appendices. The
latest, most complete and scholarly investigation of a problem
in the visual teaching fieljj that has long needed such a
solution. 48 pp. Paper. Illus. Price 50c.
THE EDUCATIONAL TALKING PICTURE.
By Frederick L. Devereux.
Presenting preliminary solutions of some of the more im-
portant problems encountered in adapting the talking picture
to the service of education. The first six chapters deal with
the development of fundamental bases of production, with the
experimentation which has been conducted, and with suggested
problems for future research. The remaining chapters discuss
the effective use of the sound film in teaching.
220 pp. Cloth. Illus. Price $2.00. (20% discount to schools)
HOW TO USE THE EDUCATIONAL SOUND FILM.
By M. R. Brunstetter, Ph. D.
Discusses the utilization of the educational sound film, and
lists and illustrates techniques for placing the film into effective
service in the classroom. The procedures suggested are based
upon extended experience in studying teachers' use of sound
films and in helping to organize programs of audio visual in-
struction in school systems. Two valuable Appendices and
a full index.
175 pp. Cloth, Illus. Price $2.00. (20% discount to schools)
MOTION PICTURES IN EDUCATION IN
THE UNITED STATES. By Cline M. Koon.
A report of the instructional use and indirect educational in-
fluence of motion pictures in this country, divided into nine
units. Treats the motion picture (1) as an educational influence;
(2) in service of health and social hygiene; (3) in governmental
service and patriotism; (4) in vocational guidance; (5) in in-
ternational understanding; (6) Motion picture legislation; (7)
technique of production and distribution ; (8) systematic intro-
duction of films in teaching ; (9) general educational problems
of films in teaching.
106 pp. Paper. Price $1.00 (20% discount to schools)
THE STEREOGRAPH and LANTERN SLIDE
IN EDUCATION. By G. E. Hamilton.
The most comprehensive discussion yet published.
47 pp. Paper. Price 15c.
TO ORDER, Check Material Desired and Fill in Blank Below
To subscribers
Price of E. S.
"1000 and One" Film Directory $ .75 n $ .25 0
An Alternative for Revolution and War .... 1.25 n 1-25 D
Visualizing the Curriculum 3.60 D 3.60 D
(To Schools) 2.80 D 2.80 0
The Audio-Visual Handbook 1.50 □ 1.50 D
Picture Values in Education 1.00 D .67 0
Comparative Effectiveness of
Some Visual Aids 1.00 D -67 111
Proceedings of Mid-West Forum on
Visual Aids 60 0 .25 O
Evaluation of Still Pictures 60 D .50 0
The Educational Talking Picture 2.00 O 2.00 D
(To Schools) 1.60 O 1.60 O
How to Use Educational Sound Film 2.00 D 2.00 Q
(To Schools) 1.60 D 1.60 0
Motion Pictures in Education in „ „
The United States 1.00 D 1.00 D
(To Schools) 80 D .80 0
Stereograph and Lantern Slide in Education .16 D .16 D
How to Make Handmade Lantern Slides 10 D .10 Q
Subscription to THE EDUCATIONAL SCREEN
U. S. 1 year, $2.00 D 2 years, $3.00 D
Foreign 1 year, $3.00 D 2 years, $5.00 D
Canada 1 year, $2.25 D 2 years, $3.50 D
Educational Screen
64 E. Lake St., Chicago
I have indicated items desired and enclose check for $.
Name.
School or Street.
City
State.
November, 19)9
Page 321
\ mm ilTS
Stereographs and Lantern Slides —
25 Subjects in Each Unit
> 0
Lantern Slide No. 12 fmni Moth Unit —
The Head of a Sphinx Moth
Lantern Slide No. 2 from Butterfly Unit —
Contrasting Forms of Butterfly Wings
WE NOW HAVE - -
Birds All of Us Should Know
Wild Flowers All of Us Should Know
Trees All of Us Should Know
NEW
Insects All of Us Should Know
Butterflies All of Us Should Know
Moths All of Us Should Know
Detailed title lists or a sample
Teachers' Manual will be sent to
readers of The Educational Screen
upon request.
Stereograph No. ]4 from Inwct Unit — Beetltt
Keystone Vievr Company
Meadville, Penna.
I
Page 322
The Educational Screen
'^ii/et^itotiaU
Editorial Advisory Board
WITH real satisfaction we are now able to an-
nounce the new Editorial Advisory Board which
will be functioning officially as of January 1st, 1940.
The list stands exactly as chosen by the ballots sent
to 24 leading figures in the field, on a return of 22 out
of the 24 ballots. Eight representatives each from the
West, Midwest and East constituted the 24 electors.
How fully we concur in the choice is evident from the
fact that the magazine's own "hope" list for the Board
personnel contained fifteen names, and all ten of the
"elects" are among the fifteen.
Thirty-five names received votes on the 22 ballots.
The eleven highest were well out in front of the other
candidates. One of the eleven refused to serve. The
final Board of Ten therefore stands as follows,
alphabetically :
Ward C. Bowen, Director, Visual Instruction Division, Uni-
versity of the State of New York, Albany, N. Y.
Marian Evans, Director, Visual Instruction Center, Public
Schools, San Diego, Cal. .
W. M. Gregory, Director, Educational Museum, Public Schools,
Cleveland, Ohio.
J. E. Hansen, Chief, Bureau of Visual Instruction, Extension
Division, University of Wisconsin, Madison, Wis.
J. A. HoLLiNGER, Director, Department of Science and Visual-
ization, Public Schools, Pittsburgh, Pa.
Boyd B. Rakestraw, Assistant Director, Extension Division,
University of California, Berkeley, Cal.
Paul C. Reed, Director, Department of Radio and Visual
Education, Board of Education, Rochester, N. Y.
W. Gayle Starnes, in charge of Audio-Visual Aids, Depart-
ment of University Extension, University of Kentucky,
Lexington, Ky.
Lelia Trolinger, Secretary, Bureau of Visual Instruction,
Extension Division, University of Colorado, Boulder, Colo.
W. W. Whittinghill, Director, Department of Visual and
Radio Education, Board of Education, Detroit, Mich.
It will be noted, interestingly enough, that the re-
gional distribution of the Board is perfect — three each
from the West, Midwest and East. The tenth member
would have made four for the Midwest but the one
refusal mentioned shifted the extra representation to
the East.
The even distribution in the result was evidently not
caused by the evenly distributed electorate. Not a
single one of the ten was elected by votes from his
own region. This is also shown by total votes re-
ceived by eleven leaders which summed respectively
17, 15, 14, 13, 13, 12, 10. 10, 9. 8, 7. The other 24
of the 35 candidates showed scattering totals of from
six to two votes each.
School-Made Movies
THE production of films by schools and colleges has
been a slow but steady development in this field
and is now attaining significant proportions. Inquiries
from many quarters as to "what is going on in this
line" are greatly on the increase, but witliout adequate
answers available from any source. Announcements
have been made at various times and places that some-
body was going to assemble complete data for answer-
ing these questions. We have referred correspondents
repeatedly to the announced sources but with only
vague results. The Educational Screen now plans
to try its hand at helping toward a solution.
We are pleased to announce that Hardy R. Finch,
head of the English Department of Greenwich High
School, Greenwich, Connecticut, will undertake the
development of a comprehensive cumulative list of
school-made films for monthly printing in the maga-
zine, beginning soon after the first of the year. Ob-
viously, full success for the effort will be conditioned
on the degree of cooperation by schools concerned, and
only on this.
Our most urgent invitation, therefore, is extended
to every school and college in the country — which has
produced, is producing, or plans production of one or
more films of its own — to send full data on such pro-
ductions to Mr. Finch, or to this magazine, im-
mediately.
Let our readers also bear in mind the regrettable
fact that not every school in the country is a subscriber
to the Educational Screen ! Hence, they will not
see this invitation. Hence, a postal merely naming
institutions which to your knowledge have produced
films, will be a most welcome and helpful aid to success
for the undertaking. We will at once write them direct
for data needed for inclusion in our monthly column.
The sooner you, our readers, start the flow of letters
and post cards in our direction, the sooner the new
feature can appear. Do your bit right now. Your ac-
cumulated bits will make possible systematic dissemina-
tion of reliable information on a question of growing
interest and importance to this field.
The Film Evaluation Project
WE WANT 1000 teachers on the National Evalua-
tion Committee this year. The excellent show-
ing of Score Cards already in file, on more than 1100
different educational films, from a few hundred teachers
who started the work last Spring, not only justifies
but demands substantial expansion of the project. Late
in October we wrote to all teachers cooperating last
Spring and invited their continuance. More than half
of them have already been heard from, all have ac-
cepted with the exception of two zvho have stopped
teaching. Evidently the work of evaluation by the
standard score card is not burdensome and appeals
to forward-looking teachers as decidedly worthwhile.
// you are a teacher using films with classes, you
belong in the project, at least to the extent of scoring
10 films a year for the national record. // you are a
Director of Visual Instruction, your territory should
be adequately represented by live teachers of your own
selection on the Evaluation Committee. A few words
on a postal will suffice to bring by return mail full
material — 10 Score Cards ; prepaid envelope for return
of all 10; free copy of new "1001 Films" with its
Alphabetical List of over 5000 films whereon may be
kept a check record of films evaluated and thus avoid
future duplication — -and all the material bearing your
judge-number which permanently identifies your con-
tribution to the national record. When do we hear
from you? N. L. G.
November, 1939
Page 323
DANA AIRWAVES
Using the radio to stimulate parent and
student interest in the school's Movie Club
activities and general visual education program.
By MELDRIM BURRILL and GLENN GARDINER
Dana Junior High School,
San Pedro, California
//"I — I NCOURAGE and support good radio pro-
H grams and poor ones will disappear. . . Radio
^~^ can be a ixjtent niediuni of education when
we learn how to use it properly. . . . Teachers, parents
and school children should avail themselves of the
opportunities offered by progressive radio stations and
at times be producers as well as consumers through this
modern channel of educational influence. . . ." In the
above manner. Vierling Kersey, Superintendent of Los
Angeles City Schools, summarized the educational pro-
gram at the recent Radio Institute held at the Univer-
sity of Southern California.
\\ith the above thoughts in mind, plans for the
fourth annual Dana Movie Club production were out-
lined. Why not use Radio? Why not acquaint the
parents with the Club work and the visual education
program carried on in the school? Why not offer
suggestions to other schools and groups which might
be starting on similar activities? Why not create stu-
dent and parent interest in a photography program of
merit?
Objectives Take Form
Our objectives took form in the following statements :
1. To employ radio as the medium through which
to announce to our 1800 students the date of try-
Studying the Use of a Sound Projector
outs and screen tests for the Dana Movie Club's
fourth annual production.
2. To acquaint parents with the activities of the
Qub and our extensive visual education program.
3. To offer helpful suggestions to other students
and home movie fans regarding organization
plans, techniques and minimum equipment needed
for production work.
4. To encourage students who are interested in
photography to listen in to the Studio Dark
Room program which is receiving national
recognition.
5. To promote interest in the worthwhile hobby of
photography by broadcasting at a later date a
Students' Studio Night. On this program, stu-
dents will be given a chance to take candid and
moving picture shots under expert advice in the
auditorium of the Radio Station. A visit through
the Radio Station will be included in this program.
Because of the student, teacher and parent interest
which has been registered, we are presenting below the
script of the first "Dana Airwaves Radio Program,"
which was broadcasted recently.
"THIS IS THE STUDIO DARK ROOM— KEHE"
Art Brcarley: For the past many weeks the Studio
Dark Room has attempted to bring to its many friends
a variety of programs. The main purpose of our meet-
ings is photography. \\'e have tried to bring to you
the settings in which various individuals and groups
actually work in the pursuit of their photographic
vocations or hobbies, their unusual projects in differ-
ent lines of endeavor, and thus to acquaint you with
the tremendous interest and activity which exists in
the field of photographic work. Later in our series
of programs we hope to have a number of students
present their own work.
Tonight we have in our studio Mr. Meldrim Burrill,
vice principal of Dana Junior High School, who has
appeared on our Studio Dark Room Program several
times before to present to us various photographic
exijeriences during his recent Scandinavian and
European tour. Mr. Burrill has brought to the Studio's
attention the work of the students at Dana Junior
High School.
Meldrim Burrill : I have brought with me the director
of the Dana Movie Club, Mr. Glenn Gardiner.
Art: I am very glad to meet you, Glenn. I wonder
if you would tell us how you and your students first
became interested in Movie Club Activities ?
Glenn Gardiner: To begin with, it was more a
hobby along the lines of still pictures. \Vlien some
of the students found out about my hobby and that
I was tak-ing, developing and enlarging pictures, they
began to ask me about types of cameras, exposures.
Page 324
The Educational Screen
printing papers, enlargers and so forth. A little later
on we went to our Principal, Mr. Roy Porter, and
asked for permission to start a Movie Club. Mr.
Porter not only approved the plan but outlined ways
the club could be made self-supporting.
Burrill: A few of the purposes behind the Movie
Club are:
To give students an outlet to express themselves in the
land of make-believe.
To expand and encourage a better appreciation of motion
pictures by actually taking part and producing one.
To give students practical knowledge in the science of
photography by actually doing technical work of mixing
chemicals, developing films and studying composition.
And lastly, to develop interest in a worthwhile hobby
that can be continued after school days are over.
Brearley : From your experience, Glenn, will you
name some of the minimum necessities which one
should have in starting a home or school movie club?
Movie Club Equipment
Gardiner: Any hand crank movie camera might
serve as a starter. The Model "A" Eastman Cine
Kodak proved very satisfactory. It seems to stand
rough treatment. Also, it is a focusing type of camera
and with its hand crank for trick shots, it works very
well. It comes in two types — f 1.9 and f 3.5.
A heavy tripod is needed and to obtain good work
it should always be used.
A splicer with rewind cranks, developing trays, a
ruby lamp and chemicals.
The developing spools can be made in the woodshop.
Brearley: What about your lights?
Gardiner: We feel that we need a minimum of four
Number 2 photofloods for night work. Reflectors can
be made to hold these lamps and direct the light. Most
of the editing equipment can be made. Extra equip-
ment is desirable and can be purchased from time to
time, such as : Filters, masks, extra lens, projector,
screens, title letters, exposure meter and a plate camera
for stills and so forth.
Burrill: We are very fortunate at Dana to have
four types of 16mm projectors which the club director
may use. We have two silent projectors; one with a
500 and one with a 750 watt lamp. Also, we have a
sound projector with a 750 watt lamp and recently
the school purchased another new sound projector
with one thousand and twelve hundred watt lamps for
auditorium use. For a number of years Dana Junior
High School has been active in using not only the
films from our visual education department but also
those from various sources throughout the United
States and Canada.
Developing the Story or Scenario
Gardiner: There are many methods for story de-
velopment which can be used. English classes, dra-
matics groups and often creative writing classes get
a chance to submit ideas for the scenario. The Movie
Club members work with a skeleton plot until from
various sources we have ideas, "gags", and clever
situations from which to choose. From surveys and
experience we have found that the types of stories and
"gags" liked by .students include :
Imaginary characters doing the impossible.
ffWf
"Shooting" a scene for the Movie Club production.
The humorous side of every day problems confronting
school students.
Unexpected happenings with surprise climaxes.
Exciting and mysterious happenings with ghosts and
funny monsters as leading characters.
The realization of various school ambitions.
."^nd fast action accompanied by skillful feats.
Selection of Characters
Gardiner : After preliminary groupings, we take a
screen test of each student who wishes to try out as a
member of the cast. This screen test consists of a
ten or fifteen foot shot — both a full view and a close-up.
We make a small charge to defray the cost of the film.
Brearley : Are there any benefits received by those
who have screen tests taken but are not selected for
the picture?
Gardiner: Yes, we think that there are. Each stu-
dent gets a chance to see himself as others see him.
The members of the group discuss each screen test.
The appearance, the posture, the "type" and the amount
of poise which each student exhibits before the camera
are carefully discussed. In this manner, the students
hear frank, constructive comments about themselves.
Brearley : Is there any interest in the tryouts for
Movie Club members?
Burrill: My guess is that we have between 1600
and 1800 Dana students and many of their parents lis-
tening in tonight. The students are anxious to hear
announced the date of the first meeting and tryouts
for this year's Movie Club production. Glenn, do you
have some special announcements you wish to make?
Gardiner : The first meeting of the year will be
Wednesday afternoon at 3:15 in the Dana Auditorium.
Those planning to try out for cameramen will be
pleased to know that this afternoon we purchased a
new camera — a Victor Camera, Model No. 4 with a
Wallensak f 1.5 lens. Just as soon as registration is
completed, the production group chosen, and the
scenario selected we shall start taking individual screen
tests of the students who are trying out for the
various characters.
Brearley: Is it true that students and parents sign
a contract when the students are finally selected?
Burrill: That is true. Art. From an educational
Novembrr, 1959
Page 325
stan<lp<iint. we believe that parents, students and teach-
ers can use these various outside-of-sciiool activities
through which to emphasize desirable character traits
and work habits. At the same time the students have
lots of fun and acquire a lasting hobby.
Brcarley : Have you ever experienced a situation
whereby a student loses interest half way through the
picture and does not wish to continue?
Burrill: That is an excellent question. Art. The
characters in a stage play may be substituted with
understudies and the show^ will go on as u.sual. But
this is not so with a motion picture production. The
same original cast must finish the picture or it must be
all photograjihcd over again with a new meniber. We
have avoided such an exjierience by checking very
carefully the Responsibility Records of each applicant.
When the plans of the club are carried out carefully,
the students are just as enthusiastic at the end of the
filming a picture as they are at the beginning.
Brearley: Has Dana built up a library of pictures?
Growth of Moving Picture Library
Gardiner: Yes, Art. The first picture had 80 scenes
and 40 titles. We finally used 475 feet out of 650 feet
taken. The second production had 120 scenes and 70
titles. We used a total of 900 feet of film and cut it
to 750 feet. Last year's picture increased to 180
scenes and 130 titles. From the reception it received
by the students, we felt that it showed great improve-
ment over the other two pictures. It is interesting to
know that our Movie Club now has over 2,500 feet
in its library and that last year's picture has been shown
to many hundreds of students.
Brearley: Well, friends, I am sure that you feel as I
do — that this has been a most interesting as well as
worthwhile type of program. We have received letters
from a number of school students telling us about their
photographic problems. We appreciate the many kind
things that they have said about the Studio Dark Room.
Are you interested in hearing more about the de-
velopments of the Dana Movie Club's production ? We
might plan a studio night for school students in our
studio auditorium and take some candid shots and
some moving pictures right here on our stage. If
enough requests are received, we shall be glad to ar-
range such a program. Please send in a card or a
letter and let us know your desires as soon as possible.
A COUNTY FILM LIBRARY
THK public schools of Mercer County this spring
established, on a cooperative basis, the first edu-
cational film library in the state of West Vir-
ginia to be supported and controlled by a group of
public schools. The organization of this project is
the culmination of several months of study of other
cooperative libraries and plans for adapting their prin-
ciples to the local situation.
The Mercer County Film Library differs from the
usual school film library on two major points : first,
the library is not sponsored by a higher institution
which retains ownership of the prints; second, the
library derives no financial support from the county
board of education. (It should be stated here that the
reason for establishing a county library is that West
Virginia's unit of school administration is the county,
and not the city or district.)
The library project grew spontaneously out of the
schools' desire to make a wider and more adequate use
of film materials. The majority of the county's schools
— both elementary and high schools — had been making
extensive use of teaching films for several years, based
on rental and loan services. After considerable study
of the problem, the county principals' group concluded
that the money and eflFort being expended under the
older program might well be pooled to establish the
first unit of a permanent library of educational films.
The county board of education, although in complete
sympathy with the proposed plan, felt that budgetary
problems would not permit its immediate contribution
By GODFREY M. ELLIOTT
Director, Mercer County Film Librcuy
Oakvale, West Virginia
of the money necessary to endow a film library. The
rather unique feature of Mercer County's library, then,
is that the money necessary to its establishment and
supjjort w-as contributed by the individual schools
of the county.
Most cooperative libraries now in existence base
their membership upon a flat fee which, in turn, de-
termines the number of films made available to the
member school. Mercer County discarded this plan
as placing too much burden on the smaller school, and
because it was desired that the only limitation to film
usage should be the availability of prints. Conse-
quently, a plan was evolved that was thought to be
more democratic ; each school of the county made a
voluntary contribution equal in sum to ten cents for
each pupil in average daily attendance.
The assessments, as one might call them, range
from three dollars to ninety dollars per school. It was
felt that, in the local situation at least, the number of
pupils per school was a fair index to the school's ability
to raise funds. Thus it is that the library was estab-
lished on ability to pay, rather than on the basis of a
flat fee per school.
Each school in the library group, whether it con-
tributed three dollars or ninety dollars to the fund,
is given the same privileges in the use of the library's
resources and the same voting strength in determining
the policies of the library.
Committees of classroom teachers were immediately
set up to review and recommend purchases of the
Page 326
The Educational Screen
necessary films, their membership being recruited from
schools of all sizes and all grade levels. In every
case they were teachers who had had some considerable
experience in the use of motion pictures in their
classrooms. Committees were set up on a vertical
rather than a horizontal basis. Thus, the social studies
committee includes classroom teachers from grades one
through twelve, from all types of schools.
All the resources of the library are devoted ex-
clusively to purchasing and maintaining equipment.
The staff necessary to administer the library is re-
cruited from the regularly employed personnel of the
county schools. To administer the library, the mem-
ber schools elect a director, a treasurer, and a three-
member executive committee, all of whom serve with-
out remuneration.
To insure the maintenance and future growth of
the film library, yearly assessments will be made on
each school. Such assessments will be based on the
number of pupils in the school. With this money, the
library will maintain prints already in its possession
and purchase additional prints to increase its usefulness
to the schools.
THE STREAM OF
PERCEPTUAL TEACHING
THE history of perceptual teaching in the West
can be divided, like history in general, into three
periods : ancient, medieval, and modern.
1. In ancient times this type of instruction was not
much in demand because education was carried on
largely through non-school activities, agricultural and
industrial for the slaves, political for the citizens. Greek
and Roman youth learned by doing: they learned war
by going to war; law, by attending civic or domestic
law courts ; religion, by participating in public
worship.
Nevertheless, the
Greeks developed intel-
lectual instruction in
which objective materials
as well as the spoken and
written word taught his-
tory and civic ideals. Mu-
sic and the drama, paint-
ing and sculpture were
not merely for artistic ex-
pression. Music was used
to induce a war-like,
peaceful, or luxurious
mood ; the drama was vis-
ual instruction in moral
and political attitudes;
painting and sculpture,
especially in public build-
ings, commemorated historical and religious events.
(See time-chart at classic times.)
The teaching value of art was known also to
the Romans. The populace learned about vic-
torious wars through sculpture and bas relief on
columns and arches. In school visual aids were
employed to assist verbal instruction. Cicero ap-
proved of visual forms as devices for remembering
abstractions. Seneca favored visual teaching on
the ground that men believe visual above other
The following historical sketch, with its accompany-
ing time-chart, presents the background of perceptual
teaching in America today. The chart originally
measured 36"x21". The time-line is progressively
foreshortened toward the past. Variations in the width
of the stream denote variations in school attention to
perceptual teaching. The main stream of school method
is fed by tributaries: by technical inventions from one
side, and by social influences from the other. In
gathering data, the writer was assisted by his father,
Wendell M. Thomas, of the Bureau of Visual Instruc-
tion, Board of Education, City of New York, and by
Herbert S. Walsh, former Technical Supervisor of
the Board's W. P. A. Objective Teaching Materials
Project. Designed by the writer, the chart was pro-
duced on the Project under the direction of Mr.
Arthur H. Roos, Art Supervisor.
A decidedly broader view of the origins of the
visual idea than the conventional one that makes
Comenius the ultimate ancestor of visual education.
By WENDELL THOMAS. Ph.D.
Adult Education, New York City
perceptions. Quintilian, who recognized that in-
terest helps the child to absorb knowledge, con-
ceived of teaching the alphabet by games played
with solid letters carved out of wood or ivory blocks.
2. In the middle ages, as in ancient times, perceptual
instruction had only a moderate vogue because learning
was still divided into the "low-brow" practical type
forced upon the laboring classes, and the "high-brow"
bookish type favored in the universities where the glory
of past culture was preserved in manuscript form.
Between labor "activities" on the one hand and
erudite verbalism on
the other there was little
demand for objective mate-
rials except in the church,
which endeavored to teach
spiritual truths through
frescoes, statues, carvings,
stained glass windows, and
sensory symbols such as
candles, incense, bells, vest-
ments, relics, and the ros-
ary. Out of the church
grew such instructive spec-
tacles as pageants, and the
mystery, miracle, and mor-
ality plays, often with mar-
ionncttes. (See time-chart
at middle ages.)
During the Renaissance, at the dawn of modern
times, puppets came to supplement marionettes in
popular instruction and entertainment. The art of the
great masters of painting and sculpture, especially in
Italy, was educational and looked to the church for its
subjects. Vittorino da Feltre, an outstanding educator,
covered the walls of his school-villa with frescoes of
children playing; followed Quintilian and Saint
Jerome in teaching the alphabet by means of
tangible letters; and used colored pictures to in-
November, J 93 9
Page 327
tercst his pupils in their
lessons.
3. The modern age,
with its experimental
and democratic spirit,
its intensification of na-
tional customs, and its
development of tech-
nology, has both stim-
ulated perceptual teach-
ing and invented new
devices for its use. (See
time-chart from U"^'
to date.) The great
figures of educational
history — Ratke, Com-
enius, Basedow, Pesta-
lozzi, Herbart, Froebel
— are likewise the great
figures in perceptual
teaching. Their work
flowed into institution-
al forms as the nine-
teenth century ad-
vanced. But the use of
objective materials in
education did not be-
come an organized and
widespread movement
until the twentieth cen-
tury. We can point to
no outstanding person
as the father of the
movement, but must
look to five cultural
forces converging on
the second decade
(1910-1920) :
(1) The rapid devel-
opment of experimental
science, technical in-
dustry, travel, com-
munication, and knowl-
ege of other lands, mak-
ing a more economical
presentation of facts an
educational necessity.
(2) Rapid urbaniza-
tion, making it difficult
for city and country
school children to
understand each other's
life by means of the
printed page alone.
(3) A rapid enlistment in high schools and
evening schools of persons having slight literary
tradition, and therefore largely dependent on per-
ceptual aids for actual learning.
(4) The rapid rise of educational psychology,
with its study of interest, attention, learning, re-
call, and individual differences, demonstrating the
urgent need for new techniques of teaching, espe-
cially for backward pupils.
(5) A rapid increase in photographic research
and invention, notably in the field of the cinema.
Classic
Timet
leading to the tremendous growth of the motion
picture industry, with important consequences for
education.
These cultural forces were responsible for the
appearance, at about 1920 and later, of various
organizations devoted to objective teaching mate-
rials. (See time-chart from 1920 to date.) The
future is waiting for more educational control of
radio and cinema, for television in the schools,
and for sound films that are colored, translucent,
and stereoscopic.
Page 328
The Educational Screen
WHAT I EXPECT OF
THE ADMINISTRATORS
By LELAND H. CHAPMAN
Hingham High School, Massachusetts
THE whole program of visual aids needs to be
reorganized and made more efficient. This is
the only possible conclusion I can reach after
considering the data obtained from a survey of the
secondary schools of Massachusetts. I made this sur-
vey in 1938 to find what part visual aids are playing
in the educational program. Many articles and reports
have been published on what individuals are doing in
their schools in regard to some one phase of visual
education, but little is known as to what the current
practice is in the schools as a whole. The results
obtained make it evident that the program of visual
aids must be systematized and stirred out of its present
lethargy. This falls of necessity on the administrators.
I expect the administrators to :
1. Realise the advantages to the pupils of a well or-
ganized visual education program. In order to do this
they must be familiar with the objectives and methods
of such a program.
2. See to it that a leader, well versed in the visual
field, is put in charge of the visual education program.
The primary need, at present, is a matter of person-
nel, for be the school large or small, success depends
upon organization. The replies I received indicated
that about one-half of the schools had some one respon-
sible for coordinating the work in visual education.
This gives a favorable impression until it is known
that in the great majority of cases practically no time
was allowed this person from other regular duties.
Proper leadership would aid also in the choosing of
films which at present, in about one-half of the schools,
is done by the principal and teacher cooperating. It
was noticed that in the smaller schools the films were
chosen largely by the principal and that as the en-
rollment of the schools increased this duty fell more
and more upon the teacher. Some schools tried to
improve the method of choice, one large school having
the films chosen by the department heads while another
depends upon a committee of teachers. Proper leader-
ship would also improve the matter of previewing of
films. About 48 per cent of those replying indicated
that they previewed all films.
3. Make more use of cooperation. This holds true
not only in the city systems but more particularly in
the rural sections. By such means it is possible to
have equipment and libraries of materials not possible
in any other manner.
4. Provide adeqtiate projection equipment. It is
certain that without proper projection equipment no
visual education program can function as it should.
The schools were asked whether or not it was possible
for them to project various kinds of visual aids. The
interpretation put upon the data received would depend
A survey on the use of equipment avaUable
in Massachusetts secondary schools — being
part of a Master's thesis at Boston University.
on whether the school had an enrollment of forty or
four thousand. The schools therefore were divided
into groups according to enrollment, with the thought
in mind of their ability to equip themselves with visual
aids. Such a division gave five groups, with Group
I including schools of less than 250, Group II contain-
ing schools of 250 to 499, Group III containing schools
of 500 to 899, Group IV including schools of 900 to
1399, and Group V containing schools of 1400 and
more. The percentages in the "Total" rows are ft6t
weighted. The almost equal numbers in the five groups
makes the change due to weighting amount to only
one-tenth of one per cent. Table 1 shows how well
equipped these schools are to take advantage of these
aids.
TABLE 1.
Percentages of Schools of Different Sizes Equipped
to Project Visual Material.
Visual aids Group Group Group Group Group Total
I II III IV V
Motion-picture film: %%%%%%
Silent 80 70 87 92 91 86
Sound 26 33 32 27 37 31
Film strip :
35 mm 31 26 55 59 46 43
70 mm 6 9 8 11 3 7
Glass slides :
3^ by 4 inches ..49 70 76 78 86 72
3'A by 3% inches 23 40 40 46 20 34
2 by 2 inches .... 3 14 11 22 6 11
1 by 3 inches .... 14 42 21 24 49 30
Opaque material ... 23 63 58 51 66 53
Total 28 36 43 46 45 41
It will be noticed that the schools are well equipped
with respect to silent motion-picture projectors as 86
per cent of those replying signified that they were so
equipped. Surprisingly enough, the schools with smaller
enrollments are almost as well equipped in this respect
as are the larger schools in Groups IV and V. In spite
of the expense, 31 per cent, or practically one-third of
them, are equipped with sound projectors. Perhaps
the most outstanding point that this table shows is that
the secondary schools of Massachusetts, on the whole,
are better equipped to project silent motion picture
film than to project glass slides. This is not, I believe,
a healthy sign.
5. Provide adequate projection rooms. No visual
education program can be successful unless it is co-
ordinated with the courses of study and this means
that the classrooms must be used rather than the
auditoriums. The extent to which classrooms are used
for projection purposes is one of the best checks on a
vitalized visual education program. Projection work
for the unclassified groups should be limited to certain
(Continued on page 342)
November, /9)9
Page 329
MOTION PICTURES—
NOT FOR THEATERS
By ARTHUR EDWIN KROWS
Editor of "The Spur," New York City
WADSWORTH then made a film
to prove his point, an excellent
film promoting the use of "Zon-
ite"— the trade name of the Carrel-Dakin
solution developed in one of the base hos-
pitals and widely known to the American
soldiers in wartime. This film was circu-
lated in theatres, paid for by the sponsors
in some places and shown freely in others,
but distributed Kencrally to the great satis-
faction of all concerned. From that pic-
ture Wadsworth proceeded to others, all
produced with professional skill and in-
telligent technical economies comparable
in low costs with those clumsy ones ef-
fected by the other cheese-paring little
non-theatrical producers. He, himself,
did not actually make the pictures; but
he engaged for the purpose the l)est avail-
able persons within the limits of his
budgets. The obvious result was that his
pictures, shown side by side with those
of almost any regular non-theatrical pro-
ducer, eclipsed them completely in enter-
tainment value— in acting, settings, pho-
tography and print quality.
Superficial comparison made the others
look so pitiful, in fact, that Wadsworth
finally refused to consider the regular
non-theatrical producers as competitors.
He shut them all out as unworthy of con-
sideration. Whereas the others were
working in complete amity, lending their
facilities to one another and farming out
parts of jobs in hand to those of their
number who could handle them according
to their own standards of efficiency,
Wadsworth played — consistently and
courageously, it must be confessed — an
absolutely lone hand. In so doing he
may have seemed unfriendly and rude,
but he was certainly honest.
This was all very well while he bom-
barded the theatres with his productions;
but his position there was an essentially
temporary one, for theatrical audiences
called upon to see prolonged advertising,
when they have paid for disinterested
service, become resentful, and eventually
will have none of it Before long Wads-
worth found himself obliged to consider
more particularly the non-theatrical
forms of distribution preferred by his
clients who had no funds to spend on
circulation. In this place he discovered,
to his undoubted chagrin, that, despite
his record of proved accomplishment,
customer after customer was whisked
from under his nose by the small alleged
producers he so much despised.
At first he attributed his predicament
to the shortsightedness of the minor em-
ployees in public relations departments
who had the bestowal of contracts in
their power; and he appealed to more
Kufus Steele initiated and conducted
one of the earliest studies of the
value of motion pictures in indus-
trial relations. This portrait was
made in 1923 in the Redwood Grove
of the Bohemian Club of San
Francisco to which he belonged.
influential executives over their heads.
When that failed, he figured that the
difficulty must be in the lower prices
asked by his rivals and, for the sake of
at least proving his point of superior
service, he deliberately underbid them —
all to no substantial purpose. Of course,
as he went along in this fashion, rather
baffled and uncomprehending, he found
little sympathy from those persons he
had rebuffed. .\s a matter of fact,
Wadsworth had then merely the efficient
Hollywood production man's usual mis-
understanding of the peculiar, unique re-
quirements of the non-theatrical field.
He always thought of the non-theatrical
message, it seemed to me, as a bitter
pill to be sugar-coated with "entertain-
ment." The less the spectator suspected
the advertising "plug," in other words,
the more successful the picture was to
be rated. The opposite position was
that advertising information might in
itself be sufficiently interesting and valu-
able to be presented on its own merits
without trying to sweep the spectator,
with an emotional force, into a favorable
opinion against his better judgment.
In non-theatrical audiences the expec-
tation of entertainment in the Hollywood
scense, thus is negligible. The pleasure
of attention there is in the wealth of
associated ideas which are conjured in
the strictly non -theatrical circumstances
of presentation. Seeing a picture at one's
church, or grange hall or school, is
actually a vastly different psychological
Among other remarkable events, the
rise and fall of Pilgrim Pictures, the
emergence of Carlyle Ellis, and the
extraordinary non-theatrical career oi
Willard B. Cook's Pathescope Company.
experience from watching it on the screen
of the neighborhood movie house. The
difference lies not only in what the usual
theatrical exhibitor considers a "high-
brow" attitude of the non-theatrical spec-
tators, what they bring to attend the pres-
entation with, but also in hotv they bring
it. Psychologists who follow this thought
through will discover why delighted non-
theatrical audiences will so earnestly ask
to know why pictures "like these" are
not shown in the theatres when, if these
selfsame films were screened for them
there, they'd be the first to complain of
boredom and to condemn the manage-
ments for poor showmanship.
IHlgrim Pictures
The National Industrial Conference
Board inspired a non-theatrical enter-
prise which was conceived much better
within the existing limits of the non-
theatrical field. It was also much more
significant, although it was all brought
about quietly. Only a few persons know
about it to this day. I do not remember
precisely, in terms of individuals, who
was back of it. Perhaps I never did
know. The names of the New York
bankers, Dillon, Read & Company, show
dimly in my mind ; and I recall that
Dillon was assistant to the chairman of
the Industrial Board — not to forget that
Dillon, Read & Company represented the
Hudson's Bay Company in the later
financing of Educational Pictures. But
I'm not certain here.
The enterprise was called Pilgrim Pic-
tures. The active, discernible head was
Rufus Milas Steele, the same who in
wartime had been editor of the Division
of Films. Editing, however, had not been
Steele's sole interest then. Among his
other activities he had supervised opera-
tions in a large factory where motor
trucks were made for vital uses behind
the lines. Partially through circumstances
such as this, and as result of a vigorous
personal inclination, he had learned a
great deal about American industrial
problems. He once told me that, under
an assumed name, he had written an in-
dustrial textlx)ok for use in schools.
There was a rea.son for the pen name,
Steele's concern with the century's eco-
nomic problems and how their solution
was being attempted by Big Business, his
truck factory experience and his author-
ship of the textbook, all belonged to a
confidential position which had been made
to his measure — the post of public rela-
tions counsel to the National Industrial
Conference Board, itself. The chief prob-
lem currently confronting that group was
labor's antagonistic attitude toward capi-
tal in the latter's regulation of employ-
Page 330
The Educational Screen
ment. The Board believed that the meas-
ures taken were constructive and just,
and that labor's objection was based on
misunderstanding. The remedy, in the
eyes of the Board, seemed to lie in the
education of labor ; and Steele was as-
signed to accomplish what he could in
that direction.
Being fresh from film work, Steele
necessarily thought importantly of the
screen as a way to the desired end. So,
mainly with the backing of the Board,
he organized the non-committal firm Pil-
grim Pictures. His first intention was to
reach labor in its actual working en-
vironment, especially in industrial plants
where films already were shown com-
monly at the noon hour for recreational
purposes. Steele took an office in Boston,
and there, close to the heart of the great
New England mill area, he prepared out-
lines of three two-reel test subjects which
were to deal, respectively, with the neces-
sity of replacing obsolete machinery with
up-to-date equipment, the folly of listen-
ing to professional agitators, and the im-
portance of team play.
The productions were very inexpen-
sively made, and Hollywood would have
viewed their unprofessional crudities with
pained eyes ; but they fairly glowed with
something in which Hollywood had been
conspicuously deficient — a profound, un-
mistakable sincerity. When they were
completed, arrangements were made with
Educational Pictures to distribute them.
Then something happened to the plan—
the antagonism of labor had somewhat
subsided, I understand— and the three
films were set aside. But they really
represented a notable start in a right
direction.
To produce these latter-day moralities,
Steele, in Boston, had called upon his
former assistant, Carlyle Ellis, in New
York. Ellis had promptly organized a
small production unit consisting of
Walter L. Pritchard, cameraman, lately
of Universal and Gaumont and for a
time with Dave Horsley and the Thomas
H. Ince Studies in California; Thomas
H. Swinton, general assistant; Gus
Rempas, electrician; and himself as di-
rector.
Ellis wrote the continuities, or "shoot-
ing scripts," from Steele's original stories.
Three or four professional players were
engaged; Swinton himself played leads,
arranged transportation, helped work the
lights, cared for makeup and performed
many other needful services ; and, on
location in the little village of Hingham,
outside Boston, the necessary mobs were
enlisted gratis out of the crowds of good-
natured onlookers. In non-theatricals,
unlike the regular field, onlookers are
generally encouraged. Ellis himself —
natural conservative — even played a
bearded agitator in one of the pictures
and did it very well. As to factory ma-
terial, all of the locations of that sort
were readily and handsomely provided
thpoHgh arrangements made locally by
the National Industrial Conference Board.
Carlyle Ellis
By the time t-hese three productions
were "in the box," as the sameramen say,
Ellis had determined that, whatever the
future of Pilgrim Pictures might be, his
little production unit must go on. He had
glimpsed the vision of Rufus Steele and
brought enthusiasm to it. Accordingly,
in 1920, Carlyle Ellis's "Autographed
Pictures " — which meant that his own
strikingly artistic signature became his
trade mark on the screen — opened for
business. The office was one long nar-
row room on the seventeenth floor of 71
West 23rd Street, the Masonic Temple
Building, within easy reach of the Kineto
Laboratory. Charles Urban welcomed
this addition to his circle with character-
istic friendliness, and assigned to work
with Ellis, in splicing prints and match-
ing negatives, a girl named Helen Cum-
mings. She, in later years and over a
long period, became Ellis's very efficient
and militantly loyal general office assist-
ant. She has long since retired to do-
mestic life, is the mother of three fine
children, and lives in Kokomo.
Urban's hospitality was broad and
practical. He was producing novelty re-
leases of various sorts ; and he had many
an odd bit of work to be done. Of course,
he had producers of his own. There was
Ashley Miller, formerly of the Edison
Company, for instance, and James A.
Fitzpatrick, an earnest youngster, who
was then making for Urban a pleasant
series of "camera visits" to literary-
shrines entitled "American Men of Let-
ters." Today Fitzpatrick is justly cele-
brated as producer of hundreds of im-
mensely popular "Traveltalks." Ellis
made no series for Urban ; but his little
film on child health habits felicitously
called "Bending the Twig," which Urban
took over and Vitagraph released, was
destined to outlive Kineto.
Ellis was too much interested in human
happiness to be the cold, calculating busi-
ness man who might have made money
with his little company. It was the op-
portunity for real social service that held
him to this line. He liked to write essays
in the Kenneth Grahame manner (pulling
on his beloved pipe the while), to paint
pictures, to visit the new art exhibits,
and to cruise on his once well known,
converted Cape Cod dory, the Pollywog —
those indulgences meant far more to
Apart from long pioneering with
health and social service pictures,
the chief contribution ef Carlyle
Ellis to non-theatricals was his in-
sistence en the use of human terms.
him than ledger profits. Indeed, the only
real interest he had in such returns was
to see that they were shared by his em-
ployees and friends, for a more generous
Scotsman never lived. Indeed, in the busi-
ness line which he made his specialty- — ■
the production of health and social service
films — a man of calculating type probably
never would have carried on, because
those health and social service organiza-
tions with which he dealt rarely had more
to oiifer any producer than the somewhat
empty honor of the job.
So, quite naturally — for sheer lack of
competition by the "hard-boiled" fellows
who wouldn't stoop to such petty business
— Ellis speedily became the foremost pro-
ducer in the world of health and social
service films, making in the next decade
about 150 of them. But, if Carlyle Ellis
made no money out of impositions on
his fine spirit, he had the advantage of
producing many films in which he whole-
lieartedly believed. He therefore had, on
the whole, a happy time passing through
his experience in the field, and nearly all
of his films have gone on, year after year,
spreading the good which he so richly
poured into them.
I knew Ellis one time to reack into
his own slender bank account for $75
with which to eke out the production cost
of a film in which he was interested, a
film (more's the shame) sponsored by
one of the wealthiest women's organiza-
tions in America. A little branch
Y.M.C.A. in New Jersey, has repeatedly
raised money with a one-reel film which
Ellis produced with all the money they
said they could spend — a hundred dollars.
However, I do not mean to indict more
than a handful of the health and social
service workers who appealed to Ellis's
generosity for so long. They were held
rigidly to budgets which made no al-
lowance for films and from which it was
necessary to chisel Ellis's modest produc-
tion cost with the utmost patience and
care. They were generally friendly per-
sons, highly appreciative of Ellis's un-
derstanding approach to their problems;
and most stayed leyal to him (as he to
them) as long as he remained an in-
dependent producer— that is. until 1929,
when he withdrew for a matter of five
years to direct sound pictures for the
American Telephone and Telegraph
Company.
I have mentioned earlier a few ef
Ellis's particular qualifications for handl-
ing films, called into play at the time
of the Liberty Loan drives. But it may
be that now you would like to know a
little more about Ellis, the man. He
was born in 1871, his grandmotJier, a
Carlyle and niece of the great Thomas.
That's why Campbell MacCuUoch has
always called him "Tammas." His father
was a tea-and-coffee merchant in Tor-
onto. He had an elementary and high
school education, took quickly ta writing
and, at an early age, entered the news-
paper game. Leaving the city of his birth
he worked his way westward, visiting
Alaska and ultimately finding employ-
ment in 1910-1912 as editor of the Alaska-
Yukon Magazine.
Next fne urge was eastward. He al-
ready had served as art editor of the
famous old New York Snnday Worid.
November, 1959
Page 331
But this time he stepped to the editorial
staff of Everybody's Mayasinc. After
that, in 191,}, he was made managing
editor of the Detiiwalor, holding forth
at the Butterick Publications with other
staff nii-mfiers who included Sinclair
Lewis and George liarr Baker. Ellis did
some very creditable writing in his
period ; but it was his av<x-ation which
was to mold his future — his keen interest
in amateur photography. He was very
good at it, and an active and popular
member of the celebrated New York
Camera Club.
.■\monK ICIIis"s many writer friends
was R. Campbell MacCulloch, trained as
an engineer but author of much short
fiction — principally stories of the sea- —
published in the national magazines. In
1915. in New York. "Bob" MacCulloch
had just i)ecoine publicity director of the
newly formed Triangle Film Cor])ora-
tion. Wanting someone he could trust
til represent his department in the West
Coast studios of Triangle, he engaged
KIlis, who departed immediately for
Hollywood. It was therefore in Los
.Angeles that Ellis first learned, first-
hand and under the finest auspices of the
day, the inner secrets of professional
motion picture production. Following his
year there he returned to become eastern
scenario editor for the same concern.
After his next step, to the sore travail for
Universal under Harry Levey, the sketch
of his career in these pages is fairly
complete.
One of the most pretentious subjects
which Ellis made on his own responsibil-
ity, in the "Autographed Films" period,
was "The High Road." a three-reeler for
the Young Women's Christian Associa-
tion. The time was winter in New York
and, as the story called for many out-
door scenes with heavy foliage, he took
his company all the way to Savannah to
make it. The finished picture was so
successful that a few years later it was
edited to a two-reel length ; but by that
time the emancipation of women had
progressed so far that the shirtwaists
and the long hair anti skirts shown in
the action ruled it out.
Then there was "Well Bom," a cele-
brated two-reeler on pre-natal care, and
"Sun Babies," a single reel on the pre-
vention of rickets, both for the Child-
ren's Bureau of the U. S. Department of
Labor. "Foot Folly" was another
Y.W.C.A. venture, a one-reeler on proper
shoes, which has been exhibited for years
from Coast to Coast. Still another notable
subject of his making was "New Ways
for Old," one of the most effective films
ever distributed by the welfare division
of the Metropolitan Life Insurance Com-
pany. And one must not forget "The
Kid Comes Through," the immensely
popular reel which he produced for the
New York Association for the Prevention
and Cure of Tuberculosis. At this writ-
ing, Ellis is in Hollywood, building a
liesh reputation as motion picture editor
and general editorial representative of
The Spur.
Bill BrotHerhood
In the later years of the business, Ellis
had moved — along with Walter Yorke's
Edited Picture System which sublet his
office space to him — uptown to 130 West
46lh Street. That was when those in
charge of the Ma.sonic Temple Building
had grown tired of motion picture tenants
.-■nd resentful of the high rates of insur-
ance which their presence entailed, and
preferred not to renew their leases. But,
in the earlier years, when Ellis had plenty
of non-theatrical neighbors there, there
were distinct advantages in the address.
There was the Kineto Laboratories up-
stairs ; and when he required casual pro-
jection for editing or demonstration pur-
poses, he could go downstairs just a
floor or two to the office of William
Brotherhood. This was a room not much
larger than Ellis's, with a "screen"
painted on the wall at one end, and a
raised, fireproof, built-in booth containing
a Power Canieragraph, at the other. It
was an inner office, and there were no
Admirably planned, well organized,
and efficient through trying years,
the Pathescope Company of America
has amply confirmed the executive
genius of Willard B. Cook.
windows — just ventilators over the doors
which led to flanking public halls. A
half-dozen wicker chairs stood before
the booth to accommodate the audience
when there was one and, lining the walls
in front of these were a desk, a table,
an artist's easel, an animation stand, and
an accumulation of miscellaneous items
including a terrestrial globe, an old
tripod or two, and stacks of drawn back-
grounds for title cards.
The meaning of which was that, when
there was no audience, the proprietor
. went to work producing non-theatrical
pictures, or, what was more frequently
the case, short bits of a hundred feet or
se, to be inserted in films being produced
in other respects by his friendly competi-
tors. You see, among most of these non-
theatrical folk, with their hard-won liv-
ing, commercial rivalry was almost un-
known.
In his best days, as an independent
producer, Brotherhood was assisted by
an able animation artist and letterer, Wil-
liam Sherman, and by a general handy-
man whose particular job was to run the
projector, Dan Dugger. But even with
these efficient aides, it was always a
marvel that Bill was able to produce as
much as he did for, just as he'd be ready
to do a bit of work, in would come some-
body with a reel or two to run, and all
the lights would have to go out. Never-
theless, and although projection charges
were then only from fifty to seventy-five
cents per reel, Bill apparently found his
screening service a fairly goixl insuraiKC.
Especially valuable to him was the
cut-rate patronage of Community Service,
which was always wanting to insi)ect new
reels; and then, beside — just as Tichenor's
fine Simplex Projection Rooms uptown
brought Eastern Film so much additional
business — many an odd little job fell,
through his humbler convenience, into the
lap of Bill Brotherhood. He made and
photographed numerous hand-lettered
title cards, so plentiful in those silent pic-
ture days, did simple animation involving
maps and charts, and even hired a cam-
eraman by the day occasionally — Walter
Pritchard. if and when possible — to shoot
.some routine scene wanted by a client.
In earlier time Brotherhood had been
an actor in England. In this country he
had appeared in support of Amelia Bing-
ham, notably in her successful vaudeville
offering, "Big Moments from Great
Plays." After all these years I have a
clear mental picture of Amelia Bingham,
her husband, Lloyd Bingham, and Bill
Brotherhood, on the stage of Percy G.
Williams' New York Alhambra Theatre
in a scene from Sardou's "La Tosca."
Bill, I recollect, had a rather heavy stage
presence; brt, for all that, he was very
acceptable support — and in those ilays,
good-looking besides.
After that long vaudeville experience,
and, I think, a season in one of the im-
portant companies of Brieux's "Damaged
Goods," Bill took a flier in one of those
then despised motion pictures. He had
most of the qualifications held to be neces-
sary by the studio moguls of that time.
He had been a Broadway actor, and
through having served in one interval of
his adventurous career, as a Canadian
Northwest Mounted Policeman, he could
ride, swim and shoot. .Ml these talents
won him distinction in the early cowboy
pictures of Essanay in Chicago : and I
believe that it was for the same concern
that he first became a picture director.
At the time, however, there was no great
distinction in being a director: it was
kn«wn in the industry as "a dog's life."
It usually meant only that the holder of
the title had more to do. Everybody in
the studio then did a little of everything,
and Bill was no exception.
But now he was finding his all-around
training very useful. His ability to crank
a camera, to hand-letter a little, te make-
up a human subject with greass-paint,
powder and crepe hair, and to improvise
.scenic backgrounds, stood him in excellent
stead. At least, until the coming of sound
it enabled him te earn a fair living for his
trim little wife, two fine growing boys
and himself.
He was a man much liked by all wh«
knew him. What a shock it was, about
1922, after the talkie revolution had
wrecked the concerns of liMle produoers,
to hear that the cheerful, self-reliant.
Page 332
The Educational Screen
The drawing shows the first Pathescope brought from France by the
Pathescope Company in 1914. The original French machine used a small
magneto, driven by a belt from the fly-wheel, for generating the light, but
the Pathescope Company immediately substituted the small rheostat shown.
The photograph is of the "New Premier Pathescope," developed in this
country about 1918, when the World War made it impossible to obtain the
Pathe-Kok machines from Paris. Later models had many other improvements.
good-looking Bill Brotherhood had
dropped dead on the steps of the film
laboratory for which he was then trying
to find customers !
Rowland Rogers
Down another floor or so in the Mas-
onic Temple Building was Rowland
Rogers, now awjy from Bray and, in the
name of Picture Service like his old
friend Jam Handy, seeking non-theatrical
clients "on his own." His greatest de-
tractor could not deny that Rowland
Rogers was a hustler. Always brisk and
alert, darting sharp glances of appraisal
around him through heavy shell-rimmed
spectacles, he was a familiar, pleasant
figure to his neighbors who soon came to
know him and to call him "Rowland."
The schoolmasterly bent, which had
been so much encouraged in the days of
"Pictograph," was to provide Rogers with
a curious business development, to ex-
plain which I must go back a little. About
1919, the faculty of Columbia University,
in New York, had decided to meet numer-
ous requests for an extension course on
photoplay production, to supplement the
successful one on photoplay composition
being conducted there by Mrs. Frances
Taylor Patterson. It was proposed,
through my friend Robert Emmett Mac-
Alarney, then scenario editor of Famous
Players-Lasky and also associate profes-
sor of journalism at Columbia, that I
should take charge ; but, although na-
turally much flattered, I declined it be-
cause I could see no professional future
for any student who might emerge from
it. There wasn't a legitimate picture
studio in the land, as far as I could see,
which would give him a job on the
strength of it; and, as to rounding out a
general education, the training seemed to
me to be too narrowly technical a mat-
ter to have much value there.
Next Month
The scope widens to consider
the non-theatrical producers in
New England and the Middle
West. What do you know
about the once-important firm
of Lincoln & Parker of Boston,
who bought Thomas A. Edison's
studio? The Worcester Film
Company, Phelps films and
Philip Davis? Norman Wilding
and Jim Handy of Detroit and
Chicago? The names come
thick and fast, and the first de-
tailed non-theatrical history
moves along, still not at the
halfway mark in the crowded
telling. These unprecedented
chapters are available in regu-
lar sequence only to subscri-
bers of Educational Screen.
But, when the same opportunity then
opened for Rowland Rogers in the spring
of 1922, he promptly took it on. His
characteristic enthusiasm and industry,
coupled with the novelty of the enter-
lirise, brought his course immediate at-
tention. It was definitely attractive to his
students, first, that he could discourse
interestingly on film production, and, next
that he, himself, was a producer with a
going concern in the Masonic Temple
Building. They came to see him at work
lor their case histories — and that was the
real start. With the ostensible purpose
of giving post-graduate training to his
boys and girls, he took them in to work
for him. They were eager and willing,
and the matter of pay was then unim-
portant.
Consequently, it was not long before
commercial prospects, who called on
Rogers, found several adjoining offices
literally filled with active workers, all
as intensively on the job as (and, indeed,
with their prevailing shell-rimmed glasses,
pencils and notebooks, resembling some-
what) the earnest, businesslike man at the
head. -An old-time, slightly amused
cameraman provided the technical knowl-
edge necessar}- to put the picture on the
film in an improvised studio on the same
floor, the entire procedure handled as a
classroom demonstration, with lectures
and examination papers.
The making of school films became a
major activity ; teaching syllabi were pre-
pared and printed to accompany them. In
short, the setup completely overshadowed
the poor, home-made facilities of the more
conservative (or more naive) producers.
The impression of efficiency and pros-
perity, engendered in these circumstances,
brought Rogers quite a few accounts ;
but in the light of the undeveloped non-
tlieatrical line, the organization just could
not last. And, in 1926, Rogers emerged
from a humbler office of non-theatrical
production to tell a meeting of the Society
of Motion Picture Engineers that his
Columbia course on photoplay produc-
tion had been discontinued because it
could not pay its way.
The Rogers Picture Service kept going
nevertheless, until the advent of sound
made it impossible for him — as for most
of the neighboring non-theatrical pro-
ducers upstairs and down — to go on.
When the storm was at its worst he took
a post in training personnel for Standard
Oil. Then, when the industrial sky cleared
a little, he opened Manhattan offices
again, but this time with a slide film
service.
So much for the early non-theatrical
aspects of Laemmie, General Film, Com-
munity Service, the National Industrial
Conference Board and Bray Products.
What about Pathescope? Well, that's
another story.
Pathescope
It's another story, and another story
with a hero. Until this point the detached
reader has known of Pathescope primarily
as the name of a non-theatrical projector ;
now the machine retires to a subordinate
place and the spotlight is thrown on the
main human factor.
{Continued on page 349)
November, 19 }9
Page 333
^fiE J^itsiiatuxE in ^ viiuaL Vnitxuation
A Monthly Digest
Conducted by Etta Schneider
Techniques and Materials
The Classroom Film— by R. E. Davis,
Ijiie Technical High School, Chicago
— School Scieitic and Mathematics,
39:627-.% October. 1939
A reply to H. E. Brown's article in
the April. 1939 issue of that magazine,
(see Edi"cationai. Sckeen. June, '39,
p. 220). listing 27 "consumer grievances"
against classroom films.
Properly used, carefully selected mo-
tioTi pictures have won a well defined
place in the teaching of science, and their
'ise needs no defense. The use of mo-
tion pictures is comparatively new in
t<lucation. and mistakes are being made,
and arc still being made, but conditions
arc rapidly improving. One has only
to compare conditions as they existed
three years ago with conditions today
to see what has been accomplished. Every
advance always suflFers from its too en-
thusiastic friends. Fortunately the move-
ment has been going on long enough so
that the wide-cyetl enthusiasts have tired
of films and are seeking other new
panaceas, leaving the development of the
idea to the more practical workers in
the field.
When this movement was new there
were no real educational films. Adver-
tising films which are no more educa-
tional than a bill board as a work of art,
were distributed. In the absence of more
satisfactory material these were intro-
duced into the classroom, with not very
satisfactory results. Current films, how-
ever, are much better and improvements
arc constantly being made.
It is impossible to produce a film that
will please every teacher. However, with
the use of classroom teachers as con-
sultants in production, there is an im-
provement in quality of films.
What should we expect from a motion
picture in the classroom? First, we
should not expect it to take the place of
a teacher. We must look to the teacher
and not the film for inspiration. The
personality of the teacher can put across
the idea of the "Romance and marvels",
but when the words appear in type or on
the sound track, the eflfect is lost.
In the science classroom the motion
picture is especially valuable in showing
certain types of experiments that the
busy teacher has no time to prepare; in
providing experiences which large classes
cannot gather from first-hand experi-
ences; in showing life under the micro-
scope, so expensive to show in other
ways ; in providing through time-lapse
and slow-motion pictures experiences
hard to see under ordinary conditions ;
in furnishing experiences far from the
local environment ; etc.
No teacher needs to use poor films.
There are so many good films now that
he can choose those suited to his class
and his needs. Proper opportunities for
preparation and follow-up should be pro-
vided. The teacher must realize the
limitations of the classroom film. In some
cases slides may be better. With the
rapidly improving sources of informa-
tion regarding each film, and better meth-
ods of distribution should come greater
and improved use of films. We must
have cooperation between teacher and
producers, so that films better adapted to
classriKnn use will be available.
Films for Human Relations — by James
P. Mitchell — American Teacher, 24:
1-13 October, 1939
One of the aims of the Commission
on Human Relations has been to give
pupils help in those problems, personal
and social, of most direct concern to
them, in the understanding of the real
motivating forces of human action, in the
developing of better ways of relating
themselves to others, and thereby func-
tion democratically. One way of working
toward such an education would be the
presentation of excerpts from moving
pictures showing how people relate them-
selves humanly (or inhumanly) and after
the students have experienced this ab-
sorbing and emotionally significant joint
experience, to have them discuss the
issues which the (film) excerpt has
raised.
Carefully edited materials of most di-
rect concern to young people (about 60)
have been prepared. During a two-year
experimental period teachers from about
20 institutions, ranging in nature from
metropolitan high schools to a reform-
atory, were chosen and trained to take
part in a study to determine how the
films should be used. Four times during
this period a careful survey of the stu-
dents' attitudes about human relations
was made. Verbatim records of discus-
sions were kept, and the large body of
vital information thus collected is now
being carefully studied.
A great deal of attention was given
to techniques of discussions. In general,
the Commission feels that students should
begin very freely, pointing out issues and
problems raised by the film which seem
most important to them ; these are not
always what are expected. I-ater in the
discussion the teacher takes a more active
part, not to moralize or tell the students
what to think, but rather to push them
toward clearer meanings and deeper
understanding. How did he get that
way? Was the reason that she gave the
real one? How could the situation have
been handled better? What would you
have done? Do people like you and me
ever act that way? A summary by a
student closes a discussion, not to produce
conclusive answers, but rather to illumi-
nate human tx:havior leading to further
study. It often leads to social action.
For testimony of the insights shown by
students, the stenographic reports should
be examined. (See some of these notes
in the article)
Especially important is the fact that in
film discussions teachers cannot, without
nullifying all the values of the project, be
dictatorial. They must merely be useful
to students in deepening understandings.
They must liave the profoundest respect
for and receptivity to what everyone in
the group says and is.
Visual Aids and Mathematics — by M.
M. Watson, Austin, Texas — Texas
Outlook, 23:17 September, 1939
The teacher of mathematics can find
many ways of vitalizing his subject with-
out necessarily requiring expensive me-
chanical equipment. A trip to the
grocer to find out current prices, a visit
to a bank, and similar excursions of this
type are very valuable. Models of geo-
metric solids, although available in many
schools, are little used. If the boys were
to make these solids in their shop classes,
they would even have added meaning.
Charts, posters, pictures, and the like are
abundant though little used for mathe-
matics. Lantern slides and motion pic-
tures are among the least available aids.
Teachers of mathematics should increas-
ingly undertake the production of home-
made slides and films. Mathematics
films on such topics as "Why do we
study mathematics?" and a "History of
Mathematics" may be made on an ama-
teur scale with great effectiveness.
The Place of the Film in Education—
by Louis Kusinitz. Manual Training
High School, N. Y. C.—Hiqh Points,
21: no. 7: 48-58 Sept., 1939
A review of the following prob-
lems involved in the use of films :
.Are film lessons worthwhile?
Valuable for average pupils, and
especially for those with poor reading
ability, who are increasingly being en-
rolled in high schools.
What is a good film?
High technical quality, especially in
acting; pupil -made films are good edu-
cational experience for those making
them, but not for those viewing ; film
should not consume more than 25
minutes, or two reels in length ; should
hold the attention of a class of pupils ;
language and ideas in the film should
bo intelligible to pupils ; film should con-
tain something definite that you want to
teach ; must be available when needed ;
photography, sound quality, etc., should
tie close to perfection.
Page 334
Suggested film techniques : Four basic
steps involped in all film use ; preparation
by the teacher ; preparation of the class ;
exhibition of the film; follow-up after
the film.
What remains to be done : a) more and
better teaching films; b) availability of
Hollywood shorts, newsreels, and ex-
cerpts; c) more equipment; d) better
projection facilities in classrooms; e)
film centers spread over the city under
the Bureau of V. I.
Dangers: a) teacher should recognize
propaganda elements; b) should not use
for entertainment; c) should not be over-
done.
Newer Educational Devices Available
to Home Economists — Films — by .
Ida E. Sunderlin, Inglewood, Cal. —
Journal of Home Economics 31 :S37-46
October, 1939
Summary of the kinds of equipment
needed, the approximate cost, some sys-
tems of distribution, and some techniques
for using educational films, with special
reference to the field of home economics.
Sources of information are listed.
Visual Aids for General Science Classes
—by Winifred Perry, Roosevelt Jr.
High School, San Diego, C3.l—Science
Education, 23:244-56 Oct., 1939
A review of the value of the school
journey, museum material, graphic ma-
terials, demonstrations, still pictures, and
motion pictures with special reference to
the field of general science.
Maps and Globes
Accounting for the School's Maps and
Globes— by Ruth Samson — Am. School
Board Journal, 99:47 Sept., 1939
A study was made in Akron, Ohio
of maps and globes in that city through
two committees ; one comprised of social-
studies teachers of the elementary schools
and the other of social studies teachers
of the secondary schools. In this study
an attempt was made to find :
1. The quality which meets ade-
quately the needs of pupils, teachers
and schools.
2. Those which are simple from the
standpoint of interpretation.
3. Those easily handled by the cleri-
cal staflf.
4. Those within the financial limita-
tions of the school budget. .
Prior to this study, a city-wide inven-
tary of maps and globes was taken so
that knowledge of the current equipment
and condition might be established. Deal-
ers in maps and globes were notified of
the study and invited to display their
materials. All teachers of social studies
in Akron schools were invited to see
the display.
Summary of the study :
1. The maps listed for purchase are all
mounted on steel rollers with dust-proof
boards.
2. The physical-political map is pref-
erable.
3. A requisition sheet and a 5-year in-
ventory card has promoted more intelli-
gent buying in that the buyer has before
him a picture of the school and a nota-
tion of its needs.
4. Requisition sheets prevent haphazard
ordering.
5. The 16-inch globe is preferable.
6. For moving about, the weighted
disk globe is most desirable.
7. One physical-political globe and
one slated globe are sufficient in a small
building.
8. Altho there is a printed list to help
standardize and economize in buying
maps and globes, this does not preclude
change or additions of other maps or
globes.
School-Made Visual Aids
M.E.A. Movie Interprets Growth of
Teaching Profession in Michigan —
Michigan Education Journal, 17:16
Sept. 1939
A moving picture, "Eighty Seven
Years of Progress," produced by the
Michigan Education Association is the
first of its kind to depict the early his-
tory and parallel growth of public edu-
cation in Michigan and of the profes-
sional organization of teachers, the
M.E.A. Filmed almost entirely in nat-
ural color, opening scenes trace the be-
ginnings of public education in Michigan
during the early part of the 19th century.
The film was produced by the Divi-
sion of Publications and Informational
Service of the Association. It was more
than a year in the making and was
planned, filmed and edited by staff mem-
bers. When shown at a meeting of ex-
ecutive secretaries of state teacher as-
sociation during a recent meeting of the
N.E.A., it evoked both praise and re-
quests for information. It will be shown
at M.E.A. district meetings and to lay
organizations upon request. It will be
accompanied by a member of the Asso-
ciation staff whose comments will sup-
plement the titles. The Association
provides the projector and screen if
necessary.
Film and Radio Appreciation
Motion Picture and Radio: an English
Elective— by Eleanor D. Child and
Hardy R. Finch, Greenwich, Conn. —
Curriculum Journal, 10:253-6 October,
1939
The tentative aims for this course in
the Greenwich High School were:
1. To make students more aware of so-
ciological, economic, and international
aspects of radio and motion pictures.
2. To aid the pupils in shopping for
worth-while movie and radio pro-
grams.
3. To help pupils enjoy these programs
by extending their appreciation of the
arts involved.
4. To impro\e the writing and speaking
abilities of students with radio and
motion pictures as centers of interest.
5. To teach some of the skills involved
The Educational Screen
in amateur motion picture and radio
production.
6. To discuss the literary aspects and
social problems involved.
Interesting experiences and opportuni-
ties for learning were provided. After
the completion of the first year of this
new elective course, the teacher and ad-
ministrator agree that it was valuable.
For the teacher it provided a wealth of
live material for the awakening of stu-
dent interest. The administrator has had
an additional elective course to offer to
the non-college student, geared to the
student's everyday life and experience.
The student has learned how to select
and judge programs; he has a greater
understanding of the media; he has im-
proved his speaking and writing tech-
niques; and has dealt with materials
which play an important part in his life
today and in the future.
Film Reviews
Film Guide for Business Teachers-
Conducted by Clifford Ettinger for
the Alpha Chi Chapter of Delta Pi
Epsilon, an honorary graduate fra-
ternity in business education — Journal
of Business Education Sept.^ Oct.,
1939, and monthly thereafter.
Unusually good reviews in this com-
paratively unexplored field.
Motion Pictures for Use in Junior Busi-
ness Training — Compiled by Morris
A. Wallock — film and Book, Sept. 21,
1939 (Bulletin by the Dept. of
Library and Visual Aids, Newark,
N. J.)
A beginning at evaluating the avail-
able films in terms of the junior business
training course of study in Newark, in
which the cooperation of all teachers of
that subject will be enlisted.
Church Film Reviews — Int'l Journal of
Religious Education, Sept., 1939,
monthly thereafter.
Motion Picture Department — by Albert
E. McKinley, Jr., Philadelphia, Pa.—
Social Studies, 30:277 Oct. 1939
The first of a monthly section which
will summarize theatrical and educational
films which appear to be of special
value for teachers of social studies. Not
sufficiently critical for maximum ef-
ficiency.
Source List
Sources of Free and Inexpensive Teach-
ing Aids — by Bruce Miller, Ontario
Jr. High School, Ontario, Calif., 1939.
$1.00 mimeo. With supplementary
sheets keeping it up to date.
Contains sources of pamphlets,
charts, pictures which have been care-
fully checked and evaluated. All ref-
erences have been classified by alphabeti-
cal arrangement. Free Film sources have
merely been listed, with no attempt to
list titles of specific films. One of the
most complete and up-to-date refer-
ences in this field, and highly recom-
mended by visual education directors.
November, 1959
^>
fno
ng
O
U^lELVSl
[,
Page 335
Notes from and by the Department of Visual Instruction, N,E.A,
Conducted by the Editorial Committee
To Members of the Department
THE Secretary-Treasurer of the Department for the
present year is ilrs. Camilla Best, Director De-
partment Visual Aids, Orleans Parish School Board,
70v? Carondelet Street, New Orleans, Louisiana. Mrs.
Best will be happy to hear from all members regarding
their activities. Equally welcome will be a check to
cover your memberships for the present year. Mrs.
Best informs me that the treasury is practically empty
and funds are urgently needed.
Let us set our goal at a new high in membership
this year. We urge that each member app)oint himself
a committee of one to get as many additional members
as ixjssible. Our new constitution provided for a
membership committee of one member from each state.
This committee will lie appointed within the next few
weeks and the names of the members of the committee
will be published in this column.
It was my privilege several weeks ago to visit with
Willard E. Givens and H. A. .'Mian, Executive Secre-
tary and Business Manager, respectively of the NEA
at Washington. Both Mr. Givens and Mr. Allan ex-
pressed their desire for a closer working relationship
between our Department and the Association and of-
fered their full hearted cooperation in making our
Department most successful. I expect very soon a
proposal for such a closer relationship from Mr. Allan.
This proposal will be submitted to members of the
Executive Committee and after their consideration, it
will be submitted at the annual meeting at Milwaukee
next summer. Since one of our aims is to promote
visual instruction most effectively among the rank and
file of the educational profession, it would seem that
a closer relationship with the Association as a whole
is of the greatest importance.
Many excellent suggestions for the St. Louis pro-
gram have been received from members. However,
the recommendations are so conflicting that it seems
hopeless to base a program thereon. Inasmuch as the
St. Louis meeting is held in conjunction with the De-
partment of School Administrators, it would seem that
our program at that time should be of primary interest
to administrators and should deal largely with admin-
istrative problems and policies. And since the sum-
mer meeting is held as part of the regular convention
of the NEA at which the majority of those in attend-
ance are classroom teachers, it would seem that this
program ought to deal mostly with the problems of the
classroom. With this in mind, I am submitting the
following general program to the Executive Committee
for approval.
First Day
Morning Session — The Educational Motion Picture
A. How the educational motion picture is produced.
B. How to use the educational motion picture most
effectively in the classroom.
Afternoon Session — Panel Discussion
Where Are We Headed in Visual Instruction.
Seven or eight to participate with a discussion
leader.
Second Day
Morning Session — Standards in Visual Instruction
A. Budgetary provision C. Materials of Instruction
B. Classroom facilities D. Teacher training
Afternoon Session — Directing the Visual Instruction
Program
A. The Statewide Program
B. The City Program
C. The Individual School Program
Several luncheon and dinner programs will also
be arranged. J. E. Hansen, President.
Our Human Resources
NOT to be outdone by federal, industrial and pro-
fessional surveys, the Department of Visual In-
struction has made a survey of its own resources. We
are proud to list the findings of a recent questionnaire
in which the members of the Department were asked
to tell what their positions were, their interests and
activities, and their affiliation with other professional
groups.
Particularly heartening was the overwhelming agree-
ment of the 180 persons returning the questionnaire to
serve on committees and to help our organization in
any other useful way. It would indeed be a waste of
resources if we did not utilize these offers of assistance.
A glance at the listing below will reveal that, through
our membership we may reach a great variety of edu-
cators and business people; that we can extend visual
instruction to many fields of educational experience;
that articles and books have already been published by
several of our members ; that some splendid activities,
such as addressing teacher groups, parent groups, and
the like are being carried on ; that our members are
affiliated with many other important professional groups
through whom they appear to be cooperating in the
promotion of visual instruction ; and, what is most im-
portant, that they want to help in strengthening the
work of our organization !
I. Who are our members? (Based on the returns
from 180 of the 625 members).
Directors of visual instruction Principals in charge of visual
centers for a state n*
Directors of visual instruction t-.^*". t •• T^• • •
Director of a city Division
centers for a city „f p^yic Health
High school teachers in charge Public health worker in a
of visual aids large insurance company
Page 336
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
PICTORIALLY!
FOR ENTERTAINMENT, NO GREATER
PICTURES ARE AVAILABLE
SPIRIT OF CULVER—
Jackie Cooper, Freddie Bartholomew
YOU CANT CHEAT AN HONEST MAN—
W. C. Fields, Edgar Bergen, Charlie McCarthy
THREE SMART GIRLS GROW UP— Deanna Durbin
THE FAMILY NEXT DOOR—
Hugh Herbert, Joy Hodges
EASE SIDE OF HEAVEN— Bing Crosby
THAT CERTAIN AGE— Deanna Durbin
EX-CHAMP— Victor McLaglen
THE SUN NEVER SETS—
Doug. Fairbanks, Jr., Basil Rathbone
UNEXPECTED FATHER—
"Sandy", Mischa Auer, Dennis O'Keefe
WHEN TOMORROW COMES—
Irene Dunne, Charles Boyer
THE MIKADO—
Kenny Baker, Jean Colin, Martin Green
(and many others)
Write to Universal's Non-Theatrical
Department for further information
regarding short and feature-length
pictures, travelogues, cartoons
and other motion pictures.
CATALOGUE 16
UNIVERSAL PICTURES
COMPANY, INC.
Roclcefeller Center New York. N. Y.
CIRCLE 7-7100
Textbook accountant in a
State department of edu-
cation
Elementary school teachers in
charge of visual aids
College teachers in charge of
visual aids
High school principals
Elementary school principals
Superintendents of schools
Heads of departments in high
school
Supervisors of instruction
Representatives of commercial
firms, mainly executives of
these firms
II. What are their spec
-All aspects of visual instruc-
tion
Special aspects of the field, such
as administration, teacher
training, etc.
Social studies
Elementary curriculum in gen-
eral
Science, elementary and
secondary
Geography
English and literature
Biology, physics, chemistry
and other special aspects of
science
III. What activities in
members engage in?
Addressing educational meet-
ings
Committee work in state vis-
ual education groups
Attending county institutes,
and other conferences on
visual education
Miscellaneous positions :
College president
Professor of modern lang-
uages
Director of a national film
project
Director of visual aids for
a city division of a Pro-
testant church
A vocational agriculture
teacher
Dancing instructor
Atliletic instructor
Graduate students
Workers in departments of
visual education or edu-
cational museums
ial interests?
Mathematics
Agriculture
Guidance
Health and nature study
Industrial and vocational edu-
cation
Modern languages
Human relations
Sports
Religious education
CCC education
P.T.A. work
Radio
Museum work
visual instruction do out
Organizing a state-wide or
regional conference
Giving extension courses
Writing masters' theses and
doctoral dissertations in the
field
IV. Of what other professional organizations are
they meinbers?
National Education Associa-
tion
Member organizations of the
N.E.A.:
Department of Elementary
Principals
Department of Secondary
Education
Department of Classroom
Teachers
Department of Supervisors
Directors of Instruction
American Association of
School Administrators
State educational organizations
Health organizations
National Council of Teachers
of Social Studies
National Council of Teachers
of Mathematics
National Council of Teachers
of English
National Vocational Guidance
Association
National Board of Review
National University Exten-
sion Division
National Society for the Study
of Education
National Society of College
Teachers
American Chemical Society
American Association for the
Advancement of Science
American Association of Uni-
versity Women
Administrative Women in
Education
Women's International League
for Peace and Freedom
Society for Curriculum Study
American Historical Society
Physics Teachers' Association
Geography Teachers' organiz-
ation
State chemical associations
Staten Island Zoological So-
ciety
N. Y. Society for the Experi-
mental Study of Education
N. Y. Schoolmasters' Club
Theatre Arts Committee
Film Audiences for Demo-
cracy
Museum organizations
Amateur Cinema League
Canadian National Film So-
ciety
Saskatchewan Teachers' As-
sociation
Fraternities, such as Phi Delta
Kappa and Kappa Delta Pi
November, 19)9
Page 337
V'. Where have their articles been published?
Educational Screen
Nation's Schools
Journal of Educational So-
ciology
Education
Secondary Education
P.T.A. Journal
The alx>ve informal ioti
Business Screen
Historical Outlook
State education journals
CollcKC magazines
Newspaper articles
Independent pamphlets or
guides
is recommended for con-
structive action to the new officers of the Department,
and to the Executive Committee.
The Editorial Committee.
Etta Schneider, Chairman.
Freeman Leaves Chicago
Professor Frank .\. I-reenian, for many years on
the Advisory Board and now President of Educational
Screen, director of the important series of studies
made under the sponsorship of the Commonwealth
Fund, published in the volume Visual Education
(U. of Chicago Press, 1924), collaborator with Ben
D. Wood in the Eastman teaching films experiments
(Motion Pictures in the Classroom, Houghton Mifflin,
1929), and Professor of Education at the University of
Chicago has been appointed Dean of the School of
Education at the University of California in Berkeley.
News Note
In two of her recent columns of "My Day" Mrs.
Eleanor Roosevelt described some interesting projects
in visual education being carried on under the spon-
sorship of WPA. Mrs. Roosevelt wrote,
"I saw two WP.\ projects during the morning. One, a
visual education project in a school, was turning out extremely
good material such as posters, pictures of birds, samples of
grass, trees, bugs, etc., for use in schools throughout the dis-
trict. (Youngstown, Ohio.) The other was an Ohio state
project. . . . Newspapers are being indexed and microfilms
of the pages are being made."
"This morning I went out with Mr. Qjnnor, regional di-
rector of WPA, and saw a project which is being conducted
in collaboration with the university. Men and women, under
able supervision, are gathering source material for use
throughout the state by other projects which are making visual
material of various kinds to be used in public school work.
"For instance, in the source project, a young colored man
showed me drawings he had executed of a Dutch kitchen.
It was perfect in every detail. With the kitchen went the
details of figures showing the clothes worn by men and women
of the period and listing the materials from which they were
made. There will be an exhibit here next week (Ann Arbor)
. . . and this morning I saw part of the exhibit. There were
dolls in foreign and period costumes, ships, which began with
the savage who floated on a log and continued up to the
modern steamships, houses of various periods and many other
things, all beautifully made. The thing which interested me
most was a series of maps showing the condition of the soil in
various parts of the state. . ."
A^. Y. World-Telegram, October 24 and 28, 1939
( Note : Would our readers like to know more of the
work of WPA in making realia and other visual aids
for education? — Ed.)
* * * *
Another news item concerning Mrs. Roosevelt is of
interest :
"Eleanor Roosevelt has written an article on the
educational force of the movies for the anniversary issue
of Variety (a dailv trade paper for the movie in-
dustry)." N. Y. Post, Oct. 28, 1939.
A MODERN RCA
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Give your school the bene-
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We'll be glad to tell you how
this equipment lightens your
administrative burdens. For a
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Page 338
The Educational Screen
16mm. TALKING PICTURE CLASSICS
OLIVER TWIST • LITTLE MEN
BLACK BEAUTY • JANE EYRE
• OLD CURIOSITY SHOP •
• HOOSIER SCHOOLMASTER •
Write for complete catalog of
educational and recreational films,
AUDIO-FILM LIBRARIES
661 Bloomfield Ave. Bloomfield, N. J.
Meetings
• Mr. Lindstrom reports on the success of the First
South American Int'l Exposition of Educational Cine-
matography in Buenos Aires on June 10, 1939 at which
time samples of American educational films were shown
and well received. Among the films shown there were:
Flowers at Work (Erpi), with Spanish commentary;
How You See, How We Hear (Bray) ; Clouds, The
Cicada (U.S.D.A.) ; The Quest of the Alaska Sealskin
(Fouke Fur Co.) ; and two films on dental health
(American Dental Association).
■ The Metropolitan Branch of the D.V.I, devoted its
October 4th meeting to the use of visual aids in primary
grades, at which time a sound film, a talking-film-slide
in color, lantern slides and phonograph records were
demonstrated.
■ Many of the members of D.V.I, were among those
present at the recent meeting held tmder the sponsor-
ship of the Association of School Film Libraries in
New York City on October 5th and 6th. About 52
persons from 23 states came together to discuss the
problems involved on the distribution of films.
Puritan New England comes to life on the school screen
SCARLET LEHER by Nathaniel Hawthorne
with Colleen Moore — 8 reels s-o-f
LEWIS FILM SERVICE. 105 East First St.
Wichita, Kansas
■ As indicative of the wide-spread interest in visual
instruction, Miss Rita Hochheimer reports that she
was invited to speak at the opening session of a course
on child welfare given by the N.Y.C. Police Department
on the use of visual aids !
NEW LET'S SING AGAIN - -
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Pnces include one reel cartoon comedy.
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12.50
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WE HAVE MOVED TO LARGER QUARTERS I
THE
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1521 DANA
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CINCINNATI, OHIO
16 MM
SOUND
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Over 100
Selected Pictures. A card will bring
our catalog.
oi' ™,-„ General Science, 11 rolls. $20
Si ¥ w iwi Principles of Physics, 7 rolls. $12
V I Ij Nl Principles of Chemistry. 8 rolls. $14
SLIDES Fundamentals of Biology. 4 rolls, $9
Order on approval or send for free folder and sample
VISUAL SCIEIVCES, SuHem, New York
Make Your Own Ground Glass Slides
easily and quickly, by usingr GLASSIVE, an abrasive which makes
ground ^lass slides from plain cover elass for only a fraction
of a cent each ! 50c packaee.
For !Von-Photographic Slides
use CELLOSLIDE. Has many uses—for enlarging illustrative ma-
terials, for making: sons: slides, announcements, cheers, etc. Elimi-
nates necessity of writing: on ^ass. 500 sheets for $1.00.
TEACHIIVG AlBS SERVICE
JAMAICA PLAIN MASSACHUSETTS
STATEMENT OF OWNERSHIP. MANAGEMENT, CIRCULATION.
ETC.. REQUIRED BY THE ACT OF CONGRESS
OF AUGUST 24. 1912
Of The Educational Screen, published monthly except July and August,
at Pontiac. 111., for October 1. 1939. 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 followine 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, renuired by the Act of
August 24, 1912, as amended by Act of March 3. 1933. embodied in
section 537, 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 buaines.s managers are: Publisher, Nels«n L. Greene,
64 E. Lake Street. Chicago, 111, ; Editor, Nelson L. Greene, 64 E. Lake
Street. Chicago. 111.
2. That the owner is: Th" Educational Screen, Inc., 64 E. Lake
Street, Chicago. 111. Katherine Slaught, Grand Beach. Michigan : Nelson
L. Greene, 5836 Stony Island Ave.. Chicago: Estate of Frederick J.
Lane, 6450 Kenwood Ave., Chicago: Marguerite Orndorff. 1617 Central
Ave., Indianapolis, Ind. : Frank Greene, 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,
mortgages, or other securities are: (If there are none, so state.) None.
4. That 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 the
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 thap
that of a bona fide owner: and this affiant has no reason to believ*
that any other person, association, or corporation has any interesi
direct or indirect in the said stock, bonds, or other securities than
as so stated by him.
5. 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,
Publisher.
Sworn to and subscribed before me this 21st day of October, 1939.
(SEAL)
HELEN NOONAW
(My commission expires October, 1940)
November, 19)9
Page 339
^liE ^^sdsxaL ^jiLm
A page edited by Arch A. Mercey
Assistant Director, United States Film Service,
Washington, D. C.
WITH increased interest in aviation on the part
of schools, educators might protitabiy examine
the source of films on flying available from the Gov-
emment. The U. S. Army Air Corps has 40 subjects
covering historical, technical, training, and military
problems of aviation. It should be emphasized that
while the Air Corps has a number of different subjects
in its film library, the limited supply of prints compels
it to confine lending activities to aeronautical and mili-
tary organizations and to schools with aviation courses.
As a matter of practice schools having courses in avia-
tion must be under the direction of an instructor recog-
nized by the Air Corps as fully qualified under its
regulations. Unless your school can meet such require-
ments, it will be inadvisable to request films. Those
eligible may write to the Office of the Chief of the Air
Corps, Information Division. War Department, Wash-
ington, D. C, for mimeographed descriptive folder
listing films and giving brief synopses of subjects.
While many of the subjects are geared to military
training purposes, the list contains a number of films
which should have general appeal. The diversity of
subject matter is suggested by some of the listings:
The Birth of Aviation; Commercial Aviation in
Europe; Development of Transportation; glider con-
test in films made in France, Germany and the
U. S. A. ; Around the World Flight; Man's Farthest
Aloft (stratosphere flight, 1935) ; Airflow Tests with
Smoke; Hotv a Seagull Flies; Radio Beacon; Theory
of Flight; Aerial Life Preservers (parachutes) ; Wings
of Peace (good will flight of six "Flying Fortresses"
to South America, 1938). In addition to these sub-
jects the Army has a number geared along instructional
lines for military and aeronautical groups.
New Film on Housing Available
Housing In Our Time, a two-reel sound film, has
just been released by the United States Housing
Authority. In announcing the film the U.S.H.A. says.
"The ruthless eye of the camera roves over the land
to dispel the comforting myth that the slum exists only
in the big city. It explores the repulsive shacks of the
small town as well as the dark alleys under the sha-
dow of the Nation's Capitol. It finds in rural shelters
no less misery than in the tenements of New York or
in the miners' huts of Pittsburgh.
"However, it is through its recording of the grim
details of the every-day life of a low-income family in
Jacksonville, Fla., that the film makes real the nature
of the straggle that millions of Americans must carry
on to maintain seW-respect and create a home in slum
dwellings. These scenes give the picture distinction
and demonstrate the irresistible necessity for public
housing."
Local housing authorities will cooperate with the
U. S. Housing Authority in distribution of the subject.
If your city has a local housing authority make your
request to that organization. If, however, your locality
has no housing authority, write to the U. S. Housing
-Authority, Washington, D. C. Purchase prints will
be available at approximately $17.50 for 16 mm and ap-
proximately $35 for 35 mm prints. Purchase inquiries
should be directed to the Housing Authority in
Washington.
WPA Films
Several questions have been raised regarding avail-
able Work Projects Administration films. This agency
has six films available in both 16 and 35mm prints,
{Concluded on page 345)
SOUND and PICTURE
FIDELITY
makes HOLMES Sound-on-Film
Projectors outstanding favorites
for the better class of assembly room
and class room instruction.
In Auditoriunu holding
audiences ol 2000 or
more. Holmes Projectors
with portable arc lamps
are comparable with ma-
chines costing two to
three times as much.
.^S MM Intarial
for Auditorlvat.
Page 340
The Educational Screen
f ^ This little
H«T looking forward
to her next
Geography
lesson
WHY?
Because her teacher has found that just plain
"book lessons" on Geography will not hold the
complete interest of the children. She has dicovered
that by supplementing her teaching with travel
films, the children look forward to their Geography
classes and retain the lessons better.
Our extensive library of 16 mm.
educational and entertainment
films, covering all subjects, are
"proven pictures" used by
schools everywhere. Write to
Dept. 16E for new catalogs on
educational and entertainment
films and discover for yourself
how helpful films can be in creating new interest
in your classes.
INCORPORATED
234 Clarendon St. Boston, Mass.
16MM. SOUr4D ON FILM
for
RENT — EXCHANGE — SALE
A few of our Large Catalogue of
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WILD INNOCENCE • LOST JUNGLE • GIRL OF THE
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jects; all RICHARD TALMADGE and RIN TIN TIN, Jr.
subjects: all TOM TYLER, JACK PERRIN and JACK HOXIE
WESTERNS: all FRED SCOTT'S MUSICAL WESTERNS.
Altogether 300 Features and 600 Shorts
from which to pick your prosrams
Not One Mediocre Picture in Our Library
Film Rental Catalogue — Film Sale Catalogne
Write for them
CINE CLASSIC LIBRARY
1041 JEFFERSON AVE. BROOKLYN, N. Y.
yv.
£071
an
Two More College Film Libraries
The Extension Department of Arkansas State
Teachers College at Conway is making available a film
library for the use of the schools in the state, adapted
to the levels of both junior and senior high school
students. At present, the library contains approxi-
mately sixty films for distribution, including twenty
Erpi subjects, renting for $1.50 the first day and 50
cents per day thereafter, and a number of commercial
films on which a small service charge is made.
Texas Technological College, Lubbock, has also
established a Department of Visual Aids in its Division
of Extension. An eight-page pamphlet classifies its
218 films into sixteen subjects of the curriculum — Art,
Athletics, Geography, Health, History, Industry, Lit-
erature, Nature Study, etc. Rental prices vary from
25c per film to $4.00.
New York University Film Institute
Through an initial grant of $75,000 from the Alfred
P. Sloan Foundation, the Educational Film Institute
of New York University was formed during the sum-
mer for the purpose of producing and distributing edu-
cational films, and making studies of the place and
application of the film in formal and informal education.
Spencer D. Pollard, of the department of economics
of Harvard University, has been appointed executive
director of the Institute, the headquarters of which will
be at the University's Washington Square Center.
New Photoplay Study Guides
Study Guides to theatrical photoplays published thus
far this season by Educational and Recreational Guides,
New York City, include Rulers of the Sea, Hollywood
Cavalcade, The Real Glory, Mr. Smith Goes to Wash-
ington, Drums along the Mohawk, Nurse Edith Cavell,
Wizard of Oz, Stanley and Livingstone, and They Shall
Have Music.
A Report from Illinois
Audiences totaling more than 2,000,000 persons,
all of them students in Illinois elementary or high
schools, last year viewed educational motion pictures
provided through the Visual Aids service of the Uni-
versity of Illinois, the largest source of instructional
films available to Illinois schools. The total pupil
audience viewing educational films supplied through
the University of Illinois increased 25 per cent last
year over the previous year. With each pupil seeing
approximately 20 subjects during the year, the num-
ber of individual pupils seeing the films is estimated
at some 100,000.
More than 300 Illinois schools are clients of the
University of Illinois service. They are located through-
out the state, excepting the city of Chicago, whose
school system has its own private film library. Largest
November, 19)9
Page 341
<^A/o^£l
client of tlie University of Illinois service is the Joliet
school system, having 19 buildings and some 6,500
pupils. One of the smallest clients is the one-room
Oakley rural school, located near Decatur, which has
28 pupils.
"Educational motion pictures have proved excellent
materials with which to teach," Mr. Peterson, Super-
visor of the service, reports. "Physical and biological
sciences arc the most popular subjects, followed by
geography, agriculture, English, speech, music."
Northwestern Hispamc Film Progrcons
In recognition of the growing importance of friendly
relations with Central and South American republics,
the University College of Northwestern University
sponsored a series of lectures and motion pictures on
Hispanic .America this fall, beginning October 27th.
At each of the four meetings held, a feature picture
and a short subject were shown, with both Spanish
and English dialogue and brief comments by authorities.
The University College has issued a new bulletin
describing it.s part-time instructional service in the
field of adult education and listing the Service Studies
available for free distribution. Four deal with visual
aid material : "Visual Education and the Adult", "Vis-
ual Aids in -Vdult Education", "An Educational Mo-
tion Picture Series on Contemporary Problems",
"Adult Preferences in Educational Motion Picture
Programs".
Further inquiries should be addressed to the Uni-
versity College, Room 151. 357 East Chicago .\ venue,
Chicago.
American Labor Film Alliance
A new venture in the field of visual education for
I^-ibor groups, the American Labor Film Alliance, is
under way. This organization is to make an extensive
survey of the educational film field, establish a labor
film library for its nu-mbers and with the cooperation
of existing organizations in the field, promote and en-
courage making of educational films to be used among
labor groups.
The Affiliate School for Workers as well as the
l\and School for Social Science are participating in
formulation of the program for future activity of the
organization. The U. S. Cooperative League which is
now making a picture of its own is also backing the
project.
All teachers and others interested in this important
venture are asked to contribute by sending in film
material which can be used by labor organizations as
well as any ideas they may have in making new movies
for such use. Headquarters of the organization are in
room 505, 7 East 15th Street, New York City.
now brings 1
to your screen 1
from 2" X 2" slides J
THREE MODELS: lOO-WAH • 200-WAn • 300-WAn*
1 N BRILLIANCE of screen results, Spencer Model
MK Delineascopes surpass all previous standards
in the moderate priced field.
Due to exceptional optical efficiency, the ratings
of these projectors — 100-watt, 200-watt and 300-
watt — would lead you to underestimate the true
volume of illumination which reaches the screen.
Only an actual demonstration in the classroom or
auditorium can reveal how brilliantly the full
quality of your slides is magnified and projected.
Optical and mechanical features of design in all
three models provide full protection against damage
to films — either black and white or color.
We have just published a new folder fully illus-
trating these instruments. Write Dept. Y 12 for
your copy.
*300-tvalt model equipped with cooling fan unit.
Spencer Lens Company
BUFFALS. K V
MICROSCOPES
MICROT«MIS
PHOTOMICROGRAPHIC
EQUIPMENT
REFRACTOMETERS
COLORIMETERS
SPECTROMETERS
PROJECTOR*
Page 342
The Educational Screen
Universal I£t:
SOUND PROJECTOR ^*'5;
Low in cost, Universal 1 6MM
Sound Projectors offer you all of
the important new features. Four •fULl POWER AMPLIFICATION
models. For all purposes. Simple mw HEAVY DUTY SPEAKERS
to operate. Economical to main-
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HOW PRICE • FOR SOUNO OR SILENT FILMS mi cLAW INTERMIT. ACTION
• FOR CLASSROOM OR AUOITORIUM
• FOR PUBLIC ADORESS OR PHONO •PERMANENT CARRYING CASES
Universal Sound Projector Div.
SENTRY SAFETY CONTROL CORP.
1917-21 Oxford SI., Philadelphia, Pa.
New York Office— 7600 Broadway, N.Y.C.
• LICENSEO- WARRANTY
4 MODELS
Write for literature
COLOR and SOUND
2 REELS — 16MM
The complete fascinating educational
story of sponsre fishine off the Gulf Coast
of Florida, in a riot of natural color.
FOR RENT — FOR SALE
PICTORIAL FILMS, INC.
1650-E Broadway New York City
Vivid Visits to tlie Far Corners ot tlie World
— entertaining, instructive 16mm S.O.F. features — also
cartoons and shorts in silent and sound for rent or sale.
WRITE FOR DETAILS
OHIO FILM SERVICE— 137T Penhurst Rd., Cleveland, Ohio
FOUR BARRIERS '« p'OsperHy and world
peace. Only international relations teaching film jor sale m
the United States. Sale price to dealers and libraries $23 for
one f/dl reel of sound film. Library of ERPI, EASTMAN
and other teaching films for rent on low-cost weekly basts.
„„___,__, „»w i.» ^T-<ivTrri¥-'T» 59 East Van Bnren Street,
COLLEGE FILM CENTER Chicago, ILLINOIS
MAKE YOUR OWN
TYPEWRITER SLIDES
For Screen Projection
USE RADIO MATS
on Mle by Theatre Supply Dealer*
Write for Free Sample
RADIO-MAT SLIDE CO.. Inc.
181* Broadway. DepLV. New Talk City
What I Expect of the Administrators
(Continued from page 328)
industrial films, films on health and sanitation, and on
safety. The showing of films in the auditorium creates
a certain entertainment reaction that serves but to
retard the visual program. Visual aids are teaching
tools and as much should receive the same serious
consideration given other teaching aids. This must be
kept in mind if visual aids are to be entitled to public
support through budgetary allowance.
The replies indicated that the auditoriums in about
three-quarters of the schools can be darkened although
the manner varied from the orthodox shades to Vene-
tian blinds, cardboard, black paper, and even burlap.
The auditorium seating capacity of the smaller schools
was adequate while the larger schools were forced to
run their auditorium projection work in relays. The
auditorium efficiency (obtained by dividing the audi-
torium seating capacity by the total enrollment) varied
from 213 per cent in the smallest enrollment Group
to 60 per cent for the schools in Group V. This gave
an efficiency of 1 10 per cent for all of the schools having
a means of darkening the auditoriums. Contrasted
with this we find a classroom efficiency varying from
27 per cent for Group 1 to 7 per cent for Group V.
and an average of 13 per cent. Thus the number of
classrooms equipped for projection are wholly inade-
quate and as a result the projection work is centered
in the auditoriums and not in the classrooms where
it belongs.
6. Prepare their own projection material. I am
convinced that this is the phase of visual work that
is due for increasing attention. The replies from a
few schools bear this out. Forty-two per cent of the
schools prepare some of their own standard-size lantern
slides, the other aids receiving little consideration. The
candid camera for film strips and glass slides together
with the camera clubs are helping in this type of work,
and it is by this means that development is most apt
to occur. A few individual schools are acting as
pioneers in this class of visual work. One school sys-
tem made its own motion-picture film on safety mea-
sures in bicycling. Other schools signified that they
made films on athletics, football activities, and school
activities such as fire drills. The great possibilities in
still pictures are being neglected however. While a
few schools are making their own projection material,
to a certain extent, the survey showed that only 15 per
cent of all of the schools were active in this respect.
There is not a department in the schools where the
preparation of their own projection material could not
be made of decided benefit. By this means close integra-
tion with the courses of study is possible and an interest
is created in the results not possible in any other man-
ner. Some schools are doing this but these few only
emphasize the great remainder.
7. Take advantage of new advances in the visual
field. There is a relatively recent development that is
being ignored in the educational field and that is the
inicrophotographing of bound and unbound material.
The insurance companies, banking houses, and libraries,
November, 1959
Page 343
were (|uick to set- the iKMiflits uf this but the many uses
in educatilDn have passed unnoticed. I'ainous ijaintings.
iniiK^rtant nianuseripts. ducunients. and Ixioks should
be niicropl)otogia])lied and tiled in the school libraries
where they could be shown at a moment's notice or
leijuisitioned for classroom jirojection .The school could
also take this op]K>rtunity to microphotograph the per-
manent school records and protect them from being
irretrievably lost by lire. The saving in space may be
shown by the fact that a seventeen pound volume of the
New ^'()rk Times requires only a film spocd 3 11, 16
inches in diameter and 1 ^ inches thick. Records can be
microphotographed on a nominal service charge basis.
A spool of film, as above, will take 4812 — 5"x8" cards
at a cost, including development, of about $2.75.
8. Use visual aids in guidance. That some schools
are doing this is indicated by the fact that 26 per cent
of them answered that they did use vi.sual aids for this
l)ur]xise. This work consisted largely of the .school
journey, industrial films, and college films, together
with till' films mentioned under (5). Two schools used
films in their automobile driving courses. Another
correlat'-d .sound films with the home room guidance
program on alternate weeks. There was also use of the
lantern slide projector and o])a(iue propector to illustrate
courses of study and talks on guidance.
9. Increase the activity of all departments. I have
tabulated results showing the activity of the depart-
ments with resjK-ct to each aid and the activity of each
aid with respect to the departments, but in this article
I will include only one table dealing with the depart-
ments. This is a summary table showing the compari-
son between the available equipment and how much
use was made of it.
TABLE 2.
Percentages of the .Ability of the Groups to Project All
Materials, and the Percentages of .Activity of the Departments
with Respect to All of These Aids.
DEPARTMENTS Group Group Group Group Group Total
1 U III IV V
The ability to project
all materials 28 36 43 46 45 41
Science 17 24 28 30 34 27
Social studies 13 18 24 21 17 19
English 9 19 17 17 13 IS
Art 5 9 9 19 20 12
Practical arts for
boys 8 10 11 17 13 12
Domestic arts 5 14 12 9 12 11
Physical and health
education 8 11 13 10 11 11
Foreign language ..5 8 11 16 12 10
Commercial arts ... 3 4 6 10 12 7
Music 3 3 9 11 4 6
Mathematics 12 1 3 5 2
Total 7 11 13 15 14 12
It will be noticed that 41 per cent of the schools are
e(iuipix'd to project all of the visual materials and that
only 12 iK-r cent of the schools take advantage of all
these aids. In other words less than one-third of the
schools use the material they are equipjjed to use. With
regard to all of the schools this is an activity per cent
of about five. The actual situation is clearly such that
there can be little question of where room for improve-
ment lies.
IDEAL PICTURES
CORPORATION
has been a visual education
source of supply for over
twenty years.
Send for our 20TH ANNIVERSARY Catalog
listing over 3500 16 mm educational and
entertainment films, both silent and sound.
IDEAL PICTURES CORPORATION
28 E. EIGHTH STREET
CHICAGO. OX.
2402 WEST SEVENTH STREET LOS ANGELES, CALIF.
"The ABC of Pottery''
Produced at the University of Southern Californiii, ihih film on
pottery iPftking faas been widely acclaimed by visual authorities.
The ABC of Pottiry Making shows the coil method of con-
struction in detail, i ntitcly by use of giant close-ups. It has
been successfully used for teaching ceramics at the Department
of Fine Arts, University of Southern California; and in many
elementary and junior and senior high schools.
Available for sale at $24.00 ptr ret I silent; also for rental.
^V'rite Dtpt. K-3 for complete information on this and other films.
BAILEY FILM SERVICE
1651 Coimo St. Hollywood. Calif.
SOUND AND SILENT CLASSR.OOM FILMS
Page 344
The Educational Screen
(J,
n an
CL
a±±%oom
Conducted by Wilber Emmert
Director Visual Education, State Teachers College, Indiana, Pa.
Colored Lantern Slides Aid in Teaching Drawing
By M. R. KLEIN
Instructor of Industrial Arts,
Public Schools, Cleveland, Ohio
COLORED hand-made lantern slides have been
used with pleasing results in teaching the prin-
ciples of orthographic projection to beginners in cer-
tain mechanical drawing classes in Cleveland. Each of
the terms top view, front view, and end view takes
on a di liferent meaning when these views are shaded
in definite separate colors.
The use of colored slides to teach this phase of draw-
ing is a time saver because : ( 1 ) The lantern slide aids
in placing the picture before the class for group in-'
struction, and (2) Enables the pupils to more readily
understand the principles of drawing by the addition
of this colorful visual aid. This does not mean that
blueprints, models, charts, or blackboard aids should
be discarded, but that the use of colored slides is an
added tool in the hands of the progressive teacher.
Pupils who otherwise are slow in comprehending the
relationship between the surfaces of a picture sketch
with that of the projected views are more apt to
learn the principles of drawing in much less time.
The technique suggested involves first the making of
an outline of the picture sketch with a medium lead
pencil upon the standard 3}i" x 4" etched glass slide.
3 VILWS OF VI5L JAW
TOP VI LW
(Yellow")
y
fRONT VltV/
ItN^IEwJ
(Green)
(Red)
PICTURL
SI^LTCH
OF VI5L JAW
X,,.-- Yellow
^ \
\ \
1^
^
^
^T^
TOP VltW -(Yellow)
fRONT VltW -(Grten') END VIE.W- (Rtd)
3 VltWS OF T-SLOT 5LIDL
Yellow/ -^
(—- Ytllow
~\
Green ^'^-^^^
\P^
-Ked
PICTUHt.
Sl^trcH OF T-5L0T 5LIDt
Examples of Slides for Mechanical Drawing Classes.
(see illustration). Next the surfaces of the picture
sketch are colored with lantern-slide crayons. It is
recommended that yellow, red, and green be used to
represent the top view, front view, and end view re-
spectivelv. The projected orthographic views are then
outlined in pencil upon a second etched glass slide
with the views (top, front, and end) colored-in cor-
responding to the colors used in the picture sketch. For
example, the top surface view of the picture sketch may
be colored yellow, likewise the top view of the second
slide should be shaded yellow ; the front surface view of
the picture sketch may be shaded green, likewise the
front view of the second slide should be shaded green ;
the end surface view of the picture sketch shaded in
red, with the corresponding end view on the second
slide shaded in red. A unity of thought will run
through the hand-made slides if the colors are con-
sistently used as suggested, yellow for top view, green
for front view, and red for end view.
The colored crayons should be thoroughly worked
into the surface of the slide. Clear bright images will
result if the color is applied thickly and evenly within
the pencil outline, then the whole slide shaved with
an old razor blade to remove the excess wax. To pro-
tect the colored slide, place a clear cover glass over
the shaded surface and bind the two glasses together
with any one of the various types of tape now on the
market. Notations or titles may be lettered on the
etched glass surface in pencil before the binding tape
is applied.
An introduction to mechanical drawing through the
use of slides may thus be satisfactorily accomplished
when a set of slides is prepared and presented to
pupils in sequence of difificulty.
When drawing parallel, vertical, and horizontal lines
on slides, use a cut-out cardboard to hold the slide
secure (See Educational Screen, p. 172, May 1939)
by tacking the cardboard to the drawing board and
using the tee square and triangles.
Slides such as these are inexpensive to make ; they
are permanent ; add efficiency to the teaching ; and
well worth the time to make by any progressive and
ambitious teacher.
Helpful Hints for Lantern Slide Users
To remove pencil and crayon work from etched glass
slides, apply a drop of oil, then rub the surface with a
small amount of kitchen cleanser and water.
November, 19)9
Page 34$
ot PICTUROLS
nc/ Pupils Learn Faster
These rolls of 35 mm. film, containing series of still
pictures are light, easy to handle and easy to store.
SOCIAL STUDIES
New sets of Picturols, compiled by leading authorities on
History, Geography and other phases of Social Studies
are available at low cost for permanent additions to your
school library. Write for the S. V. E. catalog on these and
the new recently enlarged Vocational Guidance sets!
SOCIETY FOR VISUAL EDUCATION
Dept. 11ES. 100 E. Ohio St., Chicago, III.
The Federal Film
(Concluded from pajf 339)
distributed from Washington and thirty depositories
located in various parts of the country.
Shock Troops of Disaster, a one-reeler on the New
England hurricane, shows the results of storm destruc-
tion and rescue, disaster relief and rehabilitation efforts.
Rain for the Earth (two reels) pictures drought in
the Great Plains and shows steps being taken in build-
ing dams and reservoirs for conservation.
Man Against the River (one reel) shows the fight
against the Ohio-Mississippi flood waged on wide
fronts by various Government, state and private
agencies.
IVe Work Again (two reels, 15 min.) is a story of
Negro activities under the works program.
Hands (one reel, 6 min.) traces the circulation of
money from the hands of workmen through the marts
of trade.
Work Pays America (five reels, 40 min.) is a drama-
tized record of accomplishment under the Work
Projects Administration and predecessor agencies.
A descriptive mimeographed folder is available from
the W. P. A. Motion Picture Section, Washington,
D. C.
"The amount of visual materials used in the schools this
year has greatly increased. Primary pupils and their teachers
are cooperating in a survey now being conducted by the Director
of the Bureau of N'isual Instruction. This survey will help
to determine what new films and slides should be added to
the visual education library for next semester." Quoted from
"Our Schools, 1938-9*" by William H. Johnson, Supt. of Schools,
Chicago.
COLOR CARTOONS
in 16mm. Sound Film
A new series of 13 color cartoons, one reel
each, ior rental or sale. Titles include:
PASTRYTOWN WEDDING
SUNSHINE MAKERS
THE MERRY KTITENS
PARROTVILLE FIRE DEPT.
GRAND ILLUSION
"Best Film of 193!"
A moving plea for peace; depictinq liTes of
French officer! in a German prison camp.
Awarded lint prixe by National Board of
ReTiew. Endorsed by educators, civic and
other organisations. Cast includes Eric Von
SIroheim and lean Cabin. 10 Reels. French
dialogue with English titles. Study Guide
available.
DAILY eOC
RENTAL 9^9
JVST OFF THE PRESSI
Send for Free Catalog of over 1500
Entertainment and Educational Subjects
WALTER O.GUTLOHNiNc.
35 West 45th Street
Dept. E-11
New York. N, Y.
Page 346
The Educational Screen
^uzzsni \jLLni ^A/kori
Donavin Miller Activities
The recently organized Donavin Miller
Productions, Inc., educational film pro-
ducers, located at 6060 Sunset Boulevard,
Hollywood, California, are making avail-
able a splendid library of classroom
films, which are intended to meet course
of study needs and curriculum require-
ments, both as to content and treatment.
Mary Clint Irion, formerly Visual Edu-
cation Administrator, Los Angeles
County Schools, is director of the Class-
room Films Division.
Now available for purchase are three
2-reel 16mm sound films : Airliner, Mir-
acle of the Meadoivs, and Milk. Airliner
is not a technical film of aviation but
depicts a real journey by air and a mod-
ern transport plane in actual service.
Miracle of the Meadozvs, produced on
a modern dairy farm, covers the entire
process of production, stressing the
scientific aspects of the industry. Milk
parallels the former film except for pas-
teurization but is brought down to the
primary level. These subjects have been
approved and purchased by many Uni-
versity Extension Division film libraries.
Trailside Adventures, produced and
distributed in cooperation with Arthur
C. Barr, naturalist and photographer, is
a series of one-reel biographical studies
of birds and animals in 16mm sound. Six
of these subjects are completed — on the
Horned Owl, Cooper Hawk, Sparrow
Hawk, Roadrunner, Kangaroo Rat and
Cony. Educated Feet, a one reel 16mm
silent film on posture and corrective
physical education, produced by Beverly
Hills Schools, is being handled by Dona-
vin Miller Productions. They also have
Pigs on the Farm, produced for younger
children, by Helen L. Martin, a pro-
gressive primary teacher. This 16mm
silent reel is the first of a series of inti-
mate studies of farm animals.
Bread of Allah, in one reel 16mm
sound, is a November release. This film
shows date culture in the Coachella
Valley of California, together with har-
vesting and preparation for market.
New Film Library in St. Louis
Swank Motion Pictures opened offices
recently in St. Louis, at 5861 Plymouth
Street. They will concentrate chiefly on
service to the school field. Their library
consists of carefully selected 16mm silent
and sound films, features and short sub-
jects, for entertainment and education.
This organization has dedicated itself to
a wholly reliable and selective film serv-
ice to schools. "Our Library" writes P.
R. Swank, "will be kept entirely free
from films which could possibly prove
offensive to any audience being enter-
tained by the school program. Horror
films, suggestive material, drinking se-
quences and from the physical standpoint,
poor photography, bad sound, etc. will
not be found in our material."
Swank Motion Pictures also provides
projection services within a 100 mile
radius of St. Louis for the benefit of
such schools as are interested in putting
on worthwhile film programs to build
funds towards the purchase of their own
sound equipment.
Ohio Film Service
The 16mm sound film library of Ohio
Film Service, 1377 Penliurst Rd., Cleve-
land, Ohio, contains programs of an
educational-entertainment value consist-
ing mostly of travel, exploration and big
game hunting. Most of the programs
also contain cartoons and novelty sub-
jects. These programs are available for
rental. Newsreels, travel pictures and
general educational subjects of high qual-
ity in both sound and silent are available
for sale.
♦ ♦ ♦
Woodward Productions, Incorporated,
30 Rockefeller Plaza, New York City.
The Adventures of Chico, a feature
motion picture which has received super-
lative praise from both the critical pro-
fession and educational authorities, is
offered for school use in 16 mm sound
by its producers, Stacy and Howard
Woodard. Unanimously described as a
"simple, imaginative, charming" film, the
story is that of a little Mexican boy,
Chico, and his strange playmates, the
birds and animals tliat live about his
father's adobe, far up in the plateau of
Mexico. Chico and his father are the
only human actors ; the rest of the cast
is comprised of feathered and four-footed
animal friends. The animals give amaz-
ing performances, always intensely in-
teresting, frequently highly amusing, as
when a pair of mischievous raccoons
break into the hut. raid the larder and
then fall happily asleep amidst the wreck-
age on the kitchen shelf !
Rated an "Exceptional Photoplay" by
the National Board of Review Magazine
"Chico" was given honorable mention
in a recent issue of that publication. Their
review states "Woodard Brothers have
produced in this film something that
belongs among pictures that are taken
down and looked at year after year till
they get to be classics. Time will not
dim its freshness and lovableness."
For information as to rental or pur-
chase price on this subject, write to
Woodard Productions.
Cinema, Incorporated, 234 Clarendon
Street, Boston, has added the follow-
ing 16mm sound features to its
library :
The Life and Loves of Beethoven,
described as an ideal school picture, both
biographically and musically. Inter-
woven throughout the tragic story of the
composer's life is his great music:
"Moonlight Sonata", "Pastoral", "Third
and Ninth Symphonies", and others.
Romance of the Limherlost, which at
the time of its release won the Parent's
Magazine medal for the best family film
of the month.
Cinema, Incorporated has also added a
16mm sound-and silent projector repair
department to its services. Projector
owners in New England will now be able
to eliminate the long wait for equip-
ment sent to distant factories. All makes
can be serviced but the Department
specializes in Bell and Howell, Victor
and Ampro, and gives rapid service.
Eastman Kodak Company, Teaching
Films Division, Rochester, New York,
have produced several new one-reel
16mm silent films :
The Eyes (Advanced) — showing by
animation and photography dissection of
animal's eye, microscopic structure of
retina, physiology of the eye, correct use
of lenses to overcome defects in focusing,
hygiene of the eye. The Ryes ( Prim-
ary)— intended for use in elementary
grades — compares eye with a camera.
Treats care of the eye, correct lighting
for class work, proper use of glasses, re-
moval of dirt from eyes .
Food Series : Vitamin Bl — natural
sources, effect of deficiency of this vita-
min on pigeons, young rats, and human
beings. Effect of a balanced diet on
disease.
Safely Series: Safety at Home and
Safety at Play — two safety films pro-
duced for children in the first three
grades ; Vacation Safety — suitable for use
in grades four to six, and in Junior
High Schools. The film units are: (1)
Water Safety in an Organized Camp —
good swimming precautions. (2) Boating
— correct method of handling boats. (3)
Safe Conditions in Camp — dangers from
broken glass and poison ivy. (4) Fire
Building — correct methods of building
and extinguishing campfires.
Pictorial Films, Inc., 1650 Broadway,
New York City, report the acquisition
of the following:
Custer's Last Stand, a 16mm sound
production available in two forms, as a
9-reel feature and a 33-reel serial in IS
episodes. A spectacular historical drama
of the old West and its famous charac-
ters. Cast includes Rex Lease, William
Farnum, Reed Howes, Lona Andre, Ruth
Mix. Exclusive 16mm world rights.
Cuckoo Murder Case, Movie Mad, The
Village Smitty, The Village Barber, Jail
Birds, Stormy Seas — 6 new Flip, the
Frog Cartoons, in 16mm sound.
Y.M.C.A. Motion Picture Bureau, 347
Madison Ave., New York, N. Y. is
distributing the following March of
Time production.
Anti-Freeze, a Story of Scientific Re-
search, is designed to provide practical
information to 3,000,000 car owners and
drivers in the United States. The splendid
photographic record of the thoroughness
with which the National Carbon Com-
pany carries on its research makes this
picture of unusual value to science de-
partments of our educational institutions.
(Concluded on page 348)
November, 1959
Page 347
ELECTftOL
he heart
of every modern
Visual Education
Plan
Animatophones
Emanate the greatest array of teaching
tools ever presented — effecting econ-
omics never before attained.
Write for VICTOR'S new plan showing
how the Educational motion picture can
he scientifically put to work in every
institution. To see The VICTOR Plan
is to realize its unlimited Utility and
greater Economy.
Simply write Dept. D-l for this enlighleninp
dnln and information'.
VICTOR
ANIMATOGRAPH CORPORATION
Davenport, Iowa
lltributnrt throughout the U^orld
K
'NH^'
HANDS Meect
NEVER
y^, TOUCH
THE
y
Reg. U.S. Pat. 0(f.
ELECTROL
SCREEN
Electrical control gives the Da-Lite Electro!
Screen longer life as well as greater conveni-
ence. A motor drive, operated by remote
control placed anywhere desired, unrolls
this screen from the case, stops it when com-
pletely lowered and rerolls it when the show
is over. This positive safe control assures
constant protection for the screen fabric.
No hands grab or soil it or let it fly up out
of control. In fact once the Electrol is in-
stalled, hands need never touch it.
The Electrol is ideal for
auditoriums and large
class rooms. Supplied
with either GlasD-
Beaded or Mat White
surface. Send for cata-
log on this and other
types of Da-Lite Screens
for various school re-
quirements.
DA-LITE SCREEN CO.. INC.
DEPT. 11ES. 2723 N. CRAWFORD AVE., CHICAGO, ILL.
Page 348
The Educational Screen
Bell & Howell Company, 1801 Larch-
mont Avenue, Chicago, offer many
new subjects in their Filmosound series
of Lecturefilms, photographed by
famous explorers, scientists and edu-
cators, and generally accompanied by
their own narration — available in sound
or silent :
Eskimo Walrus Hunt, and Hunting
Musk Ox with the Polar Eskimo — by
Commander Donald B. MacMillan ;
Rural Quebec Folkways — by Richard
Finnic — portraying 17th century customs
still prevalent; Congo Curiosities and
The Elephant — by Paul L. Hoefler ;
Work-a-Day France — by Russell Wright
— showing jewelry, perfume, lace-mak-
ing, fishing and other industries ; Marsh-
land Mysteries — by Robert H. Unseld —
a nature study film in natural color.
Maguey Culture in Mexico — a new
silent reel, photographed by Edward Sim-
mel, high school student, on a three
months' study trip to rural Mexico.
Discussion outlines on many of their
theatrical features of cultural merit are
also available, indicating the way these
pictures can be most effectively used in
the school auditorium.
Walter O. Gutlohn, 35 W. 45th Street,
New York City, announce the follow-
ing releases :
Grand Illusion — 10 reels, 16mm sound.
French dialogue with English super-im-
posed titles. A plea for peace, depicting
the life of French army officers in a Ger-
man prison camp and psychological ef-
fects of war on different individuals. Dr.
Russell Potter of Columbia University
has termed this picture "an important
cinematic document in the cause of
peace." Cast includes Eric Von Stro-
heim, Jean Gabin, Pierre Fresnay, and
Dita Parlo. Endorsed by many organi-
zations.
Pastrytozvn IVedding. Sunshine Mak-
ers, The Merry Kittens, Parrotville Fire
Department — one-reel color cartons in
16mm sound. Nine others in series.
Available for rental or outright sale with-
out restrictions. .
New edition of Walter O. Gutlohn
catalog of 16mm sound and silent edu-
cational pictures now ready. Much
larger in format than previous issues,
containing 80 pages profusely illustrated
on fine coated stock.
Contemporary Films, 1451 Broadway,
New York City, are releasing the
third subject in a series of consumer
films produced by Julian Roffman :
Getting Your Money's Worth — 16mm
and 35mm sound. The theme for this
series is the expose of frauds and mis-
representations practised upon the public.
The third film is of especial interest to
general audiences in the modest income
class since it delves into the complex
subject of the used car market in the
United States. A comprehensive out-
line is presented on the sale and practices
in used cars. Selling methods are de-
scribed and the unscrupulous methods
of gyp dealers exposed. Advice on
how to buy a car, what tests to make,
where to buy and at what time, is of-
fered to audiences.
czrf-mona tnn
Spencer Lens Plant Completed
A well attended "Open House" marked
the opening of the new, additional Spencer
Lens Company plant, October 26, in
Cheektowaga, New York, near Buffalo.
A planned program of research and de-
velopment, as well as entrance into new
fields of scientific instrument manu-
facture, made the expansion necessary.
The building is 210 x 410 feet over-all,
of steel, brick and concrete construction.
The main factory is single story. K two-
story section on two sides contains of-
fices, the production engineering depart-
ment, locker rooms, a cafeteria, and com-
pletely equipped kitchen. Eight-foot
windows of corrugated wire glass in the
saw tooth monitors running the entire
length of the building, and generous use
of glass in side walls make this a per-
fectly day-lighted factory. Floors are of
wood block for comfort and noise reduc-
tion.
Since projection instruments for film
slides, lantern slides, and opaque objects
require an extensive use of sheet metals,
the fabrication department covers a
large floor area. Because of intricate de-
signs of scientific instruments, tool mak-
iPtoi
ll(2E.%±
New Ampro Achievement
The Ampro Corporation, 2839 North
Western Avenue, Chicago, has announced
a flexible Tri-purpose Public Address
System which in addition to operating
with microphones and phonographs can
be used as a powerful auxiliary am-
plifier with Ampro's low-priced class-
room model projectors for auditorium
use, providing adequate volume for large
audiences. The new Public Address Sys-
tem is precision built and includes every
convenience and feature desirable, com-
bining extreme compactness, light weight,
and rich tone quality.
16 mm. Title and Trailer Service
Recognizing the need for a laboratory
to turn out titles and trailers for the
16 mm field, such as are used by the
regular 35 mm theatres, the Filmack
Trailer Company, 843 Wabash Avenue,
Chicago, nationally engaged in 35 mm
title and trailer service, is now entering
also into the 16 mm non-theatrical field
under the name of Filmack Laboratories.
Filmack is now prepared to give 16 mm
film users and road show exhibitors the
same type of trailers that has been fur-
ing plays an important part in the Spen-
cer operation. Here is located one of
the few Swiss jig-boring machines in the
United States, graduated to a ten thous-
andth of an inch.
Spencer scientific instruments were
used formerly largely in scientific re-
search. Changing modern conditions,
however, have brought wide applications
since Charles A. Spencer, first American
microscope maker, built his original
microscope ninety-two years ago. Spencer
Delineascopes furnish teaching aids in
classroom or auditorium, ranging from
the combination model for lantern slides
and opaque material, to various other
machines which project film slides, color
slides, 3^"x4" slides, and science mate-
rial. Spencer instruments are used in the
fields of metal, glass, ceramics, textile,
paper, food, and drug, paint and varnish
manufacture. Special instruments, such
as bullet comparison microscopes, finger
print comparators, finger print mag-
nifiers, and helixometers are widely used
in crime detection. For American Op-
tical Company, Spencer manufactures in-
struments for measuring eyeglass lenses,
also instruments used in the diagnosis,
refraction, and training of the human eye.
It can be used as a complete public
address system with two individually
controlled microphones and two phono-
graphs operated by a volume fader con-
trol which permits automatic fading from
one phonograph to another. It delivers
an undistorted output of 55 Watts
with less than 5% total harmonic dis-
_^^^^^^^ tortion and a maximum us-
H^JJI^^H able output of 85 Watts. It
^^^^H has output impedance taps
H^^^^H which permit the use of up
jT^H^ V to eight speakers.
a^H a The amplifier is par-
^^^B I ticularly suitable for the
^^^1 f .Amprosound classroom and
industrial models "X" and
■'Y". No alterations are
required to attach one or
two standard .Ampro pro-
jectors to this new aux-
iliary amplifier which will
boost the volume to 55 Watts. Twin
Pilot Lights illuminate control panel
facilitating operation. A monitor out-
let enables operator to "listen in"
and better control operation. Dual
Microphones, Dual Projectors and Dual
Phonographs can be used in various
combinations.
nished to the 35 mm film field. It has
installed the latest cameras, printers and
technical devices known to the narrow
film field. A well trained staff of ex-
perienced technicians, artists and sound
men offer the same facilities to 16 mm
film users that 35 mm theatres through-
out the country have used for so many
years. Sound reproduction and musical
accompaniment are also part of the ex-
tensive new service. A sound library
of musical selections is on hand for syn-
chronizing its trailers. An informative
catalog is available on request.
November, 19)9
Page 349
Acclaimed by Eaucators to Le the finest motion
picture ever produced for juvenile audiences.
THE ADVENTURES OF CHICO
is now offered in botli Englisli and Spanisk
Versions on l6mm. Sound Film
AVAILABLE FOR RENT ON LONG TERM LEASE BASIS
Aaaress all inquiries tot
WOODARD PRODUCTIONS, INC.
30 ROCKEFELLER PLAZA • NEW YORK, N. Y.
95
Motion Pictures —
Not for Theatres
(Continued from page 332)
Willard I?. Cook, organizer and chief
executive of the Pathescoi)e Company of
America, was born at Erie, Pennsylvania,
in 1871. In 1892 he graduated from the
civil engineering course of the University
of Virginia and, for sixteen years there-
after, he was employed by the Van Camp
Packing Company. For that concern he
became western agent, with head(|uarters
in Indianapolis. At the end of the sixteen
years he turned to engineering as a sole
profession. But he was not very happy
over it. Even the opportunities to in-
dulge his lifelong fondness for pleasure-
boating did not compensate
So his sudden devotion to engineering,
which now lasted three years, really be-
came a search, by a restless man who
was still too young and too capable to
retire from the world of afTairs, to find
a new goal of business success. He en-
larged the survey by travel, leaving his
home — which was then in Seattle, I be-
lieve— coming east to New York and so
to Europe. And eventually, in his
peregrinations, he found the Pathescope.
This was before December, 1913, when
Allison demonstrated it at the Camera
Club. I believe that Cook already owned
it, then.
.•\s an experienced former executive in
large scale business, he was a careful
judge of the machine's commercial possi-
bilities ; as a civil engineer he was e<|ually
prudent in planning production. So his
acquisition of the Pathescope oviously
was not a simple stroke of luck, but a
proof of characteristic astuteness. Hav-
ing acquired the device, he returned to
New York and began the first part of
his campaign to market it.. He sought
office space and. with his usual gtwd
judgment, found it in the quarters held
by James C. Milligan, an out-of-town
manufacturers' representative in the
Browning Building, at 56th Street, just
off Herald Square. Milligan, later to be
known as one of the most popular ad-
vertising soli.itors in the motion picture
trade-paper field, took a strong and sym-
pathetic interest in Cook's project.
Although the machine was basically
good, it called for many refinements.
Cranked by hand at first, it needed a
motor drive. And there were other points
of objection which Cook corrected until
he had supplanted the original Pathescope
design with one so entirely his own that
he was able to claim complete independ-
ence of Europe. But that smoothing-out
look plenty of time. While it was in
progress. Cook labored also to raise
money for the proper realization of his
plan for national distribution.
He tried Wall Street, but decided that
interest rates and premiums there were
higher than need be. His next move was
to sell regional sales rights. One of
those who bought the privilege was W.
J. Baumer, director of the Matzene Por-
trait Studio; and he left the Matzene
connection to form the Pathescope Com-
pany of Chicago. But, in 1916 Baumer
sold his interest to the Pathescope Cen-
tral Corporation and joined Rothacker.
There still is a Pathescope Company of
the North E^st, Inc., at Boston, Mass.
I have heard reports of others in Kansas
and in California. But this franchise
plan was only a partial solution. The
money which really swung the tide came
from Percy G. Williams, then one of
the most successful operators of vatide-
ville theatres in America.
The funds so gained enabled Cook
first to set up a machine shop in Long
Island City where he could assemble the
parts imported from France until his own
model was ready to manufacture ; next
they made possible the accumulation of
films for a library. Obviously the ma-
chine, which required an especial narrow-
width film, was not of much use without
pictures to show upon it
These developments called for more
office space; and Cook found it on the
eighteenth floor of the exclusive Aeolian
Building, on 42nd Street near Fifth
Avenue. He is still situated there,
after more than twenty years. The films
he obtained from theatrical producers at
a low rate for the rights which were
then seldom salable elsewhere, and, by
1919, he was able to offer subscribers to
his library a choice of nearly 1,500 reels,
available through exchanges in principal
cities.
(To be eenffimctf)
Page 350
The Educational Screen
DL Ditm B^iimaU^
Babes in Arms (Rooney. Garland, and many more)
(MGM) Lively, laughable, sure box office musical
comedy, exploiting Rooney as universal stage
genius. Second generation of actors show parents
how. Precocious kids, with elders , can be amus-
ing ; alone, can become tiresome. Effect on young-
audience psychology a nice question. 10-17-39
(A) (Y) (C) Very good of kind
Bad Lands (Barrat. Beery Jr., Andy Clyde)
(RKO) The "Lost Patrol" idea scaled down to
a grim little Western. Posse of renegades go
after Apache murderer, but are surrounded and
picked off gradually until their leader alone
survives. Reasonable suspense, perils, character
interest, but slow depressing action. 10-17-39
(A) Hardly (Y) No (C) No
Belladonna (Veidt, Hardwicke, Mary Ellis)
(English) Triangle, from Hichens novel, with
slumbrous Nile background. Wife of fine Eng-
lishman has illicit affair with attractive, ruthless
Egyptian, tries to poison her husband. Is thwart-
ed by husband's friend (Hardwicke) who gives
overdone but impressive performance. 10-24-39
(A) Fair (Y) No (C) No
Cat and the Canary (Hope, Goddard) (Para) Old
favorite mystery melodrama about attempts of
member of family to drive lovely heiress mad.
Electric with suspense, hokum horrors, eerie
house, secret passages, sliding panels. Hope,
as frightened but courageous cousin in love
with heiress, adds deft bit of comedy. 11-7-39
(A) Good of kind (Y) Doubtful (C) No
Charlie Chan at Treasure Island (Toler. Romero)
(Fox) Arch-villain astrologer, house of mystery,
weird disguises, black magic, sleight-of-hand,
telepathy, blackmail and assorted murders make
jittery situation that Chan solves with custom-
ary Chinese chatter and suave cleverness. Sus-
pense good. Treasure Island figures little. 1 1-7-39
(A)&(Y) Fair of kind (C) Very excHing
Chicken Wagon Family (Jane Withers, Carrillo,
Byington) (Fox) Wagon-peddler and his family
leave their native rural territory and descend
upon New York City, mules and all. Semi-cred-
ible adventures, mixing comedy and melodrama,
reach happy ending, thanks to friendly cop.
Jane good in more grown-up role. 11-7-39
(A) Fair (Y)&(C) Mostly amusing
Dancing Co-Ed (Lana Turner, R. Carlson)
( MGM ) More or less funny story of pretty
vaudeville dancer planted in so-called college
by Hollywood studio in "dancing co-ed" con-
test. Amateurish mixture of pseudo-college
antics, elementary comedy, and usual swing
music. 10-31-39
(A) Depends on taste (Y) Doubtful value (C) No
Double Crime on the Maginot Line (French.
English titles) Substantial drama of murder
and intrigue involving French officer and
German wife, MaKJnot line effective though
subordinate background. Plot involved and
slow moving at times, but tense throughout.
Excellent acting by French officer. 10-31-39
(A) Depends on taste (Y) Hardly (C) No
Fifth Avenue Girl (Walter Connolly, Ginger
Rogers) (RKO) Discouraged millionnaire, tired
of business and abnormal home life, hires girl-
companion from park bench to bring family to
senses. Improbable, far fetched, but good lines,
clever situations, and fine role by Connolly.
Ginger misses subtlety of her role. 10-24-39
(A) Good of kind (Y) Doubtful value (C) No
First Love (Durbin, Stack) (Univ) Surprisingly
mature Deanna, after "finishing school," lives
with wealthy aunt and uncle. Disgustingly ex-
aggerated picture of blase, selfish family. With
servants and police cooperating. Deanna goes
to her first dance. Ball scene where she sings
and dances, utterly charming. 11-7-39
(A) Fairly good (Y) Perhaps (C) No
Full Confession (McLaglen, Calleia) (RKO ) Very
good psychological character portrayal by Cal-
leia as kindly Irish priest and McLaglen as
hard-headed, stubborn roughneck who had killed
a man and confesses to priest on point of
death. Many tense situations well-acted. Strongly
reminiscent of "The Informer." 11-7-39
(A) Very good of kind (Y) Too mature (C) No
Here I Am A Stranger (Dix. Greene, George.
Young) (Fox) Mother leaves drunken husband
and remarries for son's sake. Later, in college,
son turns against mother and step-father rathei
than conceal truth about fatal auto accident.
Confused and feeble plot, dialog uninteresting,
the few good situations bady muffed. 11-7-39
(A)&(Y) Poor (C) No
Being the Combined Judgments oi 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.
Hollywood Cavalcade (Ameche, Faye) (Fox)
Reminiscent panorama of old-time motion-pic-
ture personalities and procedures, featuring Key-
stone comedy. But historical interest clogged by
obstreperousness of dominating, picture-mad di-
rector, who loses beloved leading lady, goes hay-
wire until advent of talkies restores him. 10-24-39
(A) and (Y) Fairly good (C) Amusing in spots
Island of Lost Men (Wong. Naish, Blore)
(Para) Mediocre adventure story of man who
sets himself up as king of South Sea Island
and its population of natives and escaped
criminals. Innocent persons escape and Naish
is killed by natives. Eric Blore adds touch
of humor. 10-31-39
(A) Mediocre (Y) No (C) No
Miracles for Sale (Robt. Young. Florence Rice)
(MGM) Fast moving murder mystery of profes-
sional magician, exposing practices of spiritual-
ists, who stumbles upon and solves several dra-
matic murders. An eerie seance and various
thrill devices add excitement. Robert Young
plays magiciannaturally and gracefully. 10-24-39
(A) Good of kind (Y) Thrilling (C) No
Hirele Efros (Jewish, English titles) Simple,
beautifully produced story of a strong,
generous woman whose home and business
are taken from her by son's ambitious wife.
Family later drawn together by grandson.
Character of Mirele Efros exquisitely por-
trayed. 10-31-39
(A) Excellent of kind (Y) Mature (C) No
Mutiny in the Big House (Chas. Bickford)
(Monogram) Strong little prison picture, with
historical basis, aims more at conviction than
thrill. Understanding chaplain's struggle over
h's hard-boiled charges is tense and interest-
ing. One very grim "killer" scene outweigh"''
b" human values and real heroism. 10-17-39
(A) &(Y) Good of kind (C) No
On His Own (Russian-Eng. Titles') (Amkino>
Second in series based on G'orkv's autobiogranhv.
Long, sombre picture of youthful struggles of or-
phaned boy, meeting much misery and injustice
but possessing instinctive feeling for right. Not-
able character roles by boy and lovable grand-
moth'^r. More episodic than dramatic. 10-24-39
(A) Good of kind (Y) and (C) Too sombre
Pack tip Your Troubles (Withers, Schildkraut.
Ritz Bros.) (Fox) Farce comedy, with caricatured
World War background, about little French hero-
ine carrying military secrets to her father, a spy
at German headquarters. Songs, Hances. and the
nitwit Ritz. bros. lighten proceedings. Distinct-
ly new role by maturing Jane Withers. 10-24-39
(A) and (Y) Fair (C) Too exciting
Reil Glorv. The (Gary Cooper. Niven. Lee>ds)
(U. A.) Grim, thrilling struggle between Fili-
pinos, officered by Americans, and treacherous
MoroR. Cooper notable as hard, able army doctor
who leads and wins fight against savages and chol-
era. Gruesome bits, implausibilities. but essential-
ly good in technique and characterization. 11-7-39
(A) Fine of kind (Y) Exciting (C) No
Rio (Rnthbone. McLaglen, Cummines. Sigrid
Gurie) (Univ) Pretentions thriller, strikingly set.
about arch-crook. Devil's Island, grursom^ 'ungle
sufferings, escape, death, and rival gets wi^e ! Arti-
ficial series of sensational situations rather than
drama. Hero struggles downward to accid'^ntal
death! Gurie's singing adds I'ttle. 10-17-39
(A) Depends on taste (Y) No (C) No
Television Spy (Wm. Henry, Judith Barrett)
(Para) Lively little tale of public-spirited fi-
nancier w^ho backs young scientists' experiments
with long-distance television with intent to turn
discoveries over to government. Feminine charm-
er, plotting to sell plans to European power, is
foiled. Fairly good entertainment. 10-24-39
(A) and (Y) Good of kind (C) Perhaps
These Glamour Girls (Lew Ayres. Lana Turner)
(MGM) Improbable tale of taxi-dancer, attend-
ing college house-party at hero's drunken invi-
tation, telling off wealthy sociali<fces. stealing
the show, and reforming playboy. Breezy well-
liquored romancing by overdrawn, unconvincing
characters, in supposed college setting. 10-24-39
(A) Mediocre (Y) and (C) No
The Roaring Twenties (Cagney, Bogart) (War-
ner) Prohibition embodied in career of benevo-
lent lough, who returns from war to changed
world and no job. Turns racketeer. Backs blues
singer but loses her to friend. Tragic ending.
Striking photomontage and newsreel commen-
tary connect episodes. 10-31-39
(A) Very good of kind (Y) Doubtful (C) No
They Shall Have Music (Jascha Heifetz. Mc-
Crea. Leeds) (UA) Appealing picture, full of
technical flaws, but rich in character interest.
human comedy, finest music, and social "lift."
Idealistic music school saves little slum hero
and is saved in turn. Fine child orchestra. In-
timate close-ups of Heifetz's playing. 10-17-39
(A) Good (Y) & (C) Excellent
Three Waltzes (French, English titles) (Yvonne
Printemps, Pierre Fresnay) The well known
actress in triple role as famous dancer, her
daughter and grand-daughter, in three succes-
sive love affairs, only the third successful.
Yvonne's dancing and her real age are handi-
caps. Very French in tone and manner. 10-17-39
(A) Fair (Y) Hardly (C) No
Thunder Afloat (Beery, Morris) (MGM) Beery
as heavy-drinking, hard-hitting. buU-headod
•^ea skipper joins navy for vengeance on
German submarines. His insubordination and
fearless heroics make comedy and thrill.
Glorifies anti-German fighting spirit in Great
War. 10-31-39
(A) Good of kind (Y) Good of kind (C) No
Torpedoed (H. B. Warner, Noah Beery, John
Cromwell) (English) Lumbering story, confused
by dizzy montage, of Britain's suppression of
South American war crisis. Incessant riots,
shooting of civilians, clumsy bombardments.
British navy furnished the Royal Oak for torpedo
climax !( The picture's only distinction.) 10-31-39
(A) Dull (Y) No (C) No
$1000 a Touchdown (Joe E. Brown. Martha
Raye) (Para) Utterly nitwit farce with no re-
mote relations to reality. Idiotic doings in crazy
college by football team under harebrained coach.
Plenty of vacuous laughs over unobjectionable
twaddle and wild slapstick. Sort of nonsense
travesty on previous college travesties. 10-17-39
(A) Inane (Y) & (C) More or less funny
Two Bright Boys (Cooper, Bartholomew) (Univ)
Melodramatic story of small-time English gam-
blers, father and son (Freddie), involved in
ruthless oil promoter's scheme to wrest prop-
erty from plucky Irish boy (Jackie) and mother.
Violent complications, ruthless destruction of
property. Two fine bov roles. 11-7-39
(A)&(Y) Very good of kind (C) Exciting
When Germany Surrendered (World War Docu-
mentary) Grim, informative, authentic excerpts
fmm c.tficial films by eight nations, on destruc-
tion and brutality of war. Czar, Kaiser, Wil-
son. Clemenceau appear. Gruesome killings and
mutilations. Well-meant, pitifully ungram-
matical anti-war voealogue. 10-31-89
(A) Good of kind (Y) No (C) No
Witness Vanishes. The (Edmund Lowe, Wendy
Barrie) (Univ)Quiet. puzzling little murder mys-
tery that starts well, holds suspense, but gets
a bit confused by becoming over-intricate and
under-explained. Series of vengeance murders
at newspaper headquarters solved by outside
reporter. Feeble romance woven in. 10-17-39
(A) Hardly (Y) Fair (C) Hardly
E 1 111 (CAT! OMAL
le Magazine Devoted Exclusively
I the Visual Idea in Education
Public Libra
Kansas Cfty, M
Teachers Libra
DECEMBER, 1939
VOLUME XVIII. NUMBER 10
WHOLE NUMBER I 77
Adoration of
Three Holy
Kings
Paintinfi by Lrinveber
Oourtesy of Colomiai. Akt Cumhany
IN THIS ISSUE
streamlining Education
Sound Film Experiment with
Handicapped and
Retarded fupils
Research in
Audio-Visual Education
Motion Pictures —
Not for Theatres
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^fis. EDUCATIONAL SCREEN
DECEMBER. 1939 VOLUME XVIIl
NUMBER TEN
WHOLE NUMBER 177
Contents
"Streamlining Education"
Anne Ray and Maribel Richardson
357
Sound-Film Experiment with Handicapped and
Retarded Pupils
Agnes Mahoney and H. L. Harshman
359
Research in Audio-Visual Education
James S. Kinder
360
:•
Motion Pictures Not for Theatres
Arthur Edwin Krows -
362
Among Ourselves — Notes from and by
The Department of Visual Instruction
Conducted by The Editorial Committee
366
Christmas Decorations — In Hand-Made Lantern
Ann Gale _ .•
Slides
368
The Literature in Visual Instruction — A Monthly
Digest
Conducted by Etta Schneider
369
The Federal Film
Conducted by Arch Mercey
374
News and Notes
Conducted by Josephine Hoffman
376
In and For the Classroom
Conducted by Wilber Emmert
378
Current Film News
380
Among the Producers
382
Film Estimates
384
385
Index to Volume XVIIl
Here They Are! A Trade Directory of the Visua
Field...
388
The EDUCATIONAL SCREEN publithad monthly e>c*pt July and August by Th«
Educalional Scraan, Inc. Publication OfFica, Pontiac, Illinois; Exacutiva Offica, 64
East Laka St., Chicago, Illinois. Entarad at tha Post Offica at Pontiac, Illinois, as
Sacond Class Mattar. Copyright, Decembar, 1939, by Tha Educational Scraan.
Addrass communications to Eiacutiva Office, 64 East Laka St., Chicago, III.
$2.00 a year (Canada. $2.25; foreign. $3.00) Single Copies 2S cenH.
THE EDUCATIONAL SCREEN. Inc.
Directorate and Staff
Ntlton L. Grwne. Editor JoMphlns Hoffman
Enlyn 1. Bokrr F. Dran MtClulkt
Wilbor CMMirt Stanley R. Grf«n«
Ann Gale Etta Schneider
Page 356
The Educational Screen
'^lvQt6itotiaL
A Suggestion for the D. V. I.
A N unmistakable sign of life is growth. The De-
■^^ partment of Visual Instruction began twenty years
ago, if we include its predecessors, with a handful of
pioneers, and has crawled and intermittently climbed
to something over 600 members. This may be called
"growth" of a sort, but it is small comfort to reflect
that the field has grown probably ten times as fast
in those same twenty years. It is equally small
comfort to know that local meetings in visual instruc-
tion at many centers in the country often achieve an
attendance ten times that of the national meetings. A
hundred thousand more or less interested teachers, as
a potential membership market, should certainly yield
6000 members instead of 600 for the national organ-
ization. These members would come easily if they got
more for their money. More could be offered if de-
partmental revenues increased. Revenues would in-
crease with growth in membership — and so on around
the old familiar circle. We would suggest a point
where this circle can be broken.
One strong inducement to members would be closer
personal contact with each other and a complete ex-
change of experience, plans and activities among the
entire national membership. This inducement can be
offered now, and will operate immediately to pro-
mote the desirable increase in membership and rev-
enues. Little contact or exchange can be had from a
"national meeting." Distances are prohibitive. A few
dozen of the faithful, seated among rows of empty
chairs in a hotel room, once or twice a year, able from
long familiarity to anticipate each other's utterances
with monotonous accuracy, is but a feeble proxy for
a "national department." We respectfully suggest as
follows :
( 1 ) Hold one national meeting a year, as the official
business session, concurrently with the June
meetings of the N.E.A., and five zonal meetings
of the Department in September, November,
January, March, and May.
(2) Divide the country into five departmental
zones, on a basis of scholastic population rather
than geography, so that the vast majority of
teachers and schools will be within but a few
hours' ride of a zonal meeting. Each zone will
probably include several of the present
"branches," which might in turn sponsor the
annual meeting for that zone.
(3) Have five Vice-Presidents of the Department,
one in each zone, each responsible for the pro-
gram and attendance at one meeting a year in
his zone, and for membership growth within
his zone by joint-campaign with the national
administration.
(4) The National Secretary, or the President of the
Department, should appear on the program at
each zonal meeting for a liaison address on na-
tional activities in all zones. Audience and
speakers from adjacent or distant zones, as
occasion and opportunity offer, will naturally
be welcomed, but primary support and par-
ticipation in meeting and program will come
from the zone itself.
(5) A comprehensive, detailed account of each
zonal meeting, with the outstanding papers
presented, should then be printed in the official
magazine for the current and following month,
thus expanding the audience of each zonal
meeting to the entire membership in all zones,
since the magazine goes to every member.
Such a plan, with whole-hearted cooperation from
the zones, would establish a rate of departmental mem-
bership growth that would permit the law of the "snow-
ball" to become operative. The 6000 figure for member-
ship mentioned above is not chimerical. Membership
efforts in limited areas, from a nearby center, are regu-
larly more effective. Local visual instruction groups
have already attained larger active memberships than
the entire national Department. Attendance at each
zonal meeting will be many times greater than that of
the present national meetings, with corresponding mem-
ber increase. The national interest in visual instruction,
widened and intensified by the broader contact and
interchange under the zonal plan, may even produce an
annual meeting of which the Department of Visual
Instruction can be really proud. Outstanding features
and speakers, as discovered and developed in the zonal
meetings and reported by the Vice-Presidents to the
national administration, would widen its field of choice
for building a preeminently significant program for the
June meeting of the national Department.
We had the pleasure recently of a tete-a-tete discus-
sion with President Hansen on various departmental
matters, among them, this suggestion. With his ap-
proval it is printed here for such consideration by the
membership as it may seem to merit. N. L. G.
To Our Readers: Hereafter please send all data on
film productions by schools and colleges direct to Mr.
Hardy R. Finch, High School, Greenwich, Conn. — not
to the magazine. Thank you.
December, 7939
Page 357
"STREAMLINING EDUCATION"
Making a School Film
Twin articles describing respectively the pro-
duction and use of a film by classes in
English Literature in Junior High SchooL
ANNE RAY and MARIBEL RICHARDSON
J. C. Murphy Jr. High School, Atlanta, Ga.
SINCE the planmng of the graduation programs
falls to my lot this year, and since I am integrating
civics with English, and since I enjoy most keenly
the teaching of "The Lady of the Lake", — there loomed
upon my mental horizon in October a picture. Quite
a moving picture it was — so convincing in fact that
the midyear promotion program seemed at once solved
for a motion picture of "The I^dy of the Lake" had
begun to cast its shadows.
The idea of making a movie was not new to me.
Last year as my 9 Low classes read "Treasure Island"
with great gusto, I had seen certain memljers of the
groups enacting on the screen various roles with a
remarkable proficiency. For I had a Jim and a John
Silver and a consortment of pirates that Cecil de Mille
might have bargained with me for. But a combination
of circumstances had prevented the achievement of
my cinematic adventuring.
As I have stated, I had a twofold purpose in carry-
ing out the project. In addition to the enjoyment
to be derived from the reading of an exciting and
lovely piece of literature it would serve as an ex-
cellent basis for study in contrasting the benefits to
be enjoyed from a modern democratic form of govern-
ment with the hazards of 16th century monarchial
Scotland, disintegrated by social conflict and clan
ideologj'. But the practical value to be derived by the
students from organization and cooperation in execut-
ing the project would be, as I saw it, its chief civic
claims. Then having served already so creditable
a purpose what better graduation program might be
evolved than that which the students themselves had
effected ?
As prejiaration for the reading of the poem the
following assignments were given:
1. The drawing of a map of Scotland for location
of Highlands and Lowlands.
2. After a study of the lake region as indicated on a
map in the text and a further study of names
listed on the board, the location of mountains,
lakes, etc., was marked on children's maps.
3. A brief study of the life of James 5th of Scotland.
4. A brief study of clans, Scotch names, 16th cen-
tury dress, weapons — the relation of the minstrel-
border warfare.
5. A brief study of Scott's life.
I read the poem to the class stopping for explana-
tion wherever I felt it necessary or students asked
for it. I read only for the story. After the reading
was completed, we discussed plot and characterization.
The three classes were then divided into committees
for I wanted as fair a representation from each class
as was possible. From each class then, there was ap-
pointed a committee for costumes, a committee for
weapons, one for banners, one for properties and one
for writing on the script. Sketches were made of cos-
tumes and banners, models were constructed of weapons,
and the script committee worked heroically at lines.
The properties needed were listed and a good many
were found among the students. Those that could not
be procured in this way were rented. The typing of the
script was done by the students and all of the work
mentioned was done during the regular English periods.
Practically all of the locations were suggested by mem-
bers of the classes.
The initial aim of the picture was to make it a
completely student project. Each child would pay for
the material necessary for his costume. The girls in
the English classes taking the Home Economics course
would, under the direction of that teacher, make the
kilts, scarfs, and bonnets. For the Lincoln Green cos-
tume, the boys would provide suits of long underwear
and the material for the jerkins and boots which the
girls would make. The making of the sporrans and
the entire assembling of the costumes then was to be
in charge of the girls under the supervision of the
Head of the Home Economics department in collabor-
ation with the director of the project. The boys taking
shops would make the weapons.
Fifty-two children were used in the cast — ^a cast
about which I have no illusion concerning offers from
Mr. DeMille. Since the children were completely
lacking in dramatic experience, frequently disconcerted
by the strangeness of the setting, and fatigued by long
hours of waiting or work — the performance was often
commensurate with the difficulties involved. The
constant warning of "Hurry ! Hurry ! The light's
going," still keeps me awake at night. Nevertheless,
be it said to their credit, the actors never forgot their
lines and worked as doggedly at the job as any Holly-
wood veteran — minus the temperament !
Approximately a week was spent in actual filming
— part of this being after school hours. Two and a half
full school days were used. The short days with their
failing light was possibly the greatest handicap.
But the picture has been completed ! Five reels ! And
what there may be lacking in dramatic sincerity and
good theatre has been amply compensated by the loy-
alty and willingness of the boys and girls to stick, for
it has meant sustained effort on the part of all con-
cerned— an experience that I believe will not soon be
forgotten. And somehow I have the feeling that no
one's education could possibly be complete without a
part in the making of a school film ! Anne Ray
Page 358
The Educational Screen
The School-Made Movie in the Classroom
"We learn what we live to the degree that we live it."
— Kil pat rick.
FOR MANY years teachers of English have felt
that the moving picture was a valuable aid in the
teaching of literature. Many pictures have been
shown in the classroom, particularly in our larger
schools, and through this medium some of our greatest
stories and literary masterpieces have become actual
living experiences for the boys and girls. But no
picture, however well it is acted, can be of as much
interest and value or can become as much of a living
experience to the pupils as one acted by the pupils
themselves. At least that was our experience in film-
ing "The Lady of the Lake" with fifty-two of our
ninth grade students.
For three months pupils and teachers worked dili-
gently to produce a film that would be a credit to our
school and would add interest and value to the study
of a piece of literature that often is found monotonous
to ninth grade students. Now that the film is completed
we wish to evaluate our work from two angles: What
the picture has meant to those who so faithfully and
enthusiastically took part in the planning and produc-
tion of the picture, and what it will mean to the
students who see it in connection with their study of
"The Lady of the Lake." I shall state what, in my
A scene from the school film "Lady of the Lake."
2.
3.
4.
5.
9.
10.
11.
12.
13.
opinion, it meant to those taking part in the produc-
tion of the film :
1. Stimulated interest and paved the way for fu-
ture appreciation.
Made the story a real living experience.
Increased the opportunities for deep and lasting
appreciation of the great beauty of verse and
thought in this great masterpiece.
Every character and scene was made real and
significant.
\\'ork seemed to be permeated with a sense
of happy appreciation on the part of both teach-
ers and pupils.
6. Enriched the experiences of the pupils.
7. Through the research work that was necessary
to produce the film, the students gained an in-
sight into the historical, literary, and geograph-
ical background of the poem.
8. Developed an attitude of cooperation among the
pupils.
Gave excellent opportunity for character study
and character building.
Pupils learned to meet and overcome obstacles.
Aided in pupils' interpretation of historical data.
Made "The Lady of the Lake" a joy to the
pupils and not a drag as it sometimes is.
Developed in the students the ability to see a
commercial picture critically.
The picture is now being used in the classroom, and
the keen interest and enthusiasm which is being shown
by the pupils is gratifying. Two approaches have been
used by the teachers presenting the film. One teacher
used it in advance of any study or reading of the
poem. By doing this she felt that it would stimulate
interest and would serve as an excellent device in the
introduction of the poem to the class. Another teacher
read and discussed the poem with the class and then
showed the picture. After trying these two approaches,
it is the opinion of both teachers and pupils that it is
better to have some understanding of the poem first,
then see the picture, and after further study to show
it again. Many pupils who saw the picture before
reading the poem enjoyed it, but there were many
things they did not understand since they were not
familiar with the story and knew little about the cus-
toms and superstitions of the Scotch people of the
sixteenth century. Those who had already studied the
poem received a real thrill when the Fiery Cross was
made, when Roderick Dhu and Fitz- James fought at
Coilantogle Ford, and when Ellen learned that James
Fitz- James was Scotland's King. Every scene had a
significant meaning, and they were able to appreciate
and understand each scene as it unfolded the beautiful
story of the poem. All expressed a desire to see it
again.
It is difficult to estimate at present the value of our
film as an educational device for classroom use. But
from the reaction of the students who took part in its
production and of those who have seen it as a part
of their study of the poem, we have every reason to
believe that it is fulfilling our purpose in making it —
to give the pupils an opportunity to learn through
living. Maribel Ricii.-vrdson
Head of English Department
December, I9i9
Page 3 59
Sound - Film Experiment with
Handicapped and Retarded Pupils
AGNES MAHONEY
Principal Clemens Vonnegut School
H. L. HARSHMAN
Director Administrative Research
Public Schools, Indianapolis
Showing interesting results obtained by use ol
soundfilm in teaching a unit in social studies to
pupils lacking in ability to do regular school work.
THE SI'Kl'IAL education department of the In-
dianapolis I'ublic Schools organizes special classes
for the crip()led, the mal-nourished, the hard-of-
heariiig, the speech defective, the visually handicapped,
the emotionally unstable and the mentally retarded.
Instruction in "special" classes is designed to give such
attention and instruction as will meet each individual
need of the child by encouraging development of strong
characteristics and minimizing discouragement because
of inability in certain learning areas. It substitutes
activities in which the child has a chance to succeed
for those in which the child cannot participate because
of his handicap.
Because the special education unit of the public
schools is devoted to finding the channel into which
a child best fits and to finding the means by which
a child might best be taught to the highest level possible
for him, De\\"itt S. Morgan, superintendent of the
Indianaixilis Public Schools, asked that an experiment
with the sound film be conducted in classes which are
organized for pupils who are lacking in their ability
to do school work.
In the spring of 1939, the Clemens Vonnegut School
conducted a four weeks' experiment in an attempt to
measure objectively the value of the sound film in
teaching a unit in social .studies to those pupils who
were deficient in ability to do regular school work. The
unit chosen was, "Transportation."
Two groups of boys were selected — one group was
to use the classroom film, "Development of Trans-
portation," and the other group was to be taught by
means of classroom discussions and books, but not by
the film.
For the experiment, boys were chosen as nearly as
possible of the same mentality, same chronological age
and the sanie reading ability level. One boy of one
group was pitted against a boy of the other group.
Throughout the experiment both groups were taught
by the same teacher. The groups were desigjnated as
control group (no visual aids) and visual group (u.se
of sound film.)
TABLE I
Comparison of Average Chronolnqkal . Mental and Reading
Age of the Control and Visual Groups
Average Average Average
Chronological Mental Reading
age in years age in years Age
14.6 8.4 2.6
14.7 8.5 2.6
For the duration of this experiment, the same general
and specific objectives were established for the control
and visual groups.
The General Objectives
1. To develop a growing interest in the country
beyond the child's immediate environment.
2. To develop an appreciation of the principle that
changes take place continually.
3. To understand that progress in one mode or
method of living demands a parallel growth in other
modes and methods of life.
The Specific Objectives
1. To understand the necessity of growth in trans-
portation in correspondence with growth and develop-
ment of the country.
2. To understand that growth of industry parallels
growth of transportation and growth of country.
3. To gain a broad view of the ways in which pro-
The old
and new
in
railroad
transpor-
tation
Number
Group
in Group
Control
19
Visual
19
Page 360
The Educational Screen
gressive steps in the convenience, safety and speed of
travel have been attained.
4. To learn that better living conditions have re-
sulted from improved travel and transportation.
5. To learn that there are possibilities for further
development in transportation.
6. To encourage investigation, keener observation,
ability to look up materials, and ability to express
oneself.
7. To become familiar with a vocabulary necessary
to discuss topics on transportation.
Four tests were given to each group before the ex-
periment, and the same four tests were repeated at
the close of the experiment to measure insofar as
possible the progress of the two groups in respect to
the accomplishment of the objectives. One test was a
vocabulary test. Because of the pupil's limited reading
level this test had to be given individually and orally.
The words in the vocabulary test were also used for
the recognition test. The vocabulary test consisted of
fifty words, all of which were selected in relationship
to the subject under consideration. The words selected
ranged in difficulty from the three-letter word, "Air",
to the sixteen-letter word, "Transcontinental." In
marking the vocabulary test, a numerical value of one
was given for each word used and spelled correctly. In
the recognition test the same numerical value was given
for each word recognized.
Another test was given which pertained to certain
facts regarding transportation. The same test was given
again at the end of the experiment.
Because of the limited reading level of the two
groups, all fact questions had to be read by the teacher
and answered by the pupil by either "yes" or "no".
This test consisted of twenty true and false questions.
The numerical value of five was granted for each
correct answer. The following five questions are ex-
amples of the questions used in this test.
( 1 ) People who travel once in a while from Indiana
to New York are called commuters.
(2) Man could not overcome the mountain barrier
in building railways.
(3) The Erie Canal is a natural body of water.
(4) Growth of highways started with animal trails.
(5) Whitney was the inventor of the steam engine.
A fourth test was given, whereby an attempt was
made to test attitudes. The same test was given at the
end of the experiment. This test was difficult to ad-
minister because questions had to be answered by
either "yes" or "no". Each correct answer in this
(Concluded on page i7i)
RESEARCH IN
AUDIO -VISUAL EDUCATION
EDUCATORS and students interested in audio-
visual education view its rapid development with
considerable satisfaction. Occasionally a stock-
taking records just how rapid this development has
been. In 1937, an elaborate summary of the literature
dealing with one aspect of the problem — motion pictures
in education — was published under the auspices of the
Committee on Motion Pictures in Education of the
American Council on Education.^ This comprehensive
volume of 472 pages abstracted and collated some 300
magazine articles, yearbooks, pamphlets, and theses.
The volume is an indispensable part of the library of
every teacher or administrator interested in motion
picture education.
There are, however, several valuable items about
the research in this field which this compilation does
not show. How many of the abstracted articles are
actually researches? Naturally, the definition one ac-
cepts for research will have much bearing on this
question. Aside from motion pictures, what other as-
pects of visual education are being systematically
' Dale, Edgar ; Dunn, Fannie W. ; Hoban, Charles F., Jr. ; and
Schneider, Etta ; Motion Pictures in Education, New York,
The H. W. Wilson Co., 1937
Summarizing research already done in the field and
disclosing areas where hirther studies are needed.
JAMES S. KINDER
Pennsylvcmia College for Women, Pittsburgh
studied? What is the status of research in radio as an
educational medium? Educators are beginning to
combine the aural and visual, feeling that the two can-
not be logically separated. The sound motion picture
certainly combines both aspects, as also does telecast-
ing, which be it said, is just around the proverbial
corner in the United States and is already an accom-
plished fact in Great Britain. To what extent are ad-
vanced students in colleges of education turning to the
audio-visual field for problems for research to fulfill
part of the requirements for graduate degrees? This
article attempts to find at least partial answers to these
questions.
In 1928 the Bureau of Educational Research of the
College of Education of the University of Illinois,
under the directorship of Walter S. Monroe^ published
the first comprehensive volume on educational re-
search in the United States. The next year the library
division of the U. S. Bureau of Education published a
bibliography comprising all research studies in educa-
tion completed during the year. Since that time the
U. S. Office of Education has collected and published
^Monroe, Walter S., et al. Ten Years of Educational Research,
1918-1927, Bulletin No. 42.
December, 19)9 Page 361
all studies in education completed dur- TabnUtioa of Research Studies In Visual EdncatioB
ing the year. These bulletins now rep- For thi- %•«« 1928 to 1938 accordinx to compilations from the U. 8. Office o( Ednestion nnatl bulletiiu.
resent an aCCUnUllative directory of BibHogmphy of Reitareh Studin m Education. 19261927 to 19361937, and Ten Yean of Bduealional
, 11.. Kteearrh. 1918-1927 by W. 8. Mourie, el al.
all research studies in education. b n i, i. k t i s »
Locating all the research studies in -s^. — Na no. no. — No. No. — s^. — n.. no. — i»E — 55!
education each year is no mean task *""' m«"i»i«« ' 56 « c
in Itself. The Office of Education relies
chiefly on letters to colleges and uni- "°r. ^elf"'.' ."^^..'-.r 4 13 6 9 8 9 n-r i4 lo 20 loe
versities requesting information on General visnai aida and in-
completed researches. These letters are ""-""ion • ■ ■ ^^ 1 « 10 10 is 12 » s 4 s 11 96
accompanied by franked form-cards "ateHl".'" .*°* . !""""!'" 12881221 e 21
for reporting the data. Letters are also st*reopticon siidea, nimsUdea,
sent to state superintendents of public "<'■"*■•"'«"?'» 1212 i t
'. '^ Mlacellaueous 11 2 4
instruction, junior colleges, teachers Total Re,o.rcho, Reported . . 16 3 12 22 24 22 25 28 13 19 15 ST 286
colleges, research bureaus, etc. In No. which were a. m. these* i g 7 ii 20 19 20 10 i4 is si i56
addition, the library division of the No. which were Ph. D. theae* 1118418 216
Office of Education has access to every ••Year of the Payne Foundation Studies
educational journal published in the
country. Although it is possible that Tabulation of Research Studies In Radio Education
some researches are omitted from the
... , , . for the years 1928 to 1938 accordinK to comDilations from the tJ. S. Office of Education annual buUetini,
compilation, the number is small. BibUotraphy of Rreeareh StudUe in £du«<Uion. 1926-1927 to 1936-1937, and Ten Yean of SdueMonal
There is as yet no well defined and Se^earch. 1918 1927 by w. s. Monroe, et. ai.
accepted definition of research. The « r 1. 1. k t i n b
... 1 , . . „ No. No. No. No. No. No. No. No. No. No. No^
compilations are based chiefly upon Men- nstaisite 7 ss « «
what the respective institutions report •»• '•** '»*» "** '"' "" "" '»" "" >»*' "" *•" *^
as research. The term research must u«e in schools. coHegea, etc. . . 1 6 10 s 7 6 6 4 I6 67
then be interpreted broadly; even so, *•"•" «'•'•"'">■> I ,1 , I I ], I ,1 "
, .. '^ , ■' '. ... Total 1 8 12 3 9 8 6 6 1« 69
these studies are almost invariably a. m 1 4 s 6 4 4 e lo ss
more comprehensive than the usual Ph. D 2 i i 2 4 10
magazine articles. In fact they form
the basis for a large nunil^er of the periodical articles. A glance at the two tables reveals at least one very
Under the general rubric, "Si)ecial Methods of In- interesting comparison:
struction and Organization," the headings "Radio in ^- ^- ^''- ^- Faculty
Education" and "Visual Instruction" are found. The Theses Theses Studies
bibliographies are complete as to author, title, source, Visual education 70.5% 7.2fo 22.2%
etc. In some cases brief annotations accompany the Radio education 55 % 14.5% 30.5%
''^''"&- Radio education has furnished nearly twice as many
The following table shows that 236 research studies doctoral studies as visual education. Visual education
were reported in visual education for the period 1918 ^^^ b^^" 'lie piece de resistance of those seeking mas-
through 1937, and of these 155 were master's theses ter's degrees. Judging from this comparison, visual
{■nd 16 do"tor's. Leaving the ten year jieriod 1918-1927 education appears to be in the vice-presidential class,
aside because the data may not Ije strictly comparable Explanations of this are not difficult to find, however,
due to differences in methods of location, there are Radio is newer and found less frequently in the
220 studies noted. Of these 70.5% were master's instructional repertoire of the average teacher. It has
theses, 7.2% doctor's theses, and 22.2% faculty re- not been as thoroughly explored, and to date, at least,
.searches. it has not presented as many facts for minor research
It will also be seen from this table that the largest ^'i!'^ ''''"^' '^^'^- ,, . . ,
number of these researches was devoted to motion ^'^T .y^"""^ ^^°- ^^"n''"^- speaking of educational
pictures. Quite likely, several of the studies tabulated [^search in general, stated, "The pioneer stage has
under "general visual aids and instruction" dealt al- "f ^" l^^^^.^' ^' '^'^^ "°^ *^^"' inappropriate to say
most wholly, if not wholly, with motion pictures ^''f *"^ pioneer stage has been passed in audio-visual
although the entries in the' various bulletins are in- educational research. But there is still much to be
sufficient for one to be positive. The totals bv years ''°"f.- ^''^''^ '^ ^■'^"^ •**''^ ^°'' "-esearches into unit
are interesting. From 3 reported for 1928 the num- ^'"j!'^^ ^"*^ ^^""^ '^''''' adaptations, application of
her moves upward irregularly to 37 for 1938 (school audio-visual aids and techniques to ability groupings,
year 1936-37). The large niimber of studies reported Production of aids in certain areas of instruction and
for 1934 mav be due to the Pavne Foundation Studies ^"^J^^^ '"^l*" .'''^'^'^ '""'^ "°'^ relatively untouched.
"Motion Pictures and Youth."' evaluations m the realm of attitudes, artistic and aes-
_ . ... thetic judgments, objectives, appreciations, learning
lurning now to the table ' Tabulation of Research processes, and a host of others. By comparison with
Studies in Radio Education" one sees that only one the researches in such fields as achievement tests, extra-
research was reported prior to 1931. Of the total of curricular activities, individual differences, guidance.
69 studies, 38 or 557c were master's theses, 14.5% or public relations, audio-visual education is still near
doctor s. and 30.5 7o faculty studies. the bottom of the ladder.
Page 362
The Educational Screen
MOTION PICTURES—
NOT FOR THEATRES
By ARTHUR EDWIN KROWS
Editor of "The Spur," New York City
Installment Number Fourteen. Con-
cerning Ned Stevenson, master of
Visugraphic, Meyer Rosenbloom of
Caravel and other New York non-
theatrical producers and distributors.
COOK had taken the then exclusive
address in the AeoHan Building be-
cause it was his first plan to
Iceep his service in character as "a
Tiffany proposition," directing it not at
"mass" sales but at "class" purchasers.
He fixed the original price at around
$400, possibly because he wanted to
establish the thought in the public mind
that the Pathescope was a property pri-
marily for "the 400." The psychology
was probably sound, for what he did
paved the way for a natural expansion of
the business. As part of that widening
Cook presently provided an especial
"Pathescope" camera, with which ama-
teurs might photograph family pictures,
or — and here was still another phase —
business organizations might produce
their own films for sales demonstrations.
Or, if the customer wanted a profes-
sional cameraman with theatrical equip-
ment to do the job, Cook would supply
all that, also. Thus Pathescope branched
into an industrial production division. It
was to have significance in later years,
too, that the correlated arrangements, to
supply raw film and to develop and print,
brought Cook into close and friendly
relations with the Eastman Kodak Com-
pany.
All of this development was quite
lapid; and, of course, a personnel was
required to make it possible. His first
representative in the business seems to
have been his brother-in-law, Warburton,
although in the very early days, while
Cook was making a second trip abroad in
the interest of Pathescope, Milligan
helped somewhat. First to be heard of
importantly in the field, however, as an
agent of Pathescope — in addition to Cook,
himself — was J. Alexander Leggett, of
New York.
Leggett was not an ordinary salesman.
He was really an advertising man of
considerable experience and more vision,
who had become convinced of the high
potentialities of films in industry. So,
when the World War was over and the
United States was beginning to find it-
self again, there was J. Alexander Leg-
gett, heading his own advertising agency
in New York, and making motion pic-
tures for his clients as part of his own
advertising service. They were efficient
pictures, too — conceived intelligently and
creditably produced. He made some of
the earliest subjects for the American
Telephone and Telegraph Company. He
was consistent in his success for many
years, not having much to do with his
competitors in the broad field, it is true,
but exerting a wholesome influence on
the entire attitude of industrialists to-
ward the screen.
Pathescope started an especial drive
for industrial business at the close of
the World War — intensively about 1920.
The maul intention, of course, was to
extend the use of the portable projector
and thus to increase rentals of films from
the Pathescope library. A small, regular
production staff was, therefore, an ex-
cellent investment, even if it did no
more than just "break even" ; and Clinton
F. Ivins, who was none loo happy in
Harry Levey's old position at Universal,
came over to take charge of it. Ivins re-
Edward A. Stevenson resuscitated
a dying production venture, reor-
ganized it and by aggressive sales-
manship, lifted it to that prosperity
which the talkie revolution ended.
inained there until along in 1938, when
he left to join another film organization.
On the whole the industrial division of
Pathescope gained a satisfactory profit.
It is my impression that, in the early
days, at least, the product was sold by
the foot, and this may have directed to-
ward Pathescope the competitor criticism
that the concern deliberately went in for
long panoramic shots which took much
film and couldn't well be cut. But it is
also my impression that what Pathescope
produced was generally far superior,
especially in photographic quality, to most
of the other industrial product of the
time.
Late in 1921 the Pathescope Company,
under the production management of
Clinton F. Ivins, of course, made a com-
mercial film on nut butter for a render-
ing plant at Boontown, N. J. About three
years passed, and then Edward A. Ste-
venson, a son of the nut-butter manu-
facturer, reported to Ivins that the con-
cern had passed away, and applied for
a job. Ivins introduced him to Cook who
appointed him salesman for Pathescope ;
and Stevenson began with enthusiasm.
Then one day Stevenson, in this new
capacity, chanced into the administrative
offices of the rich Anthony N. Brady
Estate and proposed to those in charge
that they make a film.
Visugraphic
Their response was at first a smile, it
is said ; and then, in explanation of that,
they told him that a film was just what
they didn't want because they already
controlled a small motion picture com-
pany which they didn't know how to
employ. Some further discussion ensued,
and they made a counter-proposal to
Stevenson, which was that he should turn
over to them a couple of new industrial
picture contracts which he said he might
close, and come to work for them. So
Stevenson, it seems, embraced the op-
portunity. The company he thus joined
was Visugraphic Pictures, Inc., formed
in 1921 by a son, I believe, of Anthony
N. Brady, in association with Tarking-
ton Baker. Baker was a former Indian-
apolis newspaperman and from 191S to
1920 general manager of Universal Film
Company — another offshoot, one ob-
serves, of the Laemmle interests. The
purpose was general production in the
non-theatrical field.
Baker was in ill health. On New
Year's Day, 1924, he died. Stevenson suc-
ceeded to the presidency. Fron: then on
Visugraphic had a steady rise to pros-
perity. Among the important clients for
whom the concern produced pictures were
the United Press Association, the Penn-
sylvania Railroad, the New York Stock
Exchange, International Business Ma-
chines Corporation, the International
Paper Company, the Fisk Tire Company
and the Cleveland Plain Dealer. They liad
a monthly house organ and, in 1929, Ste-
venson, himself, wrote a slender promo-
tion book, bound in stiff covers and dis-
tributed to prospects, entitled Motion Pic-
tures for Advertising and Selling.
Stevenson did not realize it then, but
1929 was to be the banner year of the
organization. In that twelvemonth, it is
said, Visugraphic did a gross business of
$320,000 through its imposing oflices on
Park .Avenue, in the shadow of the
Grand Central Building, bonuses being
given to some sixty-odd persons em-
December, 19J9
Page 363
ployed, and Stevenson himself drawing
a salary ot $30,000. Henry Bollnian was
on the staff in that same year, principally
editing film.
The Brady money seems not always to
have been kiik of the enterprise; but its
influence may have accounted for the
heavy patronage which Visugraphic en-
joyed from the Xew York Edison Com-
pany, the Pennsylvania Railroad and for
other favors from the public relations
counsel, the late, celebrated Ivy Led-
better Lee, advisor to the Rockefeller
interests. Even so, however, there was
never again to be a banner year for
Visugraphic as it was then constituted.
When sound pictures arrived with their
expensive perplexities, Stevenson and
his people made a gallant attempt to carry
on. For a time it appeared that they
n-.ight succeed. But for Steven.son it was
just the last flush on the cheek of the
corpse. In 1933 Visugraphic went into
insolvency. A man named White, from
the radio field, conducted the receiver-
ship and actually developed some further
business and a strong hope of revival.
The Visugraphic personnel, in its best
years, included Perry Arnold, William
Barbnrin I.aub. Frank Spcidell, Albuin
Mariner and Marie Barrell. Let us par-
ticularize. Periy Arnold, energetic sales
manager, was a former manager for the
United Press .\ssociation. Laub, a facile
writer of salestalks in scenario form,
had started in industrials with Ivins at
Pathescope.
Frank Speidell was first of all Visu-
graphic's brilliant scenarist. He also be-
came one of its most successful direc-
tors. The son of a Louisville physician,
he had come to New York to engage in
advertising agency work, whence he had
drifted into pictures. The way was inter-
esting. The theatrical screen star, Gloria
Swanson, was in a way responsible. She
was then at the height of her fame, and
making features in the New York studios
of Paramount. She had been called upon
to report on her income for the federal
tax collector and, in despair, had callefl
on the officials of the National City Bank
for help.
Her adviser there recommended a rela-
tive, Frank Speidell, as a dependable per-
• son to keep her accounts straight. As it
' was only a part-time matter, Frank was
able to take the work on along with his
regular employment. The arrangement
worked out quite to Miss Swanson's lik-
ing; and she continued it for the term of
her contract with Paramount in the East.
Speidell was invited to the studio now and
then and, by degrees, he thus familiarized
himself with the routine of picture making
until he felt that he might essay it for
himself.
Marie Barrell was the wife of C. W.
Barrell, he being then in charge of the
Motion Picture Bureau of the Western
Electric Company. Her specialty was ar-
ranging distribution, principally through
the lesser theatres, which Visugraphic
sold along with production. She had been
very efficient in this place. Her training
in such work had come not merely from
witnessing the professional activity of
her husband along the same lines, but
she had served for a time as assistant to
Mrs. Elizabeth Dessez in Pathe's non-
theatrical department. .\n additional
familiarity had come through an earlier
term of service as sales representative to
her husband's friend, Carlyle Ellis.
But the most picturesque career of the
lot was presented by Albuin R. Mariner.
We met him when he joined Harry Levey
at Universal ; but there is much more to
be told about him. In the early years of
the century, it seems, there was some
member of the Mariner family conduct-
ing an esteemed photographic portrait
studio in every important city of .-Xustria.
.■\s the new art of motion pictures came
in, the older members of the family felt
that their specializing group should know
something about it. Accordingly, they ap-
r«)intcd one of their youngsters to go to
Berlin and learn. They chose Albuin, who
lad graduated from the Munich School
of Photography in 1907 He duly went
to the German capital and remained there
for some time, studying assiduously.
Then an uncle, Joseph De Frenes, who
for some three years had been employed
as a staff technician at Urban's Kinema-
color Company m London, summoned
Mariner there as laboratory assistant.
.Albuin quickly advanced and presently
was made laboratory chief of a Kinema-
color branch established in France. One
day, when there was a shortage of cam-
eramen at the plant and a photographic
job to be done, he tried his hand at
cranking a color camera. He did so well
that they kept him at it. He ground out
plenty of black and white film, too. It
is related that in 1908-1909 he was even
strapped to the wing of an airplane to
photograph some of the small warfare of
that ominous time in the Balkans.
Brought now to London, again, he be-
came for Kinemacolor a sort of house-
hold photographer to the Royal Family,
accompanying the King to his shooting-
box in Scotland, and otherwise serving
to record the human interest phases of
His Majesty's life, with the identifying
flag of the Royal Household on his
camera. In 1911 he was one of twenty-
three Kinemacolor cameramen sent by
Charles Urban from London to India to
photograph the Durbar. And when
Hickey, Urban's American manager,
picked the crew to come to establish
Kinemacolor in the United States, Albuin
Mariner was one of those selected,
cancelling another arrangement just made,
to send him to New Zealand.
What happened to him between the
time of American Kinemacolor — when
one of his notable assignments was to
photograph the glamorous Lillian Rus-
sell— and his coming to Visugraphic, be-
longs to another part of this narrative.
I mention now only one passing phase—
his work as cameraman for the indus-
trial department of Universal. When he
came with V^isugraphic he remained
there for seven years . . . until the
virtual end.
Caravel and Castie
There are left unnamed in the New
York area but two important non-theatri-
cal producers of the silent days — Caravel
Pictures and Castle Films. Caravel was
a subsidiary of Business Training Cor-
poration, a concern formed about 1917 to
advise on, or actually to attack, problems
of industrial relations, marketing and
sales promotion. The president was
Meyer Rosenbloom until the summer of
1934, when he retired from that office to
give his attention to other interests. In
1929 the parent concern claimed over
800 client companies.
The officers quickly discovered the im-
portance of motion pictures as an aid to
modern business and organized Caravel,
with offices at the Business Training
headquarters on Madison Avenue and a
studio in Long Island City. Manager of
production was David Pincus, with a
permanent staff consisting of Mr. Rath-
man, director, and Jules Sindic, camera-
man—three especially efficient workers
whose joint efforts have resulted in many
creditable industrial films.
Orders for these came chiefly from
contacts made through Business Training
Corporation, President Rosenbloom tak-
ing a strong personal interest in the well-
being of the subsidiary concern. Rosen-
bloom's eventual retirement proved a
serious blow to the film organization. His
place was taken by a Dr. Lowe, who
negotiated some excellent new business,
wliile handicapped without Rosenbloom's
original sales organization.
Among outstanding clients of Caravel
have been the Kohler Company of Wis-
consin, manufacturers of plumbing fix-
tures ; the Willard Storage Battery Com-
pany; the Goodyear Tire and Rubber
Company; the Hammermill Paper Com-
pany; Davis & Geek, makers of surgical
sutures and anesthetics ; the Postum Com-
pany; the National Lead Company; the
Commonwealth Shoe & Leather Com-
pany; the International Silver Company
and the Standard Oil Company of
New Jersey. For many of its ac-
counts Caravel also arranges distribu-
tion through theatres and various non-
theatrical channels. About 1930, when
high rents and heavier fire restrictions
caused so many non- theatrical producers
to leave Long Island City, Caravel re-
linquished its own studio there and took
another at Hempstead, which it still uses.
In 1936 Caravel, approximately sixteen
years from the time of its establishment,
began a reorganization in which the full
stress was placed on theatrical exhibition
of industrial films. .After various surveys
Caravel Distributing Corporation was
formed. Stanley Ncal became managing
director, and Bert Ennis, well known
theatrical press agent, was engaged t«
organize publicity.
Early in 1938 a cocktail party was
held at Caravel's New York office, at
730 Fifth Avenue, to give a preview to
the press and the advertising space-buy-
ers for a number of national accounts,
of a $35,000 three-color Bristol-Myers
Ipana Toothpaste animated cartoon. This
picture, "Boy Meets Dog," was presented
as the first of a series of "sponsored"
shorts, mostly in colored animation, which
would be produced for various concerns,
using celebrated Hollywood talent. The
announcement told of a force of sales-
men to book them in theatres over the
country, and one new reel was to be re-
leased each month. "Boy Meets Dog"
was scheduled to open April 1, 1938, with
250 "first run" bookings in theatres along
the Atlantic seaboard, and 3,250 other
Page 364
The Educational Screen
bookings allegedly made elsewhere.
As to Castle Films, that has been dis-
tinctly— during most of its life — a one-
man organization belonging to Eugene W.
Castle. Of no apparent significance what-
ever was the fact that, among the new-
incorporations announced in August,
1916, was the Castle Producing Company
oi New York City, to engage in a gen-
eral theatrical business. The only person
of the name here mentioned was a James
W. Castle, of whom and about whose
concern the records thereafter seem to
be silent. Moreover, the Castle under
scrutiny was then in California. In 1916,
when the old Gaumont Company was
making its "See America First" series,
Eugene W. Castle, under twenty years
of age, was making the West Coast
phases, while Walter Pritchard was pho-
tographing the Southern ones, and Ed-
ward Guetlin (ten years later to be the
general representative of Hearst's Inter-
national Newsreel at Paris), was cover-
ing New England. About 1919, with a
capital of $500, and an order for a series
of scenics showing the beauties of travel
on a Pacific Coast railroad, he embarked
uj)on his independent business.
Despite the implications of modest
financing, Eugene W. Castle was reputed-
ly a member of a wealthy family, and
still today is reported to be in non-
theatrical production primarily because he
likes it. He is said to have brought with
him from the West Coast to Chicago,
when he came there first, -i large meat-
packing account. He then removed to New
York to set up his offices, where he has
held consistently, against all competitive
bids, the film production for the United
Fruit Company and the California Fruit
Growers Exchange. His pictures for the
South Seas pineapple trade remind one
that Castle is a magic name in the gov-
ernment of Hawaii.
The plan upon which Castle's success
has been built in the main is the distribu-
tion of "free" industrial-educational films
to the schools. He sells to each client a
"two million person" circulation, to be ob-
tained in a reasonable time with a subject
produced by himself on order. The way he
guarantees the number is to promise that
he will keep on working until he obtains
it. Of course, nobody could guarantee
such circulation otherwise in existing cir-
cumstances. When the given film has
reached the two million mark. Castle
destroys the subject, including all prints.
Consequently, no subject in his list is
more than three years of age, clients are
disposed to make new subjects, and school
teachers, thus unusually assured of com-
parative freshness of information, are
stimulated to ask for his reels while they
are available.
His New York distributor is Murray
Goodman, who from 1922 to 1933 was in
charge of Bray's non-theatrical depart-
ment; in Chicago his office is managed
by Edward Mayer, a former director of
visual education on the West Coast. He
maintains a third office in San Fran-
cisco. His present company is reported to
have a weekly payroll of 110 persons, and
his operations cover, it is said, more than
.S.OOO schools. It should be borne in mind
that schools are regularly besieged with
ofifers of "free" films for classroom use.
Eugene Castle found a way to serve
schools efficiently and profitably
with commercial films. He began as
a cameraman for one of the earliest
newsreels before the World War.
As recently as October, 1939, I noticed
that German Railways, the propaganda
bureau of the Reich, was offering a long
list of 16-niilIimeter reels to the schools
of the United States under such condi-
tions. Publicity bureaus of other coun-
tries are equally obliging.
While it is not the purpose of this his-
tory to tell the story of motion pictures
in the home (although those certainly are
"not for theatres" either), leaving that
aspect to the fruitful researches of some
other investigator, it may be added to
tliis account of Eugene Castle as an in-
teresting point that he is a pioneer there
also. In 1936 — or it may have been early
in 1957 — he made a careful study of cer-
tain possibilities of profit in the growing
use of amateur motion picture cameras
and projectors, deciding that there was
money to be made in supplying newsreels
to the home. Of course, this field was
already being cultivated, notably by the
Eastman Company which, about 1930, had
introduced 8-millimeter films expressly
to serve it.
Castle's first operating plan was to
issue a 16-millimeter reel on the corona-
tion of King George VI. He ascertained
the availability of theatrical newsreels
for this purpose, and even drew up tenta-
tive agreements with producing companies
for a regular supply of likely material
from their releases. In 1937, however,
occurred the disaster involving the giant
dirigible Hindenburg, the destruction of
which chanced to be caught in great de-
tail by cameramen who were awaiting the
debarkation of passengers. Castle ob-
tained excerpts and made up "home"
versions, with and without sound, in
16-millimeter and 8-millimeter widths.
These films were made available to the
public at prices ranging from $5.50 to
$22.50, and 50-foot rolls were subse-
quently offered at $1.75 each. The prints
of this sensational subject, so fresh in
the public mind, were taken up promptly
as "a Iiot novelty" by department, chain
and drug stores, toy shops and arcade
booths, and upwards of twelve million
feet were reported sold.
In the meantime another matter of
popular interest, the story of the Duke
of Windsor, whose abdication as King
Edward VIII for love had entranced the
world's imagination, had inspired the
former news cameraman Castle to pre-
paration of another "home" reel on that ;
and the excellence of his commercial
judgment was confirmed by fairly quick
sales of some ten million feet.
Castle still operates this branch of his
service, but with a modified sales or-
ganization dictated by his experience, the
various items in his newsreel library
being made available not only to homes
but to schools. The schools naturally,
are less concerned with those sensational
aspects which promote popular sales.
In the rolling years many lesser pro-
ducers have opened and closed their shops
in New York City without particularly
aflfecting the broad situation. Some I
have deliberately passed over in these
pages as too inconsequential for remark.
The individual histories of those are
typified by the story of Legend Films,
incorporated about 1920 through the in-
strumentality of Ernest Shipman. The
persons more actively present were Wil-
liam Bowen, once member of the produc-
tion division at the Norma Talmadge
Studio making theatrical features and
more recently "in the bail bond business
in the Bronx," and Robert Winkley, who
seems sufficiently identified as "the man
with the money."
The announced purpose was broad, to
produce theatrical features, educationals
and industrials. Of course the features
were the first objective ; and a couple of
those were actually produced by Tefi't
Johnson, a one-time stage leading man
and former picture director at Vitagraph.
-Another producing director for the
Legend group was John Kennedy. As to
players, they kept a stock company on
salary for many months, including Edna
Shipman, a young niece of the irrepres-
sible Ernest, brought east from California.
The chief scenario writer was Treve Col-
lins, recently and until his death in July,
1939, advertising manager of a success-
ful trade publication, the Plumbing and
Heating Journal, but then just a promis-
ing lad who had been employed by the
Brooklyn Edison Company, with a side
reputation as author of some published
fiction.
Legend Films began in an old building
since demolished, on 42nd Street near
Fifth Avenue, The concern presently
moved to the Candler Building, further
west, where Sam Efrus maintained a
small public projection room. The fact of
the matter was that by that time Legend
Films had begun tightening its belt ; the
money was running low. In addition to
the features, which did not prove as
profitable as had been anticipated, the
company produced a film on stomach can-
cer for an association of doctors, and pre-
December, 1939
pared to make an industrial for the
Mergcntliali-r Linotype Company. But,
somehow or other, the hurry and the
hustle ceased. Came the day when one
could rent the Sam Efrus projection
room again, this time to reflect on the
singular api)ropriateness of the name
chosen by that serious group which lately
iiad monopolized the outer office.
Other .\e\v \'ork concerns which I
have not known directly but which have
vanished (juickly from the public eye,
have caught my interest, each for a name
or some other symptom of worth ; and
I have tried to trace them for the sake
"f that. There was Camilla Dunworth,
or Donworth. In the early summer of
1917, as representative of the E. I. S.
Motion Picture Corporation (could the
initials have meant "Educational-Indus-
trial-Scientific"?) she addressetl the St.
Louis Asstx-iated .Advertisers' Convention
on industrial films, attracting attention
for her sensible handling of the subject.
In December she announced the forma-
tion, in New York City, of the Films of
Business CorjKjration at 64 East 34th
Street. She was president, and Charles
Charlton was vice-president and camera-
man. They produced two pictures there-
after—"One of the Departments of a
Great Industry," showing the H. J. Heinr
Company preparation of canned spaghetti,
and "The Making of 'Mephisto' Auger
Bits," for the W. A. Ives Manufacturing
Company. America entered the War then,
and the record ends.
Where is the Home Feature Film Com-
pany, of New York, hailed in September,
1914, as "a ntwconier in the industrial
held"? The principals named in it were
Norman R. Buckley and M. F. JolliflFe.
And what about the February, 1915, New
York enterprise of W. Lindsay Gordon,
"of Gordon's illustrated Lectures," which
was to do business under the name
Beaver I'"ilni Corporation, and promised
to make one, two, and three-reel lecture
subjects in a studio at Dongan Hills,
Staten Island? What has become of the
Dra-Ko Film Company of New York,
which in 1916 solicited industrial anima-
tion?
As one scrutinizes the situation in the
New York area today, there are to be
seen the names of other really important
non-theatrical producers ; but they occur
mainly on the doors of "branch offices,"
and many times represent just desk room
and mailing addresses, indicating that
their owners are elsewhere. Why should
ont-of-town producers want such repre-
sentation? Well, the chief reason is
that New York is geographically and
otherwise the great marketplace of the
United States, the lowest crossing-place
of the Alleghanies for the industries of
the interior going to Europe, and the
natural avenue for Europe into the Mid-
dle West and West. The reins of com-
merce are held, therefore, principally at
this point; and it is as natural for the
non-theatrical picture industry to "head
up" in New York as it is for theatrical
productions to concentrate at Hollywood.
So I am holding back the account of
the other producers until we move out
into the other cities where they maintain
their headquarters.
Page 365
Chapter V— On the Other Battlefronts
THE CITY OF NEW YORK has
been for a long time, and probably
will continue to be, the likeliest place
lor film producers to enlist non-theatri-
cal accounts. The site of the metropolis
makes it a great marketplace; and pro-
I>aganda l)cing an obvious division of
sales, motion pictures for that purpose are
naturally purchased in quantity there.
However, in de-centralized industries,
where full sales powers are not delegated
to a New York headquarters, the non-
theatrical business may l)e situated out
at the factories. And, as de-centralizalion
is increasingly the fashion, following the
Government's heavier war on alleged
trade monopolies, outlying producers are
encouraged more than ever to flourish.
Thus it comes about that a few non-
theatrical producers are as indigenous to
the other cities as the bulk of the pro-
fession is to New York. At the same
time, because the motion picture industry
in America took its first root in New
Yoik, one may trace the beginnings of
nearly all the outside concerns to original
contacts with that city — although this is
not to say that New York inspired their
success. In truth, the outlying areas
would prefer not to admit any depend-
ence, an attitude which makes it more
difficult for the New York producer to
solicit new business in the other Ameri-
can cities than for producers there to
open successful branch sales offices in
Manhattan.
New England
This has been especially true of New
England. There the people, with habits
and attitudes arising out of a soil not
as ready to yield a living as some more
fertile regions, have skilled themselves in
manufactures and marketing, and, dis-
trustful of the agricultural South and
West, which so often have declaimed
against them, have preferred to live by
their own devices, dealing as far as pos-
sible with persons they know and under-
stand intimately. This same wariness
naturally applied to the strange new uses
Next Month
Sfill in the silent film days, the
narrative unreels a picture of
the interesting situation in Bos-
ton and vicinity, dissolving
thence to the Midwest scene,
to notice there how Norman
Wilding made good on some-
body else's unfulfilled contracts,
and so established one of the
most successful non-theatrical
production concerns in Amer-
ica. The detailed story of these
happenings has never previously
been published.
of motion pictures; and their demand
that results be proved and proved again
before a customer's problems might even
be attacked, has discouraged the growth
of even local producing firms. Neverthe-
less, there have been brave souls to at-
tempt it. For instance, there was the Con-
solidated Film and Amusement Company
of Boston, formed about April, 1916,
to make industrial and educational pic-
tures, by a group of local business men
who were reported to be negotiating for
a studio site in the vicinity.
Then there was Eugene P. Cornell, a
middle-aged Bostonian who also tried it
in his home city. In the four or five years
after the World War, he maintained a
small office at the "Hub" devoted to the
production of industrial films. His con-
cern was called simply and sincerely E.
P. Cornell & Staff. The founder had a
camera and a modest battery of portable
lamps which hi« assistant could use on
locations where heaven's free sunlight
was out of the question ; and an efficient
girl cared for the routine work of the
establishment. Cornell, whom I knew, had
a sublime faith in what hard work
coupled with native honesty, might do.
He could talk positively and informedly
on potential business in his area as well
as any other man in his line; and it
seemed that he must have visited every
possible client with an attractive pro-
position at absurdly low prices.
It was not that he was trying to under-
cut his competitors. He was trying just
to meet the market on its own terms
which were notoriously unreasonable. But
it was all to no purpose. In the end, poor
Cornell had to face bankruptcy. Some
there were, no doubt, to say that his
principal drawback was that he had too
little capital to inspire the proper con-
fidence of his prospective clients. On the
other hand, what man of capital would
want to throw his substance on what was
then so profitless a field?
As to what became of Cornell, Geoi^e
Zehrung can tell what he learned re-
cently just by chance. He was asking
the representative of a large New Eng-
land manufacturer about the availability
of a proposed new picture. "There isn't
any new picture and there won't be,"
was the reply. "We were interested in
films as long as we had E. P. Cornell
& Staff to make them — and now that he's
dead, we don't even want to hear about
them I"
The situation at Worcester, some forty-
odd miles from Boston, was somewhat
more hospitable for a non-theatrical con-
cern. Worcester, apart from being more
concentrated in its manufacturing activi-
ties, was — or at least should have been —
traditionally more receptive to new ideas,
for here (or in the close vicinity), had
been invented and produced a long line
of revolutionary devices, including Bige-
low's carpet-weaver and various import-
ant agricultural contraptions.
(To b* conffnaccf)
Page 366
^-
mon
The Educational Screen
■3
(0<
L
it%6^£.LU^£.6^ From and by the
Department of Visual Instruction of the National Education Association.
Constitution and By-Laws of
The Department of Visual Instruction
of The National Education Association
Constitution
Article I — Name:
The name of this organization shall be
the Department of Visual Instruction of
the National Education Association of
the United States.
Article II— Object:
The object of this Department shall
be to promote the improvement of class-
room instruction through the ei?ective
use of visual and other sensory aids ; to
serve as a clearing-house of informa-
tion regarding the sources, values and
guiding principles in the use of visual
materials, as determined by research ;
and to cooperate with other domestic
and foreign agencies with similar inter-
ests and purposes.
Article III — Membership:
Any member of the National Educa-
tion Association may become an active
member of this Department by paying
such dues as are prescribed in the by-
laws. Other types of membership are
provided for in the by-laws.
Article IV — Branches:
A local branch of the Department
may, on approval of the Executive
Committee, be established in any state,
municipality or other regions which
shall not overlap the territory of any
other branch. Each branch shall have
a minimum of fifty active and/or as-
sociate members. Each branch may
have its officers and be governed by its
own constitution and by-laws, provided
lh,ey are not in conflict with the Con-
stitution and by-laws of this Depart-
ment. Members of the branches shall be
entitled to all the rights and privileges
of other members of the Department.
So far as practical, local branches shall
be organized on state lines.
Article V — Officers:
Section 1 : All officers shall be active
members of the Department.
Section 2: The officers of this Depart-
ment shall be a president, a vice-
president, a second vice-president,
and a secretary-treasurer.
Section 3 : The president and vice-presi-
dent shall hold office for a period
of one year from the date of elec-
tion.
Section 4: The secretary-treasurer shall
be appointed by the Executive Com-
mittee and shall serve one year, or
until his successor is chosen.
Editor's Note — The Department devotes its space in this issue to a
complete printing of the new Constitution and By-Laws as adopted
at the San Francisco meeting, July 3, 1939. This procedure serves
two ends : It puts in permanent print, a docuinent existing only in
typewritten form at present, and places a copy of same automatically
in the hands of every Department member. With the new Consti-
tution and By-Laws thus available for study, every member can be
prepared for further discussion of organizational questions as they
may arise at later meetings.
The full program for the February meeting at St. Louis will be
printed in the January issue. Information has reached us from Presi-
dent Hansen to the effect that "arrangements have been made to hold
the St. Louis meeting at the Hotel Marquette which is only a few
blocks from the Auditorium. A banquet room has been made avail-
able for our use in which meals can also be served for luncheon or
dinner meetings. The room can be darkened and apparently is well
suited to our use." With such desirable arrangements and an ex-
cellent program nearly completed, the St. Louis meeting bids fair
to be a pronounced success.
Article VI — Executive Committee:
Section 1 : The Executive Committee
sliall be the governing body of the
Department and shall direct the
activities cf the Department in all
matters except the determination of
general policy and change in the
Constitution and by-laws.
Section 2 : The Executive Committee
shall consist of the officers, the re-
tiring president for a period of one
year from date of retirement, six
members at large, and one member
elected by each local branch. The
President of the Department shall
be the Chairman of the Executive
Committee.
The six members at large shall be
selected so far as practicable from
different sections of the country.
Article VII — Election of Officers and
Executive Committee:
Officers, except the Secretary-treas-
urer and members at large of the
Executive Committee, shall be selected
annually in the following manner: The
Secretary-treasurer shall, at least four
months before the annual meeting, send
to all active members a nomination
ballot on which members are to indi-
cate their nominees for the various of-
ficers. Two montli5 shall be allowed for
the return of these ballots, the final
date to be indicated on the ballot,
whereupon the Secretary-treasurer shall
submit, within ten days, to the active
members the names of the persons who
have the most votes for the offices ot
President and 1st Vice-President, to-
gether with the name of the 1st Vice-
President as a nominee for President
and the name of the 2nd Vice-President
as nominee for 1st Vice-President, also
the names of the two persons having
the highest number of votes for 2nd
Vice-President. The person receiving
the highest number of votes for each
office by the fifteenth day preceding the
opening day of the annual meeting shall
be the Department's selection for that
office.
At the first annual meeting and eacli
annual meeting thereafter, following the
adoption of this constitution, two mem-
bers at large of the Executive Commit-
tee shall be nominated and elected to
serve for three years each.
Article VIII — Appointive Committees:
The appointive committee of this De-
partment shall consist of a Resolutions
Committee, A Nominating Committee
for selection of the members of the
Executive Committee at Large, a Mem-
bership Committee composed of one
December, 1959
Page 367
ncmbfr from each state. An Auditing
Committee, and such other committees
as may he authorized from time to time
by the Executive Committee or the De-
partment.
Article IX — Annual Meeting:
The summer meetiuK, which shall be
held at the annual niectiiiK of the
X.E.A., shall be the annual meeting of
the Department. Other meetings of this
Department may be held at such times
as may be determined by the Executive
t omniittee.
Article X — Amendments:
The Constitution may be amended at
the annual meeting of the Department
by two-thirds vote of the members
picscnt. Such proposed amendments
must be submitted in writing at an an-
nual meeting and shall be voted on at
the next annual meeting.
By-Latcs
Article I — Membership:
Scclioii 1 : Membership in the Depart-
ment shall consist of the following
classes :
.■\. Active Membership.
B. .Associate Membership.
C. Institutional Membership.
Section 2 : The following conditions shall
govern eligibility to membership
under the above classifications :
A. Active membership is available
to active or life members of the
National Educational Associa-
tion in good standing. Each
active member shall receive
copies of all bulletins or reports
published by the Department, a
subscription to the official mag-
azine, and such advisory service
as may be available without un-
usual expense for travel or re-
search. The annual fee for ac-
tive membership is $2.00.
B. .\ssociate membership is avail-
able to those who might be in-
terested in visual instruction,
but who are not qualified for
active membership. Such mem-
bers shall receive all the usual
services extended to active
members but shall not be eligible
to vote or hold office in the De-
partment. The annual tee for
associate membership is $2.00.
C. Institutional membership is pro-
vided for schools; university ex-
tension divisions ; university,
college, state, county or city de-
partments of bureaus of visual
instruction; museums; libraries;
publishing houses; and other
educational or welfare organi-
zations which may desire several
copies of the publications issued.
Each school or other organiza-
tion which becomes an Institu-
tional member shall receive
without charge a maximum of
five copies of the official maga-
zine. Each institutional member
shall be permitted to send one
voting delegate, who shall be an
active member, and an unlimited
number of visiting delegates to
each general meeting. The an-
nual fee for institutional mem-
bership is $10.00.
Section 3 : Each branch shall pay to the
Department $1.50 as the membership
dues for each active or associate
member.
Section 4 : .Ml applications for member-
ship shall be in writing, addressed
to the secretary-treasurer and ac-
companied by check, money order,
or other remittance of proper
amount.
Section 5: Membership shall run for
twelve months from date of incep-
tion. N'o person may be considered
a member until such dues have been
paid.
Article 11 — Credentials:
Section 1 : .Active members may be re-
quired at any meeting to produce
evidence of proper qualifications.
Those who do not qualify will not
be permitted to participate in the
business of the Department.
Section 2: .-Ml delegates sent by insti-
tutional members may be required
to submit credeniials from such in-
stitutions as they propose to repre-
sent.
Article III — Duties of OfiBcers:
Section 1 : The president shall be the
executive head of the Department;
shall with the aid of the Executive
Committee, develop programs for
Such meetings as may be scheduled;
shall preside at these; and shall
carry out the instructions of the
Executive Committee.
Section 2: In the absence of the Presi-
dent, the 1st Vice-President shall
assume hjs duties; in the absence
of both the President and the 1st
Vice-President, the 2nd Vice-Presi-
dent shall assume the duties of
president. Further delegation of
authority shall be determined by
majority vote of the Executive
Committee members present.
Section 3: The secretary-treasurer shall
be charged with the following
duties and responsibilities :
1. Advise the members of all meet-
ings, and mail mimeog'-aph
copies of the program to all
members, at least two weeks in
advance of each meeting.
2. Keep a record of all meetings
of the Department and of the
Executive Committee.
3. Keep a record of all member-
ships, notify members of the
expiration dates of membership,
collect dues for members and
issue membership cards.
4. Keep a record of all receipts and
expenditures of the Department
and keep all funds of the De-
partment in a depository ac-
count approved by the Executive
Committee.
5. Prepare such printed forms and
stationary as may be required
in conduction of the business of
the Department.
6. Conduct campaigns for member-
ship in cooperation with the
membership committee and furn-
ish each new member with a
copy of the constitution.
7. Conduct the annual election,
under the supervision of the
Executive Committee.
8. Make all disbursements as ap-
proved by the Executive Com-
mittee and the Department.
9. Prepare an annual report of
proceedings for publication.
10. Prepare an annual financial re-
port lo be submitted to the
.\uditing Committee at each an-
nual business meeting.
AUDIO-VISUAL DEPARTMENT
LOUISIANA STATE TEACHERS
MEETING
November 12, 1939
E. J. Landry, Hanville, President;
R. H. Mount, Ruston, Vice President ;
Miss Myrtle Rodgers, Monroe, Secretary.
PROGRAM
Classroom Use of Maps and Pictures —
.An actual demonstration using an
elementary level class— Mr. E. L.
Perkins, University of Wisconsin
Summation of Classroom Possibilities
with Silent Teaching Films — Mr.
Martin L. Hogan, Regional Di-
rector, Eastman Kodak Company,
Rochester, Xew York
Explanation of the General State De-
partment Program and Statement
of what the State proposes to do
in the way of Film Libraries and
Visual Aids— Mr. J. W. Brouil-
lette. Director of Audio-Visual
Education for the State Department
of Education
Explanation of the General University
Extension Program and Statement
of what the University proposes in
the way of a Film Library and
other Visual Aids — Mr. P. H.
Griffith, Director of Extension,
Louisiana State University.
Training Teachers to Use Visual Aids
— Mr. R. H. Mount, Chairman of
Visual Education Committee,
Louisiana Polytechnic Institute,
Ruston, Louisiana
A Parish Program of Visual Education
— Mr. W. C. McClendon, Supervisor
of Instruction, .-\cadia Parish,
Crowley, Louisiana
Using Visual .Aids in College Training
— Mr. John Kyser, Professor of
Geograph,)-. Louisiana State Nor-
mal. Natchitoches, Louisiana
The Department of Visual Instruction
of the National Education Asso-
ciation— Mrs. Camilla Best, Secre-
tary-Treasurer of the Department
of Visual Instruction, N.E..\. ; Di-
rector, Department of Visual Aids,
Orleans Parish School Board, New
Orleans, I^uisiana
Question Box — Miss Myrtle Rodgers,
Principal. Georgia Tucker School,
Monroe, Louisiana, presiding
Election of Officers
Page 368
The Educational Screen
Christmas Decorations — In Hand-Made Lantern Slides
By ANN GALE
CHILDREN in the upper grades (6-7-8) are interested in
planning and making their own Christmas decorations
both for home and school. Slides offering suggestions for
such decorations may be shown to stimulate the children's
imagination.
(1) The indoor Christmas tree may be decorated with col-
ored paper ornaments and hung with fringed tissue paper,
cellophane or silver paper.
(2) The outdoor Christmas tree looks well with just lights
and paper chains. Using one or two colors only for the
chains is more effective.
(3) These are a few simple paper ornaments which can
be made for trees or other types of decoration.
Art Department, Lindblom High School, Chicago
(4) The Christmas table may be decorated with paper
Christmas trees and angels.
(5) A Holly wreath and two hand carved candles set in
clay holders make a nice window decoration. Or a little paper
Santa Claus and reindeer above and a bowl of holly on the
window sill could be used.
(6) Pieces from the Christmas tree may be put in clay
holders and placed over the fireplace. Or extra branches may
be used to cover up gas logs. A simple reproduction of one of
the madonnas mounted on heavy paper and put over the fire-
place with a paper angel on each side also makes a good
decoration.
The new red crayon should be used in slides 2-3-4-5.
The sim-
plest type
of hand -
made slide
is made by
drawing or
tracing on
finely fin-
ished etched
glass with
ordinary
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
■with cray-
ons. About
one - third
inch margin
should be
left all
around the
slide. The
slide is read-
ily cleaned
with soap or
zva s h in g
powder to
receive
a new pic-
ture.
i
Ifej^^
^
m'^
m
December, 19)9
Page 3<9
^fiE J^iizxatuxz in ^ l/iiiiaL iJn±txiiaiion
A Monthly Digest
Conducted by Etta Schneider
Techniques and Materiols
Beginning First Grade with the Sound
Film — Ruth Livermon, Principal,
Meadowbrook School, Norfolk, V'a. —
yirginia Journal of Education, 33:28
October, 1939
The first grade teacher introduced
her unit on "Pets" with the Erpi sound
film, "The Adventures of Bunny Rab-
bit." Preparation for its initial showing
consisted of a thorough digest of the
guide, a preview of the film, and the se-
lection of three questions to guide the
children: a) Where does Bunny live?
b) What docs he eat? c) How does
Mother Rabbit look after her children?
Before the actual showing the class
discussed these three questions. After the
showing additional information was
gathered. In fact, very little was missed.
Later in the day the class was again
aIlowe<l to see the film, this time with
the sound cut off. The teacher decided
not to speak during the showing, but let
the class talk aloud to themselves. They
remembered the commentary pretty well.
With the beginning of the unit, work
was started on the reading charts. This
gave them many details of Bunny's life.
A live rabbit was brought to school,
and the stories and dramatizations cen-
tered around him. When the time came
to prepare an article for the school
paper. Bunny and the movie were ready
to go in. Finger painting served as a
motive for seeing part of the film again.
The mothers came to see the movie,
sharing their reading charts and draw-
ings with the children. The class visited
a lecal pet shop to see where Bunny
might live in their community.
The use of the sound film in the first
grade included :
1. Direct teaching material. 2. Devel-
oped reading readiness. 3. Basis for story
telling and creative language work. 4.
Material for counting. S. A direct con-
nection with the home and community.
6. Basis for art experiences.
Teaching English with the Audio-visual
Aids — by Edward G. Bernard —
High Points, 21 :58 November, 1939
A survey of the types of materials
available to teachers of English, with
suggested sources of information.
Visual Aids and the English Teacher —
by Dorothy Byrns — High Points,
21:70-3 Novemher, 1939
Still pictures are used to stimulate
interest in literature, sometimes as a pre-
view of what the novel will contain, or
to stimulate interest in a particular book.
Birthday parties for authors usually call
for illustrative material of their lives,
writings, etc. Quiz games and dramatiza-
tions, as well as drawings and sketches,
are also used to enrich the English in-
struction. Silent films are found useful
in slow reading classes.
Music Appreciation Through Motion
Pictures— by Glenn M. Tindall, Com-
mittee on Motion Pictures, Dept. of
Secondary Education, N.E.A. — a unit
of study for high schools — Secondary
Education, 8 :221-23 September, 1939
An outline for use in junior or senior
high school courses in music apprecia-
tion, or as a supplementary phase of the
course in photoplay appreciation. Special
suggestions are given under the follow-
ing headings : Primary aims, objectives,
activities, projects, materials, appraisal
of results.
Among the activities which might be
carried on are classroom discussions on
motion pictures and the use of music in
them, on criteria for evaluating musical
accompaniments to films, and the like;
written themes, directed observation,
contests, and larger projects such as
special reports in which such themes as
the following might be developed : "What
the movies have done for music", "What
the effect of sound is upon human emo-
tions," "Light opera in the movies",
or "Music in commercially sponsored
(industrial) films."
Use of Visual Aids in Schools —
Volta Review, 41 :499, 566 September
and October, 1939. 41:631, November,
1939.
A symposium by a group of teachers
from the Lexington School for the Deaf
in N. Y. Indicates the value of the
various types of aids for education of
handicapped children.
The Excursion as a Teaching Technique
by Henry C. Atyeo — Teachers College
Bureau of Publications, 1939 $2.35
See review by Fannie W. Dunn in
Advanced School Digest of Teachers
College. Write to Brunstetter for per-
mission to reproduce.
Treasure Trove — by Marie Seton —
Sight and Sound, 8:89-92 Autumn,
1939
Interesting account of an effort to
edit some of the footage scrapped at the
time that "Thunder over Mexico" was
released, from the thousands of feet taken
by Eisenstein. Articles on film trends in
Argentina and India are similarly
worthy of note.
Administration of Visual Aids
The Small High School Can Afford a
Visual Aid Program — by Sterling
Ambrosius, Sherrard, Illinois— ScAoo/
Activities, 11:114 November, 1939
When the question "Can the small
school afford a visual aid program?" is
answered in the negative, school ad-
ministrators have not figured the com-
parative cost of such a program with
other strictly educational costs. For ex-
ample, in a school of 100 high school
students and 75 grade school students
all housed in the one building, a budget
of $282.50 is recommended for installing
equipment, $85.00 for purchasing or rent-
ing materials through university mem-
berships, $289.17 for the purchase of ad-
ditional materials, and $30 for trans-
portation, and the like. If this total cost
($686.67) is figured on a per capita cost
for that school year it would be only
$3.93 per year. In succeeding years,
when equipment costs would be less, the
per capita cost would be reduced to
$2.63. In a small school, where the
average cost of education per pupil per
year is $78.72, can we not afford to add
$2.63 per pupil to enrich and vitalize
our educational program in a concrete
way that will almost double its efficiency?
"Through the Eyes": visual education
material in Ventura County Free Li-
brary—by Elizabeth Topping — IVestem
Journal of Education, 45:14 October,
1939
In the county library collection of
visual aids are to be found pictures,
stereographs, posters, maps, globes, il-
lustrated folder, 16mm. and 3Smm. films,
slides, stills, orthovis views, and pro-
jectors. Other material in this field is in
the county school museum which is a
WPA project. The library distributes
this latter material.
In 1935 a budget of $500 was allocated
to develop a visual education collection.
The library purchased filmstrips, a silent
projector, an opaque projector, a lantern
slide projector, a filmstrip projector.
By trading in an old 35mm. machine, the
library was able to secure a sound pro-
jector. The County Library School Fund,
which had allotted the first $500, then
gave $200 for each of the following
years. With the aid of the Los Angeles
Visual Aids Department, a program of
visual education was developed with the
schools and the elementary school prin-
cipals agreed to pay 20c per pupil, based
on average daily attendance. Two of the
schools in the county used this money
for the purchase of films which were
donated to the county library. There is
now $1300 worth of material available.
Page 370
The Educational Screen
The first selection of films for pur-
chase was made with the help of co-
operating supervisors. superintendent,
principals and teachers. There is now
a Visual Aids Committee for this pur-
pose. The director of elementary cur-
riculum passes on the recommendations
of this committee.
Among the criteria for selection were:
educational value, length, veracity, re-
centness, scope, grade for which suited,
beauty, concreteness, and cost. The gen-
eral discussion following the film show-
ings was noted by the librarian.
A full-time assistant for examining
and routing projectors and materials has
been provided. Part of the library has
been equipped for previewing and ex-
amination of materials. A catalog and
bulletins are sent to all teachers. Train-
ing in the operation of machines was
provided. Teacher institutes in which
such considerations as the need for plan-
ning the use of visual aids, the relative
value of each type, and the difference
between education and recreational use
of materials were taken up.
(One of the best descriptions of such
a program ever written. — E. S.)
Some Aspects of a Program of Visual
Education for Cincinnati Public
Schools — Thesis by Mendel Sherman.
The study deals with those aspects
of a visual education program that are
of most vital concern to Cincinnati
Public Schools. It has three main divi-
sions as follows :
1. The Visual Aids
This includes a discussion of 16mm
projection, the camera, the stereopti-
con, stereographs, the film strip arid
opaque projection.
2. Application of Visual Aids
Several Cincinnati School units are
discussed in relation to available visual
aids. A full description is given of an
experiment in which all the activities
of a primary unit were correlated by
the use of a sound film and other visual
aids.
3. Administration of Visual Aids
Here is discussed the problem of
administering visual aids in the school
system as a whole and in the individual
schools. Many problems of adminis-
tration are common to almost all school
systems as well as to Cincinnati. Among
these problems are the following : The
question of a supervisor or director;
Equipment; Distribution of material;
.A. system of filing and cataloging;
Sources of material ; Supervision and
In-Service training; Financing the vis-
ual aid program ; The visual aids rep-
resentative; Operators and care of
equipment; Scheduling material.
While the ISO page thesis was written
with the Cincinnati situation principally
in mind it contains valuable suggestions
for the use of visual aids in any situa-
tion. A summary of suggestions is
given for the use of 16mm film pro-
jection, answering many questions that
classroom teachers have had in mind.
Many references to leading authorities
add emphasis to the work.
A 400 ft. reel of school activities
was taken in connection with the thesis
to show the use of the movie camera
as a tool for public relations.
Evaluation of Visual Aids
An Introduction to the Evaluation of
Motion Pictures in General Educa-
tion— Motion Picture Project, Ameri-
can Council on Education, 1939.
mimeo.
This is a long-awaited guide to class-
room teachers and directors of visual
education in which the experience of the
Motion Picture Project has been util-
ized as it relates to the effectiveness of
specific films in the classroom. It is the
plan of the Motion Picture Project to
combine the results of preview and class-
room evaluation into an encyclopedia of
films for general education. This encyclo-
pedia will contain case histories of films
found effective in cooperating centers.
Section I of the bulletin contains pre-
view guides made by the staff in Wash-
ington. Criteria for evaluation have been
clearly and soundly formulated. Section
II applies these criteria to two specific
films, namely the Eastman film "One-
celled Animals", and the Erpi film, "The
Wheat Farmer." Section III gives, in
addition to the recommendations of the
Washington staff, the experiences of
teachers and students in the Santa Bar-
bara City Schools. While this latter
phase is still in the preliminary stage,
it serves to indicate the type of treat-
ment planned to summarize the results
of evaluation activities in relation to
individual films.
Motivation by Visual Aids — by Hope
Chase, Viroqua, Wis. — IVisconsin Jour-
nal of Education, 72:160 November,
1939
School-Made Visual Aids
Making Motion Pictures in the School —
by Eleanor D. Child, Greenwich, Conn.
— English Journal, 28:706-12 Novem-
ber, 1939
On the basis of experiences in film
making at Greenwich High School,
answers to some of the more common
questions are given:
1. How might we start a movie mak-
ing project? In a school's camera
Club, or Photoplay Appreciation
Club. A committe might set out to
investigate what other groups have
done, then they might make plans
for their own production, under-
take to collect equipment and mon-
ey for it. secure permission, and go
to work. Books, magazines, and
pamphlets on the subject should be
furnished.
2. How much about movie-making
does a leader have to know when
the group begins production? Some-
times it is possible for the leader
to know nothing about movie-mak-
ing, but with the faculty of making
others work this need not be a
hindrance. Only when this work
seems fun and is well divided, will
the project truly succeed.
3. Where may one obtain the most
useful information about the tech-
niques of movie-making? Sources
of information are listed.
4. Should 35mm., 16mm., or 8mm.
equipment be purchased? The
16mni. is strongly recommended in
favor of either of the others.
5. Should we attempt a sound film?
Try to avoid this at first, using
such resources as amplifiers or ac-
companying records.
6. What is the cost of a school pro-
duction ? An estimated cost of $6
or $7 per 100 feet of film is usually
adequate. Some schools have pro-
duced 15-niinute films for $25, us-
ing borrowed or rented equipment.
But the cost depends upon the kind
of production being contemplated.
7. What mistakes should one guard
against? Avoid having too many
workers on the set ; allow ample
time for production, editing, and
titling; use your mistakes con-
structively to avoid similar inci-
dents in the future.
8. Do the results warrant the ex-
penses and energies involved? Al-
though the results cannot be mea-
sured, it has been found that stu-
dents get experience in planning a
budget, raising funds, spending
wisely, etc. They learn to work co-
operatively ; to find how and where
to secure information ; to use care
and precision. They learn to ap-
preciate commercial films. They
may be able to cooperate with out-
of-school agencies in making films.
Certain students may find voca-
tional stimulation from this ex-
perience.
The time will come when almost every
school will have a group to make motion
pictures, just as it has a school news-
paper, a magazine, and a dramatic
society.
IHctures and Drawings
Visual Education Advances — by Ruth
H. Wagner, Whitefish Bay, Wis.—
Instructor. 48:20 October, 1939
Discusses use of opaque projector
in primary instruction.
Photos or Drawings? — by Arthur C.
Selke, State Teachers College, Dickin-
son, N. D. — School Executive, 59.31
October, 1939
Educators include in the term "visual
education" a veritable grab-bag of hetero-
geneous items. For instance, photographs
and drawings are generally regarded as
much the same. Factors not generally
recognized make drawings superior to
photographs for certain types of instruc-
tion.
Proper emphasis, which is harder to
achieve thru a picture than drawing.
Encourage imitation, by showing the
tricks of representation, the essential lines
and shadings, for instance.
Stimulate imagination, leaving the most
to suggestion and imagination. Com-
(Concludcd on page 372)
December, 19)9
Page 371
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Page 372
The Educational Screen
parable to a child's preference for rag
dolls over automatic dolls.
Simulate motion. A photograph sel-
dom gives a true record of what it aims
to portray, because it generally lacks
motion. The artist can probably sym-
bolize motion better on a canvas than can
the photographer.
Library and Visual Aids
Report of the Visual Methods Com-
mittee— American Library Association
—A.L.A. Bulletin, 33:216P-222P Oc-
tober IS, 1939
Boyd B. Rakestravv, U. of California —
The library as a cooperating unit in
film distribution.
The library should be a cooperative
unit, a middleman, almost standing be-
tween the multifarious sources of films
and the ultimate consumer, the school.
Its real function as a school department
is to send for films, as for other materials,
and with teachers to arrange for their
previewing and evaluation in terms of
their usefulness to the school. In addi-
tion, the library's function is to handle
the mechanics of lending them to the
various classes and to see that they are
returned in good condition. A system of
distribution for films comparable to that
of the California county library service
to schools is recommended.
Marguerite Kirk, Board of Education
Library, Newark, N. J. — Film and book.
Summary of the types of materials
available to schools, and ways in which
the school library can cooperate with
teachers in securing information, order-
ing, arranging for previews, and provid-
ing appropriate bibliographic materials.
Motion Pictures and Propaganda
Propaganda — Good and Bad — for
Democracy — by Clyde R. Miller and
Louis Minsky, Institute for Propa-
ganda Analysis, N.Y.C. — Survey
Graphic, 28:706-20 November, 1939
In the section on "Movies and Propa-
gandizing" (pp. 716-18) the following
important questions are suggested for
movie-goers, as a guide to determining
the extent to which movies reflect life
in a democracy:
1. What are the assumptions about
life and human nature on which
this film rests?
2. What values or goals do the char-
acters in the play consider im-
portant?
3. Do we think that they are im-
portant ?
4. Is this film a defense of things as
they are?
5. Is it an argument for change?
6. Were the problems of the char-
acters remote from contemporary
conditions or were they closely re-
lated to the realities of today?
7. Were the relationships between
the characters on the screen tra-
ditional?
8. Would they be acceptable?
9. Who wants us to think this way?
10. vV'hat are his interests, and do they
coincide with the interests of our-
selves, of most Americans?
Richard Lewis, co-author with Helen
Rand Miller of "Film and School" and
Howard Dietz, Hollywood producer, dis-
cuss this problem. The reader is also re-
ferred to an article in the Christian Cen-
tury for June 21, 1939 in which some 16
organizations are reported to be working
in Hollywood to strengthen and extend
democracy in American life.
The Movie Picture in the Public Schools
— by Douglas Fairbanks, Jr. — National
Elementarv Principal, 19:27-31 Oc-
tober, 1939
Last year the motion picture in-
dustry in the U. S. produced a total of
346 feature films. Those 346 films had a
definite eff^ect on the daily thoughts of
millions of people, for unquestionably
the motion picture is one of the most
powerful media for the dissemination of
an idea that has ever been placed in the
hands of man.
How far should motion pictures con-
scientiously venture into the field of
propaganda ? Films are being made today
in other nations which are concerned
mainly with praising certain other forms
of government. The motion picture the-
ater in those nations is almost entirely
devoted, under government supervision
to telling the audience that it is quite
the happiest audience on the face of the
earth. In democratic nations, on the
other hand, the audience itself is the con-
trolling influence. If the audience wants
the social order examined, the films will
examine it. If the audience seeks criti-
cism, the films will criticize.
So far the motion picture industry in
the U. S. has made only a few tentative
moves in the direction of obvious propa-
ganda, with "The Case for Democracy"
as its theme. While the analysis of public
opinion of these films has not been com-
pleted yet, it is important to note that
some of the best pictures in recent
months and some of the most entertain-
ing as well have been based on historic
incidents which in themselves serve to
emphasize the merits of democracy. There
is a line, for instance, in one of these
films, "Man of Conquest," which draws
applause. The movie Andrew Jackson
says to the movie Sam Houston, "Don't
ever forget that this is still the only
country where a man can give the Presi-
dent a good cussing out and the only
thing the President can do is cuss right
back or go fishing."
It is entirely possible, however, that
motion pictures, emphasizing our virtues
and ignoring our shortcomings would in
the end defeat their very purpose. The
time would come when even the truth
would be suspected. It is up to the actor
and the playwright to interpret char-
acters and events ; it is up to the actor and
playwright to interpret changing world
conditions. The only way a responsible
actor or playwright can do this is to
listen to the voice of public opinion and
be guided by its trend.
The National Education Association,
more than any other single body, has a
direct interest in the kind of motion
pictures made today.
Source Materials
Sources of Information and Material!
in Audio-visual Education for Teach-
ers of English — Conducted by Walter
Ginsberg — English Journal (Secondary
Edition), beginning December, 1939
Visual Aids that Are Free or Inex-
pensive— compiled by Lili Heimers,
July, 1939. 13 pp. mimeo. Available
from State Teachers College Library,
Montclair, N. J., for 15c.
This list is limited to material which
has been obtained for this college but
is valuable in suggesting to teachers the
wide range of visual aids available in
the form of maps, pictures, charts,
posters, pamphlets, and industrial ex-
hibits, and sources for such material.
Films on War and American Neutrality
— Motion Picture Project, American
Council on Education, Washington,
D. C. 48 pp. mimeo. 1939. 2Sc.
An annotated bibliography of twelve
selected 16mm. sound motion pictures
dealing with backgrounds of the pres-
ent war situation and American neutral-
ity. Presents first some general sug-
gestions on methods of using films in
the classroom, then discusses some of
the general issues illustrated by the films,
and their relation to current events. The
bulletin is divided into three sections :
events leading to the present European
war, the war situation in the Orient,
and the machinery of peace and Ameri-
can neutrality. Each section contains
detailed description of the content of the
films, appraisals of the films, a series of
critical questions which may be used
as a basis of discussion, and a selected
bibliography of references. The pro-
ducer and distributors of each film are
listed.
Bulletin to Schools, N.Y.S. Department
of Education. Sources of information
on school films. 26:48-9 October, 1939
School Progress (Canada's National
School Magazine) — What's new in
educational films. November, 1939
Visual Aids Digest, 1939. Published
annually by the New Jersey Visual
Education Association.
Articles by teachers and supervisors
in New Jersey give some idea of the
intense activity in this field in that state.
It is reported in the preface by Dr.
Walter F. Robinson, president, that at
the recent convention of N. J. teachers
in Atlantic City, about 2,000 people at-
tended the visual aids meetings. Three
regional meetings were attended by a
total of about 1400, with many meetings
held in other sections unreported as to
attendance. The membership has grown
by 700 in a single year !
December, 19} 9
Page 373
National Board of R**vii-w nays: "... pUnty to please
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LEWIS FILM SERVICE. 105 East First St.
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Sound Film Experiment
(Concluded from page 360)
test was given a numerical value of eight and one-
half. The following three ([uestions illustrate the type
of questions asked in this test.
(1) The growth of transportation has had no effect
on growth of industry.
(2) Living conditions became better when trans-
portation improved.
(3) The world of tomorrow has no problems to
solve regarding transportation methods already in use.
Tables 2, 3. 4 and 5 show the average numerical
scores received by the control and visual groups at
the iK'ginning and end of the experiment, and the per
cent of gain for each group in the four weeks' experi-
mental jieriod for the following tests ; vocabulary, word
recognition, fact test, and attitude test.
TABLE II
Comparison of Results of Vocabuiary Test
♦Average Score *Averagc Score Per cent Gain 4
Group
at Beginning
at End
Weeks' Period
Control
13
23
76%
Visual
12
40
233%
♦Maximum
score possible — SO
TABLE ni
Comparison of Results of Word Recognition Test
♦Average Score ♦Average Score Per cent Gain 4
Group at Beginning at End Weeks' Period
Control 6 14 133%
Visual 6 16 166%
♦Maximum score possible — SO
TABLE IV
Comparison of Results of Fact Test
♦Average Score ♦Average Score Per cent Gain 4
Group
at Beginning
at End
Weeks' Period
Control
34
57
68%
Visual
36
86
139%
♦Maximum score possible — 100
Group
Contnil
Visual
TABLE V
Comparison of Results of Attitude Test
♦Average Score ♦Average Score Per cent Gain 4
at Beginning at End Weeks' Period
37 50 35%
33 75 127%
♦Maximum score possible — 100
All objective evidence obtained from a comparison
of j)ercentage gains in test scores very decidedly indi-
cates the positive value of using the sound film in
teaching a unit in social studies to pupils who are
lacking in ability to do school work. In addition to the
actual test results of the experiment, there was in the
visual group a noticeable improvement in interest, at-
tendance, and ability in self expression.
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Page 374
The Educational Screen
^fiE ^jEaExaL ^jiim
"Words (and Pictures) That Won the War"
THOSE interested in the history and use of the
motion picture and photograpli in a great emer-
gency should by all means read "Words That Won
the War", an exposition on how the Committee on
Public Information under George Creel mobilized pub-
lic opinion during the World War. This book, one
of the most exciting of our time, was written by Dr.
James R. Mock and Cedric Larson, who based their
research on the Creel Committee files in the National
.Archives.
While all schoolmen will find the entire book an
indispensable contribution to the history of a hectic
period, visual educators will find particular interest
in the chapter ''A Barrage of Film ; Mobilizing the
Movies." This chapter covers the movie activities of
the Committee on Public Information and includes
also a discussion of the use of slides and still photo-
graphs.
Dr. Mock, on the stafT of the National Archives and
formerly professor of history at Findlay College,
Ohio, and Mr. Larson, formerly on the Library of
Congress staflf, now with the War Department, have
done a scholarly job of reviewing the work of the
CPI and presenting it at a most propitious time. The
book covers the domestic scene with a discussion of
Edited by Arch A. Mercey
Assistant Director, U. S. Film Service,
Washington, D. C.
the famous "four minute men," the movies, press,
use of scholars and the schools, and projjaganda efforts
among the foreign born and in the ranks of labor
and capital. On the foreign front the CPI operated in
allied territory, in neutral countries, and even crossed
the enemy lines. The chapters on the CPI and Russia
and the CPI and Mexico are particularly pertinent.
The CPI Division of Films had five distinct func-
tions:
1. "Cooperation with photographers of the Signal
Corps and the Navy in preparing and handling
pictures they had taken.
2. Writing of scenarios and the issuance of permits
for commercial films about government work.
3. Production of the documentary films made en-
tirely by the CPI, most of which were finished
after the armistice.
4. Distribution and promotion of war films whether
taken by our own government, the Allies or pri-
vate producers.
5. Cooperation with the Foreign F'ilm Division in
the export of pictures to CPI agents abroad."
The CPI cameramen and the Signal Corps made a
number of short subjects which were designed to be
theatrically non-competitive. Typical of this group
were: "Ready for the Fight"; "The Spirit of 1917";
"Women's Part in the War"; "Men Who Are Doing
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Send 25c for 80-page Catalog No. 20
^^f
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Spring Schedules being made up
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THE COLONIAL ART COMPANY
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1.5x19 $4.00. Framed $12.50
December, 19)9
Page 37S
Things"; "The Coiu|uest of the Air"; "labor's Part
in Democracy's War" and many others.
The first of the CPI's feature pictures was "Persh-
ing's Crusaders" (seven reels). I^ter came ".America's
Answer" (five reels) ; "Under Four Flags" (five
reels), a series of four two-reelers and "Our Colored
F"ighters" for Negro audiences.
The movie industry underwrote the cost of a series
of nne-reelers on subjects in which the Government
was interested. Some of these were Paramount-Bray
Pictograph's "Ki-ep 'Em Singing and Nothing Can
Lick "Fm": "I Run the Biggest Life Insurance Com-
pany on Farth" : Patlie's "Solving the Farm Problem
of the N'ation" and "Feeding the Fighter"; Universal's
"Reclaiming the Soldier's Duds" ; "The American
Indian Gets Into the War Game"; C. L. Chester's
"There Shall Be No Cripples"; "It's An Engineer's
War"; "Finding and Fixing the Enemy"; ".All the
Comforts of Home" ; "The College for Camp Cooks"
etc.
"Pershing's Crusaders" and "America's Answer"
had 4000 bookings and the "Official War Review",
propaganda film by the English, French and Italian
governments had 7000. For some of the pictures the
CPI made ciiarges and as a result the eight pictures
or series, together with miscellaneous sales, totalled
$852,744.39.
The greatest of all the "hate" films, "The Kaiser, the
Beast of Berlin", privately produced, made a strong
impression, and this film was later the subject of a
parody "The Geezer of Berlin".
A Dejartment of Slides under the Film Division
made sets of slides available to schools, churches, etc.,
at 15 cents a set. "The Ruined Churches of France",
"Building A Bridge of Ships to Pershing"; "To Berlin
Via the Air Route", and "Making the American
Army" were among the 700 sets prepared. George F.
Zook, formerly Commissioner of Education "turned out
nine new series which were issued in editions of 100
sets each."
All slides and films mentioned in this article were
made jor wartiinc use and arc not available no7v.
The subjects listed heretofore indicate the wide front
on which the CPI and movie industry advanced in
their effort to mobilize the public through the motion
picture. It must be remembered that the films were
all silent and both film and projection standards were
far below those of today. Contemporary newsreels
have been showing lately pictures "passed by the
censor" and the French have their own propaganda
reel, while Britain has made a feature called "The
Lion Has Wings". In America a picture is being
shown called "Beasts of Berlin", originally titled "Hit-
ler, the Beast of Berlin". And so the effort to win
public favor in wartime continues.
No information on the use of the motion picture is
complete without reading Mock and Larson's incisive
account. So important were the movies in the propa-
ganda campaign of the World War that the authors
might well have called their book "Words and Pictures
That Won the War". It might be added that the
chapter on "Scholars and the Schools" will be en-
lightening in its illustration of how the educators par-
ticipated in significant fashion with the CPI.
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OlsfrJbufon Througliout fA* World
Page 376
The Educational Screen
^'^itt in n
The Benedictine Order con-
tinues a method of life un-
changed since Medieval
times. Their daily routine
is a page from the 11th
Century performed with
great simplicity. Famous
Gregorian chants • Design and illumination of
ancient manuscripts • Fashioning of churchly
vestments are among outstanding scenes.
An uminual film for studies of the Middle Ages
3 reels _ _ _ . I6mm sound only
PICTORIAL FILMS. INC.
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N.Y.C.
WE HAVE MOVED TO LARGER QUARTERS!
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Altosrether 300 Features and 600 Shorts
from which to pick your programs
Not One Mediocre Picture in Our Library
Film Rental Catalogue — Film Sale Catalosue
Write for them
CINE CLASSIC LIBRARY
1041 JEFFERSON AVE.
BROOKLYN, N. Y.
CHECKLIST
FOR
1940
Fifty Foreign Language Features and
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an
Conference on Film Distribution
The Association of School Film Libraries sponsored
a national conference of educators and producers and
distributors of educational motion pictures in New
York City, October 5 and 6, to consider ways and
means of improving film distribution to educational
institutions. Twenty-three states were represented by
the 52 persons present. Some of the topics discussed
were : distribution areas served by various film li-
braries ; development of regional depositories among
film libraries for Government films ; city and county
libraries ; types of films to be distributed by the As-
sociation and those which should be left to commercial
distribution; the function of the Association of School
Film Libraries in relation to individual, state and
university film libraries. Progress was made in bring-
ing together into closer understanding and actual dis-
tribution arrangements between the university film
distributors and Teaching Film Custodians for the
distribution through school libraries of the Hollywood
short subjects recently made available to education.
The Association's officers were re-elected for a sec-
ond term. The President is J. A. Wardlaw, Atlanta,
Georgia; the Vice-President, Boyd B. Rakestraw,
Berkeley, California ; and the Executive Director,
Fanning Hearon. The Executive Committee is com-
posed of Mr. Wardlaw, Mr. Rakestraw, Charles F.
Hoban, Jr., Washington, D. C, John A. Hollinger,
Pittsburgh, Pa., and Paul C. Reed, Rochester, N. Y.
Other members of the Board are: Harold C. Bauer,
Winona, Minn., Lee W. Cochran, Iowa City, and J. E.
Hansen, Madison, Wis.
Action was taken by the Association's Board of
Directors, making the National Film Society of Can-
ada the official affiliate of the Association. The Film
Society is a non-profit organization with a membership
of educational institutions cooperating to promote the
educational use of motion pictures in Canada, and re-
ceives financial support from the Rockefeller Founda-
tion.
State Meetings
The Visual Instruction Section of the Ohio Educa-
tion Association will meet Saturday, January 6, 1940,
at 9:45 A. M. in the State Office Building at Columbus.
President W. C. Dyer will preside. Demonstrations
will be given in the making of crayon and ink home-
made glass lantern slides, and in the production of
35mm Kodachrome film picture transparencies. Public
Relations films produced by schools will be shown and
discussed. The program will close with general re-
marks by B. A. Aughinbaugh, State Director of Visual
Education.
♦ ♦
Visual Education played a part in the annual meet-
ing of the Missouri State Teachers Association in St.
Louis, November 15-18. A discussion group on
December, 19)9
Page 377
^^oU±
Science and X'isiial Aids met I'riday morning, the 17tli.
under the chairmanship of Alma B. Rogers, Director
of Visual Education, St. Louis County Schools. In-
cluded in the afternoon Department Programs was one
on Visual Education, which featured demonstrations
of pupil-made slides, exhibits and projects.
Report on Southern Conference
The annual Southern Conference on Audio-Visual
Education has become recognized as one of the major
factors acting to promote the growth of visual and
radio education in the South. The 1939 Conference,
held at the Billmore Hotel, Atlanta, Georgia. Thurs-
day, Friday, and Saturday, November 16, 17, and 18,
carried on the high standards set by the programs of
the two previous Conferences. .\ rapid review of the
highlights of the program includes :
The continuous showing of new educational motion
picture films which occujHed the entire afternoon Thurs-
day, and was enthusiastically received by an audience
of several hundred ])ersons. Addresses Thursday eve-
ning on "The Location and Use of Visual Materials in
the Environment" by Dr. Walter D. Cocking, Dean,
College of Education, University of Georgia ; and "The
Contribution of Radio to the American Home" by Miss
Alma Kitchell, National Broadcasting Company.
Addresses I'riday morning on "Filmslides as an Edu-
cational .\id" by Mr. Theo. R. Wright, Chairman of
Visual Education. Birmingham, Alabama, Public
Schools ; "Successful Methods of Using Films" by Dr.
Charles F. Hoban, Jr., Director, Motion Picture Proj-
ect, American Council on Education ; and "Planning
Films for the Public Welfare" by Dr. Alice V. Keliher,
Chairman, Commission on Human Relations, Pro-
gressive Education Association.
Specialized group forums Friday afternoon on
"Radio. Sound, and Recording Problems," "Problems
of Projection and Visual Aids" and "Photography in
the School and Community." Following the forums,
addresses on "Evaluation and Integration of Educa-
tional Motion Pictures" by Mr. Floyde E. Brooker,
Assistant Director, Motion Picture Project, American
Council dn Education : and "Teaching Speech by Ra-
dio" by Mr. Lester L. Hale, Assistant Professor of
Education, University of Florida.
Addresses Friday evening on "Recent Developments
in Audio-Visual Aids to Instruction" by Dr. Ells-
worth C. Dent, Director, Educational Department,
RCA Manufacturing Cotnpany ; and "How to Use
Radio" by Mr. Kenneth G. Bartlett, Director Radio
Workshop. Syracuse University.
On Saturday morning's program, a report and dis-
cussion of teacher-student motion picture production,
conducted by Dr. Charles F. Hoban, Jr., and Mr.
Floyde E. Brooker; an address on "New Values in
Maps and Globes" by E. S. Sell. University of Geor-
(Concluded on page 383)
1
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Only an actual demonstration in the classroom or
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Optical and mechanical features of design in all
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Page 378
The Educational Screen
n and vox tfiE C^La±±room
Conducted by Wilber Emmert
Director Visual Education, State Teachers College, Indiana, Pa.
A Geography Vocabulary Experiment
With — and Without — the Use of Visual Aids
To DETERMINE how much more effective vocabu-
lary teaching which employs various visual aids is
over instruction which makes use of few or no visual
aids, I conducted an extended experiment in 4B
Geography Vocabulary.
A test was first devised which covered thirty-nine
words needed in the vocabulary of each child to enable
the child to adequately interpret the geography read-
ing material of the grade. This test was given as a
diagnostic step before any lessons covering the course
were taught. The teacher retained the papers for refer-
ence and guidance of teaching.
The words covered by the test were:
jungle, current, tributary, main stream, upstream, down-
stream, navigable, strait, bay, seaport, nomads, blubber,
kayak, harpoon, rapids, mouth, iceberg, glacier, pack-ice,
igloo, tupik, sledge, source, desert, goat, elephant, hippo-
"One year -6 limes a week
without interruption or mechanical
replacement. A HOLMES Portable
Sound-on-Film Projector transported over
rough, mountainous roads — voltage 85
to 150, and encountering both A.C. and
direct current ... 16 foot picture at
100 feet when used with HOLMES
Portable Arc Lamp."
That's the kind of
experience reports
that makes —
Once a HOLMES,
Always a HOLMES
Projedor Customer.
Write for
Catalog^
Prices
and nearest
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Holmes Projector
Company
1813 Orchard Street
CHICAGO
(6 mm Portable,
Mazda or Arc Lamp.
35 mm Portable.
Mazda or Arc Lamp.
35 mm Imperial
for Auditoriums.
potamus, umiak, walrus, caribou, oasis, peninsula, palm-
tree, teapoy, caravan, cold caps, isthmus, seal, sheep.
The I. Q. of each child was then secured from office
records of previous tests. The entire class was then
divided into two groups, each containing an equal
number of children with high, average, and low in-
telligence, and each group having a combined total of
ninety-three points scored on the pre-study test.
During the semester both experimental groups used
the same text and supplementary books, both covered
the same units of study, and both received the same
time and attention of the teacher. The only difference
lay in the fact that the Non- Visual Aids Group was
given very few visual aids, other than those accompany-
ing the books used.
The other group, the Visual Aids Section, was given
much visual material. The following types of visual
aids were used to teach the thirty-nine words ; the
number of words with which each was employed being
indicated by the figure in parentheses :
Textbook pictures (37). other pictures (38), slides
(31), motion pictures (16), dioramas (8), models
(29), experiments (7), school journey (14), original
drawings and slides (33), dramatics (23), maps (14).
Textbook pictures were carefully studied by both
sections. The Visual Aids Group studied mounted
and unmounted still pictures, professionally made
slides, motion pictures, dioramas (desert scenes and
jungle scenes), and made models, drawings, maps and
slides, performed experiments, took school journeys
(to river, to animal parade), and dramatized many of
the words. Chalk drawings, made on the room floor,
permitted much impromptu dramatization. Children
enjoy "acting", and the results from this method seem
quite effective. Teachers use it too seldom.
Finally, the same test which had been given in Sep-
tember was repeated in December. Table A compares
TABLE A
Possible Total Total Net Per Cent
Point Pre-Study Post-Study Gain Of Gain
Score Score Score Of Points From Study
Visual Aids Groups :
S8S 93
479
Non-Visual Aids Groups :
585 93 349
Net difference between groups :
0 n 130
386
256
130
66.0%
43.8%
22.2%
O R
December, 19i9
Page 379
the results of the two methods of teaching, the visual
aids method being much more successful. The Visual
Aids Section scored a total net gain of 130 points
more than tiie net gain scored by the Xon-\''isual Aids
Group, or an average of 9-plus points higher \>cr child.
Figured on a per cent basis, the use of visual aids
proved 22.2 per cent more effectual on the average
than teaching done with little use of visual aids.
No study was made of the time element, but it was
apparent during the experiment that the use of visual
aids is a real economy of time.
In conclusion, a 22.2 jjer cent increase in efficiency
certainly justifies tiie recognition of a vi.sual aids pro-
gram as an essential (xirt of the regular school program.
.Any teacher can obtain similar results, but many do
not. What many teachers — myself included — long
have iKvded has been education in visual instruction. It
.should lie required of all beginning teachers and urged
upon all who are not beginners.
W. J. DAY
Prin., Charles Major School,
ShelbyviUe, Indiana
Club Activities and Visual Aids
SE\'Ek.\L large colored pictures of airplanes and
a large wall map of important world air routes
(free from H. J. Heinz Co.) placed on the bulletin
board one day aroused the interest of a group of boys
(ages 12-14). An aviation club was organized and
a part of the school room became the Mid-West Air-
liner Hangar. Books of every kind related to avia-
tion were collected for the aviation library. Pictures
of planes, flying fields, factories, aviators, and every-
thing related to air activity were collected for a scrap-
book. News items were posted on the "airways" bul-
letin board.
One section of the hangar became a factory for the
building of model planes — shelf and flying types. Mod-
els of many planes were constructed. Later these flying
models were tried out in a nearby open field. Kodak
pictures were taken of the planes, hangar and various
activities of the club. These pictures became a part
of the permanent record of the aviation club.
The club initiated a trip to the St. Ix)uis Municipal
Airport, where they saw planes, the control room,
landing, refueling and take off of transcontinental
planes, parachutes and their manipulation, and various
hangars. Club members had rides in planes and pilots
explained the instrument panel. The memliers se-
cured information concerning training for aviation of-
ficials and pilots.
Lantern slide programs (slides made by club mem-
bers) have been presented to Social Studies Classes.
For several club meetings films of related interests
were shown. These films included mineral and manu-
facturing processes, geographical features along air
routes and adventures into science. The aim of the
club at present is to be able to make a moving picture
film of their club activities for a school movie. Interest
and enthusiasm increases from meeting to meeting.
FRIEDA ZIMMERMAN
Washington Grammar School.
Washington, Mo.
fel
16MM. Sound Picture
LOUIS PASTEUR
THE BEIVEFACTOR
k%mfol S3.50 ptr Day
A vivid presentation of the life of the
famouK French scientist, includinir his
^^truf[Kl«■' aicainst the prejudices of or-
ganized medical men : the Arst rabies
tr.tttment of boy bitten by mad doK ;
:i complete resume of his scientific ac-
romplitihrnenta and his final recogni-
tiun by men of science,
2 RKLS
Send for cofofeg of edHcoffoaal
ond recreoffenof Ultni.
AUDIO-FILM LIBRARIES
«61 Bloomfield Ave., Bleomftdd, N. J.
2 REELS
6MM. SOUND FILM
OUTRIGHT SALES
Exclusively by
PICTORIAL FILMS, Inc.
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ALL NEW— I6MM. SOUND PICTURES
"KING of the SIERRAS"
Fighting Wild Stallioni in an Epic Drama of tha Last of tha Musfangt
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i raals — 16mm. Sound Film
2- Reel Action Westerns
A sarial of (t) l«mm. Sound Filmi witti WALLY WALES, AL HOXIE,
BUFFALO BILL, JR., FRANKLIN FARNUI«( and SILVER KING.
Catalogue on Request
POST PICTURES CORP.
723 - 7th Ave. New York City
General Science, 11 rolls, $20
Principles of Physics, 7 rolls, $12
Principles of Chemistry, 8 rolls. $14
Fxindcnnentols of Biology, 4 rolls, $9
Order on approval or send ior free (older and sample
VISUAL SCIEIVCES, Suffera, New York
35 mm.
FILM
SLIDES
In Our
great 20th ANNIVERSARY Catalog
you will find listed over
3500 motion pictures
for every educational and
entertainment need
16 mm Silent
16 mm Sound
8 mm Silent
Our Rental Rates
are greatly reduced on many films.
Many 16 mm sound subjects avail-
able for less than $1.00 per reel,
IDEAL PICTURES CORPORATION
28 E. EIGHTH STREET
2402 WEST SEVENTH STREET
CHICAGO. ILL.
LOS ANGELES, CALIF.
Page 380
The Educational Screen
Cu%%znt \jLLm ^A4aji
Audio Film Libraries, 661 Bloomfield
Avenue, Bloomfield, N. J., have is-
sued the following news notice :
Louis Pasteur, the Benefactor, a new
two-reel film, is available for rental
or sale in 16mm sound. The picture
portrays the life of the famous French
scientist including his struggle against
the prejudices of the French Academy
of Medicine. It shows the famous ex-
periment with rabies including the first
injection given to a boy bitten by a
mad dog and includes a resume of his
scientific accomplishments, his final
triumphs and the eventual world wide
recognition of his benefactions to man-
kind.
Rentals are available from Audio-
Film Libraries while Pictorial Film
Libraries of 1650 Broadway, New York
City, handle exclusively all sales of
this subject.
Walter O. Gutlohn, Inc., 35 W. 45th
Street, New York City, offer the fol-
lowing new releases for rental or
sale:
Warning — 3 reels, 16mm sound. A
British documentary film showing what
happens during and after an air raid
on a typical British city, portraying
defense measures used, destruction
caused by the air raid ; first aid to the
injured and the task of restoration.
An Apple a Day — 1 reel, in color, 16
mm silent. A study of large scale apple
growing showing the pruning, spraying
and grafting of trees, and, finally, pack-
ing and all other operations necessary
to prepare the fruit for delivery to the
consumer.
A Study of Spring Wild Flowers — 1
reel, 16 mm silent. Color picture of
such spring wild flowers as the early
marsh marigold and skunk cabbage,
the violet, hepatica, arbutus, lady slip-
per and many others.
L'lle D'Orleans — 1 reel, in color, 16
mm silent. A camera trip through this
historic island off Quebec showing
quaint native customs, industries and
architecture.
Eastin 16mm. Pictures Co., Davenport,
Iowa, have secured the exclusive
16mm rights on the following two
feature productions, which are avail-
able for rental only:
Romance and Riches — -8 reels — with
Cary Grant and Mary Brian. From E.
Phillips Oppenheim's best seller, "The
Amazing Quest of Mr. Ernest Bliss,"
which tells the story of how a young
millionaire, bored with life, goes to
work incognito to win a wager and
finds love and happiness.
Renfrew on the Great White Trail
■ — 6 reels — with James Newill, Terry
Walker ind Silver King, the Wonder
Dog. Based on Laurie York Erskine's
Mounted Police story, "Renfrew Rides
North."
Post Pictnres, 723 Seventh Avenue,
New York City, announce the addi-
tion of two new 16mm sound pictures :
King of the Sierras, a 6-reel epic
drama produced by Grand National,
and a series of eight 2-reel all star
westerns. "King of the Sierras" is a
simple story of wild horses on the plains
told by Uncle Hank, a philosophical
old ranger to Sammy, a little orphaned
boy.
American League of Profeisional Base-
ball Clubs, 310 S. Michigan BIdg.,
Chicago, will have ready for distribu-
tion beginning January 1, 1940:
Touching All Bases — 4 reels, 16mm
and 3Smm sound. Gives fundamentals
of play and highlights of the past base-
ball season, showing American League
stars in their various positions. Slow-
motion shots on pitching, fielding, base
running, batting. A sequence of the Hall
of Fame ceremonies taken at Coopers-
town, New York, the birthplace of the
game. Free except for transportation
charges. Co-sponsor for the picture is
Kellogg Company of Battle Creek, Mich.
Lewis Jacobs, 122 West 61st Street,
New York City, author of the forth-
coming book, "The Rise of the Ameri-
can Film," has just completed :
Tree Trunk to Head — 3 reels, 16mm
silent. Presents the noted sculptor Chaim
Gross, at work in his studio, showing
the creative and technical processes in-
volved in producing a wood sculpture
and emphasizing the human side of the
artist. Entertainment is combined with
enlightenment. Available for rental or
purchase. .
Bailey Film Service, 1651 Cosmo Street,
Hollywood, Calif., is now ready with
their new winter catalog of "Educa-
tional Films of Merit" for classroom
use. A rental library of selected films
is also now offered by this firm, mak-
ing available new prints at reason-
able prices and with prompt service
to all schools who prefer renting
films, rather than purchasing. Both
rental and sale catalogs are offered
free to all persons requesting them
from Bailey Film Service.
Garrison Films Inc., 1600 Broadway,
New York City, announces the avail-
ability of its new 1940 comprehensive
Check List of Foreign Language and
American Documentary Films. The
catalog features over fifty feature
films in 16mm sound selected for
meritorious production values and
distinctive subject matter. Films by
the master craftsmen of France,
England, China. Mexico, Soviet Rus-
sia, Poland, and other countries make
up this new catalog. The motion pic-
ture creations of noted independent
American documentary directors oc-
cupy a special section. Outstanding
productions by Jacques Feyder, Jean
Renoir, Benoit-Levy, Pabst, Eisen-
stein, Pudovkin, Dovzenko, Joris
Ivens, Willard Van Dyke, Paul
Strand, Pare Lorenz, Paul Rotha, and
others are included. The list offers a
good selection for courses in Cinema
Appreciation, Foreign Language,
Contemporary Art, and Sociology.
Free copies of the catalog are avail-
able to all non-theatrical institutions
interested in better film programs.
The DeVry Corporation, nil Armitage
Avenue, Chicago, has just completed
a plan whereby schools may rent
or buy a modern motion picture sound
projector and select their own films
for a complete audio-visual educa-
tion program. The total cost is but
a trifle more than that formerly paid
as rental on silent films alone.
Write for free 1940 catalogue of
Educational Films and literature describ-
ing this unique service.
Film Study Guide
How Motion Pictures Mov£ and Talk —
Bell & Howell Co., 1801 Larchmont
Ave., Chicago.
We reviewed this Bell and Howell
one-reel technical subject in our issue
of February 1939. During the months
elapsed since, reactions from the school
field on its educational values have been
interesting and significant. Some 2500
replies have come back : from Colleges
and Private Schools 7%, High Schools
36%, Junior Highs 12%, Grade Schools
37%, Social Agencies 8% (on entirely
blank forms, without attempt at sponsor-
influence through leading questions).
The replies are signed by Superin-
tendents 12%, Principals 30%, Teachers
50%, Social Workers 8%, and show
wide and unmistakable approval of the
film. The chief adverse criticism is "too
technical for lower grades," yet Ele-
mentary schools show the highest per-
centage of use — which seems evidence
that youngsters get much from the film
despite technicalities which are beyond
them.
Bell and Howell have now taken an
important step toward an expanded cir-
culation program by preparing a "study
guide" for the film which will prove a
boon to teachers, thereby enhancing the
picture's value for their classes. It of-
fers a wealth of detailed explanation, sug-
gestions for use, synoptic bits of movie his-
tory, italicized "new vocabulary" needed,
and, above all, a complete reprint of the
silent version's sub-titles and the sound
version's spoken narrative. Such ample
data enable the teacher to adapt the pic-
ture accurately to both audience and
occasion, and preferably for more than a
single showing. N. L. G.
Federal Art Project Film
From Hand to Mouth — an educational
film on the causes and prevention of
bacillary dysentery produced by the Mo-
tion Picture Production Unit of the
(Concluded on page 382)
December, 1939
Page 381
SEEING
IS BELIEVINGI
No mafter whaf 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
SPIRIT OF CULVER—
Jackia Cooper. Fraddia Bariholomaw
YOU CANT CHEAT AN HONEST MAN—
W. C. Fialds, Edgar Bargan, Charlie McCarthy
THREE SMART GIRLS GROW UP— Deanna Durbin
THE FAMILY NEXT DOOR—
Hugh Herbert, Joy Hodges
EASE SIDE OF HEAVEN— Bing Croiby
THAT CERTAIN AGE— Deanna Durbin
EX-CHAMP— Victor McLaglen
THE SUN NEVER SETS—
Doug. Fairbanks, Jr., Basil Rafhbona
UNEXPECTED FATHER—
"Sandy", Mischa Auar, Dennis O'Kaafe
WHEN TOMORROW COMES—
Irene Dunne, Charles Boyer
THE MIKADO—
Kenny Baker, Jean Colin, Martin Green
(and many others)
Write to Universal's Non-Theatrical
Department for further information
regarding short and feature-length
pictures, travelogues, cartoons
and other motion pictures.
CATALOeUE U
UNIVERSAL PICTURES
COMPANY, INC.
Rockefeller Center New York. N. Y.
CIRCLE 7-7100
The electrically oparatad Da-Lita Elactrol Scraan It ideal for Auditorlumi
and large clatsroomi. It can be raisad, lowered or stopped at any position
by means of an electrical control placed anywhere desired. Available with
Da-Lite Glass-leaded or Mat White Surface in 14 standard siies up to
20' I 20' inclusive.
SCREENS
AND
ACCESSORIES
Reg. U.S. Pat. Off.
Can Simplify Projection
in Your Schools
Wherever you plan to show pictures, there is
a Da-Lite Screen with the right mounting, the
right surface and of the right size to meet
your requirements most efficiently. Da-Lite
Screens are easily set up and are easy to put
in service, show the pictures at their Itest and
have the strength and durability to withstand
years of hard usage.
THE DA-LITE
PROJECTOR STAND
Save confusion gettinK
ready ! Equip your school
with Da-Lite projector
stands which can l>e
quickly set up anywhere
and provide a convenient
support for the projec-
tor. Because they are ad-
justable in height they
permit projecting pic-
tures above the heads of
the audience.
Write for latest 48 page
catalog on Da-Lite Screens
and Accessories. It has val-
uable information you need
in choosing the right screens
and equipment for your
school.
DA-LITE SCREEN CO., INC.
DEPT. 12ES. 2723 N. CRAWFORD AVE.. CHICAGO. ILL.
Page 382
The Educational Screen
WPA Federal Art Project Photography
Division.
Directed by Leo Seltzer and Elaine
Basil and photographed by Mr. Seltzer,
Supervisor of the Motion Picture Pro-
duction Unit, this two-reel film was
sponsored by The. Bronx Hospital. The
film presents a new direction in health
education, making available to the gen-
eral public information pertinent to bacil-
lary dysentery, and showing what medi-
cal science is doing for its prevention
and what the community at large can do
to eradicate its causes. It pictures the
city as well as rural districts to show
the conditions that breed dysentery. In-
adequate sewage disposal, polluted drink-
ing water, unsanitary food handling and
substandard housing are all contributing
causes. Methods of diagnosis and treat-
ment and some of the modern equipment
and the procedure used by medical science
are shown in a section of the film devoted
to the hospital's role in the prevention
of the disease. From Hand to Mouth
stresses the responsibility of every per-
son to protect himself against infection.
Film Review
strange Birds of America — Universal
Pictures Company, Inc., Rockefeller
Center, New York City.
Teachers do well to watch the long
series of Universal's "shorts" appearing
regularly in theatres under the general
title of "Going Places," for issues
equally usable for school purposes. A
recent release, entitled Strange Birds of
America, is emphatically one of these.
The "big bills" open the picture, the
Toucan and Macaw, doing a very beaky
and bloodless battle which the former
wins by a decision. The Parokeets,
familiar as the little "love birds" at
county fairs, show bills smaller but still
oversize and most efficient for "billing
and cooing." Then the Cormorants, both
flightless and flying, with their enormous
appetites for fish matched by their un-
canny skill in catching them, display their
original creations in the pirouetting love
dance and in their amazing formation
flying — the latter of which our military
aviators strive to equal. The pouchy
Pelicans are not as ungainly as they
look, once they start their systematic
food-hunts that end in unerring dives.
And the young Cormorants and Pelicans
both know where an unfailing food-
supply awaits them — in the gullets of
their parents — and they have free access
to the pantry.
Ducks of all kinds appear, and Cana-
dian Geese, doing stop-overs on their
long migrations south, in lovely watery
spots where food and fun are best. The
unspeakably cunning babies — some ringed
black and white, but turning one color
when babyhood is over — demonstrate
their infant efficiency in tilting tails sky-
ward like the grown-ups to reach the
tidbits stored in shallow waters. .'\nd
throughout the picture the accompany-
ing clear, incisive, pertinent commentary
by Lowell Thomas stimulates, interprets
and informs as the appealing pictorial
document unrolls. Young students are
likely to find one flaw in the film — "too
short." N. L. G.
czTJ-mona t/i<z
An Aid to Slide-Making
"Ketch" is the name of a new Key-
stone handniade-lantern-slide product,
announced in the new 1940 General Price
List of the Keystone View Company,
Meadville, Pa.
Keystone has pioneered many hand-
made-slide products of a superior char-
acter, such as colorful lantern-slide cray-
ons and inks, and mud-groimd glass.
One of the major problems coimected
with the use of etched glass is the easy
and complete removal of crayon and
lead-pencil marks without injury to the
etched surface, so that the glass may be
used over and over in the making of
handmade lantern slides.
"Ketch" is Keystone's answer to this
problem. It is the belief of the manu-
facturers that it will stimulate greatly
this popular type of teaching visual aid.
Selectroslide Equipment
An important contribution to visual
education recently, has been the Se-
lectroslide, automatic slide-changing
equipment that will project 35mm film,
in natural color, or black-and-white
up to any size. The same machine can
be used to project film slides in a
small classroom or in a large audi-
torium. It is an electrically driven
mechanism contained in a drum-shaped
iPtoJi
UC^Z±
Slide-changing Unit and Projector
bousing. It carries an interchangeable
magazine holding 48 slides in numbered
slots arranged radially. The unit mea-
sures 8" in diameter, stands about
9;^" high and weighs about \3]4
pounds. An attached bracket secures
it to the projector. It may be supplied
with bulbs from 100 to ioOO watts to
take care of any projection require-
ment.
Here are the advantages the Selectro-
slide oflfers : It may be operated by
Remote "push-button" Control from
where you are standing in the room.
No assistant is necessary to change the
slides. Neither are errors in projection
possible. Gone are the days when slides
are projected upside down, or in a
wrong order, for once the 2 x 2" glass
slides are correctly arranged in the
magazine of the Selectroslide, there
can be no error.
The machine can be used in manv
different ways in the school. Ideal for
lecturing, it is also an efficient sub-
stitute for blackboard or bulletin board.
Slides will always attract the student's
attention, when mere writing is dull
to him. The students may be encour-
aged to start their own amateur pho-
tography clubs, combining study with
pleasure. 2 x 2" glass slides may be
made by the teachers themselves, or
professional slides for study purposes
on all subjects may be rented or pur-
chased at a nominal price. As many
slides as you wish may be shown, and
the Selectroslide, itself, may be moved
from department to department in your
school.
New Catalogs
A new classified catalog of their ex-
tensive library of picturols and filmslides
is available from the Society for
SVE Visual Education, Chicago. An-
nounced in it is the new series of
42 teacher-prepared filmslides on Vo-
cational Education, covering 40 fields
of work with respect to necessary qual-
ifications, preparation and approximate
earning power. A new set of 22 rolls of
picturols on Geography of the United
States, divided into 9 regions and posses-
sions, is also offered with a teacher's
manual. In addition, many other geog-
raphy filmslides are available. The in-
dex on the first page shows that SO
fields of subject matter are listed in the
catalog, classified under such general
topics as Transportation, Communica-
tion, History, Chemistry, Physics, Nature
Study, Health and Hygiene, Social
Problems, Character Education, Physical
Education, Home Economics, Literature,
.'Krt, Music, Languages, Primary Read-
ing, etc.
A copy of "Education the Picturol
Way", title of the catalog, will be sent
upon request to the Society for Visual
Education, 100 East Ohio" Street, Chi-
cago, 111.
♦ ♦ ♦
Bausch & Lonib Optical Company,
Rochester, New York, have issued a new
catalog, generously illustrated, of
6&L their very complete line of bal-
opticons and accessories. The
first page briefly points out the uses and
advantages of balopticons in slide,
opaque object, and filmslide projection
in the school. The various ways in which
Rausch and Lomb machines are used in-
dustrially and commercially, are also
summarized. Detailed descriptions ac-
company each model, giving a clear pic-
ture of its construction and performance.
Inclusion of projection tables is another
helpful feature.
The Fall issue of "The Educational
Focus", a 24-page bulletin, describes the
part Bausch and Lomb equipment played
at the San Francisco and New York
Fairs. .\n article on "Improving Biology
Tests with a Micro-projector," by Dean
Bernal Weinier, Bethany College, is also
contained in this number.
December, 19 }9
Page 383
SOUND AND SILENT CLASSROOM FILMS
• •a -^
U51
Wrilf Ui'pt. h.-t for frre vnlalogB
BAILEY FILM SERVICE
Co>me St. Hollywood.
Calif.
News and Notes
K I'/i./iii/.i/ fii'iii f,ific .>77)
gia ; and "Television and Its Possibilities," an address
with tilin showing, by Dr. Ellsworth C. Dent.
For a half-hour period at the beginning of each
of the five regular Conference sessions, new educational
motion pictures were shown to the assembling audience.
Other t'llni showings were lilierally distributed through-
out the meetings of the Conference ; a total of more
than 40 reels of film l»eing shown. The exhibits, which
included representatives of motion picture, radio, film-
strip, and recording equipment manufacturers, at-
tracted gcimine interest. The Conference was attended
by 455 persons from 81 localities, in 15 states.
In a little more than two years, the Southern Con-
ference on Audio-Visual Education has grown from
an idea to a recognized annual institute which achieves
l)<)tli of its original objectives of selling the audio-visual
idea and of training teachers in the correct uses of the
audio-visual media. So long as there is an apparent
need for such a meeting, it will continue to \ie held
in .Atlanta each fall. .\ transcript of all proceedings
will be available soon at cost of printing from the Con-
ference office. 233 Walton Street, N. W., Atlanta,
Ccnrjria. Dox.\ld K. White.
200 Projectors for Los Angeles Schools
One of tlie largest orders for sound equipment to
come from a school system, was placed this fall by the
Los Angeles Board of Education, through the Visual
Education Department. The order consisted of 200
16mm sound projectors.
A tour through the Los Angeles Visual Section shows
it to be one of the busiest and most extensive of such
city centers in the country. The average number of
units shipped each day is as follows: Study prints
(average numl^r of pictures per set: 12), 586— lantern
slide sets, 216 — stereograph sets, 179 — stillfilm rolls,
158 — motion picture reels (16mm), 113, (35mm) 71 —
charts, 87— objects, specimens and models. 68. All
this material is carefully catalogued and numbered for
cross references, making it readily accessible for various
units of work.
Another valuable service the Department renders to
the schools is the loan of fascinating models produced
by skilled workers on the WP.\ Educational Museum
Project. These models provide material for functional
use which might not otherwise be secured because of
a limited budget. They are classified into twelve
groups: habitats; dioramas; operative and manipulative
models ; experimental materials ; scale models ; j^laques.
I)as-reliefs, .statuary and plastic art objects; carved
wooden figures; specimen collections; live colonies;
costume dolls ; metal properties ; leather objects.
The Department further increases the value of its
service to teachers by furnishing, from time to time,
helpful mimeographed bulletins effecting the more effi-
cient use of visual aids. J. H.
I Living lessons
I mean eager pupils
That is why Modern Schools consider RCA Victor
radios almost as essential as school hooks!
New low cost RCA Victor table model
ideal for classrooms
There is no denying this faa: La-
sons that live arc easy to learn !
That is the reason schools every-
where are taking advantage of the
many educational broadcasts that
NBC and other radio networks
provide. These real life programs
appeal to students — make learn-
ing a pleasure.
The RCA Viaor radio — illus-
trated here— now makes it possible
for all schools to give pupils the
benefits of radio at amazingly low
cost. Model 5Q55, originally
designed (or foreign use, has an
uncanny ability to receive foreign
stations - a feature of particular im-
portance to schools, in addition it
has "Plug-in" for Television At-
tachment or Record Player, Angle
Vision Straight-line Dial, powerful
Electro-Dynamic Speaker, and many
other excellent features. Comes in
modem streamlined cabinet, attrac-
tive brown finish. Light in weight, it
may easily be carried from oneclass-
room to another. Call your RCA
Victor dealer for a demonstration.
TUNE IN ON THESE NBC EDUCATIONAL BROADCASTS
Adventures in Re>din/t— Mondays— 2:00-2:30 P. M.. K.S.T.. NBC
Blue Network. ..Gallant American Women — Tuesdays — 2:00-2:30
P. M.. E. S. T., NBC Blue Network . . . Music for Younc Listeners
—Wednesdays— 2:00-2:15 P. M.. E. S. T.. NBC Blue Network . . .
Ideas that Came True— Thursdays— 2:00-2:30 P. M.. E. S. T.. NBC
Blue Network . . . NB(; Music Appreciation Hour — Fridays — 2:00-
3:00 P. M..E. S.T..NBC Blue Network. ..National Farm and Home
Hour — Mondays. Tuesdays. Wednesdays. Thursdays and Fridays —
1230-1:30 P M.. E. S. T . NBC Blue Network
Modern schools Uay modern with RCA radio tubes in their sound equipment
Trade -mark 'RCA Victor" ReK U S. Pat Off. by RCA MfK. Co.. Inc.
SOUND SERVICE FOR SCHOOLS
Educational Dept..
RCA Manufactur-
ing Co., Inc..
Cainden. N. J.
A Service of the
Radio Corporation
of America.
.boot '^'^-'*
Scb—'
Addrta-
Page 384
The Educational Screen
^liE uiLm ci±tiniatE±
Allegheny Uprisinsr (Trevor, Wayne) (RKO) Pre-
revolutionary Pennsylvania settlers, organized by
colonial Robin Hood against British troops to
prevent smuggling goods to Indians. His Maid
Marian is tempestuous, willful, engaging tom-
boy pursuing hero throughout struggle. Well
done. Historical atmosphere good. 1 1-2 1-39
(A) & (Y) Interesting (C) Exciting
At the Circas (Marx Brothers, Kenny Baker)
(MGM) Maudlin nonsense-mixture of crazy horse-
play, idiot antics, and typically Marx patter, laid
on circus train and at Newport estate. Unwor-
ried by logic or good taste. Desperate effort
to be funnier than ever. It often tries too
hard. 11-21-39
(A) Hardly (Y) & (C) Probably funny
Call a Messenger (Dead End Kids) (Univ)
More glorification of brazen alley kids, smart-
aleck conduct, and gutter English. The thiev-
ing srang, induced to don uniforms as tele-
graph messenger boys, go their merry way
more or less "changed" by a grown-up's faith
in them. Ethical value dubious. 11-28-39
(A) Hardly (Y) & (C) No
Calling All Marines (Donald Barry, Warren Hy-
mer) (Repub) Mediocre drama of gangster who
joins Marines to get valuable government pa-
pers for opposing powers. Turns loyal to Ma-
rines, double-crosses gang. Impossible situa-
tions. All devices of blood -and- thunder serial
thrillers employed. 11-14-39
<A) Poor (Y) Poor (C) No
Challenge The (Luis Trenker, Robert Douglas)
(Foreign) Outstanding production. Historic com-
petition between British and Italian group to gain
peak of Matterhorn. Simple, well-constructed plot
centers around friendship of British explorer and
Italian guide. Superb photography, charming local
color, all roles expertly handled. 11-21-39
(A) & (Y) Excellent of kind (C) No
Champs-Elysses (French-Eng. titles) Sophisti-
cated episodes in story of famous avenue, told
by schoolmaster to pupils. Napoleon, Louis XV,
DuBarry, Pompadour appear. Historical value
confused by fictional romance. Many risque
situations. Sacha Guitry as writer, director,
actor good but too omnipresent. 12-5-39
(A) Fairly entertaining (Y) & (C) No
Conflict (Miles. Luchaire and Ducaux) (FVen.-
£ng. titles) Young unwed mother gives child
to married childless sister. Maternal instincts
complicate situation when child's father black-
mails mother. Conflict between sisters over
child expertly acted. Many dramatic, delicate
situations deftly handled. 11-21-39
(A) Good of kind (Y) No (C) No
Disputed Passage (Tamiroff, Lamour, Howard)
(Para) Fine production. Eminent, embittered sur-
geon dominates talented student by his harsh
and coldly scientific attitude. But love awakens
humanity in young doctor and great surgeon
sends girl away for the good of young man's
career. Tamiroff excellent as surgeon. 11-28-39
(A) Very good of kind (Y) Mature (C) No
Drams Along the Mohawk (Colbert, Fonda) (Fox)
Historic struggles of Mohawk Valley frontier
colonists with Indians and British during Revo-
lution notably screened. Episodic, theatricalized,
too long, but well-acted, vital, grimly realistic,
at times quaintly humorous, keeping general
spirit of book. Fine technicolor. 11-28-39
(A) & (Y) Very good (C) Too strong
Escape. The (Kane Richmond, Amanda Duff)
(Fox) Trite little flash-back drama about New
York school teacher, crook brother, cop fiance,
and three country youngsters. Usual robbery
and gang complications poorly done. Law tri-
umphs, crook dies melodramatically. Definitely
class B in all respects. 12-5-39
(A ) Mediocre ( Y) & (C ) Harmless entertainment
Espionage Agent (McCrea, Brenda Marshall)
(Warner) Young man in consular service mar-
ries girl met abroad, loses job when her previ-
ous spy-service for foreign power is disclosed.
but together they turn tables on said power and
rouse America to counter-espionage. Docu-
mentary gone melodrama. 11-14-39
(A) and (Y) Fair spy-thriller (C) No
Fast and Furious (Sothern, Tone) (MGM) Hus-
band and wife, vacationing at seaside resort,
get involved with bathing beauty contest, mur-
ders, crook schemes. Usual ridiculous thrill,
humor and suspense elements. Affectionate but
disparaging husband-wife banter a la mode.
Effortless entertainment for many. 12-5-39
(A)Fairly entertaining (Y)&(C) Doubtful
Being the Combined Judgments of a National Committee on Current Theatrical Films
(A) Discriminating Adults (Y) Youth (C) Children
Dote of mailing on weekly serrice is shown on each film.
Five Little Peppers (Edith Fellows. Dorothy
Peterson, Clarence Kobb) (Colum) Quaint,
wholesome little tale, from well-known book,
of stern business-minded man's conversion by
the five staunch, generous, lovable little Pep-
pers. Elements of pathos and melodrama, but
funful and predominantly refreshing. 11-28-39
(A) Pleasing (Y) & (C) Good
Forty Girls and a Baby (French, English titles)
Charming, humorous story of bahcelor-profes-
sor in girls' finishing school who, with aid of
girls, cares for illegitimate child left on his
doorstep. Lovable, vivacious little hero. Many
amusing situations lightly and whimsically
handled. 11-14-39
(A) and (Y) Excellent of kind (C) No
Hero for a Day (Anita Louise, Dick Foran)
(Univ) Supposedly successful old grad, actu-
ally a night watchman, backed by sports-lov-
ing business man. gets involved with publicity
agents of big football game and tells off
cocky college boy headed in the same direction
he went. Grapewin's role only features. 11-21-39
(A) Feeble (Y) No (C) No
Honeymoon in Bali (MacMurray, Carroll)
(Para) Domestic comedy of self-sufficient wo-
man trying to cling to freedom and career
rather than marry man she loves. Notable
child role. Good music, smart dialog, clever
situations, make merry entertainment despite
some unconvincing acting. 11-14-39
(A) Amusing (Y) Mature (C) No
Jamaica Inn (Laughton, Maureen O'Hara)
(Para) Laughton, as avaricious, lecherous Eng-
lish noble, profits by ship-scuttling on Cornish
coast, the Inn headquarters for his ruffians. Love-
interest by law officer, disguised as ruffian, and
pretty, forthright Irish girl. Sensational, grue-
some thriller, technically well done. 11-14-39
(A) Depends on taste (Y) Doubtful (C) No
t>egion of Lost Flyers (Arlen, Devine) (Univ)
Far-fetched tale of far-north airport, haven for
aviators of dubious repute. Hero, who w^as
allegedly responsible for fatal crash, struggles
to get guilty aviator to confess. Harrowing
crashes, improbable accidents, feeble comedy.
Exciting stunt flying chief feature. 11-28-39
(A) Poor (Y) Doubtful (C) No
Little Accident (Florence Rice, Baby Sandy)
(Univ) Elementary laughable farce about found-
ling that wins all hearts and is center of
Kchemes, tricks, deceptions, acrobatics, near ac-
cidents. Crude horseplay by the adult cast of
semi-brains. Utterly adorable baby Sandy de-
serves intelligent settings for her art. 11-21-39
(A) Fair (Y) Amusing (C) Doubtful
Mademoiselle Ma Mere (Darrieux) (Fren.-Eng.
titles) Ridiculous, amusing situations involving
tempestuous, extravagant, squealing heroine and
bumptious, elderly husband (in name only) and
husband's calm, resolute son. Numerous risque sit-
uations rather lightly handled. Antics of heroine a
bit overdone, and too much dialog. 11-21-39
(A) Fair of kind (Y) No (C) No
Mr. Smith Goes to Washington (Stewart. Ar-
thur) (Columbia) Notable film. Lanky, likable,
honest, over-naive patriot, machine-appointed
Senator, turns tables on machine by phenominal
filibuster inspired by Secretary-heroine. Impress-
ive background of Washington and Congress.
Claude Rains fine as politician. 11-14-39
(A) and (Y) Excellent (C) Beyond them
Mutiny of the Elsinore (Paul Lukas) (British)
Jack London full-bodied sea thriller well-acted,
photographed and directed. Crew mutinies. Cap-
tain killed by treacherous officer. Passenger-
novelist (Lukas) against great odds quells
revolt. Exciting, grim conflicts. Excellent
characterization. 11-14-39
(A) Good of kind (Y) Very exciting (C) No
Ninotchka (Garbo, Melvyn Douglas) (MGM)
Utterly charming, subtle comedy-satire, so-
phisticated in best sense of word. Pokes gen-
tle fun at Soviet regime. Stern, feminine
"comrade" comes to Paris to aid sale of
crown jewels to feed masses, and meets French-
man ! A "new" light-hearted Garbo. 12-5-39
(A) Delightful (Y) Mature but good (C) No
On Your Toes (Zorina, Eddie Albert) (Warner)
None too expertly photographed ballet scenes are
high spots of absurd drama, farce and satire.
Stupid, loutish musician-dancer composes mod-
ern ballet, is championed by utterly charming
Zorina, premiere danseuse. Alan Hale good
as stormy temperamental director. 11-14-39
(A) Fair (Y) Fairly good (C) No
Remember? (Taylor, Garson, Ayres) (MGM)
Sophisticated romance of whimsical original-
ity, in which rival tries twice to marry hero-
ine and loses both times to hero. Well done,
but the double-action plot, weakly jointed in
the middle, makes for uneven interest and
suspense. Greer Garson miscast. 12-5-39
(A) Fairly good (Y) Too mature (C) No
Rulers of theSea(Fairbanks, Jr.. Fyffe.Lockwood)
(Para) Interesting, absorbing realism of fine his-
torical flavor. Will Fyffe excellent as lovable, in-
domitable little old Scotch inventor who perfects
steamship and after much heartache first steams
Atlantic. Fairbanks good as his assistant and
Lockwood as pretty, outspoken daughter. 11-21-39
(A) Excellent (Y) Excellent (C) If it interests
Sabotage (Charles Grapewin, Arleen Whalen)
(Repub) Improbable but fairly interesting story
of nightwatchman who discovers, and with aid
of war veterans, exposes espionage organiza-
tion back of sabotage schemes in airplane fac-
tory. Love interest supplied by son and nice
ex-chorus fiancee. 11-28-39
(A) Mediocre (Y) Perhaps (C) No
Secret of Dr. Kildare (Barrymore, Ayres) (MGM)
Third in a series of human dramas with Bar-
rymore in fine role as wise, crotchety, yet
kindly hospital doctor. Engagingly he domin-
ates career of his young assistant who, es-
stranged from old doctor, solves, supposedly
alone, mysterious ailment of wealthy girl. 12-5-39
(A) & (Y) Good (C) Doubtful interest
Shors (Soviet Russian, Eng. titles) Red leader
fights Germans. Poles and White Russians in
1917-19 struggle for Ukraine. Little dramatic
continuity, anti-climactic conclusion, but thor-
oughly artistic production. Magnificent, epic
battle panoramas, fine comedy, splendid acting,
notably by Samoilov. Usual propaganda. 12-5-89
(A) Good of kind (Y) Hardly (C) No
That's Right, You're Wrong (Kay Kyser and
band) (RKO) Novel attempt to turn radio-star
into screen "boxoffice" by hilarious picture
proving him impossible as actor! Hollywood's
hectic production effort finally ended by his
histrionic futility. Much dialog, little music.
Many laughs for the uncritical. 11-28-39
(A) Depends on taste (Y) & (C) Amusing
Those High Grey Walls (Conolly, Onslow, Ste-
vens) (Colum) Decidedly human variation of
prison theme. Kindly old doctor, imprisoned for
crime, humanizes hard-boiled young prison doc-
tor. A murder, an operation performed at
point of gun, provide exciting but not overly
tense situations. Conolly excellent. 11-28-39
(A) Fairly good (Y) Doubtful interest (C) No
Torture Ship (Talbot, Pichel) (Producer Dist.
Co.) Doctor indicted for murder gives danger-
ous criminals passage on ship. In return they
are to submit to experiment to cure criminal
impulses. Pichel good as doctor. Plot and
action confused. Violence, horror and suspense
elements all utilized. 12-5-39
<A) Harrowing (Y) & (C) No
Also for the Visual Field —
"1000 AND ONE" FILM DIRECTORY
(New 15th Edition just out)
"1000 and ONE" The Blue Book of Non-Theatrical Films,
published annually is famous in the field of visual instruction
as the standard film reference source, indispensable to film
nsers in the educational field. The new edition lists and de-
scribes over 5,000 films, classified into 147 different subject
groups (including large group of entertainment subjects). An
additional feature this year is a complete alphabetical list of
every film in the directory. Other information includes designa-
tion of whether a film is available in 16mm, or 35mm, silent
or sound, number of reels and sources distributing the films,
with range of prices charged.
128 pp. I'aixT. I'rice 75c. {25c to E. S. subscribers)
AN ALTERNATIVE FOR REVOLUTION AND WAR
By Albert E. Osborne.
■\ stimulating, wide-range view of the higher potentialities
of visual instruction in promoting world harmony by a "more
humanity-centered education." A pertinent reply to H. G.
Wells' dictum that "the future is a race between education and
catastrophe."
124 pp. Cloth. Price $1.25.
VISUALIZING THE CURRICULUM.
By C. F. Hoban, C. F. Hoban, Jr., and S. B. Zisman.
Presents in theory and in practice the basic methodology of
visual instruction in relation to classroom procedure. Through-
out the text the theory of visual aids is applied to textbook
illustration. "Visualizing the Curriculum", itself a splendidly
"visualized text", provides an abundance of technical guidance
in the form of illustrative drawings of photographs, reports of
school journeys, suggestions for mounting materials, for mak-
ing slides, film strips, etc. It incorporates up-to-date material,
provides a fine halanc» in the treatment of various teaching
aids, evaluates various types of aids, and defines tlie functions
and values of each in the learning process.
320 pp. Cloth. Illus. Price $3.50.
(20% discount to schools)
THE AUDIO VISUAL HANDBOOK. (3rd Edition)
By Ellsworth C. Dent
Presents in convenient form, practical information for those
interested in applying visual and audio-visual aids to instruc-
tion. 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
.Mds for Schools." "Organizing the Audio-Visual Service.'
"Source List of Materials and Equipment."
212 pp. Illus. Cloth. Price $1.50.
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. Cloth. Illus. Price $1.00
(67c to E. S. subscribers)
COMPARATIVE EFFECTIVENESS OF SOME VISITAL
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. Cloth. Price $1.00 (67c to subscribers of E. S.)
Full Proceedings of the Midwestern Forum on Visual
Aids (Held in Chicago, May 1939)
The most complete record ever printed and on one of the
livest visual meetings ever held. Numerous addresses by leading
figures in the visual field, a notable Directors' Round Table
and three complete recordings of clattet taught by tounj fllmi
arc among the rich contents of the 80-page booklet.
80 pages, Paper. Price 50c.
(25c to subscribers of Educational Screen)
HOW TO MAKE HAND-MADE LANTERN SLIDES.
By G. E. Hamilton.
Simple directions for making this economical and increas-
ingly popular teaching aid. 24 pp. Paper. Price 10c.
EVALUATION OF STILL PICTURES FOR
INSTRUCTIONAL USE. By Lelia Trolinger
A full presentation of the latest piece of research on de-
termination of teaching values of pictures. Development of
the Score Card and elaborate experiment in use of same. Full
documentation, tabulation of results, and appendices. The
latest, most complete and scholarly investigation of a problem
in the visual teaching field that has long needed such a
solution. 48 pp. Paper. Illus. Price SOc.
THE EDUCATIONAL TALKING PICTURE.
By Frederick L. Devereuz.
Presenting preliminary solutions of some of the more im-
portant problems encountered in adapting the talking picture
to the service of education. The first six chapters deal with
the development of fundamental bases of production, with the
experimentation which has been conducted, and with suggested
problems for future research. The remaining chapters discuss
the effective use of the sound film in teaching.
220 pp. Cloth. Illus. Price $2.00. (20% discount to schools)
HOW TO USE THE EDUCATIONAL SOUND FILM.
By M. R. Brnnstetter, Ph. D.
Discusses the utilization of the educational sound film, and
lists and illustrates techniques for placing the film into effective
service in the classroom. The procedures suggested are based
upon extended experience in studying teachers' use of sound
fihns and in helping to organize programs of audio visual in-
struction in school systems. Two valuable Appendices and
a full index.
175 pp. Cloth. Illus. Price $2.00. (20% discount to schools)
MOTION PICTURES IN EDUCATION IN
THE UNITED STATES. By Cline M. Koon.
A report of the instructional use and indirect educational in-
fluence of motion pictures in this country, divided into nine
units. Treats the motion picture (1) as an educational influence:
(2) in service of health and social hygiene; (3) in governmental
service and patriotism: (4) in vocational guidance; (S) in in-
ternational understanding; (6) Motion picture legislation; (7)
technique of production and distribution ; (8) systematic intro-
duction of films in teaching; (9) general educational problems
of films in teaching.
106 pp. Paper. Price $1.00 (20% discount to schools)
THE STEREOGRAPH and LANTERN SLIDE
IN EDUCATION. By G. E. Hamilton.
The most comprehensive discussion yet published.
47 pp. Paper. Price ISc.
TO ORDER, Check Material Desired and Fill in Blank Below
Price
"1000 and O^c" Film DirMtory $ .76 n
An Alternative for RevoIuUon and War.,.. 1.2S D
VisnalizInE the Curriculum S.SO Q
(To Schools) _ 2.80 0
The Audio-Visual Handboolc -.„„ „ 1.50 D
Picture Values In Education 1.00 D
Comparative Effectiveness of
Some Visual Aids I.OOD
Pmeeedinca of Mid-Waat Forum on
VUual Aids 60D
Evaluation of Still Pletnna 60 D
The Educational Talkinc Picture S.OOD
(To Schools) 1.60 D
How to Use Educational Sound Film 2.00 D
(To Schools) I.OOQ
Motion Picture* in Education In
The United Sutea I.OOD
(To SchooU) .80 D
Stereosraph and Lantern Slide in Education .15 Q
Row to Make Handmade Lantern Slide* 10 |j
I subscribers
of E. S.
S .26 0
1.25 n
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Educational Screen
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Page 388
The Educational Screen
HERE THEY ARE
A Trade Directory
for the Visual Field
nLMS
Akin and Bagshaw, Inc. (6)
1425 Williams St., Denver, Colo.
Audio-Film Libraries (5)
661 Bloomfield Ave., Bloomfield, N. J.
(See advertisement on page 379)
Bailey Film Service (1, 6)
1651 Cosmo St., Hollywood, Cal.
(See advertisement on pasre 383)
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 advertisemnt on page 376)
College Film Center (2, 6)
59 E. Van Buren St., Chicago.
DeVry Corporation (1, 6)
1111 Armitage Ave., Chicago
(See advertisement on inside front cover)
Dudley Visual Education Service
736 S. Wabash Ave., Chicago
4th Fl., Coughlan Bldg.
Mankato. Minn.
Eastin 16 mm. Pictures (6)
707 Putnam Bldg., Davenport, la.
Burns Bldg., Colorado Springs, Colo.
Eastman Classroom Films (4)
Rochester. N. Y.
Eastman Kodak Co. (1, 4)
Rochester, N. Y.
(See advertisement on outside back cover)
Eastman Kodak Stores, Inc. (6)
Kodascope Libraries
356 Madison Ave., New York City
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 Classroom Films, Inc. (2, 5)
35-11 35th Ave., Long Island City,
N. Y.
Films, Inc. (6)
330 W. 42nd St., New York City
64 E. Lake St., Chicago
314 S. W. Ninth Ave., Portland, Ore.
Frith Films (4)
P. O. Box 565, Hollywood, Calif.
Garrison Films (3, 6)
1600 Broadway. New York City
(See advertisemnt on page 376)
General Films, Ltd. (3,6)
1924 Rose St., Regina, Sask.
156 King St., W. Toronto
Walter O. Gutlohn, Inc. (6)
35 W. 4Sth St., New York City
(See advertisement on page 373)
Harvard Film Service (3, 6)
Biological Laboratories,
Harvard University, Cambridge, Mass.
Guy D. Haselton, Travelettes (1, 4, 5)
7936 Santa Monica Blvd.,
Hollywood, Calif.
J. H. Hoffberg Co., Inc. (2, 5)
729 Seventh Ave., New York City
Ideal Pictures Corp. (3, 6)
28 E. Eighth St.. Chicago, III.
(See advertisement on page 379)
International Film Bureau (2, 6)
59 E. Van Buren St., Chicago
Lewis Film Service (6)
105 E. 1st St., Wichita, Kan.
(See advertisement on page 373)
The Manse Library (4, 5)
1521 Dana Ave., Cincinnati. O.
(See advertisement on page 376)
Pictorial Films (5)
1650 Broadway, New York City
(See advertisement on page 376)
Post Pictures, Inc. (6)
722i Seventh Ave.. New York City
(See advertisement on page 379)
United Educator Films Co. (5)
State Theatre Bldg., Pittsburgh, Pa.
107 South Court Square, Memphis,
Tenn.
United Projector and Films Corp. (1, 4)
228 Franklin St., Buffalo, N. Y.
Universal Pictures Co., Inc. (2)
Rockefeller Center, New York City
(See advertisement on page 381)
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 (1, 6)
347 Madison Ave., New York City
19 S. LaSalle St., Chicago
351 Turk St.. San Francisco, Cal.
MOTION PICTURE
MACHINES and SUPPLIES
The Ampro Corporation (6)
2839 N. Western Ave., Chicago
(See advertisement on page 371)
Bell & Howell Co. (6)
1815 Larchmont Ave., Chicago
(See advertisement on inside back cover)
DeVry Corporation (3, 6)
nil Armitage St., Chicago
(See advertisement on inside front cover)
Eastman Kodak Co. (6)
Rochester, N. Y.
(See advertisement on outside back cover)
Eastman Kodak Stores, Inc. (6)
Kodascope Libraries
356 Madison Ave., New York City
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
Hirsch & Kaye (6)
239 Grant Ave., San Francisco, Cal.
Holmes Projector Co. (3, 6)
1813 Orchard St., Chicago
(See advertisement on page 378)
Ideal Pictures Corp. (3, 6)
28 E. Eighth St.. Chicago
(See advertisement on page 379)
RCA Manufacturing Co., Inc. (5)
Camden, N. J.
(See advertisement on page 383)
S. O. S. Corporation (3, 6)
636 Eleventh Ave.. New York City
United Educator Films Co. (5)
State Theatre Bldg., Pittsburgh, Pa.
107 South Court Square, Memphis,
Tenn.
United Projector and Films Corp. (1, 4)
228 Franklin St., Buflfalo, N. Y.
Victor Animatograph Corp. (6)
Davenport, Iowa
(See advertisement on page 375)
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 Co.
1336 N.W. 1st St., Oklahoma City, Okla.
SCREENS
Da Lite Screen Co.
2717 N. Crawford Ave., Chicago
(See advertisement on page 381)
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
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 advertisment on page 379)
Keystone View Co.
Meadville. Pa.
(See advertisement on page 354)
Radio-Mat Slide Co., Inc.
1819 Broadway, New York City
(See advertisement on page 376)
Society for Visual Education
100 E. Ohio St.. Chicago. 111.
Spindler & Sauppe, Inc.
86 Third St.. San Francisco, Cal.
(See advertisement on page 373)
Visual Education Service
131 Clarendon St., Boston, Mass.
Visual Sciences
Suffern, New York
(See advertisement on page 379)
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
STEREOGRAPHS and
STEREOSCOPES
Keystone View Co.
Meadville. Pa.
(See advertisement on page 354)
STEREOPTICONS and
OPAQUE PROJECTORS
Bausch and Lomb Optical Co.
Rochester. N. Y.
(See advertisement on page 358)
DeVry Corporation
111! Armitage Ave., Chicago
(See advertisement on inside front cover)
Eastman Kodak Stores, Inc.
Kodascope Libraries
356 Madison Ave., New York City
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
Hirsch & Kaye
239 Grant Ave., San Francisco, Cal.
Spencer Lens Co.
19 Doat St., Buffalo, N. Y.
(See advertisement on page 377)
Williams, Brown and Earl, 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.
This New Bell & Howell
^ Catalog Solved Our Film
>^^ Supply Problem!
(J**
to owner* of 16 mm.
sound projectors, 25^ to others.
Film title I'nf free to everyone.
Mail coupon today.
i^^
tim^tlii
FILMOSOUND PROJECTORS
MEET ALL SCHOOL NEEDS!
Don't invest school dollars in any motion picture pro-
jector until you investigate the Bell & Howell line.
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made for lasting, dependable service by the makers, for
32 years, of Hollywood's professional equipment.
Mail coupon now.
MIMOSOUND "UTIIITY," above, projects both sound
and silent films. Serves both classrooms and good-sized
auditoriums. Has clutch for still projection and reverse
switch for repeating sequences for emphasis. In addi-
tion, it permits adding a public address microphone
and a phonograph turntable! With 7$0-watt lamp,
Magnilite condenser, and 1600-foot capacity, com-
plete in two compact cases, only $369. Other Filmo-
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FRICISION-MAOE lY
BELL & HOWELL
"We found this catalog was macJe to order for
teaching needs. Under headings corresponding to
classroom subjects, it classifies over 1400 fine
sound films. Each is adequately described, and
evaluations by educational authorities are indi-
cated. It's the quick, easy way to pick just the films
you want — when you want them — from one de-
pendable source. Every print arrives in prime con-
dition, because it comes direct from Bell & Howell.
A// "^yp^i of Films
"We use mainly classroom shorts, of which Bell &
Howell offers hundreds! And when we want fea-
ture films for assembly or P.T.A. programs, we can
pick from over 250 outstanding features, includ-
ing recent Hollywood hits.
Saves up io 50% on Rentals!
"By booking our year's schedule in advance, we
save up to 50% in rental charges. When we book
for our school system as a whole, there are further
savings. And the rental on previously rented films
is applied against purchase."
MAIL COUPON for your new catalog.
Bell & Howell Company, Chicago; New York;
Hollywood; London. Established 1907
DON'T FORGET— MAIL NOW!
I bell & HOWELL COMPANY >. .m. I
11817 Larchmoni Ave., Chicago. lU. *
Please send new :j catalog D list of 1492 sound films for I
I school use. We now have .... (number) of (make) "
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I Include free booklet describing D Filmosounds, G Filmo I
Silent School Projectors, n Filmo Cameras, D Silent Renul Films.
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Address
City Suit
MAKE YOUR
SHOW SAFE
WHENEVER you project SS-millimeter
pictures without an enclosing booth, make
your show safe by using prints made on
Eastman Safety Film. Insist on this film
when you order, and look for Eastman , . .
Safety . . . Kodak in the transparent margin
of each reel. Eastman Kodak Company,
Rochester, N. Y. (J. E. Brulatour, Inc., Dis-
tributors, Fort Lee, Chicago, Hollywood.)
EASTMAN
SAFETY FILM
T^-'
. f^y.-;
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