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March, 1928
Volume VII Number 1
THE EDUCATIONAL SCREEN
The Onlp Magazine Devoted to The New Influence in National Education
MARCH 1928
IN THIS NUMBER
Page The Influence of Motion Pictures on the Cultural Development of Children Ercel C. McAteer 6
A Suggested Methodology for the Use of Informational Motion Pictures
Joseph J . Weber 8
An International Exchange Arrangement for Visual Aids
Lillie Newton Douglas 11
The Film Estimates 12
The Theatrical Field. Conducted by Marguerite Orndorff 14
Educational Screen Cutouts for March 17, 18, 27, 28
News and Notes. Conducted by The Staff 19
Foreign Notes. Conducted by Otto M. Forkert ; 21
Among the Magazines and Books. Conducted by Marion F. Lanphier 24
The School Department. Conducted by Dr. F. Dean McClnsky 29
Amateur Film-Making. Conducted by Dwight R. Furness M
Among the Producers 35
Here They Are ! A Trade Directory for the Visual Field 42
THE EDUCATIONAL SCREEN, Inc.
5 South Wabash Avenue, CHICAGO
Herbert E. Slaught, President Nelson L. Greene, Editor
Frederick J. Lane, Treasurer Marie E. Goodenough, Associate Editor
Entered at the Post Office at Chicago, 111., as Second Class Matter General and Editorial Offices, 5 South Wabash, Chicago, Illinois Copyright, February, 1928, by The Educational Screen, Inc.
$2.00 a Year Published every month except July''aYid ^u^nuLt ,-, Singlj ■Copi'Sa, 25 cte.
The Educational Screen
THE CHRONICLES OF AMERICA
PHOTOPLAYS
In actual use The Chron- icles of America Photoplays are realizing the predictions made on their behalf when the work was first an- nounced. More groups are using the series than ever before. Increasingly grati- fying results are being at- tained. Produced with the utmost care by the Yale University Press, as a last- ing contribution to visual instruction and to the non- theatrical field, these re- markable historical photo- plays have demonstrated conclusively their far-reach- ing value.
Particularly significant is their rapidly ex- panding use by public school systems, pri- vate schools, normal schools and colleges. Hundreds of individual schools in medium sized communities arc regular users of the service.
A Superintendent in Illinois has just writ- ten, "Our teachers are anxious to have us start showing the entire series over again next fall." Many schools already are using the films for the second and third time. A Nebraska Principal states that he has ^ been "Immensely pleased with the re- ^**- suits obtained. Our students have
been asked to look at the
Columbus
Jamestown
The Pilgrims
The Puritans
Peter Stuyvesant
The Gateway to the West
Wolf and Montcalm
The Eve of the Revolution
The Declaration of
Independence Vincennes Daniel Boone The Frontier Woman Yorktown
Alexander Hamilton Dixie
critical attitude. They, too, are enthusiastic." A teacher in New York finds them "Helpful, inspiring and of real educational value," add- ing that "they have undoubt- edly contributed mightily to the development of a proper appreciation of the great events and personages in our country."
"«.''>». "'^'^ pictures
severely
No less gratifying is the comment from churches, pa- triotic societies, Americani- zation groups, business con- cerns and civic bodies. A Parent-Teacher Association, sponsoring the series, re- ports that this work "Re- ceived recognition by our State Organization as the most worthwhile of the reported programs given in Michigan throughout the year." A business man in New York State declares, "I have seen several of the subjects without being disappointed. They make a pleasant diversion from the commercial subjects we generally use at our Shop Meetings." An Educator in Milwaukee says, "At the Rotary Club, the Chair- man of the Program Committee received many con- gratulations on his choice of program." From Min- nesota comes the advice, "I honestly and sincerely recommend these photoplays to all interested in Amer- icanization work." In California the State Governor of a national patriotic society writes that, "The pres- entation of 'The Pilgrims' was one of the most im- pressive and delightful events — if not the most — of the nineteen years of my governorship. I shall treas- ure the memory of it to my dying day."
Further testimony is unnecessary. Plan now to begin to tnake immediate use of The Chronicles of America Photoplays. Mail the coupon at once and we will send an interesting 64-page illustrated booklet, describing the plays, as well as a letter with complete information.
^^oir
YALE UNIVERSITY PRESS FILM SERVICE, Inc.
Yale University, NEW HAVEN, CONNECTICUT
(Patht! Exchange, Inc., Physical Distributors)
March. 1928
30-112795
THE EDUCATIONAL SCREEN
March, 1928
EDITORIAL
Vol. VII No. 1
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W\l believe that the incubation period for the visual movement is about over. The conviction is now fully hatched, in most minds, that the human eye should be, and is about to be, reinstated as the primary source of concrete learning in formal educa- tion as it has always been in informal education. With the hatching process completed we may expect real growth.
Scarcely a decade ago the enthusiasms of a lonely minority for "visual education" were laughed at or ignored by high and humble alike in the educational ranks. And the laughter and indifference were largely justified. The visual idea suffered greatly from prema- ture ballyhooing by the inexpert — from the unproven platitudes repeated endlessly by the faddists, from short-sighted attempts at commercial exploitation, in short, from the zeal of ignorance.
But times have changed fast. The last half dozen years have seen a transformation in the field and in the character of the forces that are molding the visual movement. Authoritative research and experiment, scientific production and invention, have achieved their start and swift development during that brief time, and a real "literature" of the subject has begun to be.
The Educational Screen has lived through those same six years, watching the births of innumerable high hopes and the mortalities that followed with such pitiful frequency. But the birth-rate is winning. The visual movement is now moving, and this magazine proposes to move with it.
WE offer herewith the "March" issue, the first un- der the new format, and await with eager in- terest the verdict of the field upon our well-intentioned efforts. It is our answer to the mass of letters, tele- grams and long-distance phone calls — chorusing "Where is my January issue?" — which have been, by the way, enormously comforting to us. It is a pleasure to be so emphatically missed. Some explanation, how- ever, is due.
With the appearance of the December issue, closing Volume VI, it was quietly decided, by the group that has made the magazine possible so far, that the next issue should mark a change. The field has made notable progress during the six years, and it was imperative that the only magazine devoted to that field should keep pace. Such change involves a myriad details, not only in working out the new format but in the reorgan- ization of the whole work on a larger scale to permit healthy expansion in the future.
This decision made, it was obviously doubtful if a January issue could be achieved. Still, there was a chance, and we were reluctant to announce an omis- sion when none might be necessary. Failing a January number, a January-February issue was contemplated, but this, too, seemed inadvisable. The final decision is now evident — Number 1 of X'olume VII is this "March issue," appearing on the 25th of the month preceding, which sets the appearance date to be held hereafter. The January and February issues must be forever lacking in Volume VII — which we consider regrettable but wise.
The expiration date of all present subscriptions to The Educational Screen n'ill be moved ahead two months. Further — (we trust you have noted the in- crease in price)— all present subscribers are entitled to one more renewal of subscription at the old rates of $1.50 a year, or $2.00 for two years, if they so de- sire.
OUR readers and ourselves have cause for mutual congratulation over the addition to our staff of Dr. F. Dean McClusky of the Scarborough School, and Mr. Dwight R. Furness of the Methodist Episcopal Board of Education, as editors respectively of the "School Department" and the new department of "Amateur Film Making." We shall take occasion later to explain — for such readers as do not already know them — the noteworthy qualifications of these men for the work of their particular departments. In an early issue we plan to add an expanded "Church Depart- ment," also under a new editor to be announced later. AN important innovation will be the early establish- ment of a unique department exclusively for the national organizations co-operating with The Educa- tional Screen in the great work of the "Film Esti- mates." This department is planned to serve as the one inter-organization medium through which The General Federation of Women's Clubs, The National Congress of Parents and Teachers, The American Farm Bureau Federation — and other organizations as they join the work — may exchange ideas and plans, and describe their growing activities in the field of motion pictures, both theatrical and non-theatrical, to mutual advantage. The selection of the editor for this department will be made in consultation with the responsible heads of the organizations concerned.
THE marked increase of pictures in this issue is something more than an effort to please the eye. Nor is it merely an attempt to furnish pictorial matter of definite value for educational purposes. Gradually, we mean to make The Educational Screen the channel through which choice pictures — now lying hid- den by hundreds in the non-commercial collections of serious amateurs — may reach the educational field that wants and needs such pictures. Write us for our terms and requirements.
The Educational Screen
The Influence of Motion Pictures Upon the Cultural
Development of Children
Ercel C. McAteer Director of Visual Education, Los Angeles Schools
III
CULTURE, in its liberal sense, is a broad term. It includes not only the training, improvement and refinement of mind and man- ners but also the generation of an appreciation of the beautiful and artistic.
The ability of the motion picture to influence the child in the first- named phase of his cultural devel- opment is dependent to a large ex- tent upon the existence of a previ- ously acquired power of discrimi^ci- tion. This power may be instilled by parental teaching. Such teach- ing may have impressed the child with certain of the fundamentals so that it is enabled to choose, at least to a small degree, between the meri- torious and the unmeritorious. This subsequent visual experience will assist in building up a cultural sense from that knowledge of fundamen- tals which constitutes at most only a potentiality for culture. By the power of discrimination, as the term is used, there is not meant a mature sense of the fit and the unfit, but a sense of the basic distinction between the tasteful and the taste- less, the beautiful and the ugly, the well mannered and the ill mannered.
Appreciation of the beautiful and artistic belongs in truth to the more restricted sphere of esthetics. The original tendencies which are built up into esthetic emotions are found deeply enrooted in the child. Inher- ent in his basic instincts is the sat- isfaction of glitter and color, of rhythm in percepts and movements. From this inception comes the de- velopment of enjoyment in nature, art, poetry, dancing and music.
The education of a person, or his environment, determines largely
what any individual will consider as beauty, music or art. The satisfac- tion aroused in a small child by a chromo or "jazz" music is just as surely an esthetic emotion as that aroused in an educated adult by a Murillo Madonna or a "Beethoven symphony. From the enjoyment of the crude and elemental the child must be raised gradually to the en- joyment of the artistic and complex. Because of its power to exert a strong impression the motion pic- ture can lend a distinct stimulus to the development of the whole cul- tural sphere in the child. Once the conscious or subconscious desire is present, the motion picture acts as an environment either to develop or to stifle the cultural sense. Whether the environment is beneficial or det- rimental depends, of course, upon the character and worth of the pic- ture.
It is the writer's belief that the motion picture exerts more influ- ence than literature in the life of the average person. Appreciation of literature is fundamentally de- pendent on reading ability. School graduates may be able to read well enough, but to read systematically and intelligently presupposes a habit which is not easily and none too frequently acquired. Many of us who have neglected our poetry will testify that concentration on a page of abstract, symbolical, poetic expression often requires more ef- fort than we are willing to exert. The photoplay is not so handi- capped, for its devotees have the advantage of a natural instantan- eous perception which is not de- pendent upon training or education. Consequently, the child who has de-
veloped no reading habits may in- terpret pictures with a greater fa- cility than he can the printed word. The motion picture is potentially, at least, both a pictorial and a dra- matic art. It calls upon and de- pends upon all the arts. It has ab- sorbed not only the traditions of the painters — and even borrows their subjects, composition and col- oration, all with excellent effect — but in addition has acquired a new problem of its own — to learn the principles of and begin to apply a definite composition of movement. Producers and directors generally have met this problem squarely and have solved it capably and well. In artistic lighting, the makers of mo- tion pictures have done pioneer work. By the use of modern lighting equipment, the director is able to ac- complish "plasticity" in his films, which, even though .the skill neces- sary for it is inevitably lost on the layman, contributes to' his vague and general sense of pleasure.
Another branch of art that of ne- cessity has come within the cam- era's eye, is that devoted to the fur- nishing and decorating of rooms. The prosperity of the film industry has allowed more and more elab- orate settings. Likewise, that same prosperity has allowed a more ex- tensive search into truth in presen- tation. Consequently, good taste is no longer so sensational a rarity on the screen as it was a few years ago.
Not only is the technique of all the arts being employed in the serv- ice of the best pictures today, but the art product of all the ages is being drawn upon to give pictorial interest and beauty to the scenes
March, 1928
themselves. And we and our gen- eration are the rich beneficiaries of this work.
With the keen, quickened percep- tion in the child, whether it be con- scious or subconscious, of the beau- ties of nature, light, color and com- position, the environment created by those better motion pictures which are of artistic worth, does much to- wards developing his esthetic sen- sibilities, and, also, his entire cul- tural side.
The influence of an important ad- junct of the motion picture must not be overlooked. That is the orchestra, which is to be found in many mo- tion picture theatres throughout the United States, or the organ which serves as orchestra in many more. We are less fortunate than most European peoples who have so many opportunities to hear good music. Practically every European city of over fifty thousand inhabi- tants has its own municipal theater where the entire populace may hear opera and light opera. Almost all of these cities have their prome- nade concerts where the symphonic works of the great masters are played. We have no such institu- tions as these in the United, States. With the exception of the Metro- politan Opera Company, the Chi- cago Opera Company, and one or two touring companies, we have no distinct organizations which furnish us with operatic performances. With a population of one hundred million, we have only twelve sym- phony orchestras of the first order.
It was early discovered in the ex- istence of the motion picture that its growth could be assisted by grafting to it the sister art of music. When one considers the many thou- sands of film theaters containing orchestras and organs in this coun- try, it is not difficult to picture the influence that the industry can exert on the musical life of America.
Many of the country's finest instru- mentalists are now playing in these theaters. In many of the larger cities the orchestras contain eighty or more players. Hundreds of thou- sands of dollars are spent annually on music alone. Music of the high- est quality is now considered indis- pensable.
Motion picture music may be di- vided into two groups — the pro- gram music, which includes the overture, ballet, dance music and the like, and the accompanying syn- chronized score which forms the background of the film. As to the former, the taste of the public is undetermined at the present time. There is a marked passion in the American public for "jazz." It un- doubtedly has a f)ermanent place in the world's store of music due to the dignity given to it in several cases by Gershwin, Harling and Carpenter. On the other hand, there is a vigorous minority which insists upon classical music. The taste of this minority must be rec- ognized and fostered. In a commer- cial sense, such theatergoers would be held to the theater ; in an artistic sense such practice would serve to keep alive in this country a love of finer music.
The synchronized score is of great importance in the modern mo- tion picture theater. Today, no im- portant picture is released without a specially prepared score. Nearly every theater has a conductor who prepares the musical interpretation for the lesser films from week to week. Infinite care is taken so that every emotion and every bit of ac- tion upon , the screen will have its harmonious musical counterpart. We find that this synchronization and adaptation of scores to climaxes depicted in the film, tend strongly to correlate in the mind of the viewer- listener the emotion simultaneously portrayed upon the screen. Thus
there is furnished either to the adult or to the child the possibility of ac- quiring, through both the auditory and visual senses, keener apprecia- tion of the emotion reproduced or portrayed. There is an unconscious and agreeable blending of the two senses to produce the one result.
The possibility for development of musical enjoyment and apprecia- tion has arisen only within the last ten or twelve years. In this connec- tion, it is interesting to note the comment made by John Philip Sousa, who says:
"The motion picture theater has been of incalculable benefit in spreading the love for music. Nowadays no picture is com- plete without a good musical score composed both of popular and classical pieces to suit the theme of the picture. This has created an amazing taste for music for theatergoers that see motion pictures. Before motion picture theaters, especially big ones, with their large and splendidly conducted orches- tras, came into vogue I doubt if one hundred thousand peo- ple a week heard orchestral music in the country."
From the foregoing brief analy- sis of the fundamentals of cul- tural development in the child, and from our knowledge of the strong impression exerted by the motion picture, it does not seem illogical to assume that a great good may be done by the motion picture. The duty rests upon the producer, the director and the exhibitor of pro- viding pictures to supply this mean- ingful and wholesome environment which may serve to germinate, for child or adult, the previously plant- ed seeds of culture. And the duty rests upon the parent, the teacher and the social worker of directing the child to that kind of pictures.
The Educational Screen
A Suggested Methodology For The Use Of Informational Motion Pictures
T N WORKING out a methodol- ■*- ogy for the use of informational films, we may take as our point ot departure the actual visual ex- perience, for the film is merely a representation of the actual experi- ence.
An Actual Experience
Assume we are in a Kansas City elementary vacation school in ses- sion during the month of August. Here is a fifth grade teacher with her class of twenty pupils. In their study of industrial geography they have come to the topic "Wheat Growing." The pupils come from a section of the city populated main- ly by laborers and shop-keepers, say, Italians. Inquiry brings out that none of the girls and only a few of the boys have ever seen actual farming operations.
So the teacher, an enterprising woman of twenty-five, decides that an ounce of real experience is worth a pound of verbalism and suggests a trip to one of the farms near the city. The class responds with en- thusiasm and one of the boys whose father is a farm laborer volunteers to make arrangements.
The appointed day approaches. What is the natural thing for the teacher to do ? She makes prepara- tions, of course ; and so do the pu- pils. Let us take stock psychologi- cally at this juncture.
Note how the work in the sub- ject of geography has just naturally come to the topic in question. The pupils find themselves up against a stone wall of ignorance. All know bread, many know flour, a few know wheat — how many know how
Editor's Note — Summary of an ad- dress given before the DeVry Summer School of Visual Instruction at Chi- cago, June 28, 1927.
Joseph J. Weber
wheat is grown? The teacher has suggested a field trip. The idea appealed favorably — why ? Be- cause actual experiences are just naturally more interesting than oral or written accounts of them. The concrete is more interest-stimulat- ing than the abstract.
The teacher writes on the black- board a plan, together with a list of questions. The plan, she says. has been prepared in order that the class may profit as much as possible from the field trip; and the ques- tions are given to suggest what each pupil should look for. The pupils are encouraged to add questions to the list. In fact, the entire under- taking had best be a class project, with the teacher acting only as guide and adviser. The purpose of all this anticipatory work is to create a favorable mental set in each learner for maximum observation on the trip.
The day arrives, and a beautiful August morning greets the group. It is too late to observe harvesting operations. Threshing is in full swing ; and on an adjoining farm the ground is being plowed and disked for fall planting. The chil- dren naturally watch the more spec- tacular operation of threshing first, and later on the plowing and disk- ing.
What would you expect the group to do during this field trip? You would expect questions and expla- nations from the teacher, and more of them from the pupils. Some- times the class would be scattered, sometimes in small groups, some- times all together — always trying to solve their individual and collec- tive problems.
What would they do on the way back? Exchange experiences, of course; correct wrong impressions, argue, and converse — just as boys and girls naturally do after an eventful day.
Back in the schoolroom in the aft- ernoon, the morning's experiences can now be made the basis or start- ing point of any and every prob- lem or project ; and the experienced teacher knows how to ask questions with larger bearings — scientific, so- cial, political, economic, spiritual — and thus carry the learning to the levels of abstraction, generalization, and application, all of which con- tribute to intellectual power.
An Informational Film
Now suppose that instead of Kansas City, Boston were the loca- tion of our schooJ. To arrange for a field trip here would be imprac- ticable ; but there is available an in- formational film called Wheat Grozifing. The teacher informs the class of its availability and the class requests that it be shown.
How shall this film be worked into the teaching situation? Tak- ing the Kansas City field trip as our point of departure, we may pursue the following technique :
1. The Preparation — In getting ready for this let us bear in mind that certain steps have already been taken : A study of other major top- ics has oi>ened the way for the pres- ent topic ; the teacher has suggest- ed an available film; and the class has acted favorably upon the sug- gestion— to study the film is now a "community" project.
Corresponding to the plan for the field trip, we have here a brief synopsis of the film to guide us. The
March, 1928
synopsis may be taken up in a pre- liminary session and discussed in the light of the pupils' personal ex- periences. The object of all this preliminary activity is to reorganize the experiences of the pupils into a state of receptivity for what the film will have to present. The minds are plowed and disked to the point where the film scenes cannot fail to fall on fertile ground.
2. The Screen Presentation— With their curiosity at high pitch and their minds sharpened for the central message of the film, the pu- pils now see the screen presenta- tion. The teacher, zvho must have seen the film beforehand, may call attention to this or that aspect, in- terject guiding comments, and see to it that no pupil gets too interested in irrelevant details.
Care should, of course, be taken not to eclipse the film with oral re- marks. We must bear in mind that the film costs money and that dur- ing the short time it is shown, it should have undisputed priority claim to the children's attention. Verbal elaboration may well be de- ferred to the discussion period and the formal recitation.
The problem of whether or not to talk while the film is being shown is considerably illuminated by the following considerations. In a film whose nature is propagandistic the teacher should undoubtedly remain silent so as not to disturb the atmos- phere created by the screen ; in a film that is so closely organized as to merit the name "pedagogical," a brief comment or two during the showing may be all that is neces- sary to keep the pupils' attention on the correct aspects ; in the ordinary educational, or what is here called the informational film, it is be.st that the teacher make some com- ment along with each scene. It must be remembered that the cam- era is not as selective as it might be
and that, therefore, the teacher must help the pupils see the right ele- ments ; and this is progressively more imperative the further the pu- pils are removed from the film con- tent in experience and the less they have been prepared for it. Some comment is surely not objectionable during a field trip.
3. The Informal Discussion — In this step the facts observed should be clinched by being largely con- verted into language; at the same time the wits should be sharpened for the higher meanings, bearings, and insights. In other words, the teacher should make sure that the essential film scenes have been cor- rectly and adequately perceived and then guide the pupils in giving these scenes a measure of interpretation. However, the quizzing should re- main as close to concreteness as pos- sible. It is still the time for ques- tions of sense-perception. Did Johnnie see this? Did Mary see that? How does the plow cut the soil? How does the thresher sepa- rate the grain from the straw ?
The work of interpretation may largely be embodied in an assign- ment. In fact, this is the most op- portune moment for the formal as- signment, the pupils having been provided with sufficient perceptual foundations for the study of more abstract relationships. They may be sent to their various text and reference books to glean the facts immediately subsidiary to the cen- tral idea of wheat growing, and pre- pare to organize these into that final conceptual. structure familiarly known as the "aim" of the lesson. The assignment should consist of readings, problems, or projects; and it may well be divided into (a) min- imum, (b) normal, and (c) supple- mentary requirements to adjust the work to individual needs, interests, and capacities.
4. Supplementary Showings — In
all probability the class will have ample reason for wishing to see the film again. If the Kansas City class could profitably spend several hours on an actual journey, an extra fif- teen minutes given to a vicarious journey is not too much for the Bos- ton pupils. The procedure should be th6 same as in the first showing, except that the problems involved may lie on a higher plane of ab- straction. For example. What prin- ciple is employed in separating the grain from the straw?
The number of film showings de- pends roughly upon the pupils' fa- miliarity with the film content. To most South Dakota children the film on "Wheat Growing" need not be shown at all ; while to a class in Florida it may have to be shown several times in succession. As a matter of fact, when a film is really needed by the class, it can hardly be shown often enough in its pres- ent thousand- foot length. This length is an accident of the motion picture industry, and it is less ra- tional from the standpoint of the educator than the 8-4 plan curricu- lum. The human mind can with profit observe for only about half a minute any one scene unchanged, and it4:an encompass in unremitting succession at the most five or six aspects of this same scene. This means that it can observe profitably no longer than two or three min- utes. If it is forced to observe longer, the laws of primacy and re- cency begin to operate seriously and snufif out what has been seen in the middle except that which has been driven home by intensity at the expense of one of the others.
Some day we shall have to pro- duce informational films of the right length — from one to two hun- dred feet — composed of one identi- fying title and six or eight variable scenes of a unitary situation, proc- ess, or phenomenon. Each such
10
film will be on a separate reel so that the teacher can conveniently work it into her lesson plan to pro- vide the pupils with perceptual foundations for the concepts to be developed.
What appears to be an ingenious way of utilizing the informational film in its present thousand-foot length is to divide it arbitrarily into four or five parts with due regard to its content and use each part as the basis for a particular unit of in- struction. This method can be em- ployed only where the film is avail- able for at least a week.
5. The Formal Recitation — For this period the teacher should have a carefully prepared lesson plan with its tripartite division into "aim," "content," and "method." If a formal recitation is not desired, the procedure may be essentially that of the so-called "socialized reci- tation." The name is unimportant. What really counts is whether there is a maximum of interest, motiva- tion, co-operation, comprehension — and worth-while learning.
The chief object of the formal recitation is for the class to assem- ble as a working group and, unham- pered by objective materials, assim- ilate their conceptual learning. This involves both generalization and application. In one the view- point is inductive, in the other de- ductive; but both are psychologi- cally similar and lead eventually to the same result — true intelligence, power to solve life's problems. The ground having been tilled in the preparation and the seeds of sense- perception sown in the Screen Pres- entation, we can now turn to the growth of ideas, their harvest, and their ultimate utilization. General- ization corresponds to threshing and milling, while application finds its correlate in the consumption of bread.
Many textbook writers have ex-
plained the process of conceptual learning much better than can be done in a limited magazine article like this. Suffice it to say here that the sense-impressions gained from the film showings and the facts learned in the verbal exchange fol- lowing them, should be studied as far as desirable in their higher bearings and relationships. They should be made the basis for inter- preting present-day life to the learn- er; and there is no more fruitful a method for doing this than to en- courage pupils to undertake follow- up work in the form of individual and group projects. Let the learn- ing issue into wholesome conduct.
6. The Check-Up — Anything that is worth learning is worth checking up. Learning comprises informa- tion or knowledge, mental and mo- tor skills, interests and attitudes, and the mainsprings of character — ideals. Knowledge can be meas- ured with factual tests, skills by means of performances, interests and attitudes by concealed tests, and ideals by observation over a long period of time. "By their fruits ye shall know them."
The check-up may be oral or written. It may be a review quiz or a mimeographed list of test ele- ments. It may be in the form of an essay, a report, or a project. The objective side is relatively unim- portant in comparison with the sub- jective. The influence of the check- up on motivation, interest, and ef- fort is of far greater consequence. A good test can serve at least four purposes : ( 1 ) enable the teacher to gage the effectiveness of her in- struction; (2) enable her to deter- mine the progress made by each pupil, as well as the class as a group; (3) enable the individual pupil to see his points of strength and weakness, and thus motivate him to greater effort ; and (4) pro- vide both teacher and pupils with
The Educational Screen
interesting problems for classroom discussion and follow-up work.
When to Use Informational Films The informational film Should be used in place of the actual visual experience when the latter is im- practicable. To illustrate, it may be out of season to see a certain proc- ess (harvesting) ; the distance to travel may be too great; the time too short, the cost prohibitive, or the topic may not be sufficiently im- portant to justify a school journey. Then there are a hundred other cir- cumstances to make a film showing more expedient than an actual ob- servation trip.
It must be constantly borne in mind, though, that the actual ex- perience is to be thought of first be- cause it is a natural situation, in- volving more types of sense-percep- tion, especially kinesthetic. There is a more natural social contact and the give-and-take of conversation, and usually also fresh air and sun- light. Only when reason tips the scales in favor of the informational film, should it be resorted to for vicarious experience.
The same can, of course, be said for the demonstration and the lab- oratory. If it is evident that either one of these is more convenient, more adaptable, more economical than the picture screen, it should be given prior consideration. Another point to emphasize is that it is poor economy to use the informational film when exhibits, models, dia- grams, or still pictures of various kinds can make a lesson or problem equally meaningful. The peculiar province of the motion picture cen- ters in its portrayal of life, anima- tion, development, kinetic phenom- ena— in brief, dynamic situations ; and only in this realm can it make a genuine contribution to pedagog- ical procedure.
{Continued on page Z2)
March. 1928
11
An International Exchange Arrangement for Visual Aids
LiLLiE Newton Douglas
VV Department of Visual Kdiication when I reach Japan?" was the question I asked Mr. Chas. Roach, Director of Visual Educa- tion of the city schools of Los An- geles. The commission Mr. Roach gave me was to pick up articles which could be used here to teach our children about the home life, school life and play life of the chil- dren of Japan ; and to see what could be done about getting Japa- nese schools to make exchanges with Los Angeles schools in school work, handicraft, drawing, etc.
I arrived in Japan on March 4, 1927. Viscount Shibusawa's secre- tary, Doctor Obata, was at once in- terested in my quest. A card of introduction from him gave me two wonderful privileges : it admitted me to the steamship Tenyo Mam, where was held the reception of the "Forty - Eight States' Friendship Dolls" sent by the children of America to the children of Japan; and it introduced me to Mr. R. Sekya, Vice Minister of Education, who was assisting at the reception. The minister seemed interested in what I was trying to do and in- vited me to a conference at the Na- tional Department of Education in Tokyo. When I explained the ten- tative plan for the exchange of school work and objects between definite schools in Japan and in Los Angeles and Chicago, Mr. Sekya re- quested me to meet some of the Tokyo principals. He arranged a meeting and I carefully explained the plan. The principals were in- terested, and invited me to another conference at the Hibya Primary
Editor's Note — Mrs. Douglas was formerly a teacher in a Japanese girls' Christian College of Yokohama, and is in intimate touch with educa- tional movements in Japan.
School, as we were trying to inter- est only primary schools. A two hours' conference with the six prin- cipals present most of whom could speak English, resulted in the adop- tion of six schools in Los Angeles with which to establish exchange of work. At this conference forty beautiful photographs of phases of school life in the Los Angeles . schools were examined. Mr. Roach had sent them as a gift and I had presented them to the Vice Minis- ter who sent them to the conference. These pictures were an important factor in our negotiations and, in a few days, ten schools in Tokyo had adopted the exchange plan.
Mr. T. Fujii, Superintendent of Tokyo Schools, then invited me to meet ten school officials, as his guest at one of the hotels, and visit the ten schools which had agreed to enter the exchange plan. This was a strenuous day, and though school principals were guides and beautiful Buick motors carried us rapidly from one school to another, I could visit only seven schools. Space is lacking to tell of some of the splendid new concrete struc- tures and full equipment of these schools. At the conference the sug- gestion made by Mr. Fujii, that we begin by trying the plan with the ten schools, was formally adopted.
The same cordial reception of the plan was met with in Yokohama, Nagoya, and Hokkaido. Every- where I was treated with the great- est courtesy.
In July I visited Korea. Through the gracious courtesy of Mr. Oda, the Foreign Secretary, I met all the highest officials of the Depart- ment of Education. These men at once grasped the possibilities of the plan and arranged a meeting for
me with five school principals. With Mr. Oda as interpreter, I explained to them the plan. I had with me several articles which I had bought in Korea for the Visual Education Department in Los Angeles. Ex- hibiting these helped them to grasp the idea of visual instruction, and they became so enthusiastic that they wanted to go into the plan wholesale. I insisted that they try it out by beginning with five rchools in Seoul. At this point they sug- gested that when each school re- ceived its exhibit from Los Angeles it should lend it to other nearby schools. So enthusiastic were this and other groups that the Interna- tional Friendly Association, which meets only to honor some distin- guished guest, gave for me a beau- tifully appointed tea at the Hotel Chosen, because I had brought to them an idea for a means, simple as it was, to further international friendship.
Before leaving Japan I received a letter from the Vice Minister's office saying that in order to carry on and to expand the plan, the ten principals in Tokyo had organized the "International Education Asso- ciation" with the superintendent of Tokyo Schools as President, and had formulated plans for carrying on the work effectively. A small exhibit has now been sent by the Visual Education Department of Los Angeles to each of the ten schools in Tokyo and the Tokyo schools have already sent eleven cases of exhibits to the Los Angeles schools. In addition to the ten schools co-operating in Tokyo, there are five in Yokohama, nine in Nagoya, one in Nokkaido and five in Korea, which are actively shar- ing in the exchange plan.
12 The Educational Screen
THE FILM ESTIMATES
Being the Combined Judgments of a National Committee on Current Theatrical Films
The Film Estimates have been officially endorsed by
The Motion Picture Committee of the General Federation of Women's Clubs The Motion Picture Committee of the National Congress of Parents and Teachers The HojYie and School Department of the American Farm Bureau Federation
Titles of Films (Actors) (Producers)
Across the Atlantic (Monte Blue) (Warner) Wholesome, simple and healthily thrilling story of airplane flight — suggestive of what Lindy must have felt.
Almost Human (Vera Reynolds) (Pathe) Unusual and original, with clever dog actors in leading parts.
Baby Mine (Dane-Arthur) (Para.) Crude, vulgar, slapstick version of the stage bedroom-farce by Mayo.
Beware of Married Men (Irene Rich) (Warner) Absurd farce of philandering villain, hiding women in closets, etc. Again, Irene Rich is wasted.
Brass Knuckles (Monte Blue) (Warner) Jail-birds' conflicts with law and with each other.
Buttons (Jackie Coogan) (Metro) Better than some recent Coogan pictures, combining wistful appeal, comedy and thrill.
Chinese Parrot. The (Marian Nixon) (Univ.) Murder and mystery thriller.
Circus, The (Charlie Chaplin) (U A.) One of Chaplin's greatest since "The Kid."
City Gone Wild, The (Thos. Mei- ghan) (Para.) Underworld story, fairly good of 'its kind. Note new use for Tommy Meighan. (See Re- view No. 8.)
Come to My House (Olive Bor- den) (Fox) Overdressed heroine — risks visiting bachelor's apartment — blackmail— murder — electric chair — marriage.
Devil Dancer, The (Gilda Gray) (U. A.) Of some interest for Tibetan scenes and customs. Features Gilda's usoial dancing, but about her poorest picture to date.
Divine Woman, The (Greta Gar- bo) (Metro) Meaningless title for well-acted story of waif scorned by gold-digging mother, loved by poor soldier, feted as famous actress — then down from pinnacle to happy marriage.
Dove, The (Norma Talmadge) (U. A.) Colorful adaptation of the stage melodrama — though Noah Beery is not Holbrook Blinn — and Norma is beautiful.
Enemy, The (Lillian Gish) (Metro) Remarkable picturization of Channing Pollock's an ti- war-propa- ganda play. Strong, heavy, convinc- ing—but with weak points. Critical opinion extremely divided.
Foreign Devils ( Tim Mc Coy )
(Metro) UnwhoJesome, false, sensa- tional picture of Boxer rebellion. Supreme example of bad taste.
Fortune Hunter, The (Syd Chap- lin) (Warner) Farcical and absurd vulgarization of the stage play. Cheap performance.
For
Intelligent
Adults
Passable
In'.cresting
Crude Worthless
Hardly
Passable
Good of its kind
Excellent Fair
Hardly
Fair
Interesting
Interesting
Notable
Trash
Wortliless
For I For Youth Children
(15 to 20) 1 (under 15)
Titles of Films (Actors) (Producers)
Entertain- ing
Good
No I'etter not
Unwhole- some
Good
Thrilling Excellent Perhaps
Better not Doubtful
Doubtful Passable
Very strong
Lhiwhole- some
Better not
Good
Excellent No
No
No
Very good
Better not Excellent Better not
No No
No No
Beyond them
By no means
No
Fourflusher, The (George Lewis) (Univ.) Mildly amusing story of blufhng shoe salesman's efforts to win success and girl.
French Dressing^ (H. B. Warner) (First Nat'l.) Trivial, risque story of gay marriage-and-divorce.
Gateway of the Moon (Dolores Del Rio (Fox) Exotic, unconvincing melodrama of South American jun- gle. Sex appeal and deep villainy chief ingredients.
Gaucho, The ( Doug. Fairbanks ) ( U. A. ) Elaborate settings, lively and colorful action, with generous amount of the "Doug" acrobatics that touch perfection. A solemn re- ligious scene and a gruesome leper :tre innovations.
Gay Defender, The (Richard Dix) (Para.) Dix as guitar-playing Latin lover, and as "Robin Hood" hero fighting outlaws. Incongruous. (See Review No. 4.)
Gentlemen Prefer Blondes (Ruth Taylor) (Para.) A very deft pic- turization drawn from the book. Rather well done by Ruth Taylor.
Get Your Man (Clara Bow) (Para.) Planned to carry the "It" motif further than in (Clara's pre- vious pictures. It succeeds.
Ginsberg the Great (George Jes- seli (Warner) Flimsy stuff. Funny for those who laugh easily enough.
Grip of the Yukon. The (Francis Bushman) (Univ.) Melodrama of the Alaska goldrush of 1898.
Ham and Eggs at the Front (Myrna Loy) (Warner) Burlesque war film— preposterous adventures. Funny though stupid.
Hero for a Night, A (Glen Tryon) (Univ.) Burlesque of transatlantic aviation — much absurdity but funny.
Her WUd Oat (Colleen Moore) (First Nat'l.) Rather feeble comedy but some human interest and Col- leen has some funny moments. (See Review No. 5.) -^
His Foreign^SK (Edna Murphy) (Pathe) Rather 'Bufnan and whole- some story of a dougliboy's struggle to win acceptance for his German war-bride.
Honeymoon Hate (Florence Vi- dor) (Para.) Romantic comedy of marriage of American girl and Italian prince in Venice. Scenically beautiful and well acted.
If I Were Sinrfe (May McAvoy) (Warner) Very thin comedy of mar- ried couple, suspecting each other quite without cause. Could liave been charming, but for silly spots.
In a Moment of Temptation (Charlotte Stevens) (F. B. O.) A crook lets his sweetheart go to jail for his fault. Then all comes out right, just as Laura Jean Libbey would do it — for she did this story.
For
Intelligent
Adults
Perhaps
Mediocre
Hardly
Notable
Passable
Amusing
Worthless
Silly
Good of its kind
Ridiculous
Passable
Passable
Interesting
Interesting
Passable
Useless
For
Youth
(15 to 20)
Fair
Unsuitable
Doubtful
Excellent
Amusing
Perhaps
Unwhole- some
Hardly Fair
Funny
Amusing Passable
Good
Good
Harmless
Hardly
For
Children
(under 15)
Passable
No
No
Fine, if not too strong
Too excit- ing
No No
Perhaps
No
Passable
Amusing Fair
Beyond them
Hardly
No
Uninter- esting
March, 1928
13
Titles of Films (Actors) (Producers)
For I For For
Intelligent Youth Children
Adults (15 to 20) (under 15)
In Old Kentucky (Helcne Cos- tello) (Metro) Old-fashioned horse- race melodrama of Southern aristoc- racy. War-shocked son suddenly becomes hero to save family for- tunes.
Isle of Forgotten Women (Coji- way Tearle) (Columbia) 'ihe regu- lar South Sea Island story — human derelicts, primitive passions, gin, fights under tropical sun.
Jazz Singer, The ( Al Jolson ) ( \Varner) A very significant film with the Vitaphone eti ects and the human appeal of the story. Uneven but impressive.
Kid Sister, The (Marguerite de la Motte) (Columbia) Thoroughly risque story of stage life and road- house adventure.
Ladies Must Dress (Virginia Valli) (Fox) Fashion show and compromising of heroine, chief fea- tures.
Last Command, The (Emtl Tan- nings) (Para.) The story strains coincidence but the picture is pow erful. Again great acting by Jan- nings in appealing and pathetic role. If there were only more screen ac- tors of his calibre !
Latest from Paris, The ( Norma Shearer) (Metro) Love and busi- ness afTairs . of a saleswoman in which whisky figures more or less.
Law of the Range (Tim McCoy) (Metro) Thrilling and stupid. Un- usually absurd Western.
Leopard Lady, The fjacnuelinc Logan) (Pathe) Circus life — villain, who uses ape to commit murders, thwarted by leopard-training heroine. Preposterous.
Let 'er Go Gallagher (Junior Coghlan) (Pathe) Thoroughly in teresting rendering of Richard Hard ing Davis' newspaper story — with high honors to Junior's acting.
London after Midnight (Lon Chaney) (Metro) Weird, mystery thriller above average. Hypnotism plays part.
Lone Eagle, The (Raymond Kcane) (Umv.) Another aviation picture, weak 1 eside "Wings," but of more than average interest.
Love (Garbo-Gilbert) (Metro) Tolstoi's "Anna Karenina," made into an emotional orgy "for shop pirls and their boy friends," as one judge says.
Lovelorn. The ( Sally O* Ncill ) ( Metro) The sentimental service of Beatrice Fairfax picturized as her public will like it.
Love Mart, The (UilUe Dove) (First Natl.) Belle of New Orleans in olden days, called an "octoroon" and sold to slavery. Bought and married by lover. Pictorially beau- tiful
My Best Girl (Mary Pickford ) (U. A.) Laughter and pathos, with Mary in the kind of role dearest to her great public.
My Friend from India f Franklin Pangborn) (Pathe) Rowdy farce, rather feeble both morally and in- tellectually.
Noose, The (Richard Barthelmess) (First Natl.) Strong picture, su- preme example of harrowing finish. Barthelmess fine; p!ot interesting if a bit improbable.
Night Flyer. The fWilliam Boyd) (Pathe) A bit insipid in spots, but on the whole most amusing and thrilling to the right degree.
Opening Night, The (Claire Wind- sor) (Columbia ) Rather unusual- Enoch Arden story ; will interest many in spite of some weak acting,
Fair
Trash
Notable
Hardly
Trashy
Excellent
Amusing
Worthless
Medic
interesting
Good of its kind
Passable
Passable
Hardly
Fair
Amusing
Fair
Good
Amusing
Above
average
Fair
Unwhole- some
Notable
Unwhole- some
No
Strong
Worthless
Perhaps
Excellent
Entertain- ing
Doubtful
Interesting
Unwhole- some
Harmless
Hardly
No
Good but
beyond them
By no means
No
Tteyond ihem
No No No Good
Too thrill ing
Entertain- ing
No
Unsuitable
Passable Unsuitable
Good
Doubtful
Harrowing
Excellent
Fair
Good
No
Not for them
Good
Beyond them
Titles of Films (Actors) (Producers)
Pajamas ( Olive Borden ) .( Fox ) Adventure story, "suggestive,*' and titlt<I to match.
Private Life of Hden of Troy
(Maria Corda) (First Natl.) An exceptional picture that will both please and ofTend. Classic back- grounds and costumes splendid ; modem titling shocking or very amusing. As to the original, the film shows merely events between Chapters I and II of Erskinc's book, and !)ut part of the characters. (See Review No. I.)
Sailors' Wives (Mary Astor) (First Natl.) Fiancee, stricken with approaching blindness, tries to spare her husband-to-be by denying thai she loves him. Appealing in parts, unconvincing in others.
San Francisco Nights f Percy Mar- niont ) ( C.otham ) Above average picture of underworld life. Fall and regeneration of respected lawyer well acted by Percy Marmont.
Serenade (Adolphe Menjou) (Para.) Graceful light comedy, fair- ly free from the suggestiveness so objectionable in most Menjou films. Lawrence Grant fine.
Sharp Shooters (George O'Brien) ( Fox ) Girl-in-evcry-port, waterfront story. Tough sailors and Lois Moran dancing as suggestively as she can.
Shepherd of the HUls (Alec B. Francis) (First Natl.) Exceptional film, scenically beautiful, pathetic and sentimental, of course, but hu- man. Notable roles by Francis and a boy actor. One over-brutal fist- fight only objectionable point.
She's a Sheik (Bebe Daniels) ( Para.) Hilarious comedy bur- lesquing the "sheik" idea. Fortu nately avoids the vulgar.
Silk Legs (Madge Bellamy) (Fox) Not quite as bad as the title.
Sorrell and Son (H. B. Warner) ( U. A. ) An exceptional film— ten- der, sensitive, restrained. A fine rendering of the book.
Spoilers of the West (Tim Mc- Coy) (Metro) Above average Western, of real historical interest.
Stop That Man (Barbara Kent) (Univ.) A boy masquerades in his older brother's police uniform. Farce comedy of clean sort.
Surrender (Mary Philbin) (Univ.) Jewish heroine offers herself to Aus- trian conqueror to save her people. Religion reverently treated.
Temp:ations of a Shop Girl (Betty Compson) (Chad wick) Girl steals. Itig sister takes blame, goes to jail, etc.
That's My Daddy ( Reginald Denny) (Univ.) Delightfoil film with notable child actor. Funny and wholesome. Many grades above Denny's usual fist-fight films.
Thirteenth Hour, The (Lionel Barrymore) (Metro) Rather inane mixture of mystery, melodrama, bur- lesque and all stock devices for thrills. And they use a Barrymore for such work!
Thirteenth Juror, The (Francis
Bushman) ( Univ. ) Famous crimi- nal lawyer loses his first case under sensational circumstances.
Tigress, The (Jack Holt) (Colum- bia) Her father slain, fiery gypsy girl turns upon suspected English lord (Jack Holt!), but marries him instead.
Two Flaming Youths ( W. C. Fields) (Para.) Lively farce with the 6ne nonsense of Fields through- out.
For
Intelligent Adults
Negligible Notable
Passable
Good of its kind
Interesting
Hardly
Good
Fair
Twaddle Excdient
Good of its kind
Passable
Interesting
Mediocre
Good
Hardly
Rather good
Mediocre
Amusing
For For
Youth Children
(15 to 20) (under 15)
Better not
Doubtful
No
Hai-dly
Doubtful
Doubtful
Interesting
No
Excellent
Amusing
Not the best
Excellent
Very good Good
Hardly
Useless
Amusing
Thrilling
Good Perhaps
Amusing
No
Hardly
No
Good, if not be- yond them
Harmless
No
fiood, but
beyond
them
Good
Whole- some
No
No
Good
No
Beyond them
No
Amuaing
14 The Educational Screen
THE THEATRICAL FIELD
CONDUCTED BY MARGUERITE ORNDORFF
Theatrical Film Reviews for March
[1] THE PRIVATE LIFE OF HELEN OF TROY (First National)
If you have read Professor Ers- kine's sparkling satire— and who hasn't! — you must park your prec- ious memories temporarily when you go to see the screen version. This is necessary, not because the picture isn't good, but because it is not the Helen you read. It is bur- lesque— no more — but gay bur- lesque. It was highly entertaining to me, and that despite my deep and long-cherished conviction that of all types of stories, this is the one type least suitable for film translation. The ideal screen story seems to me to be one of action which will tell itself in long or me- dium shots, whereas this sort must be told almost entirely through
close-ups and titles. Thus it leturns practically to the status of the illus- trated story book, with the differ- ence that the illustrations are ani- mated.
The film takes even more liberties with the original than Erskine did, and there are those, I am told, who resent such rude treatment of the classic myths. To begin with, it deals chiefly with that part of the Iliad which Erskine didn't mention, and stripped to its bare essentials, resolves itself into that tritest of all trite combinations, the busy hus- band, the frivolous wife, and the handsome stranger. The story is not overloaded with superfluities of plot or character. Helen, wife of Menelaos, king of Sparta, Mene- laos himself, and H. R. H. Paris,
|
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||
The old story of the busy husband, the frivolous wife, and the fascinating stranger.
prince of Troy, are the principal characters. Such personages as Achilles, Ulysses, and Ajax appear, but only as chiefs respectively of the army, navy, and marines. The air service is not represented. Hec- tor and Agamemnon are denied film existence along with other prominent people.
The settings are magnificent. Their lavishness gives point to the comedy of the little humans who, clad in all the ancient glitter and panoply of war, strut so bravely in the shadow of towering gates and palaces, and mouth so glibly our modern catch phrases. So it fol- lows that you will grin at the spec- tacle of Menelaos standing all day at the door of his palace, dutifully shaking hands with a never-ending line of Spartan citizens. You will sympathize with Helen, probably, as she complains to Aphrodite about her husband : "All day he's too busy. All evening he's too tned. All night he snores." You will comprehend her state of mind when, fleeing by ship to Troy, the weary Paris pillowed in her lap, she dis- covers that a romantic lover, too, may indulge in a most unromantic snore. And you will revel in the real beauty of the sets and costumes, the lighting and play of shadows, which have so much to do with the charm of the production.
Alexander Korda, a German di- rector, apparently knows the value of contrast. It is a joy to see how he has posed his fig^ires, accented them sharply against plain back- grounds, ai'd so kept attention on
March, 1928
15
Ancient Sparta, it appears, boasted its White House, too.
the main issue without minor dis- tractions. Maria Corda, lovely, and new to almost everyone in this country, presents Helen as optically dazzling— mentally, of course, a dud. Lewis Stone gives a quietly amazing performance as Menelaos. Ricardo Cortez is handsome, but otherwise slightly out of step as the Trojan heart-breaker. (But he wears a lovely plume in his helmet.) (See Film Estimates in this issue.)
[2] TWO ARABIAN KNIGHTS
(United Artists)
A rough and tumble farce con- cerned with the adventures of two American soldiers who find them- selves in the Orient after escaping from a German prison camp. Some drama, some romance, and much, much comedy, with William Boyd and Louis Wolheim at their fun- niest, and Mary Astor at her love- liest. Purely for laughing purposes, and to that end, some of the scenes have been made as broad as they are long. (See Film Estimates for December.)
[3] THE GIRL FROM CHICAGO (Warner Brothers)
One of the wave of underworld
dramas now washing on our .shores.
Not uninteresting, either. Conrad Nagel as a bad man has a chance to get away from the nice-young- man roles that have so consistently fallen his way. Myrna Lov is lovely, but badly miscast. William Russell is good as a gang leader. (See Film Estimates for Decem- ber.)
[4] THE GAY DEFENDER
(Paramount)
Richard Dix as a guitar-strum- ming, knife-throwing Spanisher. Looking very handsome and ro- mantic and everything with a little mustache, and lots of make-up around his eyes, Mr. Dix makes a much-wronged hero out of Joaquin Murieta, one of the famous bandits that dot the history of California. All very interesting in its way, but all very much according to formula. Thelma Todd is a charming hero- ine. (See Film Estimates in this issue.)
[5] HER WILD OAT
(First National)
Colleen Moore, mistress of an
all-night lunch wagon, yearns for
the life of the idle rich as pictured
in the newspaper feature sections.
A friendly newspaper reporter, a
borrowed title, and a little publicity get her into all the trouble neces- sary for an evening's entertainment. The picture moves very slowly for several reels, but when at last it hits its stride as unqualified farce, it speeds along nicely and is un- ('eniably funny. Miss Moore can be a real comedienne when she gets the chance. Larry Kent and Hal Coo- ley offer satisfactory support. The direction by Marshall Neilan is only Ko-so. (See Film Estimates in this issue. )
[6] SLIGHTLY USED
(Warner Brothers)
Once ujxjn a time there were
three girls whose father refused to
Helen and Menelaos return from their Trojan jaunt.
allow the jounger ones to marry until their elder sister was disposed of. She contrived to stave off matrimony until their protests be- came unendurable. Then she availed herself of an old trick and invent- ed a husband in a far corner of the world, selecting a name at ran- dom from a newspaper. Of course, the husband eventually turned up. May McAvoy and Conrad Nagel play pleasantly . . and sometimes amusingly with this slender little
16
The Educational Screen
story. {See Film Estimates for November. )
[8] THE CITY GONE WILD
(Paramount)
Thomas Meighan continues to slide down the scale of interest and popularity. Even the direction of James Cruze can't save this produc- .tion from v>orse than mediocrity. The qv:arrels of underworld gangs, and the rivalry of two lawyer friends over the girl they both love, constitute the story. It's improb- able, haltingly put together, and very dull. {See Film Estimates in this issue.)
[9] TWO FLAMING YOUTHS
(Paramount)
Chester Conklin and W. C. Fields are teamed in a story made to fit their individual needs. The tailor- ing is obvious, and the result en- tirely uninteresting. Also present are Mary Brian and Jack Luden, neither of whom can be counted on for first aid to a weak and suffer- ing story. {See Film Estimates in this issue.)
[10] LES MISERABLES
(Universal)
A French version of a French classic, showing extreme care in casting and direction. Acting is excellent, particularly that of M. Gabriel Gabrio as Jean Valjean, small Andre Rolane as Cosette, and M. Jean Toulout as Javert. The picture is spoiled, however, by a jerky effect due to faulty editing. In Europe, the picture was in twenty-seven reels, and the neces- sary cutting has resulted in abrupt transitions from one sequence to another. Too frequently the au- dience is obliged to resort to its knowledge of the book in order to understand. {See Film Estimates for October.)
[11] PUBLICITY MADNESS
(Fox)
They tell me Anita Loos wrote this. She should have stayed with
it to the bitter end and made a good job of it. Edmund Lowe was a ■ satisfactory choice as the pert, wise- gracking young publicity expert, who undertakes to put "Uncle El- mer's" soap on a paying basis. But Lois Moran is not the type for the girl nor for the story. She is en- tirely out of her element. The ad- vertising campaign is based on the Lindbergh feat and its attendant publicity, and does well enough for a while as entertainment, but it falls terribly flat in the closing scenes, when somebody apparently ran out of ideas. However, the picture is harmless, and there are a few stray chuckles in it here and there. {See Film Estimates for November.)
[12] THE FAIR CO-ED
(Metro-Goldwyn-Mayer)
I wish to goodness they would quit filming these hateful college nit-wits who high-hat everybody on the campus for a year or two, and then suddenly rush in at the last moment and score a point or two for the dear old team, thereby sav- ing the school and becoming cam- pus heroes and heroines. If who- ever made this Marion Davies picture would read the sporting news for a while, he might discover that the basketball season isn't in full blast in September, and that co-educational institutions don't turn themselves inside out over a girl's team. Silly stuff. {See Film Estimates for December.)
[13] DRESS PARADE
(Producers Distributing Corp.)
An uppity young villager drops in upon West Point on a sight- seeing tour, and is informed that his kind doesn't "belong" there. Under this provocation, the village hero uses his influence with the local statesman and gets an appoint- ment. For two long years the West Pointers continue to impress upon him their superiority, his r o u g h corners are gradually
smoothed off, and dear reader, in the end it is discovered that our hero realty does "belong." Isn't that just great? William Boyd does a nice piece of work as the uncut diamond, Bessie Love is charming as the daughter of the commandant, Hugh Allen is good as a cadet, and Louis Natheaux is clever as a prize fight promoter. {See Film Estimates for Decem- ber.)
[14] THE THIRTEENTH HOUR ( Metro-Gold wyn-M ayer )
One of those elaborately con- cocted "master mind" stories, which depend on clutching hands, secret passages, sliding panels, and trick furniture for their effects. Lionel Barrymore, Jacqueline Gadsdon, Charles Delaney, and Polly Moran grace the cast, and the real 'master mind" is that of the police dog that solves the mystery. {See Film Es- timates in this issue.)
[15] THE DROP KICK
(First National)
Well, here we are, back at col- lege. This time Richard Barthel- mess is the football star, and the victim of the college widow's wiles. The picture ie full of unaccountable things, the most unaccountable to me being the nonchalance with which the entire college accepts the death of its well-beloved football coach on the eve of a big game. After his character and standing in the community are carefully built up, he is wiped out and instantly forgotten. Of course, I don't know how they manage these things, but it seems to me that at any college where a coach as universally liked as this one seemed to be, died on the night before a game, there just naturally wouldn't be any game. Mr. Barthelmess is only fairly in- teresting as the football star, and Barbara Kent as the girl, is entirely overshadowed by Hedda Hopper as the hero's mother. {See Film Es- timates for November. )
Educational Screen Cutouts for March — See also page 27
BEGINNING with this issue, all pictures which carry the symbol @ can be supplied separately in three forms:
(1) As a half-tone print of the same size, on the same paper stock as this page, with white border, and with same text on back (4 cents each, regardless of size — mini- mum order, 10 prints of same or different subjects).
(2) As lantern slide, plain, as perfect as the original (60 cents each, standard size glass slides — minimum order, three slides of same or different subjects).
(Continued on page 27)
(Dwight R. Furness)
m 2 THE TOAD AND THE FLY
(Dwight R. Furness)
19 3 THE ORGAN GRINDER'S MONK]
CR. A. Waugh)
IB rsi 4 AN F.SKTMO DOT.
IR. A. Waugh;
rsi r=i c TUir \in n.\ir n liir
18
The Educational Screen
To Clip the Pictures, Cut on These Lines
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m 3 ORGAN GRINDER'S MONKEY |
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This picture was taken in a |
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park in New York City. |
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Monkeys are a great help to |
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organ grinders in earning a |
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living. Many people enjoy |
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giving pennies to a monkey |
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when they might not give |
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them to the man. The organ |
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grinder takes all the money |
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that the monkey gets. |
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If the man takes all the |
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money, what does the mon- |
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key get for his work? |
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Some organ grinders are unkind to their monkeys. Do you think this man is? |
m 2 THE TOAD AND THE FLY Perhaps we all know that toads eat flies. But it is not often that we can see a toad just ready to eat a meal, like this. |
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How can you tell this is a toad and not a |
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frog? |
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iH Is) 5 THE WIGWAM |
1 |
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Wigwams, as you know, were invented |
@ a 4 AN ESKIMO DOG |
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by Indians to live in. This one looks cleaner and newer than wigwams often do. It seems to have a cloth covering instead of hides and furs, but otherwise it is built in tlie regular way. The pic- ture shows also beautiful Lake Louise in the Canadian Rockies, and the famous Victoria glacier beyond it. |
His name is "Whitey," and he lives at Skagway, Alaska. He is trained to work in a dog-team, pulling sledges. He likes work better than play, for he becomes quite ugly if anyone tries to pat him. Whitey would not make a good pet, but he is so good at his work that his owner plans to make him the |
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How are wigwams different from |
"lead dog" of the team soon. (You can |
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tents? |
see a dog-team in picture lal 6.) |
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Do you think the men in the picture |
How can you tell from the picture |
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live in the wigwam ? |
that Whitey is not the "lead dog" now? |
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How would you go about it to make |
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a wigwam with sticks and a sheet? |
March, 1928 • 15
NEWS AND NOTES
' CONDUCTED BY THE STAFF
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\jSLAL Instruction at the Bos- ton Meeting of the N. E. A.
At the fiftj'-eighth annual meet- ing of the Department of Superin- tendence of the National Educa- tion Association, conspicuous atten- tion is being paid to visual instruc- tion, in the formal program as well as in the educational exhibits held in connection with the convention.
Films loaned by various school systems over the country are to be shown throughout the period of the convention in a special projection room in the Mechanics Building.
Soap Sculpture a New Art
The fourth national soap sculp- ture comjjetition for the Proctor and Gamble prizes calls attention to the amazing growth of a new and democratic art movement from the chance whittling of a bar of soap to a national competition and ex- hibition at the Anderson Galleries in New York with thousands of entries from professional sculptors, amateurs and children of all ages, which is no less than amazing.
The importance of white soap as an art medium is attested by the names of the jury of award in the current competition. Gutzon Borg- lum, Lorado Taft, and other sculp- tors, artists and educators of na- tional reputation will judge the entries.
Prizes amounting to over sixteen hundred dollars are offered by the Proctor and Gamble Company, and the competition is open to profes- sional sculptors and amateurs througliout the United States. In the professional class, the first prize is $300, the second prize is
$200, and the third prize is $100. For the first time a special prize of $230 is offered in the profes- sional group for Straight Carving, which is defined as "work cut or carved with a knife, no other tool used."
The amateur section is divided into three groups — one for ad- vanced amateurs, with first prize of $150, second prize of $75, third ])rize of $50 and five honorable mentions of $15 each.
Entries for this year's competi- tion should be sent after February 1, 1928, and before May 1, 1928, to the National Small Sculpture Committee, 80 East 11th Street, New York City, from whom entry blanks and further details may be secured.
I^miversitv of Virginia Plans Courses in Visual Education
The University of Virginia will include in its courses for school teachers to be given during the com- ing summer quarter a series of demonstrations on visual education through the medium of the motion picture. The summer school of the University is the second largest in the south with an annual enroll- ment of over 2,500. Dean Charles G. Maphis of the University plans to have two demonstrations every week during the sessions of the quarter. Pictures for use in these demonstrations will be furnished by the Educational Department of Pathe.
Medical Movies May Make \''ivisection Unnecessary
At the Fourth .'\nnual Confer-
ence of the National Board of Re- view of Motion Pictures, Dr. J- F. Montague, New York specialist in intestinal diseases, called attention to the advantage of medical movies in recording animal experimenta- tion. This may be a truly wonder- ful development, declared Doctor Montague, since heretofore each medical student experimented upon numerous laboratory animals such as dogs, cats, turtles, etc.. in an at- tempt to learn by direct observa- tion the truth of certain physiolog- ical facts. Depending upon the student's initlligencc, or lack of it. the amount lie learned from the exi)erimentation varied consider- ably. In any event, the only 100% fact in the case was that the animal was dead al the end of the exj:)eri- ment. In the hands of a skilled technician, however, one experi- ment may be made 100% effective. The trained physiologist does the experiment in an expert manner and its recording upon film makes it repeatedly available at many times and in many places without the re- petition of the exi>eriment at the cost of other animals' lives.
Honors for "Sunrise"
Critical opinion in 25 nations, ui- cliiding the United States, has se- lected Sunrise as the best picture of 1927 in a poll conducted by "Der Deutsche," well known Berlin trade paper. The second best is IVhat Price Glory.
This recognition is splendid ac- knowledgment of the merits of two outstanding pictures and a note- worthy tribute to the organization which produced them.
20
The Educational Serein
Display of Early American Maps and Prints
The New York Public Library has recently been featuring a dis- play of early American prints, orig- inal drawings and maps, by which American civic development may be traced. They are the property of I. N. Phelps Stokes and include old works of Johif Seller, "hydrog- rapher to the King," and sold in his shop in Exchange Alley, Corn- hill, London, portraying "New France" and "New England," and one showing the "improved part of Pennsilvaniii in America."
New York, Boston, Philadelphia and Charleston are represented a number of times in the exhibition, the old buildings, the horse-drawn vehicles, peddlers' carts and people in the costumes of the period giving a picturesque note to the collection.
Little Theaters Continue to Grow
The Fifth Avenue Playhouse Group, Inc., the first little film thea- ter operators in America, has added a fourth theater to its grou]) in ac- quiring the operation of the Fifty- fifth Street Cinema at Fifty-fifth Street and Seventh Avenue, New York City.
The Fifty - fifth Street Cinema sprang up a few months after the Fifth Avenue Playhouse opened at 66 Fifth Avenue.
The acquisition of the Cinema gives the Playhouse Group its fourth theater. The others are The Fifth Avenue Playhouse at 66 Fifth Avenue; the St. George Pla3'house, 100 Pineapple Street, Brooklyn, and the Chicago Playhouse, on Michi- gan Boulevard, Chicago. Sites for additional theaters have been se- lected in Boston, Cleveland, Wash- ington and Philadelphia.
In the Greater New York terri- tory more than 8,500 people receive, at their own request, weekly mail announcements of the theaters' pro- prams. In Chicago, the mail list
mounted to more than 6,000 in less than a month after the house opened.
Plan for a picture house for showing amateur pictures is under way by the Little Picture House, Inc., to be located in the East Fif- ties or Sixties, New York, it has been announced. The enterprise is a part of the Amateur Cinema League, which has established local clubs throughout the United States.
A review of the bookings at the various houses shows the popular impression that the "little theaters" show mostly foreign films is erro- neous. Last year more than half the pictures shown were revivals of carefully selected American-made l^hotoplays.
.Amateur Movies Abroad
Paralleling the development of interest in the amateur film art on this side of the Atlantic, is the growth which has taken place in British circles as evidenced by the first annual banquet, held recently in London, of the Amateur Cin- ematographers' Association, with Lord Riddell, newspaper proprietor, as the guest of honor.
In proposing a toast to the Asso- ciation, Lord Riddell is reported to have said he was convinced that this particular development was one of significance. It was, of course, in its early infancy and mainly concentrated in its present stage upon recording pleasant fam- ily scenes — a bright and diverting successor, as it were, to the old family album of former days — but he saw no reason why the spread of film knowledge should not bring to light fresh talent and methods of acting and production, which would redound to the ultimate benefit of the professional film industry.
I'hotographic Studies Reveal Swiftness of Animal Motion
From California comes an ac- count of an investigation under-
taken with the aid of photography to determine with exactness the swiftness of small animals. The ex- perimenter, Dr. Spencer R. Atkin- son, has perfected a device by which toads, squirrels, opossums, rac- coons, mice and birds take their own photographs, by means of deli- cate instruments which cause simul- taneous flashlight and camera ex- posure when an animal touches a light thread, fixed near arranged food.
Dr. Atkinson states that one pho- tograph of a mouse was made in 1-S50th of a second, and yet shows the mouse in two poses. One record was made at the beginning and one at the end of the exposure, the re- sult displaying a rare combination likeness of the mouse with its head in an undisturbed position and also showing the head looking at the dis- turbing flashlight of the photo- graph. Another photograph, timed for 1-lOOOth of a second, shows a rabbit making a quick getaway. A trade rat, running with a baby rat in its mouth and a grape in its fore- paw, has also been photographed.
The "First" Motion Picture Is Discovered
The first film ever made, dating thirty years back, is said to have been discovered by French scien- tists. It is a documentary picture of a man crossing a river in a row- boat. The only actor was Louis Lumiere, one of the two brothers credited in France with the inven- tion of the motion picture. His brother, Auguste, was cameraman.
French scientists have also dis- covered the second picture ever made, according to their informa- tion, this being titled L'Arroseur Arrose (The Sprinkler Sprinkled). This is believed to be the first film comedy ever produced. The Lu- miere brothers made it.
March, 1928
The Centenary Pageant ON Tour
Motion jictures of the Centen- ary Pageant of the Baltimore and Ohio Railroad have been made available to the employees of the railroad who were unable tc view the celebration itself, held in Balti- more early last fall. The railroad has fitted up two cars, a coach con- verted into a motion picture theater and a baggage car which serves as an electric generating and heating plant. The seating capacity of the theater car is eighty people, and the car is equipped with motion picture projector ard screen, as well as an Orthophonic Victrola and amplifier.
A four-reel motion picture shows the Pageant in the sequence in which it w-as produced at Baltimore from the appearance of the Cen- tenary Band until the finale. The music has been selected from the available phonographic records as nearly as possible to correspond to . that played by the Centenary Band.
A Sky Billboard
A new 4,000,000,000-candlepower projector, similar in theory to the child's familiar "magic lantern," and which turns buildings, smoke screens and clouds into huge bill- boards, has been demonstrated in New York City.
In a test arranged by Harry E. Aitkins, president of the company that controls the device, theater ad- vertising was thrown oq the sides of skyscrapers. So large is the sign that when the letters were thrown across a group of buildings the sky- scrapers appeared like' a small back- drop.' ■
Words to be thrown by the searchlight are stenciled in steel and a device is arranged to change the stencils at desired intervals. Ex- periments are being conducted for the adaptation of motion pictures ,to the new projector.
21
Foreign Notes
CONDUCTED BY OTTO M. FORKERT
Seeing Canada
THE "Seeing Canada" series of motion picture film subjects produced by the Canadian Govern- ment Motion Picture Bureau. Ot- tawa, Canada, will be extensively circulated throughout South Amer- ica as a result of an agreement that has been concluded between the Bureau and Sr. Mak Glucks- niann, Buenos Aires, .'\ryentine Republic.
The Gluckmann organization controls over two hundred motion picture houses in the Argentine Republic and has large interests in Ecuador, Peru, Chile, Paraguay, and Bolivia.
The arrangements were com- pleted by Mr. F. C. T. O'Hara, Deputy Minister of the Department of Trade and Commerce, Ottawa, Canada, who is now in South America on a "good will" tour in the interests of Canada's trade.
Why Has America Not Been Invited?
This question has been asked by many readers who have followed the short notes about the interest- ing movement undertaken by .the European Educational Film Cham- ber. ,
Dr. G. Inihof, the General-Sec- retary of the First Educational Film Corpoartion held in Basle, Switzerland, in his correspondence with the editor of this column has been kind enough to give his opin- icn for the benefit of those inter- ested in the matter :
".Several times I have been asked why America had not been invited to join our Congress, and I would like to answer that question by this letter in order to avoid any misunderstand- ing. As is known to you, our small Continent is divided into many states, many of which are unions of still smaller autonomic countries. Owing to
these circumstances it is extremely dif- ficult for us to come to an agreement, especially on such a determined prob- lem as ours. I regret these conditions very much, but they cannot be altered and one therefore has to take them into full consideration. We thus wished to make first an attempt to come to an agreement on the problem of the educational film among Euro- peans themselves and, oiice that aim is achieved, to get into touch with the oversea countries and especially with the l/'nited States of .•Vmerica in order to come to an agreement also with them with a view toward international co-operation. I would ask you not to consider the newly instituted European Chamber of Educational Film as hos- tile to the non-Eufopean countries, but as attempting the first step towards an international sympathy, which, I am convinced, must be arrived at within a few years."
Qui vivra verrat
The Film in the Schoolroom* This unpretentious hiandbook is a sort of vadc mecum for teachers and others who are able to make use of films to illustrate their les- sons. , The first pa.rt 'presents the views of several authorities on the advantages of . educational films. The author then defines the term "educational film," and the require- niejits of such films ; he particularly •:^^mphasize3 the careful preparation needed for. a film lesson, and the best way of presenting it. In the second part he goes into more tech- nical detail as to motion pictures, their mechanism, and the conditions under which they should be shown. The third and last part contains advice as to the purchase and main- tenance of cinematographic equip- ment and films. All those who arc making use of educational films will find in this little handbook a great deal of practical advice. — F. R. in The World's Health.
•Le Cinema Scolairc et Educateur, by Eugene Reboul. Paris, Les Presses Universitaires de France. ]00 pages. Price 4.50 French francs.
n
The Educational Scrcnt
Iher
WHEN
When t impatient for by motion pictures hut, to them.
The NEW 16 mm. DeVry Projector
The new DeVry 16 mm. projector is a marvel of compact simplicity. It is small- er and has fewer parts than any other projector of equal quality and is so easy to operate that any child can use it. Many schools are now using one or more of the new DeVrys in classrooms and small groups of students and find it admirably fitted to this kind of work. The price is surprisingly low.
s
S
CHOOL after school has discovered the ama pictures in educational work and is making t ing a regular part of its program. Churches
tion pictures productive of greater interest i
Most Often It's a DeVry ]
In school and church the projector most oft
Light in weigh tained, easy to operate, the fan is the favorite over. More De use in schools a than all othe portable makes The DeVry req vious experienc it threads in a i holds 1000 feet 35 mm. film. 1
Mdrch: 1928
23
\RE NO ABSENTEES
HE MOVIE SCREEN IS UP
Children Delight n This New Way of Teaching
\vie Screen is up the seats are filled with happy children \novie lesson to begin — eager for the story so vividly told kll and uninteresting when learned from a book.
(er of motion vay of teach- I finding mo- r attendance.
btor
is a DeVry. tely self-con- id simple to ry Type "E" ir the world actors are in les ard led.
full size picture as clear and sharp as any you see in the theatre.
A continual series of fascinating programs are available to DeVry users from among the hundreds of films in U. S. Government and asso- ciation libraries. Many of these interesting motion pictures of travel, science, wild-life, industrial and innumerable other subjects may be used free of cost.
Movies of Your Own Activities
Movies of your own school or church activities in sports and social gatherings are easy to take with the DeVry standard film amateur camera. Anyone who has taken snapshots with an ordinary camera can operate the DeVry. There is no awkward tripod, no cranking, no bother of any kind; just point the camera and press a button. The movies are as per- fect as those you see in your favorite theatre.
iS
Send for FREE Literature
SeiKi for free literature de- scribino; the DeVry Standard Portable and 16 mm. projec- tors. Read how other schools and churches have success- fully used this great aid to modern education and how motion pictures will help you. The coupon is for your con- venience. DeVry Corporation, 1061 Center Street, Chicago, 111.
24 The Educational Screen
AMONG THE MAGAZINES AND BOOKS
CONDUCTED BY MARION F. LANPHIER
The Christian Student (No- vember)— "The Ceaseless Quest for Pictures," by Oscar T. Lebeau, Chicago Manager of the News Pic- ture Division of Underwood and Underwood, Inc., is plentifully illus- trated with some of the most color- ful results of such quest, and aside from the enjoyment of the pictures themselves, the article is good read- ing for those who may never have thought a great deal about what lies behind their daily picture fare in newspapers, magazines, and on the screen, nor the risks taken by the men who do the often danger- ous work of procuring the precious negatives — men who "are imbued by the same spirit that moves big game hunters and soldiers of for- tune."
Most of Mr. Lebeau's article is a series of anecdotes concerning fa- mous news cameramen and their experiences, but he closes with a comment on recent advances, in which he says :
The last five years have seen many advances in photography. The
most noteworthy is the use of the telegraph and the cables for the transmission of photographs. With the use of these mediums it is pos- sible to have a picture made in New York and delivered in Chicago or San Francisco within the hour. By the use of the cables it is possible to make a picture in London and have it in Chicago within fifteen hours. But all of these things merely place the photograph before the eyes of the public sooner. They cannot take the romance out of the game.
Photo-Era Magazine (Decem- ber)— "Photography and World Peace," by Walt Winchester, is terse discussion of means toward this end, through the arts and sci- ences, notably photography, in de- picting not only the events binding nations, but the emotions universal- ly understood and appreciated.
The conclusions of the article are aptly summed up in a quotation the author makes from the remarks of Dr. Herman Velarde, Peruvian Ambassador, at a recent meeting at which representatives and ambassa- dors of various countries of Amer- ica were special guests of the Asso-
President Coolidge grants a pictorial interview on "fishing." (U. & U. Photo)
ciated Motion Picture Advertisers :
"Its lenses receive and treasure the palpitating impression of life it- self, the astonishing conquests of human achievement and the great- ness and pettiness of man for all time; in all latitudes and among all races, and proclaim through the silent yet unmistakable appeal of its flashes, that Man is one and Earth is one."
The Outlook (February) — "The Movies," by Arthur Sher- wood, Jr., is a page of reviews an- nounced as a regular feature of The Outlook from now on. "The movies can no longer be shunned as moron entertainment. A good deal of in- fantile mush comes out of Holly- wood, but now and again, and in- creasingly, come pictures that are worth anyone's while. Mr. Sher- wood will watch for these."
Another "highbrow" publication admitting the truth, though per- haps with too much optimism! We have great pictures, but whether the number is increasing in propor- tion to the increase in output is a mooted question.
Mr. Sherwood comments enthusi- astically upon Emil Janning's l^he Last Command, a resume we expect of the work from that gentleman's superb and consistent performance on the screen. Of Beau Sahreur the critic suggests that the picture, a satisfying one, is sounded in .one of its titles : "When the nuiezzin soimds the call to evening prayer- — Strike!" Of Chaplin's The Circus he has little to say beyond remark- ing that it is Chapliif with more pie than pathos ; Miss Garbo's The Di-
March, 1928
25
vine Woman he considers a treat for the eye despite the annoyance of the plot.
We would not agree entirely with these estimates, but, as a sample of the critic's new work, they are hu- manly fair and certainly welcome from the pages of a magazine of The Outlook's type.
School Life (January) — "Dis- playing Worthy Examples ot Art, Museum Seeks to Elevate Popular Taste," by Huger Elliott, Director of Educational Work, The Metro- politan Museum of Art, New York City, is a description of the scope of the work done by this world- famous museum.
A few figures may help one to gain an idea of the scope of the collections. Sixteen galleries are needed to display the Egyptian col- lections ; a Roman court and 14 gal- leries show Greek and Roman art, with 12 rooms for reproductions of classic sculpture and a large hall of miscellaneous casts. The art of China and Japan fills 15 halls, and 11 rooms are devoted to the Near East. Medieval art fills 12 galleries, these exclusive of The Cloisters, a branch museum, of which more later; the collection of arms and armor occupies 5 galleries and 2 study rooms ; 47 galleries are de- voted to the decorative arts of the Renaissance and later periods; 3 rooms to casts of Renaissance sculpture; 4 to the collection of musical instruments. The print col- lection occupies 5 galleries and a print room ; the collection of tex- tiles, 7 galleries and a study room. Twelve rooms rescued from colonial and early republican houses, with a number of other rooms in the same styles, form the American wing, furnished with the household arts of the period. Four galleries con- tain modern sculpture ; 29 galleries, paintings ; and 7 rooms, the Alt- ma;n collection.
Of unusual interest in the depart- ment of Egyptian art is the monu- mental tomb of Perneb (about 2650 B. C), transported to the museum from the cemetery of ancient Mem- phis. The facade of the tomb is 40 feet in width and 18 feet in height,
and as the visitor steps into the principal chapel, with its unusually well-preserved wall decorations, he has an experience which may be had in but few places outside of Egypt — that of entering an actual Egyp- tian tomb.
It would be impossible to attempt a recounting of all which the au- thor includes in his amply-illustrat- ed article in the way of description of the various exhibits devoted to the art and handicraft of many countries, but' his review of what the museum affords will impress even the most casual reader with the immense contribution which such an institution makes to culture.
Nation.\l Board of Review .Magazine (December) — "The Plight of the European Movie" is discussed by Harry Alan Potamkin, who presents interesting sidelights on Europe's plight in matters of the movie and Europe's resentment against America — since "in no en- terprise has the presence of Amer- ica been so treacherously felt as in the movie — of England, Sweden, Germany, France, Italy and even Russia."
He advances the theory, reason- ably enough, that "if the movie is to be something more than a money- game, each nation must develop its own, as it has developed its other arts, major and popular."
One country has met the on- slaught of America, and met it with grace and self-preservation. France, which recognized the merit of the American film long before America did, promises, despite little progress, to develop a distinguished filnv-art. This would be quite in keeping with its reputation and tra- dition. Although most French films arc bad imitations of bad American films, and French audiences are Wild West mad, there are independ- ent producers who, if faulty, have integrity ; and there is an intelligent critical interest in the movie. The first movie-criticism appeared in France in 1913 and there has de- veloped a body of critics, as au-
thentic and authoritative as the critics of the other arts. Among the critics, in fact the best of them, are men and at least one woman who are among the leading produc- ers of films in France. This, too, is in keeping with the French tra- dition. Whatever there is of a cin- ema-criticism in America stems from France. There are fewer praiseworthy pictures in France than in America, but the commer- cialism of the American motion picture industry has not yet found a counterpart in France. The hope lies there.
That's Europe's movie-story told briefly. Europe's plight will serve neither the cinema nor America. Certainly, let us exchange films, thereby exchanging ideas and ex- periences. But let each develop its own idiom.
Sunset (January) — "These Money Drunk Movies," by Walter y. Woehike, is the first of a series of three articles to appear in this magazine. It is an account, an amaz- Ijng and startling account, with its 'rrefutable statistics through the ast years, of the failing movies, the pressure of Wall Street upon the producers and rapidly diminishing, nnd in many cases vanishing, divi- dends. Says the author, in drawing an analogy between the suddenly rich movie merchants and the money-mad kings of Old Europe, ^'If kings and princes with historic background and family traditions of thousands of years and education for the king-business develop meg- alomania, what should be expected loi men and women of the humblest origin, frequently without education tieyond the three R's and no more culture than they could snatch upon the run, when we . . . place millions at their disposal?" The au- thor speaks of the glaring wastes of tragedies in production, of which Ben-Hur is a striking example. We must admit that the public pays for an "awful lot" of poor organization ,and mismanagement ! The article includes a good history of film
26
The Educational Screen
growth in its animated and fiercely direct presentation of the facts!
Sunset (February) — "What's W^rong with the Movies," by Wal- ter V. Woehlke, the second of the series, insists that the public wants cheaper and better movies. He speaks of the intolerable conditions in our large movie palaces, of a film squeezed in between hours of bad vaudeville, poor solo gymnastics, et cetera. He points out the complex- ity of picture production as con- trasted with the finished one-man job of other arts. He emphasizes the waste, discussed at length in his previous article. In short, he shows his readers a horrifyingly clear pic- ture of what can be called no more, no less than the "mess of the movies." Perhaps his third article will show us an opening path to- ward something better !
Amateur Movie Makers (De- cember)— Two articles of outstand- ing interest appear in the first an- niversary number of this magazine, "Filming Past Ages, Today — How the story of civilization may still be filmed in survivals of historic and prehistoric customs" — ^by John A. Haeseler, Fellow of the Royal Geo- graphic Society, and one of the oc- casional contributors to The Edu- cational Screen, is a description of the author's photographic pil- grimages among the Berber tribes in the North African mountains and in the countries of southeastern Europe. Says Mr. Haeseler:
The illustration and animation of a great deal of the history of the world by means of motion pictures is well within the realm of realiza- tion. In the more backward regions of the world, and even in the out- of-the-way districts of more ad- vanced countries, many crafts and customs that are generally repre- sentative of past eras continue to survive in substantially unmodified form. Agricultural methods in Egypt, the "gufah" or hemispher- ical boat on the Tigris, threshing
methods in Italy, and transportation by oxen in southern European coun- tries are a few examples of these survivals that continue vnichanged up to the present day.
Furthermore, whole groups of people who played leading roles in history still carry on the same mode of life that they have followed through many centuries. This is true of the Arabs, whose manners and customs, except in the case of firearms, remain unchanged. The Tartars, among whom the author has traveled on the Steppes of Cen- tral Asia, still guard their flocks and herds and move their felt tents from pasture to pasture just as they have done throughout historic times. Also in interior regions of China, the manners and habits of the days of Marco Polo still hold sway.
"Inside Information on Your Health," by Dr. J. F. Montague, is all the more interesting since its au- thor talks not in terms of theory only, but from the standpoint of one who has had abundant practice in what he preaches. Dr. Montague has used motion pictures in grad- uate teaching for a number of years, and in this article points out many of the advantages of this method of clinical instruction. He also explains his mechanism for in- ternal photography, an invention of his own by which it is possible to take both still and motion pictures of the interior of various organs which have hitherto been inaccess- ible to such study.
School Life (December) — "X'isual Education Aided by Par- ent-Teacher Associations," by Mil- dred Rumbold Wilkinson of the
National Congress of Parents and Teacliers, summarizes the work be- ing done by associations throughout the country toward aiding in vari- ous phases of visual instruction.
Pr I m a r y Education-Popular Educator (October) — "How Mary Learned to Read," by Adah New- comb Nyberg, describes the new method of primary teaching by means of pictures, as a result of which children learn to read by content rather than by word.
The article describes in entertain- ing style a primary lesson from a slide and the discussion resulting on the part of the class. The teacher wrote on the blackboard some of the things the children had told her about the picture, and step by step the written sentence was associated with the action shown in the slide.
Tlie teacher removed the slide and turned out the lantern. The sentences were all that was left of a storied vision, but lo, and behold ! as if by magic, that vanishing pic- ture has crept right into those words to stay, and here they are on the blackboard.
Hygeia (December) — "Teach- ing Prenatal Care by Means of Posters," by Stuart B. Blakely, is plentifully illustrated in color with examples of what has been done in many other countries of the world, to disseminate health information by means of the universally under- stood poster-picture. The inference of the article is that someone has still to do a similar work for the United States as an aid to prenatal instruction.
Book Review
Amateur Movie Craft: James R. Cameron, Cameron Publishing Co., 1928.
Of all the books on the market for those who wish to venture into movie craft via the 16mm. film, this compact and concise little book is
invaluable. Unweighted with elab- orating discussion, beyond that nec- essary for background. Amateur Mo-zic Craft furnishes clear, spe- cific guidance for the beginner. For so tiny a volume, it is astoundingly satisfying!
Educational Screen Cutouts for March — See also page 17
(Concluded from page 17)
(3) As lantern slide, colored, expert hand-coloring ($2.00 each. May be ordered singly).
All pictures marked with tzvo [S] m can be supplied in the above three forms and also
(4) As mounted stereograph, stand- ard size, for use with the stereo- scope (40 cents each — minimum order, three stereographs of same or different subjects).
•"* ' .\..-*-«t.
K. A. WaugiO
(II. Armstrong liouc. tSv
^ m 6 THE DOG TEAM
ID 7 THE PONY AND THE BOYS
(H. Armstrong Roberts)
m 8 TAMING A BRONCHO
28
The Educational Screen
To Clip the Pictures, Cut on These Lines
@ 7 THE PONY AND THE BOYS
Dick — the boy sitting on the fence — and Harry are brothers. Their father gave them the pony and let them choose a name for him. They called him Jerry, and they say he is almost like another brother to them. Certainly they all seem to be great chums in the picture. (Jerry is not much like the horse in picture 111 8.)
What do you suppose Dick and Harry and Jerry find to do together?
ID (D 6 THE DOG TEAM
Dog teams in Alaska usually pull sledges over the snow. But this picture was taken in the summer, when the snow is gone from many parts of Alaska. (The dog just be- hind the "lead dog" is Whitey — see picture @ @ 4.)
What would you call the thing the dogs are pulling in this picture?
Isl a TAMING A BRONCHO
We generally think of horses as gentle and friendly animals. Yet almost every young horse, like the broncho in this picture, is wild and afraid of men at first. He has to be taught that men are his friends, not his enemies. When the horse has been "tamed," he learns to be obedient and becomes a wonderful helper and friend to his master. (The pony in picture IS 7 has already learned all this.)
What are the men trying to do in the picture?
What would you do if anyone gave you a horse like this?
March, 1928
29
.^i^ffi?'riiy^iihWi{|^AfeyfiiJ?Y^^
SCHOOL DEPARTMENT
Conducted by Dr. F. Dean McClusky Assistant Director, Scarborough School, Scarborough-on-Hudson, N. Y.
Lmmm^'BU¥A^j;'-U'l'^'KJ.?A^a5!!SSKjn^B^^^
Editorial
THERE is scarcely a time when I visit a school that I do not see excellent teaching being done with visual aids. This observjition has led me to the conviction that some of the best teaching today goes unheralded.
This department aims to give such teaching the "heralding" it deserves. Recently while visiting our own Fourth Grade, I observed a lesson in French taught by Miss Alice Peretmer. The instruction pro- gressed along linefs dictated by the direct method. Sen- tences and dramatized were dramatized and drill games were played. One of these games was entirely new to me. It was an adaptaiion of the principle used in "Lotto." Each child had a card ruled in many squares, or rectangles. In each space was a picture. Some of the pictures were of objects, others depicted action. As the teacher spoke in French, the children placed a piece of paper on the picture which illustrated the words or phrases the teacher was usmg. The child winning the game was the one who covered all the squares lirst. (The actual size of the card shown here is ap- proximately five inches by six inches.)
Here was a bit of high-grade visual instruction. It recalled my own first lessons in French which were so different, so dry, and uninteresting. I believe I could have easily learned my French vocabulary had I been taught with such devices as the adaptation of "Lotto." Each word and phrase was being learned by the child in direct connection with a picture of the object or action, Perhaps some of you are familiar with this particular game, but 1 am informed by Miss Peretmer that she could not purchase it in this coun- try until this past year. Previously she had to order from France, her native land, where many similar devices are in use. This experience is evidence in sup- port of the belief which many hold that methods of teaching foreign languages in Europe have progressed beyond those commonly used in America. After the lesson I went to the French room with Miss Peretmer, where she showed me quite an assortment of jiictures and games imported from France to assist her in teaching French. The worn ?ppearance of her pic- tures showed that they were in constant use.
THREE years ago, when an instructor in the Uni- versity of Illinois, I had occasion to make a survey of current educational literature for the purpose of finding reports of practical teaching successes. I was impressed, during this study, by the frequency with which teachers mentioned the use of visual materials. These articles, in almost every instance, were not writ- ten to boost the notion of visual instruction, but were accounts of attempts to individualize instruction, to motivate instruction or to put into practice the instruc- tional techniques which have been widely discussed in recent years. As editor of the School Department, I shall review this literature, other more recent edu-
J*ao Pnirol - l..<i'. J.; U Mi
F NaUiiaa. AJlMur, t^rW ■ U«p(i.i*
cational writings and the current materials for the purpose of culling out the practical suggestions con- tained therein for the use of visual aids.
As a particular example, I recall an article by Miss Edith Parker, of The UniverLity of Chicago, which described cleverly prepared devices for testing with pictures themselves the results of visual instruction in Geography. In general, the children were asked to identify in new pictures those geographical relation- ships which had been taught to them with the assis- tance of other pictures. Many times teachers do ex- cellent work with visual aids, but fail to test in terms
30
The Educational Screen
of visual imagery, resorting to the same old question answer system with words. This negligence is often due to the lack of time, or the inability of teachers to create for themselves the sort of thing which Edith Parker accomplished. They are groping in the dark for the suggestions which can come only from those who have been successful, and they are quick to ap- preciate and adopt such devices once their attention is called to them.
EVER since I became interested in visual instruc- tion— the date is many years back — I have longed for the time when I could travel from school to school and watch teachers at work with their own devices and schemes of instruction. I venture to say that visualization would be present in a majority of instances. It now appears that this trip will never become a reality. But we can do the next best thing
through this department, namely, secure from teachers accounts of their successes with visual materials, and pass them on to thousands of other teachers eager for data on such activities. We may be certain that there is value in every device which has grown out of a practical teaching experience.
It is my ambition to make the School Department a clearing house for school news from all over the coun- try in the field of visual education. I should like to see it one of the portions of The Educational Screen most eagerly sought for each month ; above all, it should contain matter of definite interest and concrete value to all teachers. All correspondence and contri- bution will be promptly attended to and will be most welcome. (Address the Editor of this department either through magazine headquarters, or direct at the Scarborough School.)
A Visual Study of tne Panama Canal
Stki.i.a Evelyn Myers
LIFE involves both activity and comparative quiescence ; har- monious living is rhythmical with stress and relaxation. Ip observa- tion of life this law also holds. When traveling in a foreign coun- try, we are transported from one place to another with more or less speed, then our attention is held fixed for some moments. We pass some features rather rapidly, after which we pause for contemplation. It appears that the best simulation of this first-hand observation of liv- ing and life's processes for school purposes, is obtained by a combina- tion of the use of static and active representations. Two of our lead- ing lecturers, Burton Holmes and Newman, have for a number of years been using this device in re- producing the story of their world travels.
The writer has seen this plan used most successfully in the schoolroom. It requires much study of the motion picture selected, and of the slides to be correlated with the film. Also, a very definite pro- gram of queues and a most careful operator are necessities. We would .
Topic
I Geographical Features
II Historical Features
III Housing and S a n i t a- tion Problems
IV Engineering Features
Film Content
(b) The film introduces ex- President Roosevelt as the champion of the project. He appoints Generals Goethals and Gorgas on the Canal Commission
(d) Film shows administra- tive features; employes, hous- ing, sanitation, etc.
(f) Film shows drilling, digging, etc. Cars loading and dumping dirt.
(h) Locks, dams, etc.
(j) Landslides undo much labor
(I) The concluding portion of film reveals the task of cleaning up the slides, the passage through, and the vic- torious passage of American vessels through the Panama Canal
Slide No. and Title
(a) Slides 1 and 2 made by children thrown on screen be- fore film is started.
No. 18 — Map of Canal Zone. CTalks with each group of slides by one child, longer topics can be split)
(c) Slides 12, 13, 11— Gen- erals Goethals and Gorgas. French Engines
Slide 10 or 249 (*K. 600)— Old French Dwellings
(e) SHdes 10 or 249 (K. 600) — (May be used here instead of C.)
Slides 14 or 2S5 (K. 600)— Hospital at Ancon Hill.
Slides 15, 16, 17— Battle Al- ley, Drip Barrel, Builders' Houses
(g) Slides 19, 31, 33, 34, 35 — Digging through a hill. Steam Shovel, Digging in Gaillard Cut, Deepest part of Cut
41, 28 — Cement Mixers
(i) Slides 20, 21— Spillway Slides 22, 23, 24, 25, 27, 42,
30 — Turbines, Gatun Locks,
Boats in Locks, Emergency
Dam Slides 39, 40— Pedro Miguel
ind Miraflorcs Locks
(k) Slides 36, 37— Begin- ning of slides at Gaillard Cut
(m) 44, 47, 48, 49—
March. 1928
31
not recommend the plan unless it can be carried out with great accu- racy in every detail. In that case, it will be found a most pleasing method of instruction.
For the assistance of teachers who may wish to make a detailed study of the Canal Zone, a scheme recently followed out with an eighth grade class is presented. The Spe- cial Set of hand-painted Keystone slides on the Panama Canal was used along with the General Elec- tric film on the Canal. The set of slides is loaned free to those already provided with Keystone material, and the film is free. The Roosevelt Memorial Association has a film presenting the Canal, and the Ford Motor Co. also has a film on the same subject.
The plan of the lesson is outlined by the teacher:
In a recent study of the Panama Canal with an eighth grade history class, we made an interesting and, we fe'el, profitable combination of film and
slides. According to our regular sched- ule, the children first engaged in a study of stereographs, and a special group secured information on the Canal from the Public Library. One girl constructed a salt relief map in color, showing rivers, channels, Gatun Lake, the railroad, and the cities at the Pacific and Atlantic terminals. A boy assisted in transferring this informa- tion to special map slides. From the Keystone 600 Set were secured views adapted to this project. Certain chil- dren prepared oral reports from these. Accompanying the Keystone Special Set on Panama was a syllabus which we used to supplement these reports.
Thus the children were prepared for the film. The colored slides from the Special Set, without previous viewing, were presented to the class, intercept- ing the film at points where conjunc- tion with the film content was particu- larly apt.
The committee especially selected for this second study spoke on these slides, basing their remarks upon ob- servation of similarities in the new set from the old ones of the Keystone 600 Set and the rapid survey of the syllabus. The insertion of the new
slide for the old gave a decided impe- tus to original thinking, hasty scan- ning of a new scene, and to sponta- neous expression. The hackneyed mem- orizing of the old stereograph material was considerably lessened. The chil-
A Boat in the Lock, Panama Canal
A NEW COMBINED BALOPTICON
Especially Designed for Use in the Classroom
The New L. R. M. Combined Balopticon presents both opaque objects and lantern slides. The opaque projector accommodates unusually large objects in the holder, will present a six inch square picture or page and has excep- tional illumination tor opaque objects.
If you are interested in Visual Instruction you should know iibout this Balopticon.
We will he glad to send you com- ])lete information.
RBJ«(a3l
BAUSCH & L0MB8"'i^*'^
629 ST. PAUL STREET
CM PANY ROCHESTER. N. Y.
The Educational Screen
IMPORTANT ANNOUNCEMENT To Educators
Every single subject in the unrivaled Spiro Film Library, recently re-edited and properly classified, is at your disposal for
$1.50:,PCR REEL PER DAY
Our educator friends have been telling us that a low rental will bring volume business. We are making this experiment for the balance of the school year.
THE NEW VISUALIZER is just off the press. Those using Educational Films will need this book to arrange their future programs.
SPIRO FILM CORPORATION
161-179 HARRIS AVENUE LONG ISLAND CITY, N. Y.
dren themselves realized that the scope of material that could be covered would not admit of memory work. They were, as we wished them to be, sim- ply familiar with the general features and outstanding facts concerning the study allotted to them.
As this was an experiment with us, some advance preparation on the part of visual supervisor, the young opera- tors (sixth and eighth grades) and the eighth grade teacher was quite neces- sary. We state below the outline of the film and slide program resulting from our prior survey of the films and selected slides. It may be adapted for use in other classes studying this sub- ject, while the loss of time, which we found necessary in correlating the two visual aids, will be eliminated.
This plan is flexible in that any teacher may use her own judgment and interpretation as to the best cor- relation of topics, film and slides.
One may be just as comprehensive as he desires in treating the topics sug- gested by the slides. The whole pro- gram takes almost an hour. Some question as to the time involved in preparation may be raised. In reply, we can say that ample preparation can be made in a week's study, the work by the children being done at home, in the library and in supervised study
periods at school. Three forty-five minute periods were necessary for per- fecting the talks before the class. This is not entirely chargeable to history or visual education, as it may be consid- ered a form of oral English lesson. There is danger in letting the period of preparation drag, for the child's interest lags and then spontaneity and enthusiasm are lost.
Bird Study Material
THE National Association or Audubon Societies, 1974 Broadway, New York Cit)', renews its offer to furnish bird pictures and literature describing birds and their habits. Through the generos- ity of some of its members, it is possible for them to supply teach- ers and pupils with this material at one-half the actual cost of pub- lication and distribution.
The plan of forming Junior Au- dubon Clubs has previously been explained in The Education.m. Screen (May. 1927).
The Junior Club work has be- come very popular in many of the (Continued on next page)
A Suggested Methodology for
the Use of Informational
Motion Pictures
(Continued from page 10) The informational film has, of course, no practical rival in depict- ing the peculiar activities of for- eign countries ; in showing proc- esses by slow motion, such as the effect of an explosion; in telescop- ing time, as in the rapid projection of plant growth ; in depicting the skill of the absent artist or showing processes which can not conven- iently be observed by a large group — drawing a cartoon or performing a surgical operation, for example; in visualizing dynamic processes that are actually invisible to the ob- server, such as the function of the ignition system ; and in "bringing back to life" the leading personages of history or in syndicating the epi- sodes and factors of contemporane- ous civilization.
In summary, use the informa- tional motion picture to provide sense-perceptions which can not be obtained expediently from natural or laboratory experiences, from demonstrations or exhibits, or from more economically produced pic- torial representations.
The Cuckoo
March, 1928
33
schools throughout the United States and Canada, and altogether nearly 4,(X)0,000 members have been enrolled in bird-study under this arrangement. Many teachers look forward to renewing the work each year, as they have found that by giving it a continuity far better re- sults are obtained. For instance, a child who each year, for five years, has brought his fee of ten cents has had the opportunity of studying thirty birds and if properly instructed has savea all his leaflets which have been bound together in a little book.
Last year 355,486 boys and girls were members of Junior Audubon Clubs.
All the teacher needs to do is to explain this bird-study plan to the pupils, collect their ten-cent fees and send them in, and the material will be forwarded immediately. If preferred, however, our circular of explanation, "An Announcement to Teachers," together with sample leaflet will be sent to any teacher making request.
Film Reviews
Alice in Wonderland (5 reels) Pathe — Here we actually see the real Wonderland with all the crea- tures acting their parts in the most natural manner. Old and young will delight in this fantasy.
Alice gathers daisies after the cook will give her no tarts and soon reaches dreamland. The film makes it possible to follow Alice in her Wonderland experience down the rabbit hole, watch her at the famous caucus race, see her sneeze at the cook's pepper and converse with the green caterpillar and the fa- mous Cheshire Cat with its disap- pearing proclivities. Her famous talk with the Mock Turtle, partici- pation in the Queen of Hearts' croquet game and appearance at the trial of the Knave of Hearts are
2,000 Reels of Educational, Industrial and Scenic Films— FREE
also
Religious and Patriotic Films
AT NOMINAL RENTAL (Write For Catalog)
Y. M. C. A. Motion Picture Bureau
120 W. 41»t St., N. Y. C. 1111 Center St., CHICAGO
all shown in faithful detail. W. Rab- bit as the king's herald calls with his trumpet all the creatures from the sea and the land to come to the trial of the Knave of Hearts. Tlie lobster comes forth on the shore, and all the little folk from hill and dale come trooping to find out who stole the Queen of Hearts' tarts. "You're nothing but a pack of cards," says Alice as she awakens and the characters disappear in a card shower. All who are not too materialistic to believe the impos- sible for one brief hour will enjoy this clever spectacle.
Lenox Pottery (1 reel) Y. M. C. A. — The pottery works started by Walter Scott Lenox in Trenton, New York, are here pictured in a most instructive and entertaining manner. The wheel for the revolv- ing vessel is clearly shown. Re- volving cylinders containing water and flint pebbles grind the ingred- ients for the pottery. The mass is forced through a wire screen, and electric magnets remove metallic substances. Moulds are made and slip is poured into them.
In the casting room, a thin coat- ing of clay is left after pouring off from the form what will not adhere. Handles, spouts and knobs are moulded separately, the firing fus- ing them to the vessel. The cast object is smoothed, after drying, with a hard brush, but must be han-
dled most carefully. The firing is effective at a temperature of 2,200 degrees Fahrenheit. A blast of sand scours the article and compressed air removes any particles of sand remaining. The glaze does not per- meate the body of the china, but fuses, giving a rich ivory tint. The designs are all-important. Twenty- four carat gold only is ' used in raised or flat decorating, which is done by hand. After the gold or color is applied, another firing is made to fuse the decoration and the glaze. Burnishing the gold pro- duces a beautiful finish. An attrac- tive scene of Lenox china as used in the presidential palace of Cuba is beautifully done in color.
Nature's Cathe4ral (1 reel) Pathe — One of the former Pictorial Chibs' films, dealing with the west- ern slope of the Sierra Nevada Mountains, especially Yosemite Val- ley and Sequoia National Park.
The Sequoia trees are named for Chief Sequoia, who invented an alphabet for his tribe. With the eye of the camera we follow the height three hundred feet into the sky. The trees are not attacked by disease, but live on indefinitely un- til fire, lightning, or some other nat- ural calamity causes them to suc- ciimb. The General Sherman is sup- posed to be the oldest living thing on the earth, having roots that spread two hundred feet or more.
34
The Educational Screen
sya?niiff^iiyai?f^7^yfii?fw^a^
AMATEUR FILM MAKING
Conducted by Dwight R. Furnkss Director of Publicity, Methodist Episcopal Board of Education
*iSi'y!i:3fi:k<»iaiai4'ii&'a8«sli«a4^»iiS4aafia?iiss»«^
THE advent of amateur motion pictures, made pos- sible by the amateur standard film (16 millimeters wide instead of the regular 35 millimeters) and by suitable cameras and projectors, has made a "movie lot" of many a back yard. For years we have had to content ourselves with watching the work of others. Now we can make our own pictures, carry out our own ideas for amusement or for scientific ends, show our own pictures to our friends.
The number of those now making their own films reaches into the tens of thousands in the United States alone. It is the aim of this department to serve this group. Let us know what you are doing, what your difficulties and your successes are. We will pass them on to the "other fellow" and, in return, bring his experiences back to you. You can thus be closely in touch with many who are trying to do the same or similar things and so provide companionship for your camera adventures.
Already in a number of cities amateur cinema clubs have been organized. These clubs are active in many lines. Other clubs are in process of formation. Through these columns you will be kept posted on such activities.
AGAIN, many of you are interested in films for scientific nature. A number of colleges and schools, for example, have already produced films of their own activities. Some of you are laboratory workers who, with specially devised apparatus, are re- cording photographically the achievements of science, industry and the arts. To you a special invitation is
is.sued for accounts of the work, for your results are of primary interest to the educational field.
A S THE amateur progresses in his cinematographic -^*- work 'he becomes interested in the technical processes of developing and printing his own films, making his own titles and perfecting his technique. It is fascinating work and is being made easier each year by new methods and new equipment. Through this department we will keep you acquainted with such developments as will aid the amateur along these lines.
For the beginner in the art of making home movies the fundamentals of how to take and direct the picture will be stressed. The simple things that are the heri- tage of screen experience. For those who have mas- tered the beginnings, "Amateur Film Making" will present from time to time new kinks, new ways of doing the familiar, and cinematographic secrets that help to make the commonplace interesting.
A /TOST of all this department will be interested in -'-''-'- letters from the readers of The Educational Screen. Letters of inquiry, letters of plans and ac- complishments, friendly letters and letters of criticism — all will be welcome. Let us hear about you and your likes and dislikes.
Gradually we want this department to become the "movie lot" and studio of our family of readers — a busy place, littered with sets of the amateur, with the props that make amateur movies an interesting hobby, and with everybody "shooting" the creations of his own fancy.
"Motion is a deep obsession in man. The world that he sees re- flects his predilection for motion."
Baker Brovvneli, in The New Universe
March, 1928 35
AMONG THE PRODUCERS
Where the commercial firms — whose activities have an important bearing on progress in the visual field — are free to tell their story in their own woi-ds. The Educational Screen is glad to reprint here, within necessary space limitations, such material as seems to 'lave most informational and news value to our readers
Scientific Body Honors Producers of Microscope
EDWARD BAUSCH, president of the Bausch & Lomb Opti- cal Company, has been elected an
Edward Bausch
honorary member of the American Microscopical Society "in recogni- tion of more than fifty years of ac- tive interest in microscopy."
Mr. Bausch has been interested in the production of microscopes from his early boyhood and it is conceded that his active interest and participation in their development has had a great influence on .-icien- tific knowledge today.
Fifty years ago the first Bausch & Lornb microscope was exhibited at the Centennial Fair in Philadel- phia. It was fourteen-year-old Ed- ward Bausch, who had constructed his first model to satisfy his curios- ity as to what he could do with a microscope of his own make, who made possible the exhibit in 1876.
From the inventive ability of Ed- ward Bausch, the skill and business acumen of his remarkable father, the late John Jacob Bausch, and the imagination of Capt. Henry Lomb, has developed the great Bausch & Lomb Optical Co.
The Bausch & Lomb microscope did much to stimulate the study of minute forms of life. It aided in medicine, surgery and bacteriology. Its range of usefulness grew until now every laboratory is furnished with a battery of microscopes. Ev- erything that requires an exact knowledge of structure is studied by the aid of a microscope.
A vast world — a veritable uni- verse— lies beyond the sight of the naked eye. Yet mankind has come to realize that masses of matter and aggregates of cellular organisms depend upon the ultimates that go to make up their structure. The small and unseen unit is a highly important thing and the grouping of these units tells much. It is the microscope that brings to the eye the myriads of facts that lie beyon;l the limits of unaided vision.
The Bausch & Lomb Company, is more than a business firm : it is an important wheel in the machin- ery of world progress. It is not only one of the really great estab- lishments of Rochester, N. Y., but one of the world's most notable in- stitutions of applied science. And it has been built from a model mi- croscope built by a fourteen-year- old boy almost sixty years ago.
The DeVry 16mm Con- tinuous Projector
ALL attempts at producing au- tomatic continuous projectors heretofore have resulted in ma- chines too bulky and clumsy for business purposes. DeVry engineers after two years of experimenting have produced a model so small and light, it could fit into a sales- man's briefcase and yet so sturdy and rugged, it can stand the adven- tures of express transportation and all the vicissitudes of dealer han- 'dling. The ingenious automatic clock-turning device which stops the machine without an operator being present, is a marvel of mod- ern scientific designing — and makes the mechanism almost human in re- sponse to the demands of modern business. A fact that will be appre- ciated is that the continuous feature
DeVry Continuous Projector
can be changed for regular 16mni. home projection in an hour's time at the factory — so that the pur-
36
chaser is getting two machines for the price of one.
The manufacture of the projector is to be put on a quantity production basis — the quantities turned out en- abling the price to be put at a figure hitherto regarded as impossible — and puts automatic motion picture advertising within the reach of both large and small business firms.
Think of the fascinating form in which your business story can now be shown in living, moving reality to thousands of people, who would not give a glance at the usiial print- ed matter or listen to the words of a salesman. The narrow width of the film (16mm.) cuts the cost of film production to a fraction of that of standard theater width (35mm.) and yet the picture projected at 25 feet is as clear and brilliant as that in the theater.
The business executive can now not only show his product in action, but he can produce his own story for his salesmen — and give it to the world at large in a thousand windows, stores, depots, and public places of any description — in broad daylight or in semi-darkness.
Orders for the DeVry Continu- ous projector will be accepted for future delivery, and will be filled in the order received. Distribution to dealers, or direct to consumers, is now beino- made.
The Educational Screen
NEW FILM PRODUCTIONS
A new motion picture of New York from the air, showing both day and night views, which are said to be so clear and vivid that the spectator seems to be riding in the monoplane, is released with the title. Your New York and Mine.
This aerial panorama of Manhat- tan's skyscrapers, bright lights and parks has been pronounced a re- markable advance over anything of its kind ever made. The night pic- tures are so life-like and clear that signs of the Great White Way can be read. Previous night moving pic- tures of New York have been rather indistinct, and not even still shots from the air heretofore have shown the world-famous night lights distinctly.
The filming of Your Neiv York and Mine was done under the di- rection of Major Hamilton Max- well for The New York Edison Company. It shows New York when the morning mists are van- ishing before the sun, through the midday hours, the coming of twi- light along Riverside Drive, and the awe-inspiring night of white lights against a black background. Various tints are used to soften some of the scenes, and, unlike other air moving pictures which were made on perfect days, this one
was taken on a cloudy day in order that the cloud shadows would give more life to it.
The film was arranged and edit- ed by the Visugraphic Pictures, In- corporated.
One little pig that never "went to market" has the title role in the new U. S. Department of Agricul- ture educational film. This Little Pig Stayed Home. The picture is a two-reeler dealing with the rav- ages of hog cholera and is designed to teach pork producers ways and means of keeping their herds free of this destructive disease.
Among the most important of the new pictures recently released by the department are a group of three on the European corn borer. Be- cause of their timeliness for use in the corn borer control campaign, these pictures have been in great demand. The Corn Borer and What to Do About It, a. two-reel picture which covers the life history of the borer and tells the farmer how to keep it under control, has been the most useful and popular of the three, 68 copies having been put into circulation, more copies than have ever been available of any other Department of Agriculture film. In addition to prints circulat-
FILM CLASSIC EXCHANGE
Distributors of the Untisual in Motion Pictures
Colleen Moore in "LITTLE ORPHANT ANNIE" A James Whitcomb Riley Classic
Frank McGlyn in "ABRAHAM LINCOLN"
"HELEN OF TROY" Companion Classics Made by
Victor Hugo's tremendous "MARY TUDOR" "THE FALL OF TROY" Bavaria Film A G of Munich
Film Classic Exchange
257 Franklin Street, Buffalo, N. Y.
March, 1928
37
SCHOOLFILMS - PICTUROLS
"S. V. E." and "PICTIIROL" Registered U. S. Pat OS.
S. V. E. MOTION PICTURES are produced under the supervision of committees composed of well known heads of their respective depart- ments. Libraries are maintained from coast to coast.
S. V. E. PROJECTORS are designed and built by the society in accord- ance with the best and most modern projection principles.
S. V. E. PICTUROLS (the society's latest development) are carefully compiled to assist the class-room teacher. Pictures are painstakingly se- lected and arranged, and each Picturol has an accompanying syllabus which is invaluable to the teacher.
Picturol Set
Consists of the S. V. E. Picture Projector. Model "B," in convenient carrying case with small compact box, (only 8^"x5>^"xl)4") a special projection .screen and Picturols of your own selection. Each PICTUROE is, in itself, a complete lecture. This set sliould be in school and church.
Hundreds of subjects are available in PICTUROL form covering the following essential courses: History, Geosraphy, Civics, Nature Study, Physical Education, Health, Physics, Biology, Primary Reading, Home Economics, Music, Art, Literature, Agriculture, Boy Scout, Automotive Construction, Handwriting, Etc.
Free Picturol films covering industrial Geography, Home Economics and other subjects available upon request to all users of film stereopticons.
Write for Free Booklets and Catalog
SOCIETY FOR VISUAL EDUCATIONL Inc
ManificluKTS, Producers and DiUribuion ^ Visual Aids
W Soubh. LaSallc St Chicag(
[o. Illinois. V
38
The Educational Screen
ed by the department, various states and other agencies have bought 17 copies of this film. Corn and the Borer, a one-reel companion pic- ture, covers the history of the in- festation in the United States and quarantine and inspection methods
tinployed to check the spread of the pesl
Wheels of Progress, a two-reel film, portrays the revolution wrought in transportation methods and highway improvement since the advent of the automobile thirty
Set^
ofPathe
jjurfwfe roammi
THE importance of the right i{ind of motion pictures in
teaching is now recognized by prominent educators. It is signiiicant of this recognition that the Educational Depart- ment of Pathe has made an ar- rangement with Harvard Uni- versity for the preparation of courses to aid in teaching social and regional geography and geology.
The Harvard Division of Geology is now preparing the following one reef pictures; **The Cycle of Erosion*' "Work of the Atmosphere'* *'The Work of Ground Water" **The Work of Running Water" '^Glaciers and Glacial Topog- raphy" "Volcanism"
"Shore Lines and Shore De- velopment"
The Division of Anthropology at Harvard is also preparing ten one reel pictures on primitive people, — six on Africa and four on Asia.
These pictures will form part of the Pathe Science Series. Our new catalog describes these and many other motion pictures suitable for teaching aids in the Classroom, for Entertainment or both. Write for a copy, tell- ing us for just what purpose you wish to use motion pictures.
Educational Departmoit
Pathe Exchange Inc.
35 West 45th St., New York
IWhert ivriting, address the Division of Screen Education}
Name
Address
years ago. This picture, made for the Bureau of Public Roads, be- gins with the days of the tandem bike and the barouche, introduces the "one-lunger" automobile, and follows the interlocking develop- ment of motor transportation and good roads down to the present day.
Three important new educational motion picture films have recently been added to the collection of films of the United States Bureau of Mines, Department of Commerce. The Story of Petroleum, produced in co-operation with the American Petroleum Institute, shows the lat- est engineering and technical devel- opments in this great industry. The Story of Iron, produced with the aid of three prominent iron com- panies, portrays every step taken in the production of this indispensable mineral, from the mining of the ore to the final blast-furnace opera- tions. The Story of the Fabrication of Copper, also made in co-opera- tion with industrial interests, sup- plements the Bureau's ten-reel fea- ture film, The Story of Copper, and shows the processes by which the metal, after it leaves the smelter, is made into the shapes necessary to meet the demands of commerce.
The Bureau of Mines has proba- bly the largest collection of educa- tional industrial motion picture films in the world. These films show the different steps in the pro- duction, treatment, and utilization of the essential mineral materials or make plain the safe methods of mining and preparing minerals. The films are produced through the co-operation of industrial concerns, who bear the entire cost of produc- tion.
An announcement outlining the plan of distribution of its motion picture films has just been made by the Bureau. Distribution of the films is centered at the Bureau's Ex-
March, 1928
39
periment Station at Pittsburgh, Pa., in co-operation with thirteen dis- tributing points throughout the country.
The films are loaned to schools, churches, colleges, civic and busi- ness organizations, miners' local unions, and other organizations in- terested in the public welfare. No charge is made for use of the films, but the exhibitor is asked to pay the costs of transportation.
Descriptive lists of the films may be obtained from the Pittsburgh station or any distributing center.
}
The first of the film series on so- cial geography, being prepared by the Divisions of Anthropology and Geology at Harvard University, is completed and is entitled. How Man Suits His Life to Differing Sur- roundings— Houses of the Arctic and the Tropics, two reels in length.
Pathe will also release the first of the Division of Geology's series on physical geography, Volcanoes, a one-reel picture.
Two other reels on social geogra- phy, How Man Suits His Life to Differing Surroundings — Boats and Fishermen of the Arctic and Trop- ics, will follow. Another geological film, The Work of Running Water, will be available to schools the mid- dle of March. The Division of Geology has two other reels Hear- ing completion. The Cycle of Ero- sion and Shore Lities and Shore DeTclopmcnt, but release dates have not been set for these as yet.
All these pictures are printed on non-inflammable film so that they may be shown in the schoolroom without fireproof booth. Prints of each picture are being sent to each of Pathe's thirty-three branch of- fices so that they will be readily available to schools throughout the whole country.
One of the latest developments in the work of preparing educa-
PICTURE VALUES IN EDUCATION
liy JOSEPH J. WKBER, I'h. D.
An outstaiiiling contribution to the suliject by one of the foremost scholars in the field.
Cloth, 160 pp., $2.00. (To subscribers, $1.33)
THE EDUCATIONAL SCREEN 5 South Wabash, Chicago.
You Are Invited to Attend
The Spencer Exhibit
Booth 46
At the N. E. A, Convention
Mechanics Building
Boston
February 25th — March 1st
Where all Spencer
Visual Education Equipment
will be on display
SPENCER LENS COMPANY
New York San Francisco
Buffalo, N. Y.
Washington
Chicago Boston
40
The Educational Screen
tional pictures, which is being car- ried on by Harvard University in accordance with its agreement with Pathe Exchange, Inc., is the photo- graphing for the first time of the absohitely unique ape colony owned
by Madame Rosahe Abreu, of Ha- vana, Cuba. These pictures, which are now being developed by the Pathe laboratory, will be turned over to the Division of Anthropol- ogy for editing and titling.
Visual Instruction
Daylight Lanterns Stereograph s Lantern Slides Stereoscopes
A Visual Aid for Every Visual Need
Social Sciences Primary Reading High School Sciences Map Slides
Write for further information
KEYSTONE VIEW COMPANY
Meadville, Penn.
The Division of Anthropology will use these pictures for the two series of educational films which it has in the course of preparation. The first series is of a highly techni- cal nature, and, intended for use in universities. The second series is being titled and edited for correla- tion with school courses on social geography.
News and Notes
{Continued from page 21) The Indiana Poster Contest
Again the Indiana Parent-Teach- er Association, in cooperation with the Bureau of Visual Instruction of Indiana University Extension Divi- sion, is sponsoring a State Poster Contest for the public grade and high schools of Indiana.
The Contest has two purposes. It is intended to stimulate an interest in simi:)lc works of art, treating of subjects easily within the compre- hension of students of the public schools ; and also to obtain visual material for state-wide distribution that will appeal to the spirit of co- operation between school and home.
A Technical Innovation
Perfection of a variety of sixteen prizma lens, introduced with fault- less results by German producers, has been the notable advancement achieved in the European motion picture industry in the past year, according to Paul Stern, former U. F. A. director who has recently returned from abroad.
The chief principle of the Ger- man-made prizma is the multipli- cation of objects sixteen times on the same picture, and similarly the possibility of photographing sixteen distinct scenes on one picture. The newly perfected lens will be an in- valuable aid to directors for trick photography and equally important in gaining effect in retrospection scenes and fantasy pictures.
March, 1928
41
The Finest Motion Picture Projector For Non-Theatrical Use
THK new Acme S. V. E. Type Ct portable motion picture projector and stereopticon is an outstand- ing? achievement in the manufacture of projection equipment. It offers to the non-theatrical user of motion pictures, either in the school or church, a machine that really gives good results — a projector that is de- pendable— and renders the service you expect.
Here, in the improved Acme S. V. E., is new smoothness of operation, new quality in projection, increased reliability and the perfect mechan- ical accuracy that assures successful projection.
inspect the new Acme S. V. K. Type G. Note each of its Improve- ments. Note its simplicity and econ- omy of operation. Note the con
venience of its controls. Note Its new enclosed metal film magazines. Note its Acme patented Gold Glass Shutter- — the greatest step ever taken to increase the value of mo- tion pictures for educational pur- poses. With the Acme Gold Glass Shutter you can show still pictures from the motion picture film. You can hold a still picture for any length of time without any danger or damage to film. And still, with all the improvements will find no rad- ical changes in Acme's proved de- sign.
Write us for the name of the Acme distributor near you. Let us arrange a demonstration of the Acme S. V. E. with no obligation on your part. Write us today.
INTERNATIONAL PROJECTOR CORPORATION
Acme Division
90 Gold Street
New York. N. Y.
THE ACME S.V.E. TYPE C
The Acme is compact, dependable, safe and easy to operate. It operates from the ordinary electric line cur- rent. It gives results as fine as seen in the best theatres. It is just as satisfactory in the small class room as in the big auditorium. It is spe- cially designed for use by non-pro- fessional operators.
Acme
Motion Picture Projectors
42 The Educational Screen
HERE THEY ARE!
A Trade Directory for the Visual Field
FILMS
Carlyle ElUs
71 West 23rd St., New York City
Producer of Social Service Films
The Chronicles of America Photoplays
Yale University, New Haven, Conn.
(See advertisement on page 4)
DeFrenes & Felton
Distributors of "A Trip Through
Filmland" 60 N. State St., Wilkes-Barre, Pa. DeVry Corporation
1091 Center St., Chicago. 111.
(See advertisement on pages 22, 23)
Eastman Kodak Co.
Rochester, N. Y.
(See advertisement on Outside Bacli Cover)
Film Classic Exchange
257 Franklin St.. Buffalo, N. Y.
(See advertisement on page 3 6)
Fox Film Corporation
460 West S4th St., New York City
(See advertisement on liage 2)
International Harvester Co.
606 S. Michigan Ave., Chicago, 111.
(See advertisement on page 1)
Midwest Educational Film Service
Quincy, 111.
3308 Olive St., St. Louis, Mo. Pathe Exchange 35 W. 4Sth St., New York City
(See advertisement on page 38)
Pilgrim Photoplay and Book Exchange
804 S. Wabash Ave., Chicago, 111.
Pinkney Film Service Co.
1028 Forbes St., Pittsburgh, Pa.
Ray-Bell Films, Inc.
817 University Ave., St. Paul, Minn. Sanford Motion Picture Service
406 Englewood Ave., Chicago, III. Herman Ross Enterprises, Inc.
729— 7th Ave., New York City
(See advertisenient on page 42)
Rothacker Industrial Films, Inc.
7510-14 N. Ashland Ave., Chicago, 111.
Rowland Rogers Productions
74 Sherman St. at Harris Ave., Long Island City, N. Y. Society for Visual Education
327 S. La Salle St., Chicago, 111.
(See advertisement on page 37)
Spiro Film Corporation
161-179 Harris Ave.. Long Island City, N. Y.
(See advertisement on page 32)
United Cinema Co.
130 W. 46th St., New York City. United Projector and Films Corp.
228 Franklin St., Buffalo, N. Y.
Y. M. C. A. Free Fibn Service
120 W. 41st St., New York nil Center St., Chicago, 111.
(See advertisement on rage 33)
MOTION PICTURE CAMERAS
DeVry Corporation
1091 Center St., Chicago, 111.
(See advertisement on pages 22, 23)
MOTION PICTURE MACHINES and SUPPLIES
Acme Motion Pictitfe Projector Co.
1132 W. Austin Ave., Chicago, 111.
(See advertisement on page 41)
DeVry Corporation
1091 Center St., Chicago, 111.
(See advertisement on pages 22, 23)
Midwest Educational Film Service Quincy, 111.
Movie Supply Co.
844 S. Wabash Ave., Chicago, 111. Pilgrim Photoplay and Book Exchange
804 S. Wabash Ave., Chicago, 111. Safety Projector Co.
Duluth, Minn.
Sanford Motion Picture Service
406 Englewood Ave., Chicago, 111.
Chas. M. Stebbins Picture Supply Co.
1818 Wyaiidotte St.. Kansas City, Mo.
WORTHWHILE FILMS
Herman R055 ENTEKPt^isES
71.9 -7'"AVE.N.Y. ♦ BKVANT 4787
Howard E. Thompson
33 Newkirk Ave., Trenton, N. J. United Cinema Co.
130 W. 46th St., New York City United Projector and Film Corp.
228 Franklin St., Buffalo, N. Y.
PUBLICATIONS Cameron Publishing Co.
Manhattan Beach, N. Y.
(See advertisement on page 44)
The Film Daily
1650 Broadway, New York City
(See advertisement on page 43)
SCREENS Acme Metallic Screen Co. New Washington, Ohio Da-Lite Screen and Scenic Co.
922 W. Monroe St., Chicago, 111. Raven Screen Corporation
1476 Broadway, New York City Sims Song Slide Co.
Kirksville, Mo.
SLIDES and FILM SLIDES Arleigh
Box 76, South Pasadena, Cal. Film Slides Made to Order Geography Supply Bureau
314 College Ave., Ithaca, N. Y. Keystone View Co. Meadville, Pa.
(See advertisement on page 40)
Pilgrim Photoplay and Book Exchange
804 S. Wabash .'\ve., Chicago, 111. Sims Song Slide Corp.
Kirksville, Mo. Society for Visual Education
327 S. La Salle St., Chicago, 111.
(Si«e advertisement on page 37)
Spencer Lens Co.
442 Niagara St., Buffalo, N. Y.
(See advert! iieuient UD pa£e 39)
STEREOGRAPHS and STEREO- SCOPES Keystone View Co. Meadville, Pa.
(See advertisement on page 40)
STEREOPTICONS and OPAQUE PROJECTORS Bausch and Lomb Optical Co.
Rochester, N. Y.
(S(e advertisement on page 31)
DeVry Corporation
1091 Center St., Chicago, 111.
(See advertisement on pages 22, 23)
Sims Song Slide Corp.
Kirksville, Mo. Society for Visual Education
327 S. La Salle St., Chicago, 111.
(See advertisement on page 37)
Spencer Lens Co.
442 Niagara St.. Buffalo, N. Y.
(See advertisement on page 39)
Howard E. Thompson 33 Newkirk Ave., Trenton, N. J.
March, 1928 43
THE FILM DAILY
is Being Flooded With Requests for the
1928 FILM DAILY YEAR BOOK
THE FILM DAILY YEAR BOOK for 1928 is by far the most comprehensive, interesting and instructive volume ever published. Everything anyone interested in motion pictures in any way may want to know will be found in this edition —
A complete list of all features released in 1927 Directors and their work Stars and featured players and their work Camera men and their work
8,500 titles of features released in past years Ideas for presenting pictures
Technical and Equipment data of value and in- terest to every one.
These are only a few of the hundreds of features of interest in the 1928 FILM DAILY YEAR BOOK. Published by
THE FILM DAILY
1650 BROADWAY NEW YORK CITY
44
The Educational Screen
The FOURTH Edition Ready March 1-1928
"THE STANDARD AUTHORITY"
1248 Pages
Introduction By S. L. ROTHAFEL ("Roxy")
500 Illustrations
MOTION MoflJJcIlO'*
•^XWECTION
•^^RWMEROS
'"fjH EDITION
^jaM^^"-^
..s«""
Smithsonian Institute, Washington, D. C:
"We greatly appreciate what you have done to make the subject better understood."
Dept. of Public Instruction, Washington, D. C:
"By far the most complete manual we know of. The most complete work of its kind."
Board of Education, Newark, N. J.:
"We have found motion picture projection to be of great assistance."
Board of Education, City of Chicago:
"Like the book very much. Use it in visual instruc- tion."
Dept. of Education, Saint Paul:
"Your book has been approved." — "Is a great help."
University of Kansas:
"Your book has been carefully examined and we have decided to adopt it as our text book."
Alabama Polytechnic Institute, Auburn, Alabama:
"After careful consideration your book will be used exclusively in our classes."
Motion Picture News:
"In comparison with all other works on the market this book stands in a class by itself. Shoiild be in the library of every projectionist. The price is not a cri- terion of its worth."
Mound Consolidated Schools, Mound, Minnesota:
"Motion picture projection was just the book we needed."
Society of Motion Picture Engineers, Progress Com- mittee:
"A notable publication — Motion Picture Pro- jection by Cameron is extremely complate, cov- ering all phases of motion picture engineering."
American Photography:
"This ... is a veritable encyclopedia and the most complete and accurate work on the sub- ject. Over 1,200 pages of solid matter and has not once failed to give satisfaction."
Morning Telegraph:
"Written with the amateur in mind as well as the professional. Those using motion pictures in churches and schools will be especially inter- ested."
THE LATEST, LARGEST AND MOST AUTHENTIC BOOK ON THE SUBJECT PUBLISHED
CAMERON PUBLISHING CO., Manhattan Beach, N. Y.
April, 1928
45
I
NDUSTRIAL
P
OWER
Two Reels
The latest addition to the International Harvester Company's free distribution list of motion pictures is "Industrial Power," a two reel feature film.
This interesting, instructive, and entertaining film vividly portrays a comparatively new power, serving America's industries and municipalities. It is one of the snappiest films of its kind ever produced. There is a certain amount of individuality to each scene which holds the interest of the spectator throughout the showing.
If you want something different and unusual, order "Industrial Power" today. Give your friends and patrons an opportunity of seeing this modern power unit operating under all conditions in the oil fields, cotton fields, at the docks, in the denye forests, etc.
The film is printed on non-inflammable stock and loaned without charge by us, but the express charges must bo paid by the recipient. If possible, give us the choice of two or three dates, any of which will suit you.
International Harvester Company
606 So. Michigan Ave. (Incorporated) Chicago, III.
^ The Educational Screen
Just Off the Press!
Picture Values in Education
By JOSEPH J. WEBER, Ph.D.
An outstanding contribution to the subject by one of the foremost
scholars in the field
An excellent textbook for classes in —
(a) visual instruction
(b) experimental education
(c) educational psychology
(d) special methods for geography
An indispensable reference book for —
(a) directors of visual instruction departments
(b) teachers of psychology and education
(c) superintendents, principals, supervisors
Every College and University Library Should Have a Copy
A scientific evaluation of motion pictures, lantern slides, stereo- graphs, charts, diagrams, etc., together with a carefully prepared syl- labus for a course in visual instruction.
The book is rich in facts, inferences and deductions which are in- valuable to the methodology of visual instruction.
Entire book written in a novel manner that makes experimental evidence surprisingly interesting reading.
Cloth, 160 pp., $2.00. (33% discount if purchased in combination with a year's subscription to THE EDUCATIONAL SCREEN).
Teachers of visual instruction courses requested to inquire for special price for the book in bulk sales.
THE EDUCATIONAL SCREEN, Inc.
S South Wabash Avenue Chicago, 111.
April, 1928 47
V(^LUME VII Number 2
THE EDUCATIONAL SCREEN
The Onlg Magazine Devoted to The New Influence in National Education
APRIL, 1928
IN THIS NUMBER
Page Editorial 48
The Subtitle Applied to the Lantern Slide
James N. Emery 49
Photoplays for Vocational Guidance
William Lewin 51
The Influence of Motion Pictures in Developing in Children the Proper Use
of Leisure Time
Ercel C. McAteer 53
Holland — Old and New
B. F. Krantz 60
Among the Magazines and Books. Conducted hy Marion F. Lanphier 55
News and Notes. Conducted by The Staff 58
The Film Estimates 64
The Theatrical Field. Conducted by Marguerite Orndorff 68
Educational Screen Cutouts for April 61. 62, 71, 72
Foreign Notes. Conducted by Otto M. Forkcrt 73
Amateur Film-Making. Conducted by Dwight R. Furness 77
The School Department. Conducted by Dr. F. Dean McClusky 79
Among the Producers 84
Here They Are ! A Trade Directory for the Visual Field 88
THE EDUCATIONAL SCREEN, Inc.
5 South Wabash Avenue, CHICAGO
Herbert E. Slaught, President Nelson L. Greene, Editor
Frederick J. Lane, Treasurer Marie E. Gooi>enough, Associate Editor
Entered at the Post Office at Chicago, 111., as Second Class Matter General and Editorial Offices, 5 South Wabash, Chicago, Illinois Copyright, April, 1928, by The Educational Screen, Inc.
$2.00 a Year Published every month except July and August Single Copies, 25 cts.
48
The Educational Screen
THE EDUCATIONAL SCREEN
April, 1928 EDITORIAL Vol. VII No. 2
MANY dreams have been dreamed in this field, for years jjast, of a great "non-profit" corporation, which should also be a "producing" organization, to make and distribute visual ma- terials for the educational field that needs them now and ulti- mately must have them in enor- mous quantities.
One of these dreams seems now on the way to realization. We are authorized to make partial an- nouncement at this time (more details in the May issue) of the auspicious beginnings of such a project. "Visual Education Serv- ice, Inc." is the name of the new organization, incorporated on a non-profit basis, operating at 7024 Melrose Ave., I>os Angeles, Calif. The inauguration of the service was brought about largely through years of constructfve ef- fort by George E. Stone, veteran producer of educational and sci- entific pictures — prints, stereo- graphs, lantern slides, films — which have long since made him a conspicuous figure in the field of visual education.
The finances essential for this splendid start toward the great end — a national visual education foundation on a non-profit but self-supporting basis — have been assured by a man of outstanding prominence in Los Angeles. We wish we knew" his name, but he definitely prefers to remain un- known. The educational field is already indebted to that man. As the work goes on, realizing more and more of the enormous possi- bilities ahead, it will only increase the indebtedness of the field to
the man whose vision and appre- ciation of the power of pictures made possible this first great step.
THE field of educational pic- tures received an unusually se\ere jolt from the recent turn of events in the great Pathe or- ganization. Film distribution to the schools and churches was sud- denly cut ofif, violent shrinkage occurred in the working force of various exchanges, and rumors flew far and wide that "Pathe had given up all non-theatrical work." But to us the story was too alarm- ing to be credible. It was un- thinkable that Pathe's accumula- tion of invaluable educational films, and the notable develop- ment already achieved in a non- theatrical market for them, could be thus thrown away.
We are very glad, therefore, to pass on to our readers the assur- ance just received from direct and authoritative sources that release of educational films has been re- sumed, and that the work of the department for the coming year promises to be larger and more important than before. Readjust- ment is not discontinuance. It is often the sure path to greater achievement. Growing pains must be expected in everything that grows.
THEY take visual education se- riously in Europe. We in America might do well to emulate. From May 1st to 5th, at The Hague in Holland, takes place the second Educational Film Confer- ence. The significance and value of the first conference last year at
Basel justified the establishment of the "Europaische Lehrfilmkonfer- enz" as an annual function.
This meeting will not consist of a few visual enthusiasts of modest eminence and still less influence in the realm of education, gathered merely to make their speeches to a few score sympathetic ears and go home. There will be present at The Hague over 300 educators of prom- inence and power. Twenty-nine states and cities are to be officially represented by their chosen dele- gates and others unofficially. Many delegates will have their expenses paid by the authorities they repre- sent and some of the states and cities are already subsidizing this new and growing phase of educa- tional work by maintaining salaried officers the year round.
The catalog of cities is impres- sive, including as it does, outstand- ing centers of European culture. Here are some of them (in alpha- betical order) : Amsterdam, Basel. Berlin, Bern, Breslau, Brussels, Buda Pesth, Colmar, Dusseldorf, Frankfurt, Haag, Haarlem, Halle, Hamburg, Hannover, Helsingfors, Lisbon, Locarno, London, Liibeck, Luzerne, Madrid, Mannheim, Miil- hausen, Munich, Niirnberg, Paris, Rome, Saarbriicken, Stockholm, Stuttgart, Vienna, Warsaw, Wei- mar, Wetzlar, Zurich.
Some of these single centers will have a score of educators present at the conference.
Some of the announced topics for discussion and action are evi- dence that the conference is after results, not merely a chance to talk. Here are a few of the subjects: (Concluded on page 54)
April, 1928
30-112795
49
The Sub -Title Applied to the Lantern Slide
James N. Emery District Principal, James C. Potter School, Poziiuckct, R. I.
"C
AME the dawn." So often has this sub-title flashed upon the screen that it has become a real by-word in motion picture circles.
Yet in the mouth of the old-time lecturer this statement would have been elaborated to a lengthy de- scription of the glories of the sun- rise, as the first beams of morning sunlight rose over a dim and sleep- ing world, ad libitum.
Modern high-pressure methods have relegated many of our amuse- ments and our customs to the dis- card. The lecturer has passed into retirement along with the top-buggy and the ornate music-box. The six- cylinder sedan has supplanted old Dobbin, the hundred- watt mazda lias taken the place of the kerosene lani];, .Station WGXK has forever retired the music-box.
No longer is an audience content with a five or ten-minute descrip- tion of a still picture. Action, ac- tion and still more action has trans- formed the lecturer's box of slides into the five, six or ten-reeler. The needs of explanation of the occur- rences in the film itself have brought out a well-developed tech- nique of sub-titles or screen cap- tions in which matters which need more detailed explanation than the picture itself can give are flashed ■ for a brief period on the screen — a group of from two to fifty words. Hence, "came the dawn."
Strangely enough, no one seems to have made any extended use of the latent possibilities of the screen caption as applied to lantern slides. The sub-title is absolutely necessary in the case of the film, which must tell its own story without verbal wcomment as it goes along. There
have been one or two attempts to make a film without sub-titles, but they didn't get very far.
We have had various methods where the teacher has lectured about the picture as it is shown ; where the individual pupil has pre- pared certain explanations about a slide or small group of slides, and where the slide has been used as a basis for classroom discussion.
The makers of the film stereopti- con have frequently made use of screen captions to connect their pic- tures with comment in a strip of film. The sub-title used in this way has the advantage of brevity, and of putting the essential facts before the person viewing the picture in a graphic way that the voice does not give. In fact, we are constantly reminded that anywhere from 60 to 89 per cent of impressions are made through the eye, according to various experts.
The chief drawback to the use of screen captions with the film stere- opticon has been its fixed sequence. It has been necessary to follow out a certain series of ready-made sub- titles in fixed order, with no chance of variation. Often the comment or line of thought is far from what the teacher wishes to bring out, sometimes flippant, slangy or face- tious comments confuse the very impressions which the picture makes.
With the lantern slide, however, there is no need whatever for any fixed sequence. The slides may be used in any order, and to illustrate any subject that the instructor de- sires. Much of the verbal discus- sion may be eliminated by a series of brief sub-titles prepared by the teacher, illustrative of just what
viewpoints he wishes to bring out. Salient points, highlights, sum- maries from the text, may be put on the screen and may tie the series of pictures together with a well-defined central theme accord- ing to the teacher's wishes. Here is an opportunity for the play of individuality.
A wide range of screen captions may suggest themselves to the thoughtful teacher. The use of sub- titles makes for brevity and con- ciseness. They present a vivid sum- mary to the pupil that ought to make a fairly lasting impression. A principal or supervisor may prepare a model or type-lesson that may be used by a number of teachers with little change and with a consider- able degree of uniformity, yet not suffering from the complete uni- formity of the commercial lessons, to which the curriculum must be adapted, instead of adapting the il- lustrative material to the needs of the curriculum.
The materials necessary are say three or four dozen cover-glasses, which may be purchased ready- made, or cut from bits of thin glass to the proper size of a lantern slide, 3j4x4 inches. Discarded photogra- phic negatives with the emulsion cleaned oflf make excellent cover glasses, if they are not too thick. The transparent gelatin slides com- plete with gelatin, mat and carbon paper may be purchased from sev- eral houses at a cost of about four cents each. This expense may be reduced by purchasing the trans- parent gelatin in large sheets, cut- ting it to the proper size, and writ- ting upon it by folding a piece of carbon paper and laying it between the folded carbon. The glassinc
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The Educational Screen
wrappers such as are used on boxes of fancy candy may be used satis- factorily.
Two or three dozen sets of cover glasses may be kept on hand, the bottoms fastened together with a paper hinge, and the gelatin and mat slipped in between and fastened at the top. After the lesson the gelatine may be removed, and if de- sired, filed away in envelopes for future use, taking up but little room. The cover glasses and mats may be used indefinitely. If not desired to save the gelatin, each piece may be used several times by wiping off the writing with a dry cloth or a piece of dry tissue paper, rubbing carefully until the printing disappears.
It is of course possible to write directly on the cover-glass, using a pen dipped in one of the inks pre- pared for writing on glass, or ink to which sugar or gum arabic has been added. Unless the teacher is skillful with the pen, however, the typewriter and the gelatine slide will probably prove more satisfac- tory, or look more workmanlike, as every crudity is magnified hundreds of times. In the case of writing di- rectly on the glass, the ink may be readily washed off and the glasses used indefinitely.
A sample lesson on South Amer- ica follows this discussion. This is one prepared by the writer of this article, and used in actual classroom work by four teachers in a sixth grade. (Obviously, the number of pictures used for a single lesson period will vary endlessly accord- ing to the immediate purpose to be served. If extended discussion of single points is desired, four or five slides may easily suffice for a full lesson period.) All the pictures are from the regular Keystone 600 set or from the Underwood libraries, all of which may be obtained from the Keystone Company. Most of
the screen captions are taken from the treatment of South America in Brigham and MacFarlane's Essen- tials of Geography, which is used as a textbook in that grade.
In many cases much fuller treat- ment may be found desirable than what is presented by these captions. For the use of teachers who feel some hesitation in making use of visual methods, the advantage of a lesson of this kind is obvious. The more experienced teacher may easi- ly add either verbal or screen com- ment to this skeleton, ad libitum.
The coastline of South Amer- ica is extremely regular. There are but few good harbors. High surf makes it extremely difficult to land at most points along the coast. U92S4.* The rock-ribbed South
American coast at Mollendo.
The high mountain-chain of the Andes runs north and south along the western side. It forms one of the loftiest mountain sys- tems in the world.
Between the ranges are many deep valleys and some lofty pla- teaus. U486. Mountains along the
Strait of Magellan. U471. Looking down into Ri-
mac River Gorge, Andes. U9240. Source of the Rimac
River, high up in the Andes. U9242. Glaciers and snow-clad
peaks, Mt. Meiggs.
Many of the highest peaks are
volcanic cones.
Even at the equato--, the tops
are in a region of perpetual
snow.
U480. View of El Misti. U479. Volcano from Arequipa.
U921S. 14,000 feet up the vol- cano Pichincha, view toward distant summit.
U9217. Smoking crater of Pi- chincha.
♦Numbers prefixed with U are Un- derwood slides, the catalogue number given in each case. Numbers prefixed with K are from the regular Keystone 600 set of slides.
The lowlands on the coast are hot.
U9186. Hacienda of planter,
Babahoyo River. U9187. River scene. U9188. Natives poling boat up
tree-fringed river. U11521. South American fruit
trees (papaya).
— The middle heights are tem- perate—
U9265. Sheep-raising scene in the Andes.
U9234. Picking cotton high up in the Andes.
The upper slopes are frigid in climate. U9216. Ice dealers of Quito
collecting snow, on the peak
of Pichincha. K322. Lake in the Andes of
Chile.
The shores of South America were visited by Columbus and other explorers from Spain and Portugal.
The Landing of Columbus. Co- lumbus on deck of Santa Ma- ria (Turner collection). K2296S6. Columbus' ships at sea.
The Spaniards under Pizarro invaded the country, treated the natives with great cruelty, robbed them of their treasures, and reduced them to slavery.
Pizarro's body still rests in Lima, the capital of Peru. U9219. View of Lima. U9223. Coffin of Pizarro in
cathedral at Lima.
The most advanced natives whom the Spanish explorers found belonged to the empire of the hicas. Their capital was Cuzco, an ancient city among the mountains of Peru. U9268. View of Cuzco.
They built strong forts and splendid temples, quarrying large blocks of stone, which fitted per- fectly without mortar when laid into a wall. They organized armies, built roads, and had a rude postal and express system by swift runners. U9276. Masonry of the ancient
Incas. (Concluded on Page 82)
April, 1928
51
Photoplays for Vocational Guidance
William Lewin Central High School, Newark, N. J. (Concluded from the issue of December,
1927)
PARENTS today, more general- ly than ever before, realize the importance of developing social traits in growing children. The great movement for child study now sweeping across the country has brought home to parents the importance of developing a friend- ly personality in the child. What more delightful and valuable traits are there in a child than the easy, confident, courteous manner that distinguishes the successful, well- bred child? Is not success in life, after all, largely a social matter? I^et us, therefore, give our children time to develop their social con- tacts by making the school day end without a load of homework. If movies can help in this direction, let us use them in the classroom.
The Bo.mjd of Education's Point OF View From the board of education's point of view, on the other hand, educational motion pictures are too expensive to warrant rapid develop- ment of their use. The expense of running a city school system in America today is so great that au- thorities responsible for educational budget-making must be conserva- tive in considering expensive new devices. Even granted that teach- ers, children and parents demand more and better educational films,
Editor's Note — In the initial instal- ment of Mr. Lewin's article, he de- fends the educational motion picture and declares that, although develop- ment has been slow, "as teachers, pu- pils, parents and boards of education begin to speak with one voice in de- manding worthwhile schoolroom films, the development of good films is bound to grow." The teacher's, the child's and the parents' point of view are pre- sented in the previous instalment.
where are they to come from ? The ta.x rate is already too high; why add to the financial worries of the community ?
How Business Firms Can Help
In this connection, I have found that business firms can be of as- sistance to the schooLs — and with advantage, indeed, to themselves. Our most progressive merchants are interested in their employees, not from the time employees begin to be employees, but before that time — while future co-workers are still in school, preparing for the great occupational world that lies beyond the walls of alma mater. And so we have the vocational guidance movement, already world- vv'ide in scope, dedicated to the great task of imparting to the ris- ing generation the necessary infor- mation, experiences, and advice in regard to choosing a suitable career, preparing for it. entering it, and progressing in it toward a satisfac- tory status. In all this work of vo- cational guidance, the most impor- tant phase is that of giving infor- mation about the occupational world. The child needs to know the physical, mental, emotional, so- cial, and economic requirements for success in a given vocation. He needs to know the unpleasant side as well as the pleasant side, the disadvantages as well as the advan- tages, the perils and pitfalls, as well as the rewards and rejoicings, that usually await those who enter upon a given occupation. He needs to know the whole, true pattern of a career — in fact, the patterns of many types of careers — before en- tering upon a chosen one.
The head of the education de-
partment of one of America's great stores said to me recently: "We al- ways under-estimate the future pos- sibilities of positions, in talking to applicants for work in our institu- tion. We sometimes paint a rather gloomy picture so as to discourage over-sanguine hopes and unrealiz- able aspirations. Great success really means much more work and much more good fortune than most young folks realize. The opportun- ities for rising to commanding po- sitions are not so plentiful as schoolboys think."
If boys and girls entering uf)on new positions realized what was in store for them, they would often refuse those positions, and business firms would be spared the costly turnover in workers. Selecting the right person for the job at the start eliminates much waste of human energy and much overhead expense. I^t those who apply for positions, therefore, clearly understand exact- ly what those positions will entail and what life-careers they will commence.
If every American child could visit the leading stores, factories and offices of his community, ac- companied by a highly trained vo- cational expert, he woidd learn much about the world and its \Tork. If he could interview the leading merchants, bankers, manu- facturers, and professional people of America he would undoubtedly learn much about life-careers and their requirements. If he could, by some magic stroke of imagina- tion, personally review the careers of typically successful men and women in many occupations, how wonderful! If he could try out
52
The Educational Screen
various trades, crafts or professions that appealed to him, how valuable these exploratory experiences would be to him ! Since, however, the schools cannot provide all boys and girls with the advantages of such visits, interviews, and exploratory experiences, the next best thing they can do is to give every boy and every girl the advantage of vicarious visits, vicarious inter- views, vicarious experiences by means of honest-to-goodness edu- cational motion pictures. The ex- pense for the technical production of such films, I have been assured by a number of business men, can justifiably be borne by their firms and charged to advertising. In its broadest sense, advertising is. after all, a form of education.
Here, then, is a type of informa- tion that business firms can well afford to give to the rising genera- tion. No more effective means for imparting vocational information exists today, I am convinced, than the motion picture, if rightly used. I have, therefore, presented both to academic and to business leaders the idea of dramatizing, in film form, typical vocational ladders, such as those recently outlined by Professor Harry D. Kitson of Co- lumbia University, showing the steps leading to desirable profes- sional and business positions. Dr. Kitson found, for example, that a study of the life-histories of many department store buyers indicated that most buyers began as stock clerks and served successively as junior salespersons, heads of stock, and assistant buyers. He found that professors of chemistry typi- cally go through seven steps : they get the bachelor's degree at age 22 and the master's degree at 24; they become instructors at 26 and assist- ant professors at 28; they win the doctor's degree at 29 and become associate professors at 30 ; their full
professorships come at age 34. Sim- ilarly, Bernays, in his new book. An Outline of Careers, provides excel- lent material for vocational guidance films. He devotes a chapter to each of thirty-nine leading occupations, featuring a well-known living per- son in each field. Joseph P. Day, New York real estate expert, for example, analyzes the requirements for success in his vocation and sug- gests the following vocational lad- der : office boy, renting man, sales- man, appraiser, broker.
Psyehologists are generally agreed that once an individual is orientated in the sort of work for which he is physically, mentally and emotionally best fitted, he is well on the way to happiness. From the standpoint of the business man, this means that the individual so ad- justed will be efficient in his job. If photoplays can work to this end, are not boards of education and large business enterprises justified in co-operating for the benefit of society ?
My experience with films that stimulate the life-career motive in education has led me to believe that a new note may be introduced into school work through short photo- plays based on life careers. The humdrum routine of the classroom can be transformed into thrilling vicarious experience.
The teacher, when at his best, sees at once "the sidewalks of New York" and the eternal stars ; he combines the contemplative life with the active life. He is a prac- tical idealist, always lifting the transitory into the eternal.
A Vision of Beauty in Educa- tional Movies
As a teacher, therefore, I wel- come the photoplay as a teaching aid. I find that where words leave oflf, movies begin. When I con-
sider the beauty of a true photo- play, I confess that it says what no words of mine can say. A good film can be, I think, more raptur- ously beautiful than any other forni of art, for a true motion picture is the very silencing of speech. In the greatest scenes of the cinema there is always the hush of wonder. Not the least reason why I wel- come the photoplay in my classroom is, indeed, that I can use it unac- companied by music — a motion pic- ture in its essence. In the immor- tal words of John Keats :
"Heard melodies are sweet, but
those unheard Are sweeter."
For a motion picture seems to tell us to be silent and listen — not to what the teacher has to say, but to what he cannot say. The very effectiveness of the screen art lies in its suggestion of something be- yond all ordinary expression. What all the art of the best teacher can- not do, a movie can do.
The beauty of photoplays that suggest life-careers will lie partly in bringing together, in poignant juxtaposition, the calm assurance of real success to him who is fit, and the forlorn hope of anything like real success for him v^'ho is unfit.
In the endless throbbing of in- dustry, in the vibrant bustle of great mercantile establishments, there is a rhythmic, haunting beau- ty. Let the educational cinema composer skillfully and gracefully catch that rhythm and impart it to the film. He must be a finished craftsman indeed who can put into a film the great symphonic back- ground of an industry, of an insti- tution, of a profession; but it can be done, and it should be done.
It must be done with piercing beauty. The thrill will lie, to some extent, in the interweaving of two {Concluded on page 86)
April, 1928
53
The Influence of Motion Pictures in Developing in Children
the Proper Use of Leisure Time
Ercel C. McAteer Assistant Director of J'isiial Education, Los Angeles City Schools
A FEW years ago, educators from all parts of the United States gathered in conference to determine the major objectives of education. As a result of this meeting there were formulated seven major objectives. These are : health, command of fundamental processes, worthy home member- ship, vocation, civic education, worthy use of leisure time and eth- ical character.
Having accepted the worthy use of leisure time as an objective of education, let us determine how we may best train our children in the wise selection of their leisure activi- ties, and the elements that enter into this training.
The term "play" covers a group of activities as wide as the scope of human life. It goes even fur- ther than human life, for animals also play. Play has ever been of interest to all mankind.
An individual is more completely revealed in play than in any other way ; and conversely, play has prob- ably a greater shaping power over the character and nature of chil- dren than has any other activity. A child shows what he really is when he is free to do what he chooses. If children can be influ- enced so that their highest aspira- tions— which are followed when they are free to pursue their ideals — are uplifting, their character is being shaped profoundly.
Childhood is divided into different ages, fairly well marked, and each dominated by one or more instincts that color for a time the whole process of development. First there is the period of babyhood, from
birth to three years, during which the child's life is governed largely by his relations to his mother. Then comes the dramatic age, from three to six years, in which the im- pulse to imitate or impersonate colors almost all his activity. Next appears the age of self-assertion, or "Big Injun Age," from six to eleven, dominated largely by the fighting instinct, and then the age of loyalty, from eleven on.
The stress that nature places upon certain impulses at certain periods is not a casual or an iso- lated suggestion on her part. It is a determination that prescribed ex- ercises shall be registered in actual growth at those exact seasons. It is the precise time at which those exercises will be received by the child. At no other periods will they be received so well. The wise par- ent directs the child's activities and experiences — whether they be mo- tion pictures, books or outdoor games — in the proper chaiuiels, be- ing careful to allow the child the required amount of expression of his impulses but watchful to pre- vent an undue amount of such ex- periences. The child's method of study is by impersonation — by put- ting himself inside the thing he wants to know, being it, and seeing how it feels. Our children, by giv- ing vent to this desire during the dramatic age, learn the main char- acters in the play in which they have been cast and assume each character in turn. When a person- ality interests them, they translate it into their own experience and share the exhilaration of that per- sonality. Later they will study
practicabilities, will criticize, per- ceive methods and limitations. Dur- ing this period their instincts are to grasp the whole, enter by one sheer leap of intuition into the ob- ject of their studies and dramatize it in the land of make-believe.
It is seldom that our children de- sire to go to the theatre to see "the pictures." Their desire is to see Mary Pickford, Charlie Chaplin or Lillian Gish. It is not Dorothy Vernon of H addon Hall or The Thief of Bagdad they are seeing, but Mary Pickford, the perpetual Cinderella, the little girl in rags who in the end resides in a glitter- ing castle, and Douglas Fairbanks, the symbol of romance and eternal youth, who set out to learn what Fear was and never found it.
This dramatic interest is especial- ly observed when notice is taken of the attendance record of children at the motion pictures. It is a seri- ous matter that the emotional life of children has come to be so large- ly a thing of the street and the mo- tion picture. The proper use ot the emotions is most important in all elementary education. Consider the misuse of the emotions of a child who plays life as portrayed by Greta Garbo or Pola Negri. The two great topics of photoplays are love and fighting. Practically all photoplays are built upon a com- bination of these two interests. If we took love out of all the motion pictures, we should still have a choice collection ; if we took fight- ing out, there would still remain a large number; but if we took out both love and fighting, the world's motion picture theatres would be
I
54
The Educational Screen
gone, for these two are the basic human emotions. Hence when boys in their teens flock to the motion picture theatres, they are doing what the rest of the world has al- ways done — experiencing basic hu- man emotions vicariously. When children see motion pictures which convey impressions false to life, in which the fighting instinct is per- verted, it is bad for them. How- ever, fighting of some kind is part of character; it is no superficial, modern thing. There seems to be no better contrasting examples than Douglas Fairbanks' Robin Hood and Clara Bow's Down to the Sea in Ships.
Many do not realize that children, early in life, tend to join the neigh- borhood gang. Sheldon's study of the institutional activities of Amer- ican children shows that the age of members of this gang is from ten to fourteen years. Inherently the gang is all right, but the misled gang is all wrong. Gang fighting is seldom conducive to manliness, honor, courage or self-respect. The strength of the gang is the strength of the boy. Under its protection, unspeakable events may occur for which it is impossible to place re- sponsibility. Are the experiences placed before the eyes of our boys those which pertain to stabbing, shooting, clubbing or maiming? Are they given an education (which might in other surroundings and under other conditions be a positive civic asset) which adds the irre- sponsibility of the mob to the reck- lessness of youth and becomes a force which turns boyhood into cowards and savages? It is sub- mitted that the undesirable gang experience should be superseded by organized clubs and athletic games.
The social activities of games, clubs and the like absorb and divert the same gang interest to proper
channels. Parents should see that all children of ten years and over have the opportunity for the right exercise of their budding social in- terests.
Play interests of children answer to deep-seated needs and are essen- tial for fullest development and edu- cation. They include the universal passion for and admiration of ac- tive games and sports. Children are deeply interested in nature, and where opportunity presents itself, their play interests lead them natur- ally into those realms of knowledge and activity which are directly re- lated to some of the most important fields of human interest, endeavor and achievement. In modern city life children do not have this ready contact with nature under the influ- ence of which the race has devel- oped. Unless the community, through the school and parents, ex- erts itself directly to relieve this handicap of city children, the ma- jority must forever remain incom- plete in development and education. How much better for parents to encourage these nature interests of nurturing plants and animals, hunt- ing, fishing, love of life in the open, camping, and the like, than the at- tendance every week at a motion picture theatre!
Few children are interested in motion pictures at first. It is a habit, or a desire that grows with but little encouragement. The mere fact that it moves, compels them to look at it, just as we cannot refrain from noting the moving electric signs on Broadway. They catch the eye. That which moves impels at- tention. At first the blood and thunder stories shock the delicate nerve centers of the young, but the first experience starts the vicious circle to work and the result is that the child craves more and more of these "shockers."
Soon we find a well developed "movie habit" and the motion pic- ture has entered the lives of our children as their chief amusement and recreation. Play and recrea- tion is nature's method of effecting growth and development. There- fore, its selection is as essential as that of food.
In view of the fact that motion pictures are, to a great extent, monopolizing the leisure time of our children, it is essential that par- ents diligently supervise this activ- ity of the children so that one of the objectives of education may be accomplished — that the leisure time of the child may be put to a worthy use.
Editorial
(Concluded from page 48)
1. Ways and means for interna- tional exchange of typical educa- tional films.
2. Study of prepared "film-les- sons" from various countries.
3. Use of visual materials in higher schools.
4. The small-sized film and its standardization for educational pur- poses.
5. The scientific research film and a method for making it acces- sible to other countries.
We are glad to announce that The Educational Screen will be represented at the conference by Otto Maurice Forkert, editor of our Department of Foreign Notes.
We expect to be able to pre- sent to our readers in later issues much interesting material, not only upon the proceedings of the con- ference at The Hague, but upon activities in the visual field through- out Europe. Mr. Forkert will spend some six months in travel and investigation in the European countries most active along these lines.
.■{f>ril, 1928 55
AMONG THE MAGAZINES AND BOOKS
CONDUCTED BY MARION F. LANPHIER
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The New Republic (March 7) — Gilbert Seldes, in "A Fine Amer- ican Movie," extends well calculat- ed and efficiently weighted praise to King Vidor's The Crowd, calling it "the most interesting develoj)- ment in the American movie in years." The picture is not all splen- did, as Mr. Vidor and his assistant, John v. A. Weaver, have directed
some "vulgar scenes have
fumbled their handling of emotion to get a laugh." But, Mr. Seldes finds The Crowd a challenging pic- ture negatively, in that it has "no plot, no sex e.xploitation, no physi- cal climax, no fight, no scheduled thrill." As the simple story of the struggle of a boy in New York to find himself, it is technically ex- cellent with but two serious faults : its bridal night gags and its use of a talking machine to "stimulate its deepest emotions" at the close. Mr. \idor is a master mechanic, avoid- ing the errors of the rigid photo- graphic effects in Metropolis and presenting a courageous array of metropolitan impressions. James Murray and Eleanor Boardman also receive laurels from Mr. Seldes.
Those who have the good of film art seriously in mind should, as a matter of duty if not entertainment, personally review a production so announced by The New Republic's spokesman.
Children (February) — "If Your Child Is Movie Mad," an interview with Walter B. Pitkin, psycholo- gist and departmental head of Chil- dren's monthly review of films suit- able for the youngsters, presents the reasons for movie-madness, the
transient aspect of such enthusi- asms, and the need for careful pa- rental guidance and comradeship through the heat of movie-madness. In addition to pertinent sugges- tions about this guidance and con- sultation, the author reminds his readers of the well-known and often-stated bad eflfects of indis- criminate child consumption of gen- eral film programs.
Birmingham Teachers' Jour- nal (February)— "Special Movie Programs for Children," by Myr- telle W. Snell, again sounds the warning against the inadequacy of all that film production furnishes for, and presents to, children in our theatres. Miss Snell outlines efforts for betterment of this situation in Birmingham's Junior Matinees, and elsewhere. She speaks of parent company at the movie as a fair ob- stacle in the way of too much seri- ously detrimental interpretation on the part of the child. In general, though not fresh material in theory, Miss Snell's article is a clear ac- count of the situation as it must eventually be met wherever motion pictures exist.
The North American Review (March) — A brief paragraph, "Joseph and Achilles on the Screen." remarks editorially that The Iliad and Joseph epics proposed for cinematic presentation furnish interesting food for sjjeculation, that the screen versions would be "at once superior and inferior," that Joseph on an adequate scale would be impossible, while the other tale, as a "moving panorama of scenes and incidents," might well
be successful. The editor closes with the somewhat whimsical sug- gestion that the thought of these two figures of old history as mod- ern movie heroes is "poignant and inspiring to the imagination."
When the day comes that will see pantomime on the stage, combined somehow with pantomime on the screen, the editor's last remark will be entirely justified. Whether or not the two media can be suc- cessfully fused remains for future ingenuity to discover.
The Independent (March 3) — Mr. Percival Remiers, in his regu- lar reviewing department, offers his readers a unique viewpoint from which to view Miss Swanson's Sadie Thompson, Miss Elagels' Man. Woman and Sin, as well as Mr. Jannings' The Last Command. The writer finds these characteri- zations almost lost in the haze of cigarette smoke employed to decoy the audience into dramatic traps. The Camel, Mr. Remiers finds, has come into its histrionic own ! An amusing article as well as a sug- gestive one. The reviewer closes in a more .serious vein, classifying screen greatness as that of the one- gun type and that of the arsenal type. Mr. Chaplin, in The Circus again gives us his typical and per- fect performance. What he would do in a picture of a different sort remains a conjecture to Mr. Re- miers. We might remind that gen- tleman that the scales fall some- what in Mr. Chaplin's favor as be- ing more than a single gu>i genius, if one recalls the moment in The Kid when Mr. Chaplin faced the
h
56
The Educational Screen
camera and registered a tragic re- action to the loss of his little waif. However much of a conjecture Mr. Chaplin's equipment may be, the movie goer must shout with Mr. Remiers that Mr. Jannings is, indeed, a whole arsenal and de- serves that much abused adjective, "great."
The Nation (February 29) — "Moving Pictures : Charles Chap- lin," by Alexander Bahsky, is an- other hearty acclamation of the Chaplin cinematic art. "Looking at our great Charlie Chaplin, I feel like patting myself," begins Mr. Bahsky, because he had written, at an earlier date, that the film, essen- tially a matter of pantomime and rhythmic movements, belonged to the acrobats, clowns and dancers, rather than to the actors of the day. Then, he continues, came Chaplin, and now we have, in the film world, only two classes of actors, Chaplin and the rest!
Mr. Bahsky then reviews The Circus, oflFering it as another high point in Chaplin's career of genius. "But we have no motion picture vaudeville as yet; that is, enter- tainment spurning illusionment ef- fects and making its appeal direct to the audience, simply and solely for entertainment." Here, the critic feels, is a rich and undevel- oped field, admirably suited to Mr. Chaplin's art and interest.
Sunset (March) — The second article concerning better motion pic- tures, by Walter V. Woehlke, dis- cusses the making of movies on a cheaper basis. The author vindicates his assertion, "that it can be done," by pointing to the Bluebird produc- tions, managed efficiently and fore- sightedly by Mr. J. O. Davis, and accepted thoroughly by the movie- goer. The author gives a detailed account of Mr. Davis' past work, his effort to organize production
twelve years ago, his failure to at- tract attention, his patience in wait- ing, and now his reward. Like the first article, this second brings clearly to the reader the. dreadful waste in production, the Heedless- ness of such waste, and the prom- ising reassurance of a change in these matters very, very soon.
The Living Age — "A Trip to New York," by W. J. Turner, needs comment here, only because Roxy's Paramount Theater was one of the outstanding features presented to the writer in his sightseeing. The gauche splendors, the bewildering roar of color and sound, the heavy paddings of rich hangings and car- petings left the writer feeling as most intelligent lovers of true beauty would feel. Although some New Yorkers may point to the Paramount, there are the encour- aging percentage of others who know full well that the huge cinema palace embodies nothing of that fundamental essential to all beauty — good taste !
The Outlook (March) — The second appearance of Arthur Sher- wood's "The Movies," as The Out- look's official resume of outstanding films, is, to the editor of this de- partment, less assuring than last month's department. It is very true that personal appraisements of vari- ous productions will be as numer- ous and different as the reliable personalities behind the criticisms. Yet, any marked dismissal of The Last Laugh as trick-photography and German uniform-worship, must shock a critic who admired the ob- viously successful attempt to photo- graph the illusive contours of psy- chological imagery in both the wak- ing and the sleeping states. Too, uniform worship is a shallow mean- ing to assign to the story's use of the old doorman's glittering ulster.
Mr. Sherwood made his remarks
in reviewing Sunrise, produced by Fox and directed by Mr. Murnau, who was imported by Fox to out- do his Last Laugh production. Con- cludes the critic, "Sunrise has all the cock-eyed camera angles, all the weird chiaroscure . . . the high tragedy and heart-breaking comedy of the great picture ... If The Last Laugh was Teutonic, Sunrise is cosmic."
Rose Marie, flippantly dismissed, and That's My Daddy, cordially welcomed, constitute the rest of the March film comment.
The Mentor (March) — "Fol- lowing in the Footprints of Beau Gest and Bean Sabreitr," by Otto C. Gilmore, is an interesting ac- count of the author's traveling, the reader's attention nicely "hooked" by the use of the two famous film and fiction characters as a string