i/lvi^Ji'' V'ft', ■ 1 ^vi -r ■•^ll'^Kn' smx^- it^L^ L From the collection of the Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/educationalscree27chicrich BRETT EDUCATIONAL 1348 THE MAGAZINE DEVOTED TO AUDIO-VISUAL MATERIALS JANUARY 1948 DESIGNED SPECIFICALLY FOR YOUR CLASSROOM rhe world of knowledge comes to life in each and every classroom with the use V of the new Victor Lite-Weight — the qual- %. ity sound projector specifically designed for your classroom. Simple to set up and easy to operate, the Victor Lite-Weight assures a new concept in visual educa- tion. Its flawless performance makes teaching easier, learning more accessible. Write today for descriptive literature on the revolu- tionary new Lite- Weight — the portable projector At The Head Of Its Pass. And the Victor Triumph 60 (or auditorium use and larger audiences indoorf and outdoors. The World of Knowledge Comes to Life WOi L>4RGEST SERV/CE ORGANIZATION T^/^J^imm/^f/r^^ ^(^/m^a^o/i^ CUKTISS-WmCHT CORPORATION New York ERS OF MOV Chicoqe • DUfrlbutori Throghoyt ^\^• World MOVIE EQUIPMENT SINCE THE STAFF PAUL C, REED— Editor JUNE N. SARK— Assistant Editor WILLIAM S. HOCKMAN — Editor for the Church Field ROBERT E. SCHREIBER— Editor for the Com- mercial Field DAVID E. CAESAR— Advertising Manager PATRICK A. PHILIPPI— Circulation Manager JOSEPHINE HOFFMAN— Business Manager DEPARTMENT EDITORS JOHN E. DUGAN __ Jenkintown, Pa. L, C. LARSON .^.Bloomington, Ind. ETTA SCHNEIDER RESS New York, N. Y. DAVID SCHNEIDER . . ..New York, N. Y. EDITORIAL ADVISORY BOARD V^/ALTER S. BELL, Director of Audio-Visual Education, Atlanta Public Schools. Atlanta. Georgia EDV^ARD G. BERNARD, Head, Instructional Materials Program, Board of Education, City of New York. I. C. BOERLIN — Supervisor, Audio-Visual Aids, Pennsylvania State College JAMES BROVi'N, Assistant Professor of Edu- cation. Syracuse University, Syracuse, New York EDGAR DALE. Head, Curriculum Division, Bureau of Educational Research, Ohio State University. AMO DE BERNARDIS, Supervisor, Audio-Visual Education, Public Schools, Portland, Ore. ELIZABETH GOLTERMAN, Director, Division of Audio-Visual Education, St. Louis Public Schools, St. Louis, Missouri GARDNER L. HART, Director, Audio-Visual Education, Oakland Public Schools, Oak- land. California FRANCIS W. NOEL, Chief, Division of Audio- Visual Education, California State Depart- ment of Education, Sacramento, Calif. F. DEAN McCLUSKY, Lecturer in Education and Director of Audio-Visual Education, University of California at Los Angeles PAUL VVENDT, Director of Visual Education Service, University of Minnesota THURMAN WHITE, Head of Department of Visual Education. University of Oklahoma The EDUCATIONAL SCREEN is published monthly except July and August by The Edu- cational Screen, Inc. Publication Office, Fontiac, Illinois; Executive Office, 64 East Lake St., Chicago, Illinois. Printed in the U.S.A. Entered October II, 1937, at the Post Office at Pontlac, Illinois, as Second Class Matter under the act of March 3, 1879. Mrs. Nelson L. Greene, Publisher. Address communications to The Educational Screen, 64 East Lake St., Chicago, III. SUBSCRIPTION PRICE Domestic $3.00 Canada _ $3.50 Foreign . $4.00 Single Copies .35 50- •;'78S3 Educational see THE MAGAZINE DEVOTED TO AUDIO-VISUAL MATERIALS Founded in 1922 by Nelson L. Greene Contents for January, 1948 Are You Guilty? As Viewed From Here. Seeing the Meaning Tommy's Day in the First Grade It's a "Snap" for San Jose Teachers Page .John H. Griffith 6 Paul C. Reed 10 Edgar Dale I I Ruth Hartlte 13 .C. W. Palmer 15 The Church Department William S. Hockman, Editor 17 A Motion Picture Work Shop 21 The Audio-Visual Club Royden M. Tripp 23 School Made Motion Pictures David Schneider, Editor 25 Teacher-Committee Evaluation of New Films L. C. Larson, Editor 26 Conference of DAVI National Executive Committee Vernon Dameron 28 The Literature in Visual Instruction Etta Schneider Ress, Editor 32 News and Notes 36 Audio-Visual Trade Review Robert E. Schreiber, Editor 41 Current Film iNews 45 Index to Volun;^ XXVI (1947) 48 Index to Advertisers 49 A Trade Directory for the Audio- Visual Field 50 COVER: A scene from the Encyclopaedia Britannica film "Play In the Snow". The collaborator Is Lawrence E. Briggs, M.S., Massachusetts State College, Amherst, Mass. The film is intended for elementary school children and shows the healthy, happy relationships of children playing in the snow. Volume XXVII Number I, Whole Number 258 fc.-.,-... 'ine in4iUinwn4(^ €^ i^^ic€i£ et^ui ptecAaH4C€i/ h/i.ec€^u>n . . . for Distinct Screen Images Under General Illumination Highly efficient slide projection is provided by the Model B Balopticon*. Popular for general instruction or visual demonstration with standard slides, this projector can be used with various lenses, at distances from 4 to 80 feet from the screen. Critically sharp screen images measuring up to 10 feet on the longer side, brilliantly illuminated from edge-to-edge, are pro- jected in rooms lighted adequately for note-taking or sketching. Extremely simple, light in weight, the Model B is easily operated and portable. Design and sturdy construction afford protection against damage from shock or tampering. Details available in catalog E-11. Bausch & Lomb Optical Company, 688-M St. Paul Street, Rochester 2, New York. "TraJemurk registered U.S. Pat. Off. Page 4 Educational Screen FIVE NEW SCIENCE FILMS YOUR SCHOOL WILL WANT TO USE! Here are five new 16 mm. sound films that teachers and students alike will welcome. They vividly portray, in microscopic detail and with time-lapse technique, the biological develop- ment of the fly, the earthworm, the chick, the sea urchin and the frog. Each is a scientifically correct, expertly pro- duced, single reel film, especially edited for use in the science classrooms of America. They may be purchased for $45.00 a reel. Wherever they have been previewed, at the American Museum of Natural History and other leading institutions, they have received a ready acclaim and acceptance. These five films are typical of the excelle:ice of all United World product— not only in the educational field, but in recreational and religious fields as well. SEE YOUR UNITED WORLD DEALER OR SEND THIS HANDY ORDER FORM TODAY! Distributors for Universal-International and J. Arthur Rank Incorporating Bell & Howell Filmosound Library & Castle Films 445 Park Avenue • New York 22, N. Y. I B I I I I o Memo O "aiAS°;^^e Audio Via. „^^6n,n,.sou;,J^^-!-? award "l'^ of these five n"*^^^"^ ^^s to the scL 7- «^ience ftate and terror ''^^^ each ^as made the j[S^ ^-^-A., '" '^' ««tabhsW r^"''^ P^'npremisesorT^u on its United World Filmi, Inc., 445 Park Avenue, New York 22,N. Y. Please send me the following films: TITLE No. of PRINTS PRICE TOTAL "LIFE CYCLE OF A FLY" "DEVELOPMENT OF THE CHICK" "EARTHWORMS" "THE FROG" "THESEAORCHIN" Remittance enclosed D Ship C. O. D. O Position (nstifufion- Addri Cily- Stot»- 1 am interested in the following film catalogues: j.i Educational D Recreational D Religious D January, 1948 Page 5 THE GREAT NEW FILM ON THE MOST VITAL SUBJECT IN THE WORLD TODAY... FOOD! ■*K* WORLD A Paul Rotha Film Produced By Films of Fact Ltd. Written By A. Calder-Marshoi! RCA Sound ^Successor Film to THE WORLD OF PLENTY) The Real Story of The World Food Situation Today, and THE UNITED NATIONS LONG RANGE PLAN Produced with the cooperation of Australia, Canada, India, Great Britain, The Netherlands, South Africa, The U.S.S.R., and the U.S.A. Animations by Diagram Films Ltd. Maps and Charts by Isotypes Itjsfitute THE WORLD IS RICH is a clear presentation of the basic facts. The world food shortage is due not only to the War; there has never been enough food to feed the people of the world property. The U.N. measures formulated in the Food and Agriculture Organizations ore dramatized, and the plan drawn up by the F.A.O. for the permanent improvement of farming throughout the world are de- scribed. Diagrams explain the trade relationships be- tween surplus producers and food importing countries. THE WORLD IS RICH asks: The suffering victims of the Atom Bomb ends one World War, but what about the suffering, poverty and hunger which may stort another one? The film answers: An assured world food supply is the only basis for world peace. Preview Prints Available at 25 Nationwide Service Points. Order Your Copy Now! 43 MIN. 1 6mm SOUNDFILM Sale Price $1 00.00 Releosed in the U.S.A. by FILM ALLIANCE OF AMERICA Inc. for the British Information Service Disfribufed Tbro The Foci/ides Ol m 1600 BROADWAY NEW YORK 19, N. Y. Circle 6-4868 Are You Guilty? JOHN H. GRIFFITH Director, Visual Education Galeshurg (Illinois) Public Schools THE following mistakes in the use of Audio- Visual aids can probably be duplicated in almost every school system. 1. Are you guilty of going on a picture drunk? Have you been guilty of showing several complete film strips, sets of 2 x 2 slides, or .several moving pictures all at one time? 2. Are you guilty of failing to prepare the student for that which you want him to see or understand? 3. Are you guilty of expecting a student to under- stand a picture, film, or diagram just because he looks at it? (A picture is not necessarily worth a thousand words.) 4. Are you guilty of failing to follow up the use of each aid with an explanation of points not under- stood and a check on what has been learned? 5. Are you guilty of failing to place the new vo- cabulary to be encountered in the film on the board? 6. Are you guilty of failing to ask unanswered questions about what is to be seen in order that the student will be alert in finding the answers to those questions? 7. Are you guilty of thinking, that because a cer- tain film is good, the whole school ought to see it whether it fits into their unit of work or not? 8. Are you guilty of thinking that a film which lasts only 10 minutes is a waste of time? (Atten- tion span of many children is not longer than this.) 9. Are you guilty of thinking. "I won't have to teach today because we are going to have a film"? 10. Are you guilty of thinking that a child gets all there is in a filmstrip or moving picture by seeing it once? 11. Are you guilty of failing to realize that many of the words you use are empty, meaningless words to your students and that they will continue to be so unless you are able to put meat on these word skeletons in the form of real and vicarious experi- ences ? 12. Are you guilty of not realizing that materials in this field which you may have considered worth- less in the past are now being replaced by excellent up-to-date materials? 13. Are you guilty of failing to think of visual aids as just one of the fine tools for learning and not a substitute for the teacher? 14. Are you guilty of believing that, because you have had bad experiences with poor films or strip films, poor projection, improper lighting, poor acoustics, failure to get materials at the time needed or failure to get them at all. no place to show them, etc. that this field can be of no future help to you? Page 6 Educational Screen an opaque projector comes ni An opaque projector is the primary projector for classroom use. No other type of projector can serve the same multifold purpose. No other projector is as economical to use. An opaque projector requires no expensive equipment such as slides or films. No tedious preparatory work is involved in its use. Take current events, for example. With an opaque projector, you can project important items directly from today's newspaper onto a screen in front of the class, so that the attention of everyone in the group is focused simultaneously on the happenings under discussion. In other subjects, too, an opaque projector is an unsurpassed aid. You can project full pages from books and magazines. You can project maps. Beautiful photographs, drawings, and paintings from Life, National Geographic, and other publications can be reproduced on the screen in their natural full colors. You can show your class actual objects . . . the form and colors of biological, botanical and geological specimens — rocks, plants, flowers, etc. You can show moving mechanisms such as the workings of a watch. The uses to which an opaque projector can be put in classroom and assembly hall are practically endless — limited only by the bounds of your imagination. It is a creative tool in a good teacher's hands. Every classroom should have an opaque projector. Charles Beseler Company has a complete seleaion of opaque projectors for class- room use. They range from simple, inexpensive models to projectors that accom- modate full SVi" X 11" page material from magazines and books. VU-GRAPH An amazing over- head projector that enables you to pro|erograni to meet the needs as discovered. In taking pictures for class use, we had in mind the use of a .^.Snini camera, black and white film, and the making of 2x2 slides. There is no longer need to fear the mechanics of the camera. With the e(|uipment being produced today, many of the difficulties of taking a good picture have been solved by invention and design. It is as simple to use the present 35 miniature camera as it is to use the well-known "Box" type with results that far sur])ass the latter. The Objectives In the first part of the study we hoped to dis- cover answers for four major questions : 1. W'hat kinds of pictures should be taken? 2. Who shall take the proposed pictures? 3. What administrative problems should be an- ticipated? 4. Would such a program be beneficial to teach- ers and pu])ils? The study reciuired six months to complete. .-Ml fourteen elementary schools in San Jo.se were vi.s- ited and the faculties of each elementary school were cimsidted individuallv. Two hundred ele- Men at work in the community are shown in these pictures taken by San Jose teachers. lueiitary teachers were reached in this manner and all were given an opportunity to answer the questions. The superintendent of schools, the elementary supervisor, and the head of visual education watched the study with interest. The superinten- dent was advised of every move, and he was most helpful as a consultant. The study became more meaningful to the department because of the interest, alertness, and responsiveness of the ad- ministration in making it something worthwhile and significant. It was found as one problem led to another that the visual education program depends upon many interrelated factors. When this study was begun, it had only one purpose. As it progressed, other problems were discovered and discussed. Since some of these problems were basic to the whole field of visual instruction, they had to be solved before San Jose's visual education program could advance. The discovery of these problems had in itself been of value to the school system. The Results A summary of the investigation follows: There are 200 elementary teachers teaching in 14 elementary schools in the city of San Jose. 1. To the question^ — "How many would be interested in an in-service training class in your own school to learn the use of this one specific camera and this one specific film?" 165 elementary teachers answered that they would be interested in such a class. 2. "Would you find it an advantage to take your own pictures?" 134 of the elementary teachers oi San Jose answ^ered "yes". 3. "If the methods and procedures projjosed were put into practice, how many feel you could use these materials to advantage?" 178 answered aftirma- tively. 4. "How many are using projected visual materi- als in your classroom at the present time?" 169 stated that they were using such materials getting them either from our own department or from other sources. 5. The reasons that were given for not using more projected visual materials were these: (a) Teachers felt they lacked time to get materials (b) lack of electrical outlets so as to use the pro- jector (c) didn't realize a projector was kept in the school (d) couldn't see use for visual aids in upper grades fe) fear of the mechanics of operating pro- jectors (f) can't see the use of projected visual materials for lower grades (g) too difficult to darken rooms (h) not enough material for primary grades (i) no material of interest on Santa Clara Valley (j) no material on community in which we live (k) materials too old — outdated (1) material not on child level (m) when material is wanted it is usually being used elsewhere (n) equipment too heavy to "lug" (o) not enough material for social science upper grades (p) no materials on explorers (q) material too vague (r) material not organized along subject matter lines (s) must transport class (t) no materials for airplane unit (u) some pictures taken poorly (v) ventilation becomes a problem with use of movie projector (w) can't keep materials long enough fx) more extension cords needed. 6. "What kinds of new picture subjects could you use in your classroom as an aid to your teach- ing?" The teachers answered: Home — neighbor- hood— school helpers — teaching traffic procedures — safety — how to play new types of games — health — social science dramatizations by elementary stu- dents and by high school students for elementary students — excursions — community activity — com- munity helpers such as postoffice. mailman, fire de- partment, lumber yard, milk man, police man, groc- ery man, vegetable truck, street cleaners etc. — ex- plorers— farm — points of interest in Santa Clara Valley — industry — pioneers — colonial period — west- ward expansion — charts for use with the funda- mentals— missions parent classes — places of interest in California — the California Indian — transporta- tion— pets — food — clothing — shelter — communica- tions— school orientation— nature study — animals — aviation near us (Moffett l-^ield ) — hcalih habits. Conclusions Piecause of the expressed enthusiasm tor such a program as indicated by this study the administra- tion arrived at the following definite conclusions : 1. It has been decided that teachers may take photo- graphs from wdiich slides may be used for class use. These will be made into sets to be retained bv ( Coiicludi-d ,>n page 34) Construction activities provide excellent subjects for the cameras of San Jose teachers. WILLIAM S. HOCKMAN. Editor, 1616 Marlowe Avenue. Lakewood 7. Ohio Motion Picture Worship Services THE TEMPI. ED HILLS is the tlrst of a series of eight complete worship services in sotind and natural color, running 40 minutes each, to be i^roduced by Youth Films Inc., headed by the Rev. Borland P. Dryer, of Hollywood, Cali- fornia (6406 Sunset Blvd.). The nature of the film will be better understood if the sequences, together with their duration in minutes, are given: Organ Prelude (3), Opening Service (2), The Doxology (1), Responsive Read- ing (1J4)- Congregational Hymn — "Come Thou .■\lniighty King" — (2), Introduction to the Film (yi). The Worship xMeditation (16), The Sermon on the Screen (8), Closing Meditation (31/4), Bene- diction and Prayer (1), Close of Service (1) The Organ Postlude (3). In the responsive reading Mr. Dryer takes the role of the preacher. In the worship meditation, the scenic splendors of certain Western canyons are presented on the screen and the meditative comments revolve around the theme "I will lift up mine eyes unto the hills." The screen-sermon stresses two thoughts : Half Dome in the Yosemite .Vational Park "graphically illustrates that God is eternal." and the "soft ujjright formations of re- cent geological erosions in Bryce Xational Park signify that human beings should also remain pli- able, to be moulded by the Maker." No pictorial material accompanies the organ postlude. and dur- ing it the house lights sh(juld come on. Utilization The proposed utilization of this film is as fol- lows: Mid-week ser\ ices as a study in spiritual values ; church night or church dinner programs ; church school worship; men's nights and women's meetings ; Sunday and week-day youth programs ; college chapel, and hospital or rest-home inspira- tional service. Utilization helps come with the film. The "ex- ])loitation package" contains a study guide giving a breakdown of the service, suggestions on how to use the service, suggested sermon material, sug- gested sermon outline, directions to the projection- ist for monitoring the amplifier, together with sug- gested newspaper stories and spot announcements for the local radio stations. The music of the films is (luite acceptable throughout. It is bright, full-bodied, and well-re- corded organ music. It wt)uld certainly be enjoyed and appreciated by most people. There is, how- ever, a sameness about it in the long scenic sections which might have been relieved by some well- placed silences and the introduction of new themes. Inadequacies In the three principal sequences which together add up to nearly -J^ths of the entire footage (27 minutes), there is inadequate integration of the pictorial and auditory elements. The meditative comments are imposed upon the scenes presented. The ideas in the meditation are not suggested by the picture sequences. One gets the impression that the basic assumption is that religious thoughts can be gotten into the worshiper easier while he looks at pictures. The two principal points of the screen-sermon (see above) do not grow out of the inherent character of the pictorial material, and both points are too incidental and whimsical to carry much force. Is it possible that the psalmist of old sang of nature because he had experienced (jod rather than because nature revealed God to him? The photography of the film (as photography) is technicall}- good. The use of panoramic material, with very few e.xceptions. is one of the funda- mental weaknesses of the film. There are no me- dium shots, no closeups, no angle shots, and no shots giving detail. We are confronted by the enormous, the spacious, the far-away to such an extent that the eyes hunger for some kind of detail. This is probably due to the character of the foot- age available. There are no surprises to delight us and stir the emotions. Scene succeeds scene monotonously. This lack of variety is a grave shortcoming. The makers of this film claim that it was "s])e- cifically desigjied to arouse the emotional factor of the subconscious to the highest level of spiritual inspiration." If it was so designed, something went wrong with the execution. The filtn lacks psycho- logical organization. There is little evidence that the producers thought out what they wanted the w()rshi]ier to exjjeriencc and then went out with the camera to get the picture seipiences which would bring this reaction about. The film has no ob\ ions or effective climax. January, 1948 Page 17 A thoroiig'h reading of the promotional material on this film leads inevitably to the conclusion that the flesh pots of entertainment have not been left very far behind. The exploitation of the film's use in press and radio in the interest of the big crowd and the substantial oflfering, certainly does not harmonize with the concept of worship which exists in the minds of the great majority of clergy and laity. At $590 per print and at $20 per rental the film is not realistically priced. Where are the distribu- tors who can come out on such a print price? It will take the first year's rentals to pay for the print, and promotion and overhead will be accum- ulating in the meantime. Where are the churches who can pay out of the budget such a rental ]>rice? To "promote" a crowd and take up an offering (fortunately) is not the way most churches are em- nloj'ing films in the enrichment of their programs. Those who insist upon the production of these ex- pensive films are only kidding themselves about the economics of visual education in the church, and they would do well to keep focused on the average American church rather than upon a few affluent ones. Films for worship and inspiration will be pro- duced eventually. They will be made by those who seek and find the implications of the elemental nature of the film for worship, and then integrate this knowledge with an understanding of the psy- chology of private and public worship. None of the so-called worship and inspirational films thus far produced give evidence of more than skillful carpentry. Every one lacks power, internal or- ganization, and sound psychological construction. Mr. Dryer is to be praised for his willingness to venture in this difficult field, and, if the literature emanating from Youth Films Inc. does not over- state his empirical mindedness, he will learn much as he builds other films, and by the end of the series which he has undertaken he may develop a formula which will be more satisfactory than is found in The Templed Hills. Some Suggestions In the meantime several judgments are ven- tured for what they are worth : The motion picture worship service, when it comes, will consist of at least three distinct parts : a) There will be an introductory segment which will bring the audience gradually, yet firmly, into the mood and the expectancy for worship. To pro- duce this, the best craftsmen of studio and chapel will need to join hands, and have a humble respect for several branches of psychology. Usual "orders of worship" may need to be discarded. b) The second part will be the body of the film, and it will be designed to evoke the worship re- sponses. The key for its organization will be the normal ])attern for emotional response and men- tal illumination. It will move to a climax, and it may be briefer than we now think. c) The closing part of the film will be distinct from the other two. It will ease the worshiper back into the work and moral striving of the world from whence he came for spiritual refreshment and a vision of everlasting values. (For more extended views on the film and wor- ship, see Chapter Six of Mr. Hockman's book. Projected Visual Aids in the Church. Pilgrim Press, Boston. ) News • The publishing interests of the Evangelical United lirethren have appointed visual aid personnel. The Evangelical Press, Harrisburg, Pa., has appointed the Rev. M. V. Fridinger as its full-time representative. The Otterbein Press, Dayton, Ohio, has named Floyd E. Watt as director of visual aids. Dr. Paul R. Koontz is the chairman of the committee on visual aids for the denomination's Hoard of Christian Education. • Three-dimension Bible pictures in color and in ac- tual photographs of living characters, developed jointly by Church-Craft Pictures, Inc., and Sawyer's Inc., Port- land, Oregon, will be released next month according to Victor B. Growcock, newly-appointed sales manager for Church-Craft. The.se Bible reels are seen through a (stereoscopic) Vievvmaster. Without doubt these pictures will be useful to ministers and chaplains in their visitation of the sick and other shut-ins. Left to right : Rev. Paul G. Kiehl of Church-Craft Pictures, Inc., Joe Leslie, sales manager of Sawyer's, Inc. and Ed Mayer and Harold Graves, executive officers of Sawyer's, Inc. Church-Craft Pictures • United World Films. Inc., has established a special Religious Films Division with William Sherman f^reene in charge. Mr. Greene is church school super- intendent at Christ Church, Short Hills, N. J. His division will issue a periodic news letter dealing with tiiotion pictures for church use. Send your request for their catalogue now in preparation, to 445 Park .Ave.. New York 22. Summarized, the Division's con- ditions for preview are as follows: a) recjuest by user for film to arrive day early; b) preview by church conference or committee duly authorized and ap- proved : c ) preview by prospective purchasers. • The I-"und For Near East Colleges (Room 1209, 45 Cedar St.. New York 5) is to be congratulated on its enterprise and wisdom in bringing to completion a 60-minute color film. Outposts of American Edncation, which tells the stories of the eight Near East Colleges Page 18 Educational Screen I'or which a fund of 15 milhon dollars is being sought. Across the years these colleges, little known to most Americans, have been oases of education and spiritual enlightenment. Their far-reaching iniluence is suggested by the fact that 29 alumni of these schools represented their respective countries in the San Francisco U. X. meeting. Serving the youth of six nations, they have an aggregate enrollment of ,'^.GOO students. The film is available on a rental basis. Write to the above ad- dress. Those churches and schf)ols who are interested but cannot project film, should asi< about the koda- chrome slides. • The World Council of Christian Education. New York, will establish a new department of religious films and slides. The department is made possible by a gift from Mrs. Clififord S. Heinz, Pittsburgh, a vice-president of the former World's Sunday School Association, predecessor of the Council. In London. J. Arthur Rank has underwritten the expenses of the project and is building studios specifically for the pro- duction of religious films. Films Seen AT the Green Lake Workshop and at several other seminars and conferences, the Editor had the op- portunity to see and u.se many films, some old and some liew, and observe the reaction of gronjis both large and small. Abralwin and Isaac is certainly not for children — unless you are unconcerned about concomitant learn- ings and attitudes. While it presents the story of Abraham's near-sacrifice of his son's life, it is too nakedly literal and gruesome for all save adults. .Itid No7v I Sec, new Cathedral film on stewardship for the United Lutherans, will be most useful within the spon- soring communion and have considerable value out- side. A bit slow and wordy, it gets its story told and Its point over. Some folks may be bothered by the miraculous element. Boundary Lines, impressionistic color and sound film, holds the attention and creates an impression. It can provoke discussion about the lines which separate men and groups from each other. Its informational con- tent is scant; its philosophy of history and its social psychology are pretty wobbly. In it picture, color, and music are neatly and elTectively integrated. Brother- hood of Alan was criticized on two counts ; the semi- comic cartoon medium, and on the easy assumption that the realization of proximity and inherent human equality results in altered behavior. We wish it did. The motives for brotherhood lie elsewhere — in the realm of religious ideas, motives, and attitudes. No Greater Poicer. the story of Zacchaeus, is con- sidered by many to lie the best film Cathedral has produced— with the ixissible excejition of their recent Queen Esther. It is not strange that this film is gener- ally prai.sed by church ])eo])le. It is a good film. Child of Beth!eheiii--hf. f(uality acceptable — is still the best film on the Christmas story. Faith Triumphant. one of the St. Paul series, is the best of the series and is widely used. The best Easter film to date is the British. First Faster, and there are so few prints of it in America Cathedral Films A frame from "How to Teach With Films." that it is probably booked solid for 1948. For All People, Cathedral film telling the story of the Church of All Nations in Los Angeles, is weak in that too little of the footage is devoted to an exposition of the work of the church. An older film. That They Might Have Life, on a similar story centering in N. Y., point by point is a better film, and cost much less to pi-o- duce. Home Are The Haunted, principally in color, tells the story of modern Palestine and contains some very fine ])hotography. It is not as compact, nor as useful as discussion background, as the March cf Time film, Palestine. How to Teach With Films (Cathedral) has limited usefulness because it implies a church school procedure many leaders consider basically un- .sound. Journey Into Faith, Cathedral's crucifixion dim, is not praised by those who know good films, even though is has considerable usage. Life With Baby. ^larch of Time's presentation of Dr. Gessell's notable work at Yale, finds general ap- jiroval. and religious leaders got out their notepads ^md put it down as one for young parents to see. A Nation Is Born, new film telling of the fight for free- dom carried on by Philippine educators and others imder Japanese occupation, shows no missionary work, except by indirection. Not By Bread Alone, techni- cally weak, can be used to help congregations visualize the reception and distribution of church-given relief by church agencies in Europe. One World Or None, the best film-plea for the con- structive use of atomic energy so far, makes a pro- found im])ression on all groups. It has information, plus logic, plus an impression. Because it appeals to the mind, it cannot be .so easily shaken off as The Way of Peace ( Lutheran ) and Boundary Lines. It has un intellectual content. Those who saw it paired in preview with tlie foregoing, were discussing it several days later. Wherever shown this summer, the films of the 2000 Years Ago series made a good impression on educa- tors, and were i^ronoiuiced useful. Here are films close to the "core" of church interest and need, and they ;ire being widely used l)y the church and the school — as useful in the latter as in the former. Shy Guy, showing a high school youth getting into .social circulation, was considered useful with both }outh and ])arent groups. The follow-up would be varied to meet the general character of the grou]). and January, 1948 Page \9 the specific objectives being sought. Much contro- versy arose over the usefuhiess of the alcohol film, Where Does It Get Yon? While useful with youth groups in raising discussion, it does not have the sci- entific solidity of It's The Brain That Counts — • the best film yet made on the subject. The Way Of Peace, recent American Lutheran film calling for repentance lest we destroy ourselves with atomic power, fails to convince. While negative in its major notes and weak as a motion picture be- cause of its puppetry and miniature sets, it can be used to condition congregations for a positive mes- sage. To follow it with discussion, is to mis-use it. For discussion, use One World Or None. The new Cathedral film, Amos, was well received by the Green Lake Workshop and ought to be found useful by the church. However, future films on Old lestament characters ought to have more drama and story. A somewhat more imaginative treatment will be needed than was given the prophet of social jus- tice. In Production and Releases • McHenry Films (537 S. Dearborn St., Chicago 5) announced December ISth as the release date on the sound and color film, God Is My Landlord, which tells the story of Perry Hayden's world-famous tithing wheat growing demonstration. It contains original shots made during the six years, some gorgeous har- vest scenes. It is available to clubs, schools, and inter- ested groups on a free-will oflfering basis. • Three new films from the studios of Religious Films, Ltd., of Great Britain are expected at an early date. Ruth will tell the story of the ancestress of King David, debunks racial pride, and sets filial piety and simple family life amid the aftermaths of war in a constructive message to our generation. The Burden Bearer illumi- nates and illustrates the great saying of Jesus, "Come unto me all ye that labor." The Wedding Feast is a faithful and sparkling presentation of the Parable ( Matt. 22 and Luke 14). The weakness of making excuses to justify disobedience is incisively revealed. • Let Us Give Thanks, a 30-frame filmstrip with the titles on the film, is an inspirational service of thanks- giving. The scripture, prayers, hymns, and meditation are completely visualized, and the film requires from 20 to 30 minutes. It is finished in a new "color-tone" process which gives rich harvest brown and white. Pattern For Peace is a filmstrip of 40 frames which presents religion's pattern for peace as seen by one of America's great preachers, Dr. Roger T. Nooe, of Nashville, Tenn. Both are fall releases of Church Screen Productions, St. Louis 12, Mo. • Many churches holding their every member visita- tion in the spring may want to consider using the 97- frame filmstrip, Teamivork. The narration, by Ever- ett Mitchell, is recorded on two 78 r.p.m. vinylite records. The setting for the pictures is a Lutheran church in Chicago (Edgebrook) where the congrega- tion acted out the visitation activities. The Muhlen- berg Press, Philadelphia is the distributor. Did You Know . . . That you can get glass-mounted 2x2 slides of the popular songs from Long Filmslide Service, 944 Regal Road, Berkeley 8, Calif.? Write for their film- strip and slide catalogue. . . . That the Veritone Recording Co., Box 30, Vil- lage Station, New York 14, will make chime records of the hymns and music which you desire? Each rec- ord is individually grooved directly from the finest grade genuine chimes. . . . That Cathedral Films has issued 21 of the fine hymns of the church on film ? Included are such hymns as Dear Lord and Father oj Mankind, 0 Master Let Me Walk With Thee, and the Doxology. Most of them run three minutes ; a few four. Inquire of your dealer or rental library. . . . That a two-record album, Said of Tarsus: His Conversion has been issued by Cathedral Films? The writing was done by the Rev. Harley W. Smith, Vicar of St. Nicholas Episcopal Church, Encino, Calif. These records are 78 r.p.m. and should be useful in home, church school, youth groups, and religious services. . . . That the Standard Publishing Co. (Cincinnati 10) is producing Biblicolor filmstrips on the Uniform lessons for 1948? Since no date or actual reference to the lessons appears on the filmstrip, they are useable in many other ways. There are 25 frames per film- strip, and two filmstrips per quarter. A theme and appropriate scripture is given on each frame. The color is of good quality. The legibility of the captions would be better if larger letters were used. SEND FOR YOUR COPY NOW First Printing Now Available — Price 60c The Religious Screeu WUliam S. Hockman, Editor A Reprint of 19 Helpful Articles from "The Church Department" of EDUCATIONAL SCREEN 30 Photographs and Diagrams, 64 Valuable Pages Lists Denominational Audio-Visual Directors Many Helps and Suggestions for Use in Your Audio-Visual Program EDUCATIONAL SCREEN 64 East Lake Street Chicago I, Illinois n Enclosed find 60c for which please send me one copy of "The Religious Screen." n Enclosed find $1.00 for which please send me one copy of "'1000 and ONE" as described elsewhere in this issue. Name .. Address City Zone State Page 20 Educational Screen A Motion Picture Work Shop THE four-day Production Work Shop held in Kansas City in early November was prob- ably without precedent in the film industry. It was attended by men and women from all sec- tions of the country — from Connecticut to Califor- nia, Oregon to Florida, plus four from Canada. There were 110 participants altogether, from uni- versities, associations and from industrial compa- nies. All were seriously concerned with the pro- duction of 16mm motion pictures. Planning the Work Shop Plans for the Work Shoj) grew out of many individual requests for such an experience-sharing meeting. The rapidly increasing use of motion pictures by educators, religious organizations, and industry created production demands that exceeded production capacity. So many schools and churches were going into the production of their own films, so many new producers were setting up shop that a great demand for knowledge of working tech- niques had arisen. This knowledge could be gained only by costly and time-wasting experience or by learning from someone else's experience. The Kansas City company no doubt recognized that any improvement in 16mm standards, any in- crease in its productive capacity, would indirectly be of value to the company as a 16mm producer and service laboratory. At any rate, the Calvin Compa- ny decided to share its seventeen years' experience with other producers by devoting its time and fa- cilities to such a project. There were no charges or registration fees of any kind ; the company merely sent letters to some of its customers and to others who might be interested, inviting them to partici- pate in an open forum discussion on the problems and procedures involved in 16mm motion picture In the Work Shop: Right to left — Kenneth Edwards, East- man Kodak Co.; Everett Miller, R.C.A.; Elliott Cooley, The Cooley Co.; Robert M. Corbin, Eastman Kodak Co.; John H. Maynard, J. E. Brulatour, Inc.; H. M. Stoepple- werth, Stoepplewerth Productions. production. The reception this invitation received clearly indicated the need in the field. Well-Organized Sessions Each person attending the meetings was given a notebook containing an outline of all the ma- terial to be covered. Each session was devoted to a particular subject with a complete outline of that phase of production. The discussions were led by company department heads. All material was taken up in detail, with each point open to floor discussion. For practically every discussion period, certain film examples were shown to demon- strate the common errors that are made in motion picture production. Larry Sherwood, Vice Presi- dent, and Neal Keehn, Calvin Company Operations Manager, spent the better part of two months going through thousands of feet of film accumulat- ing the sequences shown. Incidentally, the company received several requests for prints of this "what One of the Work Shop Meetings in Session January, 1948 Editor's Note This story of the 16mm motion picture produc- tion work shop recently held in Kansas City seems to us particularly significant for two reasons: 1. Here was a commercial film producer. The Cal- vin Company, opening wide its doors for customers and competitors alike, and sharing with them the practical lessons learned in seventeen years of pro- duction experience, and 2. Here was a real and valuable learning experience — a genuine "work shop", planned with careful at- tention to m-nute details and executed with con- summate skill. This is healthy evidence of growth in the 16mm industry, a frank recognition that the field is big enough for all, and that any improvement in standards is a gain for all. Page 21 Larry Sherwood, Calvin Co. Vice-President, holds forth on production techniques during one of the Work Shop sessions. not to do" material from university instructors who wanted to show it to their classes. The outline material also seemed to fit educational re- (juirements because extra copies were requested. Throughout the meetings there was an amazing frankness in the discussion of problems, the com- parison of experiences. The sessions were all lu-ld on a large sound stage where everyone could be comfortably accommodated and demonstrations made. In general, the day sessions dealt with broad topics concerning jjroduction techni(|ucs while the evening meetings were devoted to tech- nical problems. The night sessions were for peo])le particularly interested in a certain phase of pro- duction, such as camera, sound, editing, etc. The whole series of meetings was conducted in a se- quence similar to that which would be encountered in actual production. In other words, first came the film outline, then shooting the photography, editing, animation, master script, recording, etc. Subjects Covered Monday was taken uj) with a discussion of the lilni outline, the function of photography, some practical demonstrations of the use and limitations of Kodachrome, and then a demonstration of some {Concluded on page 24) In the Work Shop: Left to right — J. A. Wheeler, Fanchon & Marco Service Corp.; Rev. R. E. Southard, S. J., St. Louis, Mo.; Rev. Angelus La Fleur, Mount St. Francis, Ind. Page 22 Educational Screen 9 Audio-Visual Club This playlet may be used in assembly programs to stimulate interest in audio-visual education and especially to recruit projectionists. iNE. The storage-repair room of the Audio-Visual Depart- •nt of any junior high school. In center of stage is a table th film rewind and repair kit. At rear of stage is a small letin board on one side and portable screen on other. At extreme left radio-phono on small table. E.xtreme right another work table and storage cabinet. TIME. Second period in the morning any day. Cast of Characters. Walter Carl Bill All members of the Audio- Visual Jack Club Ralph Jim ( As the scene opens Walter, alone on stage, is rewinding a film, pausing now and then to make a careful inspection. Enter Carl, in a hurry.) CARL. What cooks? WALTER. Plenty. Where have you been ? CARL. I had to do an errand on my way. Am I late? What is . there to do anyway? WALTER. Look at the master sheet. It shows everything for the (Jay. (Points toward the bulletin board.) Help yourself. (Carl goes to bulletin and takes down master sheet.) CARL. Oh, yes! Let's see second period. (Reads) Rewind and clean films number 428 and 436. Teach boy from 8-A to cut a record. Give Jim a chance to take sound projector test. .Arrange for preview of film in auditorium. (Enter Bill from right. Carries silent projector, extension cord, reels of film, etc. Carefully rolls up cord and i)Uts it away. Inspects projector, checks inspection slip, and files it. as he speaks to boys. ) WALTER. How'd it go, Bill? BILL. Perfect! Not a single hitch. I'll just check over this projector and be on my way. Rewind these films for me will you, Walter? WALTER. Sure, Carl and I'll take care of it. Does this film go back to the Film Library? BILL. (On his way out) No. It's scheduled for the same rcmiii tomorrow, fourth period. I'll be seeing you. WALTER. So long. CARL. Who is the boy to learn about cutting records ? WALTER. Ralph ."Vnyboy. Do you know him? CARL. Don't seem to. When is he due? WALTER. He's scheduled for the first part of the period. 1 can't imagine what's keeping him. (Ralph enters.) RALPH. I'm Ralph .Anyboy. Is this where I learn to run the recording machine? WALTER. You've come to the right place all right. We'll teach you. CARL. You don't belong to the .'\udio-\'isual Club do you? RALPH. No, I couldn't get in. I'm going to try again next year though. Our English teacher wants a boy in 8-.A to operate the machine. I volunteered. Is it hard? WAITER. Nothing to it. We'll lielp you. ROYDEN M. TRIPP Central Junior High School New Britain, Conn. CARL. (Moves recording unit from left to the center of stage.) Well let's get going. WALTER. To begin with, you know this is a combination radio, record cutter, and playback. If you want to use it as a radio this small lever must point to the word "Radio." (Turns on radio, picks up few stations. Points out things to Ralph.) When you want to make a recording of something coming in on the radio, the lever must point to "Record Radio." If you want to make a record of someone's voice, turn it to "Record Mike." In order to play records, it must be on "Playback." In making records, this is the cutting head. This arm is lowered on the blank, and this point cuts the grooves. (Points as he talks) RALPH. (Interrupting) I think I'd get it better if you showed me. CARL. Do we have any blank records? WALTER. (Walking toward the cabinet, looking for record) Here's one. (Comes back with blank, shows Ralph how record is placed on turntable.) lARL. First step : turn pointer to "record microphone". Ralph, you're going to perform. (Hands him microphone) (Walter gets cutting head ready) RALPH. Oh! No! What'll 1 say? WALTER. Say "Mary had a little lamb." RALPH. That'll sound too silly. CARL. It was good enough for Thomas A. Edison when he made his first record, if the story's true, so it oaght to be good enough for us. Go ahead. WALTER. When I lower this cutting needle on the record, start talking. (Lowers cutting head — gives Ralph signal.) RALPH. Mary had a little lamb, etc. etc. (When record is finished, Walter lifts cutting head and stops turntable.) RALPH. How'd I do? CARL. The proof of the pudding, you know. You can hear it and decide for yourself. WALTER. Do you think you can play it back? RALPH. I'll try. Let's see. Turn the pointer to "playback". Start the turntable. Lower needle on record. (Listens to the record.) WALTER. Not bad, Ralph. You'll be on the radio before you know it. CARL. Anything else, Ralph? Want to try it yourself this time? Take something off the radio. That'll give you good practice. RALPH. That's a good idea. WALTER. Turn the record over and go ahead. RALPH. (Turns pointer to "Radio" and picks up a station on radio) How much volume? CARL. Turn it on loud. Watch the volume indicator. RALPH. Now check me if I'm wrong. Set the pointer toward "Record Radio." Put disc »n turntable. (Practices what he January, 1948 Page 23 is preaching) Start turntable. Lower cutting head. (Lets it record for a short time, then plays it back.) CARL. Not bad! Not half bad. You'll do, Ralph. RALPH. I'll run along now. I'll be seeing you. Thanks a lot, boys. (Ralph exits right.) WALTER. I'll get this radio out of the way while you get ready for Jim's test. (Jim comes in right) JIM. Am I late? WALTER. Too late for what? Making a record? JIM. No, I mean too late to take the test for my license. CARL. Oh, no! The machine is all ready for you. You're ex- pected to take it from the case, set it up, thread a film on it. run the film, control the sound, stop the projector, rewind the film, take down the projector and return it to its case. Do you understand? JIM. Oh, yes. I knew that. WALTER. Where's your check sheet? JIM. (Produces check sheet) Right here. (Gives it to Carl.) CARL. You have passed everything but the sound machine, haven't you? JIM. Yes. If I pass this, I get my license and operator's badge. Sure hope I can do it. Where's the film? WALTER. Here. Is it sound or silent? JIM. Sound. WALTER. How can you tell? JIM. It has sprocket holes on one side only. WALTER. Check that on the list, Carl. (Jim takes out projector, sets it up on table in center of stage, connects speaker. Cleans lens and makes good focus on screen at rear of stage. Cleans film gate, starts to thread film) CARL. I've checked you for all those steps, and I'm glad to see you've cleaned the film gate. That's important. ■JIM. I've heard that before. WALTER. Well you can't hear it too often. It not only makt> good projection but prevents damage to films. (Jim completes threading film. Turns on amplifier. Walter switches projector to silent speed when Jim is not looking. Jim prepares to start.) JIM. Am I all right so far? CAFL. I've checked you as O.K. in every space so far. Keep going. JIM. Here she goes. (Jim turns on projector. Sound burbles. Jim hurriedly adjusts volume and tone control. Looks blank. Turns off projector. Looks over projector — finally finds difficulty and corrects it.) JIM. I get it. Trying to play a little joke on me, eh? Smart guys ! Left it on silent speed. No wonder the sound was crazy. WALTER. No, Jim, we weren't trying to be smart. But that's a thing any operator might run into. You didn't check the pro jector to see if it was ready to start. Your check list has the things you should check. You didn't do that. CARL. Don't feel too bad about it. That can happen to a fellow when he's in a hurry or nervous. Just take it easy and follow the check list in order. Try it again. (Jim runs projector a little.) WALTER. O.K. That's enough. (Jim stops machine.) JIM. Did I pass? CARL. Take it down, and pack it up. JIM. All right. (Does it) CARL. Well, Walt, what about it? Do we pass him? WALTER. Oh, I don't know. Everything was perfect except the right speed for the film. Doesn't seem right to keep his license away from him when he really knows how to operate the machine, and yet we must uphold our standards. What do you think? CARL. About the same as you. Think you can remember about that one thing, Jim? JIM. Do you think I'll ever forget now? WALTER. (To Carl) Let's give him his trial license. CARL. That suits me. (To Jim) Of course this will be only your trial license. Then if you project ten reels in classrooms and have no trouble, you can have your Junior License and badge. JIM. What do I do to get my Senior License? WALTER. Oh, there's a lot more. Learn to use two types of cameras, exposure meter, and all that. Look it up in your manual. JIM. I will. By the way when do I start to get some jobs to run films for classes ? WALTER. Do you have any study periods ? .^nd are you doing well enough in class so that you can get excused from them ? JIM. Oh sure. Thursday, fourth period. CARL. (Goes to bulletin board.) Next Thursday, period four, you can run the machine in room 224. JIM. I'll be there. WALTER. Come in before school and get everything ready. (Carl looks at watch) CARL. Time for the preview. (Looks out toward the audience) The customers are here. Boy do they look eager? WALTER. Do you want to run the projector, Jim? It's all set up. JIM. Sure! This'll be my first time under fire. WALTER. You can't go wrong. We'll be right here. Help me with the screen will you Carl? (Carl and Walter lower screen for auditorium showing. Jim goes to projector set up in center of auditorium.) JIM. Lights out. (They project a movie for the assembly.) End A Motion Picture Work Shop (Contiiuicd from page 22) things to axfiid in .shooting;. Tuesday contintied along the production pattern with editing and the function of optical effects, both with many dem- onstrations. Tuesday afternoon was devoted to ex- amples of master scripts and various types of nar- ration. The great difference between writing foi audio-visual aids and writing other types of script work was shown in many examples. Sound recording and laboratory work were the subjects of the Wednesday discussion. Allen Ja- cfjbs and Bill Hedden. sound engineer and labora- tory supervisor for the company, presented their material in a surprisingly simple and clear man- ner. .Several sound tracks had been especially re- corded to show some of the fundamentals of record- ing. The same was true of the laboratory discus- sion, including examples of what could be expected from a reliable laboratory and some things not to expect. The last day of the meeting was taken tiji with the problems of utilization and distribution of pictures. This portion of the program was es- pecially interesting to the 'idustrial users in at- tendance. The importance of showing conditions was particularly stressed : anything that would detract the audience's attention from the screen should be axoided at all costs. The final meeting, on Thursday afternoon, was thrown open to a general recapitulation of the whole session. Cjreat interest was shown in making the ^^"ork Shop a yearly meeting. Page 24 Educational Screen DAVID SCHNEIDER. Editor, Evander Childs High School, New York City Navy's Special Devices ON Saturday, December 6, the Fourth Annual Higher Education Conference was held at the School of Education, New York University. The theme of this conference was: Aids to College Teaching, and, needless to add, those were Audio- Visual Aids. The exhibits included materials of instruction organized under different subject departments, such as Speech, Business, Home Economics, Music, Foreign Languages, Science, etc. Your editor was very much impressed with the materials produced by the U. S. Navy's Special Devices Center — truly school-made visual aids to learning. Among the most interesting of the Navy's devices was the Automatic Rater, a kind of pinball machine, consisting of pushbuttons, numbers, cards and lights — a gadget to tempt the worst cases offer- ing resistance to learning. The Automatic Rater can be used in every field of learning where mastery of certain facts is basic to further progress. On the vertical panel are seven pushbuttons, beneath each of which appear numbers 1 to 7, indicating multiple choice of answers. Below these numbers, to the left, is a small window indicating total questions (from 1 to 10, after which the numbers, though not the same questions, reappear.) To the right is an- other window which lights up with the total score. .\t the bottom of this panel is a sign which lights up in green (left side) with the words, "Correct .A.nswer", if the right pushbutton is moved — other- wise the red sign, "Wrong Answer" will show up at the right. The Question card with the multiple choice of answers appears in a window in the left side of the horizontal panel. The operator pushes the button in front of the panel to put the question card in po- sition. He then presses the button on the upper panel to correspond with the choice of his answer. There is a marked timing device which allows four seconds for reading the question, with the score thereafter computed at a decreasing rate of one point per second of delay. No score is recorded if the selected answer is incorrect or if no answer is triven within the twenty seconds, the maximum time limit. The operator can immediately learn the correct answer by looking in the upper right hand corner of the card, after it is fed into a second window following the registration of the score. As was pointed out previously, this machine may be very helpful for students in acquiring funda- mental facts based on the stimulus-recognition- response idea, but where, oh where, is the machine that can actually teach our non-verbal minded stu- dents to think? New EFLA Plan THE Educational Film Library Association — EFLA, to tho.se familiar with its organization and activities — has set up a plan, long overdue in the educational world, whereby it will undertake to distribute films produced by schools, colleges, and other educational institutions. EFLA will, through its literature, publicize those films acceptable for distribution and will send on to the producers all orders for purchase of such films. EFLA will defi- nitely not handle any requests for rentals. The advantage of this plan to prospective pur- chasers as well as producers is that they do not have to send their orders for films to three or four distributors. EFLA will act as a clearing house for them. Secondly, the EFLA stamp of approval will represent the certification that the film was pedagogically planned and produced — a certifica- tion, we hope, which will be on par with the AMA stamp placed on material things which enter the physical parts of the human body. Producers will benefit from this plan in two ways. EFLA will publicize their films to an exclusive list of film buyers. The prestige of an EFLA stamp of approval should certainly enhance the producer's reputation. The preliminary announcement lists the follow- ing films ; From Pennsylvania State College : Baby Care — Feeding, Construction of a Light Airplane, and Drafting Tips. From Association Films : Play Championship Basketball. Play Volleyball, West Point Championship Football. Vou and Your Family, and Vou and Your Friends. I-'or further information ad- dress the Educational Film Library .^ssn., 1600 Broad- wav. New York 19. N. Y. January, 1948 Page 25 TEACHER - COMMITTEE EVALUATION L. C. LARSON, Editor Director, Audio- Visual Center Indiana University. Bloomington Party Lines (Bell Telephone Company, distribution by local company) 17 minutes, 16 mm, sound, color. Eddie .-Mbert Production. Loan, Description of Contents: The necessity for sharing many conveniences with our families and neighbors is dramatized by Bill Baird's marin- nettes. Arriving home from work, the hero greets his dog and tries to make a telephone call. His neighbor, however, is talking to her friend on their party line. After an animated diagram explains how telephone party lines operate, an- other scene shows what would happen if the neighljor woman were as inconsiderate about parking her car in the driveway as she is in monopolizing the telephone line. While the two women continue to chtv on a very lively conversation, the man's telephone itself explains that some people just don't realize how selfish they are. The good and bad natures of the neighbor woman, personified as an angel and a demon, fight each other, with the angei barely winning. Next, a giddy high school couple, he standing beside a juke box and she sprawled on a daven- port at home, get possession of the line. The demon en- courages the boy to continue his "jivey" conversation, while the girl's father fumes at having to wait to use the telephone, just as he has to wait while she lolls in the bathtub. The next time the hero tries to use the telephone, an- other man on the same line is making a long list of calls without giving others a chance between calls. Just as our friend's telephone rings and he begins a long-delayed con- versation, another neighbor interrupts to try to get the line. The resulting quarrel is compared to the battle be- CAROLYN GUSS, Instructor, School of Education RETTY STOOPS. Film Librarian. Audio-Visual Center Indiana University, Bloomington tween two medieval kni.ghts on a narrow bridge. The com- mentator points out that such a battle doesn't get us any- where, while a spirit of cooperation does get us places. .\nother day, the hero sees a fire in the neighhorhnnl When he tries to use the telephone to report it, a grouchy m^n refuses to give up the line. This same man discovers, too late, that it is his own house which is burning. The commentator again points out that although every call is not an emergency, sharing the line keeps everyone happier. .Several an,gels on a cloud illustrate desirable sharing of a line, and then the other characters follow the example anfl acquire halos. Committee Appraisal: Very clever marionettes are used to show with the humor of exaggeration how thoughtlessness and deliberate selfish- ness can inconvenience and irritate one's neighbors. Al- though the action throughout is based upon the sharing of a telephone party line, the implications are much wider, as the narrator points out repeatedly. The film should P'ove a thought-provoking basis for discussion by any .i^roup interested in problems of family and community relationships. The treatment is suitable for age levels ranging from elementary to adult. Pasteur's Legacy Eddie ,Ml)erl Pniduct'i.n Marionettes do the acting in "Party Lines.'" Page 26 ( Modern Film C orporation. 729 Seventh .\venue. New York City 19) 2i minutes. 16mm, sound, black and white, translated and copyrighted by Loew's International Cor- poration. 1947. Produced l>y l.es Films Minerva, Paris, France, with cooperation of l.'lnstitut Pasteur. Description of Contents: Filmed at the Pasteur Institute, the film ile))icts Pasteur's scientific research and discoveries as they contribute to the welfare of mankind. The film shows Pasteur ;it the age of thirty-three, com- missioned to do research, working on the causes of fer- mentation in wines, milk, and vegetable juices. His dis- covery of the microscopic organisms, or microbes, which cause milk to sour resulted in pasteurization of milk. The ne.xt sequence of the film is devoted to Pasteur's research in innoculation of chickens, sheep, and swine which resulted in the discovery of vaccines, valuable not only to animals but also to human beings. When Pasteur was sixty-six, the Pasteur Institute in Paris was founded in 188S. Pasteur worked here in his own niemorial for seven more years. The film first shows Pasteur at work here and then other scientists at work carrying on the Pasteur tradition. Pasteur's development and use of the rabies anti- toxin are shown in detail. Concluding scenes of the Institute's work in making industrial ferments and beneficial cultures and vaccines and using new and wonderful ma- chines offer interesting contrast to the opening ones showing I'astenr with only such equipment a,-- a P>\msen burner and a very poor microscope. Committee Appraisal: The three main purposes defined by the i>review com- mittee were (1) to present Pasteur's research and achieve- Educafional Screen nients. (2) to show the scientitic method tlirougli actual lahoratory experimentation, and (3) to develop an apprecia- tion and understanding of the importance of devotion and patience in scientific research, llie fihii should be effective for use by science classes in the high school, bacteriology classes in the university, and adult groups discussing public health. The Photomicrographs are excellent and the pho- tography, in general, is good. The Hare and the Tortoise (Encyclopaedia Britannica Films, 20 North Wacker Drive, Chicago 6, Illinois) 11 minutes, 16mm, sound, black and white." 1947. $50.00. less lO^r educational discount. Description of Contents: Based upon .Aesop's fable by the same name, the film through actual photography pictures the conclave of ani- mals who set up the race between the hare and the tortoise and are j resent as the tortoise crosses the tree root — a winner. As the rooster, goose, owl, fox, tortoise, and rabbit visit in the woods one day, the rabbit brags of his own fleetness. The tortoise, bored with the rabbit's bragging, challenges him to a race. The owl is chosen referee and appoints the fox to lay out the course. The fox marks a difficult one, and the owl starts the two contestants on their way. The film follows first the hare as he easily outruns his opponent and gains a safe lead on the tortoise — such a lead that he feels perfectly safe in taking time out to nap. As the rabbit falls deeper and deeper into sleep, the steady tortoise faithfully plods along through the hollow log, across the stream, over fallen debris, past his slumbering competitor, and over the victory line. The rabbit is awakened too late by his friend the raccoon, and his flashy efforts to out-run the tortoise avail him naught. The film ends as the owl blinks his eyes and utters the words of wisdom, "Slow and steady wins the race." Committee Appraisal : The film brings .Aesop's fable "The Hare and the Tortoise" to the screen through a delightful use of actual photography of real, live animals. Children in the kinder- garten and early primary grades shouUl enjoy the warm animal personalities and their almost-human behavior. The committee felt that the film would be effective in stimulating interest in reading and oral expression, as well as creative dramatics. .\ny liberties that Miss Storm and the producers may have taken with the original story or with actual animal behavior should not detract from the effectiveness of the film in terms of its contributions to developing a worthwhile nioral or evoking spontaneous expression. Encyclopaedia Britannica Films Aesop's Fable comes to life in "The Hare and the Tortoise." January, 1948 Coronet Productions A member of the cast in the film "Snakes." Snakes (Coronet Productions, 65 E. South Water Street, Chicago, Illinois) 10 minutes, 16mm, sound, color and black-and- white, 1947. $90 and $45. Description of Contents: The three principal sequences of the film show (1) the structure and habitat of snakes, (2) the identifying char- acteristics of poisonous snakes, and (3) the various species and contributions of non-poisonous snakes. Close-up shots of snakes crawling show that they use the scoops, or scales, on the underneath part of their bodies and a sidewise form of locomotion, or winding. .•\ snake is shown catching live prey and swallowing it whole. .Again close-ups are used to show the structure of the mouth and the presence of skin between the scales which makes possible the encompassing of live food. The distinction between poisonous and non-poisonous snakes, in the case of the rattler, copperhead, and cotton- mouthed moccasm, is made on the basis of the presence of a pit between the eye and nostril. The fourth and only other type of poisonous snake, the coral snake, is identified by its markings. The last sequence of the film is devoted to such non- poisonous snakes as the garter snake, the corn snake, and the king snake. Such advantages as snakes' eating mice and rats are pointed out. A battle between the king snake and a rattler results in a victory for the king snake, against which the poison of the rattler is not effective. The concluding statement of the film points out that most of the hundreds of kinds of snakes are non-poisonous and can be studied and^ observed. Committee Appraisal: 1 he him i- good for showing the appearance, habits, activ- ities, and structure of several types of reptiles. It should l)e very effective in bringing out the basic differences between poisonous and non-poisonous snakes. The ex- cellent color photography contributes a great deal to the value of the film. Recommended for use by general science and biology clisses from intermediate through senior high school level and adult nature study groups discussing snakes. Page 27 Conference of DA VI National Executive Committee THE National Executive Committee of the NEA Department of Audio-Visual Instruc- tion held a series of meetings October 26 and 27 at the Hotel Continental in Kansas City, Missouri. President Stephen M. Corey presided over the meetings. Ihe secretary presented a resume of the DAVl Progress Report for 1946-47, which had been pre- pared as background information for the meeting. He suggested an agenda, solicited proposals for any additional topics to be considered, and requested the group to assign an order of priority for discussion of the topics. The following agenda, and order of priority, was decided upon : 1. Major objectives of the Department and means of attainment 2. Relationship between DAVI and the NEA Divi sion of Audio- Visual Instructional Service 3. Divisional organizations for afifiliation with thv; Department 4. Constitutional matters for decision by the National Executive Committee 5. Publication policies of the Department 6. National conferences of the Department 7. Piojects proposed for joint action by DAVI and other NEA departments 8. Any additional topics growing out of the preced- ing discussions Major objectives of the Department and means of attainment. President Corey stated that the objec- tives of the Department should be expressed in terms of service, leadership, and research. Mr. Albright stated that the activities of the Department should be considered in two phases : an immediate program and a long-term program. He then presented a de- tailed plan for an immediate program based upon the objectives of the Department as specified in the Con- stitution. A subcommittee was appointed to study the matter further and was instructed to report back to the Committee the following day. Following is an outline of some of the major aspects of this report : I. Promote effective utilization of audio-visual materials. A. Offer assistance to affiliated divisional or- ganizations in planning and conducting their meetings. B. Establish a speakers' bureau to serve state education as,sociations upon request. C. Channel selected articles on audio-visual ma- terials to the journals of various NEA de- partments. [I. Serve as a clearinghouse of information on the audio-visual field. A. Prepare and distribute bulletins, each deal- ing with a single audio-visual subject or problem. P>. Refer inquirers to audio-visual specialists. VERNON DAMERON, Executive Secretary located in their respective areas, for consul- tation on local problems. C. Assemble and make available a series of reprints of selected articles on various audio- visual subjects and problems. III. Promote teacher education in audio-visual in- struction. A. In-service training. 1. Provide guidance for audio-visual confer- ences in teachers colleges by collecting and making available copies of selected conference programs of various colleges. 2. Provide guidance for audio-visual con- ferences in school systems by collecting and making available copies of selected conference programs of various school systems. B. Pre-service training. 1. Cooperate with the teachers college asso- ciations to encourage increased use of audio-visual materials in the various colleges. 2. Collect and make available to teachers colleges selected syllabi of audio-visual courses. 3. Cooperate with state departments of edu- cation to promote pre-service education in state teachers colleges. 4. Cooperate with state legislatures to en- courage the allocation of more adequate funds for pre-service education in state teachers colleges. IV. Promote audio-visual instruction via NEA departments. A. Provide information on audio-visual instruc- tion to the various departments. H. Offer assistance in planning audio-visual sessions for meetings of the various depart- ments. Some consideration also was given to the long-term program. I. Promote and conduct research in audio-visual instruction. .\. Contact deans of institutions of higher edu- cation, suggesting topics of needed research and offering the cooperation of the Depart- partment in supplying information. B. Assist institutions of higher education to obtain grants in aid when necessary and possible. C. Confine the research conducted by the De- partment to those jirojects which are most needed and practical, and for which the Page 28 Educational Screen Department is uniquely qualified, such as : 1. Organization, administration, and finance (Project I) 2. Architectural facilities (Project II) In addition to the foregoing, the desirability of con- tinuing to interpret audio-visual instruction to the public via press, radio, and popular lay publications was discussed at considerable length, and several pro- posals were made in this regard. A plan was proposed for a project in cooperation with other national organizations to promote teacher education in audio-visual instruction thruout the na- tion. With reference to a related matter, a resolution was passed to the effect that the National Executive Committee attempt to obtain funds for a project aimed at studying and increasing the use of audio-visual materials in teacher education institutions. The presi- dent and secretary were instructed to investigate the possibilities of obtaining financial support for the pro- ject and to report back to the Committee not later than at the Atlantic City Conference next February. Relationship between DAVI and the NEA Di- vision of Audio-Visual Instructional Service. Some confusion exists in regard to the relationship be- tween DAVI and the NEA Division of Audio-Visual Instructional Service. Following is a brief explana- tion in regard to the matter : 1. There are 29 Departments of the NEA, each of which is a membership organization, has its own elective officers and executive committee, and formulates its own policies and procedures in an autonomous manner within the general purposes and policies of the NEA. The major purpose of a department is to serve its own members. DAVI was given tlej^artmental status by the NEA in 1923. 2. There are 15 divisions of the NEA. Divisions have no memberships and are an integral part of the headquarters staff, functioning under the direction of the NEA Executive Committee. Those divisions for which there is a related department are : Division of Adult Education Service — Department of Adult Edu- cation ; Division of Rural Education Service — Depart- ment of Rural Education ; and Division of Audio- Visual Instructional Service, which was established in September 1945. 3. There is a close relationship between the objec- tives and activities of the Department and Division, although some of these are of more specific and direct interest to one than the other. 4. The funds for all salaries, equipment, and operat- ing expenses — with exception of the expenses for cer- tain special Department activities — are paid thru the Division by the NEA. A motion was carried to the eflfect that the presi- dent and secretary explore the possibilities of effect- ing closer coordination between DAVI and the related Division. Proposals for a more adequate budget for the De- partment were discussed at considerable length. Divisional organizations for affiliation with the De- partment. The group concurred with the suggestion that the audio-visual sections of the state education associations should be encouraged to affiliate with the Department. However, it was recognized that even though this may be a desirable general pattern of affiliation, considerable flexibility would be permitted. Therefore, various local, regional, and state audio- visual organizations also are eligible for affiliation, as specified in the Constitution. A motion was carried to the effect that the establishment of new audio-visual The officers and national delegates are (left to right): F. Dean McClusky, University of California, Los Angeles, First Vice President; Grace Fisher Ramsey, American Museum of Natural History, New York, N. Y.; E. Winifred Crawford, Montclair Public Schools, Mont- clair. New Jersey: Vernon Dameron, National Education Association, Washington, D. C, Executive Secretary; Stephen M. Corey, University of Chicago. Chicago, Illinois, President; C. R. Reagan, President, Film Council of America, Austin, Texas; Helen M. Rachford, Los Angeles County Schools, Los Angeles, California; Thurman White, University of Okla- homa, Norman, Oklahoma. (Another national delegate, Roger Albright, Motion Picture Asso- ciation, Washington, D. C, participated in the meetings but was unable to be present when this photograph was taken.) January, 1948 Page 29 organizations and the expansion of existing organiza- tions for affiliation with the Department he encouraged regardless of whether all members of the local organi- zations are members of the Department. It was recog- nized that a national system of affiliated divisional or- ganizations would greatly strengthen the Department as an organization and substantially increase the effec- tiveness of its program. Constitutional matters for decision by the National Executive Committee. Following are the decisions which were made in regard to membership diies : active membership, $3 ; associate membership with publication, $3 ; associate membership without publica- tion, $1 ; institutional membership, $3. A motion was carried directing that the practice of allowing $1.50 of each membership fee for a subscription to Educa- tional Screen be continued, until at least September 1, 1948. A motion was carried specifying that 75c of each $3 membership fee be returned to the affiliated division, until at least June 30, 1948. A motion was carried authorizing the appointment of a committee to study the entire matter of membership dues and to de- termine their most equitable allocation. A motion was carried to the effect that the mem- bers of the National Executive Committee present recommendations at the next session of the Committee for any revisions of the Constitution. Publications policies of the Department. A motion was carried directing that Educational Screen be designated the official publication of the Department, until at least September 1, 1948. Several proposals were made in regard to more extensive and effective use of Educational Screen by the Department. The importance of cooperating with all educational audio-visual journals was recognized, as well as the need for channeling materials to non-audio-visual jour- nals in the field of education. National conferences of the Department. A sub- committee was appointed to formulate a suggested plan for the forthcoming Atlantic City conference of the Department and was instructed to report back to the Committee the following day. The plan was designated as one which the Atlantic City Conference Committee may wish to include for consideration along with other plans. President Corey appointed James W. Brown of Syracuse University as Chairman of the Atlantic City Conference Committee. The necessary funds were ap- propriated for a meeting of the Conference Committee. It was decided that the Atlantic City Conference would be held February 23 thru 25, with morning and after- noon sessions on the 23rd and 24th and an afternoon session on the 25th. It was pointed out that one of the general sessions of the NEA American Association of School Adminis- trators was being planned to feature a demonstration of the use of audio-visual materials and that three dis- cussion group meetings on the audio-visual field also were being planned. A resolution was passed to the effect that the Na- tional Executive Committee urges the American Asso- ciation of School Administrators to provide for the presentation of audio-visual instructional materials at a centralized location during the Atlantic City Convention. It was agreed that at the Atlantic City Conference, wider publicity shall be given to the official publica- tion, Educational Screen, and Sec and Hear. A motion was carried to the effect that, since the proceedings of the Atlantic City Conference last March and of the Cincinnati Conference last July have been published in Educational Screen, no further plans should be made for publication and distribution of these proceedings. It was proposed that an official decision be made in regard to the disposition of reports on the forth- coming Atlantic City Conference. A resolution was passed in which it was urged that a meeting of the constituent members of the Film Council of America be held during the AASA Conven- tion. Projects proposed for joint action by DAVI and other NEA departments. Consideration was given to five audio-visual projects proposed by NEA depart- ments for joint DAVI action. The various projects were proposed by the Department of Adult Education ; National Association of Health, Physical Education, and Recreation ; National Commission on Safety Edu- cation ; National Association of Secondary School Prin- cipals ; and National Science Teachers Association. Three additional proposals by other departments rec- ommending action by DAVI also were considered. Because of the urgency of two of the cooperative pro- jects, the secretary was authorized to proceed im- mediately to solicit the cooperation of DAVI members on these two projects. A motion was carried instruct- ing the president to appoint a DAVI Publications Committee, part of whose function will be to study the other proposals for cooperative projects and to make recommendations to the National Executive Com- mittee for action. A second motion in regard to this matter instructed the president to postpone the appoint- ment of the general Publications Committee until the existing special committee on official publications has made its report. It was agreed that the general Pub- lications Committee should be appointed before Janu- ary 1, 1948 if possible. Additional topics considered. The secretary w as in- structed to send communications to various individuals and organizations, including one with reference to the Department's availability to cooperate in an interna- tional meeting of United Nations members on audio- visual instructional materials and another in regard to the urgency of providing an adecjuate budget for the production of films explaining the United Nations to the peoples of the world. A motion was carried authorizing Miss Grace Fisher Ramsey to represent the Department as a member of the United States Film Committee of the United Na- tions ; another motion was carried authorizing Miss E. Winifred Crawford to serve as alternate member of this Committee. In view of the fact that many of the projects pro- posed for the immediate and long-term programs al- ready are in various stages of accomplishment, the secretary was directed to recommend an order of priority for engaging in new projects to efl'ect a well-bal- anced program of service. . Page 30 Educational Screen ImpertanI news for teachers and pupils... 6 IMPORTANT NEW ENCYCLOPAEDIA BRITANNICA FILMS! Every new EBFilm is a powerful contri- bution to good teaching, because every EBFilm is an authentic and forceful aid to learning. And because every EBFilm is core curriculum mate- rial . . . produced by educators jar educators— designed specifically for classroom use. Ready for you now are six new EBFilms: USING THE BANK, MEANING OF LONG DIVISION, A DAY AT THE FAIR, MAKING BRICKS FOR HOUSES, THE DOCTOR, and BUILDING A HOUSE ... ab- sorbing classroom material that will focus at- tention, provoke discussion, make both teaching and learning more effective, more thorough. You'll want to see these films right away . . . and plan to use them in your classes. Re- member . . . EBFilms are easy to obtain, easy to use, easy to budget. Write now for full infor- mation. EBFilms Also Announces 3 New Teaching Slidefilms Series THE HUMAN BODY —A slidefilm series of 8 self-contained teaching units. Au- thentic drawings, photographs, and micro-photographs present a difficult problem in a memo- rable way. ANIMAL FRIENDS- Produced by popular demand from eight great EBFilms. To be used alone or in conjunction with the films. Especially ef- fective in language arts courses in pri- mary grades. USING NUMBERS - 1 6 reaching units that cover clearly, simply, and understandably the meaning and use of numbers. Includes counti ng, reading numbers, writing numbers, and work- ing with numbers. USING THE BANK Explains banking functions so that even youngsters can grasp important financial opera- tions. Makes arithmetic both meaningful and fun to learn. Shows basic step-by-step proc- esses in modern house-build- ing, and how skilled craftsmen use tools and materials to build a low-cost one-family home. A DAY AT THE FAIR This film shows the gay, bin serious trip of three bright youngsters to a great state fa.i . and teaches many lessons about farm life and farming. ENCYCLOPAEDIA BRITANNICA FILMS INC. ^m I 20 NORTH WACKER DRIVE CHICAGO 6, ILLINOIS January, 1948 Page 31 lITEMTUREm ni)''C" f^W. ISUAl INSTRUCTION ETTA SCHNEIDER RESS, Editor BOOK REVIEWS • The Art of the Motion Picture — Jean Benoit-Levy, Director of Films and Visual Information, United Na- tions Department of Public Information — Coward-Mc- Cann, N. Y. 1946. $3.50. Translated from the French by Theodore R. Jaeckel. (French original, Les Grandes Missions du Cinema, published by Parizeau in Montreal, Canada. 1945) An unusual book on the motion picture, The Art of the Motion Picture is the synthesis of one man's successful experience with all types: the theatrical, the documentary, and a variety of educational, scientific, and instructional films. Jean Benoit-Levy's life work has cut through every one of the "genres" to which he devotes a great deal of attention. In his opinion, the art of the cinema lies in the many types ("genres"), each with its own unique possibilities. The author is well-known in the I^'nited States as the director (more accurately, "film-author," which includes writer, director, editor) of such dramatic film classics as La Maternelle, Ballerina, and Helenc. These French films are perennial favorites in theaters throughout the world, for they are dramatizations of basic human problems that never go out of date. Surprisingly enough, the book begins with a serious discussion of the role of motion pictures in education, and postpones an analysis of the theatrical film until the latter portion. This is because the author, though occupied with dramatic film production for many years, believes strongly in the part that informa- tional and instructional films can play in bringing about mass enlightenment and international peace. Fundamental Laws of the Film For all types of motion picture production, the author believes that there are certain fundamental laws to be observed: first that the film author select a strong, concrete idea ; and secondly, that he choose the genre of film that will best interpret that idea. Genres of informational films include the classroom films (instructional, enrichment, or "the window opened on life", scientific, and professional films), films for adult education (those that are self- explanatory, as short subjects shown in theaters, and those that are to be accompanied by a lecture). Among documentary films, the author lists the promo- tional or advertising film and makes some interesting observations on the potentialities .of such films. But his great enthusiasm lies in the "film of life." the genre of which Robert Flaherty is the great master. This section of the book contains a unique history of the men and women who have produced documentary films in various nations of the world, recounted by one who has himself been intimately connected with the movement since its inception. The Dramatic Film The half of the book which deals with dramatic film production is both inspirational and provocative. The approach is that of the film maker who has operated in an atmosphere of freedom. Mr. Benoit-Levy speaks of the situation in which a film aullinr chooses a strong domina- ting idea, to be shown in a satisfactory life setting or milieu, and who is so strongly imbued with this idea that his goal in casting, photographing, and editing the film is how best to translate that idea to the screen, and not how many glamorous names or how stupendous a produc- tion can be built around this idea. The author gives many interesting anecdotes to implement his philosophy, with illustrations from American, French, British, Russian, and other productions. There is a constructive interpreta- tion of the Hollywood motion picture industry, which technically and organizationally is the ultimate in efficiency for a foreign film maker. But the author would also wish to see such excellence in the choice of subjects and in their interpretation. In brief. The Art of the Motion Picture is an inspirational l)eacon to those who believe in the great mission of motion pictures, but who have found little in print to guide them. • Films in Business and Industry — Henry Clay Gipson. McGraw-Hill Book Co., Inc., 330 W. 42nd St., New York 18, N. Y. 1947. 291 pp. $4.00. Here is a book which tells in simple, nontechnical lan- guage when and how to use motion pictures and slidefilms — and the how and why of film construction. Designed pri- marily for business executives, sales managers, advertising managers, personnel managers, and others concerned with the application of visual aids to the problems of industry, it should be of interest and value to all who make and use visual materials. The book covers in detail the developments of the past fifty years in the non-theatrical field and includes much new information on the use of the motion picture as a vital means of communication. Careful consideration is given to the advantages of motion pictures over the printed and spoken word, and the limitations of the film medium are also discussed. The sections on the use of films in television and related fields should interest television producers, script writers, educators, religious teachers, and many others. The author is president of Filmfax Productions and the former Production Director of Films. Inc. TEACHER TRAINING • Audio-Visual Teaching-Training. .Uulio-l'isiwl Guide. 14:no.2:p.7. October, 1947. Description of a pre-service training program at the Laboratory School of the University of Oklahoma, in which the audio-visual materials center was placed at the disposal of the various laboratory schools to be used by the regular teachers and student-teachers. It is recom- mended that every teacher-education institution establish a materials center, with a qualified coordinator of audio- visual education; that faculty and staff make frequent and effective use of such materials; that student-teachers be given adequate training and experience with such materials. SOURCES • Filmstrips for the Social Studies — Joseph B. Hillyard^ — Audio-Visual Guide. 14 :no.2 :p.lO. October, 1947. F.ach filmstrip is described at length, and teaching possi- bilities are indicated. Page 32 Educafional Screen MAKE f ULL USE Of YOUR 1& w ^e&E. T MEETS EV£Ry NEED OF GROUP INSTRUCTION Of course, it gives you the finest obtainable projection of Standard Lantern Slides Have you seen the latest addi- tions to Keystone's vast library of educational slides? Some of these new units will make your work more effective — and easier. Many instructors realize the pos- sibilities of Handmade Lantern Slides — not only for the presentation of special subjects, but for obtain- ing enthusiastic group participa- tion. You can sometimes make a worthwhile cut in the cost of lantern slides, by using Quadruple Slides — with four exposures, which are screened singly by means of a quarter-size mask. Place a Flashmeter on your Overhead Pro- jector, and you have a ,^^^ Tachistoscope ^V — of thoroughly proven value for efficient training in spelling, read- ing, recognition and general visu- al skills. By means of an inexpensive adap- ter, you can show 2-inch Slides — with the clear, inexpensive day- light projection made possible only by a 750 or 1000-watt lamp. You can also buy an attachment for showing Strip Film — and here again, have the ad- vantage of the Keystone Over- head Projector's powerful illu- mination. Supplementary Lens An adapter is also available for Microscopic Slides ^^ —and with the micro- ^^ srnoic slides (as well "■ as with two-inch slides and strip film) you can use the five-diopter supplementary lens, shown at left, which enlarges the projection two dimensions each way. W^e ^an> Qifiodian. KEYSTONE VIEW COMPANY • meadville, pa, SINCE 1892 PRODUCERS OF SUPERIOR VISUAL AIDS January, 1948 Page 33 It's a "Snap" for San Jose Teachers (Continued from page 16) the teachers. The master copy will he kept in the Visual Aids Library of the San Jose School De- partment. All materials are to be furnished by the department. 2. Because of the interest shown in this area dur- ing this study, seven new slide projectors have been bought, and added to those already owned. A 35mm camera has also been purchased. This equipment will be used in the training of personnel. 3. We will use the regular 35mm film, such as the well-known super xx type, and a reversal process. This will give us not only a 2 x 2 slide but a 2 x 2 negative for prints or additional slides as well. 4. The advantage in using the regular film is that we will have : (a) A master negative for filing (b) As many sets of slides as needed (c) Central Office control of their use (d) Central Office retention of "master copy" (e) School retention of individual sets. 5. A photo finishing establishment in San Jose has been selected to do the processing. It promises that we may have completed slides four days after pictures have been taken. They will develop the roll of film and reprocess it so that the film will yield a set of 2 x 2 black and white miniature slides. 6. Rolls of film will be stored for distribution in the Visual Aid Library of the San Jose School De- partment. 7. An in-service training course was started in April, 1947. This training consisted of learning to use all the projected visual aid equipment as it per- tains to the 2x2 slide area, both colored and black and white. It is the intention of the department to continue to make this training available to small classes of teachers 10-12 so that they may "learn by doing". The first class of ten teachers seemed to enjoy the work and the slides they made show Present OCCUPATIONAL ORIENTATION and OCCUPATIONAL INFORMATION Clearly and EfFiciently Your Life Work Films 16mm. sound, black & white 32 Vocations now covered For Sale or Rental Write for Complete Informotion VOCATIONAL GUIDANCE FILMS JNC. /nternofiona/ Distributors Carl F. Mahnke Productions Des Moines, Iowa mastery of the technifiue of taking 2 x 2's. This course comprised 14 hours of training given from 3 :30 to 5 :00 once a week on Wednesday. Here- after, however, the course will be of a longer dura- tion, since both the writer and the department heads feel that twenty hours of training would be more \aluable. 8. The Elementary Supervisor and \'isual De- partment Head will teach an advanced course on the use of the 2x2 slide in functional teaching. 9. For the training received during these 20 hours, teachers will receive one and one-half in- service training units. 10. If a teacher presents a good reason for want- ing to take a set of slides in color instead of black and white it will be allowed, if the request is well based. 11. The number of rolls of film an individual may take in a year will depend largely on the individual problem. This decision will rest with the Visual .Aid Department. 12. Most of the slides will be taken to aid and supplement the social studies units. It is recom- mended that teachers follow the Source Unit and course of study in determining w-hat to take. 13. Teachers will be taught not only how to take and what to take, but will be given an opportunity to see what is already taken, so that they will know the projected materials on hand which can be used as supplementary aids. 14. Teacher groups will be encouraged to plan ])ictures to be taken while teaching a unit. 15. Teachers will be encouraged to work out plans with principals as to wdiat will be taken. 16. There are many problems which will have to be met as they arise. The administration is aware of this fact and has pledged its cooperation to insure that the principles evolved in this study will be the basis for continuing this project. Starts Cooperative Film Library Clyde I'". Riley, director of Audio-\'isual Aids at Westboro, Mass., has brought together a group of small schools in Worcester County for the purpose of starting a cooperative film library. According to his plan, each school will purchase one-hundred dollars worth of films each year. Two meetings are to be held each year, one in the spring to determine the films to purchase, which must he done before .September first of the next fall and the other meeting in September to arrange the schedule for the year. Each school may choose its own films hut must make the information known to prevent du- plication. The chief advantages are that each film may 1)L" used at a school for a period of at least two weeks and onlv six schools will lie using each film during the year. There arc other advantages which favor such an organization, liy purchasing one hundred dollars worth of films each school has the use of at least six lumdred dollars worth of films and yet still owns its own. Each school nia\- plan in advance for the extended use of each film. Page 34 Educational Screen RECOGNITION FROM BELGIUM FOR AN OUTSTANDING FILM! EESTIVAL ^!>4 MONDIAL DU EILM m^'^ Ef DES BEAUX- P^i ARTS DE BELGIQUE^^ JUIN l9/^ 7 1 EN lEMOIGNAGE HE re:oonnaissange a The International Film Foundation is proud to be the recipient of this high honor from Belgium for its new color film, BOUNDARY LINES . . . an animated film on the imaginary lines that divide people from each other. !S THIS FILM IN YOUR LIBRARY? IS IT BEING USED IN YOUR COM- MUNITY? IF NOT. WHY NOT ORDER YOUR PRINT TODAY ... OR PERHAPS YOU NEED ADDITIONAL PRINTS. Write for a comp/ete description of this film and our other subjects now available. INTERNATIONAL FILM FOUNDATION 1600 Broadway New York 19. N.Y. /A LARGE HANGING ' SCREEN LIKE THIS! NEW ALL METAL MODEL C hanging screen "^'our visual t-ducaliuii dealer has Da-Lite screens in 22 standard rectanRUlar sizes for movies and 19 standard square sizes for slides and movies. Priced from SIO.OO up Wiilr fm ililails' • NEW RUGGEDNESS •NEW SMOOTHNESS • NEW UNDISTORTED PICTURE PROJECTION Here, for the first time, is a large screen that hangs right .very lime! The new Da-Lite Model C Screen has an over- size steel roller (2Mi" or 3" in diameter, depending upon the screen width)- -a tubidar steel slat in the lower edge of the screen fabric — and a long steel reinforcing saddle for the pulling ring — for greater strength and rigidity. No liidge, no pockets or billowing to distort pictures! Other exclusive features include built-in-wall and ceiling mount (see inset) handsome grey-enameled hexagon-shaped case and choice of two famous Da-Lite screen surfaces — Da-Lite Crystal Beaded or Mat White. Write for new descriptive circular. Da-Lite Sireen Co.. Inc., 272.3 No. Culaski Ave., Chicasio i'). III. Dept. lE.'^. DA-LITE MODEL C SCREEN SIZES AND PRICES- SIZE C'll' 8' I 8' 7'i9' 9' I 9' 8' I 10' 10' I 10' 9' I 12' 12' 1 12' PRICE STI.OO S83.00 SS6.00 S96 00 Sits on SII5.00 SI43.00 MH.W Black hordtTs '»f />f'' >/'. '////'///a/r^y/Y///// Y/>//M/Yf//m A DIVISION OF CURTISS-WRISHT CORPORATION Dept. GS-5 — Home Office and Factory: Davenport, lov»a Nev^ Yorl( • Chicago Distributors Throughout the World MAKERS OF t«10VIE EQUIPMENT SINCE 1910 Cleveland Film Council The recently organized Cleveland Film Council held its first dinner meeting on Thursday. December 4th, at the Cleveland Automobile Association headquarters ballroom. Mr. Thurman J. White, Executive Director of the Film Council of America with headquarters in Chicago, Illinois, was the principal speaker. Mr. White stressed the itnjjortance of the work of the Film Coun- cil in the audio-visual educational field. He explained to the group the purpose and scope of the Film Coun- cil nationally and the functions of the local chapters. Mr. White illustrated his talk with a very fine film worked out under the direction of the Newark Film Council, which gave the group an idea of the type of progress that can be undertaken by a Council. Mr. Charles Burris, President of the Cleveland Film Council, presided over the meeting, which was attended by approximately sixty people. The members of the Cleveland Council in attendance included people inter- ested in audio-visual education, with representatives from the Board of Education, Council of Churches, Cleveland Chamber of Commerce, Federation of Wo- men's Clubs, The Cleveland Museum of Natural His- tory, newspapers, and private industries, including mo- tion picture producers and distributors. Brotherhood Week — February 22-29 "As never before the world needs brotherhood." With these introductory words President Truman accepted the honorary chairmanship of national Brotherhood Week, February 22-29, 1948, under the auspices of the National Conference of Chris- tians and Jews. The job of teachers and educators everywhere in getting the big idea of brotherhood across to children and adults is one of tremendous importance and urgency. It is the business of the schools and colleges to teach skills in living with people of different national origin, race, religion — people who are "diflerent" in any way. The observance in 1948 of national Brotherhood Week gives teachers and educators, and all others, the opportunity of eiuphasizing the necessity of inter-group education. Films, picture and poster displays, book illustrations are some of the visual materials which can be used along with other in- structional aids to teach the lesson of brotherhood. U.S. State Department Film As a part of their overseas prosiram. the U. S. State Department will produce a film, "The Story of Hoover Dam," to be distributed abroad. The film, translated into 27 languages, is a part of the State Department's program to show aspects of the American way of life. The picture will show ])articularly how the individual etforts and initiative of groups of Americans resulted in better living conditions, increased agricultural output, and better industrial production — all benefiting not only one section of the country but the entire United States and nianv foreign countries. Page 36 Educational Screen 'otes New FCA Regional Committee A newly-organized regional committee of the Film Council of America met November 4th in Chicago to organize plans intended to stimulate general public knowledge and interest in the use of educational films. Results of this meeting will help to intensify an overall effort to use the mo- tion picture screen as a channel of communication. Arthur H. Motley, president of Parade Publica- tions, was chairman of the meeting. Other partici- [)ants were : Margaret Carter, Canadian National Film Board ; Donald White, executive director. Xational Association of Visual Education Dealers; Edward Myers, Educational Screen; Otto H. Coelln, Jr., publisher of Business Screen and See and Hear Magazine; Laurin Healy, Public Relations Director, Encyclopedia Britannica Films ; Patricia O. Blair, American Library .\ssociation ; Robert Faber, Coronet Instructional Films: and Paul Wagner, Bell & Howell. New Film Services at the University of Georgia With the movement of the Film Library of the University System of Georgia from Atlanta to .Athens, the campus of the University of Georgia has become the scene for important new educa- tional film services. Over 1500 16mm educational motion pictures, along with opaque slides, records, and slidefilnis, are available for classroom use. .\ projection room with operator is available for instructors. A detailed catalog of all hlms in the library has been published, and instruction is pro- \ ided in the use of all equipment. The Audio-Visual Extension Service serves ele- mentary and secondary schools, colleges and uni- versities, civic groups, and local church groups. Since the movement of the Film Library to Athens in late October. 1,357 films had been shipped to points throughout the United States by November 24. P The Tip of the Month You have all seen announcements of the FM tuner, an ingenious and inexpensive little piece of equipment with which you can convert any radio to an FM radio. But did you know this? By simply plugging a tuner into the micro- phone input of your sovmd motion picture projector or record player or public address system, these equipments can also be con- verted into FM radio receivers without loss of sound quality or volume. In other words : tuner plus amplifier plus speaker equals FM radio receiver. Two makes of tuners are available : the Pilotuner and the Meissner FM Timer. Just Released NEWEST OF THREE GREAT SHAKESPEAREAN PICTURES... OTHELLO AN EASTIN SCHOOL FILM 16mm Sound — 44 Minutes PURCHASE: $75.00 RENTAL: $5.00 EASTIN PICTURES CO. General Office: DAVENPORT, IOWA TO USE PROJECTORS Instant S-second threading! From strip film to slides — and back — immediately: Show your strip film and slides at their :iltra-brilliant best with optically perfect Viewltx projectors. Exclusive Aspheric Condenser system provides greatest light concentration and uniform screen illumi- nation. Tests prove Viewlex 150 watt projector gives greater screen brightness than other 300 watt projectors. Result: More economy and less heat, protecting slides and film. Order Viewlex, the finest projectors and best value obtainable! MODEL APlC— Combina- tion all-purpose slide and strip film projector ! Com- plete, self-contained! Case, built-in slide carrier, slidc ttle, and screen . 577. 00 MODHL AP :C — Deluxe combination all-purpose slide and strip film projcc- tor. Built-in slide carrier, elevatioK mechanism. Luxtar 5"Anastigmat lens, $67.00 MODtL AP-3 — Standard ^" focal length slide pro- jector with 5" Luxtar color- corrected Anastigmat lens, complete $39.50 Written by Grali.im T. Horton, famous authori- ty, this superb little booklet gives you fa.scinating secrets ot better projection. Shows you how to get the most from visu.il material I Mail post- card for yuiir FRlit copy I /MIV&Xw. Dc; ES-I -.5 01 yUEI.i-iS BLVD., LONG ISLA'-.'D CITY January, 1948 Page 37 See the iXTRA hriiikneei mk Cet iiie iXTRA safety! ^^ FILMATIC 300 WATT 2X2 SLIDE AND FILMSTRIP PROJECTOR Silent Blower Coaling gives maximum protection to filmstrip or slides. Exclusive GoldE self-rewind. Receding aperture plates. Instant Framing. Choice of slide carriers. Available with coated Anastigmat lens. Modern, rugged, very stable. Light weight, easily portable. Write jor Filmatic Bulletin No. 452 GoldE Manufacturing Co. 1220-C WEST MADISON ST. CHICAGO 7, ILLINOIS IV»or "Pushy Pigs' An elementary principal writes: 'Our student safety council nor- mally handles at least 5 safety violations per week. Since show- ing LET'S PLAY SAFE to all classes they have reported only one safety violation in 4 weeks.* LET'S PLAY SAFE can motivate safe attitudes on YOUR playgrounds. I6mm. sound-color, 10 minutes. poriafilms 1520 North U Brea, Los Angeles 28, Calif. "BECOME A REGULAR USER of DENNIS FILMS and SAVE MONEY ON 16mm SOUND FILM RENTALS" Join with the many wise School Administrators who are taking advantage of Dennis "In Series" REDUCED RENTALS on Ifinim Sonnd Films. Users of five or more complete programs ar;> en- titled to a frequency discount which represents a definite saving to the school. Write for complete details and new 1947-48 catalog of films, jnst being issued, listing many new and up-to-dale sub- jects . . . educational, major features, musical, travel, sports. serials, comedies, cartoons, religious, westerns and others. Enjoy Dependable, Fast and Friendly Dennis Film Service . . . DENNIS FILM BUREAU Wabash • Indiana New M.I.T. Cenfer for Learning Aids A center for scientific aids to learning to study methods of collecting;, organizing-, and communi- cating knowledge will be established at the Massa- chusetts Institute of Technology under a grant of $100,000 from the Carnegie Corporation of New ^'(Jrk. Dr. Karl T. Compton. President ©f the In- stitute, announced recently. The new center is conceived as a national and international resource in its field and will concern itself with research and experimentation on aspects of printing, documentary reproduction, visual edu- cation, sound recording, ,and mechanical selection systems. It will also serve as a center for training technicians, librarians, and others in allied fields in the theories and practices of scientific aids to learning. Connmission to Release Film Evaluations The Commission on Motion Pictures in Adult Edu- cation is now completing the first phase of its long-term ])rograni of evaluation of 16min films suitable for edu- cational programs of adult groups, reports Morse A. Cartwright, Director of the American Association for .\dult Education and Chairman of the Commission. To date .some 400 theatrical films — chiefly short sub- jects and e.xcerpted from longer productions — have been evaluated by reviewing groups working under the Com- mission's direction, and over 150 of these have been recommended for use in adult groups. A preliminary catalog containing the approved film titles has been prepared by the Executive Secretary, L. Harry Strauss. All of the films approved thus far by the Commission are distrilnited by Teaching Film Custodians, Inc.. and will be available to commu- nity groups through numerous educational film libraries, several public libraries, and Association Films. The second phase of the Commission's work will get under way early in 1948, and will concentrate on the evaluation of films produced by non-theatrical produc- ers. Additional information may be secured from the ('ommission's oftice. Room 1414, 19 .South LaSalle Street. Chicago 3, Illinois, or from the .American Asso- ciation for Adult Education, 525 West 120th Street, .\'ew "^'ork 27, New York. "Films in Public Libraries" More and more public libraries are adding film divi- sions, and this trend has been stimulated by a publica- tion entitled films in Public Libraries which is being distributed by the Library Journal free of charge to every major library. This 90-page illustrated publication is sponsored by the Audio-Visual Committee of the American Library Association, and states in effect : (1) public libraries should use films ; (2) here's how to get started. According to a survey made by the Library Journal in July, 1947, 15% of the public libraries and 317o of the college libraries reported they handle films. The survey results indicated that 84S libraries "hope to be able to purchase 16mm films within the next three years." The figure was 831 libraries interested in 16mm ])rojectors. 514 interested in slide films. 452 interested in slide film projectors, 288 interested in projection Page 38 Educational Screen room equipment, and 209 interested in opaque projec- tors. One of the features of Films in Public Libraries is a list of 155 outstanding films, prepared on the basis of reports from public libraries having active film divisions. Patricia Blair conducts the regular, twice-a-month film evaluation section of the Library Journal, with the aid of a panel of reviewers representing seven U. S. public libraries having film divisions. Films in Public Libraries is by Hoyt R. Galvin, Di- rector of the Charlotte (N.C.) Public Library. Films For Labor A major attempt to organize the field of non- theatrical films to expand the use of motion pictures on behalf of the labor and democratic movement of this country was inaugurated at a New York meeting of a provisional executive committee for a national film centre, attended by representatives of a score of le;id- ing national civic and labor organizations. A survey committee was set up to formulate a plan to establish the film center as a cooperative non-profit venture, to operate its own film library and to engage in the dis- tribution and general promotion of films dealing with public affairs. The first executive committee meeting was held at Freedom House, 20 West 40th Street, N. Y. C. with Robert Delson, motion picture and labor attorney and chairman of the executive committee, presiding. "This is the first attempt to coordinate the film ac- tivities of those whose special interest lies in the for- ward movement of American democracy," Mr Delson said in announcing the plan for the centre. "The Holly- wood motion picture industry, with its hundreds of millions of dollars invested annually in production, believes, whether or not with reason, that it cannot profitably make films with social significance. The genius of American writers, directors, and technicians has not been utilized in the promotion of public aware- ness of social issues. Heretofore there has been no concerted attempt to utilize for education in pnljlic affairs the greatest weapon available in the arsenal of democratic education — the motion picture medium." Delson stated. The center expects to open key distribution offices in New York City, Chicago, and Los Angeles, and to work with and through the state and city chapters of the various labor and civic organizations involved. The activities of the film centre will include the screening, cataloguing, and indication of the sources of existing films on public affairs, including foreign films. Also a program guidance service to advise the organization members of the types of film suitable for various sub- jects and .sources from which to obtain such film will be a prime objective. A central library of films produced or controlled by member groups, including a distribution service and booking offices in key cities, will be set up also. The plan ultimately envisages the .stimulation of production of films by member groups, with the national film centre giving advice to these units on production of their own films, and finally, the production of films by the centre itself. BrilUant l^rojeetion Superlative Sound Reproduction The HOLMES For the last year "Rex" production has been inadequate to supply the demand. INCREASED OUTPUT IS FAST CATCHING UP P.S. — The new REXARC with high intensily arc lamp, 40 watt output amplifier, and newest coaxal high and low frequency speaker available. BEFORE YOU DECIDE TO PURCHASE write for the new catalog detailing the advanced features found only in a REX 16mm Sound-on-Film Frojector. HOLMES PROJECTOR COMPANY Manuiacfurers of 1 6mm and 35mm Sound-on-Fffm Projectors for over 25 years fo Dealers and Users 1813 ORCHARD STREET • CHICAGO 14. ILL. A series of eight motion pictures on FRACTIONS For Elementary Reviews For Remedial Work For Teacher Training Delightful animated curriculum films which corre- late closely with classroom work. • Introduction to Fractions • How to Add Fractions • How to Subtract Fractions • How to Change Fractions • How to Multiply Fractions • How to Divide Fractions • Decimals • Percentage Each one reel in length Color $85.00 Black & White $45.00 Q(Utn6.a4^ eJii4>4it Pnxi-ductianl 1133 North Highland Ave. Hollywood 38. Calif. January, 1948 Page 39 The new V/CTOR LITE-WEIGHT makes LIGHT WORK of Audio-Visual Training • Attractive Single Unit Alum- inum Case • 52% Lighter in Weight (34 lbs. complete) • b9% Smaller in Size — but takes lull 2000 ft. reels. Price $375.00 Send for latesf Catalog. ^p:i^^Hmiiiis 6U NORTH SKINKER BLVD. SAINT lOUIS 5. MO '"^^Sr*"^'/ 16mm Sound Films For Schools March of Time Educationols Music Appreciation Travel Sport Entertainment Write for Free Copy Rental Film Catalog LEWIS FILM SERVICE Dept. of Lawrence Camera Shop 149 No. Broadway Wichita 2, Kansas IN PITTSBURGH AND TRI-STATE AREA it's KAREL SOUND FILM LIBRARY for Motion Pictures and Visual Aid Supplies 410 Third Avenue, Pittsburgh, Pa. 359IM. SCIE]>rCE SLIDE FILMS MADE BY TEACHERS FOR TEACHERS BIOIOGY PHYSICS MICROBIOLOGY GENERAL SCIENCE CHEMISTRY Descriptive Literature Sent on Request VISUAL SCIEIVCES, 599E Suffern, New York MAKE YOUR OWN TYPEWRITER SLIDES Use Radio-Mats — Regular Sile V/a"x4" or the NEW DUPLEX 2"x2" on sale by Theatre Supply Dealers Write for Free Sample RADIO-MAT SLIDE CO., Inc., Dept.V 222 Oal^ridge Blvd.. Daytona Beach. Fla. For the Producer of 76mm business, educotionof and religious Hims • EDGE NUMBERED VifORK PRiNTS • SYNCHRONIZED STUDIO PHOTOGRAPHY • SOUND RECORDING • RELEASE PRINTS- COLOR and B&W • DUPLICATE NEGATIVES GEO. W. COLBURN LABORATORY, Inc. 164 N. Wacker Dr., Dept. E , Chicago 6, III. DIRECT 16mm SOUND with MAURER RECORDING SYSTEM Seeing the Meaning (Continued jrom page 12) or school can afford to provide an abundant supply. Pictures can make new words meaningful. They can turn the word pictures of the textbook into con- crete visual pictures. Pictures are an excellent sup- plement to assigned reading. 6. Correct wrong impressions. Every child has many mistaken impressions of geography, history, and other subjects. There are hundreds of words in his textbooks which he fails to understand and which result in mistaken impres- sions that confuse and discourage further progress. Well-selected and well-printed pictures help prevent this condition. 7. Increase retention of what is taught. The cost of forgotten learning amotmts to mil- lions of dollars annually. Think of the millions of classroom hours that are wasted because of ineffect- ive learning and because of forgetting what was poorly learned. Why do my pupils retain so little of what I try to teach them? is a question that has been asked by thousands of teachers. Many a conscien- tious pupil has asked : "Why do I forget so much of what I am supposed to learn ?" Scientific studies and abundant classroom experience prove beyond doubt the value of audio-visual methods of instruc- tion in reducing forgetting and in making learning more permanent. Necessary Conditions If pictures are to be used effectively in the class- room, certain conditions must be present. The pictures must be easily available when needed. They must be filed so that the needed pictures can be found at once. Pictures that are filed in the classroom where they can be used at a moment's notice are many times more valuable to the teacher and class than those in some other part of the building. The pictures in the classroom collection must be clear, accurate and easily understood. There should be descriptive material accompanying the pictures so that relevant information is at hand. The pictures should be printed on stock that can stand wear. All of us like to look at pictures. As teachers we must capitalize on this interest and provide for our school an ample supply of excellent, informative picture materials. Safety Film May Soon Be 35mm Standard .A considerable amount of 35niiii .safety film of im- proved quality has been in experimental use by 35mm distributors. So far, this film seems to compare faror- ably with the nitrate (inflammable) stock as far as wearing qualities and shrinkage are concerned. It is understood that the new 35mm safety film is of dif- ferent composition from the 16mm safety film. Page 40 Educational Screer> ArDIII-VISMl^^ADE REVIEW American Standards Association Announces Preparation of New Standards for Recordings Work is being started ininiediately to prepare standards which it is ex- pected will result in better performance of disc records used on home record players and in broadcast studios, the American Standards Association has announced recently. The work as planned will also include magnetic re- cordings and sound track on film. A new committee, under the leadership of the Society of Motion Picture Engin- eers and the Institute of Radio Engin- eers, has already taken the first steps toward this end. Representatives of the radio manufacturers, the motion picture industry, broadcasting companies, and the War and Navy Departments, are cooperating. Standard definitions of terms, meth- ods for determining the quality of the sound and standard dimensions to insure complete interchangeability and more satisfactory operation of automat- ic record changers are among the prob- lems to be undertaken immediately. The new process for recording sound on magnetic materials which is now gaining acceptance in Hollywood stu- dios, broadcast studios, and in combi- nation radio-phonographs for home use has helped to bring the need for stand- NAVED Regional Meetings The National Association of Visual Education Dealers will hold a nation- wide series of six regional meetings dur- ing February and March of 1948, accord- ing to an announcement made recently by Olson Anderson of Bay City, Michi- gan, President of NAVED. The sched- ule calls for two groups of three meet- ings each, meetings within the groups be- ing spaced approximately one week apart. Here are details on the individual meetings : Southern — Biltmore Hotel. Atlanta, Ga., February 6 and 7. E. E. "Jack" Carter, of Raleigh, N. C, will direct the meet- ing. Neiv Etujland — Hotel Statler. Boston, Mass., February 13 and 14. Douglas K. Hammett, of Portland, Me., in charge. Eastern — Senator Hotel, .Atlantic City, N. J., February 21 and 22. .Art Zeiller, of Newark, N. J., in charge. (This meet- ing is to be held during the .American Association of School .Administrators ardization into prominence. The dif- ferent groups concerned are anxious to take the necessary steps to provide standards before diflferences in dimen- sions in the magnetic material and in the recording and playback equipment have become widely accepted. At the same time, it will be the aim of the committee to avoid requirements which will prevent new developments. One general problem before the com- mittee will be agreement on uniform definitions of technical terms. Misun- lierstandings due to different interpre- tations of terms appearing on shipping vouchers, on instructions from record- ing studios to process plants, and even on customer's invoices have been the cause of economic loss and unsatisfac- tory service. Such words as "dub", "dupe", "re-recording", "track", "live recording", "original master," and "plates" may seem simple in them- selves but must be defined from one group in the industry to another. Lovers of music who operate home phonographs with automatic record changers have frequently been annoyed by the uneven volume level between one record and another and distortion of the sound. These are among the convention in Atlantic City, through cour- tesy of the .A AS A.) Mid'a'c'stcn! — Hotel Sherman. Chicago. 111., March 12 and 13. Ernie Ryan, of Davenport, Iowa, will preside. Southurstern — Melrose Hotel, Dallas, Tex., March 19 and 20. John Gunstreani of Dallas will preside. IVestcrn — Hotel Clift, San Francisco, Calif., March 25 and 26. Howard Smith, of Los Angeles, in charge. As in 1947, the 1948 series will include informative talks on subjects of impor- tance to dealers, film libraries and sales- men. Slides, charts and other visual aids ' will be used to "visualize" these for rapid understanding. In addition, each person attending the meetings will have ample opportunity to participate in the open forum discussions which are a basic fea- ture of all N.AVED meetings. This year's discussions will center around film library and etiuipmcnt sales problems. Further information may be obtained by writing NAVED, 431 South Dearborn St.. Chi- cago 3, 111. ROBERT II. SCHREIBER, Editor Supervisor of Teaching Aids Mishawaka (Indiana) Public Schools performance problems that will be considered. Before recommendations can be made, however, methods of measurement to determine what consti- tutes distortion and how the volume of one record compares with another must first be set up. George M. Nixon, assistant develop- ment engineer of the National Broad- casting Company, Inc., has been elect- ed chairman of the Committee which will develop these standards, with John K. Hilliard of the Altec Lansing Corporation, as vice-chairman. In addition, five technical subcom- mittees are being set up to correlate the work of existing organizations and to develop standards in fields in which none exist at present. Cine Equipment Listing -A list of 864 standards, including cine equipment approved for national use of industry by the .American Standards As- sociation, has been made public and avail- able for general distribution. "The revised list of standards, which includes many of those developed under war procedure and now approved for peacetime use, will be made available to interested trade, technical, and gov- ernmental bodies and individuals without charge," Dr. Agnew said. The standards listed include definitions of technical terms, specifications for me- tals and other materials, methods of work and methods of test for finished products. They reach into every im- portant engineering field including still and motion picture photography. Television Service for Advertisers The establishment of a television department by Florez Incorporated, a training and promotion organization in Detroit, has been announced by Gen- aro A. Florez, president. The new department is under the direction of Charles E. Skinner formerly of Holly- wood and New York where he has had experience in both television and motion picture production. The de- partment is intended to help adver- tisers, through their agencies, take full advantage of the opportunities offered by television. January, 1948 Page 41 Production Activity Johnson-Hunt Distributors Johnson-Hunt Productions of Cali- fornia have announced recent additions to the distributors of their 16mm color productions: Audio- Video Institute as exclusive distributor for Texas, Na- tional School Supply Company for North and South Carolina and Virgin- ia, Photo and Sound Inc. for the West Coast, and Princeton Film Center in the East. In common with other color film producers, Johnson-Hunt has found it necessary to raise per reel color costs from $75.00 to $85.00. Black and White print costs remain the same. MPO Productions Formed Lawrence E. Madison and J. L. Pollock announce the formation of MPO Productions, Inc., with ofTice> at 342 Madison Avenue, New York City, to produce all types of sponsored motion pictures. The latest motion pictures pro- duced under Mr. Madison's direction are the Ford Motor Company films, ^fcn of Gloucester, Pueblo Boy, and Southern Highlanders. Jam Handy Expands The Jam Handy Organization an nounces expansion of its national pro- gram for the distribution of visual aids in the educational field with the ap- pointment of three additional exclusive state distributors. John R. Moffitt, Montgomery, Ala- bama; Mississippi Office Supply Com- pany. Jackson, Mississippi; Newton .School Equipment, Jacksonville, Flor- ida, are the new distributors. Victor Builds Pictured is the architectural sketch of the new $1,500,000 building project of the Victor Animatograph Corpora tion, Davenport, Iowa. This modern structure will house the entire manu- facturing facilities and main offices. The project will include a cafeteria, play ground, ample parking lots and trackage facilities. Graham, .\nderson, Probst, and White, Chicago, are the architects of the new building. It is expected that the project will be completed in about one year. Ampro Acquires Additional Plant .\ five-story building, witli approxi niately 100,000 square feet, has been acquired by .-\mpro Corporation to ac- commodate their expansion program. 1 his additional building at 240 E. On tario St., Chicago, will be used as an assembly plant for all Ampro products, which include 8 and 16mni silent and sound projectors, slide and strip-film models. .Ampro's original plant at 2830 N. Western .Avenue will continue opera- tion, and the removal of the assembly and shipping operations will g've this plant more space for the manufacture of parts and the cnlargeiiicnt of ex- ecutive departments. Equipment Busy Month at Bell & Howell Last month was a jack-pot affair lor news releases on new products from the Bell & Howell Company. An- nouncements of a new 16mm camera, film storage cases, adjusto-stand for projection, and a high-intensity lamp Ampro's New Chicago Plant Filmo Specialist Camera for film printing were included in the new equipment available. The Filmo Specialist 16mm camera (pictured) features professional shift- over focusing (lens stays in photo- graphic position during focusing), four- Icns turret which eliminates optical in- terference with longer lenses, view- finder parallax adjustment, positive viewfinder, light-baflfled shutter (pre- vents fogging of first frame), powered by hand-crank, spring motor, or elec- tricity, and 400-foot film capacity. The "Adjusto-Stand" is made of aluminum alloy and is guaranteed to support 300 pounds although weighing only 12 pounds itself. Height is ad- justable from 33 to 57 inches with a top surface of 12 by 22 inches. The unit is supported by tripod construction. The film storage cases of all metal construction with sectional divider are available in two sizes; one holds twelve 8mm 200 foot reel cans, and the other twelve 16mni 400-foot cans. Page 42 Educaflonal Screen The new high-intensity lamp for Bell & Howell continuous film printers fea- tures a 300 watt pre-aligned lamp, high speed motor and fan which also pro- tects gelatin color filters, and a variable voltage resistor. Further information may be obtained from Bell & Howell at 7100 McCor- nn'ck Road, Chicago 4S. Beseler Overhead Projector The VU-GRAPH. a unique type of overliead projector, is the latest prod- uct of Charles Beseler Company. The outstanding feature of this new projec- tor is that it affords a large size {7"-x.7") Iiorizontal, fully exposed projection stage upon which any transparent ma- terial tnay be placed and projected. Opaque material is projected in sil- houette. The apparatus is usually placed upon the lecture table projecting its image to a screen placed on the wall at the rear of the speaker. Not only is it pos- sible for the speaker to face his audi- ence, but the accessibility of the pro- jection stage permits him to readily point, underscore, write or draw on the material being projected, without turning away from the spectators, to change his own slides or copy and, with the aid of specially prepared films, to develop problems on the apparatus as they are being projected. The illumina- tion is such that only partial shading of the screen is required and in many cases no darkening of the room is nec- essary at all. Specially prepared films are avail- able which permit either white on black background reproductions, or the reverse. These films are priced so inexpensively that they can be dis- carded after use as so much scrap Beseler Vu-Graph paper. The films can also be preserved for future use by mounting in specially prepared card holders, facilitating handling in projecting them. With this film, stencils can be made on a typewriter or drawn with an ordinary I)encil. The apparatus consumes about SSO January, 1948 watts, is air-cooled by forced draft and is applicable to any 11S-I20 volt com- mercial circuit, either A.C. or D.C. The Screen .Adette Equiptnent Cor- poration will handle this new projector exclusively on the West Coast. Eastman Kodak's Kodaflector Senior An "ambidextrous" lighting arrange- ment for indoor picture taking, which provides picture takers with two reflec- tors for flood lamps, both capable of swinging horizontally or vertically on easily adjustable arms, is now available in the Kodaflector Senior, Model 2. In addition to the greater flexibility of the arms, further improvement is of- fered over previous models, in that the legs are screwed into the base rather than being held by friction. Baby Boom Utility Light From Radiant Radiant Manufacturing Corp. have announced an addition to the Radiant product family. The newcomer is their new Baby Boom Utility Light. a device specifically designed to fulfill a long-felt need among home photog- raphers for a flexible, mobile light unit. Boom adjusts to an almost limit- less variety of angles and heights from vertical to more than 90 degrees. Fold- ing tripod features exclusive Radiant finger-tip control, to open or close unit at the flip of a finger. Perfect for use with floodlight, spot- light, or reflector, the new Radiant Baby Boom is made of steel and alumi- num, to create a sturdy, lightweight unit, which folds up compactly for easy carrying and storage. 16mm. SOUND PROJECTOR AJ^PLIFIES, SPEAKER AND SCREEN — All- IN -ONE — SMAll, COMPACT CASE WEIGHING LESS THAN 31 IBS. The Naw Under 31 lb."Bantom" at $325 Gives You BIG Projector Features Pjus Many New Exclusive DeVry Refinements • Brilliant, Flickerless Pictures • Amazingly Life-Like Sound • 2000 ft. Film Capacity • 750-1000 Watt Illumination • Light Out-Put Exceeds 200 Lumens • Sound and Silent Proiection • Fast Motor-Driven Rewinding ■k Coated Projection Lens • Coated Condenser Lens • Automatic Loop Setter • Rotating Sound Drum • Prefocused Exciter Lamp • Simplest Film Threading • Instant, Positive Tilling • Precision Built of Quality Materials • Absolute Film Protection • Motor Driven Forced-Air Cooling • Operation on Either AC or DC Sinj!k- Cast: "Ban- with huili-in 6-ioch ALNICO 5 permanent magnet speaker, is readily detachable for placement at screen as desifL-d. ^^§Mi« Dual Case "Baa*- lam" projector and amplifier in odc case. 8" ALNICO 5 permanent magnet speaker in separate matched case. I DE VRY CORPORATION ES-EI I 1111 Armitage Ave.. Chicago 14. III. I M««>*giv«ut full particwiari ofith*n«wDivtr"B«ntam'* | Page 43 Spencer 2" x 2" Projector A new Spencer 2"x2" colorslide pro- jector, designed to provide greater screen brilliance, more even illumina- tion from edge to edge, coolness of operation and slide safety, is announced by American Optical Company. The new MK Delineascope is available in 150, 200, and 300 watt models with all surfaces of the optical system scientifi- cally hard-coated to assure brilliance and image contrast. MK Delineascope Other features announced by the company include a new 5" focus f/3.75 achroniatically corrected objective and a new slide carrier which automatically centers glass, cardboard or metal slides in the focal plane. No refocusing is necessary once adjustment has been made. The projector features spiral focus- ing, an efficient heat-absorbing glass (plus fan cooling in the 300 watt model), and easy access to bulb and condensers. \c9 D 0 th . fJ^y^tfWIfe^tMl/t^ 64 PAGE PHOTOGRAPHIC EQUIPMENT CATALOG The most complete catalog ever published by the manufacturers of the famous SOLAR Enlargers, B&J Speed Press Cameras, GROVER and B&J View Cameras. Fully illustrates and describes hundreds of items every photographer needs. Nineteen full pages of lenses of every malie and description from one-half inch to 60-inch focal lengths. Cine, commercial, portrait and process. The most complete lens stock available! Every- thing photographic from America's leading photographic manufacturer and supply house. Write today for this valuable Free Boole. BURKE & JAMES. Inc. Manufaeturvrt for F/ffy feerx Dent. ES-I. 321 S. Wabash Ave.. Chicago 4. U.S.A. Eastman Ups Edwards and Hall Appointment of Kenneth Edwards to a newly-created post of adviser on non-theatrical films has been an- nounced by Eastman Kodak Company. As adviser, Edwards will head a new film counselling activity for users of motion pictures in the non-theatrical fiefd and in television. He will consult with educational institutions and groups which are settings up or maintain mo- tion picture departments and will coun- sel commercial and semi-professional producers who seek technical advice. Typical of those Edwards will aid are the producers of "documentary" films, commercial producers, and pro- ducers directing units at universities or in industry. He will devote full time to assisting all non-theatrical pro- ducers in adapting the motion picture medium to their own specific needs. Edwards served as production manager of Eastman Teaching Films from 1929 to 1943. Later he organized and managed the company's Informa- tional Films Division, which produces motion pictures for Kodak's own use. Kenneth Edwards Edward B. Hall succeeds Edwards as manager of Informational Films. Hall joined Kodak in 1935 and became an assistant on the executive staff at Kodak Office in 1936. In 1939 he was made secretary of the company's pack- aging committee. ,'\fter leaving for Navy service in 1942. he returned to Kodak in 1945 and joined Informa- tional Films. Cinema, Inc. Expands Cinema. Inc.. 234 Clarendon Street. Boston, Massachusetts, announces the appointment of F. M. "Nick" Carder as Audio Visual Aids Consultant to their newly opened .^udio Visual Equipment Division. The development of this department has been the result of a growing demand from the New England educational and industrial fields for a competent service which will be available for survey, recom- mendations, or installations of both sound and projection equipment. Sales representatives have been ap- pointed for each state in New England, and Mr. Carder will have associated with him Mr. Hobart Troop in charge of the sound department and Mr. Henry .\. Stebbins to direct sales in Connecticut and western Massachu- setts. Additions to United World Staff The appointment of Edwin H. Mac- Arthur as Manager of Educational Sales was announced recently by James M. Franey, president of United World Films, Inc. Increasing inter-relation- ship between textbooks and films as teaching tools is evidenced when edu- cational film producers draw trained textbook personnel into their work, as is the case of MacArthur, who for six- teen years was with Charles E. Merrill Co., Inc., as Educational Sales Repre- sentative, Divisional Manager, Assist- ant Sales Manager, and .Assistant to the President. The still more recent addition to the United World educational staff of Leo B. Guelpa, Jr., co-author of "The Physi- cal Universe," a new type college science textbook into which many sound film and visual aids have been integrated, is another case in point. He is the author of several other books, including mathematics workbooks used in the l^.S. Merchant Marine Academy where, with the naval rank of Lieuten- ant Commander, he served as chief of the Section of Natural Sciences. British Information Plans Baird in Midwest Thomas Baird comes to Chicago fresh from an extended visit to the British Isles, where his object was to bring himself up to date with recent events there and to familiarize himself with current feeling at the present time. He also spent some time at the Foreign Office in London. As Regional Direc- tor for British Information Services, he will be responsible for all B.I.S. services throughout the Midwest and Rocky Mountain area. Wagner Goes West Lawrence R. Wagner has been named district manager of Encyclopae- dia Britannica Films for the states of Washington and Oregon, it has been announced by H. R. I,issack, vice- president in charge of sales. Wagner will consult with school ad- ministrators and audio-visual education directors and assist them in carryina on their audio-visual programs. Wag- ner has temporarily established head- fjuarters at 412 N. E. Laurellnirst IMacc, in Portland, Oregon. Page 44 Educational Screen Slidefilms and Slides has made available two new teaching aids on tlie subjects of food and nutri- tion : a slidefilni series and a slide set. The slidefilni series, entitled "Food and Nutrition." consists of five films : The Essentials of Diet; Eat Well! Live Well!: The Nutrients in Food: How New Home Economics 16 mm. Films Clearly Demonstrate and Explain ■ SOCIETY FOR VISUAL EDU- CATION, INC., 100 East Ohio St., Chicago. Illinois, has produced a new Canadian Regional Geography Series with the cooperation of the Information Division, Department of External Afifairs, Canada. The series consists of three slidefilms. each accompanied by a teach- ing manual. Eastern Canada covers the Maritime Provinces and the two large provinces of Quebec and Ontario. Western Cana- da pictures the provinces of Manitoba, Saskatchewan, Alberta, and British Co- lumbia. These two slidefilms are in- tended to introduce tlie student to the environment and occupations of the Ca- nadian people, the natural resources of the vast land, the industrial and agri- cultural activities of the particular prov- inces. Nortliern Canada pictures the north- ern parts of the Canadian Provinces and the immense Canadian territories. Of particular interest are scenes of Port Radium, where, during World War II. 225 people worked the Eldorado Mine to produce the pitch!)lende from which uranium, the vital component of the atomic bomb, was obtained. ■ POPULAR SCIENCE PUBLISH- ING CO., .35,^ Fourtli Ave.. N'ew York, "Food and Nutrition." Food Is Digested: and Consumer Prob- lems in Nutrition. Original color photo- graphs and art work in color are used in the slidefilms. The slide set, also entitled "Food and Nutrition," consists of Kodachrome photographs and car- toons. Teaching guides accompany the slidefilni series and the slide set. ■ KNOWLEDGE BUILDERS, 625 Madison Ave., New York, N. Y., offers a slidefilm entitled Nezv England Indus- tries which shows interesting sidelights from the past followed by scenes of ten of New England's major sources of livelihood today. The film is accom- panied by a complete commentary script and manual. Current Film News ■ UNITED WORLD FILMS, INC., 445 Park Ave., New York 22, have produced a series of ten new motion pictures, designed to help train high school and college athletes in track and field sports. Approved coaching techniques in the various sports are presented and the demonstrated results of the practical application of these "The Hurdles." January, 1948 techniques. The productions are par- ticularly timely, in view of the com- ing of the 1948 Olympic Games. Separate titles in this series of ap- proximately ten instructional films cover : Sprints, Middle Distances, One and Tivo-Mile Runs, Hurdles (high and low). Relays, High Jump, Broad Jump. Pole Vault, Shot Put, Discus- Javelin. Every bit of the photography is new, and especially shot for this pro- duction. Care was taken to show ath- letes of varying degrees of ability and of differing build, so as to make the lessons as widely applicable as jiossible. Wlicre several accepted styles exist, each was illustrated, and the reasons for pre- ference under stipulated conditions were made clear. Other new releases from United World Films are: Latitude and Longitude — 1 reel — functional presentation of two basic geographic concepts usually found most difficult of comiirehension by pupils. By use of the most modern film techniques, it teaches the "why's" of latitude and longitude. It was pro- duced with the collaboration of the New, a complete new series of teach- ing films — thoroughly integrated with leading Home Economics textbooks. For Junior-Senior High, Trade School and College. Each of the six films has a run- ning time of 1 0 minutes. Sold separately or together. Each, $38.50 Teachers' Guide included. SEWING SEWING - FUNDAMENTALS HANDLING Presents and explains MATERIALS slep-by-step the fun- Shows how to handle damentals of sewing cottons, woolens, silks. and basic tools. and synthetics in prep- aration for sewing. SCWING SEWING - ADVANCED PAHERN SEAMS INTERPRETATION Demonstrates con. Discusses markings on struclion of French, commercial patterns. Slot, Flat Fell, Welt, how to get pattern Tucked, and Piped size, yardage re- seams. quired; interpretation of instructions. SEWING - SEWING SLIDE SIMPLE FASTENERS SEAMS Shows how to set Demonstrates prepara- them. Explains con. tion for plain seams ceoled side openings with edges pinked. of skirts, dresses — and edges overcast. center-front or bock stitched, bound, catch- of garment for design stilched, and top- purposes. stitched. FREE:! Interesting, profusely illustrated new Young America Films Catalogue — describes teaching films, 2x2 slides, slide films. No obligation, mail postcard today. YOll\G AMERICA *■ FILMS, m. Dept. ES-I, 18 E. 4l$t Street, New York 17. N.Y. Page 45 Royal Geographic Society. Grand Prix winner at the International Film Festival in Brussels, and honored at the World Film Festival in Chicago. Available also in color. Development of the Chick (1 reel) — the hour-hy hour development of a chicken embryo in the egg. The life cycle of the chicken is shown in clear detail. "Development of the Chick" ■ KNOWLEDGE BUILDERS CLASSROOM FILMS, 625 Madison Avenue, New York 22, N. Y., offers the following mathematics 16mm sound teaching films: Properties of Triangles — which illus- trates the importance of the rigidity of triangles by comparing the strength of triangles with the strength of non- rigid figures. Animated treatments of the "Angle Bisectors Theorem," the "Perpendicular Bisectors Theorem," the "Altitudes Theorem," and the "Medians Theorem" follow. The film is intended for use when the theorems mentioned are studied. Pythagorean Theorem — which pre- sents the historical background of the theorem and includes a detailed dis- cussion of an interesting use of the 3-4-5 triangle by the Egyptians. The basic importance of the theorem is stressed. Simple Fractions (1 reel) — animated in such a way as to give meaning to fractions. Simple additions are made reasonable by showing parts being combined. Concrete objects are used in the gradual development of abstract ideas of such fractions as Yi, Yi, ^, 5/6, and 6/7. ■ PORTAFILMS, 1520 N. La Brea Ave., Los Angeles 28, Calif., announces the early release of the second film in its safety series: A Safe Home — for which a series of classroom tests were conducted to carefully check student reactions to the techniques used in the film. As the story treatment is more unusual than the approach used in Let's Play Safe, the first film of the series, it was felt by the Audio- Visual Curriculum supervisors consulted that the only way to get a valid evaluation of the script would be by student testing. The test were conducted in Los Angeles City, Los Angeles County, and Paro- chial schools. ■ THE MARCH OF TIME, 369 Lex- ington Avenue, New York 17, lists the following two subjects among their recent 16mni offerings: The American Cop (2 reels) — how the .\nierican policeman serves his community. The burden of putting down the increasing number of vio- lent crimes lies upon the "cop." A specific case is depicted. Problem Drinkers (2 reels) — the story of such well-known organiza- tions as Alcoholics .'\nonynious, the Research Council on Problems of Al- cohol, and the laboratories of the Yale School of Alcohol Studies and their efforts to control alcoholism and have it recognized as a disease. The film follows an alcoholic's course from his downfall to his rehabilitation. It shows how he slips from "moderate" drink- ing into uncontrolled excess. ■ ENCYCLOPAEDIA BRITANNI- CA FILMS, INC., 20 North Wacker Drive, Chicago 6, Illinois has released the following new film: Live Teddy Bears (1 reel) — a film for primary children about the Aus- tralian koala bear. The film was pho- "Live Teddy Bears" tographed in an Australian park and in the remote bush country, sole place in the world where koalas live out of captivity. ■ BRITISH INFORMATION SERVICES, 30 Rockefeller Plaza, New York 20. and branches report the availability of these new films: Rettim to Action (2 reels) — the rehabilitation of the disabled. The Dis- ablement Resettlement organization helps such persons to return to skilled or other useful employment. The Royal Tour (3 reels)— official film story of the British Royal Fami- ly's first visit to the Union of South Africa. During the tour, the Princess celebrated her 21st birthday, and the film records her dedication to the people of the British Commonwealth. Blood Transfusion 1947 (2 reels) — a survey of blood transfusion and its devolopment in international medical history from Landsteincr's discovery of the four blood groups in 1901. Suitable for both professional and lay groups. North East Corner (1 reel) — latest "Pattern of Britain" film. The setting is in Aberdeenshire and the surround- ing countryside with accent on the fishing industry but including shots of modern farms and the reclamation of land. ■ CORONET INSTRUCTIONAL FILMS, Coronet Building, Chicago 1. include among their late productions: City Fire Fighters (1 reel, color or black and white) — the importance of organized fire fighting, filmed for ele- mentary social studies. Emphasis is placed on fire prevention. Panama: Crossroads of the Western World (1 reel, sound, color or black and white) — the effect of the inter- mingling of peoples on the cultural and economic life of the city. Valuable for classes in geography and social studies. Suitable for intermediate, junior and senior high school students, and adults. Pigs and Elephants (1 reel, black and white only) — introduces such foreign animals as the Babirusa of the East Indies, the Wart Hog of Africa, the Pigmy Hippopotanms, and others. The film shows the relationship of these animals to the pig and is intended for primary and intermediate students. What Is Science? (1 reel, color or black and white) — a visual definition of the word, "science." The five steps of the scientific method are illustrated: curiosity, observation, hypothesis, test- ing of hypothesis, and the conclusion. Magnetism (1 reel, color or black and white) — for general science courses in elementary and junior high schools. The film mentions types of permanent magnets, attraction, and repulsion, making magnets, fields of force, elec- tro-magnets, and uses of magnets. Oxygen (1 reel, color or black and white) — an introduction to this import- ant element through dramatic experi- ments. ■ SOUTHERN EDUCATIONAL FILM PRODUCTION SERVICE, Athens, Ga., offers the following recent films: Florida: Wealth or Waste?— 22- minute sound film in color — filmed for the Florida Resources — Use Educa- tion Project. It tells the story of a state's fight for permanent prosperity despite such odds as winds, freezes, fires, unstable markets, and its de- pendence on tourist business. Mr. Williams Wakes Up — 29-minute film in black and white — concerning community health and sponsored by the North Carolina State Board of Health. The film shows what commu- nity health work has done in North Carolina, what it is doing now, how it cooperates with private physicians and volunteer groups, and what kind of citizen participation it needs to be more effective. 16mm Movies. Rental^Sale — Sound — Silent. Equipment on Time Payment our specialty. Send for free catalog, stating your needs in first letter. INSTITUTIONAL CINEMA, Inc. Dept. ESC. 1560 Broadway, New York 19, N. Y. Page 46 Educational Screen ■ YOUNG AMERICA FILMS, INC., 18 East 41st St., New York 17, N. Y., announces several new releases: The Teen Numbers — 1 reel — is a continuation of the Young America Arithmetic Series. It is an arithmetic teaching film prepared for the primary grade level and is a companion film to such previous releases in this series as What is Four, Parts of Nine, Ports of Things, and Meaning of Percentage. Sewing Fundamentals and Sewing- Slide Fasteners — each 1 reel — are con- tinuations of the Sewing Series begun with Sewing Advanced Seams and Sewing Simple Seams, all designed for home economics instruction in high school, trade school, college, and women's groups. Modem Guide to Health — 1 reel — is a cartoon-type film dealing with such health problems as posture, care and selection of clothing, and the im- portance of rest and sleep. It is aimed at parents and other adult groups but is regarded as having high value for school audiences. The film was made in Great Britain, and Young America Films has been appointed as the ex- clusive sales agent in the United States and Canada. ■ FILM STUDIOS OF CHICAGO, 135 S. La Salle St., Chicago 3, III., an- nounces that selected stories which have been or will be appearing in is- sues of "The Woman," digest-sized magazine with 500,000 monthly read- ers, will be filmed exclusively by IVo- man Speaks, woman's page of the screen. Devoted solely to activities and accomplishments of women, Wo- man Speaks was honored recently by being selected for permanent preser- vation in the film archives of the Li- brary of Congress in Washington. ■ BRANDON FILMS, INC., 1600 Broadway, New York 19 is distribu- ting the following film: Kitchen Come True (2 reels) — dem- onstration of how an old-fashioned farm kitchen may be converted into a modern and convenient one. The film was produced by the National Film Board of Canada. ■ AMERICAN BANKERS ASSO- CIATION, 200 Madison Ave., New York 16, and EMERSON YORKE STUDIO, 35 West 4Sth St., New York 19, distribute a film of interest to agriculture groups, bankers, and economics students: Bill Bailey and the Four Pillars (2 reels) — the value of diversification in "Bill Bailey and the Four Pillars" farming . . . four crops for four sea- sons: sheep, tobacco, cattle, and wheat. Bill Bailey, who stars in the film, is actually a banker in the town of Clarksville, Tennessee. He promoted the plan advanced in the film to pro- mote prosperity for the farmers of his area. ■ FILMS OF THE NATIONS, INC., 18 W. 55th St., New York 19, N. Y., have acquired the exclusive sales rights for the new British In- formation Service's film: Charter of the United Nations — which analyzes the work and structure of the General Assembly, the Security Council, and the various commissions of U.N. ■ THE PAN-AMERICAN UNION, which is now producing its own edu- cational films, offers four new 16mm sound films to schools and other in- stitutions with visual education pro- grams. These are Bogota, A Story of Coffee, A Story of Bananas, and The Republic of Colombia. Each film runs about 10 minutes. Bogota and The Republic of Colombia are in color. rosi I ftWlYOllPOSTH) on the Best 16mm SHORT SUBJECTS? fdutatlonal . . . Entertainiag! STRANGE AS IT SEEMS by John Hlx 8 Sub/ccts Abiorbing dromotizations of historic ironioi, oddiriet, end coincid«nc«i, culled from the bywoys of human experience. One reel sound filmi; running time 9 minutes each, Finy YEAR BARTER LAFAYETTE, CHAMPION Of IIURTY GOLD AND MAN SILVER THREADS MARK TWAIN EMPEROR NORTON IITTIE JACK NORNER STAR GAZERS LUt Prk*: $3S.0O Mth. Available of leading film Ubrorfel. Wrlr* for nttt catalog to Dept. 10. POST PICTURES CORP. lis W. 45th St., New York 19, N T "PUPPY TROUBLE" The First of the teries, TRAINING YOU TO TRAIN YOUR DOG. Three lAmm Sound Films !n Color ar Bleck- and-WhUe. Demonstrating the Puppy's First Lesson In House Manners. Helen Hayes & Lowell Thomas, Nar- rators. Blanche Saunders: Director. Louise Branch: Producer & Photogra- pher. UNITED SPECIALISTS, INC. America's foremoft producers of Dog Films PAWLING. NEW YORK T Northwestern University MARIMBA COEDS Full Reel Concert! National Trophy Winners — Dirwtfd by (lair Omar .Miingt-r — in •\VO.\IAN SPE.\K8' Tlirlllerl • • • Write H. A. Spinuth. Film Studios ot Chicago 135 S. La Salle Dept. E Chicago 3 Conversion of old kitchen into modern one ("Kitchen Come True") January, 1948 Have you ordered your copy of "lOOOandOne?" Page 47 Index to Volume XXVI (1947) EDITORIALS Mo. Nelson L. Greene. 1881-1947 Feb. Magsiines and Men (F. Dean lleClutky) Mar. Toward the Future Apr. "Speaking of Film Councils" May And the Greatest of These ... Is Distribution —Inex- pensive Materials Can Be FliTective Too June Salaries and Budgets — -The A.L.A. Film Project Sept. From the Experience of Others — Picture Power Oct. It Is Your Move — On Its Way — Not a Luncheon Club — -Seventy Per Cent Are Adults Nov. Best Materials Are Utilization-Centered Dec. FORMAL ARTICLES Mo. A.hl, Frances Norene, Visualizing and Vitalizing Govirn ment Mar. Andernon, Irving H., Improving Adult Reading Through Visual Aids -^pr. Badgeley, Ralph E., and Roben J. MaoHke, A Profes- sional Study In Audio-Visual Education May Borr, H. if., Means — Not Ends Mar. Bell, Walter S., Atlanta Audio- Visual Anniversary Nov. Boyer, Melvitte J., Visual Education Aids Historical Societies Feb. Cross, A. J. Fay, They Didn't Have Electricity Oct. Dobie, Albert J., The Care and Maintenance of Motion Picture Films . Apr. Elliott, Godfrey, Putting "Participation" Into the Film.... Feb. Flanders, Mark, Eat Your Cake — And Have It, Too Jan. Frazier, Alexander, Films Motivate English Activities Feb. Orindrod, Helen, and Don Barrinon, Audio-Visual Workshop for Administrators June Hansen, Henry R., Costs of Audio-Visual Materials June Harrison, Don, and Helen Orindrod, Audio-Visual Workshop for Administrators .Tune Howard, Jr., Alexander B., Textbook Illustrations: \ Visual Aid Jan. Jones, Joseph, The Filmstrip-— An Examination Proced-, ure in English Composition Nov. Kruse, William F., Engineering Progress Opens New Vistas May Lumsdaine, A. A., Experimental Research and the Im- provement of Teaching May Maaske, Roben ,/., and Ralph E. Badgeley, A Profes- sional Study in Audio-Visual Education May May, Mark A., Educational Projects Apr. Mennie, Jessie, Visual Education in Canada Sept. Micheels, William J., Wanted — Stimulation and Co- ordination May Shearman, John. Wartime Wedding — The Documentary and Fiction Film June Spalding, Willard B., Integration of Instructional Materials Sept. Swtn, Ming-Ching, The Fifth .Start Oct. Wagner Robert IV'., The University in Transition ..Oct. White, Thurman, Audio-Visual Materials in Adult Education Nov. Tri?*-i7i»07i, Cecil E., Teaching With the Aid of Motion Pic'ures Sept. Young, Kenneth W., Horizon Unlimited .Tan. THE FILM AND INTERNATIONAL UNDERSTANDING (Dr. John E. Dug.an, Editor) Double Anniversary Jan. Evaluative Understanding Through Films Feb. "Brotherhood of Man" and Re-orientation Mar. The State Department's OIC Film Program June A Local International Film Project (Bruce Underwood) . . . .June Ragan Plans Film Series for Internationa] Understand- ing (Dorothy Orafly) Sept. Films for International Understanding in the Whole School Program Oct. Let's Utilize United Nations Dec. I'uge 80 140 194 250 300 362 424 486 542 'age 143 )95 252 141 494 88 427 198 84 25 81 309 306 309 27 487 262 254 252 200 365 251 310 363 430 428 489 369 22 38 102 152 313 334 375 438 557 THE CHURCH DEPARTMENT (WiIjLia.m S. Hockm.\n, Editor) How Visual Should the Use of a Visual Aid Be? (Paul a. Kiehl) — Add Sound to Silent Pictures (Rer. Win. M. Hunter) — Shadow on the Land Jan. 33-5 A Job for the P.F.C. — Why T.F.C. Films Are Not Available to the Churches (Wm. M. Rogers) — A Movie Situation Solved (Rer. Wm. F. Edge) — The Bible Society Films Feb. 97-100 Residue of Participation — Make It a Thinkshop, Too — Films Reach the Pocketbook (Wm. M. Hunter) Mar. 153-4 Visual Aids for the Extended Session — Slides Promote the Camp (Virgil E. Foster) — Setting Up Projection Equipment ... Apr. 209-11 One Way to Improve Utilization — We Use Opaque Materials (A'. Eugene Kirchner) — Film on Atom Peril May 265-6 Insufficient Liaison — American Lutheran Film — "The Spirit That Came to Earth" (Harold Clark) June 317-8 Seeing and Doing in the Vacation School (Charles 11'. Tyrrell) — The Pastor Makes a Movie (Harold E. Wagner) — -Wheaton College Confer- ence on Audio-Visual Materials (Orovener C. Rust) ....Sept. 377-9 The Primary Children See a Film on Palestinian Home Life — The Fourth Workshop at Green Lake, Wisconsin — Visual Aids in a P.T.A. Meeting (R. A. Hartman) — A Couples Group Uses a Filmstrip (Mr. and Mrs. Don W. Fein) Oct. 443-7 The Primary Children See a Film on Palestinian Home Life (Part II) — The Seeing Experience in Worship (R. L. Krepps) — Filmstrips Previewed — P.F.C.'s First Film, "Beyond Our Own" ....Nov. 505-8 South India Holds First Visual Aids Institute (Blaise Lerai) — New- Stewardship Materials — Filmstrips on Visual Methods .... Dec. 553-6 THE LITERATURE IN VISUAL INSTRUCTION (Ett.\ ScllNElDKR KES.S, Editor) (This index includes only the more important literature and those books and articles treated at some length.) Planning the General Classroom for Audio-Visual Aids Use (E. De Alton Partridge, Sch. Exec.) — Transition to Visual Education (William M Dennis, N.E.A. Jl.) — The Tasks of an Internationl Film Institute (Adolf Nichtenhauser, Hollywood Quart.) — Industrial Films (Source of Occup. Inf. U.S. Employ. Serv. ) — Documentary News Letter (Nov.- Dec. 1946 Film Centre, London) — Use of Audio-Visual Materials Toward International Understanding (Helen Seaton Preston) — Audio- Visual Materials in the High School (Frances Xorene AM) — The Prep aration and Use of Visual Aids (Kenneth B. Haas-Harry Q. Packer) J»n. 40-2 Audio-Visual Methods in Teaching (Edgar Dale) — Movies That Teach (Charles F. Hoban, Jr.) — The School Division Film Library (W. H. Durr) — Film Forum Review (Columbia U.) Feb 104-6 Using the Opaque Projector in Teaching Composition (Mary Mar- garet Robinson) — Movies Enrich the Curriculum (W . C. Meier- Henry) Mar. 158 Freedom of the Movies (Ruth A. Inglis) Apr. 216-8 Establishing a Visual Education Program (Clifford B. Wise) — How- to Use Films in Teaching Intelligently (Beatrice Schwartz) — The Factual Film (Pol. and Econ. Plan. Com., Darlington Hall Trus- tees) May 272 Audio-Visual Education in City-School Systems (Research Div., NEA) — Explaining the Schools through Films (Stephen M. Corey, Sch. Rev.) — A University's Audio-Visual Extension Service (Thurman J. White) —Did Movies Win the War! (William W. Wallenberg) . .June 321-2 Art in Cinema (Frank Stauffacher, ed.) — Magic and Myth of the Movies (Parker Tyler) — Education on the Air (/. Keith Tyler-Nancy Mason Dasher) — Sponsored Films in Education (Wilfred F. Howard, Film and Radio Guide) Sept. 384-6 The American Radio (Llewellyn White) — Foundations for Teacher- Education in Audio-Visual Instruction (Elizabeth Ciiudy Noel-J. Pwui Leonard) .Nov. 515 Grierson on Documentary (Forsyth Hardy, ed.) — Composing for the Films (Hanns Eisler) Dec. 552 SCHOOL MADE MOTION PICTURES ( D.AVin .SCHNKIDKR, Editor) L The Status of the School Made Motion Picture Jan. 31 ( f Interest to Producers of School Made Films — Taking Interpretive School Movies (Margaret Parham) Feb. 90-1 Y.C.C.A.. What It Is, How It Works, Where to Start - — Netherland Educational Film Mar. 157 Oscars for Dr. Wheat — Film Production at George Washington (David K. Estluw) Apr. 213-4 Slide Production at Midwood High School May 269-70 Your (inide to Camera Buying June 323 Kidelitv of Report, .\ Film for the Psychological Lab. ( Wilhert S. Ray) Sept. 374 Lights! Action: Camera! (William Allen) Nov. 510 TEACHER COMMITTEE EVALUATION OF NEW FILMS (li. C. Larson, Kdiior) Know Your Librarj — Magnets — Speeding Y'our Read- ing— 'I'his Tjand of Ours: Washington, D. C. — People of the Soviet Union — Freezing Fruits and Vegetables Ian. 44-6 Meet Your Federal (iovernment — Children's Charter — M'ings to Ireland — Paper Feb. 92 3 Man: One Family — What Makes Rain — Vegetable In- sects— Hopi Horizons — Maps .\re Fun Mar. 150-1 Let's Give a Tea — Brotherhood of Man — .Atomic Energ.v — Pudge Apr. 206-7 Heidi — Return of the Vanishing Herd — Water Supply — The Librarian May 260-1' Making .Slioes — Seashore Oddities — Wild Fowl in Slow Motion — The Andes — Chile's Barrier — Introduc- tion to Fractions .lune 314-5 Boundarv Lines — Wheat: The Staff of Life — Les Canaux — Chinese Shadow Play Sept. 372-3 Shv Guv — .Vir Transportation — Making of a Mural — The" Curious Coati Oct. 440-1 Near Home — Dining Together — Duties of a Secretary — People's Charter Nov. 498-9 Behind the Scenes at the .\'rport — What Is Money.' — .Vrtisans of Florence — Sitting Right — Ins'ruments of the Orchestra Dec. 550-1 NEWS AND NOTES (This index iticludes only thi' more important items and those treated at some length.) Dorothy Allard, Visual Pioneer. Dies — Film Board Formed by United Nations Jan. 54-5 Visual Aids for Business — Second .-Vnnual .\wards Dinner Held by Metropolitan Branch of D.V.I. — Joint Services for U.N. Film and Visual Activities .Feb. 114-5 J. C. Wardlaw, Audio-Visual Pioneer, Passes — California .\udio- Visual As.sociation Expand.s — Farm Film Fotindation . ...Mar. 166-9 Commission on Motion Pictuns in Adult Education E.stablished — New Distribution Policy for USD.V Films — Hoard of Review Reor- ganization and Conference Apr. 228-31 Chicago Film Festival, June 2 to 6 — Audio-Visual Awards to Schools May 281 U.S.A. Sends Film Entries to Brussels World Film Festival — Inter- national Exhibition of Motion Picture Technique, Venice, Aug. 14 to Sept. 10 — Iowa Extension Division Given College Status — .Toint Film Program Planned by l^.N. Film Hoard lune 330-1 Oklahoma A-V Appropriation — Film Advisorv Service for Public Libraries — Audio-Visual Awards Endorsed by ANFA, NAVED, FCA — Annual Film Festival at Cannes, Sept. 12 to 25 Sept. 396-8 UNKCSO Survej-s Technical Needs Abroad — Study Role of Public Libraries in Promoting Use of Discussional Films Oct. 457-9 Professional Training in Motion Pictures — Radio Center at Syra- cuse University — Sloan Foundation Reports on Motion Pictures and Radio ." Nov. 518-22 Corey Speaks at Calif. Conference — Navy Research .V-V Project at Pennsylvania Dec. 561-2 Page 48 Educational Screen AtDIO-VISUAL TRADE REVIEW {Thi*i index includeg important newn it emu and itfmn concerninff ■new equipment.) NAVED Resrional Meeting — RCA Mobile Unit for 16mni Location — Automatic Miniature Slide Pro.it dor — Single LenK Trivision Photo- graphic Process Ian. 59-63 Magnetic Sound fur 16 and Hnini Kilms — Magnetic Paper Tape Recorders — Master Editing Outfit — The Kardon, New 35mm Camera —Cine Accessory — Radiant Screens — Hollis 555 Splicer — Pre-fabri- cated Portable Darkroom Feb. 119-23 Teaching Films Inc. Is Born — NAVED Meet Is "Solid" in the South — 8mm, 16mm for Television at SMPE Chicago Meet — New Projector Stand — Rocket Cameras— New Master Model Kodaulide Projector — ■ Raising Cane for Good Pictures (Ambol Kanepod) — Bell & Howell Announces "Picture Master" 8mm Projector — "Premier-20" Is Ampro's Latest 16mm Sound Projector — Victor 16mm Model "60" — Television Launched in St. Louis Mar. 171-6 NAVED Meetings — -Perfex Magazine Loading 8mm Camera — Sears Introduces a Wire Recorder — ^New Test Chart Set Checks Photo Equipment — Sound for 16 Frames Apr. 233-6 RCA's 16mm Story — B. & L. Miniature Slide Projector — Movie Kodaguide — Kolograph 16mm Projector with Intermittent Sprocket — New Low-priced Portable Screen — G.E. Exposure Meter Acces- sory May 286-8 NAVED Convention in Chicago. Aug. 3-6 — Film Preserver from Bolex — Weston Photographic Analyzer — New GoldE Color-in-Motion Rotochrome Spotlight — New Paper Tape Recorder June 335-8 NAVED Convention Introduced New Products and Diseus.sed Dealer Problems — NAVED Elects Officer.s — RCA Ends Long "Weight", Intro- duces New Projector — GoldE Is Where You Find It — Color Facsimile Reception for the Home — Victor Announces New "Lite- Weight" Pro- jector with Demountable Speaker — -Educational Television Can Be Good Sept. 401-7 Ampro Not Mute on Silents — Kodak's 750-Watt "8" — Turning the Tables on Silent Films — Webster-Chicago Wire Recorders Now Avail- able— New Table Model Victrola — G.E. Educational Radio Kits — Film Defect Indicator and Sprocket Guards from B & H — New Electro- Voice Crystal Microphone — Pay-asyou-see Television — 16mm Television Motion Picture Projector Oct. 464-6 New 16 and 8mm Splicer — Empire Sound King Projector — Test Films Available in 16mm — New Projector Ends Need for Blackout — American Television Society Makes P'ifth Annual Awards . .Nov. 525-6 Kodaslide Projector Model 1 A Announced — New RCA Wire Re- corder— Revere Rides into 16mm with Light-weight Sound Projector — Polyphonic Wire Recorder — New Low Cost Sound Projector Is An- nounced by Universal — DeVry Announces New 31-lb. Projector — Light Valve Tester — Television Rrrorrting Camera Developed bv Kodak Dec. 568 71 MISCELLANEOUS We've Come a Lony: Way I Or Have Wei {Paul (■. Heed) " Jan. 29-30 First Grade Mathematics — In Hand-made Lantern Slides {Ann Gale) 32 Reports and '47 Aims Presented at FCA Year-End Meeting 48-9 Flying Makes New Neighbors (Graphic Film Review) ... .Feb. 86-7 rtica Schools Own a Film Library 89 PiluLs That Meet Curriculum Needs (Paul C. Reed) 94-5 Third Annual Museum, Audio-Visual Aids Institute {Irene F. Cypher-Grace F. Ramtiey) 95-6 -Vtlantic City Program of DVI Conference 106 Education in an Air Age 108 The Centennial of Two Great Men: Alexander Graham Bell and Thomas A. Edison Mar. 144-5 Films on Atomic Energy 146-8 Raising Our Sights (Paul C. ReedWiUinm F. firuse) . , . . 149' Libraries to Handle Films for Community Education 160 School for Screen Writers Apr. 184 FCA Constitution Drafted at Atlantic City Meeting 188 Juvenile Delinquency on Film (Graph'c F^ihn Review).... 202-4 Utilization Can Be Democratic {Paul (\ Reed) 205 New Biology Film Helps Girls (Film Review) 215 Significant Conclusions at DVI Alhinlic City Con- ference 220 Summer Courses in Audio- Visual Education, 1947 (Part I) 222-4 The DAVr Looks at UNESCO and Educational Recon struction {Edgar Dale) May 244-6 Do "Motivation" and "Participation" Questions In- crease Learning.' (Motion Picture Research Pro- ject ) 256-9 Summer Courses in Audio-VisunI Education, 1947 (Part II) 276-9 Film Council Operates on New Const ituti(»n lune 294 "The Film Counselor" 296 Tested Teacher Training Techniques, A Symposium [Corey, Dale, McCluxky, Ehy, TroHnger, RenH and Cochran) 301-n Observations on the Audio-Visual Movement in Canada (0. R. Crakes) 316 EFLA Annual Conference 328 Film Council Elects S. M. Corey. Acting Director Sept. 354 Stephen Corev, New President. DAVI Holds Summer Meet 371 Films of the World Festival Is .\nn]xplanation — The New DAVI Constitution {Ver- non G. Dameron) 442 The Drama of Steel (A Graphic Film Review) 450 University Film Producers Hold Conference at Iowa State 452-4 Top-Ranking Broadcasters .Vtteud Television ('linic 467 Films of the World Festival Opening Is a Success. ...... . \ov. 476 DAVI Executive Committee Plans Three-Point Program.... 482 Iowa State Audio-Visual Laboratory 492-3 Filmstrips for Freedom (David J. Goodman ) 497 ■■Woman Speaks" Nov. 500 £. What Is a Community Film Council .' 501 H How to Organize a Filni Council 502-4 H^ A Symposium; Tlie Corrt-latinn of Film.s witli Text- Hi books ( Roxfiihiifi. Sijii'iimin. fif/landrr, liUhiian. ^. Render) Dec. 543-9 ^■January, 1948 INDEX TO ADVERTISERS Ampro Corporation 7 Bausch & Lomb 4 Bell & Howell Inside Back Cover Beseier Co., Charles 9 Brandon Films 6 Burke & James 44 Colburn Laboratory, Geo. W 40 Coronet Instructional Films 8 Da-Lite Screen Co. 35 Dennis Film Bureau , 38 DeVry Corporation 43 Eastin Pictures Co 37 Encyclopaedia Britannica Films 3! Film Studios of Chicago 47 GoldE Manufacturing Co. 38 Holmes Projector Co. 39 Institutional Cinema Service 40, 46 International Film Bureau . .. 36 International Film Foundation 35 Johnson Hunt Productions 39 Karel Sound Film Library .. 40 Keystone View Co. 33 Lewis Film Service 40 Mahnke Productions, Carl F. 34 National Carbon Co. I Portafilms 38 Post Pictures Corp. 47 Radio Corporation of America 2 Radio-Mat Slide Co 40 Society for Visual Education Back Cover Swank Motion Pictures . 40 United Specialists . 47 United World Films 5 Victor Animatograph Corp. Inside Front Cover, 36 Viewlex 37 Visual Sciences 40 Young America Films 45 Page 49 Trade Directory For the Audio-Visual Field P9 FILMS W. J. Ahern, Film Bookings 126 Lexington Ave., New York 16. 716 Federal St., Troy, N. Y. Association Films 347 Madison Ave., New York 17, N. Y. 19 S. La Salle St., Chicago 3, 111. 351 Turk St., San Francisco 2, Cal. 1700 Patterson Ave., Dallas 1, Tex. Award Films 115 W. 44th St., New York 18, N. Y. Bray Stndlos. Inc. 729 Seventh Ave., New York 19. N. Y. Castle Films. Dlv. of United World Films, Ino. 445 Park Ave., New York 22, N. T. Catholic Movies 220 W. 42nd St., New York 18, N. Y. Chnroh Film Service 2595 Manderson St., Omaha 11, Neb. Collins Motion Picture Service 502% & 506. St. Paul St., Baltimore 2, Md. 4 Race St., Cambridge, Md. Coronet Instructional FilinH Coronet Bldg., Chicago 1, 111. Dudley Pictures Corp. 9908 Santa Monica Blvd., Beverly Hills, Cal. 501 Madison Ave., New York. N. Y. Rastman Kodak Stores. Inc. 356 Madison Ave., New York 17, N. Y. Films, Inc. 330 W. 42nd St.. New York 18, N. Y. 64 E. Lake St., Chicago, 111. 611 N. Tillamook St., Portland, Ore. 109 N. Akard St., Dallas 1, Tex. 101 Marietta St., Atlanta 3, (la. 1709 W. 8th St., Los Angeles 14, Cal. 68 Post St., San Francisco, Cal. Films of the Nations, Inc. 55 W. 45th St., New York 19, N. Y. Fryan Film Service Film Building, Cleveland, Ohio Gallagher Film Service 113 S. Washington, Green Bay, Wis. 639 N. 7th St., Milwaukee 3, Wis. General Films, Ltd. 1534 13th Ave., Regina, Sask. 156 King St., W. Toronto, Ont. General Pictures Productions 621 Sixth Ave., Des Moines 9, la. Heldenkamp Nature Pictures 538 Glen Arden Dr., Pittsburgh 8. Pa. Hotfbere Productions. Inc. 620 Ninth Ave., New York 18, N. Y. Institutional Cinema Service. Inc. 1560 Broadway, New York 19, N. Y. International Film Bureau 84 E. Randolph St., Chicago 1, 111. Kunn Motion Picture Service 1319 Vine St., Philadelphia 7, Pa. 432 N. Calvert St., Baltimore 2, Md. 1905 Sanderson Ave., Scranton, Pa. Ijibrary Films. Inc. 25 W. 45th St., New Y'ork 19, N. Y. MoKolTs, Inc. 68 W. 48th St., New York 19, N. Y. Nn-Art Films, Inc. 145 W. 45th St., New York 19, N. Y. OTonlon Films 822 Penfleld Bldg., Philadelphia 7, Pa. Otncial Films. Inc. 25 W. 45th St., New York 19, N. Y. Portnfllms 1520 N. LaBrea Ave., Los Angeles 28, Cal. The l*rlnceton Film Center 55 Mountain Ave., Princeton, N. J. Relifcious Film Service 5121 W. Devon Ave., Chicago 30, 111. Simmel-Mttservey, Inc. 321 S. Beverly Dr., Beverly Hills, Cal. Southern Visual Films 686-9 Shrine Bldg., Memphis 1, Tenn. Vocational Guidance Films. Inc. 2718 Beaver Ave., Des Moines, la. Williams. Brown and E^arie. Inc. 918 Chestnut St., Philadelphia 7, Pa. Art Zcilirr Visual Fducation Service 157 Washington St.. Newark 2. N. J. MOTION PICTURE PROJECTORS AND SUPPLIES licll ^k Howell Co. 7117 McCormick Road, Chicago 45, 111. Calhoun Company 101 Marietta St., N.W., Atlanta 3. Oa. lUOhi Taylor St., Columbia 6, S. C. Carroll W. Rice Co. Audio Visual Center, 424 40th St., Oakland 9, Cal. Collins Motion Picture Service 502 hi & 506 St. Paul St., Baltimore 2. Md. 4 Race St., Cambridge, Md. t'omprehenslve Service Company 245 W. 55th St., New Yorl; 19, N. Y. IJeVry Corporation 1111 Armitage Ave., Chicago 14, III. Knstman Kodak Stores. Inc. 356 Madison Ave., New York 17, N. Y. eneral Films, Ltd. 1534 13th Ave., Regina, Sask. 156 King St., W. Toronto, Ont. General Pictures Productions 621 Sixth Ave., Des Moines 9, la. Hirsch & Kaye 239 Grant Ave., San Francisco 8, Cal. Knnc Motion Picture Service 1319 Vine St., Philadelphia 7, Pa. 432 N. Calvert St., Baltimore 2. Md. 1905 Sanderson Ave., Scranton. Pa. Moff:ull*s Inc. 68 W. 48th St., New York 19, X. Y. Nn-Art Films. Inc. 145 W. 45th St., New York 19, N. Y. Italke Contpany 829 S. Flower St., Los Angeles 14, Cal. Ryan Visual Aids Service 409 Harrison St., Davenport, la. S. O. S. Cinema Supply Corp. 449 W. 42nd St., New York 18, N. Y. Southern Visual F^llms 686-9 Shrine Bldg.. Memphis 1, Tenn. Swank Motion Pictures, Inc. 614 N. Skinker Blvd., St. Louis 5, Mo. Visual Fducation Incorporated 12th at Lamar, Austin, Tex. 2010 N. Field St., Dallas 1, Tex. 1012 Jennings Ave., Ft. Worth 2. Tex. 3905 S. Main, Houston 4, Tex. Williams. Brown and Karle. Inc. 918 Chestnut St., Philadelphia 7. Pa. Art Xclller Visual Kducation Service 157 Washington St.. Newark 2. N. J. SCREENS Fryan Film Service Film Building, Cleveland. Ohio General l*ictures Productions i»21 Sixth Ave., Des Moines 9, la. lllrsch A Kaye 239 Sixth Ave.. San Francisco S, i"al. Mof;ull*s Inc. 68 W. 4Sth St.. New York 19, N. Y. ^u-Art Films. Inc. 145 W. ISth St., New York 19, N. \. Uadinnt Mnnufacturini!^ Corp. 1215 S. Talman Ave., Chicago 8, III. Southern Visual Films 686-9 Shrine Bldg., Memphis 1, Tenn. AVUIiams. BroYvn and Karle. Inc. 918 Chestnut St., Philadelphia 7, Pa. PICTURES Inforninlive ClaMHrooni PU-ture Series 40 Ionia X.AV., Grand Rapids 2, Mich. SLIDEFILMS Simmel-Meservey, Inc. 321 S. Beverly Dr., Beverly Hills, Cal. Visual Research Company 30 N. Dearborn St., Chicago 2, 111 Williams. Brown and E^arie, Inc. 918 Chestnut St., Philadelphia 7, Pa. SLIDES (KODACHROME 2 x 2) Hirsch & Kaye 239 Grant Ave, San Francisco 8, Cal. Klein & Goodman. Inc. 18 S. 10th St., Philadelphia 7, Pa. Nu-Art Films. Inc. 145 W. 4 5th St., New York 19, N. V. Visual Research Company 30 N. Dearborn St., Chicago 2, 111. SLIDES (Standard V/4 x 4) KeyMtone A'lew Co. Meadville. Pa. Ryan ViMunI Atdn Service 401t Harrison St., Pavenport, SLIDE, FILMSUDE and OPAQUE PROJECTORS Ctmiprehensive Service Co. 245 VV. 55th St., .N'ew York 19, N. Y. IJeVry Corporation mi Armitage Ave., Chicago 14, 111. General Films. Ltd. 1534 13th Ave., Regina, Sask. 156 King St., W. Toronto, Ont. <;nldK MannfactnrinK Co. 1220 W. Madison St., Chicago 7, 111. Hirsch A Kaye 2:!9 Grant Ave.. San Francisco 8. Cal. I\e.> stone View Co. Meadville. Pa. Italke Company S29 S. Flower St.. Los Angeles 14. ("al. ityan Visual Aids Service 409 Harrison St.. Davenport. la. Southern A'isual Films «S(!-9 Shrine Bldg.. Memphis 1. Tenn. \'le>viex. inc. 35-01 Queens Blvd., Long Island City \ Isiial Research Company ■.',0 N. Dearborn St., Chicago 2, 111. W'illlnnis, Brown and F^arie. Inc. 91S Chestnut St., Fhiladelphia 7. Pa. Page 50 Educational Screen For Further Information about the products featured in this issue use the convenient READER'S SERVICE POSTCARD P9 // there is any ndtlilunud information desired on audio-visual materials and equipment not given in the editorial content or ad- vertising in this issue, simply fill in and mail the Reader's Service Postcard. /Vo strimp required. EDUCATIONAL SCREEN'S Service Department will assist in obtaining it without cost or obligation to you. THE BOOK YOU NEED The new 23rd edition Tells where to get over 6,600 films 'MOGG and GNE'' (1948) The Blue Book of Non-Theatrical Films The largest, most complete edition of this annual film reference yet published — 160 pages of essential information on some 6610 available films and their sources, classified under 176 subject-headings, also listed alphabetically by title — indispensable to Supervisors, Teachers, Program Chairmen, Church Leaders, Directors of Industrial Training, and many others. Price Only $1.00 IDEAS For FILM PROGRAMS Classroom Films . . . Adult Films . . . Documentary Films . . . Fiction Films . . . Safety Films . . . Industrial Films . . . Church Films . . . Plus a Host of Others. Simply Clip the Coupon and a copy of "lOOOxind ONE" will be yours. EDUCATIONAL SCREEN 64 East Lake Sfreet Chicago I, Illinois n D Please send me one copy of "1000 and ONE" ($1.00). Also enter or renew my subscription to EDUCATIONAL SCREEN for n One Year $3.00 (Canada $3.50, Foreign $4.00) D Two Years $5.00 (Canada $5.00, Foreign $7.00) □ Check Enclosed Q Send Bill Name ..Addr City . State January, 1948 Page 51 Current Film ISews {Continued from f'age 47) ■ ACADEMIC FILM CO., 113 West 42nd St., Xew York 18 has added one new film to their American history series of five {Our Conslitulion, Our Monroe Doctrine, Our Bill of Rif/hts, Our Louisiana Purchase, and Our Dcc- kiralion of Indcf^rndence) : Ben Franklin's Albany Plan (1 reeH — a re-enactment of the Albany Con- gress held in 1754 by representatives of the American Colonies for the pur- pose of treating with the Six Indian Nations and drafting a scheme for a general union of the Colonies. Despite the failure of the plan, it contained the framework for the future constitution. ■ ALL-SCOPE PICTURES, INC., 1200 Taft Building, Hollywood 28, California, has completed, under the sponsorship of the California Prune and Apricot Growers .\ssociation, the following film: A Fortune in Two Old Trunks (3 reels, color) — the story of the prune industry in California, explaining how Louis Pellier, a Frenchman who came to California seeking gold, established a nursery. Parent stock for prune trees was brought from France in two old trunks. ■ U. S. DEPARTMENT OF AGRI- CULTURE, Motion Picture Service, Office of Information, Washington, D. C, has announced the following: The Frying Pan and the Fire (18 minutes, color) — aimed primarily at the hiker and camper as a part of the cooperative forest fire prevention cam- paign. It's Your Land (4 minutes, 16 and 35mm) — devil-in-phantom tells how through erosion he has been wasting land and people for centuries. ■ THE NATIONAL FILM BOARD OF CANADA announces that start- ing in January, 1948, it will issue a monthly newsreel to be entitled Eye- ivitness. The film will show domestic Canadian news events. Join the MARCH >' OF DIMES JANUARY 15 30 ■ WARWICK M. TOMPKINS, 2031 (ireenticid .'\ve., l.os .\ngeles 25, Cal- ifornia, announces a new film in Koda- chronie: A Tall Ship on Deep Water — run- ning time 21 minutes — which covers a cruise from San Francisco to Ha- waii and return. It shows the ship's young sailors engaged in all the many aspects of sea life. Animated charts and models have been utilized in ten of the 100 scenes to explain various meteorological and nautical terms. The film has accompanying study aids — a study outline and a colored cut- away picture of the ship. ■ WORLD IN COLOR PRODUC- TIONS, Flinira. N'ew York, offers a film for the atomic age: Atomic Fury — 16mm Kodachrome and black and white (also 8mm) — composed entirely of shots of atom I)omb explosions, as filmed by .Army- Xavy Joint Task Force One. ■ GRAPHIC SERVICES SECTION, BUREAU OF MINES. 4800 Forbes Street, l'ittsl)urgh 13, Pa., has added the following new films to its exten- sive educational film library: Sulphur (2 reels, color) — production operations and utilization of this im- portant mineral. The film was spon- sored by the Texas Gulf Sulphur Com- pany and makes effective use of ani- niated diagrams. This Is Aluminum (3 reels) — the mining and preparation of the ore as well as the fabrication of the metal. Graphically the film shows the produc- tion of pure metallic aluminum in a reduction i>lant by the only known process — the passing of an electric cur- rent through a bath of alumina dis- solved in melted cryolite. A Story of Texas and [ts \'alural Resources, The Drama of Steel, The Story of Nickel (revised), and The Fab- rication of Col>per are other Bureau of Mines films. FCA Film List for U.N. Appeal for Children THE Umm FOUNDATION FOR INFtNIlK PARtLTSIS The General Assembly of the Cnited Nations on December 11, 1946, en- dorsed a proposal which was amplified into a special world-wide appeal to meet emergency relief needs of children everywhere. A contribution of one day's effort from every citizen of the world is the goal of the appeal. Films can play a significant role in acquainting people with the plight of the world's children and with the ur- gency of the I'N.AC. .A special com- mittee of the Film Council of .\merica has prepared a bibliography of films which can be used in the classroom, as- sembly hall, church, adult forum — in any group interested in understandin.u and promoting the UN.-\C campaign. Almost all of the films listed have had wide national distribution. .All local sources, dealers, public libraries, school boards and state universities should be consulted before writing to the na- tional source of the producer. Films For UNAC Children of Tragedy (20 min.) AF— showing the consequences . of malnu- trition among the children of Xorway, Holland, Belgium, France. Produced for the "Save the Children Federation." Czechoslovakia Comes Back |18 min.) FN — showing taniilies and chil- dren, orphans and displaced persons returning to their shattered homes. Friends in Need (S min.) IFB — showing the children of this continent gathering shoes and clothing to send to their "friends in need" across tlie sea. Italy Rebuilds (10 min.) IFF— a report by Julien Bryan of the ways in which the UNRR.A farm, food and medical supplies were put to use by the Italian people. Mary 'Visits Poland (10 min.) IFF— a picture of children and family life in Poland. The New France (17 min.) MT— a portrayal of life and jjrohlems in France today. Out of the Ruins (29 min.) NFBC— showing the Greek people's efforts to rise again from a land devastated by war. The Pale Horseman (19 min.) BF— a rei)ort on the health and food prob- lems following in the wake of war, what is being done to prevent the spread of famine and epidemic in Europe. Poland (18 min.) IFF — a picture of Poland, with emphasis on current so-- cial and economic problems. Seeds of Destiny (18 min.) FN— showing the present suffering of the children of Europe and the threat which their plight makes to the future peace of the world. Suffer Little Children (10 min.) NF- BC— showing the needs of the sick and hungry children of Europe, the work of l\'RR.\, the work yet to be done. The World Is Rich (43 min.) BF— the story of the world situation as it affects children and adults, and as it will affect future generations unless the U. N. plans for world food and farm- ing improvement are implemented wholeheartedly. AF Assi "'ation Films. ;',47 Mailiann Ave., N. Y. C. KN V\\m-> of the Nations, 18 W. 65th St., N. Y. C. IFB International Film Bureau. 84 E. Ran- dolph, Chicasro. IFF — International Film Foundation, 1600 Broadway, N.Y.C., 84 E. Kandolph, Chicago. MT -Marefi of Time, 369 Le.NinKton Ave., N.Y.C. NFBC National Film Board of Canada. 620 ,5th Ave.. N.Y'.C. 84 E. Randolph. Chicago. BF Brandon Film.s, Inc.. 1600 Broadway, N.Y.C. Pago 52 Educational Screen EDUCATIONAL BRETT HALL THE MAGAZINE DEVOTED TO AUDIO-VISUAL MATERIALS Film Evaluation in Practice Filmstrips for Primary and Elementary Grades Sound Projectors for the Classroom ; FEBRUARY 1948 ™, ,6mm sound Motion Pictures «re ^^^ . c, force to lighten labor. .,^,/„,„..i.r'M''-l""'"" EWEIGHT 16nim SOUND MOTION PICTURE PROJECTOR » I f designed specifically for convenient and economical classroom use" — and the Triumph 60 for auditorium use. (VISION Of CUKTISS-WmSHT COI«POII>»TI« Oept. G-6 — Home Office ani Faetery: Oovenperf, Iowa New York • Chicago • Dhtribufors Throughout the World MOVIE EQUIPMENT S THE STAFF PAUL C. REED— Editor JUNE N. SARK— Assistant Editor WILLIAM S. HOCKMAN — Editor for the Church Field ROBERT E. SCHREIBER— Editor for the Com- mercial Field DAVID E. CAESAR— Advertising Manager PATRICK A. PHILIPPI— Circulation Manager JOSEPHINE HOFFMAN— Business Manager DEPARTMENT EDITORS JOHN E. DUGAN Jenkintown, Pa. L. C. LARSON Bloomington, Ind. EHA SCHNEIDER RESS . New York. N. Y. DAVID SCHNEIDER New York, N. Y. EDITORIAL ADVISORY BOARD WALTER S. BELL, Director of Audio-Visual Education, Atlanta Public Schools, Atlanta, Georgia EDWARD G. BERNARD, Head, Instructional Materials Program, Board of Education, City of New York. I. C. BOERLIN— Supervisor, Audio-Visual Aids, Pennsylvania State College JAMES BROWN, Assistant ■ Professor of Edu- cation, Syracuse University, Syracuse, New York EDGAR DALE, Head, Curriculum Division, Bureau of Educational Research, Ohio State University. AMO DE BERNARDIS, Supervisor, Audio-Visual Education, Public Schools, Portland, Ore. ELIZABETH GOLTERMAN, Director, Division of Audio-Visual Education, St. Louis Public Schools, St. Louis, Missouri GARDNER L. HART, Director, Audio-Visual Education, Oakland Public Schools, Oak- land, California FRANCIS W. NOEL, Chief, Division of Audio- Visual Education. California State Depart- ment of Education, Sacramento, Calif. F. DEAN McCLUSKY, Lecturer in Education and Director of Audio-Visual Education, University of California at Los Angeles PAUL WENDT, Director of Visual Education Service, University of Minnesota THURMAN WHITE, Head of Department of Visual Education, University of Oklahoma The EDUCATIONAL SCREEN is published monthly except July and August by The Edu- cational Screen, Inc. Publication Office, Fontiac, Illinois; Executive Office, 64 East Lake St., Chicago, Illinois. Printed in the U.S.A. Entered October II, 1937, at the Post Office at Pontiac, Illinois, as Second Class Matter under the act of March 3, 1879. Mrs. Nelson L. Greene, Publisher. Address communications to The Educational Screen, 64 East Lake St., Chicago, III. SUBSCRIPTION PRICE Domestic $3.00 Canada $3.50 Foreign . $4.00 Single Copies 35 Educational THE MAGAZINE DEVOTED TO AUDIO-VISUAL MATERIALS Founded In 7922 by Nelson L. Greene Contents for February, 1948 A Reader Writes AASA Annual Convention — Tentative Progrann for DAVI Atlantic City Conference Page 56 58 As Viewed From Here — Preview Practice Is Changing ' Paul C. Reed 62 Film Evaluation in Practice Charles F. Hoban, Jr.- 63 Filmstrips for Primary and Elementary Grades Vera M. Falconer 66 Let's Face Facts! . Gordon B. Halstead 69 A Survey of Visual Materials Used in Vocational Guidance Sound Projectors for the Classroom Gordon H. Finn 72 ; Paul V. Mulligan 74| San Diego City Schools Achieve Equipment , J Goal Robert H. Burgert 79 Latitude and Longitude — A Graphic Film Review 77 Teacher-Committee Evaluation of New Films .1. C. Larson, Editor 7^ The Church Department William S. Hockman, Editor 81 State Audio-Visual Directors Organize In New York In Indiana -... 86 87 The Literature in Visual Instruction Etta Schneider Ress, Editor 88 News and Notes 92 Audio-Visual Trade Review Robert E. Schrelber, Editor 95 Current Film News 100 A Trade Directory for the Audio-Visual Field 102 Index to Advertisers 104 COVER: Picture by courtesy Coronet Instructional Films. The still is trom the Coronet production "We Discover Fractions", soon to be released. Volume XXVII Number 2, Whole Number 259 ranee... /I Header WfUtel FROM time to time Educational ScreExN readers prove their interest in the magazine by writing in approval or, as in this case, in honest indignation. We feel the point of view expressed in the following tetter so significant that we sought and gained per- mission to publish it. — The Editor. A NEW COLOR SERIES Simmel-Meservey, Inc. is proud to announce the first post-war series of educational films to be made in France. Photographed by Eugene and Frederick Croizat of Paris, with cooperation by the French Government . . . the series will include pictures on many phases of present-day and historical France. Narration is in English with French narration contemplated. Despite post-war travel difficulties the Messrs. Croizat with specially trained crews completed over 30,000 feet of color material for this series. First to be released are : PARIS -CITY OF ART... first color interiors of the Louvre, with its famous paintings and sculptures . . . with views of Montmartre artists at work; representative buildings, and architecture such as Sacre Coeur, Notre Dame, the Pan- theon, Saint Peter's Garden, the Petit Palais, etc. Eleven minutes, sound, color or black and white. IIURNEY TO PROVENCE... His- torical and modern highlights of this ancient region of South- ern France. The film includes the annual religious pilgrim- age scenes showing local gypsies and their "saint pro- tectors"... the little-known cowboys of Provence, walled cities and ancient monuments. Eleven minutes, sound, color or black and white. \j\immp(^mm, '^m.. *****, 321 SOUTH BEVERLY DRIVE • BEVERLY HILLS, CALIFORNIA EniTOR, F",DUCATIONAL SCREEN I It will come as no surprise to you to learn that some of us engaged in the production of instructional films were aggrieved by much of what was said — and unsaid — in your December symposium on "The Correlation of Films with Te-xtbooks." I found myself wishing it were all taking place in an open forum so that I inigtit oflter a few heated words in rebuttal and ask a few sharp-edged questions. My purpose in writing, however, is not to quarrel with any parucular statements nor to defend the policies of my company, but to "view with alarm" certain basic themes which seem to run through the various articles. First, there is the heavily-plugged theme that films must be supervised by authors of textbooks. Most people working in the field of visual education will agree with that statement as far as it goes — but don't we also agree that it doesn't go far enough? Haven't we pretty well agreed that it's one thing to write a book — another thing to teach a class — and another thing to produce a good motion picture or filmstrip? By all means let's enlist the services of the "subject matter specialist" and the classroom teacher. Each has his own knowledge and experience to contribute. But let's also employ the services of —and recognize the vital role of— the professional filmmaker. A quick check into "Movies That Teach" reveals that our mutual friend says there: "educational groups and professional motion picture producers should work together to make films which conform to educational needs and standards." Another quotation from the same source will introduce my second point of issue; "Films should be produced as basic teaching materials, not as supplementary aid . . . films should be produced to spearhead new curriculum developments, not simply to support or reinforce a status quo." There is no ques- tion but that films can serve well, as your authors point out, in giving depth and breadth and impact to the lessons of the textbook. It is quite understandable that such should be the sole concern of the publishers in entering the field. However, it is alarming that (with the exception of Eric Bender), none of the writers seems to be aware of the infinitely richer field of opportunity. Finally, I close the appropriately seasonal cover on the sym- posium feeling that someone is attempting to do my thinking for me — that is, if I were a teacher. Did the various writers really mean (as I sense) that textbook authors will tell me what pictures I should show and what pictures I should not show, because I am not capable of making such decisions my- self? Did they say that I must not present a point of view slightly different from that taken by the textbook author; that my pupils must be shielded against knowing that recog- nized authorities often disagree, that this world is one of con- flicting ideas and ideals? Did they they mean that "correlation with the textbook" is the only key to "integration with the curriculum" ? For years now, Coronet has been working in close coordi- nation with practicing educators, authors of textbooks, and (even!) publishers of textbooks. We have never felt that they imposed upon us— or attempted to impose upon us — any of the restrictive concepts named above. RICHARD P. CREYKE Coronet Instructional Films Glenview, Illinois 56 Educational Screen f/ by m«scrH^ Lomb tor T'efTef rma fmfe* ^i* A Clear Mental Image Begins with A Sharp, Brilliant You are assured of large, sharp, brilliant screen images that convey visual impres- sions of utmost clarity when you use the model LRM Balopticon.* Serving a dual purpose, it projects both conventional slides and opaque objects, including printed illus- trations and text, photographs, and geo- logical or botanical specimens. Even when projected under illumination adequate for notetaking, screen images remain clear and brilliant. This is made possible by the LRM Balopti con's two fine- quality optical systems which yield flatness of field, critical definition, and high light transmission. Balanced illumination permits switching from opaque to slide projection without a distracting change in screen brilliance. , Slides and opaque materials are protected from heat damage by a built-in blower cooling system.. Details available in catalog E-11. Bausch & Lomb Optical Co., 688-N St. Paul St., Rochester 2, N. Y. *Trademark registered U.S. Pat. Off. BAUSCH ^ LOMB OPTICAL COMPANY ROCHESTER 2, N. Y. February. 1948 57 AASA Annual Convention ONE of the major educational events of the year, the Annual Convention of the American As- sociation of School Administrators, will be held at Atlantic City February 21-26. Some 40 other allied educational groups also will hold meetings at the same time. Speakers for the AASA convention program in- clude General Omar Nelson Bradley ; Pearl Buck ; Dr. Lyman Bryson, of the Columbia Broadcasting System ; Miss Eva Carmichael, exchange teacher from England, now teaching in Anderson, South Carolina; Dr. D. J. Rose, president of the National Council of State School Boards Associations; James Lee Ellenwood, secretary to New York State Execu- tive Committee of the YMCA; Oscar R. Ewing, Federal Security Administrator; Erwin D. Canham, editor of the Christian Science Monitor; Dr. Gerald Wendt, editorial director of Science Illustrated and former editor of Time; Congressman Walter Judd of Minnesota; T. V. Smith of the University of Chicago; and H. Roe Bartle, chief executive, Kansas City Area Council of the Boy Scouts of America. The AASA convention will feature a nationwide school building exhibit and a commercial exhibit of instructional supplies and school equipment, includ- ing everything from lead pencils and textbooks to school buses. Tentative Program for DA VI Atlantic City Conference THE Atlantic City conference of the Department of Audio-Visual Instruction of the National Education Association, to be held February 22, 23. and 24, features an emphasis upon the implications of recent developments in several dififerent fields of education for those concerned primarily with audio- visual instruction. Details of the Atlantic City con- ference were drawn up by a planning committee at a meeting at the American Museum of Natural History, New York City, in late December. The committee consisted of Floyde E. Brooker, U. S. Office of Education ; Grace Fisher Ramsay, Ameri- can Museum of Natural History; Louis Goodman, College of the City of New York; W. H. Durr, Vir- ginia State Department of Education; A. W. Van- derMeer, Pennsylvania State College; Vernon Dameron, Department of Audio-Visual Instruction; and James W. Brown, Syracuse University, chair- man. Meetings will be held in the Atlantic City Audito- rium, Atlantic City, and special rooms are being set aside for the purpose. Following is a tentative program for the DAVI conference ; Monday, February 23, 9:30-12:00— -"Informal Get- Together" Atlantic City Auditorium, registration, refreshments, contact your old friends. Monday, February 23, 12 : 15-2 :00— DAVI Luncheon Introduction of Executive Committee members; announcements by DAVI President, Stephen M. Corey ; announcements by DAVI Executive Secre- tary, Vernon Dameron ; demonstration of radio and television developments, with discussions, to be arranged by Louis Goodman, Supervisor, Audio- Visual Center, College of the City of New York, with displays of technical equipment by cooperating manufacturers. Monday, February 23, 2 :30-3 :45 — "Recent Trends in Teacher Education" Presentation of recent developments in the field of teacher education to be presented by nationally-known speaker ; followed by panel discussion of implications of such trends for audio-visual instruction by audio- visual specialists ; discussion from the floor. Chair- man : A. W. VanderMeer, College of Education, Pennsylvania State College, State College, Pennsyl- vania. Monday, February 23, 3 :45-5 :00 — "Production" Presentation of the problem of the producer (by a person selected by a committee from the industry) as they are related to the purcliaser and eventual user ; presentation nf visual materials representing crucial elements of the topic ; response to the prob- lem by educators re])resenting school, school system, business, and university and college users of audio- vi.sual instructional materials ; floor discussion. Chair- man: Floyde E. Brooker, U.S. Office of Education, Washington, D.C. Tuesday, February 24, 9:30-12:30 Presentation by two nationally-known speakers of ( 1 ) the application of mass media for communica- tion to problems of education and world peace, (2) recent trends in curriculum revision and school administration practices ; followed by panel dis- cussion of the topic, "Modern Tools for Modern Teaching," stressing implications for audio-visual instruction of the trends described by previous speak- ers. Visual presentation of a well-planned audio- visual program in action in a city school system to follow to express in concrete terms the principles developed by the panel. Chairman : Stephen M. Corey, Department of Education, University of Chi- cago, Chicago, Illinois. Tuesday, February 24, 2 :30-3 :45 — "Research" Round-up of research related to audio-visual instruc- tion currently under way in this country ; descriptions of research activities by several persons now engaged in them ; brief indication of research gaps ; floor dis- cussion. Chairman : James W. Brown, Syracuse University, Syracuse, N.Y. Tuesday, February 24, 3 :45-5 :00 — "Problems of the Audio- Visual Director" Presentation by speaker on significant problems of audio-visual directors, based on his experience and the experience of others in the field ; panel discussion of related problems, with indications of possible means of .solving problems considered ; floor discus- sion. Chairman : Mrs. Grace Fisher Ramsey, Curator of Educational Relations, American Museum of Natural History, New York City. (Continued on page 80) 58 EducaHonal Screen /im^ Follow the guide lines embossed on side of projector for path of the films. "Cushion Action" sprocket shoes, large 16-tooth sprockets, swing-out picture gate^make the RCA "400" the easiest of ail projectors to thread. MICROPHONE OR RECORD PLAYER FACILITY A lighter weight, ALL-PURPOSE 16 mm projector for more effective teaching • CLASSROOM or AUDITORIUM. The easy portability and brilliant, sparkling perforM- ance of the RCA "400" make it the ideal prolix- tor for use in classroom or small auditorium. This sturdily constructed projector means extra years of dependable service. • SOUND or SILENT. The precision sound scanning and speaker systems reproduce music and voices with the realism of natural sound. You change from sound to silent operation by merely turning a knob. • BLACK-AND-WHITE or FULL-COLOR PICTURES. The straight-line optical-axis sys- tem, coated lens, 750- or 1000-watt lamp combine to show all films at their best in brilliance, con- trast and definition. SEE IT, . . HEAR IT . , . with your own films. For illustrated brochure and name of nearest dealer, write: Educational Sales Department, 28-B RCA, Camden, N. J. FIRST IN SOUND . . . FINEST IN PROJECTION THEATRICAL FRAMING FINGER-TIP TILT CONTROL You can make comments or play mu- sicwhilerunningsilent films. Provides a"PA"systemforpre-showannounce- ments or musical entertainment. Framing adjustments do not disturb picture or optical alignment. You give professional quality showings. Just turn the tilt control to lower or raise the projector. It's quick, acoa- rate and effortless. RADIO COHPORATKOM of AMERtCA EDUCATiOMAL SALES DERARTMEMT, CAMDEM, N,J» February, 1948 61 As Viewed From Here Paul a Reed Maybe there should be a "fair play" code! Preview Practice Is Changing • Previewing and evaluating visual materials troubles a lot of people. It troubles the producers, for what should they do about the ever-increasing requests for previews — not only from potential purchasers, but the merely curious as well? It troubles teachers and administrators, for they have the very real problem of selecting the best materials to use — and they want the best. It troubles editors and others who have the responsibility for telling you about the materials. Educational Screen does not take this responsibility lightly. We bring you announcements and descriptions of new materials. We publish regularly the "Teacher-Committee Evaluation of New Films" — a department ably edited by L. C. Larson and his staff of Indiana University. Significant new materials are featured in . " articles and illustrated reviews. And special articles, such as the one in this issue by Dr. Hoban, report current practice, stimulate think- ing, and reflect trends. But there are still troubles. Even the best of appraisals and evaluations, when made by others, can be only guides to selection. This was generally conceded as a fact at a recent conference of directors and co-ordinators of audio-visual programs in New York State. Evaluation of materials '■ for selection and acquisition must be based upon first-hand preview experience. It is further being realized that such previews cannot be conducted successfully in an ivory tower. Current best jiractice calls for previews close to the point of eventual use. Teacher and pupil judgment are being given most weight. I If this is a trend, and we believe it is, it will not lessen the troubles of producers. Teacher-pupil evaluations will be more time consuming and will increase the wear and tear on preview prints. It will increase the cost of doing business and the eventual cost of the materials. This imposes still greater responsibilities for "play- ing fair" on those who request materials for preview. Maybe there should be a "fair play" code! Preview requests should not be made unless definite previewing' procedures have been worked out in advance. Requests should not be filled unless there is honest intent to purchase, or unless the previewers have both a responsibility an^ a way to guide others through their evalua- tion. Assurance should be given of extra-careful handling of ma- terials. Evaluation results and decisions based upon previews should be communicated directly and promptly to producers. Such considerations could be the basis for better understandings. Would it not be to the advantage of producers and users alike for them to develop together a statement of policy and standards of practice that all could agree upon? 62 Educational Screen Teaching Films, Inc. "Rhythm Is Everjrwhere" SUPPOSE we come at film evaluation in an oper- ational way. To be specific, let us start with the arrival of a preview print of the new film Rhythm Is Everywhere, produced by Teaching Films, Inc. The problem is whether the film should be purchased for use in schools, and, if so, in what quantity. Bear in mind that we are not attempting to isolate any particular technique in the film to determine its effectiveness, nor are we attempting to determine wheth- er motion pictures are an educationally effective form of communication. These are problems for research and experimentation. The question is whether this spe- cific film should be made available to teachers as one of the many experiences that teachers arrange for their pupils. The Print Arrives The preview print of Rhythm Is Everyzvhere arrived at the Administration Building of the Philadelphia Pub- lic Schools in the morning mail. It had been requested from the producer on the basis of a laudatory review appearing recently in one of the magazines devoted to audio-visual materials. At this point, the question may arise as to why the film was not purchased on the basis of the review alone. There are two reasons why not. First, the reviewer was not known to us either person- ally or through reputation. Second, we make it a prac- tice to bring representatives of our instructional divi- sions into decisions involving the purchase and use of instructional materials. This insures the selection of materials consistent with curriculum developments and objectives. It also insures the integration of these ma- Film Evaluation in Practice S3 By CHARLES F. HOBAN, Jr. Associate Professor of Audio-Visual Services, School of Library Training and Service, Florida State University terials into the curriculum through the normal activ- ities of our instructional supervisors. When instruc- tional personnel are given a decisive voice in the selec- tion of instructional materials, they assume responsibil- ity for the wide and effective use of these materials in the curriculum. On the day the film arrived, we made it a point to have lunch with our director of music. In the course of the conversation, we mentioned that a new film on rhythm had just arrived, and would he like to see it? Sure he would, how about right after lunch? And would we mind if he brought some other members of his staff along and some teachers who were working EDITOR'S NOTE We asked Dr. Hoban what they were doing about evaluation in Philadelphia. This article was his reply. In the letter which accompanied it, he wrote, "The evaluation process described is an account of what actually happened here in previewing "Rhythm Is Everywhere." I have presented the material in nar- rative-descriptive form to convey the sense of actuality in the process. It is something we do right along, and we do it in connection with a lot of other things going on at the same time in the school system. That is, we don't evaluate in a vacuum. We keep the process flexible and informal, varying the technique (but not the principles) in the light of various cir- cumstances." Then he left for Florida! We wish him well in the challenge of his new position. February, 1948 63 on the music curriculum? We'd be delighted to have them. The Previewers React The preview was set for 1 :30 in the preview room, which doubled for an office and a sound studio. The showing was attended by mixed reactions. The super- visors and teachers close to actual teaching situations in the primary grades were highly enthusiastic ; those who worked on the high school level seemed to be more coldly critical. "It was too slow moving," said one of the high school people. "And they certainly could have been more imaginative and more dramatic in their choice of scenes and sequences. I don't think the children will get much out of it. They should have put a lot more into the film. It doesn't teach anything ! If the decision were up to me, I wouldn't waste money buying the film." The elementary tefachers and supervisors were not put "off by the criticism of their higher minded col- leagues. "The children in the primary grades will be crazy about it," they said. "It has a single, simple pur- pose ; to make children aware of the rhythm that is all around them. Everything in the film adds up to this purpose. The youngster in the film looks and acts like any youngster his age. Our children can easily iden- tify with him. As he becomes aware of the rhythms in the film and keeps time with them, the children will be- come aware of these same rhythms and mentally keep time with them. Most of the rhythms shown in the film are familiar to the children in our community, only they aren't alert to these rhythms. We think the choice of situations is very well suited to younger children. High school teachers aren't close to little children. They get bo}'s and girls in high school after we have taught them the foundations of rhythm and other music under- standings and skills. We must teach these understand- ings and skills and we must teach them fresh to young children. This film will definitely make children aware of rhythms right around them, and will help to build a good foundation in this basic music understanding and skill. Furthermore, we think it is paced just right for young children. Sure, the pace is too slow if you look at the film as an adult, or if you think of it in terms of the way high school pupils would respond. But if you look at it through children's eyes, its pace is just right. "And as far as not teaching anything, it teaches one of the hardest things we try to teach young children — an awareness of rhythm and a rhythmic response to it." Give and Take It was good-natured give and take among the teachers and music supervisors, with the usual ribbing that goes on between elementary and high school people. There was discussion of learning by imitation, how films are a natural and effective means of promoting such learning, and how so few educational films have been produced which employ this principle effectively and imaginatively. There was more talk of identifica- tion with characters in a film, about the learning values of new things in old and familiar settings, about basic music understandings, about awareness as an educa- tional objective, about pacing in films, and about the differences in responses and learning levels between younger and older children. They didn't use these words in the discussion, but they used the concepts and they understood them in the context of their employ- ment in this educational motion picture and its applica- tion to teaching rhythm to young children. A Diplomatic Suggestion As the discussion moved forward, it became apparent that the disagreement among members of the preview panel, in their evaluation of the film, was disagreement between those who were close to the children for whom the film was intended, and those whose teaching ex- perience was somewhat remote from these children. Both groups were competent in the special field of music instruction. After a while, the music director, a born diplomat and an accomplished music educator and director, stepped into the di.scussion. "Why not," he suggested, "take the film out to a school and try it out in the first several grades? Watch how the children react, and ask the teachers to report its values as they are able to observe them under typical conditions." The Pupils React Arrangements were made for such a tryout two days later. One of the teachers working on the revision of the music curriculum in the elementary schools took over this next phase of evaluation. It would have been better, perhaps, if the film were shown in classrooms under the direction of teachers who were, at the time, busy with rhythm experiences, but, because of the short time available, the film was shown in the auditorium to youngsters from the first through fourth grade. For many of the first-graders, it was the first movie they had ever seen. For all the first-graders, it was their first time in the school auditorium. Our teacher explained to the children that she was going to show them a new movie on rhythm and that she would like to have them tell their own teachers later how they liked it. The shades were drawn and the film went on the screen. They Get Rhythm When the showing was completed, the teacher asked the assembled pupils if they would like to have her play some music as they walked out of the auditorium. Of course they would. This was carefully planned, to be sure, but to the children it was just a nice teacher who would play some music on the piano. As the stirring notes of a march rose from the piano, the first-graders swung into line. They swayed in time with the march. Arms swinging, they tramped out of the auditorium in crisp cadence. They had never been in the auditorium before and they had never marched as a class to music. The other classes followed with the same swing and the same cadence. As they marched out, the projectionist looked at the teacher and said, "I guess you have the answer already." So she did. One of the unanticipated responses came from a teacher. "You know," she confided, "I have never been able to get up courage enough to introduce rhythm work with my children. I've seen how it's done, and I feel that I can do it. I'm going right out of here and start." 64 Educational Screen Rhythm Is Everywhere Here is what the classroom teachers told us a few days later. "The children understood the application of what they saw in the film — they began watching and listening for street activities .... Excellent film — particularly from the standpoint of outgrowths rather than mere immediate enjoyment . . . The film gave a wealth of material for future work and was especially helpful in the suggestions it gave to the child less rhyth- mically inclined . . . Points in film well emphasized — please send more of this type ... A decided stimulus to creative work ..." The first and second grades told their teachers things like this, "I liked it because it really happened ... I loved it ... It shows that music never stops . . . That little boy knows things ... I liked it when he kept time with his head . . . when he was skipping ... I liked the cow chewing . . . the man snipping the hedge . . . the horse trotting . . . They didn't hold the drum sticks right!" From the third and fourth-graders : "I kept time with Tommy ... I wanted to keep time with all the things he did ... I think I could keep time with that windmill ... It helped me to know more about keeping time." A little fourth-grade girl wrote this note to her teacher : "I liked the picture very much because I take piano lessons and I know about rhythm. It was nice to see how there is rhythm everywhere, the chewing of a cow, the windmill, and many others. I thought it was wonderful, and thanks for showing it." Proven Value On the basis of the immediate behavior of the pupils in marching out of the auditorium in cadence with music, on the behaviors teachers observed in the class- rooms in the days following the film showing, on the children's own reports of how they felt during the film showing and after it, and on the teacher's reports of even further probable outcomes in the future, we con- cluded that Rhythm is Everywhere would provide a worthwhile ten-minutes of experience to children in the first four grades, that its stimulating efltect would give rise to further pupil activities, and that hesitant teachers might be encouraged by it to introduce de- sirable activities in their classrooms. These are worthy purposes of instructional materials. Obviously this film constituted worthwhile instructional material that should be made available to teachers in Philadelphia's 180 elementary schools. On the basis of the general enthusiastic response from all the teachers whose classes saw the film, and of the importance attached to rhythm activities by our music division, it appeared likely that there would be a (Concluded on page 71) Teaching Films. Inc. Tommy learns rhythm in "Rhythm Is Everywhere." Said one of the pupils who previewed the film: "I kept time with Tommy ... I wanted to keep time with all the things he did." February, 1948 65 Filmstrips for Primary And Elementary Grades By VERA M. FALCONER Consultant on Filmstrips and Motion Pictures iirlLMSTRIPS— A User's Guide and Descrip- r tive Index" is the title of the book, soon to be published by the McGraw-Hill Book Com- pany, from which this article has been taken. In the nearly six hundred pages of the book are the detailed reviews of over three thousand filmstrips, carefully and thoughtfully annotated. In addition, the forepart of the book contains several chapters of valuable general information about filmstrips and their use — well illustrated. Because everyone interested in the use of audio-visual materials has needed this kind of book for so long, we consider it a privilege to bring you this excerpt in advance of publication. We appreciate the permission granted us by the author. Vera M. Falconer, and by the publisher, the McGraw-Hill Book Company. — The Editor. IN SELECTION of filmstrips for primary grades, the suitability for that level and its particular requirements is perhaps more im- portant than at any other level, since the instruction received by primary pupils must not only give them factual information, but also provide them with a basis for future learning. The interests should be stimulated and directed ; good habits for group and individual play and work encouraged ; experience and vocabulary broadened ; and a readi- ness for learning established. Primary-Grade Filmstrips Well-produced filmstrips can help the primary teacher to meet these objectives, and usually it will be found that filmstrips produced specifically for this level meet the requirements best. Young America Films' "Primary Health" series, for ex- ample, stimulates interest in good health and directs these interests toward proper health habits through suitable motivation devices and reasons that appeal to the children themselves. A number of the available strips on different subjects can assist in providing vicarious experience and environ- mental vocabularies ; for example, Encyclopaedia Britannica Films, "Children of Many Lands" series; Popular Science Publishing Company's "On the Farm with Tom and Susan" series, which deals with elementary science topics ; and some of the reading series, such as Long Filmslide Service's "The Home" series and Stillfilm Company's "Primary Reading Set." Intermediate-Grade Filmstrips Selection of filmstrips for use in the intermediate grades should consider the contributions that film- strips can make to the special problems of that level. Perhaps one of the major tasks of the teacher in these grades is to satisfy the many divergent requirements of her pupils. Children at this level frequently vary much more in background, pre- vious learning, experiences, and interests than do primary pupils. Filmstrips can assist in the broadening of individ- ual backgrounds and providing vicarious experi- ences common to the entire group for use as a basis for further class study. They can be useful also as interest stimulators, helping to get the class as a unit ready for the ne.xt stage of learning. By the time children have reached this level, they are usually able to "read" pictures, gaining an understanding of what a picture means, while earlier they were able to describe only what they actually saw in the picture itself. Therefore, illus- trative filmstrips become more meaningful at this level than before and can be used for such purposes as bringing life and reality to the social studies, nature study, geography, and history. Reviews of Filmstrips {Editor's Note: The following reviews of filmstrips for primary and elementary grades have been chosen from the more than 3000 such reviews which appear in Vera M. Falconer's book.) ■ Community Helpers (Popular Science, 6 films, silent, about 40 frames each, teacher's guide). This new group of primary instructional filmstrips may be found particularly helpful in development of attitudes and appreciations of workers and the work that each does and of realization of the de- pendence of people in communities upon various workers. The series, while suitable for reading, can be used profitably in social studies, language, and other primary activities. Child identification with the experiences presented is heightened by the use of stories concerning a small boy, Jerry, who introduces tlie subject of each strip. .The pictorial frames have brief superimposed captions and the 66 Educational Screen Hp tells us when to go and when to stop. ^ Popular Science Publishinij Co. Community Helpers: The Fireman (top) and The Police- man (bottom). strips contain many pupil-participation devices. (Miss Falconer describes each of the six films; one of the individual titles and its description are included here. — Ed.) The Fireman (40 frames). Opens with scenes of firemen at work stressing rapidity of their attack on the fire. Presents questions : Should Jerry cross the street when he hears the sirens? Why should automobiles not park by hydrants? Sequence showing how the fire engines came to the fire so quickly : alarm turned in ; how this reports the fire in the firehouse; signal board; sleeping quarters; use of the pole; firemen's training schools. Fire fighters on the water. Indicates need for firemen to be strong, brave, and healthy. Method of introducing pedestrian safety measures and child coopera- tion partioilarly well done. ■ Nature Study Illustrated Series (SVE, 35 films, silent, about 50 frames each, manuals). Each strip provides general information concerning the sub- ject indicated by the individual titles, using text frames alternating with photographs. The text frames vary in length from very brief captions to lengthy text, but in general are fairly brief. Al- though the plants and animals shown are those of the west coast, particularly of California, classes in other areas may find selected strips applicable (such as the first ten). Treatment and subject matter suitable for intermediate and upper elemen- tary study. The strips may also interest clubs learning to identify flowers, trees, birds, or animals. Individual titles are listed below with brief descrip- tions where required. (Only three of the titles and descriptions are included here. — Ed.) Hozv Animals Get Food. Type of food and method of getting it of animals, including various insects, reptiles, birds, and a few small animals. Hozv Animals Get Air. Methods of breathing and breath- ing apparatus of various fish, shellfish, insects, reptiles, am- phibians, and a few mammals. Hozv Animals Reproduce Themselves. General information on reproduction of various insects, birds, and mammals. ■ Good Health (Young America, 6 films, silent, 40-45 frames each, teacher's guide). This recently produced series of health films for intermediate grades provides good motivation and acceptable reasons for development of proper health habits. The treatment combines motivation with straight- forward factual information. Simple drawings with brief superimposed captions visualize each subject interestingly and clearly. Questions and suggestions for pupil participation are included in all the strips; and all, except the strip on cold germs, end with Lone Filmslide Service Nature Study Illustrated Series: How Animals Get Food (top) ; How Animals Reproduce Themselves (bottom). Distributed by the Society for Visual Education, Inc. February, 1948 67 Look at her eat sweets after school : Young America Films, Inc. Good Health Series: Your Posture (top); You and Your Clothes (bottom). brief tests. (One of the individual filmstrips is described below. — Ed.) Vou and Your Clothes (No. 1, 41 frames). Introduction indicates that primitive men wore clotliing for protection (skins, woolens) and that today we also wear clothing for the same purpose, but have special clothes for each kind of weather. Stresses comfort. Shows proper clothing for hot, cool, cold. and rainy weatlier. Second part presents methods of caring for our clothing, neatness, changing to fresh clothing, bathing. ■ Children of Many Lands (EB Films, 8 filmstrips, silent, 65-70 frames each). Designed for use in con- junction with motion pictures of the same titles, but so organized that they iziay be used independ- ently. Each strip presents various aspects of the life of children in other lands, arranged in short sequences dealing with such topics as the appear- ance of the country or the village in which children live, their home activities, clothing, school, and games. Each sequence contains one or two ques- tions for pupil participation, and each strip ends with a review followed by suggestions for further study, reading, or things to make. To aid in mak- ing the vicarious experience as personal as possible, the information is usually organized as the daily activities of one specific family. The opening frame suggests that the viewing class may wish to ask questions as the pictures are shown, providing motivation for expansion of subject matter presented. The series uses photographs with brief, simple super- imposed captions. (One of the individual titles is listed at the right with a brief description. — Ed.) Encyclopaedia Britannica Films, Inc. Children of Many Lands: Mexican Children (top); Eskimo Children (center); Children of China (bottom). Children of China (63 frames). Appearance of village; work; activities ; customs ; schools ; rickshas ; sedan cliairs ; merchants and their shops ; use of abacus ; grinding grain ; professional letter writer. Farm home life — working in garden, drawing water, cooking methods and foods, chopsticks, use of water buffalo and ancient tools. 68 Educational Screen Let's Face Facts! A realistic picture of current film usage at the adult level ISN'T it true that one of the really tough jobs in life is to get people to face facts? And that goes for film people too. As producers, dis- tributors or visual educators I often wonder if we don't live too frequently and too long in a film dream world of our own fancy. In that dream world we visualize most of the American people thinking and acting about films pretty much the way we do in our more optimistic moments. It's rough to have to come down to earth and to face the facts of film life; but it must be done. Red-Faced in Russia On this matter of fact facing, I am reminded of a personal experience some years ago in the course of a trip through the Soviet Union. Faced with the rather grim prospect of a long railroad journey in ' a third-class coach, I had purchased a cheap fife in a Moscow bazaar. The first day of the journey I sat on the unyielding wooden benches, fife in hand, trying to think of tunes to play. For some strange reason the first one that came to mind was the col- lege song, Hail Pennsylvania. With the first few notes my Russian fellow travellers (FBI please copy) looked up. From astonishment their faces rapidly registered looks of annoyance and finally anger. An inter- national incident was averted in the nick of time by a compatriot whose world knowledge of music exceeded mine. Grabbing my arm he said, "Hey, don't you know what you're playing? That's the Czarist hymn!" Right then and there I faced the fact that people don't all think alike in this world and that those who wish a pleasant and uninter- rupted journey across the Soviet Union just don't play the Czarist Hymn, even when it is Hail Pennsyl- vania. Misuse of 16mm Films Journeying across this country during the past year in connection with leadership training pro- grams in film utilization, I have had to face some pretty unpleasant facts about current film usage at the adult level. In this past year I have travelled to a large number of communities in various parts of the United States, talked with hundreds of presi- dents and program chairmen of all kinds of adult organizations about films, and conducted over a hundred film forums and other types of film pro- grams before widely varying audiences. We had better face the fact that there is a very wide misuse of 16mm films by adult organizational leaders. Like All Gaul . . . As film people we all ride our pet hobbies on the subject of why the potentially vast adult organiza- February, 1948 GORDON B. HALSTEAD tion film market is so slow in developing. Like all Gaul, we can be roughly divided into three parts. There is (a) the-poor-quality-of production group, (b) the chaotic-state-of-distribution bunch, and (c) the-trouble-is-with-utilization fraternity. Many film workshops with leaders of adult organizations have led me into the company of the third fellowship. Over and over again I have asked audiences at the close of demonstration forums, "Do you believe that if more adult leaders were familiar with and trained in skillful and tested film utilization techniques, they would use more films and use them more fre- quently than they do at present?" The answer has always been a unanimous YES. I have tried to plumb for the chief film need of adult organizational leaders. Invariably and everywhere it has been re- vealed as the need for specific, practical, easily- applied information on how to use films successfully in adult programs. A very recent confirmation of this fact was found in the results of a questionnaire sent out by the Program Committee of the Moun- tain-Plains Conference on Adult Education. In the 600 replies, interest in getting information on the techniques of education was much greater than in securing help on subject matter. And the technique most demanded was that of film utilization ! Consumer Education American industry has long recognized the wis- dom of customer education in the proper usage of products. 16mm projector companies have been among those who have followed this well-estab- lished business practice. These companies go to considerable effort and expense to try to teach pro- jector purchasers just how to operate projectors for best results. But it appears to be a totally different story when it comes to the item of consumer educa- tion in methods of effective film utilization. And About the Author Mr. Halstead, a consultant to Film Program Serv- icer, was in charge of the International Film Forums, a series of demonstrations of film forum techniques in the field of international relations conducted in 14 cities and towns of Colorado and Iowa last spnng. The project, sponsored by the International Film Foundation, was financed by a grant from the Car- negie Endowment for International Peace, and was planned in consultation with the Commission to Study the Organization of Peace, the Foreign Policy As- sociation and the Institute of Pacific Relations. 69 Film Forum at Des Moines, Iowa, one of the International Film Forums conducted by Mr. Halstead ^■H ^^^^pp ^^^^^^^^^^^^^^^^^^^^1 H l^^^^a ^y^ '1 rn^^m^^^ iP 1 jrl kV * Ktfk^V ^^ ^'1 iijiifc- ~Jial^H^^^^I the strange thing is that the way in which a film is used has really a great deal more to do with that ultimate goal of business, "the satisfied customer," than the way the film is projected. (Please don't think, however, that high projection standards are unimportant.) Perhaps the 16mm industry, including film pro- ducers, would take more seriously this matter of instructing adult film consumers in the best known techniques of film utilization if it took a good look now and then at the way films are generally used in adult organizations. If my experience is any guide, what it would see would be (a) a sad picture of present film utilization practice, (b) generally unsatisfactory program results from the use of filtns, and (c) widespread disappointment over 16mm films. Why the Misuse? Two factors explain, I believe, the present preva- lent adult abuse of 16mm films. The first is simply that most of these leaders do not realize that there is a definite "know-how" for successful film utiliza- tion and that it takes time, eiTort and experience to acquire this "know-how", as it does everything else worthwhile in life. The second fact is that very little has been, and is being, done by profes- sional film people to acquaint organization leaders with this "know-how". The existence and import- ance of techniques in the classroom use of films are widely recognized by educators. Many col- leges- and universities now oflfer training to teach- ers and prospective teachers in these techniques. Educators know that unless films are skillfully used by teachers in classrooms, school adminis- trators and boards of education will not appropri- ate increasing shares of school funds to visual education. Wise adult leaders take much the same position, I think, with respect to the use of films in adult organization programs. If films are to be used in greater volume at the adult level, there will have to be a very marked improvement in the ways they are being used. War and Peace There is an aspect to employment of films with adult groups, however, that is much more import- ant than the economic well-being of the 16mm film industry. Adult education has assumed in our day a vast importance and urgency. The reason is found in the deepening world crisis. We are faced with a crisis only slightly less serious than that of war itself. In war we harnessed the great power of the film for Victory. Our wartime experi- ence with films clearly demonstrated the impor- tance of utilization techniques. Special films were produced showing how to use films for training and for other war purposes. Thousands of men were trained in tested "film tactics" and sent across the face of the earth to see that "the cutting edge" Film Forum, Mountain Plains Regional Conference, UNESCO, Denver, Colorado. 70 Educational Screen ot this tool was kept sharp. To win a war we used mass media with skill and imagination. Can the same be said of the way the 16mm film is being used to win the Peace? "Today We Have a Movie" Visual educators know that the 16mm infor- mational and documentary film is essentially a tool. They also know from much past sad experi- ence that when attempts have been made to use such films as substitutes for the teacher, the film field has been seriously injured. Yet all over Ameri- ca, program chainnen of service clubs, women's clubs, farm, labor and management organizations, etc. are constantly trying to use 16mm films as "complete programs". If one could hitch a ride on the coat tails of Superman, swish across America in an afternoon or evening of almost any day and look in on the adult programs in which films are being used, he would find that rarely are they being used as "program tools". North, south, east and west he would hear countless chairmen saying this, "Ladies and Gentlemen, for the program today we have a movie. I just don't know what it's about, but the title is 'Europe Rebuilds'. Immediately after the movie is over, refreshments will be served. Now can we have the movie?" Or this, "Tonight we have a real treat. We have two movies to show. The first is called 'The Challenge to American Edu- cation'. And since so many fathers are here tonight, we are going to show a second movie just for them. This will be on 'Ski Thrills in Vermont'. The movies will be followed by a special program to be given by Miss Davis' 6th grade class in So- cial Studies." Film Magic Only in a fairy tale does a surgeon say to his scalpel, "Scalpel, perform this operation for me while I sit by and watch". Yet across the United States, adult program leaders by the thousands seem to expect some such magical performance from the 16mm informational and documentary film. They act as though all that had to be done was to thread the projector and then say, "Film, do this program for me while I sit by and relax. And I want you to achieve all my program pur- poses." The Vicious Circle Let's face the fact once and for all that a major reason why the immense potential adult organiza- tion film market has been, and still is, so slow in de- veloping is because there is so little known about the techniciues of good film utilization by adult leaders and consequently there is so little effective utilization. Present adult misconception and misuse of films create a vicious circle. Because they use films poorly, they get unsatisfactory results. And because they get unsatisfactory results, they stop using films. On the other hand, I have watched many, many times the outburst of new or rekindled enthusiasm that invariably emerges from demon- stration film utilization ])rograms in which tested and efifective techniques are used. Each time this happens the conviction deepens that somehow the 16mm film industry must be persuaded that more money, elifort and personnel must be employed in training adult leaders in these techniques of successful film usage. A Weapon For Peace The 16mm film can and must assume a large role in presenting the impending world crisis. For those who aspire to be the peacemakers of an atomic age, the mass media of such an age must be skillfully and forcefull}'' used. Of the three popu- lar tools of mass communication, the film, the radio, and the press, the 16mm film is most accessible to the majority of adult leaders. It is highly mo- bile; it can be talked back to; it can serve many program purposes when used skillfully as a tool by trained leaders ; it is powerful ; it has potential popular appeal ; and it is relatively inexpensive. It is, I believe, THE WEAPON for leaders of American adult education to use in the great struggle to pierce our own "iron curtain" of mass apathy, ignorance and misunderstanding about to- day's world. Through its skillful use we can set up thousands of "Forums of the People" so that people can talk to people under the stimulus of the film. In every deep crisis of our country, Americans have always talked to fellow Americans vvith the techniques of their times. From this "talk" has always emerged the "common sense" which is the abiding strength of a Democracy. While there is yet some time left us, will we take the necessary measures to train American leadership in the "know-how" of putting Democracy's Weapon for Today, the 16mm film, to work in the cause of universal understanding and peace? Film Evaluation in Practice (Continued from page 65) wides])read demand for this particular film. We there- fore decided to order appro.ximately the number of prints that we maintain on Bunny Rabbit and other popular primary films. A Sound Evaluation Notice, we didn't go about this thing with an involved procedure of check lists, tests, etc. The evaluation moved directly from the showing of the film to a group of professional adults to its tryout with several groups of young children. The evaluation was informal, it had elements of spontaneity, it involved the cooperation of several agencies within the school system, it was re- lated to curriculum development and teacher education, it involved clear concepts of educational objectives, it was geared into a relatively narrow range of grades, and it was based on ob.served behavior of the students which, at least in one situation, appeared to be the direct outgrowth of the film showing. And, it was conducted in such a way as to bring about the promotion of the use of the film by those people directly responsible for the curriculum area for which the film was intended. Februat7, 1948 71 A Survey of Visual Materials Used in Vocational Guidance A summary report based on the study of 252 educational institutions and agencies. THIS STUDY was made with the purpose of determining the types of visual materials used and the extent of their use in vocational guid- ance. Of 252 agencies, 90 used visual materials in their guidance activities. The vocational guidance programs of these 71 educational institutions and 19 community agencies were studied further. Ques- tionnaires, telephone calls, interviews and direc- tories were used to secure the information desired. Flat Picture Material The study revealed that pictorial materials are the most extensively used visual materials in voca- tional guidance programs. Eighty-six of the 90 agencies use flat picture materials in their guidance programs at various times. They are especially effective in showing tasks or tools used in an occu- pation. Pictures of occupational value can be easily secured from newspapers, magazines, and pam- phlets. Pupils are encouraged to collect and mount these pictures for their albums or scrapbooks. The bulletin board, classroom wall, or opaque projector may be used to display or project pictures. Pictorial materials are effective in guidance when they are used to illustrate a specific point and are correlated with other methods of instruction. Charts, Graphs and Posters Charts, graphs and posters, the second most ex- tensively used group of visual materials, may be By GORDON H. FINN used to provide a considerable amount of occupa- tional information. Seventy-five of the 90 agencies use graphic materials at various times in their guidance programs. Charts showing the educational requirements and lines of advancement in numerous occupations may be made or purchased. Posters can also be made or secured inexpensively. Graphic materials, because of their varying degrees of ab- straction, require careful selection, proper prepara- tion and accurate interpretation. Tours and Excursions The third most frequently used visual material is the tour or excursion. Sixty or two-thirds of the agencies using visual materials make use of the tour in guidance. Tours to industrial plants, offices and stores enable students to observe the working conditions and requirements for success in many occupations. Like any other worthwhile activity, tours must be skillfully directed and co- ordinated with the curriculum. Motion Pictures Motion pictures are the fourth most extensively used visual materials in vocational guidance. Fifty or a little over half of the agencies use motion pictures in their guidance programs. In a relatively Motion pictures help students choose careers. Stills from Carl F. Mahnke Productions appear below: "Teaching" (left) and "The Librarian" (right). Vocational Guidance Films brief period of time, they show students what the workers do in an occupation and provide other essential information. Motion pictures may be secured without charge from numerous agencies, or they may be rented or purchased. Teachers should be cautious in using free film sources, since many of these films are out of date or overbrimming with propaganda. Slides and Filmstrips Slides and filmstrips are the least used visual materials in vocational guidance programs. Ten agencies have reported using the filmstrip and 17 agencies use the slide. Limited sources and ma- terials prevent greater use of these potentially use- ful aids. Available slides and filmstrips may be rented or purchased. Guidance workers can stimu- late interest in an occupational unit by showing slides or filmstrips and may also use them with an accompanying text to present the connected story of a process. The five types of visual materials used in guidance programs and the extent of their use by the 90 agencies studied Number of Agencies Types of Visual Materials Which Use Them 1. Flat Pictures 86 2. Charts, Graphs, Posters 75 3. Tours and Excursions 60 4. Motion Pictures 50 5. Slides and Filmstrips: Slides 17 Filmstrips 10 Evaluation of the Survey As yet, no positive or complete program has been developed for the use of visual materials in vocational guidance. This may be due to the fact that vocational guidance has only recently become a part of the school curriculum. Teachers, counselors, club leaders and social workers, when interviewed or in response to the "questionnaires, indicated the following in order of Types of agencies engaged in guidance activities, showing the number using visual materials Number Using Type of Agency Visual Materials • Schools: Colleges 4 Jr. Colleges 3 High Schools 40 Parochial 10 Suburban 14 • Libraries (Public): Central Bldg 0 Branches 0 • Community Centers: Boys' Clubs 4 Settlements 3 Y.M.C.A.'s 4 Y.W.CA.'s 1 • Service Groups 3 • Governmental Agencies 2 • Placement and Guidance 2 TOTAL NO. OF AGENCIES 90 frequency as the most important reasons for not using visual materials more extensively in voca- tional guidance: (1) Lack of funds to secure visual materials and equipment. (2) Lack of information on sources of visual materials for vocational guid- ance. (3) Lack of adequate production of visual materials for guidance. (4) Lack of understanding and training in the use of visual materials. The problem of adequate financial support for the purchase of visual materials and equipment might be met through cooperative action. Schools should endeavor to enlist the support of local parent-teachers' groups and other community or- ganizations to help purchase equipment and visual materials. Lack of information on sources of visual materials on guidance might be met by encouraging some national agency to compile and release annually a directory of visual materials for vocational guid- ance. Visual materials become outdated rather (Concluded on page 80) "Woodworking" (left) and "Finding Your Life Work" (right), both Mahnke Productions. 50 of the agencies surveyed use motion pictures in their guidance programs. Vocational RuManre Fflm* The "New Look" in the sound projector fashion world-is definitely lightweight and low-cost. The new Revere 16mm lightweight sound projector, weighing about 31 lbs. with speaker. Sound Projectors for the Classroom By PAUL V. MULLIGAN Director of Visual Education, Revere Public Schools, Revere, Massachusetts TWO years ago one of the most urgent audio- visual equipment needs was for a light, inexpen- sive classroom projector. I stated this need in a letter which was published in the Educational Screen in the April, 1946 issue. The need was further dis- closed through a national survey conducted by Robert Schreiber among the readers of his "The A.B.C.'s of Visual Equipment'' department of the Screen. The results of that survey indicated that the demand was widespread. We were assured in letters from several manufacturers that the problem was being studied and would be solved. Now we have not one, but several lightweight, low- cost sound projectors on the market. What a contrast Left: Movie- Mite 16mm silent - sound projector, weighing 27^^ lbs. Right: De- Vry Bantam, weighing less than 31 lbs. with speaker. in the manner in which American Industry and Busi- ness sees its problems, attacks them, and solves them, compared to the everlasting fumbling and dawdling by which our field, Education, solves its problems ! The projector manufacturers are to be commended for the manner in which they have responded. Out of the Auditorium The job of taking the visual program out of the auditorium and putting it into the classroom where it belongs is now up to the visual education directors and the individual teachers. If we examine honestly our purpose in using motion pictures, we must agree that the visual program should be aimed toward bringing about a better presentation of material which is taught in the classroom. It follows then that motion pictures should be used in the classroom and not in the audi- torium. It is important to us as school people that the visual program should have no mimicry of the theater or entertainment field. In fact, many educators believe that the assembly type of program where films are Right: The new Victor "L i t e- Weight" 16mm sound projector, weighing 33 lbs. with the demount- able speaker. Page 74 Educational Screen shown and which masquerades under the title of visual education has hurt far more than it has helped. All authorities seem to agree on the following com- mon sense principles in regard to the use of films in schools : 1 . Films should be correlated with instruc- tional objectives at specific grade levels. 2. A teacher should have a definite plan for using films as an in- tegral part of his teaching. We agree also on the following points: 1. It does not matter too much to the teacher whether the children like the film or not. If we were to develop a program .solely on the basis of like and dislike, we could settle for a Mickey Mouse cartoon and make certain that everyone would like it. 2. The teacher's concern is whether the film will do the job better than any other means. The educational research in this field has given us a positive answer for certain types of material. Into the Classroom Worthwhile teaching can be accomplished in rooms which have been set up specifically for using visual materials. Classes are brought there one or two at a time, and the groups are usually small enough so that the purpose is not obscured by a "show" atmosphere. When such a room does not exist in a building, it is sometimes possible to darken a classroom enough with the ordinary room curtains during some part of the day to allow for acceptable projection. The ease with which the lightweight projectors can be moved should bring aJDOut a greater use of machines in classrooms than has so far been possible. The Right Place, the Right Purpose The future of visual education depends almost en- tirely upon the use which the classroom teacher makes of the materials and equipment available to them. It is the responsibility of school officials and teachers to see that equipment is used in the right place, for the right purpose. The new lightweight projectors will help us to do this. San Diego City Schools Achieve Equipment Goal 'an By ROBERT H. BURGERT Director of Instructional Aids for the San Diego, California, City Schools Lighticeight projectors take their place in California classrooms. FOUR years ago the San Diego City Schools in- augurated a program of planned audio-visual equip- ment purchases. The purpose of the program was to make audio-visual instruction available to all of the 52,000 students from kindergarten through junior col- lege levels. A Plan Is Born Careful study by the District led to the following conclusions : 1. Good audio-visual utilization will be achieved only when equipment is available in adequate amounts. 2. Decentralization of equipment is essential to best usage. 3. A program of automatic and continuous servicing of equipment is essential if ideal audio-visual condi- tions are to exist, and 4. An individualized training program in operation with simple maintenance for equipment for all school employees should be offered. The first major phase of this schedule has now been completed. Before 1944 only three sound projectors were avail- able through the Visual Instruction Center, and five of the junior and senior high schools owned machines which had been purchased from student body funds, or given to the schools by such organizations as the Parent-Teachers Association. Toward Realization Today the city's fifty-one elementary and fifteen secondary schools all are equipped with sound pro- Robert H. Burgert (right). Director of Instructional Aids for the San Diego City Schools, is receiving information from J. D. Knight, Regional Representative for Victor projectors. February, 1948 75 m¥^, Mrs. Elizabeth Boegeman, Film Distri- bution Secretary, tells Russell £. War- ren, Social Studies Instructor at San Diego High School, how to use the film catalog. jectors. Prior to 1943, every school was supplied vvitli a 16mm silent projector, but with practically all educa- tional films being released in sound, the need for assignment of a combination sound and silent projector to every school became evident. During the war years it was extremely difficult to obtain delivery of all the equipment the Department needed, and therefore each year saw only one-third of the schools receiving new nsachines. During this time, seven machines were trucked regularly in and out of the Department as needs arose in the schools which had no projectors. New Needs Putting a sound projector and a portable screen in every building answered many needs, but it seemed to create almost as many more. Demand for films jumped tremendously and necessitated doubling the annual expenditure for films. Booking and scheduling became more complex and required improvements in cataloguing and clerical systems. Motion picture films showed the possibility of slides and 35mm filmstrips, and although every school previously had been furn- ished with a lantern slide projector, it became obvious that a combination 2X2 slide and filmstrip projector would al.so be basic equipment for every school. A similar situation developed in the field of record and transcription players. Objectives and Achievements With the beginning of the 1947-48 school year, it is encouraging to look at our objectives and our achieve- ments. BASIC EQUIPMENT OBJECTIVES 1. A sound-silent motion picture projector in every school: Yes (72 portable machines in 66 schools). 2. A 16mm arc projector in every large auditorium: Yes. 3. A 2x2 slide and filmstrip projector in every school: Yes. 4. Adequate screen in every building: Yes. 5. Standard lantern slide projector in every school: Yes. 6. 33J/5-78 RPM playback machine: Partial (45 machines for 66 schools). Although this distribution still falls short of the projector-pupil ratio recommended by the D.V.I. , it is a definite step in that direction. The present ratio of one projector per seven hundred students will be further reduced zvhen the second stage of the equipment acquisition program is achieved. Additional lightweight projectors will be purchased and distributed to schools on the basis of one added projector for each three hun- dred pupils over the first five hundred in a school. Eventually each school zvill have a standard 20-zuatt sound projector and additional classroom-type projec- tors, depending upon the size of the school. Such a program will require approximately thirty additional machines. Three years should see this objective com- pleted and the normal replacement program continued. Teacher Training The training of teachers is without question the most important phase of getting an effective audio- visual program under way. No teacher will reap the full measure of the value of a film until she is as sure of her ability to operate the projector as she is con- fident of her skill with an electric egg beater or vacuum cleaner. Instruction in machine operation has many phases and techniques. Whenever possible, a demon- stration of new materials or techniques is given at a school with the suggestion that those who have not learned to operate the machine arrange for a group lesson. When three or more teachers make this re- quest, a department employee goes to the school and meets the teachers individually, or as a group, before school, during a free period, at lunch hour, or after school. Frequently the teacher is relieved of a teach- ing period by the principal so that she may meet with the group. The Procedure Teachers learn not only by doing but also by watch- ing another's mistakes. In this way it becomes fun and has some of the better motivating factors that arise from competition. When only one or two teachers need training, an appointment is made for a convenient lesson at the Center. As soon as the teacher has had her instruction and has been issued a license, the De- partment sees to it that one or more good films are sent to her immediately so that she can put into prac- tice with her class what she has learned. She is given no chance to forget! At present, more than two thousand separate cans of film are sent out of the Department each month. Although some films are shown many times a month, and others only occasionally, the total distribution will average a monthly turnover of one hundred per- cent. Dollars Well Spent Increased utilization resulting from a better supply of projectors means that an ever-expanding film bud- get must be planned. San Diego now spends approxi- mately $1.50 per year for audio-visual services for each student enrolled. It is the opinion of this depart- ment that no school dollar yields more service to the teacher, pupil and community than the audio-visual allotment. 76 Educafional Screen Latitude and Longitude A prize-icinning film about two basic geographic concepts WINNER of the Grand Prix for educational films at the 1947 World Film Fes- tival at Brussels and honored at the World Film Festival in Chicago, Latitude and Longitude is a clear, simple, and highly functional presentation of two basic geographic concepts. The film was produced by G. B. Instructional Films, Ltd., in col- laboration with the Royal Geographic Society, and is being distributed by United World Films, Inc., 445 Park Ave., New York 22, N. Y. It is available in color and black and white ; running time is 8yi minutes. The subject is introduced by showing how a ship needs some method of stating its position without referring to landmarks. Latitude is explained as "angular dis- tance from the equator" and a line of latitude as "a line which joins all places which are the same angular distance from the equator." It is shown that if a ship is 20° south, it could be anywhere along the parallel of 20 S., and thus another meas- urement in a different direction is needed ; therefore, longitude is used. This is "the angular distance from a standard meridian (the Greenwich meridian), while a line of longitude is "a line drawn between the poles joining all places which are the same angular distance from the Greenwich meridian." The position of the ship is given as 20° south and 30° west. Finally, the ship's position is fixed on the surface of the globe at the point where the meridian of 30 W. cuts the parallel of 20 S. The moving diagram technique has been used throughout the film. In addition, some of the sequences were made with working models operated by hand or on a machine. The ship is represented by realistic drawings. Sometimes the solid globe is shown with the continents and oceans, and by means of the film technique employed, the earth can be made to open to show a section view. The film is especially effective be- cause of the excellent quality of its animation, which achieves the illusion of a three- dimensional efTect. Stills from "Latitude and Longitude," showing an angle of latitude (left), an angle of longitude (right). TEACHER - COMMITTEE EVAIUATION L. C. LARSON, Editor Director, Audio- Visual Center Indiana University, Bloomington CAROLYN CUSS, Instructor, School of Education BETTY STOOPS, Film Librarian, Audio-Visual Center Indiana University, Bloomington Let's Play Safe (Portafilnis, 1520 North La Brea, Los Angeles 28, Cali- fornia) 10 minutes, 16mni, sound, color, 1947. $75.00. Description of Contents : Combining live photography and animation, this film presents six playground incidents which are potentially dangerous to the children involved. When the recess bell rings, the "Wrong Donkey," in the person of a boy who runs around a blind corner on the wrong side of a passage- way, collides with the other children. Just as the boy is about to be hurt, the scene changes to the animated "Wrong Donkey" who is knocked unconscious. After the con- sequences of his carelessness have been realized, the narrator -asks how "Wrong Donkeys" can be kept out of schools. A question mark on the screen then gives the teacher an opportunity to stop the projector for a brief group discussion. The boy involved is next shown going back from the accident situation and walking around the corner correctly and safely. The other five sequences, showing different children, follow the same pattern with variations in the discussion Portafilms, Inc. Portrait of a Pushy Pig from "Let's Play Safe". questions. They include the "Giddy Goose," a girl who gets hit by a swing when she does not watch where she is walking; the "Foolish Fish," a boy who squirts the drinking fountain on others and leaves a treacherous pool of water on the ground; the "Pushy Pig," a girl who falls off the ladder to the slide when she pushes ahead of others; the "Dumb Bunny," a boy who carelessly throws a baseball bat and hits another player; and the "Mock Monkey," a boy who falls from the ladders while showing off. As a summary, a member of the schoors safety patrol puts up posters showing the six animal characters and the safety rules which they represent. Committee Appraisal: The unique device of switching from live photography to amusing animation to show dangerous situations, the easily remembered names of the six offenders, and the positive approach throughout should make this film very effective for motivating an interest in safety on the play- ground, especially on the intermediate grade level. Photo- graphed at the La Canada School, near Los Angeles, with synchronous sound, the incidents are natural and interesting. A follow-up for the film is provided by means of a set of six decalcomania, showing the animals and a question about each, to be placed at danger points about the school and playground. The Four Seasons (National Film Board of Canada, 620 Fifth Avenue, New York 20, N. Y.) 32 minutes, 16mm, sound, color. $225.00. Produced by Crawley Films Limited. Description of Contents: This film presents in minute detail the subtle evidences of natural changes which finally, in their total effect, produce the full glory of each season in Gatineau Park, a wildlife sanctuary only a few miles from Ottawa, Canada. During the summer sequence, a child watches a frog and a school of minnows, while in the forest and streams mink, deer, skunks, woodcocks, beavers, thrushes, vireos, and woodpeckers are undisturbed by the camera as it catches them in close-ups. Gradually, evidences of autumn such as wintergreen and bittersweet replace the summer wildflowers. As the forest ranger is shown maintaining his constant vigilance and two sportsmen travel the streams by canoe, the foliage becomes a riat of color before the first cold withers the leaves and sends the squirrel and his neighbors scurry- ing to gather their last bit of food. The nearby farmer plows with his team before an eerie haze and a rim of ice enfold the streams. With a light snow as its forerunner, real winter soon has the land in its grip. The owl watches merry skiers arrive in the village, and the sturdy lumbermen beg^in their winter work cutting, hauling, and stacking logs for the spring thaw. March finds snow melting from the hills, as rotting ice dumps logs into the streams for the beginning of the spring drive to the mills. 78 Educafional Screen National Film Board of Canada Spring thaw and work for the logger — a scene from the "The Four Seasons". Soon, pussywillows, trilliums, niarsli marigolds, and re- turning song birds indicate spring, as does the broad- casting of seed by the farmer walking in the furrows of his freshly plowed field. The reappearance of the forest animals, large and small, then begins again the age-old cycle of the seasons. Committee Appraisal: Scenes of breathtaking beauty are made even more expressive by a completely sympathetic musical score and poetic, unobtrusive narration. The photography is ob- viously the work of an artist sensitive to the slightest changes in nature and painstaking in his efforts to capture the forest, streams, animals, plants, and birds in excellent close-ups. In addition to being very appropriate for general interest groups of adults, young people, and children, this film should be very useful in nature study, art. litera- ture, and music appreciation classes. The tying together of changes in nature and in man's activities effectively emphasizes man's utter dependence upon the seasons for his existence. The Incas (Hollywood Film Enterprises, Inc., 6060 Sunset Boulevard, Hollywood 28, California) 10 minutes, 16mm, sound, color, 1947. $75.00. Description of Contents: Opening with maps showing the supposed migration from Central to South America which preceded the develop- ment of Incan culture, the extent of the Inca empire along 2,500 miles of South America's west coastline in 1530, and a comparison of the size of the area and the population with the United States, this film shows through photo- graphs and drawings the highlights of Incan civilization. In spite of the absence of the wheel, mortar, and stone- cutting metals, they built cities and highways, evidences of which survived the wanton pillage wrought by the invading Spaniards under Francisco Pizarro. Pictures of the ruins of the ancient capital, Cuzco, are supplemented by drawings of the city square and the ornate temple to the Incan god. Thatched-roof houses, terraces, steps, tountains, walls, and highways are also shown, as are golden figurines and ornaments, weaving, pottery, and a curious system of knotted colored cords used to record messages in the absence of a system of writing. The efforts of a completely communistic way of life upon Incan civilization are described, and the downfall of their social system after the arrival of the Spaniards is emphasized by scenes in villages where the only evidence of Incan ruins survives in the foundations and materials found in the Spanish-type buildings in use there today. .Mthough the descendants of the Incas still speak the ancient dialect, they do not seem conscious of their an- cestors' glory, and are shown living and working with their Spanish-speaking white neighbors. Committee Appraisal : The material presented in this film should be of interest to Spanish, Latin American history, archeology, anthropol- ogy, geography, and crafts classes from junior high school through the adult levels. The photography and drawings enliven material which is essentially without movement, and the narration is helpful in pointing out significant phases of Incan culture. Your Children and You (Film Publishers, Inc. 25 Broad Street, New York 4, N. Y.) 30 minutes, 16mm, sound, black and white, 1947. $60.00. Produced by British Information Services. Description of Contents: This film shows the relationship of children in the home to parents and gives advice to parents. It begins with a picture of a baby crying in the middle of the night. The parents, of course, are alerted and go into action. From then on, the film develops the idea that at first the baby will take, take, take, and the parents will give. It proceeds to show how the young child will need to adjust to the family and the family, to the child. At five months, the baby should be weaned and should be given things to intrigue his imagination. At one year of age, he Hollywood Film Enterprises, Inc. "The Incas" pictures the surviving remnants of a once glorious civilization. February, 1948 79 British Information Service* "Your Children and You" will be craving praise and should be complimented on those things which he does well. At eighteen months, the child will be able to help with chores and should be allowed to follow as many natural instincts as possible. A constant repetition of "don'ts" will give him an inferiority complex. The last sequence of the film deals with the topic of fear and shows that parents have within their power the develop- ment of fear within the child or the opportunity to free him from fear. By all means, parents should not show fear before children or instill in them fear through threats. The child might be sent to his room when he is naughty, but he should definitely know why. The ineffectiveness of physical punishment is shown and discussed. Committee Appraisal: Reflecting the feelings of children and their reactions to their parents, the film with exceptionally unobtrusive camera work records significant incidents in the young lives of both boys and girls. In documentary style the filmic log em- ploys non-theatrical, typical, everyday fathers and mothers. It should be of interest to both general adult and professional study groups concerned with child development and care. A Survey of Visual Materials Used in Vocational Guidance (Continued from page 73) quickly, and it is therefore essential that a guide be revised regularly. To solve the proljlem of the lack of visual mater- ials for vocational guidance, it would seem desirable to create a cooperative arrangement beteen the producers and those who use visual materials. Guid- ance workers should make known the types of materials needed and create a demand for them. Lack of understanding and training in the use of visual materials, the fourth major problem, can be met by courses in visual instruction and demon- stration programs. Teachers, counselors and club leaders can keep up with current developments by attending conferences and meetings and by reading the current articles in the professional journals. Before visual materials can become an integral part of every guidance program, not only must the importance of the guidance process and signi- ficance of visual materials be recognized, but there must also be adequate administration of the visual program within the school. Every school or com- munity center should delegate or employ one per- son to be directly responsible for the administration or care of all the visual materials and equipment. At present, most schools delegate this responsibility to an instructor who already has a full teaching load. Of the ten high schools visited, the majority of the instructors who administer visual materials and equipment felt that if adequate time were allowed in their schedules, much more effective use of visual materials could be made. Tentative Program for DA VI Atlantic City Conference (Continued from page 58) Wednesday, Febntary 25, 9:30-12:30 — Demonstration Walter A. Wittich, Director, Bureau of Visual In- struction, University of Wisconsin, appears on the iTiain program of the AASA conference, teaching a demonstration lesson involving the use of audio- visual instructional materials. No DAVI meetings are scheduled this morning in order that members may attend this demonstration. Wednesday, February 25, 2:30-4:30 — Departmental Meeting Brief summarization of main currents of thought expressed at each of the conference meetings by participants, with discussion preceding business meeting. Additional programs arranged for special meet- ings of groups meeting with the American Associa- tion of School Administrators and dealing with audio-visual instruction include the following: Monday, February 23, 2 :30 p. m. "Implications of the Armed Services Program," Chairman : Alonzo G. Grace, Commissioner of Education, Connecticut. Wednesday, February 25, 2:30 p. m. "Visual Aids to Teaching," Chairman: Alden H. Blanken- ship, Superintendent of Schools, Springfield, Massachusetts. Wednesday, February 25, 2:30 p. m. "Educa- tional Possibilities of Radio," Chairman : Char- les H. Lake, Superintendent of Schools, Cleve- land, Ohio. The sessions mentioned above are three of thirty group discussions planned for the AASA program. The general meeting session to be conducted by Walter A. Wittich is one of ten such general meet- ings. Thus, a considerable amount (approximately one-tenth) of all general program time for the AASA conference is to be devoted to problems of audio-visual instruction. 80 Educational Screen WILLIAM S. HOCKMAN. Editor, 1616 Marlowe Avenue. Lalcewood 7. Ohio Making the Use of Visual Aids Effective in the Local Church WHILE the factors in few local church situa- tions will be the same, the general principles which underlay the effective utilization of visual aids in the local church will vary but little. The following statement of principles, together with their minimal elaboration and illustration, may serve as a guide and yardstick for the leaders of local churches. 1. Visual aids should be used to further the present on-going program of the church. The church has a constellation of purposes, and the objectives for the use of visual aids will be inside and not outside this cluster of purposes. The utilization of visual materials will be by the present leadership of the church. No separate "visual program" will be set up. The church will use visual materials and methods to help accomplish the purposes of its present program. 2. Visual materials should be considered as sup- plementary materials and not displace present ma- terials. Visual materials should be considered as a part of the total materials used by the church, and visual methods should be thought of as a part of the total methodology of the church. The wise church will not suddenly install "the visual method" in either church or school. Visual materials should not displace good non-visual materials. 3. All visual aids should be used for definite pur- poses. The user must know what specific objective he is trying to achieve. He must have a clear-cut conception of what he is trying to bring about, and ought to understand the peculiar contribution which the visual aid can make. Visual aids should not be used to cure a sick situation in the church school, the young people's work, or even rescue the mid- week prayer meeting. 4. The local church should not solo in either methodology or materials. All the visual media should be used and all the techniques of utilization should be included. The media and the method will be selected on the basis of the age of the group, the facilities, the equipment available, and the ob- jective to be reached. Every now and then some church goes overboard for some one visual media — flannelgraphs, kodachrome slides, opaque materials, stereopticon slides, but more often they "fall" for the prima donna, the sound motion picture. All the visual aids have their distinct advantages and dis- advantages when considered from certain angles. 5. Visual aids must not be expected to pay their way. The cost of materials and the maintenance of equipment should be an item in the general edu- cational budget. Visual materials do cost more — more than many churches expect when they start out. Using too many films will up the budget. In the long run, the cost of visual materials and equip- ment must be met as the cost of other educational materials and equipment is met in your church. Special plans tend to break down and run into hid- den snags. Advance planning and coordination be- tween morning and evening groups can cut down the cost of high-rental films. 6. Extensive familiarity with visual resources is fundamental to the effective use of visual aids in the local church. This is one of the most frequently neglected principles. Some one person or commit- tee must be charged with the responsibility of be- coming familiar with resources and, to some extent, with specific materials. This means gathering the principal catalogues and filing the denominational lists. It means attending previews; going to other churches to see materials which they are using; reading magazines; and keeping in touch with your local rental library or visual educational dealer. There is no shortcut here. Some one person, or group of persons, is needed in every church to The projected visual aids: miniature (2 x 2) slide, opaque material, the silent film, the sound film, the stereopticon (354 X 4) slide, and the filmstrip. These, together with the various non-projected visual aids, will be employed in the effective supplementation and enrichment of the total pro- gram of the local church. February, 1948 81 advise with principals and teachers ; to call atten- tion to highly useful new material ; to study the on-going program of the church and make sugges- tions to those in charge. 7. Every church should begin on its level and progress from there. There is no substitute for starting where you are. Take an inventory of your collective skill and understanding. Let it indicate where you should begin in the utilization of visual materials. If you are at the level of flat pictures, and many churches are just there, don't begin with the sound motion picture. It is easy to get equip- ment— easier than getting understanding. Many leaders have made the mistake of following the sink-or-swim principle in beginning the use of visual aids. They buy a film projector, and perhaps a slide projector, and tell the teachers to go ahead. After a few false starts and abortive eflforts, these same leaders come to pessimistic conclusions about the wisdom of "visual education." 8. Every church should provide some facilities which are suitable and easy to use. Trying to get along with makeshift screens, with hard-to-operate blackouts, with low-voltage power sources, with impossible acoustics, with unattractive surround- ings, and with interferences of one kind or another puts a handicap upon leaders which discourages and defeats them. For the time being, most visual materials will be beamed at the larger (depart- mental) unit and not the individual class. There- fore, provide accordingly. 9. Begin and carry forward a continuous pro- gram of training workers in understanding the nature and use of the various visual aids, projected and non-projected. Make this program a part of your total leadership education. Realize that under- standing is basic to sound utilization. Use visual methods in your leadership courses and conferences. Secure books and magazines for your teachers. Encourage them to attend local previews, institutes, conferences and courses. In conclusion, don't be misled by the term "visual education." There is no such kind of education. What the church is trying to do is give children, youth and adults the desire and ability to live a certain kind of life, and in the accomplishment of this great and noble work many kinds of materials and methods will be used. — WSH. Treating Films As Texts A CERTAIN religious director, after showing a group of junior children five of the Cathe- dral films, gave them a test which was composed of various types of informational questions. He was very much disappointed in the answers which he got and concluded that films have been greatly overrated as a teaching medium. Old Methods and New Materials With this list of questions before you, it is easy to see that he was making the mistake of treating films like textbooks because he did not understand the fundamental character of the film. Using such a test as a follow-up for this series of films was like dipping for minnows with a chicken- wire net ! His questions were factual, and dealt with the picayune, the inconsequential, and the incidental. He did not check these children to see what kind of experience these films, each of them, had aft'orded these children. He did not seek to find out how this experience had been integrated into the total fabric of learning. (How important is it for a child to know if a certain one of the films shown was missionary or biblical in type?) He was applying old methods to new materials — a common fault of teaching in both church and school. It is safe, in view of such an inadequate follow-up, to assume that his preparation of the pupils for the experience these films were to bring had also been weak and out of focus. He probably left the whole job up to the films, neglecting the skilful enabling which would have increased their teaching power many fold. Films Are Not Textbooks His basic trouble was in thinking of films as but a variety of textbooks. He needs to ponder this incisive parapraph from Edgar Dale's October 1947 News Letter: "The motion picture, properly conceived, is not another textbook. It is not a compendium of facts, a tightly-knit summary. If it deals with 'Colonial Life in Williamsburg' it does not present a century and a half in a page and a half. On the contrary it presents a realistic, dramatic story. The explanatory materials are full-bodied, concrete, artful. The film has a beginning and an ending. It does not trail off into the ne,xt chapter. "You can't study a film bit by bit, page by page. You take all or you take nothing. It does not lend itself to drill, repetition, or memorization. Rich understanding comes with a single viewing. A film may be re-run with profit, but you get the big idea the first time and look again only for the points that have been missed." Too many ministers, directors, and classroom teachers are preoccupied with text materials. The lesson must be taught. They leave too little time for the film. Why? Because they put it secondary to the quarterly. The quarterly will teach about St. Paul. The film can make him real to the pupils. Too many teachers are failing to see this. Hence, we have poor filins and the best films hurriedly used before and after "lessons", with little or no preparation of the pupils for the experience which the film can afiford, and with faultily contrived follow-ups. Pictures are more than words, and basically un- like them. Films are unlike textbooks, and should be utilized by a inethodology consistent with their fundamental character. The essential power of the film is that it can give a psychologically efifective representation of reality. Neither textbooks nor any other visual media can do this. Because of this unique power, the film can put educative experience within the reach of the teacher. He is not obliged to teach about this and that. He can bring his pupils via the screen in experience with the world of persons and things ; ideas and values ; visions and purposes. To get the most from films they should be treated like films and not like textbooks. — WSH. 82 Educational Screen Films on Leprosy The American Mission to Lepers has regional offices across the country, and those interested in securing any of the following motion pictures should write to 156 Fifth Ave., New York, and ask about the office nearest to them. Tlie Healing of M'Vondo, Happy Village and Lonely Journey are 20-minute color films available for a two-dollar service charge and transportation. The first of the trilogy is especially suitable for children. Chandkuri's Children and Colony Vacations are 10- minute color films available at half the above fee plus transportation. Million Dollar Pig and Song After Sorrow are 20-minute black and white films and are free except for transportation. Since the worldwide work of the AML is non-sectarian and non-denomina- tional, every local church has a stake in its work and can easily use these films in telling its people about the fight which modern science and Christianity are making against this worldwide disease. Adventure in Inter-Racial Education Any school or church — and there should be many — looking for an inspiring story of inter-racial educa- tion can find it in the kodachrome slide presentation, The Stranger Within Thy Gates. Within the scope of 80 excellent slides and a well-written script is reported the venture of a Congregational minister of Vermont in bringing some of Harlem's children up to spend the summer with his parishioners. The whole story is presented — from the day Ritchie Low presents the idea to his wife to the evening he drove back down the country road after putting the children on the train for New York. J. L. Johnstone did the photography and Virginia Wells the script, available in either printed form or on two 78rpm records. The narration is by Will Greer. William Meeder gives the musical background. It was produced by the Department of Visual Aids of the Congregational-Christian Churches (287 Fourth Ave., N.Y. 10). (Continued on next page) Children of Harlem on a summer vacation — a scene from "The Stranger Within Thy Gates". How Many of Your Class Rooms Would One Set of Pakfolds Darken? The Draper Portable Pakfold can lake if — easy lo transport from room to room where needed. To apply this darkening shade or remove it, simply lift its supporting pulley from the pulley bracket, by use of the Draper Pulley Fork. No screws to re- move— no ladder to climb. When the Pakfold hangs over a double roller shade, as illustrated, both shades hanging on the face of casings or wall — a pair of Pakfold Spring Clips will hold the cloth close fitting arouna the double roller assembly, eliminating interference of the two shades and giving excellent darkening. When not in use, the Pakfold is rolled up in a neat roll, with cover fastened by turn-buttons to keep it clean and in good condition, as illustrated. Pakfolds are practical in all sizes. For large windows of unusual width or length Pakfolds are made with two sets of pulleys and cords. LUTHER O. DRAPER Shade Company Dept. ES-2, Spiceland, Indiana We will be pleased io have you inspect Draper Demounfebl* Shading at our exhibit boofli G-17 of American Association of School >>dmlnisfrators. Atlantic City, N. J. February, 1948 83 "PICTURE OF THE MONTH- HONORED by the Protestant Motion Picture Council's designation as "Picture of the Month" in the December issue of THE CHRISTIAN HERALD BEYOND OUR OWN is the fihn many churchmen are calling Picture of the Year — or of many years, BEYOND OUR OWN. 40 min., 16mm., sound. 3-year lease. $250.00 Order your prtnft ferfayi THE RELIGIOUS FILM ASSOCIATION Departmtnt E. 45 Astor Place. New York 3. N. Y. The ^i^lmd&y in RECORD PLAYERS • DUAL SPEED with 14" capacity • HIGH FIDELITY (GE) PICK-UP with natural sapphire stylus • 10" PMALNICOV SPEAKER (GE) • FOUR STAGE, SIX TUBE AM- PLIFIER with 14 watts output ATTRACTIVE, STURDY CUSTOM- LUGGAGE CARRYING CASE OPTIONAL FM INPUT for pick- up and reamplification of edu- cational broadcasts from FM Stations Write for Sonomaster literofure today. Designed and manufactured by Sandwick-Bowen, exclusively, for A Division of Curfi'ss-Wr/'ghf Corporation Dept. GS-6, Home OfRce and Focfory: Oavenporf, Iowa New York • Cfi/cogo • Disfribufors Tfirougfiouf the Worfd Here is a story every department of the church should hear. Here is a story which public schools should tell, alert as many of them are to give their children and youth information about the best things happening in our democracy. Those who plan to direct summer camps and conferences should latch onto a set of these slides. Little children will respond to the story. (I know. I used it with Primary and Junior boys and girls.) It will quicken the spiritual pulse of those grown a little skeptical about the power of love and knowledge in building a better world. The photography is good. The ratio of words to pictures is excellent — 28.6 to one. About 19 minutes is required when the recorded script is used, which gives a velocity of a little over 100 words per minute, a pace making comprehension and reflection possible. — WSH. Another Good Missionary Film Produced for the United Christian Missionary So- ciety (Disciples of Christ) by World Brotherhood Films, Constrained by Love, a 40-minute color film on missionary work in rural India, will prove of great value to every church seeking to show and interpret missionary work to its people. The organization of the film is good. It shows only rural missions : evangelism, the rural church, schools for boys and girls, hospital and medical service, the training of native leaders, the home for lepers, teach- ing and worship, the construction of buildings and the keeping of accounts. The photography was done by Ferger and the Rev. Dr. Donald McGavran, who get excellent results under the handicaps imposed by rural conditions. The com- mentary is by Dr. McGavran, who, with his wife, plays the principal role in the pictorial sequences. This first- hand narration has the ring of sincerity and authen- ticity and is replete with instrftctive details. Dr. and Mrs. (Mary) McGavran are the "living links" of two Disciples churches with India: Fullerton, California, and Muncie, Indiana. They serve in Tak- hatpur. Central Provinces. The film is non-sectarian and therefore useful to all in showing in considerable detail the manifold activities of missionaries in rural India. This film is available from Kenneth Warren, 72i7 W. Wilshire, Fullerton, California, and the UCMS, 222 Downey Ave., Indianapolis 7, Indiana, at an eight- dollar per day rental. — WSH. Don't Overlook • One of the best little books coming off the press last year in the visual education field ! "Films For International Understanding" is a 134-page book which was published by the Educational Film Library Associ- ation (EFLA), and can be secured from them at Suite 1000, 1600 Broadway, N.Y. 19, for one dollar. Some 16 chapters have been contributed by those com- petent to discuss various aspects of the subject. (Mr. Hockman contributed the chapter on "The Utilization of Films by the Church. — Ed.) An excellent list of 250 films, useful to all kinds of organizations in pro- moting international understanding, helps to make the 84 Educational Screem book a very valuable reference. An earlier publication of EFLA, and very useful to all educators, is "Making Films Work for Your Community." • Those who desire standard recordings of dramatized true stories which deal with intercultural and racial problems in America, with missionary faith and ad- venture in many parts of the world, and with the Bible and its stories in everyday life, should secure from Pilgrim Press (14 Beacon St., Boston 8) its latest descriptive folder on such materials. Every unit of this material is highly useful in the church school, in extended and weekday sessions, in vacation schools, in summer camps for Juniors and Junior High youth. Correspondence Prom England Mary Field, who directed the production of the "2000 Years Ago" series, in a letter to Lieutenant-Colonel R. J. V. Hake, Managing Director of J. Arthur Rank's Religious Films Limited (6 Eaton Gate, Westminster, London, S.W.I) says that I probably did not realize (see October and No- vember issues) that the films of the series were made for the "young adolescent" and not for the primary ages. Yes, I knew the series was beamed at the adolescent. Because the films of this series, especially The Home, were being used in this country with younger children, I wanted to find out for myself just what problems were involved. However, explaining that the series was produced for older pupils, does not invali- date the criticisms which I made of the film. She inquires further if I had a copy of the "teaching notes" for the film. I did not. Mr. Rogers of R.F.A., who, with Mr. Kruse, brought the films to this country knows of no teaching helps. The purpose of such films, as expressed by Miss Field, will be dis- cussed in a later issue of Educational Screen. The Religious Screen William S. Hoekman, Editor A Reprint of 19 Helpful Articles from "Tlie Church Department" of EDUCATIONAL SCREEN SEND FOR YOUR COPY NOW Price 60c From India "Without -exaggeration," writes Blaise Levai of Voorhees College, Vellore, India, "thousands of people congregate to see the filmstrips which we project every Friday and Saturday nights on the whitewashed wails of the open compound." He is using materials from the filmstrip library of the American Council in Madras free of charge. "We have shown filmstrips like American Colleges, Vitamins, The Christian Home, and some weeks ago we presented the film King of Kings, with the college orchestra and choir filling in the musical background, since we have no recording machine." He adds that they have found the Life of Christ slides by Elsa Anna Wood popular and powerful in preaching. With the help of his Indian stu- dents, he has written a modern script for the set ; and it has since been translated into English, Tamil, and Telegu. From China Dr. Arthur O. Rinden, Director of Audio- Visual Aids for the National Christian Council of China (University of Nan- king, Nanking 5) writes : "Our work continues to progress in a very encouraging manner in all departments. Our most pressing need is for more Christian films. I get letters and telegrams from all over China asking for more Christian films. Often I can do nothing for them. We could make a modest added investment in films if I only knew which ones to order." Our readers are invited to make suggestions to Dr. Rinden, and the recommendations of other missionaries would be espe- cially appreciated. — W.S.H. Is this prize-winning'^ film in your library? BREAD and WIIVE Bread and Wine deals with Italian agriculture and the "Mezzadria" sys- tern of Italian farming. Like other Bryan films, it stresses people and furnishes an excellent background for the study of the economic and social structure of modern Italy. It shows the harvest of grapes, the culti- vation of crops, the making of bread, the routine life of the farmers and their proprietor. (16 minutes). ♦This subject was one of the prize-winners In the recent Chicago Films of the World Festival. For rental, consult your Film Rental Library ; for pur- chase, see your visual education dealer. For a complete list of Julien Bryan's Productions on peoples of other countries, write Ihe International Film Foundation 1600 Broadway New York, N. Y. February, 1948 85 STUDENTS LIKE YOUR LIFE WORK FILMS Because 1. They find the study of vocations really interesting. 2. They can see the workers performing their jobs. 3. They learn about the vocation in an easily understood manner. The romance in the vocation as well as the less attractive features are pointed out. 4. They are able to give their undivided at- tention while the film is being shown. 5. The Teacher-Student guide assists mate- rially in developing class discussion. Write For Complete Information VOCATIONAL GUIDANCE FILMS JNC. /nfernat/ona/ Distribufors Carl F. Mahnke Productions 1814 Beaver Avenue Des Moines, Iowa A Study of FRACTIONS By O. W. McGVIRE Author of "Easy Steps in Fractions" A new filmstrip kit designed to aid in teaching the concept of fractions at the Elementary and Junior High School levels. ELEVEN FILMSTRIPS, encompassing the fun- damentals of fractions and the methods of using them. The kit includes twenty-five TEST SHEETS for each of the filmstrips, teacher's CHECK SHEETS for quick correction of the test material, and a TEACHER'S GUIDE. Inquire of your local visual aids dealer, or send coupon below — PHOTO & SOUND PRODUCTIONS. 116 Natoma Street, San Francisco 5, California Please send a set of "A Study of Fractions" Enclosed please find check for $33.25 Please bill me for $33.25 Name .' Organization - Address City . State.. Preview on request State Audio -Visual Directors O r gan ize In New York AROUND-TABLE conference of directors and coordinators and similarly-functioning jjersons in audio-visual education was held at Syracuse University Campus, Syracuse, N.Y. on Saturday, De- cember 6, 1947. More than fifty persons, who repre- sented educational film libraries, state teachers' colleges, instructional aids departments of city school systems and single-school audio-visual coordinators, had been invited to this meeting from all parts of the state. Paul C. Reed, Director of Visual and Radio Educa- tion for the Rochester School System, Ward C. Bowen, chief of the Bureau of Visual and Radio Aids, State Education Department at Albany, N.Y. and James W. Brown, newly-appointed Coordinator for Audio- Visual Services at Syracuse University were the origi- nators of the plans for calling this first convention. Names of key persons throughout the state of New York who were known to be actively concerned with audio-visual education were selected quite tentatively for the mailing list for invitations to attend. Miss Sandra George, Director of the Educational Film Library at Syracuse University, generously provided quarters for the meeting. The full attendance and general tenor of the gather- ing proved to be quite expansive, .\round the table during the early part of the all-day session, six common topics of general concern were listed and classified for study. By this action it became evident that all organizations for the coordination of instruction in New York State schools were confronted by common prob- lems. It was also apparent that discussion and exchange of experience between members of such a meeting held promise of mutual benefit. The priority list of topics of concern was as follows : 1 . Financial support for audio-visual programs. 2. Promotion of audio-visual instruction. 3. Selection, procurement, utilization and evaluation of materials. 4. The improvement and vari- ation in production of audio-visual materials. 5. The administration and leadership personnel with profes- sional standards for coordination. 6. Building facilities and physical services. But few of these topics were fully discussed in the remaining hours of the afternoon session. Wide and enthusiastic participation by all present in reporting on findings, activities and applications of these prob- lems took place. In consequence, spontaneous enthusi- asm was expressed for a later meeting and continuation of this program. Each person in attendance was pro- vided with mimeographed reports of general organiza- tion of programs in other localities ; each member had been instructed to bring such a report of his own activity in 50 mimeographed copies prepared in advance of the convention. No highly-formalized association or organizational 86 Educational Screen roster of officers was desired by those in attendance. Further convocation of the group was provided for by naming Paul C. Reed as temporary chairman of the group with the other persons responsible for in- itiation of this first meeting delegated to serve as a steering committee. In Indiana DIRECTORS and building coordinators of audio- visual materials in schools of Indiana and in- structors and directors of audio-visual programs in the colleges and universities, finding their opportu- nities for meeting together and working on problems of mutual interest somewhat limited, met on the Indiana University campus on December 12 and 13 for the purpose of forming an association. Plans for such an organization had been discussed for several months. During the Indiana State Teachers' Association meet- ing in Indianapolis in October, some of the key leaders of the state worked on plans and a tentative constitu- tion. A temporary committee with Vernon McKown, New Albany Public Schools, as chairman, and Cathe- rine Broderick, Fort Wayne Public Schools, as secre- tary, was appointed to arrange for the first meeting. Purposes Purposes were defined as (1) to provide an oppor- tunity for directors to become acquainted and to work together on mutual problems, (2) to act as a clearing house for ideas and projects of statewide concern, (3) to provide direction and coordination for the audio- visual programs in the state, and (4) to develop proj- ects of assistance to directors of audio-visual education. Membership is limited to those in the schools and colleges who are devoting a minimum of 25% of their administrative or teaching time to the direction of an audio-visual program. Also eligible are persons in colleges teaching at least one audio-visual course carrying college credit. Officers Forty-eight men and women eligible to membership attended the meeting and became charter members of the organization to be known as AVID (Audio-Visual Instruction Directors) of Indiana. They adopted the constitution which was drafted into its final form by a committee under the chairmanship of Robert Schrei- ber, Mishawaka Public Schools. They elected the follow- ing officers : President, Vernon McKown, New Albany Public Schools; Vice-President, Robert Schreiber, Mishawaka Public Schools ; Secretary-Treasurer, Caro- lyn Guss, Audio- Visual Center, Indiana University; and Executive Board Members, Catherine Broderick, Fort Wayne Public Schools ; Doris L. Lynn, Indian- apolis Public Schools ; Wilford Jarboe, Vanderburgh County Schools, Evansville; Clyde K. Miller, Gary Public Schools; and Henry W. Schulze, LaPorte Public Schools. Committees All working sessions of the two-day conference were devoted to developing a handbook of accepted policies (Continued on page 90) AVID of Indiana TOP ROW: W. Barnes, R. McDougal, L. W. Moon, H. W. Norman, D. G. Williams, K. B. Thurston, E. Carmony, E. Kuykendall, T. White, A. Hyer, B. Sparks, D. E. O'Beirne. THIRD ROW: B. L. Rufe, P. W. Holaday, C. B. Tolbert. W. Smith, O. R. Spurgat, C. Guss, C. Miller, F. G. Neel, L. C. Larson, G. R. Weathers, L. Whaley, K. Barr. SECOND ROW: L. D. Miller, V. L. Tatlock, R. Stollberg, H. Knaus, Mrs. G. M. Allen, G. M. Allen, F. Andrews, D. Simpson, F. Thomas, P. L. Fisher, A. Gibson. FIRST ROW: V. C. Alexander, H. W. Schulze, L. Kenworthy, R. Schreiber, D. L. Lynn, G. Mclntire, V. McKown, C. Broderick, W. Jarboe, M. Day, D. Williams. February, 1948 87 IITERATUREI^ 'HIP- fA.W. ISVAL INSTRUCTION BOOKS AND BROCHURES • Press, Radio, Film — Report of the Commission on Tech- nical Needs, United Nations Educational, Scientific and Cultural Organization. Paris, 1947. 189 pp. This is a summary of 48 reports on news agencies, press, radio and films in 12 European countries. (Reports for all countries are given in the Appendix.) Of great importance in the evaluation of this report, equal to the value of the contents, is the description of the methods of the Commission, for in this survey we find an example of internationl cooperation that tran- scends commercial, political or selfish ends. Field workers from the Secretariat of UNESCO were sent out to the 12 countries designated, with an elaborate questionnaire. In each country they worked through the Ministry of Edu- cation and the experts within the country. The reports and recommendations were then prepared with the advice and criticism of other specialists and members of other agencies in the United Nations. The present report is therefore certain to represent the most considered judgment of world-wide specialists on the press, the radio and the motion picture. The Last Word in Projection and Sound Reproduction^ The HOLMES For the last year "Rex" production has been inadequate to supply the demand. INCREASED OUTPUT IS FAST CATCHING UP. P.S. — The now REXARC wifh high intensity arc lamp. 40 watt output amplitler, and newest coaxial high and low frequency speaker available. BEFORE YOU DECIDE TO PURCHASE write for the new catalog detailing the advanced features found only in a REX 16mm Sound-on-Film Projector. HOLMES PROJECTOR COMPANY Manufacturers of 16mm ami 35mm Sound-on- film Projecfors for over 25 yeors to Dealers and Users 1813 ORCHARD STRCET • CHICAGO 14, ILL. ETTA SCHNEIDER RESS, Editor The Film Sub-Commission found that black and white film stock throughout Europe and China was adequate, but that the greatest need was for currency. (It points out that 16mm films for public showings as welt as for education will result in economies.) As for equipment, there, too, it is the foreign exchange and the lack of pri- ority on production tools that stand in the way. The use of 16mm sound projectors is recommended for educational and public showings instead of the 16mm silent projectors now common. A system of exchange for the training of personnel is urged. Other recommendations include: a Clear- ing House of Information on films available from all countries; a system to facilitate the exchange of educa- tional films in spite of exchange problems; and the exemp- tion from import taxes of film equipment, film materials, and films for educational, scientific and cultural purposes. For other details in the recommendations of this Sub- Commission and the one on Radio, the reader should con- sult the full report. • Projected Visual Aids in the Church — William S. Hock- man. Pilgrim Press, Boston. 1947. 214 pp. $3.75. A basic reference book, giving general principles and techniques for using the various types of visual aids in the church program, with special emphasis on the general church program. There are many suggestions based on actual practice and experience, and church leaders will find many ideas to stimulate them into greater use of ex- isting materials, and beyond that to strive for the production and distribution of better materials, especially films. Mr. Hockman has great faith in the demonstration tech- nique for promotion and for teacher-training. He believes that the best method is "seeing how" things are done, and how specific materials are used. The last chapter lists unsolved problems: what is the best type of visual aid, how verbal should a visual aid be? what criteria should be used for evaluation? how improve distribution? what part of the curriculum should be visualized? how present the scriptures on the screen? • Films in Public Libraries — Hoyt R. Galvin, Charlotte, N. C. Library Journal, vol. 72, no. 18. Oct. IS, 1947. Part II. 88 pp. Free to libraries; $1.00 to others. A practical guide, with all details for establishing a film-lending service in public libraries. There are sugges- tions for budgeting, administering and programming a film service; one section describes the standard projection equipment for films, slides, filmstrips and opaque materials; and valuable listings include a basic list of films for first purchase, a directory of producers (which is more accurately a list of producers and distributors), and a bibliography. This book demonstrates further the active part now being played by the American Library Association in ex- tending the distribution of educational films through local libraries. • The Virginia Plan for Audio-Visual Education — James \V. Brown. Center for the Study of Audio-Visual In- structional Materials, Dept. of Education, University of Chicago. 1947. 31 pp. $1.00. Description of the unique administrative organization in Virginia which has developed since 1940, when the first 88 Educafional Screen legislative appropriation was made to distribute educational films, until 1945 when an appropriation of over a million dollars was voted for equipment and teaching aids. The pamphlet was intended as a pattern for students of audio- visual education at the University of Chicago, but it is also an excellent reference for communities and states that would like to benefit from the experience of the state of Virginia. The manner in which the State Department of Education has developed its program of audio-visual instruc- tional materials for schools assures its success in improving the quality of education in general. The five regional cen- ters originally established have gradually passed the distri- bution functions along to local and individual school facilities, and are now serving chiefly as guidance and teacher-training centers. UTILIZATION • The Why of Audio- Visual Materials — Edgar Dale. The News Letter, vol. 13, no. 3. Dec. 1947. An editorial appealing to teachers to get greater mean- ing behind the concepts taught at school, to make concrete the complex ideas with which modern living surrounds us. Too often what is taught is irrelevant to living. There is an increasing amount of visual material to aid in educa- tion about world trade and other problems of modern life. The author lists four reasons why there has not been greater use of all media of communication on a regular and complete basis: a) lack of funds; b) lack of ability in teachers to use these new methods; c) insufficient training on the college level; and d) no cooperation by adminis- trators for adequate physical facilities. • Children Make Recordings— Margaret B. Russell, Ben- jamin Stoddert School, Washington, D. C. N.E.A. Journal, Dec. 1947. p. 635. A class of second-graders went through all the steps in planning special Valentine recordings, with the aid of a machine loaned by one mother. Research, voice tests, scripts and the play-back proved a fruitful and interesting activity. • Teaching Aids: Picture Stories— Ethel Beatty Smith, Jamesburg High School, Jamesburg, N.J. Business Edu- cation World, December 1947. p. 212. Describes a unique idea which has become a creative activity for teacher and pupils alike. Picture stories are planned, posed, photographed, printed as enlargements and mounted on posters. These then serve as the basis for illustrating principles or concepts in the curriculum. Picture stories were used in the retail-selling course and the office- practice class, where pictures were planned and photo- graphed by students to illustrate their ideas. SOURCES • Informative Films— Educational Review Committee, National Board of Review. Agenda Magazine, 205 East 42nd St., N. Y. 17. Monthy issues, starting May, 1947. Free to women's club leaders. A monthly section on 16mm films recommended for women's club leaders, annotated and classified by subject. For example, the November-December issue includes films suitable for meetings that deal with the Freedom Train, Bible Reading, Christmas, Displaced Persons, and other topics. Each issue also includes a theatrical film review page, with the aid of Mrs. Bcttina Gunczy. • Audio-Visual Aids for Atomic Education— Albert Got- lieb. Social Education, 11: 357-60. Dec. 1947. An annotated list of films, filmstrips, recordings and transcriptions, radio scripts, maps and charts, and agencies to implement the study of atomic energy in science educa- tion. This list (together with a published bibliography, "Annotated Bibliography on Atomic Energy," by Israel Light— Teachers College, Columbia University, N.Y. 35c) appeared in connection with a series of conferences on atomic education held at Teachers College under the aus- pices of the Departments of Natural Science and Social Sciences. February, 1948 YOU MAY RENT OR PURCHASf THtSC THRU SHAKtSPtAREAN flLMS IN 16mm. SOUND: ^_i|j_l I f^ (on one 1600' reel; running time, 43 minutet). %J I nELLU Rent; T day, $5.00; 2 or 3 days, $7.50; 4 or 5 days, $10.00. Outright *^e nn purchase $/ 5.00 IIIIIIIC ^AECAD (on one SOV reel; running time, 19 JULIU9 UAE9HK „;„„,„j, „,„,, , j„y^ ^^.00; 2 or 3 days, $3.00; 4 or S days, $4.00. «t«»^ en Outright purchase _ „ $3# •50 mi .^Q__aj (on one 800' reel; running time, 16 minutes), •"ACBtTM Rent: I day, $3.00; 3 or 3 days, $3.00; 4 or 5 days, $4.00. Out- *o^ en right purchase _ _ _ _ $3#»50 YOU MAY PURCHASe THESE SEVEN SHAKtSPCAR[AN RECORDINGS, ALL COLUMBIA MASTERWORKS RECORD ALBUMS: U AAA ITT (available immediately) with Maurice Bvans. MAfVILtT Three 12" records (6 sides) *-,-. in album $4.60 ■ •■■■lie ^AceMn (ovailable immediately) with Orson JULIUS CAESAR welles. rive IT- records (10 sides) in album $7.10 iriKIA DirUAOn II ''''"■'"y •*" 30 to 60 doys) with KINO RICHARD 11 Maurice Ivans, five 13" ^_ -^ records (10 sides) in album $# «10 lUA^DETU ('delivery in 30 to 60 days) with Orson Welles. IVIAWDtin Twelve 13" records (24 *.*...«, sJdes) in album _ $12.10 MERCHANT OF VENICE ':;;!n7sJn" wVils^'r'Xi 13" records f34 *ie OB sides) in album _ _ _ $15.85 /^YUEI I f\ (delivery in 30 to 60 days) with Paul Robeson, WlinCLLU Jose ferrer. Seventeen 13" records ^__ _ $23. 80 ipril) with $13.35 (34 sides) in album TUIEI CTU Kll/»UT (''e'lVery scheduled In April) with IWCLrin Nllvnl Orson IVelles. Ten I3" records (30 sides) in album ._ EASTIN PICTURES Headquarters for Shakespearean Teaching Aids DAVENPORT IOWA COLORADO SPRINGS COLORADO CHATTANOOGA TENNESSEE Typ. Aid : Sound Producer AUDIO-VISUAL AID EVALUATION \'i«ual Education Defwrtmcnt PoctUnd Public Schools Dmt ^r..<:y:.rr.«3r.... a520..JKt Xti .Bc.«».«..ItQjl .Ang«.l«.«...?9.. Uneth ^/ar^hJShia. ReeU _ V - Time ...^^JlWJhfa'i .Cort t7.5.j.QQ. .. Period .„ Maturity \jtyt:\f9^ttm Qro«n. P^»ce»fft f «Mb*titu«*. MAKE YOUR OWN TYPEWRITER SLIDES Use Radio-MaH — Regular Sbe 3V4"x4" or the NEW DUPLEX 2"»2" on sale by Theatre Supply Dealers Write for Free Sample RADIO-MAT SLIDE CO., Inc.. Dept.V 222 Oakridce Blvd., Dayton* Beach, Fla. • lUlf SUll«l»T«»IUSt«ll'! 93 16 MM SOUI\D FILM 35 MM STRIPFILM 2 X 2 SLIDES 16 mm Sound Projectors, Strip film, Slide and Opaque Object Projectors, Screens, and all equipment and acces- sories for visual education. Let us tahe care of your requirentents! Write for our new 1948 catalogue. SOLTIIERIV VISUAL FILMS 686-689 Shrine Building Memphis, Tennessee 76fflm Sound Pro/ecfor The new V/CTOR LITE-WEIGHT makes LIGHT WORK of Audio-Visual Training • Only One Piece to Carry. • Less Than Half the Usual Weight. • 70% Smaller in Size — but takes full 2000 ft. reels. Price $375.00 Send for latest Catalog. iSp:i^^ftBSBffi^5 m MM* iraftunM vkow 3$mm t^wpintnl h intd to pio 4«n thi ptrtrct ihow w Itw WsiKi Tiatf Ititottn DE VRY CORPORATION ES E2 I 1111 Armitage Ave., Chicago 14, III. ! Plaota 8iv« ut fuH partkukiM on riia n«w 0«Vir"BmitaiH'* E I t I 97 k CIMI nCTURE OF ITIt. ..HTIlit ?« The UNITED NATIONS FILM BOARD APPROVES AND RECOMMENDS: PATTElliV FOR PEACE j> (THE CHARTER OF THE UNITED NATIONS) At last here is the film for which eveiy- one has been asking and waiting. It is an explanation of the functions of the United Nations. It shows, with animation and a very clear commentary, how the or- ganization is set up and what the purpose of each department is. It describes the necessity for each council, who its mem- bers are. It explains the veto. It is a complete guide to the U.N., an educa- tional illustrated lecture on a topic which is uppermost in everyone's mind today. r6mm b/w sound, 2 red, rental $2-50 single day. Sale $44.00 list. (luued br the British Office of Informitlon) Officio/ Distributors in the United States FILMS OF THE ► NATIONS, Inc. (A non-profir membership organitotignj 55 WEST 45th STREET NEW YORK 19, N. Y. Ask your dealer or write us for neareit addreil where rllm is •vallabte. Write for your complimentary copy of our Rental CataloiE or Sales releases of films on foreign nations and the United Nations OrKanization. Army-Navy rigid standards of specifi- cations. In addition. Radiant Manu- facturing Corp. is now filling an order for 3000 of their Fold-Pak, portable fold'ng screens, to he used by the National Guard here at home. The Harris Electrotone I'lie Harris Manufacturing Company. I OS Angeles, California, offers a full line of radio-phonograph combinations and transcription playback instruments. The Electrotone, Model D Among the models available are the Klectrotone Supreme, Model 4000, an automatic radio-phonograph for world- wide use on 110-220 volts of either AC or DC current; the Electrotone Model 3000, and automatic radio-phono- graph combination; the Electrotone Custom Built, Model 200A, a deluxe automatic phonograph; the Electrotone Model 60, also an automatic electric phonograph; the Portophone, Model 20, available with electric or spring motor. Also available are the follow- ing transcription playback instruments: Model 100, Model D, Model SO; Models D and 50 are transcription playback instruments with removable 12" speakers. For further information, write to the Harris Manufacturing Co., 2422 W. 7th St., Los Angeles, California. New Fllmo Auto-8 Camera Offering many features never before built into any 8mm camera, the Filmo Auto-S magazine loading 8mm movie camera is announced by the Bell & Howell Company, Chicago. Some of the outstanding innovations incorporated in B&H's newest Filmo •are the following: (1.) Tu'O-Lens Tur- ret— includes the Filmocoted J/<" f/1.9 and IJ^" f/3.5 focusing mount lenses which are interchangeable with other special purpose lenses; (2.) Lens-Seat- ing Arrangement— -a. feature which per- mits the operator to screw the lens firmly into the turret and then adjust the graduation marks to the most con- venient position for his individual read- ing; (3.) Maga.zine Loading and Ejec- tor System — loading and unloading the Auto-8 is said to be fast and exact, and B&H states further that in the interlock between ejector and film foot- age dial lies a new "mistake proof" feature — the ejector button will not dis- lodge the magazine unless and until the footage dial is reset. The operator can't forget to reset the dial; (4.) Audible and Visible Footage Indica- tors— The Filmo Auto-8 has a nine- foot film run per winding; (5) Oper- ating Speeds — There are five opera- ting speeds (16, 24, 32, 48, and 64 frames per second), a single-picture release, and a continuous operation lock that allows the movie maker to get into the picture himself. Adjustable Sheet Film Tank Announcement of the FEDCO DeLuxe Adjustable Sheet Film Tank, has been made by Fedco Products, 37 Murray Street, New York City. The new tank with the familiar red top accepts all sheet film sizes from 23/2 "x354" to 4"x S", either cut film or pack. It is quite similar to conventional roll film tanks in its operation. It has a reel which is loaded from one end, using a specially designed fool-proof feeder to insure get- ting one film in each slot. Another feature of the tank is its compactness, thus permitting the use of only 45 ounces of solution. New Film Tank The new tank measures only Sj^'x 6'A" by SVz" high. It is made of acid- resistant bake lite, thoroughly light- trapped, and the central well is so de- signed that a stem-type thermometer may be inserted directly into the solution. De Mornay-Budd Flashing Unit .A new Flashing Unit has recently been announced by De Mornay-Budd., Inc., 475 Grand Concourse, New York 51, N. Y. The unit is intended to be used on cam- eras using the new "synchro-shutters" I with which many of the recent models a are being fitted. It is available with a suitable rubber-covered cord and "jack-plug" which fits the outlets on Ilex, Kodak and Rapax (WoUensak) shutters. An interesting feature of the Flashing Unit lies in the fact that, at any future time, it may be converted into a Press Synchronizer by the addition of the solenoid unit. Multiple extension out- lets and a Kalart Focuspot outlet are provided. n 98 Educafional Screen Slidefilms and Slides m POPULAR SCIENCE PUBLISH- ING CO., 353 Fourth Ave., New York 10, has released a new color Teach-O- Filmstrip series and a new slide set: Primary Arithmetic (6 color film- strips) — a filmstrip presentation of numbers and their use, based upon con- How many children are iti lhe»bus going {to the school picnic? How many twos are there 'in 16? "The Twos in Division" Crete experiences of scliool children in grades one, two and three. The six strips are titled: What Numbers Mean. Zero a Place Holder, A Number Family in Addition, Compound Subtraction, The Threes, The Tivos in Division, Primary Arithmetic (50 Kodachrome slides) — a slide set covering much the same subject area as the filmstrips. Like the filmstrip series, the slide set combines illustrative and animated drawings, photographs and charts. Both slides and strips were edited by Dr. Foster Grossnickle, authority in the field of primary arithmetic. ■ JAM HANDY ORGANIZATION, 2821 E. Grand Blvd., Detroit 11, Mich., offers the following new slidefilms: Heat (11 slidefilms) — the newest addition to Jam Randy's "Air Age Physics" teaching slidefilm series. Sub- jects included in the new group are: \. Temperature. 2. Heat Expansion. ,3. Gas Expansion. 4. Measurement of Heat. 5. Fusion. 6. Vaporization 7. Refrigeration. 8. Humidity. 9. Heat Transfer. 10. Putting Heat to Work. 11. Internal Comljustion Engines. Technical Lettering — A Unit of Drafting (5 slidefilms) — the following .0 0® YYY O ® ® 7 ZZ :x y X K KK O ( 5 ® 4^ 14 6. Which of these letters and numerals are correctly made? Point out errors in the others. "Technical Lettering" February. 1948 teaching subjects are presented: 1. Single-Stroke Gothic — Introduction. 2. Vertical Capitals IHT LEF AVW 3. Vertical Capitals MN YZXK4 OQCG. 4. Vertical Capitals 069 DUJ PRB 5. Vertical Capitals 725& and Spacing, ■ SOCIETY FOR VISUAL EDU- CATION, INC., 100 East Ohio St., Chicago, has recently added to its Industrial Geography series two. new filmstrips based on the cotton industry and produced with the cooperation of the National Cotton Council of Amer- ica, Memphis, Tennessee. Cotton— From Field to Mill (31 frames, b & w, teacher's manual) — showing some of the important steps in the cultivation of cotton from the time the seed is planted until the bales arrive at the mill. Cotton — From Mill to Finished Product (27 frames, b & w, teacher's manual) — picturing the processes and procedures involved in transforming the raw cotton into finished products. Another new addition to the SVE Picturol (filmstrip) Library is a paleon- tology filmstrip: Dinosaurs (34 frames, b & w, teach- er's manual) — introducing the student to some of the strangest creatures ever to inhabit the earth. The manual and dinosaur reproductions pictured were prepared under the direction of Professor J. Willis Stovall, Director of the Museum of the University of Oklahoma, Norman, Oklahoma. Coronet INSTRUCTIONAL FILMS 5 New Basic Teaching Films NATURAL SCIENCE Mammals of the Countryside BUSINESS EDUCATION Each of these new 16 mm. sound- motion films is one reel in length, and may be purchased in full color for $90, or in black and white for only $45. They are also available at nominal rates through leading film-lending libraries. Ready to Type SOCIAL STUDIES Building Typing Skill Powers of Congress We'll be glad to send you a complete catalog, or further information on Purchase, lease- Purchase, or Rental Sources. Jack's Visit to Cosia Rica Coronet INSTRUCTIONAL FILMS CORONET BUILDING . CHICAGO 1,ILllNOIS vt s ELECTED FILMS (or All Your Needs! Largest tibrcry of FREE (Sponsored) FILMS many in color Over 500 of the best EDUCATIONAL FILMS for classroom use High grade ENTERTAINMENT FILMS i for all ages and all types of groups • The best films for use in DISCUSSION and INFORMAL EDUCATION • Also: Travelogues, Sports and Recreation, Music, Social Sci- ence, and many others. • IF rite for New Classified Film n-f Tnday! ASSOCIATION FILMS lY M. C, A. MOTION PICTURE BUREAU) i WW YORK 17 rHiar.o i Uj WM Si, SJN FBANCISCO 2 35! Turk It. DALUS 4 3DII Mapt« AvMM* AUtYOin'osTun on the Best 16mm SHORT SUBJECTS? Educational. . . Eatertaiaiugl II SPORTS SUBJECTS SWIMMIMO IN COLOR 2 tubiectt In mognificent color, full of action, groce, and rhythm. One reel eoch. PARADE OF AQUATIC CHAMPIONS NATIONAL DIVING CHAMPIONS WHeSTUNG A series of 9 subjects, pocked with ex- citement for young and old alike. Skill ond prowess, with a liberal dash of muscular fun. First two listed ore 2 reels, others one reel. WRESTLING FOLLIES INTERNATIONAL HEAVYWEIGHT WRESTLING CHAMPIONSHIP WORLD'S CHAMPION WOMEN'S WRESTLING CONTEST CRIPS AND GROANS TWIN TORNADOES GIANTS OF THE MAT MADCAP MELEE MODERN GLADIATORS THROUGH THE ROPES >0S] Available at leatllng film Libraries. Write for FREE cotafog to Dept. 10. POST PICTURESCORP. 1 15 W.45fh St., New York 19, N. Y. ■ PHOTO AND SOUND PRODUC- TIONS, 116 Natoma St., San Fran- ci.sco 5, Calif., has produced a new filmstrip series: A Study of Fractions (11 filmstrips) — an integrated visual and test program consisting of tine following filmstrips; 1. Units and Fractional Parts. 2. Mul- tiple Fractions — Numerator and De- nominator. 3. Comparing Fractions — Adding and Subtracting. 4. Multiple F"ractions — Improper Fractions. 5. Im- proper Fractions (cont.) — Mixed Num- bers. 6. Reducing and Changing Fractions. 7a. Changing Fractions to a Common Denominator. 7b. Chang- ing Fractions to a Common Denom- inator. 8. Multiplying Fractions. 9. Dividing Fractions. 10. Reciprocals — The Rule of Division. The filmstrips are by O. W. McGuire and are ac- companied by student's test sheets, a teacher's guide, and keys for quick correction of the test sheets. Current Film News TFC Renewal Fees Revised According to a decision reached by the Trustees of Teaching Film Cus- todians, schools and liliraries may now Hcense black and white films for the life of the print up to ten years. The new license defines ten years as the maximum period of usefulness and all prints must be returned at the end of the ten-year period if they have not become unusable before that time. This new arrangement is offered as optional to film libraries and schools which desire to take advantage of it. The plan which has been in effect for the past eight years provides that films may be licensed for one, two, or three years, and the license re- newed annually for the fourth and subsequent years for $5.00 per reel for black and white subjects. Schools desiring to continue on this basis may do so. This new optional price schedule means that films licensed for three years at $30.00 per reel may now be licensed for ten years at $40.00 per reel. Libraries eligible for the dis- count price of $25.00 per reel for three years will pay $35.00 per reel for ten years. "PUPPY TROUBLE" The First of the series, TRAINING YOU TO TRAIN YOUR DOG. Three 14mm Sound Films in Color or Black- and-White. Demonstrating the Puppy's First Lesson In House Manners. Helen Hayes & Lowell Thomas. Nar- rators. Blanche Saunders: Director. Louise Branch: Producer S Photogra- pher. UNITED SPECIALISTS. INC. America's foremost producers of Dog Films PAWLING. NEW YORK ■ CORONET INSTRUCTIONAL FILMS, Coronet Bldg., Chicago 1, has completed the following produc- tions: Powers of Congress (1 reel, color or black and white) — a fantasy story de- fining and explaining the powers of Congress. Mr. Williams drops off to sleep for a few minutes to find himself confronted with a world in which Congress has been suspended and fed- eral authority dissolved. When he awakes, he has a better understanding of his own responsibility in the selec- tion of that body. Collaborator: Dr. John Day Larkin, Dean of the Division of Liberal Studies, Illinois Institute of Technology. Mammals of the Countryside (1 reel, color or black and white) — a represen- tative group of mammals that share the land with the farmer are studied in terms of their habits, habitat, and influence upon the farmer's crops. Col- laborator: Robert Snedigar, Chicago Zoological Park. ■ UNITED WORLD FILMS, INC„ 445 Park Ave., New York 22, N. Y., presents the following educational film: The Story of the Bees (2 reels)— the complete life cycle of the bee shown in macro-photography, from the laying of the egg through the develop- "The Story of the Bees" ment of the larva and the emerging of the mature insect. The film has been edited from footage which won first prize at the Cannes World Film Fes- tival. 100 Educational Screen ■ ENCYCLOPAEDIA BRITAN- NICA FILMS, 20 N. Wacker Dr., Chicago 6, has completed the fourth motion picture in its art series of edu- cational films: Drawing With Pencil (one reel) — This black and white sound film re- cords the technique of one of America's leading sketchers, Theodore Kautsky, in drawing a picture of a 17th-century cooper's shop between Gloucester and Rockport, Massachusetts. All the im- portant steps in pencil sketching are included in the film. ■ FRITH FILMS, Box 565, Holly- wood, Calif., announces the following 16mm sound releases: Patty Learns to Stop, Look and Listen — a safety film telling the true story of Patty Carman, -who ran out on a crowded highway and was hit by a car. The ambulance took Patty to the hospital, where the bones in her legs were set and placed in tractiofi. Six weeks later with her legs in a cast, she was allowed to go home, but here too there vrere long weeks in bed. Gradually the bones knit, and Patty learned to use crutches. Finally, Patty was able again to run and play with other children — though still limping. Our Teacher, Mary Dean — a film on teaching, showing the important role played by the teacher, the great force she wields wherever life places her. ■ SIMMEL - MESERVEY, INC., Beverley Hills, Calif., presents a scien- tific field-trip motion picture on Glacier National Park under the title: Glacier Park Studies (22 minutes, color and sound) — produced by Guy D. Haselton. Extensive use has been made of animation to portray the de- velopment of land contours and the effect that glaciers have had in creating present-day geological formations. ■ FILM ALLIANCE OF AMER- ICA, INC., 1600 Broadway, New York 19, has released for the British Infor- mation Services a new film dealing with the world food situation today: The World is Rich (43 minutes)— succes.sor film to World of Plenty. This Paul Rotha production was made with the cooperation of Australia, Canada, India. Great Britain, the Netherlands, Union of South Africa, the U.S.S.R., and the U.S.A. The film makes clear that the backwardness of many coun- tries coupled with floods and droughts never allowed enough food to feed all the people of the world. The United Nations measures formulated in the P'ood and Agriculture Organization are dramatized, and the plans drawn up by the F.A.O. for the permanent im- provement of farming throughout the world are described. The film will be distributed through the facilities of Brandon Films, Inc., 1600 Broadway, New York, and a nationwide network of cooperating film libraries. (Continued on page 104) Two fitmsf^^"' -z:;^^'^^^' '"''^' CUMBERLAND STORY 5 Reels — 47 Minutes Thii it th* story of new methods which brought on old mine up to date. Dealing with the unique problems of drilling out under the seo, a mining engineer and the miners cooperate in using new techniques and modern machinery for the higher production of coal. The Film shows by r,, lleverly Hills, Cal. Southern Visual Films 686-9 Shrine Pldc "omiih'« 1, Tenn. Vocational Guidance Films, Inc. 2718 Beaver Ave., Des .Moines, la. Wiliinnis. Broivn and Karle, Inc. 91S Chestnut St., Philadelphia 7. Pa. Art Zeiller A^isunl Kducntion Service 157 Washington St., Newark 2. N. ,T. MOTION PICTURE PROJECTORS AND SUPPLIES Hell & Howell Co. 7117 McCornii'k Road, Chicago 45, 111. Calhoun Compnnv 101 Marietta St., N.W., Atlanta 3, Ga. 11101^ Tavlor St., Columbia 6, S. C. Carroll W. Rice Co. Audio Vi.sual Center, 424 40th St., Oakland 9, Cal. Collins Motion Picture Service 502>4&5n6St.PauISt., Baltimore 2, Md. 4 Race St.. Cambridge, Md. Comprehensive Service Corporation 245 W. 55th St., New York 19, N. Y. DeVry Corporation , 1111 Armitafe Ave., Chicago 14, 111. Eastman Kodak Stores, Inc. 356 JTadison Ave., New York 17, N. Y. Gnllnp-her Film Service 113 S. Washington, Green Bav, Wis. 639 N. 7th St., Milwaukee, Wis. General Films. Ltd. 1534 13th Ave., Regina, Sask. 156 King St.. W. Toronto, Ont. General Pictures Productions 621 Sixth Ave., Des Moines 9, la. Hirsch & Knye 239 Grant Ave., San Francisco 8, Cal Knns Motion Picture Service 1319 Vine St.. Philadelphia 7, Pa. 432 N. Calvert St., Baltimore 2, Md. 1905 Sanderson Ave., Scranton, Pa. MofETliirs Inc. 68 W. 4Sth St.. New York 19, N. Y. Xn-Art Films, Inc. 145 W. 45th St., New York 19, N. Y. Raike Company 829 S. Flower St., Los Angeles 14, Cftl. Ryan Visnnl Aids Service 409 Harrison St., Davenport, la. S. O. S. Cinema Supply Corp. 449 W. 42nd St., New York 18, N. Y. Southern Vtsiinl Films 6S6-9 Shrine Bldg., Memphis 1, Tenn. Swank Motion Pictures, Inc. 614 N. Skinker Blvd., St. Louis 5. Mo. Visual Fdiicatlon Incorporated 12th at Lamar, Austin, Tex. 2010 N. Field St., Dallas 1, Tex. 1012 .Tennings Ave.. Ft. Worth 2, Tex. 3905 S. Main, Houston 4, Tex. Williams, Brown and Fnrle, Inc. 918 Chestnut St., Philadelphia 7, Pa. Art Zeiller Visual' Kducatlon Service 157 AVashinsrton St., Newark 2, N. J. SCREENS Mognll's Inc. «S W. 4Sth St.. New York 19. N. T. >n-Art Films, Inc. 145 W. 45th St., New Y'ork 19, N. Y. Radiant Manufacturinj; Corp. 12'.'. S. Talman Ave., Chicago 8, 111. Southern Visual Films i;S(i-;i Shrine Bldg., Memphis 1, Tenn. Williams, RroTFn and Carle, Inc. 91S Chestnut St., Philadelphia 7, Pa. PICTURES Informntlve Classroom Picture Series 40 Ionia N.W., Grand Rapids 2, Mich. SUDEFILMS Fryan Film Service Film Building, Cleveland, Ohio General i'ictures Productions r.21 Sixth Ave., Ues Moines 9, la. Hirsch & Knye 239 Sixth Ave., San Francisco 8, Cal. Simuiel-Meservej', Inc. 321 S. Beverly Dr., Beverly Hills, Cal. Visual Research Company 30 N. Dearborn St., Chicago 2, 111 Williams, Brown and Enrle, Inc. 918 Chestnut St., Pliiladelphia 7, Pa. SLIDES (KODACHROME 2 x 2) Hirsch & Kaye 239 Grant Ave., San Francisco 8, Cal Klein & (Goodman, Inc. IS S. 10th St., Philadelphia 7, Pa. Nu-Art Films, Inc. 145 W. 45th St., New Y'ork 19, N. Y. Visual Researcli Company 30 N. Dearborn St., Chicago 2, 111. SLIDES (31/4x4 and larger) Keystone View Co. Meadville, Pa. Ryan Visual Aids Service 409 Harrison St., Davenport, la. Slldecraft Co. 257 Audley St.. South Orange, N. .1 SLIDE, FILMSLIDE and OPAQUE PROJECTORS Comprehensive Service Corporation 245 \V. 55th St., New Y'ork 19, N. Y. DeVry Corporation 1111 Armitage Ave., Chicago 14, 111. General Films, Ltd. 1534 13th Ave., Regina, Sask. 156 King St., W. Toronto, Ont. GoidlS Manufacturing Co. 1220 W. Madison St., Chicago 7, 111. Hirsch A Knye 239 Grant Ave., San Francisco 8. Cal. Keystone Vle^v Co. Meadville, Pa. RaIke Company 829 S. Flower St., Los Angeles 14, Cal. Ryan A'lsual Aids Service 409 Harrison St., Davenport, la. Southern Visual Films 686-9 Shrine Bldg., Memphis 1, Tenn. I'ieivlex, Inc. 35-01 Queens Blvd., Long Island City Visual Research Company 30 N. Dearborn St., Chicago 2, 111. ^VIIllams, Brown and Earle, Inc. 918 Chestnut St.. Philadelphia 7. Pa. 102 Educational Screen For Further Information i about the products featured in this issue use the convenient READER'S SERVICE POSTCARD pq bd // there is any additional information desired on audio-visual materials and equipment not given in the editorial content or ad- vertising in this issue, simply fill in and mail the Reader's Service Postcard. No stamp required. EDUCATIONAL SCREEN'S Service Department will assist in obtaining it without cost or obligation to you. THE BOOK YOU NEED The new 23rd edition Tells where to get over 6,600 films 'MOOD and ONr' (1948) The Blue Book of Non-Theatrical Films The largest, most complete edition of this annual film reference yet published — 160 pages of essential information on some 6610 available films and their sources, classified under 176 subject-headings, also listed alphabetically by title — indispensable to Supervisors, Teachers, Program Chairmen, Church Leaders, Directors of Industrial Training, and many others. Price Only $1.00 IDEAS For FILM PROGRAMS Classroom Films . . . Adult Films . . . Documentary Films . . . Fiction Films . . . Safety Films . . . Industrial Films . . . Church Films . . . Plus a Host of Others. Simply Clip the Coupon and a copy of "1000 and ONE" will be yours. EDUCATIONAL SCRfcEN 64 East Lake Street Chicago I, lllmois n Please send me one copy of "1000 and ONE" ($1.00). □ Also enter or renew my subscription to EDUCATIONAL SCREEN for D One Year $3.00 (Canada $3.50, Foreign $4.00) D Two Years $5.00 (Canada $6.00, Foreign $7.00) D Ched Enclosed D Send Bill Address Nan City State February, 1948 103 INDEX TO ADVERTISERS American Optical Co 60 Ampro Corporation 54 Association Films 100 Eausch & Lomb 57 Beckley-Cardy Co 92 Bell & Howell Inside Back Cover Bowmar Co., Stanley 96 Brandon Films 89 British Information Services 101 Burke & James 96 Children's Productions 91 Colburn Laboratory, Geo. W. 94 Coronet Instructional Films 99 DeVry Corporation 97 Draper Shade Co., Luther O. 83 Eastin Pictures Co 89 Encyclopaedia Britannica Films 53 Film Studios of Chicago ... 96 Films of the Nations 98 Frith Films 93 Holmes Projector Co 88 Institutional Cinema Service. 94 International Film Bureau . 92 International Film Founda- tion 85 Johnson Hunt Productions . 90 Karel Sound Film Library . . 89 Lewis Film Service 94 Mahnke Productions, Carl F..86 Nesbit, Paul 93 Peak Films Productions ... 94 Photo and Sound Produc- tions 86 Portafilms 89 Post Pictures Corp 100 Radio Corporation of America 61 Radio-Mat Slide Co 93 Religious Film Association . 84 Simmel-Meservey 56 Slidecraft Co 96 Society for Visual Education Back Cover Southern Visual Films 94 Swank Motion Pictures .... 94 United Specialists 100 United World Films 59 Vacuumate Corp 96 Victor Animatograph Corp. Inside Front Cover, 84 Viewlex 90 Visual Sciences 93 Current Film News (Continued from f>age 101) ■ INTERNATIONAL FILM BU- REAU, INC., 84 E. Randolph St., Chi- cago, lias opened a New York office at IS Park Row, New York 7, with G. M. Gate.s in charge, according to an an- nouncement by Wesley Greene. President of IFB. The office will handle sales of International Film Bureau releases in New England, Pennsylvania. New York and New Jersey, and will maintain a specialized rental and preview lihrary. Mr. Gates is a graduate of the School of Business Administration at Harvard University and the producer of a series of color slide films. International Film Bureau is releasing in the Unite^ States a series of kodachrome films for schools, including Vegetable Insects, which was selected for honorable mention at the recent "Films of the World" Festival in Chicago. Other releases of the Interna- tional Film Bureau are Fur Country, Great Lakes, Eskimo Summer, and a series of French and Spanish language teaching films. ■ BRITISH INFORMATION SERVICES, 30 Rockefeller Plaza. New York 20, announces that the fol- lowing 16mm film is now available: Hausa Village (2 reels) — In ancient times, travelers from the Holy City of Mecca crossed the vast Sahara Desert into northern Nigeria, bringing with thein the teachings of Mohammed. Today the Hausa people number 10 million, and all of them are devout Mohammedans. In this film, the life and customs of a typical Hausa village are shown. ■ NATIONAL FEDERATION OF AMERICAN SHIPPING, INC., 1809 G Street, N.W., Washington 6, D. C, has completed a motion picture titled: America Sails the Sea (32 min.) — telling the story of the American Mer- chant Marine and its importance to the nation. Its primary purpose is to show the importance of shipping to American agriculture and industry. The film is complete with dramatic characterizations, narration, and set to thematic music. It will be distributed free. ■ OHIO STATE UNIVERSITY, Bureau of Public Relations, Adminis- tration Building, Columbus, Ohio an- nounces the release of a new film: Footsteps to the Future (27 minutes) — a recruiting film, designed to interest the high school girl in the study of home economics at the university level. ■ AFFILIATED AETNA LIFE COMPANIES, Public Education De- partment, Hartford 15, Connecticut, offers, without charge, a safety film: Live and Let Live — 16nini sound, color, 10 minutes' running time — a new approach to traffic education, a motion picture which pioneers the use of three-dimensional, scale-model ani- mation to demonstrate ten of the lead- ing causes of highway accidents. Entertainment ■ UNITED WORLD FILMS, INC.. 445 Park Ave., New York 22. announces the release of the following recreational 16mm sound films: Brief Encounter (86 minutes) — Noel Coward's masterpiece, winner of the International Federation of Film Crit- ics' award at Cannes as the "best film of the year irrespective of nationality.'' A chance meeting leads into a thor- oughly believable adult love story, told in a straightforward way. (Celia Johnson, Trevor Howard.) "Scarlet Street" Scarlet Street (II reels) — story of a man driven to the point of murder when he is betrayed by a worthless woman, with Edward G. Robinson and Joan Bennett. Mature audiences. Girl on "the Spot (7 reels) — a mur- der mystery, complete with Gilbert and Sullivan tunes, with Lois Collier, Jess Barker. Family. Because of Him (9 reels) — a musi- cal with Deanna Durbin, Charles Laughton, and Helen Broderick. The story of a stage-struck waitress. ■ POST PICTURES CORP., 115 W. 45th St., New York 19, in accordance with its recent announcement of the exclusive 16nim distribution rights for 36 new Monogram Pictures, now offers the first six of these 16nim sound fea- tures : Daum on the Great Diiide, Isle of Missing Men, Ghosts on the Loose, The Stranger from Pecos, Rhythm Pa- rade, Silent ]]'itness. ■ LIBRARY FILMS, INC., 25 W. 45th St., New York 19, offers a delight- ful classic in a lOmm sound-on-film version: Cyrano de Bergerac (one reel) — Rostand's romantic story of the swash- buckling Cyrano and his notorious nose, featuring Walter Hampden. ■ COMMONWEALTH PICTURES CORP., 729 Seventh .Ave., New York 19, has acquired exclusive 16mm distri- bution of the following film: I Married a Witch (8 reels) — the Rene Clair fantasy in the "Topper" tradition presenting a story of witch- craft in modern dress and in a modern setting. (Frederic March. X'eronica Lake, Susan Hayward, Robert Bench- ley.) 104 Educational Screen THE STAFF PAUL C. REED— Editor JUNE N. SARK— Assistant Editor WILLIAM S. HOCKMAN— Editor for the Church Field ROBERT E. SCHREIBER— Editor for the Com- mercial Field JOSEPHINE HOFFN/IAN— Business Manager PATRICK A. PHILIPPI— Circulation Manager DAVID E. CAESAR— Advertising Manager JOHN A. BASS ETT— Western Adv. Rep. 3757 Wilshire Blvd.. Los Angeles, Cal. DEPARTMENT EDITORS JOHN E. DUGAN _ Jenkintown, Pa. L. C. LARSON Bloomington, Ind. ETTA SCHNEIDER RESS .J^ew York, N. Y. DAVID SCHNEIDER New York, N. Y. EDITORIAL ADVISORY BOARD WALTER S. BELL, Director of Audio-Visual Education, Atlanta Public Schools, Atlanta, Georgia EDWARD G. BERNARD, Head, Instructional Materials Program, Board of Education, City of New York IRVING C. BOERLIN— Supervisor, Audio-Visual Aids, Pennsylvania State College JAMES BROWN, Assistant Professor of Edu- cation, Syracuse University, Syracuse, New York EDGAR DALE, Head, Curriculum Division, Bureau of Educational Research, Ohio State University AMO DE BERNARDIS, Supervisor, Audio-Visual Education, Public Schools, Portland, Ore. ELIZABETH GOLTERMAN, Director, Division of Audio-Visual Education, St. Louis Public Schools, St. Louis, Missouri GARDNER L HART, Director, Audio-Visual Education, Oakland Public Schools, Oak- land, California FRANCIS W. NOEL, Chief, Division of Audio- Visual Education, California State Depart- ment of Education, Sacramento, Calif. F. DEAN McCLUSKY, Lecturer in Education and Director of Audio-Visual Education, University of California at Los Angeles PAUL WENDT, Director of Visual Education Service, University of Minnesota THURMAN WHITE, Head of Department ot Visual Education, University of Oklahoma The EDUCATIONAL SCREEN Is published monthly except July and August by The Edu- cational Screen, Inc. Publication Office, Pontiac, Illinois; Executive Office, 64 East Lake St., Chicago, Illinois. Printed in the U.S.A. Entered October II, 1937, af the Post Office at Pontiac, Illinois, as Second Class Matter under the act of March 3, 1879. Mrs. Nelson L. Greene, Publisher Address communications to The Educational Screen, 64 East Lake St., Chicago, III. SUBSCRIPTION PRICE Domestic $3.00 Canada 3.50 Foreign 4.00 Single Copies 35 Educational SCR THE MAGAZINE DEVOTED TO AUDIO-VISUAL MATERIALS Founded la 1922 by Nelson L. Greene Contents for March, 1948 Page As Viewed From Here Professional or "Sadge+eer"? ...James W. Brown 114 Budgeting Visual Instructional Materials Edward G. Bernard 115 Coordinating the Audio- Visual Program Walter W. Bennett I 16 A Challenge for Research C. R. Carpenter 119 A Film Council in Action Rex M. Johnson 122 The Film and International Understanding John E. Dugan, Editor What Can We Do About Stereotypes? Ray O. Wolf 124 The Church Department William S. Hockman, Editor 127 Teacher-Committee Evaluation of New Films L. C. Larson, Editor 130 The Literature in Visual Instruction Etta Schneider Ress, Editor 132 School-Made Pictures David Schneider, Editor 136 Audio-Visual Trade Review Robert E. Schrelber, Editor 147 Current Film News 151 Trade Directory for the Audio-Visual Field 154 Index to Advertisers 156 COVER: A research assistant at the Instructional Film Research Proiect, The Penn- sylvania State College. See the article "A Challenge for Research" In this issue for an account of the project. Cover photo by courtesy Photo- graphic Services, Central Extension, The Pennsylvania State College. Volume XXVII Number 3, Whole Number 260 A Clear Mental Image with Brilliant Screen Image You are assured of large, sharp, brilliant screen images that convey visual impres- sions of utmost clarity when you use the model LRM Balopticon.* Serving a dual purpose, it projects both conventional slides and opaque objects, including printed illus- trations and text, photographs, and geo- logical or botanical specimens. Even when projected under illumination adequate for notetaking, screen images remain clear and brilliant. This is made possible by the LRM Balopticon's two fine- qunlitv optical systems which yield flatness of lield, critical definition, and high light transmission. Balanced illumination permits switching from opaque to slide projection without a distracting change in screen brilliance. Slides and opaque materials are protected from heat damage by a built-in blower cooling system. Details available in catalog E-11. Bausch & Lomb Optical Co., 688-P St. Paul St., Rochester 2, N. Y. *Trademark registered V. S. Pat. OJj. BAUSCH & LOMB OPTICAL COMPANY ROCHESTER 2, N. Y. 108 Educational Screen cGRAW-HILL ^1. McGRAW-HILL TEXT-FILMS have been made with you in mind — to help you make your teaching more effective through clear, dramatic visualization in subject areas where students meet with difficulty. Films and filmstrips used together do a competent job of visual instruction — dramatizing, explain- ing, and reviewing basic concepts contained in the McGraw-Hill textbooks with which they are correlated. These are some of the reasons why Text-Films can be counted on to enrich both teaching and learning in your classes. Text- Films are curriculum-centered — built around four general areas — Engineering Drawing, Health Education, and Teacher Education for college classes, and Mechancial Drawing for high school classes. Text-Films are textbook-correlated. AH four series are directly cor- related with selected chapters of four leading textbooks — French's ENGINEERING DRAWING; French and Svensen's mechanical draw- ing; Diehl's textbook of healthful living; and Schorling's STUDENT TEACHING. Text-Films are teacher-motivated. A poll of the opinions of teachers across the country has indicated just where students experienced most difficulty — exactly which aspects of the term's work needed most emphasis to ensure maximum retention. Text-Films are in answer to their stated preferences. Text-Films are technically unsurpassed. Experienced educators have carefully checked teaching techniques and classroom activities as they appear in the films. In addition, leading film studios have achieved clarity in representation and ease of comprehension by employing a variety of techniques-in the Drawing Series by animation sequences and three-dimensional models which move in space — in the Health and Teacher Education Series by using dramatic, episodic treatments especially successful in films dealing with human relationships. Let us tell you the whole story of these four series of McGraw-Hill Text-Films. Fill out the coupon below and return it to us. McGRAW-HILL McGraw-Hill Book Company Text-Film Department 330 West 42nd Street New York 1 8, N. Y. Please send me descrip- tive literature on the Text-Films indicated: n Engineering Drawing D Mechanical Drawing n Teacher Education D Health and Hygiene Name Title Address l| G-1 March, 1948 .J 109 Free Teaching Aids ■ NOW AVAILABLE TO SCHOOLS "Very Personally Yours" Booklet An informative booklet every teen ajje girl will want to read— and know. Clear, down - to - earth knowledge about men- struation . . . tells girls what to do and not to do. Wonderful aid to teachers who are in- structing pupils on this normal bodily function. A 10-minute color movie with sound A creation of Walt Disney Productions, this film gives young girls a complete, factual understanding of theirown physical make up. Here is an intelligent pres- entation already acclaimed by thousands of teachers and students. Prints loaned on a short-term basis. Menstrual Physiology Chart Instructors find this large full-color chart a handy guide to use duringlectures. Illustrates the menstrual process in simple, easy-to- follow diagrams. Excellent as a supplement for both the booklet and the film. 'nis coupon brings you all 3 Educational Department International Cellucotton Products Co. 919 N. Michigan Ave.. Chicago 11, Illinois (ES-38) Please send me free, with the compliments of Kotex*, the following material : D Full details on the movie, "The Story of Menstruation." .. Copies of the new booklet, "Very Personally Yours." n One full-color, jumbo-size Menstrual Physiology Chart. Name Titlt or Position Address City State •T. M.Rcj. U. S. Pit. Off. Audio-Visual Materials Consultation Bureau DETROIT'S Wayne University recently an- nounced the establishment of an .'\uclio-Vis- nal Materials Consultation Hureau. This new unit of the Colleg'e of Education ofifers various types of consultative assistance to producers and tisers of instructional materials. Film and record i)roducers can secure such serv- ices as curriculum studies indicating- school needs, try-out materials in "roujjh-cut" or finished form, script criticism, and market analyses. To schools and orrjanizational groups, the Bureau offers assist- ance in the selection and use of materials and equipnient. and in the orji^anization of an audio- visual prog-ram. The full facilities and staff of the University as well as the faculties and students of its cooperating laboratory schools provide opportunity for broad services of this type. In a large measure, the Bur- eau staff acts as a collaljorating and channelling agent. Market analyses are worked out in con- junction with the School of Business Administra- tion. College of Education faculty assist in the examination of scripts and prepare curriculum sur- veys. An example of the cooperative nature of the service is presented in a project now being carried through for a producer of children's records. Scripts which have l)een submitted are being recorded imder direction of the staff of the Department of Speech. These recordings will then be tried out in classrooms in the Detroit area, which offers rural school situations as well as those of a large city system. Rec(immendations on the basis of these try-outs will then be prepared by the Bureau staff. Dr. Arthur Stenius, previously in charge of the audio-visual program in the Detroit I'ublic Schools, has been placed in charge of the Bureau. He re- cently rettirned to Detroit after a year's leave of absence spent as Educational Director of Teaching Films, Inc. A JSote from a Reader "\ statement in the first paragraph of Mr. Mulligan's February article in Eihcational Screen {Sound Pro- jectors for the Classroom) gives the impression that the June, 1946 ".ABCs" Department found the field largely in favor of lightweight equipnient. 80% of those replying demanded sufficient volume for auditorium projection in such a projector; 50% preferred a weight of 25-50 pounds ; 30% a weight of 50-75 pounds ; and only 20% wanted a projector weighing 25 pounds or less. Those answering were in favor two-to-one of two-case outfits over one-case outfits. I was disappointed with these re- sults at the time, but they were reported in the Screen as indicated, and, in the interests of veracity, I do not like to see them misconstrued." — R. E. SCHREIBER. no Educa-Konal Screen YOUNG MINDS COME ALIVE.. .AND LEARN when you show EB Films! 4 NEW EBFILMS plains the nature, i \tre, and cleansing tion of soap. Shows how .^^J^ soap is made in a laborotory- and a commerciat plont. ; vorite food gives young- '^ \t% on insight into Ameri- *^ can industry. Shows ice ^ cream made at' home, then ^ by factory methods. "^ MAKING OlASS FOR HOUSES \ Shows how sand, limestone, and soda ash are obtained ond converted into glass, both in a loboratory and in « modern industrial plant. Every EBFilm is part of your school's regular cur- riculum . . . yet every EBFilm does a special teaching job: making subject matter a vital, absorbing classroom experi- ence youngsters can grasp quicker, retain longer. Consider AUTUMN ON THE FARM, for example . . . bringing ail the brilliant color and busy activity of farm life right into your classroom. Or SOAP, GLASS, and ICE CREAM . . . portrayed so memorably that even the youngest pupil can understand the sociological and economical significance of these important products. These are but four additions to the world's largest collection of authentic classroom films . . . offering over 500 titles, covering more than 50 different subject areas. Good teachers know they can be sure with EBFilms, whatever the subject area . . . because EBFilms are produced by educators for the specific use of educators— authentic, forceful teaching tools that help you do a better teaching job in every department of your school. In rich, vibrant co/orf AUTUMN ON THE FARM A full color film showing all the fun and work of farm life in autumn. Third in EBFilms' re- markable series of full-color films on country life. Be sure to see SPRING ON THE FARM ond SUMMER ON THE FARM. And watch for WIN- TER ON THE FARM, soon to be released. ENCYCLOPAEDIA BRITANNICA FILMS INC. WILMETTE, ILLINOIS March, 1948 113 As Viewed From Here James W. Brown Professional or ''Gadgeteer"? w 114 ebster defines a professional as one who engages in an activity professionally, rather than amateurishly. He further describes an amateur as one who is not a professional and is often a "dabbler" or a dilettante. Educators have their own label for the non-professional audio-visual special- ist. To them he is simply a "gadgeteer", implying that his responsibilities begin and end with film rewinding, with showing someone how to thread a projector, or with booking film orders. \^1iether the audio-visual specialist is a "professional" can be decided by the extent to which he is creative, exercises l)road influence in the educational program, and is guided in his actions by careful study and preparation for his work. If his activities cluster at the mechanical or routine level, then "professional" is not applicable. The time seems ripe to examine carefully the audio-visual specialist's work. What does the professional audio-visual specialist do? He administers the selection, purchase, processing, distribution, and main- tenance of a multitude of audio-visual instructional materials. His books must balance, and he must know how and when he is to receive his next fund allot- ment. He supervises the work of his immediate stafl^ and the use of audio- visual instructional materials and equipment in his educational unit. To do so, he draws upon a knowledge of instructional materials, methods of instruction, and psychology of learning. In working with other people he must learn to be sympathetic to points of view other than his own. He practices librarianship in locating, organizing, accessioning, classify- ing, listing, and maintaining an audio-visual center's collection of instruction- al materials and equipment. He participates in curriculum building and revision, making contribu- tions concerning appropriate uses of audio-visual instructional materials and methods in teaching. He has familiarized himself particularly with instruc- tional resources of the community and strives to bring about their integra- tion with other curricular activities. He exercises creative talents in planning and producing photographic, graphic, or recorded instructional materials and realia. He draws upon technical ability in selecting, testing and maintaining pro- jection and reproduction equipment. He teaches and organizes in-service or pre-service courses in the methods and techniques of audio-visual instruction. He writes promotional materials, handbooks, catalogs, and informational releases to apprise the school staff and the public generally of the activities of his department. The exigencies of "getting started", lack of training, or simply failure to ap- preciate the true nature of his job cause some audio-visual specialists to spend too great a portion of their time on a limited few of these activities. Such re- striction, whatever its cause, leads to the label, "gadgeteer". Complete under- standing and due consideration to all aspects of his work will earn for the audio- visual specialist the right to be titled "professional". Educational Screen PICTURES, CHARTS ^^C3<^ :<^- ^ Budgeting Visual Instructional Materials ADMINISTRATORS confronted with problems of educational budgeting today are in the situation of swimmers breasting a tide of in- rtation who must swim increasingly faster to stay in the same place. Nevertheless it is clear that merely to stay in the same place in a world of competitive progress is to invite obsolescence and ruinous decay. Some Vital Questions How can needed funds best be justified? How can better education through improved learning materials be properly advanced in the stern selec- tion process of budget approval? These are vital questions to all of us concerned with education, with its tools and its success. All around us is the evidence that on the whole, audio-visual learning materials need not fear close scrutiny as investments under present fiscal cir- cumstances. The most thorough and recent national survey of fiscal trends in the field, undertaken by the Research Division of NEA in 1946, reports that "even though the 1945-46 expenditures were March. 1948 By EDWARD G. BERNARD Head, Instructional Materials Program, Board of Education, City of New York somewhat higher than in other recent years in a substantial percent of school systems, the corre- sponding outlay in 1946-47 is going to be higher still". Why is this so in the face of the financial pressure of the most severe teacher's salary crisis in recent history? Five Factors What are the factors which underlie the policy decisions in growth situations? Despite the partial prunings, postponements and compromises, why are the newer learning tools receiving preferred rating? The following five factors are among those of greatest general importance. 1. Audio-visual aids and other instructional ma- terials are direct investments in learning. Among the multitudinous items in modern school budgets, (Continued on page 140) 115 "The coordinator provides his faculty with an expediter, a training-coach and a personalized stimulus at the critical instances of their learning-by-doing attempts to use modem instructional materials." fra "High-school pupils who have lived and worried and strug- gled with bookings, confirmations, schedules, and corre- spondence have themselves experienced real-life leasning." Coordinatii by WALTER W. BENNETT, Charlotte High School, Rochester, N. Y. EFFECTIVE utilization of audio-visual aids in the classroom persists as one of the primary obstacles to successful achievement in sen- sory-learning today. Since the war, many former limitations to the full attainment of ideals in audio- visual instruction have materially faded. Our ration- alizations by which we used to explain limited prog- *ress with this means of instruction have become less tenable. Improvements in manufactured equip- ment, increased production of instructional materials with expansion into more and more subject-matter fields and with their design to serve more diversified • functions in general education have provided in- creased resources for audio-visual instruction. These resources have now begun to equal, if not occasion- ally to exceed, the needs of the average civilian school. No longer can relatively external conditions be blamed by educators for mediocre results in audio-visual education. Obstacles to the attain- ment in public education today of the conspicuous successes in the Armed Forces' use of audio-visual aids must exist within the schools themselves. Hoban^ recounts a parallel experience with utili- zation of audio-visual aids in the rapidly developing G. I. training ])rogram. In consequence, as soon as the need for the integration of audio-visual instruc- tion was revealed, coordinators were provided at most training centers by the end of 1943. Six months after this provision was made, efficiency of film use at such centers increased as much as 909^ while the number of film prints in use during this period decreased 13%. Progressive philosophy, modernized methods of instruction and special classroom techniques, all of which integrate with superior utilization of audio- visual materials, are yet too passively accepted and applied by teachers. Teachers generally welcome ^Hoban, C. F. Jr., Moi'ics That Teach, New York, Dryden Press, 1946, Chapter 7. e Audio- Visual Program Spearheading curriculum development; informing teachers casually and continuously of new aids; assisting in selection; work with pupils; maintaining liaison with outside agen- cies; centralizing traffic in materials, evaluation procedures and teaching techniques; pushing physical expansion of the program — by these means can coordination of the audio-visual program realistically improve classroom utilization. direct assistance with these applications to their classes. Noel and Leonard- reiterate an inadequately appreciated principle of audio-visual instruction when they say " — the utilization of audio-visual materials calls for more rather than less preparation and participation hy the teacher." In these days of lowered teacher morale, diminished salaries and ex- tended class schedules, teachers avowedly need assistance in undertaking "more rather than less." Coordination, where it has been realistically at- 2NoeI, Elizabeth G. and Leonard, J. Paul, Foundations for Teacher Education in Audio-Visual Instruction, Washington, D. C. American Council on Education, 1947, p. 2. tempted in public secondary schools, spectacularly repeats the G. I. training experience with this re- ' organization. Coordination evidently provides the needed assistance in utilization of sensory-learning materials at the classroom level. Coordination of the audio-visual program within a single school simply picks up where the traditional teacher-training programs end. Short-term, en masse training for either in-service or cadet teachers by way of institutes, demonstrations and lectures — necessary as they are — fall short of providing what a school coordinator does for direct teacher-assist- ance. The coordinator provides his faculty with an expediter, a training-coach and a personalized stimulus at the critical instances of their learning- "As an avid practitioner in his own classes, the coordina- tor furnishes a living example of the art and skill required in using sensory-learning tech- niques." $ T.lwi.tlc; SAVE TMC SOIL *iW(,« d.i e^r |s.x|k»m HOT constrvt. ^e ««' t^y^OM 5<3Hic ^videneti. iwa^n« Sii|-''<\1lii by-doing attempts to use modern instructional materials. The Evolving Pattern for Organizing Coordination A school's administrator carefully selects one staff member to serve as coordinator of the audio- visual program. The designation of other staff members as committeemen with the coordinator provides a sort of steering committee and ensures a breadth of judgment for the program. The ap- pointee to coordinatorship must qualify first as a good teacher himself and, secondly, as a respected colleague of his associates. He must thereafter be a sincere enthusiast for the values of sensory learn- ing, an organizer, an expediter, a persistent worker and, lastly, somewhat of a "gadgeteer" so that he may assist with "education by electronics" in the use of modern equipment. With time release from other duties, the coordi- nator begins to serve his colleagues. He organizes the services and equipment available within the building: he routinizes storage, procurement and distribution of instructional matter at the school's audio-visual center. Here, at the center, available catalogues of pictures, films, slides, and recordings are filed : instruction in operatorship for both teachers and selected pupils is provided; and inci- dental mechanical maintenance and minor repairs to equipment are instituted. After these phases of coordination are established, the ultimate attack on classroom utilization can be made. It is at this final stage of developmental operations that the school's center begins to render greatest service to the audio-visual program and to education. For this, the coordinator earns professional status. How Coordination Improves Utilization A functioning audio-visual center at this level of attack enters person-to-person contact with teachers and pupils rather than dealing merely with ma- terials. By serving simultaneously as a committee- man in curriculum developments, the coordinator becomes familiar with the study topics in various subject fields. He is thus able to spearhead curricu- lar revisions with appropriate instructional aids for teachers. In casual, pertinent relationships he ac- quaints fellow teachers with new materials avail- able. He assists them in the selection of well- established teaching aids. A more progressive phase of this assistance is found in the audio-visual center's work with pupils. As pupils are sent to the center from various classes to search out and obtain a selected list of aids for planning the study of a particular topic by their class, the coordinator becomes a point of reference and a study guide. This assistance by the coordinator offers direct contact with the pupil-activity approach in method- ology within the classroom and parallels the work of the school librarian, who assists pupils upon assignment to book references for data to report back to the teacher and the class. By maintaining active liaison between the school and the central-system audio-visual department, with commercial and institutional distributors of materials, the coordinator is constantly alert to the flow of available aids to instruction in various subjects. By centralizing and routinizing the mere logistics of traffic in materials within the building, the co- ordinated audio-visual center ensures the use of the right aid, at the right time, in the right class, with the right equipment. This is a very materialistic assistance to the classroom teacher and often con- trasts strongly with experience by teachers where there is no audio-visual center. Through coordinated evaluation, by teachers, of aids and techniques as used within a school, two more benefits to utilization accrue. Teachers mak- ing subsequent inquiries for, and selecting, materials find a resource in the evaluation records on file at the center. Again, at the time a teacher fills out an evaluation form himself, after using an aid, he is stimulated to make an analysis of both the ma- terial and the educational results of his utilization. This self-appraisal is good for any teacher's school. As a Colleague Rather Than a Supervisor As a consultant to his colleagues while himself an avid practitioner in audio-visual techniques in his own classes, the coordinator furnishes both profes- sional guidance and a living example of the art and skill required in using sensory-learning techniques. As one of their own, who practices the preachings they may have heard, the coordinator becomes a much closer counselor to other teachers than is a regional or state director, who is farther removed. The coordinator who works with a pupil operator club and with pupil office clerks taught to handle a wealth of detail is also teaching students. High- school pupils who have lived and worried and struggled with bookings, confirmations, schedules, and correspondence have themselves experienced real-life learning. Thus freed from much office work, the coordinator is able to arrange field-trips for other classes, collect and classify flat pictures, build up a catalogue library and plan out ways and means to obtain equipment for the program. He thus can keep his school abreast of mechanical de- velopments in the field and plead the over-all pri- ority of needs in his building's facilities. This latter activity, by centralization, also gains in drive and precedence. Thus utilization in a school is again extended and facilitated by gradually increased facilities. Thus, by spearheading curriculum development, by informing teachers casually and continuously of new aids, by assisting in selection, by work with pupils, by maintaining liaison with outside agencies, by centralizing traffic in materials, evaluation pro- cedures and teaching techniques and by pushing physical expansion of the program, does coordina- tion of the audio-visual program realistically im- prove classroom utilization. By these means chiefly, it has been proven, where tried, that coordination can do for the public schools what it did for the Armed Forces training centers. An audio-visual program center in a single school unit can assist each teacher to do "more rather than less" in using sensory-learning aids. 118 Educational Screen ff'hat has been done what is being done to prove the effectiveness of teaching films? A CHALLENGE FOR RESEARCH THE PLACE was a mess hall of the Army Air Forces' First Motion Picture Unit (Hal Roach Studios), Culver City, California. It was noon on March 18, 1944. The technical adviser on a major AAF training film, Land and Live in the Jungle, had finished his four months' assignment and, before re- turning to his parent unit, was lunching with a Lieu- tenant Colonel in charge of production. The Lieutenant Colonel in typical Hollywoodese was saying, "It's a grand picture ! The realism of the scenes and Van Heflin's acting in the Panamanian jungle are 'out of this world'. I am sure the Surgeon General's office will like the film. This is the kind of picture we need to ". The psychologist technical adviser and "expert" on jungle survival interrupted the Colonel, "I wish I were as certain about the excellence and effectiveness of this picture as you seem to be. I wonder if this film on which the crew of twenty-five of us has spent four months and more than $60,000 will save a single life of one of our aviators who bails out over the Hump from India to China or into the jungle of the Amazon basin". "We professional motion picture people", the Colonel continued, "believe that the picture will dramatize the problems of living in the jungle and teach air crewmen survival techniques". What Is the Evidence? "These are opinions", replied the technical adviser. "What is the evidence that a dramatic instructional film will motivate soldiers to learn how to live in a jungle or effectively teach them to use correct survival pro- cedures when they are in a jungle?" The Colonel was puzzled. His courteous compli- ments were not being graciously accepted. His opinions and those of his esteemed professional officer colleagues were being questioned. He did not have the evidence that instructional films were effective nor did he know what procedures to use to get the evidence. The conversation continued for an hour and until the Mess Sergeant asked the officers to vacate the table. Utilization Based on Faith This and many subsequent events illustrate that the extensive use of training or informational motion pic- tures during the last war was based mainly on unveri- fied opinions and jaith. Thousands of films were produced — and produced well from the technical view- point— and then shown to millions of soldiers in train- by C. R. CARPENTER, Ph. D. Director, Instructional Film Research Project, State College, Pa. ing. How effective were these films for teaching "nuts and bolts" skills, perceptual skills, like aircraft and ship identification, for motivating spldiers to learn new patterns of behavior which may save their lives in combat, for building or changing attitudes, and finally for communicating meaning? The questions remain unanswered. During World War II it would have been considered gross or even criminal negligence to design, produce and put into operation planes, tanks or ships without first proving and testing them under the severest pos- sible conditions of performance. To this end, great proving grounds were constructed. By contrast, millions of feet of instructional films were produced without coincident tests of their suitability and effectiveness, approved in plush viewing rooms of the Pentagon Building in Washington and subsequently distributed for use with the vague hope that they would do a critical part of the training job. The Navy did conduct extensive surveys of men and officers and asked them questions relating to the use of training films. A high percentage of all personnel Dr. C. R. Carpenter at desk with pen, Director of the Instructional Film Research Project, The Pennsylvania State College, with Dr. A. K. Kurtz, statistician. Photographic Services, Central Extension, Tne Pennsylvania State College surveyed strongly approved wide and extensive use of films. However, the results of these surveys fall in the realm of opinions. The hard factual evidence on the degree of effectiveness and suitability of sound motion pictures as an instructional medium for training special groups in particular tasks is woefully inadequate or completely lacking. A Challenge for Educators The above propositions apply with equal validity to the use of films by civilian educators. The "new look" in current education frequently involves conspicuous display of audio-visual aids. Here too opinions, not evidence, are used to support and justify the employ- ment of films. During the war, military training author- ities took the opinions of civilian educators, many of whom were put into uniforms, added "Hollywood know- how" and supported the film use program with millions of dollars. Present-day civilian educators would like to do the same things — especially have millions of dollars to spend. The tragedy of the situation is that most educators would be willing to stop there without making the research effort which is necessary to learn precisely and in quantitive terms how effective sound motion pic- tures are when used as instructional media. Nor are there strong indications that many educators are inclined to go further and answer basic questions bearing on the problem of what are the factors, characteristics or dif- ferences of a film which make it educationally effective. What Has Been Done Some, though inadequate research has been done to test the relative effectiveness of one teaching method Testing equipment at the Instructional Film Research Project. Left to right : Hal Kopel, writer-director, and Philip Ash, Ph.D. candidate. Photographic Services. Central Extension, The Pennsylvania State College with another. For example, a sound film consisting of dozens of variables has been compared with a lecture consisting of dozens of other variables. It is virtually im- possible to make such comparisons and get significant results because it is impossible to design experiments which will account for the yield measures of the numer- ous variations which are involved. To test the relative contributions to learning of even a single characteristic of an instructional sound film is very difficult. And yet, if this promising mass educational tool — the sound motion picture film — is to be effectively employed, it must be known what it can and cannot do, what its strengths and weaknesses are, and what principles should be em- ployed in the tool's construction to make it of luaxiinum effectiveness for conuiiunicating meanings and changing behavior. What Must Be Done We may be justly accused of criminal negligence by our successors in the future if we relax and fail to anticipate another national or world emergency and accordingly fail to perfect our instruments and pro- cedures which may be needed desperately to meet the demands of a critical emergency. Our logicians tell us that in such an eventuality, "time will be the essence of survival". We will need to train millions of people, both civilians and soldiers, in the shortest possible time to fight with and defend themselves against new imple- ments of war, and we may presume that these im- plements will not be available at first in sufficient quantities for training purposes. Furthermore, the usual lag of time between the development of new equipment and that of having trained personnel to oper- ate it must be greatly shortened. Even though these deplorable eventualities were to dissipate, as we all sincerely wish they may, the heavy responsibilities for mass education the world over are certain to increase and even now require the use of our best methods. The plans of UNESCO focus on this need and possi- bility. It is imperative that those of us who are respon- sible assay, evaluate and perfect potentially useful technologies and methods for mass educational pur- poses. Certain it is that the sound motion picture, along with its companion television, will rank high in any list of potentially important mass educational media. Instructional Film Research Project The leadership of the Human Engineering Section, Special Devices Center of the Office of Naval Research, U.S. Navy, has with foresight and intelligence recog- nized the above and other contingent facts. Conse- quently this organization, in lieu of a National Science Foundation, is sponsoring research in the wide field of human engineering, including "rapid mass educa- tion". The sound motion picture has been selected as one potentially important medium to be investigated and perfected. Arrangements have been made by the Navy with the Pennsylvania State College to undertake an ex- tended and intensive research program designed and operated : "To investigate hypotheses, to discover and derive principles which shall govern the scientific development and effective use of sound motion pictures, and other 120 Educational Screen l'notog:rapnic Services, Central Extension, The Pennsylvania State College Design Conference at the Instructional Film Research Project. Left to right: Sol M. Roshal, Ph.D. candidate; Dr. Viktor Lowenfeld, Professor of Art Education; Hal Kopel, writer-director; Dr. Kingsley Smith, Professor of Psy- chology; and Dr. A. K. Kurtz, statistical psychologist. such related media, for achieving the most rapid and coni])lete learning of individuals in groups." To this end a research organization consisting of psychologists, educators and motion picture personnel is being formed at State College, Pennsylvania. Thus far the Instructional Film Research Project has been mainly concerned with the work of collecting and evaluating existing information bearing on the instructional effectiveness of sound motion pictures, of formulating feasible and pertinent research problems, and of designing experimental procedures for solving and testing assumptions. Work has begun on the task of developing suitable and appropriate instrument sys- tems for the functional analyses of sound films and for instigating and measuring group learning which results from sound film presentations. Investigations are being started on the relative effectiveness for learning of color vs. black and white, factors of film length and repetition, the potential contributions which films may make to perceptual skills involving assembly and dis- assembly of objects varying in degrees of complexity. Research is being started also on the contributions to the ])rocesses of communicatiny meaning and changing behavior by various types of sound commentary and music. Finally, it is visualized that experiments will be initiated in the near future on the relative effective- ness on learning from dramatic vs. documentary meth- ods of presenting sound film materials. The Project was initiated in August and actual experimental research has just started. The Instructional Film Research Project would benefit by suggestions, criticisms and the active coopera- tion of interested individuals and agencies. After all, this is only one effort to investigate a vast unexplored and important area of educational methodology. Yale University, the University of Chicago and Ohio State University are already cooperating with the Project. You are invited to send communications to Dr. C. R. Carpenter, Director, Instructional l-'ilm Research Proj- ect, State College, Pennsylvania. Graduate Research Fellowships in Sound Motion Picture Research The Pennsylvania State College has available six Graduate Research Fellowships in the field of the sound motion picture research. The stipends range from $1,000 to $2,400. Individuals who are ready to undertake research for the Ph.D. thesis in psychology and education or related fields on problems of instructional motion picture produc- tion aiTd "^utilization, or problems of perception, learning and attitudes involving the use of films, are invited to apply for a fellowship. It is expected that fellows will undertake and complete research requirements for the Ph.D. or Ed.D. theses during the period of one year covered by the fellowship award. Interested individuals v^'ho already hold the doctor's degree are also in- vited to apply for fellowships. The research field under investigation is broad. The Instructional Film Research Project with which the fellowships will be held has the task of performing research to derive the scientific prin- ciples and facts which should be employed in the production and use of sound motion pictures to achieve maximum effectiveness for rapid "mass" instruction. Write for further information to : The Instructional Film Research Project, Dr. C. R. Carpenter. Director, State College, Pennsylvania. Teaching Assistantships at U. of Southern California The University of Southern California has an- nounced the creation of four part-time teaching as- sistantships in connection with the audio-visual laboratory of the School of Education. Duties of teaching assistants will include assistance in super- vision of the laboratory sections of the introductory course in audio-visual materials and technical as- sistance and research in the audio-visual laboratory to a combined total of eighteen hours a week. Qualifications desired for the assistants include (1) public school teaching experience, (2) experi- ence in the field of audio-visual materials or equiva- lent background, and (3) a Master's degree in edu- cation or a Master's program nearing completion. Concurrent graduate work toward a degree in the School of Education, specializing in some aspect of audio-visual materials is, of course, rec|uired. Compensation varies among the various asistant- ships available,* but will average about $1000 for the academic year plus about $400 additional for those appointed for sinnmer session as well. Some additional compensation is available for similar work in connection with night classes. Inc(uiries regarding assistantships should be ad- dressed to Donald C. Doane, Director of Audio- \ isual Laboratory, University of Southern Cali- fornia, Los Angeles 7, California. March, 1948 121 A Film Council In Action Why is a Film Council needed in a com- munity? How does if organize? What does it do? What can it do? This story of the Rochester Film Council, written by Dr. Johnson, secretary of the group, provides the answers found in one community. There is no one pattern for Film Council activities, but there are needs to be filled by a Film Council in every community. THE recent announcement in Rochester (New York) by Dr. John Adams Lowe, Director of the Public Library, that the community was to have a new film service to be known as the Reynolds Audio-Visual Division of the Library was hailed by the Rochester Film Council as a major step toward the achievement of its goal of developing a community-wide use of audio-visual materials. This new film division, financed as it is through an endowment income of $10,000 per year, and set up as an integral part of the public library, will amply supply community groups, clubs, and organizations with the motion pictures they need and which had for all practical purposes been inaccessible to them in the past. How a Film Council Is Born In fact, it was the lack of an adequate local source for non-theatrical motion pictures that brought the Rochester Film Council into being. It all started in February, 1947, when the Neighborhood Services Secretary of the Council of Social Agencies told of the difficulties encountered by groups in the community settlements and neighborhoods in ob- taining suitable films. Recreation and group workers had become com- pletely convinced through their experience in war- time with OWI films of the power of the motion picture for enriching and vitalizing their peacetime informal educational and recreational programs. When the University of Rochester discontinued its film service at the end of the war, it was a very great loss to local organizations. Workers and supervisors in social agencies did all they could, as individuals, to fill the gap. They sought help from local commercial distributors, public relations departments of industries, and the catalogues and by REX M. JOHNSON Research Director, Council of Social Agencies, Rochester, New York less formal listings of various services from the Atlantic Ocean to the Mississippi River. The con- sequence, however, was only one of confusion and frustration for busy recreation leaders and group workers. Logically, therefore, they turned to the Council of Social Agencies, as they had done before on other common problems, and asked for help. A Film Committee Organizes . . . The first step toward solving the problem was bringing together individuals in Rochester who might be able to give information, guidance and other help. Those who attended the first meeting included Paul C. Reed, Director of the Department of Audio-Visual Education of the Rochester Public Schools; Dr. John Adams Lowe, Director of the Rochester Public Library ; John A. Russell, Director of the University of Rochester Library; Mrs. Patri- cia Blair, who had just come to Rochester after three years as head of the Film Division of the Cleveland Public Library ; Reverend Harold L. Clark, a vigorous proponent of the use of films in religious education; Kenneth R. Edwards, Advisor on Non-Theatrical Films, Eastman Kodak Com- pany ; and recreation leaders and group workers from social agencies and other organizations. The discussion in the first meeting emphasized the need for a center not only where suitable films could be obtained, but one where community or- ganization workers could secure general advice on films, and yet fairly accurate information on the content of films, and how they might "fit" into the programs of their various groups. Also at this meeting, as well as at succeeding meetings, the "experts" in the Film Committee taught the agency and organization workers that "films were used" instead of "movies being shown". The idea was a revolutionary one to them, but they were quick to grasp its significance, and its influence in various community programs is already apparent. And Meets an Old Problem The early discussions dealt almost entirely with the matter of establishing a distributing center through which films could be channeled to organ- ization workers. The first reports to the committee 122 Educational Screen on the possibility of local institutions' — such as, libraries, museums, public schools, and social agen- cies— assuming the job of film distribution were discouraging. The obstacle in every instance was the familiar one — Money ! Further discussions dealt with some method or methods of pooling the films now in the community so that workers would know what films were avail- able and where they could be obtained. A brief telephone survey revealed that probably 150 films of various kinds were in the community and avail- able for use by organization workers. Also, organ- izations represented on the committee oflfered about $700 with which to buy films if some method or methods could be devised for their proper care and distribution. A Sub-committee Goes Into Action After several meetings of the Film Committee (as it was now called), a sub-committee of five was appointed and charged with the task of clari- Se^i^!%-_ ^ ; .^^^.rk::^^. ^1 fying the previous discussions and of recommend- ing a direct course of action. On May 8, 1947, a high point in the develop- ment of the Rochester Film Council, the whole group met to consider the recommendations of its sub-committee. The small number which had met for the first time three months before had expanded to twenty-five interested people. They listened and approved the recommendation that additional com- mittees be appointed to carry out certain tasks de- fined by the sub-committee. The Chairman, Paul C. Reed, was authorized to make appointments to the recommended committees. The committees were as follows: 1. A Circulation Committee to explore and report how: (a) films might be secured and brought to the city for extended use by community organizations; (b) to maintain an up-to-date list of films in Roches- ter which are available for use; and (c) films in a "Film Pool" might be distributed and serviced. 2. A Committee on Evaluation and Selection to explore and report how: (a) to maintain regular contact with various film producers so that local users of films know what is available; (b) to set up a plan for previewing and evaluating films; and (c) to select films which might be presented to the entire Film Committee. ( Concluded on page 139) INTERNATIONAL JOHN E. DUGAN, Editor Head, Department of Education Beaver College, Jenkintown, Pa. What Can We Do About Stereotypes? by RAY 0. WOLF Supervisor of Social Studies, Portland, Oregon, Public Schools. IT IS almost trite to say that the biggest prob- lem facing the world today is the establishing of a just and lasting peace. We have almost reached the point that Mark Twain had in mind when he made his famous remark about the weather. Educating the World Citizen I say almost because small organized groups and individuals here and there are earnestly trying to do something about it. These people know that world peace can be secured only through under- standing and trust, not through misunderstanding and distrust. Most of them also realize that there is little hope of securing a wide understanding now because ideas are too fixed, too highly emotionalized, to give way to reason and understanding until com- munication can be improved. It is the generation now in school that will determine the degree of good will prevailing tomorrow. The problem of educating a generation that can look at people and see only individuals without re- gard to race, class, religion, or politics is a school problem. Teachers are the key to the problem but they can move no faster than the community is willing. In other words, adult education must go hand in hand with changes in the classroom. With a little effort, groups of parents can be banded to- gether for study purposes to select those things from our cultural heritage which best contribute to the perpetuation and improvement of our demo- cratic way of life. With this selection will come approval of new methods and better teaching ma- terials. Teachers are people. They cannot be stereotyped any more than doctors, bricklayers, or musicians. Unfortunately, many of them have unconsciously acquired ideas about people in their own develop- ment that prevent them from thinking clearly. This is not unsurmountable since most teachers, because of the nature of their job and training, are constantly seeking more information, and this new information plus a wider e.xperience with people can lead them to the truth. Stereotypes in Textbooks A teacher's job of preparing children to live in harmony with their fellow beings is made most difficult if the materials placed in the classroom work at cross purposes to such a laudable aim. In such a simple concept as understanding the family and home we find an excellent example. Textbooks usually picture the "typical" family (whatever that is) living in middle class surroundings. One won- ders what the majority of children, who have less than middle class homes can offer, think about when reading such books, and what the emotional impact is upon them. In another instance, what about the boy who has no father but lives with his mother, who works, in a two-room apartment. How will he react to his home after discovering that he is not "typical"? When one considers all the possible variations, the word "typical" must indeed be writ- ten in very small type. A most skillful teacher is needed to make each of her group feel secure and proud of belonging to his or her particular family with such materials. The more current materials, such as magazines, pamphlets, newspapers, etc., are improving somewhat, but textbooks will probably continue with stereotypes, half-truths and errors of omission until publishing houses are snowed under with protest. Making Better Motion Pictures A newer teaching aid that holds great promise,! because of its emotional impact on the learner, is thej 124 Educational Screen] motion picture film. Films can bring people right into the classroom and you can hear them talk at the same time. Lacking only in two-way communi- cation, they represent the next best thing to actual experience with a variety of people. If films are to do a good job in the field of human relations, stereotypes must be eliminated. This is a job for producers of films to consider. If stereo- types cannot be eliminated, and it is admittedly a difficult job, the need for competent teachers is even more evident. Let us briefly consider how each of these, the producer and the teacher, can cause films to be a more potent force for good. What Producers Can Do Producers are not in business for their health. They must sell their products. The question is, do they have to contain all the age-old cliches and stereotypes tliat the prospective buyer learned as a child in order to make the sale? Does the pur- chaser say "my, how true to life!" or does he just make the purchase because no other materials are available, or both? I believe that most purchasers of classroom materials would like to get better goods for their money. Without further incentive, this should cause producers to attempt the produc- tion of better materials. Let us keep in mind for a moment the children for whom the film has been developed. Children haven't learned all the stereotypes, and those they have learned are not so deeply imbedded that they can't be uprooted. They don't necessarily think of an Italian as havingr a handle-bar mustache, a Rus- sian with a full beard, a Jew counting money, a Mexican as lazy, or a Negro as the chauflfeur when riding in a car. But just give us time and we will show them enough films in which highly emotional situations help fix the "queer" ideas about various people in their minds. Strangely enough, many stereotypes get by the producers even when they are consciously trying to avoid them. Remember the film, Henry Brotvne, Farmer ? Why did the Negro family iiave to go to town in a wagon? How many other wagons did you see? Were any of them loaded with white people? I couldn't help thinking that Henry wasn't a very good farmer or he would have owned a car. Did the producer want me to think that? No, but it slipped by just the same because Negroes, mules and wagons are all a part of a stereotyped picture. Producers can avoid stereotypes : ( 1 ) if they want to badly enough and (2) if they would hire reviewers schooled in good human relations. What Teachers Can Do As mentioned above, I don't believe producers will entirely stop shooting stereotypes into films. This is where the teacher comes in. Even when using stereotyped films, teachers don't have to let them get by and poison the minds of children. Of course, I'm assuming that the teacher is not himself a "sucker" for the stereotype. In other words, teachers must have an adequate fund of accurate knowledge, respect for individuals and people, plus a knowledge of how to use films. Suppose the mustached Italian-American with a knife in his belt, selling fruit (usually bananas) "Suppose the mustached Italian-American with a knife in his belt, selling fruit (usually bananas) from a two-wheeled cart, appears in a film sequence. What can the teacher do about it? Ask George Petrasso, who sits in the third seat of the second row, what his father does. The children know who Sinatra is, and they probably have heard of a fellow named DiMaggio and a man named LaGuardia. All of this can be added up to an understanding that Italian-Americans do about the same things other Americans do with just about the same degree of success and failure." March, 1948 125 USDA In the film "Henry Browne, Farmer," why did the Negro family have to go to town in a wagon? — because Negroes, mules and wagons are all a part of a stereotyped picture. from a two-wheeled cart, appears in a film sequence. What can the teacher do about it? Ask George Petrasso, who sits in the third seat of the second row, what his father does. The children know who Sinatra is, and they probably have heard of a fellow named DiMaggio and a man named LaGuardia. All of this can be added up to an understanding that Italian-Americans do about the same things other Americans do with just about the same de- gree of success and failure. Discussion based upon what the children have seen all about them is usually sufficient to dispel fixed ideas about whole populations. When this doesn't appear to be enough, a series of mounted pictures can be set up in the room that show the people under study in a variety of real life situations, [f these aren't available, a few well directed ques- tions usually will make it perfectly clear that ALL is a word that has no meaning when applied to a whole population. The Film Needs the Teacher Teachers can, if they wish, make stereotypes in films backfire and become the means of producing some straight thinking on the part of young people. It won't happen that way though if educational films are never more than motion picture shows. Indeed, no film is sufficient in itself as a classroom tool. As a matter of fact, the best prepared film, when used as a show, guarantees nothing. Assume that the film was to display the evils of anti-"some- thing or other" and that an excellent portrayal was made. Will that guarantee the erasure of the anti attitudes from the minds of the viewers? It will not. For those who were free of such prejudice, it may strengthen convictions; but for those who are pre- judiced, no guarantees can be made. The prejudiced person, quite likely, will fail to identify himself with the important characters in the portrayal or he may salve his conscience with "red herrings". Even in the most perfect situation, the teacher is needed as a guide to discussion if desired results are to be forthcoming. The Goal: Natural Situations There is a big job ahead if we are to promote better human relations. It is a job for both teachers and producers. The solution is to work together to get better teaching aids — aids that can picture people as dififerent without making them appear peculiar, queer or funny in the process, aids that respect varying cultures and enhance the dignity of man. It would be novel indeed to meet a research chemist in an educational film who was a Negro or Chinese working side by side with a Caucasian and no mention made of the situation as being unusual. It seems that I have heard of at least one Negro who was a research chemist. The situations in the films should be as natural as children are before we begin filling their minds with stereotypes. It can be done ! Summary Report on UN Film Activities Whatever else the United Nations may or may not have accomplished in 1947, it has an impressive record in film production and distribution. Follow- ing is a summary of activities of the UN Film and Television Section, Division of Films and Visual Information. Documentary Film Production Six United Nations films were completed in 1947: The Peoples' Charter, Searchlight on the Nations, Maps We Live By, Clearing the Way (produced for the Headquarters Planning Commission), First Steps (for the Department of Social Affairs) and a theatrical trailer for the United Nations Appeal for Children. Contracts were signed for 14 film productions in ten different countries (none of the following titles are final ; they are descriptive working titles only) : The Fight Against Illiteracy — Mexico ; The United Nations in Action (ICEF) — Poland; Young Ideas — Czechoslovakia; Common Ground (international tech- nical training) — U.K. ; Juvenile Delinquency — Bel- gium ; In Every Port (medical care for seamen) — The Netherlands; hi the Long Run (FAO) — U.S.; The Eternal Fight (WHO) (on epidemics) — U.S.-France; Lighthouses — France; M^hat Is the United Nations? — France; Timber — Sweden. All of these films deal with world problems which are being met by interna- tional cooperation. Three films on family health and welfare are being produced in India for the Department of Social Affairs. Arrangements have been made with independent pro- ducers or sponsors for the production of the following films : Epilepsy — U.S. ; International Aviation, France ; Greece — As Seen By FAO, by France. The first picture produced by the United Nations, The Peoples' Charter, is now being widely distrib- uted. It is available in English, French, Spanish and Portuguese language version editions, made {Continiied on page 144) 126 Educational Screen WILLIAM S. HOCKMAN. Editor. 1616 Marlowe Avenue, Lakewood 7. Ohio The Educational Film: Visual Aid Or Visual Teacher? MARY Field, in referring to my criticisms of the "2000 Years Ago" series, whose produc- tion she directed, says that "The real purpose of the series was to provoke those who saw the films to find out more." This remark raises the whole question of the philosophy of film use. Is the fundamental purpose of the educational film, wholly or in part, the motivation of learning by the "read, tell, talk and test" process which now dominates all levels of education in church and .school? If this is the case, films may be excused when they fail to accomplish what they obviously set out to do. The Film as a "Supplement" In church and school circles there is much talk about the visual supplementation of the curriculum. The film is thought of as an optional supplementa- tion of the book-curriculum which is the backbone of the "read, tell, talk and test" methodology. Vast sums are to be spent in making films which will supplement the textbooks of the American schools. The film is to be geared into the verbal processes. It will illustrate, and motivate, and "provoke" pupils to find out more about the subject by the slower and less effective word-heavy processes. Here and there time can be saved — saved to be wasted in poking along with the same old "read, tell, talk and test" procedure. The power of the film to bring about the mental aad -emotional changes and growth which consti- tute the essence of education must not be dis- counted. The film will never reach its full flower of development as long as it is considered as just another form and variety of lecture and textbook material. It must be developed, and then used, in accordatice with its own inherent and unique powers. The Auto as a "Supplement" The early automobile looked like a buggy. It j'tood by the hitching post by day and was put in the barn at night. In good weather it was a mild supplementation of horse-transportation — for those with the temerity and know-how to operate it. It was good for short trips — when the roads were good. Most of the roads it traveled were wagon and buggy roads. It was compared with the older forms of transportation, generally to its disadvan- tage. It had little prestige; it did not promise much. Today the educational film is new. It is used in a classroom designed for talk; not seeing. It is considered optional in teaching procedure. It is often poorly put together by folks more accustomed to working with words than with picture sequences. The laws of learning are not built-in. They are to be applied from the outside — in its utilization. It is in the "touring car" stage of development. It has no self-starter. It must be hand-cranked — l:iy all kinds of "introductions" and readiness-pro- moting schemes, most of them basically unsound. It is a poor thing, not able in its own right to bring about learning, and considered one of the nice sup- plements in education. Autos and Films "Grow Up" Gradually the automobile grew up. Now it stands in the driveway by day and in a garage, not a stable, by night. It starts in all kinds of weather. As it grew, it revolutionized and extended road build- ing. The hitching racks of the crossroads, the vil- lage, the county-seat, and the city are no more. It no longer looks like a buggy, becoming func- tional in its basic design and general appearance. It supplements nothing — it is basic transportation, itself supplemented by other means of travel. The film, too, will grow up. It will cease to look like the chapter of a book. It will become self-start- ing. It is destined — in the hands of those who understand its essential character — to develop a functional appearance. It will have built-in fea- tures. It will present its material the way the mind wants to receive its pictorial stimuli. It will be structured to fit the interests, capacities, and abili- ties of those who are to learn from it. It will no longer be considered another kind of lecture. It will not be an optional adjunct to the "read, tell, talk and test" teaching process. The techniques evolved for its utilization will stem from its basic character. It will no longer be used just to give pupils a gentle shove as they shuffle along in old processes but will provide primary and direct learning experience for them. The atomic age is here. More must be taught in less time. Colleges must cease to graduate stu- March, 1948 IA7 dents who know next to nothing of the world be- yond the Rhine where three-fourths of humanity lives. Great areas of information must be taken into the content of education. Even secondary- school students must be given world-orientation. Most schools are not dealing competently with the Western Hemisphere and its peoples. Why? For the same reason that a horse-and-buggy generation saw little of the landscape of America. The old "read, tell, talk and test" education never gets around to the vast job before it! Generation after generation of young people reach adulthood with skimpy knowledge of the people who share the world with them. Good educational films can vastly extend the radius of all education. The minds of America's children must not be tethered by the short rope of textbook-education supplemented here and there by a few poorly designed films and other visual aids. Education in church and school has its vested interests. Resistance to change is one of the oc- cupational diseases of churchmen and schoolmen. Old ideas give way slowly, but the future will validate the educational film and within a decade or two its permanence, importance, and utility will be taken for granted. — WSH. Visual Aids for Missionaries The use of audio-visual material by the mission- aries is growing rapidly, and the Audio-Visual Aids Overseas (AVAO) committee of the Foreign Mis- sions Council was organized in 1945 to help mis- sionaries and mission boards plan and develop audio-visual materials for the use of overseas mis- sionary personnel. The work of the AVAO has emerged from the "formation" stage in the past few months by the sending of a deputation on a 90-day world-wide survey of the audio-visual and radio needs of the principal missionary fields. Heading the delegation, which left New York by air on January 28th, is Dr. S. Franklin Mack, chairman of the AVAO committee on radio of the P'oreign Missions Conference. Associated with him are Nicklaus Hageman, radio engineer of long experience, and the Rev. Everett C. Parker, execu- tive of the Joint Radio Committee of five of the larger denominations. This competent deputation will survey what is being done, and explore the utilization possibilities of both radio and visual aids. It will confer with such leaders as Dr. Arthur O. Rinden, head of audio-visual development for the National Chris- tian Council of China, the Rev. H. C. Ferger, of North India, whose photography is well known, and the Rev. Ralph C. Horteling of Pugnanur, India. AVith the findings and recommendations of this committee before it, the Foreign Missions Confer- ence will, no doubt, urge the joint action of mis- sionary boards in planning and developing the spe- cialized audio-visual materials needed by the mis- sionaries and the leaders of the younger churches in manv lands. Criteria for Children's Material Formulations of criteria for the evaluation of audio-visual materials are not plentiful. Most of them are tentative, their authors feeling that some- where some other group or individual would have the time and insight to develop comprehensive and final criteria. In the seminar on "The Utilization of Audio- Visual Materials With Children," a sub-group under the leadership of Miss Florence Stansbury, of the Board of Education of the Northern Bap- tist Convention, developed the following criteria: l.What is the quality of the art work? 2. If it is biblical material, is it true to the biblical story? 3. Can the material be integrated with the curriculum? 4. Is it appropriate for the age level for which it is to be used? This includes both content and length. 5. Will it lead to further learning experiences? 6. If people figure in the film, is the interpretation of their personalities true to the idea which we want to present about them? 7. Is the content accurate? 8. Is the purpose developed in the film or material clear and consistent? 9. If it deals with racial or cultural relationships, does it carry an attitude of appreciation for the contributions of the groups presented? These are all good questions for the teacher or leader to raise as materials are selected for immedi- ate use or for purchase for the audio-visual library. If three or four are answered in the negative, non- use and non-purchase are probably indicated. What criteria have you been ap|)lying? Do you consider the above helpful and adequate? Music Films The 12-minute sound film in black and white, Handel (from R.F.A. through your bookstore), makes friends with pupils and teachers whenever it is used in church or school. As the film opens, Handel is old and blind. He recalls his childhood : his love for music, the opposition of his father, and the bene- faction of a kind man. The story is simple and in- terwoven are some of the great Handel themes. This useful film needs many companions, and pro- ducers wishing to create films of worth would do well to consider the presentation of other great musicians in the general pattern of this film. The 9-minute film. Music in the Wind, produced^ by the National Film Board of Canada and dis- tributed by Sterling Films Inc. (1186 Broadway, N.Y. 1) concerns itself with the pipe organ. After a few sequences to orient the audience on the his- tory of the pipe organ, the film shows the crafts- men of a modern factory making the various parts of the organ, tuning the pipes, and assembling the whole instrument for testing. Interesting shots of a master of this wonderful instrument playing Bach's well-known "Toccata and Fugue" concludes the film. Children will enjoy these two films. These filins will give information and deepen appreciation. ]?oth 128 EducaHonal Screen stioukl be useful with Juniors and Intermediates, and the first can be presented to Primary children if care is exercised in introducing the film. Films are needed which present and explain some of the outstanding music of the church, and it is a ripe field waiting to be harvested by those with the courage, know-how, and imagination. Broad and Rich Is the World How rich is the world? When one-half of Mother Earth's children go to bed hungry every night, something must be wrong! Can her children ever be well-fed? The peoples of areas formerly rich now go hun- gry. Even here, amidst the lush growth of tech- nology in every area of life, our basic topsoil is di- British Information Services One of Europe's undernourished children — a scene from "The World Is Rich," produced by Films of Fact and dis- tributed by Brandon Films. minishing at an alarming rate. Can any civilization survive for long the slow destruction of its topsoil through fundamental mismangement and the twin calamities of drought and flood which follow? The film. The World Is Rich, makes it clear that the world faces a food shortage. It states the case, and asks if suffering, poverty, and himger may not be the tajj-roots of another war. The church must face this problem — at home and abroad. Church people, while proud of such notable agricultural missions as the Allahabad Agricul- tural Institute in India and El Vergel in South Chile, to mention only two of many, must multiply nianyfold the assistance which it is giving to sub- sistence peo])le in finding the keys to greater food production. This 4.Vmiinite film should prove useful to church and school groups seeking to understand the present world food crisis, and through discussion to clarify thinking and energize the wills of people to wise and sacrificial action. Produced by Films of Fact Ltd.. it is distributed through Brandon Films Inc. (1600 Broadway, X.Y. 19) and a national network of cooperating libraries. Reconstruction Film Through Church World Service (214 E. 21st Street, N.Y. 10) the two-reel documentary film, This Road We Walk, produced by Julien Bryan, is available to churches, schools and community groups. It is a dramatic picturization of the united church program of relief and reconstruction in Europe and Asia. The pictorial sequences come from China, Japan, the Phil- ippines and many parts of Europe. Prints in both 16mm and 35mm may be ordered through your nearest Church World Service Center. News The various boards of the United Presbyterian Church of North America have linited in the establish- ment of a Department of Audio-Visual Education, located in the Publication Building, 209 Ninth Street, Pittsburgh 22. and directed by Orville L. Kuhn. This department is building a rental library of visual mate- rials and sells visual equipment to local churches. Mr. Kuhn reports a rapidly-growing interest in visual materials and methods in his denomination. Correspondence: Dear Mr. Hocknian: For a number of years the superb quality of our glass- bound stereopticon (3J^ x 4) slides have attracted users in all parts of the country. In reply to your inquiry — and there have been many others — as to how we make them, I submit the following: We owe much to Dr. Albert E. Bailey, the author of the well-known book, "The Gospel in Art." Through the years he secured permission to reproduce most of the re- ligious masterpieces in stereopticon slides. We purchased liis library of slides, and the Bureau of Audio-Visual Aids (ISO.S Race Street, Philadelphia 2) is determined to main- tain his standards. Wc obtain, or develop regular negatives if we have them, from the original subjects. These are used by our photog- rapher to reproduce the picture on 3!4 .x 4 lantern slide plate, a glass plate coated with photographic emulsion. Naturally, we use the negatives repeatedly as there is demand for slides. Up to this point it is the common procedure. Now we send the developed plain black and white slide to one of several technical colorists of outstanding ability who. have trained specifically for this exacting process of hand coloring under strong light and magnifying glasses. They do three slides of the same picture at a time. When the hand-colorist has finished, the slides are care- fully masked and bound, protecting the emulsion from damage. Permanent labels are then attached and the slide is ready for sending as a sale or a rental. In closing, I might add that where copyrights permit, it is possible to develop fair kodachromes from the stereopticon slides. OSCAR J. RUMPF The Religious Screen William S. Hoekman, Editor A Reprint of 19 Helpful Articles from "The Church Department" of EDUCATIONAL SCREEN SEND FOR YOUR COPY NOW Price 60e March, 1948 129 TEACHER - COMMITTEE EVALUATION I.. C. LARSON, Editor Director, Audio- Visual Center Indiana University, Bloomington CAROLYN GUSS, Instructor, School of Education BETTY STOOPS, Film Librarian, Audio-Visual Center Indiana University, Bloomington Prospecting for Petroleum (Shell Oil Company, 50 West SOth Street, New York 20, N. Y.) 23 minutes, 16mm, sound, color, 1947. Free loan. Produced by George Pal. Description of Contents: Using George Pal's puppets, miniature sets, cross-section models, relief maps, blackboard drawings, and diagrams, this Technicolor film presents briefly the history of man's use of petroleum and then goes into more detail on the formation of oil in the earth, early attempts to find oil under the earth's surface, and the present-day science of locating petroleum deposits. After the many modern uses for petroleum are quickly summarized, a puppet Professor explains the geologic theory of how oil was formed by tlie action of the earth's crust. Next, the history of petroleum's early uses is pre- sented by means of moving stone figures representing Babylonians, who used it in lamps, and puppets repre- senting the old-time Medicine Man, who sold it as a cure- all, and the men who finally realized the necessity for lo- cating oil deposits under-ground and drilled wells success- fully near Titusville, Pennsylvania. The crude methods of locating oil by hunches or by the magic of the "doodlebug" are contrasted with modern scientific procedures involving aerial observation and instru- ments such as the seismograph, the magnetometer, and the gravimeter. In closing, a brief review summarizes the ma- terial presented. Committee Appraisal: A lavish production with many novel sequences, this film completely holds the attention, whether it is present- ing the Medicine Man's song and sales talk or a rather In "Prospecting for Petroleum," a puppet professor gives a lesson in elementary geology. Shell Oil Co., Inc. complicated explanation of how sound waves are used to determine the location of oil-bearing rock deep in the earth. The puppet sequences are both instructive and entertaining, and the three-dimensional maps and diagrams are amazingly effective for showing geological formations and the func- tion of modern instruments for locating petroleum. The excellence of the photography far exceeds the quality of the voice recording, although the musical background is quite satisfactory. The sponsor's name appears only at the beginning and the end of the film, which is the first of a series of six entitled "This Is Oil." It should be use- ful for social studies and general science classes on the junior and senior high school levels, American history on the college level, and general interest for club use on the adult level. The Story of the Bees United World Fil«s (United World Films, Inc., 445 Park Avenue, New York 22, New York) 17 minutes, 16mm, sound, black and white, 1947. $45. Description of Contents: This film presents the life cycle of the honey bee, em- phasizing the intense activity within the hive, as shown in close-up photography. Bees flying from flower to flower, carrying on their vital role in the pollenization of plants, are shown gathering nectar into the baskets on their legs. Returning to their hive in a hollow tree, they perform the "nectar dance," which tells the others where a good supply of nectar has been found. The nectar is transferred to the crops of young worker bees, where chemical action changes it into honey, which will be sealed in cells for future use. Deeper within the hive are seen the drones, whose sole duty is to fertilize the queen bee on her mating flight, and, the queen bee herself. Carefully attended by workers, she j deposits one egg in each cell until she has laid more than her own weight in eggs each day. Each rapidly developing larva is fed by nurse bees until it spins a cocoon for the pupa stage. Emerging from its cell, the young bee cats and rests only a day or two before entering into the regular work of the hive for its lifetime of six weeks to six months. The first task is the cleaning out of the cells from which new-born bees have just emerged, while the second may be helping to feed the larvae or turning nectar into honey and storing it. Tasks are then further divided to include the gathering of pollen and nectar, the guarding of the entrance to the hive, the nursing of the larvae and new- born bees, the secretion of beeswax and gathering of tree gum for hive construction and repair, and attendance on the queen. In the late spring, after the construction of special cells for the hatching of ten or twelve queen bees, which come from regular eggs but receive special food and care, the hive waits excitedly for the emergence of a new queen. The old queen and as many as three-fourths of the other bees leave the hive and swarm elsewhere, establishing a new hive and thus maintaining the bee population. In the original hive, two queen bees are born almost simultane- ously, resulting in a fight to the death. The victor immedi- ately locates the other queen bee cells and stings the larvae to death, since only one queen bee is allowed in a hive. The young queen bee soon leaves on her mating flight, returning to repeat the life cycle by laying up to a million eggs during her lifetime of from three to ten years. When the hive itself is endangered by the intense heat of the sun, combined with the heat generated by the bees working within, workers immediately use their wings to form a ventilating system for cooling the air. If part of the hive disintegrates, the workers gather gum and secrete beeswax and begin reconstruction, forming sturdy six-sided cells. The summary emphasizes the perfection of hive construction and community life which the bees carry on entirely by instinct. Committee Appraisal: Fascinating close-up photography and a wealth of inter- esting information presented in the commentary make this an unusually important film in the science area. It contains ideas suitable for various age levels from intermediate to adult without sacrificing interest or clarity. Films Encyclopaedi.'i Joan and Jerry get ready to fly a kite in "Spring on the Farm." Spring on the Farm ( Encyclopaedia Britannica Films. 20 North Wacker Drive, Chicago 6, Illinois) 11 minutes, 16mm, sound, color, 1947^ $100 less 10% educational discount. Description of Contents: This film follows the activities and observations of Joan and Jerry Johnson as they work and play around their farm home in the spring. Apple trees bud and blossom, a pair of robins warm four blue eggs and care for their ravenous offspring, and baby chicks hatch and thrive in a brooder. Pussywillows, frogs, spring birds, and small plants reappear, and Joan and Jerry fly a kite, go to the pasture to get the cows, admire the wild- flowers, observe a moth just emerged from its cocoon and a baby rabbit hiding in the grass and watch the new lambs with their mothers. Meanwhile Mrs. Johnson cares for her flock of chickens and plants a garden, with Joan's help, and Mr. Johnson plows and plants corn. Committee Appraisal: The first in a series covering the four seasons, this film should be invaluable for stimulating observation and dis- cussion of the changes in nature and in man's activities during the spring months. Its contents correlate with sci- ence, social studies, and language arts on both upper and lower elementary levels and could well be used as a basis for art activities. Excellent color photography, a variety of scenes of especial interest to children, and much inci- dental information add to its effectiveness. Sewing Fundamentals (Young America Films, 18 East 41st Street, New York 17, N. Y.) 10 minutes, 16mm, sound, black and white. 1947. $38.50. Description of Contents: The first of a series on the techniques of sewing, this film stresses the importance of good sewing tools and cor- rect posture to the seamstress. In a simple room setting, a woman demonstrates the selection and use of the following tools: thimble, straight pins, needles, thread, tape measure, measuring gauges, marking chalk, scissors, shears, pinking shears, electric iron, electric steam iron, pressing cloths, pressing pads, sleeve board, and ironing board. She also shows correct pressing techniques. The importance of the sewing machine is mentioned, but its use is not demonstrated in detail. Committee Appraisal: This excellent demonstration of sewing tools should be suitable for any group interested in elementary sewing tech- niques, regardless of age level or educational background. The skillful use of the camera and well-presented narration are very helpful in overcoming the usual weaknesses of such a demonstration before a group. Other films in the series deal with the use of patterns, the handling of ma- terials, and the seams used in garment construction. Yuung America Films "Sewing Fundamentals" stresses the importance of good sewing tools and correct posture to the seamstress. March, 1948 131 LITERATURE SKVr.^ ^W. ISUAI IXSTRUCTION ETTA SCHNEIDER RESS, Editor BOOKS AND BULLETINS • Children and Music— 1948 Membership Service Bulletin of the Association for Childhood Education, 1201 16th St., N.W., Washington 6, D.C. 32 pp. $.50. Here is a bulletin on music that will bring courage and satisfaction to every teacher and parent. It states a hearten- ing philosophy of music education, emphasizes the impor- tance of children as producers of music, and describes many varieties of musical experiences that contribute to the development of children two to twelve years of age. The bulletin is based on four major assumptions: That children are naturally musical beings and respond to expressive sounds, even in infancy; That many varieties of musical experiences can be provided children at school; That in providing these experiences we are not training children to be musicians or performers, but are con- tributing to their total development; That teachers who know little about music can set an environment and supply the materials and equipment that stimulate children to experiment with rhythm, sound, and movement. "A well-conceived program of music for children," says James Mursell, Professor of Education, Teachers College. Columbia University, New York, who has contributed the statement of philosophy, "may look like play. It may look inconsequential, unsystematic, trivial . . . But in fact it is not trivial at all because it brings music to children as it should be brought— in terms of their own life concerns and interests and doings." Among the authors represented in the bulletin are Helen Christiansen, Director of the Nursery School, University of California, Los Angeles; Beatrice Landeck, Director of Music Education, Mills School. New York; and Helen L. Schwin, Supervisor of Elementary Music, Public Schools, Cleveland. Bibliographies of books for teachers and children and lists of recorded materials are included. • Films in Instruction: the Teacher's Manual, Part II.— N. H. Rosenthal. Robertson & Mullen, Ltd., Melbourne, Australia. 1947. 69 pp. Background information for the teacher presented in a clear, concise style. This book follows the volume, "Films: Their Use and Misuse", by the same author. American films and American research studies are cited to prove that educational films and filmstrips have merit. The volume then indicates the sources and types of films and equipment for teachers of Australia. • The American Way of Life — David Carson, Glasgow. Scottish Educational Film Assn., 2 Newton Place, Glas- gow, Scotland. 1947. 34 pp. Research Publication No. 2. A series of SO filmstrips, issued by the Coordinator of Inter-American Aflfairs and l)y the Office of War Informa- tion, served as the basis for an interesting experiment on the effectiveness of filmstrips. Schools used in the study were located in the cities of Edinburgh, Glasgow, and Aberdeen, and in 7 rural areas. The teacher committee in charge of the experiment prepared an appraisal form for each title, and these were filled out by some 405 ele- mentary and 919 secondary classes, representing about 40,000 Scottish children. 132 Among other attributes, the filmstrips served to sup- plement concepts about the United States and its people which formerly only Hollywood movies had furnished. The teachers found that there is still a place in the cur- riculum for still pictures, and they established construc- tive ideas for the production of new filmstrips. For example. they found many of the strips to be too long, that there was propaganda where only facts were needed, that human interest and especially the life of children could have been added. In one instance. "Cowboy on the Range", the teachers had access to a motion picture and a filnistrip on the same subject. Under experimental conditions, the teachers found that both media had possibilities for education. Filmstrips were used as direct teaching aids, and for background. With respect to commentary, both use of captions and a written commentary were recommended.. The best length was found to be about 60 frames or less. Most of the others were too long. Throughout this very interesting report, there are men- tioned areas for further research. The methods used and the findings should be of great value to .American teachers. UTILIZATION • An Audio- Visual Demonstration Center in the Making- Sister .Ailecn, O.S.B., \'illa Madonna Academy. Cov- ington, Kentucky. Audio-Visual Guide. 14:7. December, 1947. Report of the program used during .\udio- Visual Educa- tion Week, upon request of the Department of Secondary Teachers. N.E.A. One day vvas set aside for each depart- ment, and on that day priority for equipment was given to the teachers in that department. As an outcome of the in- tensive use of audio-visual materials, the teachers became more audio-visual conscious, and realized, also, that they had been using many types of audio-visual material before. They realized that these materials are not ends in them- selves but means of providing vicarious experience. The article concludes with a list of the materials used in the Demonstration Center, and the methods of use. Subjects included English, mathematics, languages, religion, and social sciences. • Movies vs. Reading — Adeline Claff Richardson and Ger- trude Hjorth Smith, Los Angeles, Calif. The Clearing House, 22:15, Sept. 1947. A study designed to compare education through motion pictures and education through reading at the Lafayette Jr. High School and the Thomas Jefferson High School in Los Angeles. The teachers selected three Disney color films on health education, and the study was conducted in science classes. Malaria, Tuberculosis ajid Hookworm were the film titles. These paralleled the contents of three health pamphlets of the Metropolitan Life Insurance Co. Both pamphlets and films were meant for the general laymen and were of general instructional value. Two matched groups were used; there was no attempt at teaching and no discussion. The students were exposed either to the film or the pamphlet and tests given. There was a (Continued on page 134) Educational Screen Amateur Athletic Union Let America's TOP TRACK and FIELD STARS Help Train Your Team! 12 Reels of Brand New 16 mm Sound Films Produced in Collab- oration with the U.S. Olympic Association and the A.A.U. Here, for the first time, is a truly comprehensive series of coaching films. Over a year in the mailing. Every bit of photography is new and especially shot for these produc- tions. More than forty ranl(ing athletes, all of Olympic calibre, from coast to coast, participated by specific arrangement with the A.A.U. — under the personal supervision of Dan Ferris. Backed by extensive research into coaching methods, the films carefully show athletes of various ability and build — to make the lessons as widely applicable as possible. Where several accepted styles exist, each is shown, and the reasons for preference under stipulated conditions are made clear. The series is of tremendous value to those taking or giving track training, and, because of its engrossing method of presentation, has great general audience interest as well. Each of the 12 reels is $45. The cost of the entire series, if purchased at one time, is $475. r ^ United World Films, Inc., 445 Park Avenue, New York 22,N.Y. Please send me the following films: SEE YOUR UNITED WORLD DEALER OR SEND THIS HANDY ORDER FORM TODAY! HUE t^ "THE SPRINTS" (2 reels) "THE HURDLES" "POLE VAULT" "THE HIGH JUMP" "THE JAVEUN" "THE DISTANCES" mu v^ "THE SHUT-PUT" "THE OBCUS" "THE RELAYS" "THE BROAD JUMP" "THE MIDDLE OBTANCES" Distributors for Universal-International and J. Arthur Rank (ncorporofi'ng Bell & Howell Filmosound library & Castle Films 445 Park Avenue • New York 22. N. Y. Remittance enclosed D Nome Insflfutiofi- Address City- Ship C.O.D. D —Position Stat: I am Interested in the following film catalogues: Educational Q Recreational O Religious C E-3 March, 1948 133 preliminary test on general health information, then a short test on each of the three diseases given one week before the use of the film or pamphlet. Afterwards a follow-up test was given, and a month later the general health test was repeated. The results were compiled by comparing pupils grouped on the basis of intelligence, reading ability and participation in all phases. The rate of increase in the junior high school control group (pamphlet) was 22% ; in the experimental group 45%. In the senior high school, the rate of increase in the arithmetic mean of the control group was 8% ; in the experimental group 25%. The teachers found that the experimental group retained better what they had learned through films. Films created an unusual amount of enthusiasm for more information, in spite of the fact that teachers did not encourage discussion. The same teachers took part in the control and experimental groups, and they noted less enthusiasm from reading the pamphlets. Conclusions : Films are worthwhile because they save time, increase learning and increase enthusiasm. But they must be technically well made. • Audio- Visual Aids in Art Appreciation — William H. C. Luebkert. Grade Teacher, 65: no. 4, p. 64, Dec. 1947. The teacher in a four-room school describes how art appre- ciation was developed by using flat pictures integrated with musical selections and poetry. A list of 100 selected pictures, graded by accepted standards (from the known to unknown, simple to involved, etc.), study materials written from research in encyclopedias, supplementary materials assembled. The pictures were mounted and posted on a bulletin board. PERIODICALS • EDUCATION MAGAZINE: Audio- Visual Education Number. Vol. 68, no. 2, October, 1947. F. Dean McClusky, editor. This special issue is devoted almost exclusively to: a) Cali- TREES THAT REACH THE SKY I reel sound. Pacific Coart Lumbarlnq. OUTSTANDING TEACHING FILMS Add these films to your library. Preview prints available. Prodoocd by the National Film Board of Canada. 16mm. FUK COUNTRY— 22 mins. Color & B&W. For elementary rrades. GREAT LAKES— 22 mins. Color & B&W. Elementary eeocraphy. ESKIMO ARTS AND CRAFTS— 22 mins. Color. ESKIMO SUMMER— 22 mins. Color. Elementary social stodisa. VEGETABLE INSECTS— 22 mins. Color. Entomological treatmemt. MONTREAL— 22 mins. Color. History past and present. TRAPPERS OF THE SEA— IS mins. Color. Lobster flshinr- SALMON RUN— 21 mins. Color. Lifs cycle of sockeye. PEOPLES OF CANADA— 21 mins. New 1947 version. CANADA— WORLD TRADER— II mins. Resonrces and pr«daet*. LAND OF PIONEERS— 14 mins. Last frontier in North America. For eomprefo Mtrmetitt writ* INTERNATIONAL FILM BUREAU INC. 84 E. Randolph St. CHICASO 1, ILL. 15 Pork Row NEW YORK 7. M.T. fornians, and b) teacher training. Not that this is undesirablt, because the California educators, with practical assistance and inspiration from the State Department of Exlucation, have been studying the ability of teachers to use audio-visual mate- rials (see Developing Standards of Teacher-Competency in Audio-Visual Education, Calif. State Dept. of Education, Sacra- mento, Dec. 1946). A few of the contributions to this issue of Education were members of the California Committee. Others are graduate students at the University of California. "Educational Psychology in Audio-Visual Instruction" by Boyd Lindop is a modernized statement of the principles by which the devices are justified in the curriculum. It points out that producers of materials should understand the psycholo- gy of learning and pattern their products accordingly. "Industrial Teacher-Training and Audio-Visual Education" by M. L. Barlow points out the workshop or laboratory experi- ences that can stimulate shop teachers to more effective use of audio-visual aids. "Suggestions for a Course in Audio- Visual Education" by James McPherson (pp. 98-115) is a complete outline, worth consulting in the original. In the article "Audio- Visual Materials for Teacher-Training", Elizabeth Goudy Noel and James McPherson provide a list of films, slidefilms and transcriptions that can be used in a teacher-training course. Among useful films omitted from this list are : The Child Explores His World (Brooklyn Children's Museum), How to Operate a 16mm Projector, How to Make Good Movies Series (Harmon Foundation), Time to Spare, and others. An interesting study is described in "Is Note- Taking When Viewing Motion Pictures Effective in High Schools Science?" by W. E. Ford, Jr. Three films were used with 30 students in a general science class. Film 1 was used with no introduc- tion and no preconditioning ; Film 2, with no introduction but the students were directed to take notes for further discussion; Film 3 was preceded by an introduction two days in advance, with directed reading, models, blackboard outline and questions. The film was then shown without note-taking. The author concludes that note-taking during the showing was found to be distracting, that good preparation for seeing a film is much better and such preparation sliould include teacher-preview, preliminary discussion and reading, the use of supplementary materials, follow-up and a test. TEACHER TRAINING • Toward More Effective Utilization of Audio-Visual Ma- terials and Devices — Paul W. F. Witt, Teachers College, Columbia University. Teachers College Record, 49: 108-18, November, 1947. In spite of increased interest, the use of audio-visual mate- rials and methods in schools is neither so effective nor so extensive as might be expected. Guiding considerations for school systems that contemplate greater programs are ; 1. Teachers should be taught to use audio- visual materials as a regular part of the educational program, as re- sources which provide pupils with enriched learning experiences ; and teachers must be helped to select and utilize all instructional materials as part of the cur- riculum. 2. Teachers should be helped to solve instructional problems through the use of appropriate audio-visual materials. 3. Teachers must see reasonable progress in their efforts to use audio-visual materials. 4. Methods of helping teachers should safeguard their secur- ity, encourage creative thinking and teaching. 5. Teachers should participate in planning, control and evaluation of the program. 6. Teachers should cooperate in planning ways of improv- ing the program. 7. There should be arrangements for exchanging ideas and information. 8. Emphasis should be on activities for improving utiliza- tion in the individual school. 9. Education of teachers should be a continuing process. 10. Teacher education projects should keq) step with potential resources and current interests. A program, which takes into account these considerations, must also include certain resources ; adequate and qualified personnel, equipment, and budget 134 Educational Screen We'd like to show you how the BESELER VU-ORAPH OVERHEAD PROJECTOR audience enables you to face your < while you project material SEND COUPON BELOW FOR A free demonstration ■-ji&«'**** ■ ■ the best «^«^°booUs ate Sar j ^^ual a''• Precision Projectors of professional quality*! It ■ The name "AMPRO" on any projector is your assurance of efficient operation . . . simplified, convenient controls . . . rugged construc- tion and long, satisfactory service. Proof of this is in the remarkable performance record estab- lished by Ampro projectors during the past two decades in leading school systems, universities, top industrial concerns, churches, many branches of government service and in private homes all over the world. The Ampro organization has the production and engineering facilities plus the practical experience to make some of the world's finest precision projectors. Before deciding on any projector — for any purpose — be sure to find out ivhat Ampro has to otfer you. THE AMPRO CORPORATION • 2835 N. Western Avenue, Chicago 18, III. In Canada: Telephoto Industries Limited, 1196 Bay Street, Toronto A General Precision Equipment Corporation Subsidiary Amproslide 2' x 2 Projector Model "MA" * Trade Mark Rag. U. S. Pat. Off. March, 1948 Amproslide Dual Purpose Proiector i Model "30-D" 1 137 the easiest to use projector ever ! will not tear film • instant S-second threading • from strip film to slides and bacic AP-2C Projector. ..567 • aosy to thread Deluxe combination all-purpose slide and • easy to frame Strip film projector. Built-in slide carrier, • easy to clean elevating mechanism, Luxtar 5" color cor- rected Anastigmot lens. Coated optics. Write for complete information! Dept. 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HAJVILET Three 12" records (6 sides) ^ _ In album ..- $4.60 $37.50 ■ ••••••«• MavoM» (available immediately) with Orson JULIUS CAESAR Welles. rive 12" record, ^_ __ flO fWesJ In olhuifi $7.10 tfthtfi, DirUADH II ^•'•""•'T •" 30 »« «> ''"Yi) with KINO KICHARD ii Maurice Evans, five 12" *- ,*. records no sidesHn album $/.10 mi . — ___l, (delivery in 30 to 60 days) with Orson Welles. IVIAC.DETH Twelve 12" records ^24 «f.*»»i*» sides) in album $12.10 MERCHANT OF VENICE '^^^J^ ^;^:!^:Xi 12" records ^24 sides) In album .._ _ „ $15.85 ^^_lj_, , f^ (delivery in 30 to 60 days) with Paul Robeson, OTHELLO Jose Ferrer. Seventeen 12" records *o«» aA f34 sides) in album _... $23.80 vufci rxu ■k.ii/^UT (''^livery scheduled in April) with TWELFTH NIGHT Orson Welles. Ten 1 2" *,,-- records f20 sides) in album ._ $13.35 EASTIN PICTURES Headquarters for Shakespeareati Teaching Aids films as a whole this year was superior to those submitted in the first competition, designed to arouse interest in motion picture making among the boys and girls of the nation's high schools. The contest is an annual one and here are the conditions for entering the contest for the 1949 "Oscar": How to Win an "Oscar" The competition is open to all students of junior and senior high schools in the United States. The films must be planned and produced entirely by pupils and must be 100 feet long or less. To enter the competition the faculty adviser of the group of student movie-makers must secure an entry blank from the Museum, fill it in and return it on or before May 15, 1948. The film must be sent to Dr. Grace F. Ramsey at the Museum by December 1, 1948. A selection of the winning film and the four next best films will be made by a panel of judges. All five films will be shown at the meeting of the Fifth Audio-Visual Aids Institute to be held at the Museum on January 7 and 8, 1949, accom- panied by an explanation given by the chairman of the judges as to the good and poor points of the film selected as the winner of the "Oscar", and the next four that will receive the special "Award of .Merit". If you know a group of enthusiastic movie- makers in a school, why not urge them to compete for this honor? Perhaps they have already started to make a film entirely by themselves which they would like to enter after a little more careful edit- ing. Fill out an entry blank which can be secured by writing to Dr. Grace F. Ramsey. The American Museum of Natural History. Central Park West at 79th Street, New York 24. N.Y., and mail it on or before May 15, 1948. DAVENPORT IOWA COLORADO SPRINGS COLORADO CHATTANOOGA TENNESSEE Wayne M. Faunce, Vice-Director of the Museum, presents the "Oscar" to George Dlugatz of Evander Childs High School for the best school-made film and an "Award of Merit" to Ann Williams of the High School of Commerce, New York, Judy Weitzman of Forest Hills High School. Queens, New York, and Joyce Osterman of George Wash- ington High School, New York City, for their films rated next best. 138 Educafional Screen \ Film Council in Action f (Continued from page 123) ,V A Survey Committee to determine where: (a) films are used in the community; (b) groups and organizations are located which use films; (c) groups and organizations are located which are potential users of films; and (d) groups and organizations secure films. 4. A Finance Committee to consider all money needs, such as: (a) the fees to be charged for use of films and; (b) whether or not to raise funds by membership fees, a single large gift, or a combination of both. The Circulation Problem Is Solved The Circulation Committee of the Council went to work earnestly to find the way to make needed films readily available to community groups. Be- cause it seemed unlikely that any existing commun- I ity institution could expand its services to include a film library, this committee drew up a proposal for a Communit}' Film Library to be supported cooperatively by the users, and began looking for a sponsor. There was no question of the need or of the determination of this group to find an an- swer. The answer came sooner and was a far better one than had been expected. The endowed film division of the public library as conceived and developed by Dr. Lowe assures the city of a supe- rior film service. A Film Council's Work Is Never Done This does not end the work of the Film Council, however, but it does bring the Council closer to achieving its ultimate goal — the community-wide use of audio-visual materials. For the past several months the survey com- mittee has been at work compiling the complete statistical story on the community's film use and potential film use. The final report, which is nearly completed, will list all of the community organiza- tions and institutions having projection equipment available, and which have used films and are inter- ested in using them. This report will provide the factual base for developing and extending group use of films. The Rochester Film Council has also offered its continuous services and counsel to the Public Li- brary. Being representative of all the consumer groups using films, it is in a position to cooperate in the evaluation and selection of materials, in suggesting extensions of service, and in promoting the most effective use of available and new materials. The Rochester Film Coimcil has been active and its activity is bringing results. In just a few short months it has firmly established itself in the cultural and educational life of the community. PLACE LARGE SCREENS ANYWHERE DA-LITE MODEL C FLOOR STAND HOLDS DA-LITE SCREENS 8 FEET TO 12 FEET WIDE NO MORE dangerouf lifting of large screens onto tripodd IIOHTWEIGHT Alu- minum construction Iteeps the weight of this sturdy Floor Stand down to ISpounds. Here at last is a safer and ca.sicr way to make large screens portable! With this compact, light-weight (18 lbs.), quickly assembled floor stand a teacher or student can raise even a 9' X 12' screen to operating height with one hand. The Model C Floor Stand accomodates all Da-Lite Model C rectangular screens from 6' x 8' to 9' x 12' inclusive and all sizes up to and including 10' x 10'. There is no straining to push a heavy screen above the head; there is no lifting above the waist! Costs less than heavy tripods. The floor stand may be purchased separ- ately or in combination with Da-Lite Model C Screens. STORES COMPACTLY into its carton. Longest piece is only 5 feet. DA4ITE SCREEN COMPANYJNC.^^^^i^ DA-LITES NE1V MODEL C CIRCULAR on the Floor Stand and Oa-Lil<> Model C Screens, or write direct to Dept. 2ES. 2711 N. PULASKI ROAD • CHICAGO 39, ILL. World's Largest Selling Screens Since March, 1948 139 FOR QUICK, EASY DARKENING SUPERTEX LIGHTPROOF SHADES • For Visual Education Rooms • Lecture Rooms • Science Labs • Operating and X-Ray Rooms • Auditoriums • Dark Rooms EASY. EFFICIENT. OPERATION The ease of operation and the superior quality of Supertex Lightproof Shades have made them the choice for installa- tions all over the country. Supertex Lightproof Shades and Arresters are made to fit what- ever type of window or skylight you have. The superior quality fabric is long wearing and absolutely light- proof. Write for descriptive literature, sample, and how to order information. BECKLEY-CARDY CO., 1632 Indiana Ave., CHICAGO STUDENTS LIKE YOUR LIFE WORK FILMS Because 1. They find the study of vocations really interesting. 2. They can see the workers performing their jobs. 3. They learn about the vocation in an easily understood manner. The romance in the vocation as well as the less attractive features are pointed out. 4. They are able to give their undivided at- tention while the film is being shown. 5. The Teacher-Student guide assists mate- rially in developing class discussion. Write For Complete Information VOCATIONAL GUIDANCE FILMS JNC. International Distributors Carl F. Mahnke Productions 1814 Beaver Avenue Des Moines, Iowa Budgeting Visual Instructional Materials {Continued from page 115) only two directly provide learning — the time of the professional staff spent with students, and learning- materials used by students during or outside classes. \'irtually all other items, while necessary to efficient operation, service rather than constitute the learn- ing experiences of students. The investment in learning materials is uniquely concentrated invest- ment in the actual learning moment in the schooling process. 2. The newer learning materials, properly used, sharply improve speed and retention of learning. The experience of the armed services in \\'orld War 11 indicates that highly significant gains in learning speed and retention may be achieved by proper provision and use of audio-visual aids and related materials and equipment. In the present teacher shortage and tendency toward curriculum overload, a saving of even lO'/c in teacher time would be an enormous operational and financial asset. The Navy's official training manual in this field has estimated actual time savings up to 35%. 3. Visual and auditory aids are particularly needed to cope with needs and problems of today's school population. Academic and college entrance prepara- tion have been replaced by universal secondary education and preparation for life. Book learning has been absorbed into a larger pattern of learning by doing, learning through more direct experience. Pictures, models, recordings, charts and other ex- perimental media more effectively meet the needs of slow learners and those not academically inclined. Adjustment and behavior problems frequently re- flect outmoded teaching methods and materials. Such problems are the most costly in teacher's time, in vandalism, in failure and general retarda- tion— probably far more costly than their solution by better schooling. 4. The newer learning materials are singularly effective means of teaching values, attitudes and good human relations. As was pointed out recently by the Commission on the Freedom of the Press,* we are living amid the play of unprecedented forces competing with the school and the church in mold- ing the minds of youths and adults. The Commis- sion singles out the great agencies of mass communication. "These agencies can facilitate thought and discussion. They can stifle it. They can advance the progress of civilization or they can thwart it. They can debase and vulgarize mankind. They can endanger the peace of the world : they can do so accidentally, in a fit of absence of mind. They can play up or down the news and its signifi- * Robert M. Hutchins. Zechariah Chafee, Jr., John M. Clark, John Dickinson, Wm. E. Hocking, Harold D. Lasswell. Archibald MacLeish, Charles E. Merriam, Reinhold Niebuhr, Robert Redfieid, Beardsley Rum], Arthur M. Schlesinger, George N. Shuster, in "A Free and Responsible Press", University of Chicago Press, 1946. 140 EducaHonal Screen cance, foster and feed emotions, create complacent fictions, and blind spots, misuse the great words, and uphold empty slogans. Their scope and power are increasing every day as new instruments be- come available to them." In his foreword, Robert Hutchins comments fur- ther, "The Commission is aware that the agencies of mass communication are only one of the influ- ences forming American culture and American public opinion. I'hey are, taken together, however, probably the most powerful single influence today. The new instruments at their disposal, which have not been exploited by other agencies, such as the school and the church, are making them more powerful all the time. The inadequacy of other agencies has doubtless contributed to the rapid growth of the power of the press. I should say, for example, that if the schools did a better job of educating our people, the responsibility of the press to raise the level of American culture, or even to supply our citizens with correct and full political, economic, and social information would be materi- ally altered. By pointing out the obligations of the press, the Commission does not intend to exonerate other agencies from theirs." It is clear that to defend the transcendent values of our American society, to implant these with un- shakable understanding and faith, the schools must employ tools and media at least equal in power and effectiveness to the propaganda we daily encounter. Americans can not expect school teachers with popguns to overmatch other daily influences with modern rocket weapons in the war to strengthen our wa}' of life. Films, broadcasts, pictures — the modern media which inspire our admiration or move us to laughter or tears, are educational tools of frequently decisive power in molding our values and attitudes. 5. Growing registers and responsibilities of schools compel the use of better prefabrication de- vices as the newer teaching materials. School sys- tems more seriously understaffed than at any other time in their recent history face the sharply in- creased enrollments resulting from a 50% increase in the national birth rate since 1941. The birth rate continues to mount and is currently at its highest level. At the same time communities are demand- ing more individualized instruction, more occupa- tional guidance, more pre-school and adult educa- tion and numerous other needed but costly services for each child, involving additional teachers' time and central services. This inevitably growing job of the schools can be efficiently assumed even in part only by utilizing learning materials which reduce professional time expenditure and achieve maximum results. Indeed, increased budget re- quests for any purpose may otherwise be subjected to challenge by citizens accustomed to more modern A Check List Of Outstanding Films On Peoples Of Other Countries To date the International Film Foundation has produced and made available to the non-theatrical field nine subjects on the people of RUSSIA, POLAND, and ITALY and one animated color film on the subject of racial prejudice. Are you familiar with all these subjects? Have they been shown in your community? Are they in your library? Have you a sufficient number of prints on hand? MARY VISITS POLAND . . . HOW RUSSIANS PLAY , . , ARTISANS OF FLORENCE PEOPLES OF THE SOVIET UNION ... A RUSSIAN CHILDREN'S RAILWAY CHILDREN OF RUSSIA . . . BREAD AND WINE . . . ITALY REBUILDS POLAND . . . and . . . BOUNDARY LINES (animated) For rental of these ten subjects place your order TODAY with your Film Rental Library; For purchase, order through your Visual Education Dealer or direct. For descriptive information of each of these JULIEN BRYAN PRODUCTIONS on peoples of other countries, write The International Film Foundation, Inc. 1600 Broadway New York 19, N. Y. March. 1948 141 {^^ THE ULTIMATE IN DUAL-SPEED RECORD PLAYERS Plays standard 10 inch and 12 inch discs at 78 R.P.M. Plays transcrip- tions up to and Including 16 in- ches, recorded at 33-1/3 R.P.M. Features include G. E. Variable Reluctance Pickup and FM Input, both available only with Sono- master. Thousands of records avail- able from numerous sources. Write today for Sonomaster literature. FM — revolutionary to edu- cational broadcasting — is now available with the Sonomaster. Included in this entirely new record player is an Input, which, together with this FM Tuner, makes possible the pickup of FM broadcasts. Superior tone quality and static-free performance assured. The optional FM Tuner shown above is produced by Browning Laboratories, Inc. exclusively for Victor Ani- matograph Corporation. OUR OWN "PICTURE OF THE MONTH" HONORED by the Protestant Motion Picture Council's designation as "Picture of the Month" in the December issue of THE CHRISTIAN HERALD BEYOND OUR OWN is the film many churchmen are calling Picture of the Year — or of many years. BEYOND OUR OWN, 40 min., 16mni., sound, 3-year lease, $250.00 Order your priafs today! THE RELIGIOUS FILM ASSOCIATION Department E, 45 Astor Place. New York 3. N. Y. industrial and military training methods and equip- ment. Realistic Appraisal Necessary Cogent considerations such as these do not in themselves dispose of budget problems, however. Generalized needs can be met only by sound and practical plans and actions in particular situations. Budgeting actually begins by realistic appraisal of present states of performance, equipment and re- quirements. How adequate are present tools? How can we best determine what is needed? How can the need be made clear? We must first insure that these questions are asked, that they are asked by the right people. There are no simple catch-phrase answers. Answering them is a constructively edu- cative process. To get good answers, we shall all need a great deal of further study and discussion by professional and civic circles. We have admitted- ly not yet learned how to put sound school financing across nationally. Dr. Paul Mort, and the Metro- politan School Study Council at Teachers College, which is doing outstanding work in the field of modernization of school administration, estimates that on an average a lag of 50 years occurs be- tween the initiation and the general adoption of a desirable school practice. Two Extremes To Avoid Iti determining what is needed it is clear that iwu fallacious extremes must be avoided. A doc- trinaire approach based solely on outside standards such as practices in other school systems or in the armed services or industrial training worlds will not provide accurately for the needs of specific school situations, subjects and student bodies. .Similarly a program planned solely on recommenda- tions from teachers, who may be complacent about rutted procedures or ignorant of newer resources in use elsewhere, will fail to incorporate sufficiently advanced standards. Such guides as the American Council's "Measure for Audio-Visual Programs in Schools"* furnish invaluable general guidance and support for progressive levels of provision, but it is essential that they be adapted to local teaching programs, curricula and needs. The Importance of Attitudes In the final analysis, more important than detailed procedures in budget making, however, are the dominating attitudes toward it — recognition of the significance of the basic long term planning task and determination to pursue it conscientiously, regardless of year to year fluctuations. These are times of enormous res])onsibility for education, particularly for those who help to guide its growth points. The public does not cherish grateful mem- ories or erect monuments to those who in times of need and challenge do nothing, dare nothing. I^esjiite the trials and vicissitudes of budget-making, it is. in l)rief, appropriate and good to remember .Mark Twain's advice, ".Always do right. You will please some people and astotiiid the rest." ♦Study No. 8, 1944. 142 Educafional Screen M. S. Alexander Joins Atlanta Audio-Visual Department Walter S. Bell, Director of Audio-Visual Educa- tion for the Atlanta Public Schools, announces the addition to his staflf of Millard S. Alexander. Mr. Alexander is to be the Chief Engineer for the new F. M. Radio Station (WABE) which is presently being installed in the Atlanta Department of Audio- Visual Education. Mr. Alvin Gaines, Assistant Director of the Audio-Visual Education Depart- ment and Supervisor of Radio Education, will serve as station manager. Mr. Alexander brings to the Department many years of experience as a radio engineer and as a specialist in the audio-visual field. He was con- nected with the Electrical Research Products, Inc. (ERPI to oldtimers in audio-visual education) for several years during the late twenties when they were first experimenting with educational sound motion pictures. He later became radio engineer for Station WPDY in Atlanta and remained with them until his recent transfer to the Atlanta School Department. Pupils as Classroom Film Advisers G. B. Instructional Films, Ltd. conducted an inter- esting experiment recently with its new color film Day and Night. In a "rough-cut" state, the film was used in a classroom situation in the presence of the production staff and Miss Margaret Simpson, the writer and director of the film. From actual observa- tion of the reactions of the pupils and from papers written by the pupils testing their grasp of the basic cause of day and night as presented in the film, the production staff was able to measure the effectiveness of the film and to make changes which would in- crease its effectiveness from the pupil's point of view. So successful was the experiment that it was decided that such a practical pre-testing of a film should, when possible, become the standard procedure for all G.B.I, classroom films. Day and Night is the third in the series launched by Latitude and Longitude, distributed by United World Films, Inc., 445 Park Ave., New York 22. ■BjMti!-KKa*;iWe»r^ -t ..ss'!T5affit!Hii_~' See the eXTRA brifiknce! Annual List of Summer Courses in Audio-Visual Education EDUCATIONAL SCREEN'S annual list of sum- mer courses will appear in the April issue. Directors of audio-visual education should send complete information on courses offered at their schools to the Magazine at once. The name of the University or College offering the course, the title and number of the course, the number of semester or quarter credits, the dates, and the name of the in- structor are needed. eet tie eXTRA safety FILMATI .1 300 WATT '7'UfUe "Pun^io^e 2X2 SLIDE AND FILMSTRIP PROJECTOR Silent Blower Cooling gives maximum protection to iUmstrip or slides. Exclusive GoldE self-rewind. Receding aperture plates. Instant Framing. Choice of slide carriers. Available with coated Anastigmat lens. Modern, rugged, very stable. Light weight, easily portable. Write jor Filmatic Bulletin No. 452 GoldE Manufacturing Co. 1220-C WEST MADISON ST. CHiCAGO 7, ILLINOIS A series of eight motion pictures on FRACTIONS For Elementary Reviews For Remedial Work For Teacher Training Delightful animated curriculum films which corre- late closely with classroom work. • Infroduetion to Fractions • How to Add Fractions • How to Subtract Fractions • How to Change Fractions • How fo Multiply Fractions • How fo Divide Fractions • Deicimals • Percentage Each one reel in length Color $85.00 Black & White $45.00 1133 North Highland Ave. Hollywood 38. Calif. March, 1948 143 ^^The Princess and the Seven Swans" The dignified and delightful old fairy tale in SOUND AND COLOR Three reels d CHILDRENMPracm PALO ALTO-CALIf •PO- BOX 1313 16 MM SOUND FILM 35 MM STRIPFILM 2 " X 2 " SLIDES 16 mm Sound Projectors, Stripfilm, Slide and Opaque Object Projectors, Screens, and all equipment and acces- sories for visual education. Let ug take care of your requirements! Write for our new 1948 catalogue. SOUTHERIV VISUAL FILMS 686-689 Shrine Building Memphis, Tennessee The new VICTOR LITE-WEIGHT makes LIGHT WORK of Audio-Visual Training • Attractive Single Unit Alum- inum Case • 52% Lighter In Weight (34 lbs. complete) • 69% Smaller in Siie — but tales full 2000 ft. reels. Price $375.00 Send for latest Catalog. WsB^mf^^^S 6U NORTH SKINKER BLVD. tSiT.ts£essi SAINT LOUIS 5. MO. W^y^l^am: Summary Report on UN Film Activities (Continued from page 126) by the United Nations. It will also be available in Dutch, Polish, Czechoslovakian, Korean, and Ger- man language versions made by local distributors at their own expenses. Distribution of this picture is providing the ex- perience on which distribution of future pictures will be based. The film is now being distributed, either theatrically or non-theatrically or both, in the following countries: Australia. Brazil, Canada. Czechoslovakia, Denmark. India, the Netherlands. Norway, Poland, Sweden. U.K., U.S., also in the British Zone of Germany and the U.S. Zone of Korea. Negotiations are underway for its distribu- tion in France, Belgium and Mexico. A 12-page guide is now available for discussion group leaders to use with The Peoples' Charter. Copies of the guide are available on request from the Films and Visual Information Division of the United Nations Department of Public Information, Lake Success, New- York. Filmstrips Five filmstrips were completed during the year — United Nations at Work, The Economic and Social Council, To Serve All Mankind, Genocide — The Great- er Crime, and The United Nations Charter. All of these filmstrips have been produced in Eng- lish, Spanish, French, Russian and Chinese editions and are available to schools and organizations with- out cost from the United Nations. Each filmstrip is accompanied by a printed guide and background material. A total of 7000 copies of these filmstrips have been made and distribution of one or more of these filmstrips took place in the following countries during 1947: Argentina, Australia, Belgium, Bolivia, Brazil, British East Africa, Canada, Chile, China, Colombia, Costa Rica. Cuba, Czechoslovakia, Den- mark, Dominican Republic, Ecuador, Egypt, El Salvador, Ethiopia, France. Guatemala, Haiti, Ha- waii, Honduras, Iceland, India, Italy, Lebanon, Li- beria, Mexico, Netherlands, New Zealand, Nica- ragua, Norway, Panama, Paraguay, Peru, Philip- pines, Poland, Puerto Rico, .Siani, Sweden, Switz- erland, Tunisia, Turkey, U.S.S.R., U.K., U.S., Uru- guay, Venezuela, Virgin Islands. Newsreels and Television Equipment for the United Nations Film Unit ar- rived late in the spring and all significant official functions have been filmed since that time, includ- ing the filming of the work of the Balkan Commis- sion in Greece. In addition to the international distribution made by the American commercial newsreels, this Section has supplied newsreel ma- terial to distributors in the U.S., Canada, U.K., China. Czechoslovakia, France, India, Pakistan, and the U.S.S.R. Due to technical problems, direct television of U.N. events have been so far confined to Tueetings 144 Educational Screen of the General Assembly at Flushing^; however, television broadcasts in both the U.S. and the U.K. have made extensive use of U.N. official newsreel material — televising the film instead of the actual event. U.N. Film Library During' the year, in addition to all of the official U.N. material, the Library has acquired all of the film footage which formerly belonged to UNRRA and UNIO. A complete index of all footage in the Library is maintained in New York and a duplicate index is kept up to date in Paris for the benefit of European film ]5roducers. The number of re- quests for material to the Film Library from motion picture producers is steadily increasing as producers of current films are finding it necessary to include U.N. scenes in their pictures. Film Committees During the year U.N. Film Committees for na- tional production and distribution problenis were established in France, the U.K., and the U.S. Others are in the process of formation. United Nations Film Board In January, 1947, the United Nations Film Board was established. The film sections of the United Nations and UNESCO became the working staffs of the Board. Since that time the Film Section has worked closely with Board members and re- ported on its work at the meetings of the Board. FIRST in vivid projection FIRST in sound fidelity The HOLMES For the last year "Rex" production has been inade- quafe to supply the demand. INCREASED OUTPUT IS FAST CATCHING UP P-S.— The new REXARC with high intensity arc lamp, 40 watt output amplifier, and newest coaxial high and low frequency speaker avail- able. BEFORE YOU DECIDE TO PURCHASE write for the new catalog detailing the advanced features found only in a REX 16mm Sound- on-Film Projector. HOLMES PROJECTOR COMPANY Manufacturers of 1 6mm and 35mm Sound-on-Fllm Projectors for over 25 years to Dealers and Users 1613 ORCHARD STREET CHICAGO 14, ILL. Film Festival of United Nations Filnns Three thousand invitations were sent out by the Cincinnati Film Council to members of civic, re- ligious and educational organizations in Cincinnati to participate in a Film Festival of United Nations Films. The project was presented by the Cincinnati Film Council in cooperation with the Cincinnati Plan, Committee for United Nations. The Film Festival was held January 26, 1948, at the Art Museum, Eden Park; films shown included: Peofyles Charter, Boundary Lines, One World or None, Seeds of Destiny, Brotherhood of Man, and Round Trip. The Cincinnati Plan for the United Nations is a community-wide educational project devoted to the presentation of basic informational background necessary to an understanding of today's world. U.N. to Film Fight on Epidemics A new United Nations documentary film on the international battle against epidemics will be produced by the French film executive, Henri Lavaurel. It will feature the part played by the World Health Organiza- tion in curbing the recent cholera epidemic in Egypt. M. Lavaurel is expected to fashion the film from a combination of "reenactment scenes" which will be shot in New York, plus newsreel sequences taken in Egypt during the c]Mdemic. The film is one of a series of international productions the U.N. is undertaking. A Study of FRACTIONS By O. W. McGUIRE Author of "Easy Slept in Fractions" A new filmstrip kit designed to aid in teaching the concept of fractions at the Elementary and Junior High School levels. ELEVEN FILMSTRIPS, encompassing the fun- damentals of fractions and the methods of using them. The kit includes twenty-five TEST SHEETS for each of the filmstrips, teacher's CHECK SHEETS for quick correction of the test material, and a TEACHER'S GUIDE. $33.25 Inquire of your local visual aids dealer, or send coupon below — PHOTO & SOUND PRODUCTIONS. 116 Natoma Street, San Francisco 5, California Please send a set or "A Study of Fractions" Enclosed please find check for $33.25 Please bill me for $33.25 Name Organization Address City State Preview on request March, 1948 145 To safe attitudes - on the playground "Let's Play Safe" has natural situations, realistically dramatized by children. - ond in the home "Lei's Be Safe at Home," a new release, shows how we develop safe attitudes. Both films are I reel long, 16mm. sound-color. To see how these films will help teach safety in your school, send for preview prints. portaf ilms 230 Wast Olivo Ave., Burbank. Calif. IN PITTSBURGH AND TRI-STATE AREA it's KAREL SOUND FILM LIBRARY for Motion Pictures and Visual Aid Supplies 410 Third Avenue, Pittsburgh, Pa. SHOW THESE FILMS ON YOUR SCHOOL SCREEN "Enchanted Forest" in glorious color Young America Classroom Films March of Time • • News • • Sports —Also Educational 35mm Filmstrlps — Send for Free List LEWIS FILM SERVICE Dept. of Lawrence 149 No. Breodwoy Camera Shop Wichita 2, Kons. 16mm Originals on people, places and events in BRITAIN and EUROPE Library material available Producers Invited PEAK FILMS PRODUCTIOIVS 65 Barons Keep, W. 14 London, England 35MM. SCIENCE SLIDE FILMS MADE BY TEACHERS FOR TEACHERS BIOLOGY PHYSICS MICROBIOLOGY GENERAL SCIENCE CHEMISTRY Descriptive Literature Sent on Request VISUAL SCIENCES, 5»?E Suffern, Mew York DIRECT 16mm SOUND with MAURER RECORDING SYSTEM For the Producer of 16mm butlnesi, edacofieno/ and re/Zgloet tlmt • EDGE NUIMBERED WORK PRINTS • SYNCHRONIZED STUDIO PHOTOGRAPHY • SOUND RECORDING I • RELEASE PRINTS— I COLOR and B&W • DUPLICATE NEGATIVES GEO. W. COIBURN lABORATORY, Inc. 164 N. Woclcer Or.,Dept. E . Chicago 6, III. MAKE YOUR OWN TYPEWRITER SLIDES Use Rodlo-Mots — Regular Size 3- 1000 Van) (or projcning brilliani picTum in audiioriunu. WBBB|'ri'"BEy wrTrm , I OE VRY CORPORATION ES-E: I 1111 Armitage Ave., Chieaqe 14, III. ■^/4 & 506 St. Paul St., Baltimore 2, Md. 4 Race St., Cambridge, Md. Coronet InHtrnctionnl FilniH Coronet Bldg., Chicago 1, 111. Dudley Picture** Corp. 9908 Santa Monica Blvd., Beverly Hills, Cal. 501 Madison Ave., New York, N. Y. Bniitmnn Kodak Storex, Inc. 356 Madison Ave., New York 17, N. Y. Encycloimedin Britannlcn FiiniK, Inc. Wilmette, Illinois Film Pritfirrnni Services 1173 Avenue of the Americas, N. Y. C. FIlniN, Inc. 330 W. 42nd St., New York 18, N. Y. 64 K. I>ake St., Chicago, 111. 611 N. Tillamook St., Portland, Ore. 109 N. Akard St., Dallas 1, Tex. 101 Marietta St., Atlanta 3, Ga. 1709 W. 8th St., Los Angeles 14, Cal. 68 Post St., San Francisco, Cal. FlIniM of the NntionM, inc. 55 \V. 45th St.. New York 19, N. Y. Frynn Film Service Film Building, Cleveland, Ohio General Filmn, Ltd. 1534 13th Ave., Regina, Sask. 156 King St., W. Toronto, Ont. General PicturcM Productions 621 Sixth Ave., Des Moines 9, la. Hefdenlvanip Nature PicturcH 538 C.len Arden Dr., Pittsburgh 8, Pa. Hojflier^ Productionx, Inc. 620 Xinth Ave., New York 18, N. Y. InHtitiitif»nal Cinema Service, Inc. 1560 Broadway. New York 19, N. Y. International Film Bureau 84 K. Randolph St., Chicago 1, III. Knowledffe lluiider** 625 Madison Ave., New York 22, N. Y. Kunx Motion Picture Service 1319 Vine St., Philadelphia 7, Pa. 432 N. Calvert St., Baltimore 2, Md. 1905 Sanderson Ave.. Scranton, Pa. Library FilmM, Inc. 25 W. 45th St., New York 19, N. Y. March of Time Forum Kdition 369 Lexington Ave., New York 17, N.Y. Moi?ull*N. Inc. 68 W. 48th St., New York 19, N. Y. Nn-Art FilmM, Inc. 145 W. 45th St., New York 19, N. Y. Ofllcial FilmM, Inc. 25 \V. 45th St., New York 19, N. Y. Pealc FilniM ProductionH 65 Barons Keep, London, W-14, Eng. PortaflImM 1520 N. LaBrea Ave., Los Angeles 28, Cal. The Princeton Film Center 55 Mountain Ave., Princeton, N. J. Rcli^ioUN Film Service 5121 W. Devon Ave., Chicago 30, 111. Simniel-MeMervey, Inc. 321 S. Beverly Dr., E-everly Hills, Cal. Southern A'lMual FilmM 686-9 Shrine Bldg., Memphis 1, Tenn. Sunray FiiniN. Inc. 2108 Payne Ave., Cleveland 14, Ohio A'ocatlonul Guidance FiiniM, Inc. 1814 Beaver Ave., Des Moines, la. IVholeMome Film Service, Inc. 20 Melrose St., Boston, Mass. WillianiM, Brown and Karle, Inc. 918 Chestnut St., Philadelphia 7, Pa. Art /Ciller ViNiial Fdiicatioii Service 157 Washington St., Newark 2, N. J. MOTION PICTURE PROJECTORS AND SUPPLIES Bell & Howell Co. 7117 McCormick Road, Chicago 45, 111. Calhoun Company 101 Marietta St., N.W.. Atlanta 3, Ga. 1110 V4 Taylor St., Columbia 6, S. C. Carroll W. Rice Co. Audio Visual Center, 424 40th St., Oakland 9, Cal. ColliuM Motion IMcture Service 502M! &506St.Paul St.. Baltimore 2,Md. 4 Race St., Cambridge, Md. ConiprehenMlve Service Corporation 245 W. 55th St., New York 19, N. Y. neVry Corporation 1111 Armitage Ave., Chicago 14, 111. E^aNtninn Kodak StorcN. Inc. 356 Madison Ave., New Y'ork 17, N. Y. General FilmM. Ltd. 1534 i:Uh Ave., Hegina, Sask. 156 King St., W. Toronto, Ont. General PicturcM l*roductl€»nM 621 Sixth Ave., Des Moines 9, la. HirNch A Knye 239 Grant .\ve., San Francisco 8, Cal. Knnz Mfition Picture Service 1319 \ine St., Philadelphia 7, Pa. 432 N. Calvert St., Baltimore 2. Md. 1905 Sanderson Ave., Scranton, Pa. MopruirM. Inc. 68 W. 4,Sth St., New York 19, N. Y. Natco, Inc. 505 N.Sacramento Blvd., Chicago 12,111. Xu-Art F^ilniM. Inc. 145 W, 45th St., New York 19, N. Y. Haike Company- 829 S. Flower St.. Los Angeles 14, Cal. Ryan \'lMiial AidM Service 409 Harrison St., Davenport, la. S. O. S. cinema Supply Corp. 602 W. 52nd St., New York 19, N. Y. .Southern \~lMual FllniN 686-9 Shrine Bldg., Memphis 1, Tenn. For Further Information about the products featured in this issue use the convenient READER'S SERVICE POSTCARD pq bd // there is any additional information desired on audio-visual materials and equipment not given in the editorial content or advertising in this issue, simply fill in and mail the Reader^s Service Postcard. ISo stamp required. EDUCATIOISAL SCREEN^S Service Department will assist in obtaining it with- out cost or obligation to you. 154 Educational Screen Trade Directory For the Audio-Visual Field P9 6d Siinrny FllitiN, Inc. 2108 Payne Ave., Cleveland 14, Ohio SvTiink Motion Pictures, Inc. 614 N. Skinker Blvd.. St. Louis 5, Mo. Victor Anlnintoj^npli Corporation A Division of Curtiss-Wright Corp. Davenport, Iowa ViKiial Kduoation Incorporated 12th at Lamar, Austin, Tex. 2010 N, Field St., Dallas, 1, Tex. 1012 Jennings Ave., Ft. Worth 2, Tex. 3905 S. Main, Houston 4, Tex. 'W'lilianis, Broivn and Karle, Inc. 918 Chestnut St., Philadelphia 7, Pa. Art Zeiiler Visual Education Service 157 Washington St., Newark 2, N. J. SCREENS Oa-I>ite Screen Co., Inc. 2711 N. Pulaski Rd., Chicago 39, III. . Frynn Film Service Film Building, Cleveland, Ohio General Pictures Productions 621 Sixth Ave., Des Moines 9, la. Hirsch & Kaye 239 Sixth Ave., San Francisco 8, Cal. Moi:^uirs, Inc. 68 W. 48th St., New York 19, N. Y. Nn-Art Films, Inc. 145 W. 45th St., New York 19, N. Y. Radiant Manafacturin)? Corp. 1215 S. Talman Ave., Chicago 8, 111. Southern Visual Films 686-9 Shrine Bldg., Memphis 1, Tenn. Sunray Films, Inc. 2108 Payne Ave., Cleveland 14, Ohio Williams, IJron-n and Karle, Inc. 918 Chestnut St., Philadelphia 7, Pa. PICTURES Informative C^lassroom Picture Series 40 Ionia N.W., Grand Rapids 2, Mich. RECORDERS — RECORDINGS Popular Science Pub. Co., A-V Div. 353 Fourth Ave., New York 10, N. Y. RECORDERS— WIRE AVebster-Chlcaiiro Corporation 5610 W. Bloomingdale, Chicago 39, 111. SLIDEFILMS THE BOOK YOU NEED // The Blue Book of Non-Theatrical Films 1000 and ONE'' Tells where to get over 6,600 films The largest, most complete edition of this annual film reference yet published— liO pages of essential information on some WIO available films and their sources, classified under I7i subiect-headings, also listed alphabetically by title. Price Only $1.00 EDUCATIONAL SCREEN 64 East Lake Street Chicago I, Illinois n Please send me one copy of "1000 and ONE" ($1.00). D Also enter or renew my subscription to El^UCATIONAL SCREEN for D One Year $3.00 (Canada $3.50, Foreign $4.00) n Two Years $5.00 (Canada $6.00, Foreign $7.00) D Check Enclosed D Send Bill Name City Addrjsss ..Zone State Church Screen Productions , 5622 Knripht Ave., St. Louis 12, Mo. Kncyclopnedia Ilritannica Films, Inc. Wilmette, Illinois Popular Science Pub. Co., A-V DIv. 353 Fourth Ave., New York 10, N. Y. Simmel-Meservey, Inc. 321 S. Beverly Dr., Beverly Hills, Cal. Sunray Films, Inc. 2108 Payne Ave., Cleveland 14, Ohio Visual Research Company 30 N. Dearborn St., Chicago 2, 111. Visual Sciences 599E— Suftern, N. Y. SLIDES {KODACHROME2x2) Church-Craft Pictures 3312 Lindell Blvd., St. Louis 3, Mo. Hirsch & Kaye 239 Grant Ave., San Francisco 8, Cal. Klein & Goodman, Inc. 18 S. 10th St., Philadelphia 7, Pa. Nn-Art Films, Inc. 145 W. 45th St., New York 19, N. Y. fopular Science Pub. Co., A-V DIv. 353 Fourth Ave., New York 10, N. Y. Sunray Films, Inc. 2108 Payne Ave., Cleveland 14, Ohio Visual Research Company 30 N. Dearborn St., Chicago 2, 111. SLIDES (3'/4x4andlarger) Keystone Vle«- Co. Meadville, Pa. Ryan Visual Aids Service 409 Harrison St., Davenport, la. Slldecraft Co. 257 Audley St., South Orange, N. J. SLIDE. FILMSLIDE and OPAQUE PROJECTORS American Optical Co., Scientific Instrument Div., Buffalo 15, N. Y. Comprehensive Service Corporation 245 W. 55th St., New York 19, N. Y. DeVry Corporation 1111 Armitage Ave., Chicago 14, 111. General Films, Ltd. 1534 13th Ave., Regina, Sask. 1S6 King St., W. Toronto, Ont. Hirsch & Kaye 239 Grant Ave., San Francisco 8, Cal. Keystone View Co. Meadville, Pa. Raike Company 829 S. Flower St., Los Angeles 14, Cal. Ryan Visual Aids Service 409 Harrison St., Davenport, la. Southern Visual Films 686-9 Shrine Bldg., Memphis 1, Tenn. Sunray Films, Inc. 2108 Payne Ave., Cleveland 14, Ohio Vlewlex, Inc. 35-01 Queens Blvd., Long Island City Visual Research Company 30 N. Dearborn St., Chicago 2, 111. Williams, Broivn and Karle, Inc. 918 Chestnut St., I'hiladelphia 7, Pa. AUDIO-VISUAL SUPPLIES AVIIIIains, llrotvn and ICarle, Inc. 918 Chestnut St., Philadelphia 7, Pa. March, 1948 155 Slidefilms and Slides ■ STILLFILM, INC., 8443 Melrose Ave., Hollywood 46, California, has re- leased the first unit of a series of color filmstrips presenting kindergarten fairy tales. The titles are: 1. Peter Rabbit. 2. Scarecrow Man 3. Old Mother Hub- bard 4. Gingham Dog 5. Simple Simon, Three Little Kittens. 6. A.B.C. Illus- trated. 7. Red Riding Hood. 8. Little Red Hen, 9. Nursery Rhymes, 1. 10. Nursery Rhymes, 2. Also available from Stillfilm, Inc, are color filmstrips on ten popular subjects, from "Insects" and "Fish" to "Flowers" and "Animals." ■ COMMERCIAL FILMS, INC., P. O. Box 7, Cleveland, Ohio, offers a new driver training sound slidefilni: The Tragic Road to Safety (144 frames) — intended primarily for truck I'i %i.Sl//f£ \r% CLEAR BEFORE YOU PASS! "The Tragic Road to Safety" drivers, the film points up the basic causes of highway accidents and ways to avoid these catastrophes. ■ THE VISUAL WORKSHOP, INC., 13 E. 37th St., New York 16, announces plans for an active program of slidefilm production in educational and industrial fields. Formerly known as Telefilm Corporation, the Visual Workshop has already released a series of five filmstrips on China, with story and narration by Pearl S. Buck. ■ THE NATIONAL CHAMBER OF COMMERCE of the United States offers a slidefilm entitled Education — An Investment in People which illustrates the results of numerous surveys made by the National Chamber in the field of American public school education im- provement. Another new slidefilm, Money Is Not Enough, depicts the co- relationship between indices of business welfare and educational levels and shows in detail how civic interest and responsi- bility can effect the fullest utilization of every dollar spent for education. ■ FILMS FOR PUBLIC RELA- TIONS, 71 Washington Square, South, New York 12, N.Y., announces that Film Projects, after a year's survey of the educational film field, is producing a scries of filmstrips on Shakespeare and his plays to meet the demand of high school and college instructors who are teaching English classics. Under the supervision of Paul Benard, the first scries includes Shcikespearc's England, Shakespeare the Man, Hamlet, Macbeth, The Merchant of Venice, and Julius Caesar. m THE SOCIETY FOR VISUAL EDUCATION, INC., 100 E. Ohio St., Chicago, has expanded its "Visu- alized Units in Color" slide series to include the following six sets, each containing ten or more 2" x 2" color slides and an instructional guide: The Virginia Colonial Legislature — recording the historic colonial build- ings and interiors which have been restored at Colonial Willimsburg. A Visit to Morocco, Northwest Af- rica— showing scenes which reflect evidences of western civilization and scenes wherein age-old native culture still retains its place in Morocco. Air Travel — Airport Activities — picturing some of the behind-the- scenes activities which precede each flight of a commercial plane. Air Travel — Passenger Service — ■ highlighting some phases in a pas- senger's flight. Air Travel — Mail, Express, Freight and Baggage — showing techniques and mechanical devices for the handling of air-freight cargo at airport ter- minals. The newest slide set in the cooper- ative program between S.V.E. and Coronet Magazine, whereby selected Coronet picture stories are made avail- able in 2" X 2" slides through S.V.E. , is titled The Life of the Virgin, consist- ing of reproductions of famous art works in the Metropolitan Museum of Art, New York. + *'Many times a year the people turn to the Red Cross . . . ONCE a year the Red Cross turns to the people." Pr«std«nl Truman. INDEX TO ADVERTISERS Page Ampro Corporation 137 Association Films .ISO Bausch & Lomb Optical Co. .108 Beckley-Cardy Co .140 Bell & Howell Co Inside Back C over .135 Beseler Co., Charles Bowmar Co., Stanley .152 Brandon Films .146 Children's Productions .144 Church Screen Productions. .149 Colburn Laboratory, Geo. W .146 Coronet Instructional Films .153 Da-Lite Screen Co .139 DeVry Corporation .149 Eastin Pictures .138 Encyclopaedia Britannica Films .113 .151 Film Studios of Chicago GoldE Manufacturing Co... .143 Harry Grubbs .105 Holmes Projector Co .145 Informative Classroom Picture Publishers .148 International Cellucotton Products Co .110 International Film Bureau . . .134 International Film Foundation .141 Johnson Hunt Productions . .143 Karel Sound Film Library . . .146 Keystone View Co .112 Lewis Film Service .146 Mahnke Productions, Carl F. .140 McGraw-Hill Text Fihns . . .109 National Carbon Co .106 Peak Films Productions . . . .146 Photo & Sound Productions .145 Portafilms .146 Post Pictures Corp .152 Radio Corp. of America .... .111 Radio-Mat Slide Co .146 Religious Film Association. .142 Society for Visual Education Back Cover Southern Visual Films .144 Stillfilm, Inc ISO Swank Motion Pictures .144 United Specialists .152 United World Films .133 Victor Animatograph Corp. . . Inside Front Cover ,142 Viewlex, Inc .138 Visual Sciences .146 Young America Films .147 156 Educational Screen I EDUCATIONAL BKtl I HALL APK 74948 THE MAGAZINE DEVOTED TO AUDIO-VISUAL MATERIALS APRIL 1948 16mm SOUND motion picture projector Showing the way to better education— the Victor Lite-Weight is specifically designed for every modern classroom. Easily operated, portable and compact, the Lite-Weight ranks at the head of its cl^ss in teaching convenience. A DIVIZION OF CURJISS-WRIOHT CORPORATION Dept. G-8, home Office and Factory: Davenport, lovyu New York • Chic^.jo • Distributors T/troughout the World MAKERS OF MOVI^ EQUIPMENT SINCE 1910 VICTOR TRIUMPH 60 For educating and entertaining stu- dent assemblies and other large gatherings, indoors and outdoors, rely on Victor's Triumph 60. THE STAFF PAUL C. REED— Editor JUNE N. SARK— Assistant Editor WILLIAM S. HOCKMAN— Editor for the Church Field ROBERT E. SCHREIBER— Editor for the Com- mercial Field JOSEPHINE HOFFMAN— Business Manager PATRICK A. PHILIPPI— Circulation Manager DAVID E. CAESAR— Advertising Manager JOHN A. BASSETT— Western Adv. Rep. 3757 Wilshire Blvd., Los Angeles, Cal. DEPARTMENT EDITORS JOHN E. DUGAN Jenkintown, Pa. L. C. LARSON Bloomington, Ind. ETTA SCHNEIDER RESS New York, N. Y. DAVID SCHNEIDER New York, N. Y. EDITORIAL ADVISORY BOARD WALTER S. BELL, Director of Audio-Visual Education, Atlanta Public Schools, Atlanta, Georgia EDWARD G. BERNARD. Head, Instructional Materials Program, Board of Education, City of New York IRVING C. BOERLIN— Supervisor, Audio-Visual Aids, Pennsylvania State College JAMES_ BROWN, Assistant Professor of Edu- cation, Syracuse University, Syracuse, New York EDGAR DALE, Head, Curriculum Division, Bureau of Educational Research, Ohio State University AMO DE BERNARDIS, Supervisor, Audio-Visual Education, Public Schools, Portland, Ore. ELIZABETH GOLTERMAN, Director, Division of Audio-Visual Education, St. Louis Public Schools, St. Louis, Missouri GARDNER L HART, Director, Audio-Visual Education, Oakland Public Schools, Oak- land, California FRANCIS W. NOEL, Chief, Division of Audio- Visual Education, California State Depart- ment of Education, Sacramento, Calif. F. DEAN McCLUSKY, Lecturer in Education and Director of Audio-Visual Education, University of California at Los Angeles PAUL WENDT, Director of Visual Education Service, University of Minnesota THURMAN WHITE, Head of Department of Visual Education, University of Oklahoma The EDUCATIONAL SCREEN Is published monthly except July and August by The Edu- cational Screen, Inc. Publication Office, Pontlac, Illinois; Executive Office, 64 East Lake St., Chicago, Illinois. Printed In the U.S.A. Entered October II, 1937, at the Post _ Office at Pontiac, Illinois, as Second Class Matter under the act of March 3, 1879. Mrs. Nelson L. Greene, Publisher Address communications to The Educational Screen, 64 East Lake St., Chicago, III. SUBSCRIPTION PRICE Domestic $3.00 Canada ._ 3.50 Foreign 4.00 Single Copies 35 Educational see THE MAGAZINE DEVOTED TO AUDIO-VISUAL MATERIALS Founded In 1922 by Nelson L. Greene Contents for April, 1948 Page As Viewed From Here Fair Trade for Whom? Paul C. Reed 166 Show Them! R. J. Doxtator 167 The Role of Films in Developing Children's Understanding Nolle Lee Jenkinson 170 Films for Teaching the English Language Dora V. Smith 173 Audio-Visual Materials Keynote an Adult-Education Conference Helen Taylor Sheats 175 The Film and International Understanding John E. Dugan, Editor Film Council of America Strives for World Understanding, Peace, Security, ..Patricia Blair, Bertha Landers, C. R. Reagan 177 Teacher-Committee Evaluation of New Films. .L. C. Larson, Editor 180 The Church Department William S. Hockman, Editor 182 Summer Courses in Audio-Visual Education, 1948 — Parti I8S The Literature in Visual Instruction Etta Schneider Ress, Editor 188 DAVI Atlantic City Conference Vernon G. Dameron 192 Audio-Visual Trade Review ...Robert E. Schreiber, Editor 199 Current Film News .' 204 Trade Directory for the Audio-Visual Field 206 Index to Advertisers 208 COVER: This month's cover picture is a scene from the film "The Romance of Robert Burns" (Warner Bros.), available through Teaching Film Cus- todians, Inc. For an account of how this film was used in a school dra- matic club to teach students the "what" and "how" of acting, see the article "Show Them!" In this Issue. Volume XXVII Number 4, Whole Number 261 en m need Audio-Ksnal Aids j • • • it pays to buy RCA ...new RCA Classroom Slide Film Projector— A dual- purpose projector designed for 35mm film-strips and 2"x 2" slides. It's priced so low you can now equip every classroom with its own projector. The quickest and easiest projector threading you have ever seen. No sprockets to thread or damage film. ...new RCA Transcription Player for the Classroom — A high quality portable player for reproduction of either standard phonograph records or 16-inch transcriptions. Two separate motors supply positive, constant speed to turntable — one for 33 V^ rpm and one for 78 rpm. Detachable loudspeaker provides brilliant repro- duction of all voices and musical instruments. ...the new RCA Victrola Classroom Phonograph— This RCA classroom phonograph (Senior Model 66-ED) plays 12-inch or 10-inch records. Has "Golden Throat" tone system. "Silent Sapphire" pickup. Separate tone controls for bass and treble. Blond finish walnut cabinet with closed back. Hand holes for convenience in carrying. ^-^ -K Victrola TM. Reg. U.S. Pal. Off. . . . RCA's new "400" 16mm Projector — A lighter weight, ALL-PURPOSE projector for more effective teaching. Amazingly easy to thread and operate. Ideal for use in classroom or auditorium. Shows films at their best in brilliance and contrast— black-and-white or full-color. Sound or silent operation. 160 ...RCA Victor Record Library for Elementary Schools A basic record library for the classroom. Consists of 370 com- positions, 83 records, in 21 albums. Complete teaching sug- gestions for each record. Covers such activities as Rhythms, Singing, Listening, Rhythm Bands, Singing Games, and other topics. Priced within the budget of every school. For descriptive literature write: Educational Sales Dept. 28D, RCA, Camden, N. J. RADIO CORPORATtON of AMERICA EDUCATiOMAL SALES DERARTMEMT, CAMDEN, N.J. Educational Screen FROM ALC HEMIST I r TO ATOM SMASHER 1 . . . the engrossing story of the most important scientific achievement of onr times brought to the screen in United World Films' fascinating new 10 reel, 16nim sound motion picture— PHYSICS ...an authoritative study of the history and development of atomic energy. Indicative of its high acceptance is the purchase by the Atomic Energy Commission of a number of prints for their own use. It presents the discoveries and contributions in the development of atomic physics of scientists of all nations, among them Dal ton, Faraday, Mendeleeff, Thomson, Rutherford, Moseley, the Curies, Chadwick, Fermi, Cockcroft, Walton, Lawrence and Frisch. Einstein, Rutherford, Thomson and other great scientists personally tell parts of the story of this greatest of scientific achievements, directly from the screen. The film, made in the United King- dom, falls naturally into five parts. Each can be run separately, or, together, as one film. An inspired combination of actual photography, animation, diagram and historical re-enactment, utilizing the actual instruments originally used in key discoveries, makes this college-level film of absorbing interest to all science minded adults and high school students, as well. 10 Reels, 16mm Sound, Sale price $400, rental $40. SEND THIS HANDY ORDER FORM IN TODAY! Distributors for Univertol-lnlernalional and J. Arthur Rank Incorporating Ml A Howell Filmosound Library & Castle Films 445 Park Avenue • New York 22, N. Y. April, 1948 UNITED WORLD FIIMS, INC., 445 Fork Ave., New York 22, N. Y. I wish to purchase ..prints ot "Atomic Physics" I wish to rent this film for showing _ _ (dote) O Remittance Encto'sed Q Sl>ip C.O.D. G Name - Position Organization „ „ - „ „ „ Address _ _ _ City. _ Zone # State - I am interested in the following cotologues: Educational O Recreational Q Religious Q 161 HARRIS ELECTROTONE '^'^ ^ WoHde^ul lum MODEL 50 The Mosf Popular 2-Speed Playback Equipment with Microphone Input Among West Coast Educators Now Available Nationally The Harris Electrotone speaks for itself. Have your sound equipmenl- specialist check these specifications, and you will want to order: CABINET: Sturdily constructed of three-ply wood, secured by glue blocks and braces. Motorboard attached by machine screws entering Into tapped metal nuts within body. Features nickeled metal corners and metal knees. Rubber feet provided for both carrying and operating positions. Sturdy leather handle. Tubes are accessible without removing motorboard. Vents and speaker open- ings covered with rigid metal grill. Portion containing speaker is removable and is equipped with 50 feet of extension cord. AMPLIFIER: ^ ^"^^s, Class AB push pull. 2 • 6F6, 2 - 6SN7, I -6%Q7, I - 5Y3. Output 6 watts at voice coil. Harmonic distortion less than 5%. Frequency response uniform within plus or minus 2DB from 50 to 12000 CPS. Hum level not less than 50DB below maximum output. Phonograph channel will produce rated output from Victor Record No. 84522B. 1000 cycles. 78 rpm. Microphone channel designed for high impedance microphone. Amplifier is designed to permit mixing of microphone and phonograph Imputs, each with separate volume control permits using microphone while record Is playing. Master on and off switch. Pilot Light. Adequately ventilated and protected by a fuse. E^^SY TO SERVICE: ^y removing motorboard and amplifier holding clamps. Disconnect motor and pickup, service man can lift entire amplifier and AC line out of cabinet. SPEAKER: '^ ^^^^ t^" Jensen PI2R AInico 5. I inch voice coil. PICKUP: Astatic No. N400. Type Nylon I-J crystal with replace- able Sapphire-tipped Nylon needle. Frequency range 50 to 8000 CPS. Needle pressure I Vj ounces. I^OTOR: General Industries Model D 2-speed, 33'/3 or 78 rpm. 50-60 cycles variable speed control, rubber mounted. SIZE: 12V2 X 17V2 x 20V2' , .^y p,.:^^ e^AA (MX WEIGHT: 43 lbs. i-"5T ITlCe >Z00.00 If Microphone Input is not needed — Order Model D — Sanne as above, $165.00 Please place our nanne on your nnailing list for bids on play-back equipment. Send for complete catalog and specifications on other models. DEALERS: Some area franchises are available. HARRIS MANUFACTURING COMPANY 2422 W. Seventh St. Los Angeles 5, Calif. AT THE CLOSE of a morning session of the DAVI at Atlantic City, attended by approximately four hundred people, Dean McClusky told me of the con- trast with a DVI meeting held in Boston several years ago. "There were seventeen people in the room". Dean said, "and nine of them were on the panel. What a contrast !" But the Atlantic City meeting this year was notable not only for numbers in attendance, even though it was a unique and heartening experience to see meeting rooms j)acked to overflowing with part of the audience spilled into the corridors listening to the "audio" part brought to them by hastily installed loud speakers. Every session gave evidence of thoughtful planning and careful preparation. It was a highly satisfying profes- sional conference. The spectacular, dramatic climax to the whole At- lantic City meeting came on \\'ednesday morning. Listed on the DAVI program as "AAS.\ General Ses- sion of Special Interest to DAVI Members", Walter Wittich's demonstration of Teaching IVitJi Audio-Visual Materials thrilled an audience of more than four thou- sand school administrators and brought to them con- crete, tangible evidence of the values of audio-visual media in teaching. ^^'alt Wittich is a highly skillful teacher and master showman. In the toughest assignment ever given a visual educator, he turned in a perfect performance. As neatly as ever done by any demonstration teacher, he maintained just the right perspective between his group of sixth graders and his four thousand audience without losing a soul. In fact, more "converts" were probably won that morning than by the combined meet- ings of many years. In all res]5ects it was a memorable conference. The television session gave a challenge to thinking visual educators who could see how far this medium yet had to go, and who could see the important part they might play. The three speakers in the Production ses- sion found an audience more sympathetic to "The Producer's Point of View" than they had expected. The Teacher Education and Research sessions were stimulating, constructive, and conducted on a high pro- fessional level. Talks by Dr. Charles Siepman of New York University and Superintendent Claude Courter of Cincinnati succeeded admiraljly in placing "audio- visual education" in its larger context by focusing atten- tion upon the ends to be served by mass media of communication. There was just one hitch, and we cannot blame this on those responsible for the Conference. Stephen M. Corey, President of D.WI ; James W. Brown, Con- ference Chairman ; and Vernon Dameron, Executive Secretary, all deserve highest commendation for the success of the conference ; they cannot be blamed if trains from Florida run several hours late. But we would like to have heard the talk that Charles Hoban was to have presented on "What Axe the Problems of the Audio-Visual Director?". We'll be satisfied now even with the chance to read it. — Paul C. Reed. 162 Educational Screen We put more into it..s« you can get more out of it Ampro 16nini. sound projector If you are considering equipment for your audio-visual program — here are a few thoughts to consider: A I6mm. sound projector is subjected to the heat of the projection lamp, continuous high-speed movement of the intermittent mechanism, and every action requires split-second accuracy. It must deliver steady, flicker- less projection continuously and quietly. It must be dependable, easy to thread and operate. It must be gentle to precious film and easy to service. For these reasons — a good sound projec- tor design must be a tested design. It is only by studying and learning from mil- lions of performances under all conditions that a truly efficient sound projector is developed. Ampro l6mm. projectors have been "put through the mill" by this country's leading school systems, univer- sities and government departments. Into each Ampro projector is built 20 years of experience that- assures better per- formance and longer service. Before choosing your 16mm. sound projector, ask your Ampro dealer for a demonstration of the latest Ampro "Premier-20". Look — listen — remember Ampro's record — and then decide! Send for FREE Circular On Ampro "Pretnier-20" giving full specifications and prices. If you are interested in sound motion pictures send lOc for li-page booklet, "The Amazing Story of Sound Motion Pic- tures." It dramaticalty illustrates tlia various steps in the recording and reproducing of sound on film. AMPROSLIDE PROJECTOR MODEL "30-D" for filmstrips and 2" « 2" slides. Offers extra brilliant illumination, split-second inter- changeability from slides to filmstrips and back and many other faafures. of the illustrated of Sound Motion AMPRO CORPORATION 2835 N. Western Ave., Chicago 18, III. Please send me free circular giving full details about the Ampro "Premier-20" I enclose lOc Q for a copy booklet, "The Amaiing Story Pictures." I am also interested in; Q Ampro "Imperial" C Amproslide Proiector 14mm. Silent Model "30-D" Projector Name Address . , - City State.. Toward World Government THE ATOMIC BOAIB and its implications is a problem we all live with — and some of us sleep with. We may not all agree that world government is the only sure defense against atomic destruction and the only true solution to world peace, but it is clearly our responsibility to learn more about a move- ment which promises so much. The people of Chicago will have this opportunity dur- ing the week beginning April 19, officially proclaimed by the Chicago City Council as AVorld Government Week. The purpose of the week is to familiarize Chicagoans with the solutions to the problem of peace presented in the movement for world government. Similar proclamations are expected to be made through- out the United States, and Minneapolis has already joined Chicago in setting aside the week of April 26 as World Government Week. Among the organizations actively working toward the realization of a federal world government are World Republic, the United World Federalists, Action for World Federation, the Campaign for World Gov- ernment, and the Committee to Frame a World Constitution. 16mm films — and all the audio-visual materials — • have a tremendously important role to play in such a movement ; in the assembly hall, church, and adult forum they can help people understand the world of today and plan the world of tomorrow, a peaceful world, if we will work to make it so. For those who need the "reminder," there are Atomic Energy (Ideal Pictures Corp.), Atomic Power (March of Time Forum Edition), and One World or None (Film Publishers, Inc.). For those who still have not learned the lesson of brotherhood, there are Boundary Lines (Interna- tional Film Foundation) and Brotherhood of Man (Brandon Films, Inc.). And for those who are not fully aware of the pitiful plight of the peoples of the earth, there are Children of Tragedy (Association Films), The Pale Horseman (Brandon Films), Seeds of Des- tiny (Films of the Nations), and The World Is Rich (Brandon Films). Films such as these — and there are many more — can be among the most powerful weapons for ])eace — during officially proclaimed World Government Weeks, during every week. And time is short ! June N. Sark Passport to Nowhere Those who are concerned over the DP problem and the pending Stratton Bill — and who isn't? — will be interested in two informational kits now available. Kit "I" contains educational material on the problem of displaced persons. Kit "O" contains a discussion out- line for speakers and directions for obtaining both the film Passport to Noivhcre and the recorded radio shows on displaced persons. Send the names of those you wish to receive kits to Director of Field Activities, Citizens Committee on Displaced Persons, 39 E. 36th St.. New York 16. N. Y. The Eyes of the World are Noti^ Vocused on- ITALY What films are you using in your community to aid in an understanding of contemporary Italians and Italian life and problems? Sensing the need of good, authentic current films on Italy and Italians, the International Film Foundation sent a crew of American Photographers, headed by Julien Bryan, to Italy to make a series of films for American audiences. Three films are now ready for showing in your community — ITALY REBUILDS — BREAD AND WINE ARTISANS OF FLORENCE Place your purchase order today with your visual education dealer; or your rental order with your Film Rental Library. • Write us for description of these and our other films The International Film Foundation, Inc. 1600 Broadway New York 19, N. Y. 164 Educational Screen We'd like to show you how the BESELER YU-ORAPH OVERHEAD PROJECTOR enables you to face your c while you project material audience 0J SEND COUPON BELOW FOR A demonstration Look af these VU-GRAPH advantages: • You need never turn your back on your audience. • Will project any transparency. Will project opaque material in silhouette. • Takes copy up to 7" x 7". • Delivers a sharp image over entire area. • Projection can be clearly seen in normally lighted send coupon An opaque P^ education- Bcon ^^ P^^'^fr/etails today, ■(jj^rite tor THE BEST. PROJECTOR IS THE BESELER PROJECTOR room. Plastic and special pencil makes it possible to make sketches, diagrams, present problems and project them simultaneously. Work can be removed and plastic used over again. Vu-Graph film, used in similar way to plastic, projects white lines instead of black. Easy to operate. 500 watts. AC -DC motor -driven fan, equipped with rheostat for increasing and decreasing speed. Send Coupon Today for Free Examination of Bescier K^hctvlas J^aseLev C-i anvpctivy. 243 EAST 23rd STREH . NEWYORKIO, N.Y. I I I I CHARLES BESELER CO., Dept. E 243 East 23rd Street. New York 10. N. Y. 1~1 I would like to have o free demonstration of the Beseler VU-GRAPH. Most convenient lime Q I am also interested in Opaque Projectors. Please send me literature. Nome Position School or Finn.. Address City ..Stale.. The World's largest Manufacturer of Opaque Projection Equipment April, 1948 165 As Viewed From Here Paul C, Reed 'High-quality equipment demands high-quality dealers" FAIR TRADE FOR WHOM? • Shopping for a "bargain" is traditional with Americans. But in buying audio-visual equipment, many of us have found that a "bargain" may turn out to be very costly indeed. Here is why. High-quality audio-visual equipment demands high-quality dealers to distribute and service it, for even the best equipment requires servicing. Too, even the best of visual specialists can learn how to make better use of his audio-visual tools from the dealer who retains constant interest in the products he has sold. The buyer of audio-visual equipment is buying more than a machine; he is buying know-how, and humanized and thoughtful service. These do not come at "cut rates". To make it possible for high-class dealers to do business, manu- facturers in our field have executed so-called "Fair Trade" contracts which prohibit sales of their equipment below established prices. By making it illegal for fly-by-night dealers to sell equipment at reduced prices, these laws protect legitimate dealers who try to render per- manent, dependable service. Some consumers may have the notion that Fair Trade laws provide a kind of legalized method for manufacturers and dealers to maintain arbitrarily fixed high prices. It may seem that Fair Trade prices are in the interests of the seller only, and not the buyer. But manufacturers who have taken advantage of Fair Trade laws have done so to help maintain high-quality dealers and to assure consumers of the essential services which should accompany each Sale of their equipment — services which cost money. Here are some facts about Fair Trade: Laws have been passed in forty-five states aimed to stop predatory price-cutting. These laws permit a manufacturer of a product "which is in open competition with commodities of the same general class produced by others" to r enter into contracts with distributors to sell the product at a price named by the manufacturer. Fair Trade laws do not eliminate com- petition; rather, they provide for fair competition on the basis of service rendered to the consumer, l)oth by the product and by the organization that sells it. It seems to us that consumers of audio-visual equipment do have a stake in Fair Trade. And an important stake, too! If they are to get the most from their audio-visual equipment, they need and must have the assistance of alert, intelligent, well-equipped, and well-established local dealers who are ready to give thoughtful help with their prol)lems. Fair Trade laws do not guarantee us this kind of dealer, but they encourage it. Enlightened consumers have a selfish interest in the enforcement of Fair Trade. 166 Educational Screen Audio- Visual Center, Indiana University Films can teach students the ^^whaf^ and ^^how^^ of acting^ SHOW THEM! Ox the high school level the director of dra- matics is seldom presented with a choice of artists. The problem is usually one of being able to take any high school student and to enable him to do a creditable job of acting. Public per- formance is not the important thing, however. Development of student personality — from self- consciousness to poise, from awkwardness to smoothness, from groping to understanding — is our work. The University School continually seeks ways to serve every student. In dealing with stu- dents who are not artists with technicjue but ama- teurs needing basic training in dramatics, we use films to help to provide worthwhile experiences. Here Is Our Problem Our dramatic club meets twice monthly. We seek opportunity to train students in bodily move- ment, facial expression, voice, technical stage problems, etc. Students are not told to "develop imagination." Such verbal expression alone is meaningless. Instead of consuming time with ab- stractions, we try to meet the learning need of the *Pictured above is a dramatics class in action. The film has been shown, the student at the board has sketched a particular facial expression, another student is "demonstrat- ing" forehead wrinkles. Mr. Doxtator is seated at the desk. by R. J. DOXTATOR, Instructor and Critic Teacher, The University School, Indiana University, Bloomington, Indiana student by directing his attention to the acting of people in films : how to walk, how to move, how to knit eyebrows together in anger, how to raise a forehead and eyebrows in question, these and other actual movements and expressions. The student is shown "what" and "how." The "why" is equally important. Opportunity is taken to indicate that surprise within causes eyebrows to move upward without — a vivid means through the use of film to teach motivated action instead of using the abstract expression, "All inward action is accompanied by outer reaction," a statement meaningless to a stu- dent. Our learning need is for concreteness of experience ; teachers strive to make vivid impres- sions upon the minds of students that they will not only see but understand, remember, and do. The Film Is the Thing The old Chinese adage continues to be true : "One picture is worth . . ." Since vivid impressions need to be made upon the minds of students, films are of value. Teaching a student visualization for purpose April, 1948 167 Bodily movement and facial expressions are vividly visual- ized for the student of dramatics in such a film as "The Tell Tale Heart" (M.G.M.), available through Teaching Film Custodians, Inc. of dramatic activity is a difficult job; and the job of helpin