Film and Radio Guide (Oct 1945-Jun 1946)

October, 1 945 FILM AND RADIO GUIDE )7 tain phases of mathematics, science, and other subjects where problems can be presented pictorially to the class. These films give no information. They present a problem as it would occur under actual conditions. Today we face two major problems : How can these new methods and techniques be utilized by educational institutions? What films and other audiovisual materials are most needed by schools? Early in 1944, the Commission on Motion Pictures was established by the American Council on Education through a grant by the eight major Hollywood producers to assist in finding the answers to some of these complex problems. The Commission is composed of the following members: Mark A. May (chairman), Director of the Institute of Human Relations, Yale University; Wallace W. Atwood, President of Clark University; Mary D. Barnes, Principal of William Livingston School No. 10, Elizabeth, New Jersey; George S. Counts, Director of the Division of the Foundations of Education, Teachers College, Columbia University ; Edmund E. Day, President of Cornell University; Willard E. Givens, Executive Secretary of the National Education Association ; George N. Shuster, President of Hunter College; A. L. Threlkeld, Superintendent of Schools, Montclair, New Jersey ; and George F. Zook (ex officio). President of the American Council on Education. One of the first jobs undertaken by this group of outstanding educators was a careful evaluation and analysis of the results of various surveys which had been made to determine what audio-visual materials are most needed by schools. One of the best sources of informa Gordner L. Hart tion was the recent unpublished American Council Report by Miss Helen Hardt Seaton entitled, “Report of the Study of Teacher Opinion on Factors Impeding More Extensive and Intensive Use of Motion Pictures in Schools.” In addition to analyzing this and other surveys already completed, the Commission conducted an extensive survey of its own, to be certain that the subject-matter fields chosen were those in which new productions were most needed. The conclusion reached was that there is a great need for new productions in the fields of democracy, geography, English, mathematics, art, and health. Therefore, the Commission appointed a committee of specialists in the field of democracy to study the problem carefully and to recommend to the Commission specific topics which should be developed into motion-picture films and other audio-visual materials. Dr. Counts was appointed chairman of this committee and the following men were asked to serve as members : Roger N. Baldwin, Director of the Civil Liberties Union; Lt. Colonel William S. Briscoe of the War Department; William G. Carr of the National Education Association; Robert Cushman of Cornell University; Erling M. Hunt of Teachers College, Columbia University; Howard E. Wilson of Harvard University ; and Dr. May. A series of meetings were held in New York City, and a comprehensive outline of needed productions resulted. These recommendations are grouped under the following major headings: I. Freedom of the Person ; II. Economic Freedom; III. Political Freedom; IV. Freedom of the Mind; V. Social Freedom ; VI. Freedom of Conscience ; and VII. Freedom and Justice for All. After receiving the report of the democracy committee, the research staff of the Commission proceeded to work out: (1) specifically what each film in the series was to teach; (2) the topics to be covered in each film ; (3) a story which might serve as the basis for a motion picture scenario; and (4) selected references to give a script writer the necessary background needed to prepare the material for a motion picture production. When this phase of the work has been completed, it is sent out for analysis and evaluation. After the necessary revisions are made, it is turned over to a group of professional script writers for development into a motion picture or filmstrip treatment. The treatment is the stage of production which precedes the writing of a formal scenario. It consists of the film story in narrative form. These treatments are easy to read and understand and also give a very specific idea as to the scope, content and story of the film. After the treatments are received from the script