Film and Radio Guide (Oct 1945-Jun 1946)

26 FILM AND RADIO GUIDE Volume XII, No. 1 salesmen have stressed the safety device so strongly that the purchaser of the machine has misunderstood about danger under other conditions. We inspect films carefully, inch by inch, after they are returned to us following each booking. Sometimes the tension on the rewind stands is not as great as in the projector, and a patch which held all right in the rewinding, will separate in a machine. Film damage is expensive and in the great majority of cases (some say 100 percent of the cases) is avoidable. It does require extreme care in threading the projector and corrstant supervision to avoid damage, but please do not expect the machine to take the place of a careful and experienced operator. Previous Articles in the Series by Aughinbaugh Following is a list of previous articles contributed to the GUIDE by B. A. Aughinbaugh: 1. J a n., 1 9 4 4, “Unsatisfactory Reels.” 2. Feb., 1944, “How to Stop Film Deletion by Customers.” 3. March, 1944, “That Old Alibi: We Didn’t Use It.” 4. April, 1944, “Inspection Records.” 5. May, 1944, “Film Inspection Procedures.” 6. June, 1944, “Booking.” 7. October, 1944, “Shipping Films.” 8. November, 1944, “Cataloging” and “The Evolution of Visual Communication.” 9. December, 1944, “Don’t Blame It on the ‘Fillum,’ ” and “A Reply to a Reply.” 10. January, 1945, “Patron Inquiries.” 11. February, 1945, “Selecting Pictures.” 12. March, 1945, “Transportation Problems.” 13. April, 1945, “Lantern Slides.” 14. May, 1945, “Screens.” 15. June, 1945, “Damage Insurance and How to Figiue Damage Assessments.” The Hollywood Quarterly A professional quarterly, dealing with technical and creative problems of films, radio, and tel Jamison Handy, whose organization has received an "E" award for excellence in the production of training films and filmstrips. evision, as well as educational potentialities of these media, makes its bow this fall under the joint sponsorship of the University of California and the Hollywood Writers Mobilization. Items of interest to readers of Film and Radio Guide will be reprinted in these pages. The subscription price of the Quarterly is $4 a year. Cartoons for Teaching Grammar and Punctuation J. S. Bierly, English instructor at the National Training School for Boys, Washington, U. C., was the first to submit to this GUIDE cartoons as aids in the teaching of English. His rough sketches, done on sheets of 4" X 6" paper, in ink and with colored pencils, with typing in red and black, were made for use in an opaque projector. They were suggested by Munro Leaf’s Grammar Can Be Fun. Mr. Bierly is expanding his series to make several sets on Grammar, Punctuation, Usage, and Word Study. A free subscription goes to Mr. Bierly, with the compliments of the GUIDE. Aughinbaugh's Articles Widely Acclaimed B. A. Aughinbaugh, Director of the Ohio Slide & Film Exchange, is receiving many interesting letters on his series of articles in the GUIDE. Here are excerpts from comments by notable experts in the 16mm field : Paul Wendt, Director, Visual Education Service, University of Minnesota, writes: “That series of articles you are writing for Film & Radio Guide on 16mm Exchange Practices should certainly be published in book form for the use of administrators and consumers all over the country. I sincerely hope you will find time to carry this project out.” C. R. Reagan, Associate Chief, U. S. Bureau of Motion Pictures, Office of War Information, writes: I am sure I am one of many appreciating your series of articles in Lewin’s magazine. They are so good that I hope when you have finished them you will write a book and include in the book a life-history of what an outstanding pioneer has done in the film field.” Merriman H. Holtz, President, Screen Adettes Inc., Portland, Oregon, writes: “Your articles appearing in Film & Radio Guide have been very helpful and very enlightening.” W. W. Alexander, President, Distributor’s Group, Atlanta, Georgia, writes: “You have given the 16mm field the most concise and honest statements regaiding exchange practices that I have read anywhere.” John Flory, of Grant, Fiory & Williams Inc., New York City, writes: “I have enjoyed your articles in Film & Radio Guide on the subject of 16mm Exchange Practices. It is the most detailed and authoritative information which has been published and should be of very real help to all who aie faced with similar, though more modest, film-handling problems. If these are ever printed in pamphlet form, please have the publisher bill me as a charter subscriber.” Motion-Picture Study Group, Saranac Lake, N. Y., write: “ We have been studying your infoimative articles in Film & Radio Guide and find them very valuable.