International photographer (Jan-Dec 1934)

Six The INTERNATIONAL PHOTOGRAPH E K Art In Motion Pictures By May Gearhart Supervisor of Art in the Los Angeles City Schools April, 1934 HEN Mrs. Leo B. Hedges, as state chairman of the P. T. A. film committee, asks for a ' talk on the relation of the screen to art education, I am again impressed with the sympathetic attitude of this organization toward all phases of education. The P. T. A. is an agency concerned not only with the physical needs of the boys and girls but also with their moral, cultural and aesthetic welfare. To use Mrs. Hedges' own words: "We are interested in the art consciousness which is projected into the mind of the child through being exposed to the screen." We agree, do we not, that the moving picture presents art qualities in a most illuminating manner. The question that arises is this — to what extent are our young people conscious of these art values? Are they profiting by their screen experiences? I have presented this problem to junior and senior high school pupils to ascertain if they went to the movies solely to enjoy the drama or if the art, the beauty of the setting contributed to their pleasure. The consensus of opinion seemed to be as follows: "You don't notice beauty in the setting if it's there, but if it isn't, you notice the lack of it right away." The students reminded me that when a film dating back to the early history of the industry is revived people shout with laughter because of the crudities, the absence of aesthetic values. There is a conscious recognition of the lack of art. The history of the movies repeats the history of many products in the industrial world in this respect. The automobile is the obvious illustration. At first the manufacturer was concerned only with making the machine go. The world was interested in the miracle of invention — art was ignored. Now we choose our model with careful consideration of line, color and structural design. As with the auto, so with the movie. What once excited us was the scientific aspect, the wonder of seeing things move on the screen. Today we are accustomed to this miracle of motion. The novelty has worn off and we demand newer and more varied stimulus. In answer to this demand the screen is recognizing the place of art and inviting our interest by offering pictures of compelling artistic significance. The contribution of sound helps to intensify the aesthetic effect. Do you remember how day broke in the opening scene in Over the Hilll The faint rustle of leaves, the little chirp of birds, the far-away call of a rooster, the growing volume of sound as the world awoke combined with the charming pictures of the village achieved a fusion of arts which lingers in the memory. Another satisfactory film which meets the unqualified approval of young audiences is Be Aline Tonight. The plot is slight but it is harmoniously combined with melody and beautiful scenery. Young people enjoy the charm and quaintness of the foreign setting. They say, "It's like traveling abroad." Here we have a movie with no sensational appeal and no sordid use of sex but of definite entertainment value to young people of every class. The Three Little Pigs is another example of popularity absolutely unaided by any so-called box office appeal of cheap sensationalism. It is a wonderful combination of art, music and sparkling humor presented through the medium of an old, old folk story. Films such as Chang and Grass present art features and edu cational influences of rare value. Boys and girls respond to the charm of travel films or pictures screened in foreign countries and in these films where the love interest or gangster element is not present, young people consciously enjoy the beauty of the compositions. In Night Flight the trip over the Andes leaves a distinct sense of thrilling personal participation. Such films as these I have mentioned show that visual art has advanced at a tremendous rate but beauty of composition is not an adequate rival and can not compete with the interest of young people in the human element, that is, the plot of the play. Do you recall this bit from Miss Young's recent novel, Jennie Wren? The sun can not be faced. The moon floats by indifferent and aloof But the stars have messages for mortals. Jennie Wren's stars were in the sky but the stars on the screen have even more compelling messages and the average young person is not conscious of art settings when his favorite film star is in the ascendency unless the action of the star is consistently harmonized with the beauty of the stage set. Of tremendous importance in the development of boys and girls are these messages from stars. We are assured that "the young mind is as absorbent as blotting paper." To what extent are fine standards in living and love of beauty being presented and emphasized on the screen. Professor Neumann says : "The test of a book is this — the kind of thinking it calls for after you have read the book." Is this not also the test of a movie — the kind of thinking it stimulates, the response it arouses? We read the recent report of Henry James Forman entitled Our Movie Mad Children and we wonder who is responsible for this serious situation that gives opportunity for boys and girls and even very young children to see and hear objectionable aspects of life through the cinema. Is it the parents' fault for allowing their children to go to shows? Is the producer alone the offender in arranging these programs where often a cheaply sensational picture is tucked in next to a highly desirable and deservedly popular film? The evaluation of films presented weekly by the P. T. A. Committee is a most important contribution in this connection. Does the public demand sensational pictures that extol crime, excuse drunkenness and emphasize sordid sex expression? Or do they flock to Three Little Pigs, Over the Hill, Voltaire, Night Flight, Chang because they like them? Here we have the moving picture as the greatest instrument for presenting art and educational values as entertainment that the world has ever known. Is it not a challenge to this industry to rise to its best possibilities and shoulder this obligation to educate in the finest interpretation of the term? Obviously, however, the whole burden does not rest on the screen. We all know that the extent to which we benefit from an experience depends on what we take to it. That is we are prompt to recognize in any situation qualities which reflect our own particular interest. John's father is in the rug business. John reports to his art appreciation teacher that he notices immediately the use of rugs in a setting. Is the rug appropriate? Does it add to the appearance of the room? Another boy whose father is in some work connected with lighting Please mention The International Photographer when corresponding with advertisers.