International Review of Educational Cinematography (Jan-Dec 1934)

32 THE CINEMA IN TEACHING have demonstrated their value as stimulation for graphic exercise. On the other hand, purposive films and films of natural beauty provide any required visual experience, which might be material for use by the student in the problem at hand. In design and composition, abstract purposive films showing the filling of space and the action of forces to produce a given form, motivate activity along these lines, and furnish dynamic motifs to be thematically treated Certain films of natural beauty (as Mr. Charles Woodbury suggests) might also be used in the the development of a Feeling for composition ", but it is not quite clear exactly how they might be presented. In technical processes, it seems likely that films give a clearer insight into simpler procedures, and will indirectly aid in manipulation of less complicated materials. Unfortunately no experimental data is available on this point. The foregoing statement of possibilities leaves much to be desired. The analysis of courses was arbitrary, the suggestions incomplete, and the examples far from the ideal. What little has been previously said and done on the subject is so recent and incomplete, that it could not be otherwise. Indeed, if critically examined, the five problems above stated are merely intimations of what lies in store ahead. This new, fascinating field is vast and unexplored, and efforts to chart it demand definite goals and guidance — in short, a working program for the future. First and foremost we shall require a circulating motion picture library, wherein will be collected the best available films. Such a central source, distributing films at moderate cost on a non-profit-making basis would not only be a strong incentive for teachers and institutions to make use of the films, but would itself create a market which commercial film companies would be only too happy to supply. Secondly, the mass of valuable information now widely scattered in various places should be organized and published in some easily accessible form. An important factor in the lag of progress until now has been ignorance of other investigators' work (1). Thirdly, experiment and research with films in art classes must be encouraged and coordinated to the greatest mutual good. Misunderstandings, contradictions, and even failures are bound to occur where there is no precedent. Some method must be found, therefore, to facilitate investigation, and to utilize results most advantageously. Finally, motion picture films must be created to fill the need for good art educational films. Who will make them? In the last analysis, it will not be the professional film producer, but actually the thousands of art teachers and supervisors confronted with real class room situations and problems. They are the ones who will use the films, they alone have the power to initiate and carry through any program which may be adopted. * * * Here is a fragmentary picture of the art educational film field. Here are the bare outlines of a plan of attack grounded on facts and aiming at results. Why do we hesitate ? Let us move forward ! (Editor's Note). The article by Mr Elias Katz seems to us to provide a useful basis for a discussion on the use of the cinema for teaching of the fine arts and especially the graphic and plastic arts. Instead of examining the various grades of teaching in general so as to show the importance of art lessons and to appreciate the conditions under which such lessons should be given, the author prefers to distinguish three different kinds of studies . history of art, artistic culture and the practice of art. Hoping that films may be made along the lines of the three divisions, Mr. Katz proceeds (1) The writer has collected the nucleus for such a bibliography. It contains annotated lists of forty-four books and articles, three periodicals, thirteen film sources, and over one hundred art educational films, and is continually being enlarged.