International Review of Educational Cinematography (Jan-Dec 1934)

34 THE CINEMA IN TEACHING ing in this or that subject is capable of providing a useful complementary work to the instruction given by the master (1). Whatever may be the opinions of teachers of art, we cannot but admit that films like Schaffende Hande (Creative Hands) by Hans Ciirlis, or Les Artisans Francois by Jean Benoit-Levy on the technique of famous painters, sculptors and decorators have an interest not only for artistic culture in general but also for the practice of art. This is so because such pictures show students technical systems different from those of their own teachers, while they thus admit a certain ecclecticism into the teaching of art. It only remains to consider in which branches of teaching the utility of such films is most manifest. It is perhaps when the student, having acquired a certain mastery over his technique, begins to put the impress of his personality on his work. The utility of the cinema in schools of fine arts has been considered under other aspects. Pierre OlMER, whom we have already quoted, has stated it to be his intention to use the film in his courses of perspective under the belief that, by means of the slow motion projection, it will be possible to make demonstrations of perspective in movement. " What is important ", said Delacroix ", is not to place perspective in the artist's spirit but in his eye ". The same remark is applicable to everything that moves, both men and animals, and this is probably what Katz refers to when speaks of moving models. In this department, chrono-photography may usefully be joined with the slow motion projector, since both systems have their own advantages. Chrono-photography allows an individual observation which can be prolonged at will of the successive phases of a moment. There is always, however, a solution of continuity which the cinema completely abolishes. It is all to the advantage of the cinema, and especially when the slow motion projection is used, to be able to arrest the running of the images at that precise moment which particularly interests the students. (1) We may cite a precedent which would go to show that art teachers have no hostile prejudices against the introduction of the cinema in their courses. Last year, when taking possession of the Chair of Perspective at the Ecole des Beaux Arts in Paris, M. Pierre Olmer announced his intention of taking advantage of the cinema. " It is useful to show students ", he declared " side by side with theory, practice, because in this branch what is most helpful and suggestive is the example of the great masters ". There is no need to insist on the valuable aid which stereoscopy can give. At present there are too many announcements of new systems and new inventions along this path for the student to be able to lay his hands on anything technical and industrially practical. One field in which the cinema would appear to have demonstrated its utility is that of architecture. Apart from its capacity for multiplying to infinity the various aspects of edifices or parts of edifices, the cinema has the great advantage of being able to represent in a methodical and harmonious synthesis the successive phases of construction in modern buildings. Films of this kind, well conceived and properly made, can be real lessons and can provide clear explanations of some of the various methods of building, which variety depends to a large extent on conditions of climate, surroundings, space available : all of which have an effect on the line, on the choice of materials, workmanship, etc. In any case, for every form of art, a comparison between the technical means for carrying out the work and the methods of application can prove useful, while the employment of the motion picture is justified in all cases in which the comparison can be made easier through the use of the screen. This is a fact which ought to be carefully taken into consideration in cases of using the motion picture in Fine Arts and Applied Arts Schools. Artistic Culture and History of Art. — With regard to the utilization of the motion picture for art culture and the history of art, the latter can be considered together. Art culture proposes to develop the artistic sensibilities and the cult of the beautiful, and it therefore logical to look for the elements of such a course in the history of art . The problem which faces us, if we follow the methodological system of Katz, is to determine the gradation of the elements of artistic culture and historical notions of art which must be introduced into films, if we want the latter to respond to various grades of teaching in general and the requirements of the higher and specialized courses (applied arts, fine arts and archaeology). It would appear to be evident that in the double department of artistic culture and history of art, the motion picture can be useful in all grades and for all courses, taking only the matter of the pupil's age and the consequent possibility of his deriving advantage from the film into consideration. This is a matter for pedagogues, as is also the question of the gradation of courses and grades. The idea of comparison seems useful to us also