International Review of Educational Cinematography (Jan-Dec 1934)

THE CINEMA AND CHILD PSYCHOLOGY 39 ones always leave some trace behind. In fact, the child's brain not only receives new impressions but, since its structure is eminently plastic, a strong impression leaves indelible traces in conseguence of the strong emotional effect produced. Ideas penetrate through the understanding, become fixed and are then stored by the subconsciousness. The brain is composed of an infinite number of centres formed of receptive cells : pyramidal cells which are in a state of continual activity, with a protoplasm in a constant state of osmosis, in which reactions take place that are known to us only imperfectly. The micoscope shows us only the dead cell, which is fixed, coloured, denaturalised by a long period of successive fixations and is no longer an active cell that is capable of reacting. We know, nevertheless, that these cells react, accumulating non-assimilated detritus which multiplies under the influence of work and paralyses the cells under the influence of overwork. These centres are very numerous, and are connected with one another. Ways of communication start from them, putting them into action one against another. There is an extremely complex interdependence among these cells. This is why an emotional shock will react on the centres of speech, hearing, sight, coordination of movements, the way of walking, of writing, of behaving. Each shock produces humoral alterations in the receptive cells, as a consequence of the dynamic reaction it causes. These alterations may be very serious, even to the point of causing haemorrhage or lymphatic discharges in subjects predisposed to such trouble. The nervous and cerebral systems become more receptive, more emotive, more impressionable by the repetition of the same emotions. A vicious circle may thus be started which, from emotion to emotion, may cause brain fatigue, anxiety, hallucinations and fixed ideas. The great resource of the nervous system, from the energetic point of view, lies in the fact that abstractions may be formed, through the diversity of centres, which allow a certain equilibrium to be re-established. One centre may rest while the others are working because it becomes diverted from the general sphere of activity. It must not be forgotten, in fact, that distraction is often a source of well-being; it is the natural and normal reaction of a sick or tired organism. The thing that distracts amuses at the same time ; the thing that amuses arouses interest and has a pleasing influence ; the thing that has a pleasing influence convinces, and the strong suggestive power of the cinema on children is derived from this conviction. Eliminating the external world, the cinema makes a greater impression, creates new unconscious reflexes, which form the foundation of the whole character and of the way to behave ; and the younger and more impressionable the brain, the greater the effect. The cinema requires the whole attention of the spectator owing to the simple fact that it gives a pleasant impression, and this is especially the case with children, who are the more easily impressed when the other fields of physical and mental activity are in repose. This is also the reason of the intensity of the emotional effect produced, which constitutes a danger when it is too violent, or when moderately violent emotions are too frequently repeated. It is likewise the reason of the moral influence on the child of spectacles which elevate the mind : scenes of sacrifice, laborious lives, the prizes gained by work, scientific discoveries, the feeling of beauty given by a pure wholesome life in the midst of nature. The cinema will thus help to fix the principles of education, kindness, devotion, filial and fraternal love and the beauty of sacrifice on the child s mind. It should arouse enthusiasm, but only for the finest human qualities. The Cinema and Fa There is no need to cility of Learning. make a distinction between the documentary and the teaching film. The important thing is that the teaching film should not be tiring, boring, heavy, nor beyond the understanding of the children for whom