British Kinematography (1953)

June, 1953 THE MAKING OF EDUCATIONAL FILMS 177 examples of films in this category are Larkins' Without Fear, showing the dangers of totalitarianism, and Norman McLaren's Neighbours. In this last category it is clear that the better the film the more profound and I lasting will be its emotional effect. The field is obviously a large one whether in terms of subjects or instructional objectives and, therefore, the present paper will be largely considerations of the production problems involved in making more effective films to teach processes and skills conveying factual information and to increase personal knowledge. The film technician, presented with a topic, almost invariably tends to think in terms of film as an art. He reads a story, sees an incident or watches a process, and his mind transmutes it into motion pictures — he is concerned with pattern as much as with content. The instructor on the other hand, tends to think of the film as a useful adjunct to a verbal lesson ; his viewpoint is a literary one and he is not interested in visual pattern and is suspicious of film as art. Hence some documentary-instructionals tend to be sophisticated and mannered and many classroom films are rather drab and pedestrian. It is probably true that the prevailing emphasis on the film as an " extension of the blackboard " has tended to diminish the function of the film to stimulate and awaken. In the latter case the manner of its making and its artistic quality are obviously of first importance in relation to its emotional appeal. On this broad distinction between the strictly pedagogic and the stimulating film we can proceed to more detailed considerations affecting the film technician. Standards of writing, direction and editing are much the same whether the film is for use in the classroom, in industry or in the Services. We are using a film rather than some other medium because the film gives a clearer demonstration. There is little or no art about it, and the essence is the bare bones of the subject presented in logical sequence with no distracting irrelevances. Such films, well or badly done, are, in their essence, simple to make and not expensive. In considering the problems of production technique in relation to instructional effectiveness, factors other than the quality of the film itself are involved. For example, the film must be made to meet the characteristics of a typical audience or student whereas, in fact, no typical audience or student really exists. The teaching procedures that accompany the use of the film vary in effectiveness and all too often the quality of the projection falls below the standard assumed by the production team when the film is made. Film technicians can obviously only concern themselves with the content and structure of the film, combining motion pictures, speech, music, charts and diagrams to produce the most effective whole. Other aspects of instructional effectiveness fall outside their sphere and are in the hands of teachers and instructors — most of whom are keen to get the utmost value out of this medium of instruction. The following paragraphs deal with more or less precise production techniques though not in any particular order of importance or significance. Rate of Development A slow rate of development in a film is more effective than a rapid one but in nearly all training and educational films the tempo could with advantage be slower. It is important that the subject be built up logically, step by step, and that continuity be clear and precise. Each sequence must remain on the screen long enough for the student to grasp it thoroughly, and the director should avoid quick cutting, flash pans, " fancy " wipes and other devices designed to speed up action. The tendency to pack a large amount of instructional material into a short film must be resisted. It defeats its own objective which is more learning in less time. The comparatively expensive nature of the film medium makes people think that overcrowded and fast action will help to justify the cost, but this is a complete fallacy and probably derives from the current practice in entertainment films. Our object is to teach, to enable people to acquire factual knowledge