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MICHELLE BENDER
WE ARE IMPRESSED by the striking parallel that exists in the audiovisual trends of both education and industry business, despite the sentiment of some in the audio-visual fields, that because business and industrial audio-visual sales volume is currently surpassing that of education, only the former is "where it's at" for audio-visuals. Judging from broader trends, we do not believe the situation is so narrow in scope.
It is true that business may use audio-visuals in more varied applications than education — point-of-purchase displays, sales presentations, in-house closed circuit videotape systems for meetings (although lectures and programs in schools are also given this way), public relations and promotional films, to name just a few.
However, it is aLso true that the role of audio-visuals in both areas arc similar — to inform, to influence, to educate; and the needs are similar — to communicate information in a graphic attentionkeeping way, and to store and retrieve it easily. Accordingly, the trends of business and industry audio-visual applications are reflected in those of education, and vice-versa.
The parallels were quite noticeable at the American Educational Communications and Technology Convention in Philadelphia recently (sec page 22 for wrap-up report). Film and videotape, for example, are still vying for dominance in usage, and the problems of standardization exist for both industry and education.
Another illustration is the growing strength of super-8, as sight and sound cartridges become widely utilized. Business is using them for sales presentations and employee training, while education uses them for individualized student instruction. Super-8 is also widely used in filmmaking courses, but 16 mm is still the film format most prevalent for both educational and industrial motion pictures.
Even the contents of some films indicate a sort of overlap in the business and education communities' applications of audio-visual. Recently, as judge for films competing in the semi-finals of an industrial film fair, we saw cinematic techniques and experimental approaches that could rival those of the most avant-garde educational or general interest filmmaker.
The relationship of the business/industrial film and the educational/general interest film is a bit like that of the chicken and the egg. Chronological order is unimportant, but the close kinship — in equipment trends, in problems and sometimes, in cinematic approach — should not be underestimated.
AY. 1971