Documentary News Letter (1944-1945)

44 DOCUMENTARY NEWS LETTER THE VISUAL UNIT by R. K. Neilson Baxter since thf visual unit is something comparatively new, it is perhaps not surprising that some misconceptions of it are about. It is sensible to attempt a definition and, to that end, first to trace its history. The statement that the production and use of teaching films is still at the experimental level is becoming a trifle threadbare. Nevertheless, it cannot be too often emphasised. During the prewar years, methods of production were not sufficiently specialised, with the result that the material produced had only one consistent merit — that there were plenty of things for the teachers to criticise in every film. Some films were criticised because they tried to cram in too much, others because they left out points considered to be important. Controversy raged round the "sound versus silent" problem. Teachers complained because they could not stop a film, holding a still picture on the screen while they talked about it. And so on. But the opinions about any film varied. It became obvious that variations in teaching method made a film valuable to some and not to others. To some of us who met and talked into the small hours at Visual Education Conferences and suchlike, it seemed reasonable to experiment with something more flexible than merely one film to cover a subject — or even a series of films. From the producer's point of view, too, this idea had merit, for the instructional film tech niques that were developing during the war showed quite clearly that for a teaching film to be thoroughly effective it must start with first principles and proceed through a clear logical line of reasoning, leaving nothing out, to its conclusion. This very often meant that films became very much longer than they conveniently should have been. They had to be broken up into several self-contained parts, or accompanying still strips were used as mnemonics, since the whole film and a lecture could not be given in the same study-period. If this was true of Service instruction, which was to all intents and purposes standardised, even greater difficulties might be anticipated with material to suit the diversity of the schools. No film could safely assume that certain facts were already known to the children who were to see it — sometimes they might be, often they would not. The necessity to play safe by aiming to be comprehensive would result in completely unwieldy films, totally unsuitable either for a child's capacity or for the 40 minute classroom period. One was at all times reminded, however, that no film should attempt to be complete in itself. It must be regarded as a tool to be used by the teacher at his discretion. It was only one of many visual aids which could be placed at the teacher's disposal to be used by him as circumstances, the mentality of his classes or the curriculum might demand. announce further films completed From, , Series " The Technique of Anaesthesia Intravenous Anaesthesia Part 2. Signs and Stages of Anaesthesia. Carbon Dioxide Absorption Technique. Respiratory and Cardiac Arrest. Operative Shock. Handling and Care of the Patient. (Available to approved medical audiences only.) From : " The Health of Dairy Cattle " Series Hygiene on the Farm. From the " Soil Fertility " Series Factors of Soil Fertility. Lime. Land Drainage. PENICILLIN The story of its discovery and development, and the use of penicillin on war casualties. Other films in production will be announced when completed. Applications for the loan of these films should be made to the Central Film Library, Imperial Institute, London, S.W.7 So the idea of the visual unit came into being. A visual unit sets out to do two things: to supply the most appropriate visual aid to support the teaching of each aspect of any given topic, and to provide any teacher of that topic with a family of visual aids which he can use as suits him best. No single component of a visual unit attempts to give complete coverage of the topic; each is designed to do its own particular job, and it is selfevident therefore that they must be properly inter-related. Any of the visual aids which are practical for class or lecture room use may be included in a \ isual unit, for example, sound films, silents, still strips (or lantern slides), models, wall display material, illustrated booklets, and so on. But the subject must be studied in advance by experienced technical and educational specialists to determine how it can best be treated and which of the many possible components are appropriate. It cannot properly be planned piecemeal: it must be an integrated whole. Nor can the makers of different components effectively contribute if they work independently: it must be a unified plan. The components of a visual unit are emphatically not intended to provide alternatives for schools equipped in different ways. Nor should they be regarded as a means to offset lack of proper equipment. A visual unit assumes the availability of all normal projection equipment, both cine and still. It must be an equation of two things, namely, the correct interpretation of each aspect of the topic and the teacher's probable needs, which governs the choice of components. For example, a given topic might be covered by a twenty minute sound film giving a broad survey of the subject; several shorter films, either commentated or silent, dealing with special aspects of it which require movement for their proper exposition; a number of still strips (or sets of lantern slides) for the exposition of any aspects which do not demand movement or for recapitulating the key points of the films for detailed study or revision, or as records of special material; wall display material and simple models for reference purposes over a period of time, e.g. a term or the duration of a course; and a handbook to provide an index to the whole unit and to the content of the material. The Ministry of Education has accepted the idea of the visual unit, and intends making a number for experimental purposes. Very soon the first of them on the subject of "Local Studies" will be released. They will be handled through the C.O.I, whose Films, Exhibitions, Photographic and Publication Divisions make it especially suitable. An inter-divisional Visual Unit Committee is already working to cope with the practical problems of unified supervision, sub-contracting and distribution. The problems are complex; to study them closely and to draw upon every source of information and experience at present available is essential. Finally, the production of the Visual Units will not have been justified unless means are provided to assess their effectiveness in practice, which means the fullest collaboration of the teaching profession itself. THE SCIENTIFIC FILM ASSOCIATION The SFA Catalogue of Films of General Scientific Interest is due to be published at 5 /-. Orders are now being taken at the SFA head office, 34 Soho Square, W.l.