Educational film magazine; (January-December 1920)

FREE MOTION PICTURE LIBRARIES (Continued from page 9) and a new market for pictures which scenario writers and film makers would en- deavor to supply. Men who write for pic- tures to be shown in schools and churches would undoubtedly furnish a better class of pictures than are now being made for exhibition in the theaters. Educational Film Foundation Essential It is evident, however, that the free film libraries could not accomplish their highest usefulness unless some motion picture foundation were endowed for the manufac- ture of films for educational, moral, religious and spiritual purposes. The editor of the Educational Film Magazine in the December number says that "It has been suggested that some film foun- dation should be established by Henry Ford, George Eastman. Coleman Dupimt, or per- haps either of the Rockefellers, senior or junior." But if no individual volunteers for such a magnificent philanthropic enterprise, it may be that the united churches of the coun- try may undertake the work. The Inter- church World Movement might very well adopt this as one of its agencies to preach the whole gospel to the whole world in the only universal language. If our nation-wide campaign is to have the glorious victory for which we pray and there is a surplus beyond the S42,OOO.o6o, as we planned, it may be that the Presiding Bishop and Council would deem it wise to enter into co-operation with the Methodists, the Presbyterians, the Con- gregationalists. tlie Baptists, and any other communions which are feeling their respon- sibility to deal with the large problems of religion in a large way, to establish an inter- church motion picture foundation to start and to maintain free film libraries and to produce motion pictures for moral, patriotic, religious and spiritual purposes. If Jesus who in all his teachings used parables "and without parables spake he nothing unto them" were on earth today, it is very clear that he would use motion pic- tures in the work of establisliing his king- dom upon earth and in maintaining his reign of love among men. His Church should do likewise. »■ THE CANNIBAL AND THE CINEMA (Continued from page 19) about him were hundreds of white eyes. The reflection from my screen made their mouths seem twice their normal size on account of the glint of their perfect white teeth, and when the reel was finished they yelled the louder as they told each other all about it. And then I noticed that; Osa was crying; with pure excitement the tears were running down her face. On going close enough to hear her, she told me that this was the biggest moment of her life, that all the hardships we had undergone to get here were more than worth while. I am a crank about good projection, and I never saw a better projected picture than we got on tills night. It was about five by seven feet on the screen, a perfect and powerful light, and the picture was so steady that it seemed to stick to the sheet. They See Manhattan's Wild People Next I showed where Osa and I were leav- ing the Hotel Astor in New York, then the hundreds of thousands of people gone crazy on the streets of Broadway and Fifth Avenue the day the armistice was signed. I told these savages that all the people were saying good-bye as we left America to visit them. I knew this picture interested them the most, for through our interpreter, Nagapate told me that he never knew so many white people lived—he and the other savages thought the Malekula was the biggest place on earth— and here they had seen nearly a million people on the streets of New York. Afterwards I showed streets of Chicago, and Los Angeles and San Francisco and Sydney, and Osa and I on steamer and in automobiles, and then a reel of elephants, aeroplanes, giraffes and birds. Following this I showed pictures of Vao and Santo and other places in the New Hebrides. These pictures they could under- stand; they knew the natives for savages like themselves, but they showed that they thought them a very inferior race of people. The Big Punch Then came the big punch I had waited two years for. I threaded up the last reel showing Nagapate and his Big Numbers people, the films 1 had made two years ago. and I noticed that almost everyone of the people I had in the film in my audience. \ Before starling the reel I set up my moving picture cameras and instructed the black guards how to light the radium Hares j (these guards had forgotten their fear, hav- ing become so excited in seeing moving pic- tures for the first time that they leaned their guns against trees) ; then I had ray yoimg French captain take the projector handle, (Continued on page 28) Boys love to DO things. The Trade School is the place. Get them interested by showing them HOW OPPORTUNITY A STORY FOR YOUR BOY Illustrated circular from Worcester Film Corporation 14^ West 4$th Street Ne^ York City Health Campaign To Make your town SAFE to live in the HOUSE FLY must be exterminated THE HOUSE FLY This one-reel microscopic motion picture gives the complete life-history of the House Fly and shows most convincingly the menace to health re- sulting from its germ-carrying capacity. Other Health Films How to Spend a Healthiul and Beneficial Sunday Nature's Perfect Food How Life Begins For Rental and Purchase Price Address CARTER CINEMA CO., 220 W. 42nd St., N. Y., Telephone Bryant 7594-7595 IVe Are in the Market for Negatives of Educational Subjects Walking to Health Man's Best Insurance Good Teetli 26 I