The educational screen (c1922-c1956])

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80 The Educational Screen development, it finds natural precedent in the famous course on Playwriting established and brought to a position of high importance by George P. Baker at Harvard University. Professor Baker's innovation evoked sceptical smiles in many quarters at the start. But these smiles have long since changed character before the succession of successful and important dramatists developed within those academic walls. There is no reason to doubt that the success of the experiment in the realm of the stage-play can at least be dupli- cated in the new field. It may even be surpassed, for there is certainly far less standardized .knowledge of scenario prin- ciples today than of the principles of dramatic writing when Professor Baker began his remarkable work. The need of such scholarly attention is greater. A decade from now we# may have a new brood of scenariowrights and university- trained directors who will help to usher in the period of real greatness for a dramatic medium which has hitherto and for the most part achieved mere "big- ness." We are glad to give here an extended reprint from the circular announcing Dr. Roger's course: The course is both cultural and practical. It considers the motion picture as a means of expressing thought and communicating ideas. It furnishes a background for under- standing and judging motion pictures used for entertainment, for instruc- tion, and in industry. The course gives a working knowl- edge of the principles which under- lie production, of the psychology of visual appeal, and familiarity with the best practice in producing motion pictures, both on "location" and in the studio. Students will have experience with the functions of production by ac- tually producing a short picture. In addition, pictures will be shown in the class room to illustrate the tech- nique and artistry used in motion picture production. The course deals briefly with the history and development of motion pictures, and the classification of pic- tures according to their use: Enter- tainment, educational and industrial. It establishes tentative standards for judging these types of pictures ac- cording to the degree of success with which they attain their objectives. It also includes a study of the following topics: 1. The physics of production, in- cluding a study of the nature and phenomena of light. 2. The chemistry of production, especially the manufacture of raw photographic stock, developing, print- ing, tinting and toning. 3. The mechanics of production, with consideration of various types of motion picture cameras and their method of use. 4. The functions of production, with analysis of the duties and re- sponsibilities of scenario writer, pro- duction manager, director, art di- rector, camera man, and editor. 5. The factors of production, in- cluding types of photography, as straight, "trick," natural color, and microscopic, the making of cartoons and technical drawings. It is the custom to have invited guests who are experts in the vari- ous branches of production address the class and thus supplement the work of the instructor. By this means, students come in contact with capable motion picture directors, laboratory experts, critics, editors and producers. (For further details in regard to this course, address the Secretary of Columbia University, New York, N. Y.) "T HE foreign invasion" goes me rily on. It shows signs < broadening in the range of sul jects imported. Serious productions came first. W have been—or should have been—dul thankful for "Passion," "Deception "Caligari" and the rest, not only becaiu of the splendid evidence of these filn themselves that there is and will be a "art of motion picture," but because the