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Editorials The Educational Screen
form of new subscriptions, of renewed subscriptions, and especially of communications, giving us frank suggestions and criticisms. Tell us how we can make Volume II, which begins with this number, more attractive, more interesting, more valuable than Volume I. The opinions of readers of the two magazines as to what features should be retained, what omitted, what extended, what new features should be introduced — these will be of immense assistance to us in shaping the policy and contents of the enlarged Educational Screen during the coming year.
In the third place, we want the cooperation of significant contributors throughout the country who have strong beliefs and sincere doubts about the new movement, whose achievements in research or in practice prove the genuineness of their interest in the visual cause, whose position and experience lend authority to their utterances. This will mean material for our pages both readable and worth the reading. The "scissors" play no part — we do not say the ''blue pencil"— in the production program of The Educational Screen. We aim to present original and vital matter only, of which the source, form, and content will command attention and respect from thinking men and women everywhere.
Finally, we want the patronage of advertisers who can, who will, and who do render the service that they advertise. In return they can expect from us the fullest and most cordial efforts to promote their best advantage in this newly opened and greatly undeveloped field. We are making a magazine expressly calculated to serve their interests as perfectly as the interests of our readers. These interests are identical. It is definitely our business to foster mutual confidence between the commercial producer and the educational consumer, in a field where this confidence has often been rudely shaken. We intend to make a magazine that deserves and, therefore, has the complete confidence of a public which is exactly the public worthy advertisers need to reach. We want only worthy advertisers to reach it. Such a magazine, with such a public and with such advertisers, cannot fail to be an invaluable means toward the development of this great visual field to the maximum benefit of all concerned.
The Moving Picture Age
THE Moving Picture Age was the oldest, and by far the most widely known pubHcation that has ever appeared in the field. For five years —first under the name of "Reel and Slide," and since October, 1918, under its present name — that magazine steadily maintained high ideals of service to the non-theatrical cause.
During the last two years, especially under the editorship of Mr. Milton Ford Baldwin, The Moving Picture Age made enormous strides in the broadening of its contacts throughout the national field, in discovering and appraising new and varied needs of that field, in seeking to serve these needs in more and more efficient ways, and above all, in restoring and building up in the minds of the interested public a firm confidence in the ideals and purposes behind such a magazine— a confidence that has been badly