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Editorial -^^^ Educational Sereen
ments in this line are as yet *'modest/' but nevertheless extremely valuable to the host of other workers who are taking their first steps in the new field. Third, we shall offer through the year a series of detailed accounts of the activities of highly developed slide libraries in various centers of the United States, with full illustrations. We take great pleasure in announcing as the first of these a series of four articles by A. W. Abrams, Chief of Visual Instruction in the University of the State of New York, which will give a complete and definitive account of the workings of the famous slide library at Albany with its state-wide service to schools. These articles will include much pertinent discussion of the educational questions involved, drawn from the rich experience of the writer in the visual field. The titles of the articles will be: (1) Negatives: Standards for Selection, Titling, Accessioning, Filing. (2) Test Slides and Color Guides, Mats, Standards, Filing. (3) Organization: Classification, Labels, Printed Lists with Notes. (4) Loans: Periods, Types of Uses, Direct Service, Packing, Shipping.
The Misfortune of the Movies
THE **Movies" are their own worst enemies — using "movies" generically, of course, to include not only productions but producers. It is a fact easily demonstrable, had we space enough to hold the evidence. Speaking always in averages, moviedom hurts its cause at every turn; from scenario to release the pictures suffer from pompous ignorance and, worse still, unconscious lack of taste. Then follow sordid salesmanship, outrageous publicity, ridiculous displays in theatre lobbies, tawdry "presentation" stuff — and all punctuated with unspeakable English. Little wonder that the intelligent public comprises so small a fraction of the "twenty millions a day" in the theatres. We shall touch on all these things more and more, as time goes on and space permits, but always — be it remembered — from the standpoint that it is not the motion picture that is wrong. The motion picture has been wronged.
Merely to divert a thing from its highest possibilities means no inherent degradation for the thing itself. Steel, for example, is the very core of our economic civilization — binding the world together by transportation, housing it in mighty buildings, manufacturing its every commodity — yet steel also equips the thief and the assassin. The poppy is no less beautiful an adornment of the earth because it can be made to drug humans into sodden wrecks. Music is still the highest and most spiritual of the arts, even though it be twisted into jazz to enhance the appeal of the brothel. All things have their double potentiality.
The motion picture was unfortunate merely in having to fulfill its lower destiny first. The movie was a foundling in the beginning, and was left on the wrong doorstep, after failing of acceptance on better doorsteps. The parents who finally took it did not recognize the infant as a little brother to the arts, were little concerned over the best methods of up-bringing, had no conscience regarding child-labor laws. They intended that the foundling should pay for his keep as soon as possible and at maximum rates. Only a