The Educational screen (c1922-c1956])

Bodily movement and facial expressions are vividly visualized for the student of dramatics in such a film as "The Tell Tale Heart" (M.G.M.), available through Teaching Film Custodians, Inc. of dramatic activity is a difficult job; and the job of helpin<T him to develop imagination is dependent upon the ability to visualize. Films visualize for the student ; films "plant" pictures upon the mind ; films allow the student to close his eyes and reproduce or recreate what was seen. A teacher can tell her students to study human beings: on street corners, in buses, in public places. Such procedure has vakie in placing a student upon his own resources. But what does the student see? Is he making correct connections between inner thoughts judged by seen outer reactions? Is the teacher at hand to assist the student? Can the student say to a man or woman. "Pardon me, sir — or madam — but will you do that frown over again ? I want to study it." What Better Source Material? Obviously the film offers the teacher an opportunity to overcome such obstacles. Children like films : children see films constantly ; films have great adaptability and flexibility for purpose and time elements. In addition, films allow teacher control — within reason — of a valuable experience. Students can be shown the same film ; teachers can indicate features of bodily movement and facial e.xjjression : the same film can be used several times for emphasis and progressive develo])ment of points ; and, motion can be arrested for closer study. Where else could the teacher of dramatic activity find better source material than in films which utilize actors, actresses, and acting? Foundation Laying In controlling the experience with film in study of bodily movement and facial expression, careful attention must be paid to the previewing of a film and to the making of an outline guide for student use. Any film containing human beings in motion may be of value to the teacher of dramatics. Presuma1)!y even a film describing sheetmetal work could be used, if there are men in the picture who are moving and using facial expression. A\'ith such an idea in mind, I tried to find a film for use with my dramatics club. The technicolor film, Romance of Robert Burns, came to mind. Although used principally in classes studying literature, it seemed to offer possiblities for use in teaching dramatics. Aided by the Bureau of Audio-Visual Aids, Indiana University, the film, in addition to a number of others, was secured for preview. It was determined in advance to divide each film into units for ])review. A Good Film for the Purpose The film used, Romance oj Robert Bi(r)is. was ideal for such purpose : it had ten clear-cut scenes with a fade-out and fade-in to indicate to students the transition from scene to scene. Such a division seemed necessary in order to show students a small portion of film at a time for clear mental pictures rather than to crowd the mind with a solid film continuity. The first preview revealed the scenes; the second preview revealed the movement within each scene. The film was stopped where necessary in order to re-run a scene to find all of possible value. In the second preview attention was paid to body movement : hands, trunk, head, legs, arms, stance ; also, facial expression : eyes, eyebrows, foreheads, knitted brows, nose wrinkles (sneering), naso-pharyngeal lines, mouths, and mouth lines. An outline was then prepared which paralleled the film. Following is a cutting from the outline : BODILY MOVEMENT AND FACIAL EXPRESSION Film: The Romance of Robert Burns Iiitroduclioii : As the tilni opens, note the movements of music, of print, of water, of changes in scenery, of human beings, of singing, of speech. Here you have the keynote of dramatics — movement to provide variety for the eye and the ear and thus to entertain the spectator and Hstener. The film is in definite scenes. Some tilings for wliich to watcli : SCENE I. THE TAPROOM SCENE. a. As the scene opens, note attention singing. is centered upon b. Note sliglit movement of people, movement behind singers to add a reahstic touch ; movement does not detract from singing for attention is still centered primarily upon the song and grmip of men seated at table who are singing. c. -Attention is directed toward a group of men talking about the song (still the center of interest); you learn incidentally that song words were written by Robert Burns. 168 EducaHonal Screen