Educational screen & audio-visual guide (c1956-1971])

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" Please send me; 20 ft. rolls — transparent 16mm — single perforation (T16S) at $2.20 66 ft. rolls — transparent 16mm — • single perforation (T16S) at $6.00 20 ft. rolls — transparent 16mm — double perforation (T16D) at $2.20 66 ft. rolls — transparent 16mm — double perforation (T15D) at $6.00 20 ft. rolls — transparent 35mm (T-35) at $4.04 66 ft. rolls — transparent 35mm (T-35) at $11.00 66 ft. rolls — white opaque — 16mm — magnetic film only (0-16) at $6.00 66 ft. rolls — wtilte opaque — 3Smm (0-35) at $11.00 n n n n n n n n n SPECIAL INTRODUCTORY KIT: 1 20' roll T16 ($2.20) 1 20' roll T35 ( 4.04) F & B Film Repair & Butt Splice Block (19.95) ($26.16) I I Special Introductory Kits atonlyTl4.JU Vi" splicing tape for magnetic tape (S4) at $.57 I Nam* . Addrtu I City soup! He may wobble a little from critical objectivity simply because so much came after the soup. Fondness for milk doesn't qualify one to make shrewd purchases of dairy cows in the open market. In like manner premarital counselling experts may be forgiven if they lack film expertise. The Compact Projectors Our response to the 'compact' projectors was immediate. On our recommendation the Hospital Guild of our community bought one right off to use in the children's wards, and we got one for the church. Two neighbor churches also bought. To date nothing but satisfaction for all of us. But, to score from now on, all compacts must be good projectors and not just something which can be called a 'compact projector.' They must have more engineering than styling. I don't think my teachers have noticed the style of ours, and I think that goes for the hospital guild women. If the engineering is good, style takes care of itself. No one wants roundness with flat spots. But flat spots have no business where roundness is what's needed. Just engineer them to do the best job of getting the best possible image out there on the screen, in the truest colors, with definition right out to the edges, and style will go along, free. Design these compacts so they run cool, get the film through without sticking, hold it tight so it won't pop, and elevate easily, and thread and unthread with no trouble and who will give a hoot about style! But, if you give us pressed lenses when they should be ground, give us film-gates that let the strip pop in and out of focus, give us a lens system intended for slides and not designed alone for filmstrips, you'd better be super both in sales promotion and style if you expect to push them out to the church and school market. But, right off the stylists will get into the act and botch it up. Their conceit is equal to just about anything. The style of a race horse that can do a mile in 2:00 is, after all, pretty good without the assistance the stylists and their chrome and tail fins and gegaws. Good But Not Good Enough For some time we have needed a filmstrip on how to use filmstrips in the church. Several have been produced which sideswiped this idea. One centered on the school use of filmstrips; several others center on utilization (relating it to the on-going program of the church) but did not get very far or deeply into know-how angle of actual use (setting it into the experience continuum and nailing it fast psychologically). Now comes Eye-Gate House, Inc.. (Jamaica 35, N.Y.) with its two-part filmstrip in photography and art and a recorded (LP) commentary, Ilotv To Use A Film-strip. In a nutshell, it is good but not good enough. It covers some of the ground, but does not turn a very deep furrow of insight. It clips the tops off some ideas, leaves others standing there untouched. It has two signal weaknesses. It is just about mute on the art of 'readiness' and close to silent on follow-up. It sounds like a textbook version, with some of the chapters not read any too closely, rather than a production which comes from boimtiful and varied experience. It does very weU on selection and preparation, although there is little b\ way of statement of guiding principles on either of these activities. It does very well on equipment and physical facilities, touching the main points On presentation, actually getting tVi( filmstrip set into the activity of tin class, it is brief and superficial. Whili noting the importance of foUow-u]). it is naked of ideas on how to do it, and speechless on general principles. On the technical side— sound and photography— it is a good job. Why not? This we have come to expect. Do we congratulate the dairyman for putting our milk in clean cartons? As a strong handle is to a good hatchet, so are good technical qualities to a filmstrip. No longer can producers get by on technical qualities: They must deliver 100 percent in the treatment of the subject matter and this is where this filmstrip comes up short. For those who don't know anything about use it will be helpful. Those looking for a somewhat definitive treatment of this subject-how to get the educational juice out of a filmstrip— will need to do the best they can with this one while waiting for one which is more insightful and complete. Bored With the Holy! If the commercialization of Christmas leaves even adults bored and blase, are we to wonder or be amazed when teenagers yawn and get little if any lift from this holy day? Not only this, how can the essential message capture them? And I am speaking of 'church' teenagers about \\'hom I know a thing or two! After seeing Teenage Christmas, a Family Films, Inc., production, I felt that in seeing this film many bored youth would experience Christmas once again. In this 30-minute color film a group of church young people confront a social situation which challenges them. 500 Educational Screen and Audiovisual Guide — September, 1961