The Exhibitor (Nov 1938-May 1939)

13 LETTERS TO THE EDITOR He Speaks About the "SSB” New York City. Gentlemen: Your recent thoughts on the playing of the national anthem in theatres proved quite interesting. I, too, am intensely interested in this and I have written a few observations, for which I hop: you can find room. I would like also to hear from brother managers on the subject, through your columns. A Reader. (Editor’s Note: What follows represents the substance of his remarks. Other readers are also invited to present any thoughts they may have on the subject.) REAL PATRIOTISM— NOT FLAG WAVING Cycles are not unknown in the motion picture industry. Indeed, cycles of one sort or another are virtually the life-blood of the business. But one of the most senseless of all the cycles is the one started sincerely by the distinguished president of Warner Brothers Pictures, Inc., Harry M. Warner. In urging the practice of Americanism — the belief in and the advocacy of the ideals and institutions of these United States of America — he acted in accord with the hopes and aspirations of every American citizen, native or naturalized. But when the industry launches upon an orgy of flag-waving, a cramming down the throats of the general public unadulterated “patriotism,” then it is time for the sensible portion of the business to apply the brakes of common sense. Harry Warner had the right idea. He still has it. To make a definite impression his company (and it was his basic idea) proposed, and has made, a series of two-reel subjects which re-created stirring events of U. S. History. By putting these things on the screen, primarily as entertainment — however sincerely they may be motivated by other hopes and purposes — the public is taught not to hip-hip-hooray every time a flag is waved but the fundamental reasons why this country is today outstanding among the nations of the world. It is, for example, all well and good to stand in deference to the National Anthem, but how more meaningful is that act when one has, through a screen presentation, relived that night on Chesapeake Bay when Francis Scott Key watched the bombs bursting in air, saw by the dawn’s early light that “the Star-Spangled Banner” still waved over the land of the free and the home of the brave? Hardly lives, too, the schoolboy who cannot tell you that it was Patrick Henry who enunciated the dramatic “Give me liberty, or give me death!” And, again, how much more pregnant with significance is it to have seen the distinguished delegate from Virginia rise in the Assembly, openly and irrevocably defy His Royal Majesty George III, give in inspired words the greatest speech ever delivered in the cause of liberty? The Declaration of Independence also takes on added significance after one sees, re-enacted upon the screen, the story of that immortal document’s birth. Flag-waving — pure flag-waving, for purposes of "patriotism” — has no place on the American screen. True patriotism is not to be worn as a blouse. Let Mr. Warner and any others who so desire make these historical shorts, short subjects that shall first be entertainment, and, after that, education in basic patriotism. Let them show why the U. S. is great and free — and what it has cost throughout the years to make it so — and let them, thereby, convince without flag-waving that this nation shall not perish from the earth. BOOK REVIEWS MOTION PICTURES AND RADIO (Report of The Regents’ Inquiry Into the Character and Cost of Public Education in the State of New York), by Elizabeth Laine. A'-) 165 p., with foreword by Luther Gulick. New York: McGraw-Hill, 1 93 8. Working on the premise that motion pictures are “definitely educational in character,” Elizabeth Laine, member of the research staff. New York State Regents’ Inquiry, has written what can be called a text book for educators. Although it is admitted that the full-length films tend to influence the social conduct of the public, the authoress points out that shorts are usually more directly educational. March of Time, newsreels are given as excellent examples. Production, distribution, cost of non-theatrical films such as commercial, government, educational, etc., are dealt with at length in the second chapter. It was found that this group of motion pictures lend themselves more readily to classroom purposes not only because of their educational value, but also because of their relative low cost. However, despite the recognized value of moving pictures, the prohibitive cost of that method of learning is “responsible for the retarded development of motion pictures in educational fields.” There are free films aplenty but that does not pay the price of a projection machine. From experiments conducted, it is estimated that the gain in learning ranges from 20 to 27 percent, power of retention gaining as high as 3 8 percent by the film teaching process. In recognizing th: usefulness of motion pictures as an integral part of the school system, Miss Laine adds: “It is not enough that films should be educational in a broad, general sense. From one point of view they are all educational; they all have something to tell or some information to impart. The important thing to consider is whether they impart the correct information at the correct time and in the correct way. It must be confessed that in the past, and to a great extent at present, instruction by means of the motion picture has amounted to nothing more than exposure to unorganized and uncorrelated information. Films ... to have real educational value, must perform clearly defined functions.” It is that problem of co-ordination with which Miss Laine is faced. She suggests training of teachers, experimentation, research to promote a wider use of motion pictures in the schools. By means of a planned chart, she outlines a suggested set-up for the state education department. Miss Laine calls attention to "the danger of perverting the motion picture to the uses of private propaganda.” The second half of the book deals with the problems of teaching by radio. It is a book well worth reading. Exhibitors might be able to figure out ways, means of cooperating with local school authorities, reap the benefits thereof. Lewis S. Mentlik. Number 11 of a Series: HARRY BRANDT President, BRANDT THEATRES; President, INDEPENDENT THEATRES OWNERS ASSOCIATION. "I would be derelict in my appreciation of a job well done were I not to add my voice of commendation to that of the others of our industry as to the value of the NEW YORK STATE EXHIBITOR. Written by theatre men, for theatre men, it has that angle of news value which makes industry problems understandable. "I heartily recommend the NEW YORK STATE EXHIBITOR to all exhibitors for its unbiased news value.” Nearly every Exhibitor reads THE EXHIBITOR! AN INVITATION Throughout 1 93 9, expressions of praise, comment, criticism or suggestion from our many Exhibitor Friends will be carried in similar form in every issue. W,e welcome the expression of every reader and will use them in the order in •which they are received. February 8, 1939