Film and Radio Guide (Oct 1945-Jun 1946)

20 «:|LM AND RADIO GUIDE Volume XII, No. 4 in America, is vividly illustrated with more than 400 photographs and drawings, many of them in color, of which 200 are devoted to films. A section on the history, technique, and psychology of the film is remarkable for its concentration o f information and its penetration into the fundamentals of film making. Mr. Fulop-Miiier has simplified the most complex and least standardized mode of expression in the world today. The book is handsomely printed and fascinatingly written, a charming and valuable addition to any library, public or private. Students of photoplay appreciation have here something to appreciate. 4. ART AND PRUDENCE. By Morfimer Adler. New York: Longmans, Green and Co., 1937. Pp. 686. A monumental study of the moral, political, and aesthetic aspects of the motion picture. In the light of historical precedent, based mainly on Plato and Aristotle, Professor Adler proceeds to examine critically the more recent attempts at scientific research, including a detailed analysis of the Payne Fund studies. He concludes with a statement of cinematic principles of form, technique, and taste from the standpoint of a practical philosopher. 5. ART OF THE MOVING PICTURE, THE. By Vachel Lindsay. New York: The Macmillian Co., 1922. Originally published in 1915. Pp. xliii, 289. A pioneer discussion of criteria for classifying and judging photoplays. Analyzes types : photoplays of action, of fairy splendor, of crowd splendor, of patriotic splendor, of religious splendor, intimate pictures. Defines the photoplay as sculpturein-motion : a s painting-in-motion ; as architecture-in-action, as furniture, tra]q)ings, and inventions-in-motion. Enumerates differences between the screen play and the stage play. Discusses trends and speculates as to the future of films. 6. ART OF WALT DISNEY, THE. By Robert D. Feild. New York: The Macmillan Company, 1942. Pp. xvii, 290. Illustrated with 59 full-page (8 x 11) plates, many of them in color, and numerous reproductions of sketches. Appropriately issued by Macmillan, whose list of books about the movies is the longest and, in some respects, the most important in the field, this volume deserves to rank with the HarcoLirt, Brace books by Lewis Jacobs and by Leo Rosten. Chapter 2 is easily the most fascinating account of the evolution of Disney’s technique and the creative methodology which is the basis of his success — showing that Disney is destined to rank with 1). W. Griffith in the development of the film as an art form. Notable also is Professor Feild’s intimate description of the Disney studio, where he was given the freedom of the place for many months and where he found the jobs of the .staff so closely interrelated “that, so far as humanly possible, everybody had to know what everybody else was doing, and the more their activities could be made to overlajp the better. In the very nature of things, it had to be a community enterprise. This has been one of Walt’s great accomplishments’’ (p. 282). The author was formerly a member of the art department of Harvard University, where he was instrumental in having the university give Walt an honorary degree. He is now Director of the School of Art of Newcomb College, Tulane University, New Orleans. 7. AUDIO-VISUAL AND TEACHING AIDS. A series of mimeographed brochures. Compiled in co-operation with Lili Heimers. Upper Montclair, N. J.: State Teochers College. 1940-46. Here are comprehensive and practical guides to the many new teaching aids of interest to teachers of virtually every subject in the school curriculum. A truly pioneer compilation indispensable to teachers of English, health, music, mathemattics, aviation, meteorology, recreation, safety, business, guidance, chemistry, biology, history, geography, consumer education, intercultural education, problems of democracy, general science. 8. AUDIO-VISUAL HANDBOOK, THE. By Ellsworth C. Dent. Fourth edition. Chicago: The Society for Visual Education, Inc., 1942. Pp. 211, with illustrations. The best handbook of its kind — a concise, practical, inexpensive, authoritative guide to the many types of audio-visual aids and to trends in this field. 9. AUDIO-VISUAL TOOLS THAT TEACH FOR KEEPS. By Bruce Allyn Findlay. Foreword by Vierling Kersey. School Publication No. 395. 72 pp. Los Angeles: Office of the Superintendent of Schools. 1944. H o w to make audio-visual tools function in relation to timetested teaching methods is explained here by Mr. Findlay in lively style. He shows how pictorial presentations can give sharper edges to those superb instructional tools called “participation techniques’’ — analysis, comparison, criticism, discussion, identification, completion, detection, solution, interrelation, and selection ; as well as the various testing procedures. His purpose is to provide a basis for building audio-visual instruction materials into the curriculum so that they may be part and parcel of basic units, rather than merely “aids’’ to instruction. 10. BAMBI. By Walt Disney. Based on "Bambi, a Life in the Woods," by Felix Salten. Translated by Whittaker