Film and Radio Guide (Oct 1945-Jun 1946)

22 FILM AND RADIO GUIDE Volume XII, No. 4 another example of the inevitable co-operation and co-ordination of librarians and visual-education directors, as well as the on-going interest of the Rockefeller family in films, radio, and show business. The author is chief of the New York PublicLibrary’s reserve room, who was given seven months’ leave with pay to do the job. Mr. McDonald’s results are eminently worth while, pointing out the need for greater use of films in adult education; the need for training librarians for film service; the need for on-going community experimentation, the need for such encyclopedic, annotated listing of films cumulatively as is being done by the H. W. Wilson Educational Film Guide; the preservation of films as historical records ; and the widespread need for equipping libraries with projectors. Many practical appendices point the way to making the library ot every community the source of films for home and school use, much as it is now the source of books. 17. EDUCATORS GUIDE TO FREE FILMS. By Mary F. Horkheimer ond John W. Differ. Introduction by John Guy Fowlkes. Fifth edition. 254 pp. Mimeographed. Randolph, Wisconsin: Educators Progress Service. 1945. This is the most complete descriptive bibliography of “free” films and slidefilms, including 1270 titles, with full information as to sources. The materials are classified .so that teachers of social studies, science, health, art, music, shopwork, foods, clothing, etc., can readily find in the list suitable subjects in their fields of intere.st. 18. EMPEROR JONES, THE. By Eugene O'Neill. Students' Edition. New York: D. Appleton-Century Co., 1934. Pp. 64. Includes a guide to the study of the screen version of the ])lay, dealing with the literary source and production, musical elements, cinematic treatment, photography, characterization, story structure, use of contrast and comparison, humor and irony, prepared by William Lewin and Max J. Herzberg. 19. FANTASIA. By Deems Taylor. Foreword by Leopold Stokowski. New York; Simon and Schuster, 1940. Pp. 157. The story of how Fa)(faftia came to be made, with i)rogram notes by the film’s commentator, copiously illustrated in color and beautifully printed in folio size, 10 X 13. The volume serves as a glorified souvenir program, with chapters devoted to the critical appreciation of each of the eight numbers making up the film. Synopses of the pictorialstory treatments are presented i n simple style, interpreting what Disney and Stokowski have tried to do in their effort to visualize and popularize these great musical comi)ositions. Teachers and students of art, music, drama, and i)hotoplay appreciation will find the book a valuable aid to discussion and a charming addition to the school library or the home library. 20. FILM AND THEATER. By Allardyce Nicoll. New York: Thomas Y. Crowell and Co., 1936. Pp. 255. A charming and scholarly work in which a Yale professor outlines the basic principles of the new art of the screen in relation to the old art of the stage. A practical introduction to the theory of the cinema in the light of the drama. 21. FILM DAILY YEAR BOOK OF MOTION PICTURES. Jack Alicoate, Editor. New York: The Film Daily. Published annually since 1918. The oldest encycloi)edia of filmdom. Universally recognized as a standard book of reference concerning the multifarious activities of the motion-picture industry. Producers, distributors. theatre operators, and critics always keep this 1000-page volume handy. Students of the photoplay will find it a treasure-trove of information. Among its features is a 200-page directory of more than 20,000 features released since 1915, together with a list of the original titles of books and plays made into films under different titles. 22. FILM SENSE, THE. By Sergei M. Eisenstein. Translated by Jay Leyda. New York: Harcourt, Brace & Co. 1942. Pp. XX, 288. A searching analysis of the art, philosophy, and technique behind the brilliant work of Russia’s leading film producer and director, who is also head of the State Institute of Cinematograi)hy at Moscow, as well as supervisor of the Mosfilm Studios in Russia’s capital. The man who made Potemkin, Ten Dan^ that Shook the Wo)‘ld, and Alexander Nevsky tells the meaning of the famous Russian technique of montage — a mathematically calculated .system of harmony and counterpoint which makes a simultaneous assault on the senses of sight and hearing and appeals to both the emotions and the intellect. Sequences from Eisen.stein’s scenarios and a series of parallel illustrations of film shots and musical i)hrases clarify the techniques of interweaving pictorial composition, cinematic movement, and music. 23. FILMS ON WAR AND AMERICAN POLICY. By Blake Cochran. Woshington, D. C.: American Council on Education, 1940. Pp. vii, 63. This able monograph offers a basis for disciussion of events that lead men into war — the ideas and conditions that lead to force, oppression, and treachery in international affairs. The description of the films has been arranged in three parts : prelude to aggression, path of aggression, the American course.