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University. We need only reflect on the enormous series of nervous symptoms and diseases which reveal themselves by morphological changes and motor disturbances to realize the enormously wide scope which this domain offers to the cinematograph. The different types of paralysis, convulsive attacks, disturbances of muscular tonus (the latter so deeply studied from the clinical standpoint after the war) — all these are troubles in which the pedagogic efficacy of the cinematograph is unrivalled, for in most cases we have only to look at the film to gather as complete a knowledge of a case as personal examination of the patient could afford.
The peculiar value of the film is all the greater in cases of rare diseases, only occasionally met with in ordinary practice, cases which may occur at many years' interval in the experience of a doctor. The exhibition of films of such cases to students makes up for the insufficiency of clinical demonstration, so often impossible in rare diseases. In the past, theoretic teaching alone has been possible in such instances.
A special didactic interest attaches to films of nervous diseases , for they constitute permanent evidence, and lose none of their efficacy when the disease is cured and the motor symptoms, thus recorded, have disappeared. There are, for instance, cases of facial paralysis in which successive films, taken at different stages of the disease, enable us to follow, through the modification of the morphological appearance of the cheek, the gradual disappearance of paralytic immobility and the progress of the cure until complete recovery. Similarly, in the case of long illnesses, such as muscular atrophy from infantile paralysis, films taken at intervals of months and years are of inestimable evidential value, since they enable us to follow the successive stages of the progress of the disease.
Nor is it possible to exaggerate the post mortem value of the film, which enables us with the help of pathologico-anatomical specimens to reconstitute faithfully a demonstration of clinical phenomena as clearly and accurately as if the living patient were before us.
There is one obstacle to the more general use of the cinema
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