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or to replace it by the projection of a slide of the same object enlarged, or of a different object which would help to elucidate the explanations that follow.
Such a scenario could not yield the best results, because the tool has been clumsily handled: fortunately the producer is there to put this to rights.
It is obvious that the scenario writer cannot foresee the mistakes that will be made in answering the teacher's questions nor the unexpected questions which certain of the recruits may ask. The scenario cannot do more than give sufficient indications to allow teachers in general to present a methodical and comprehensible expose.
When writing his scenario, the teacher should realize that he has three means at his disposal to illustrate his theory : slides, moving pictures from life, and animated drawings.
Slides show all kinds of objects, in the fullest detail, emphasizing them where necessary by arrows or numbers.
The fact that slides may be projected easily and as often as may be desired, makes them a most valuable help to the teacher and gives him the greatest latitude in demonstrating his theory.
We fail to understand the hostility — only partial to be sure — which some film writers show towards stationary slides.
Slides should form the skeleton of the film, because they are of indisputable pedagogic value.
We need not dilate on the subject of the film, the function of which is to reproduce movement.
Motion pictures can be shown at a normal pace or with accelerated speed. The miracles of the slow motion picture are no longer a mystery to anyone.
As for animated drawing, this is the most precious of all methods for making a film instructive. It makes abstractions concrete or shows scenes on the screen which cannot be observed in reality.
The possibilities of animated drawings are almost unlimited if only one has an intelligent, competent, clever and patient draughtsman available. The Belgian Cinematographic Service has had this good luck in the person of Monsieur F. Clausse.
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