We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
— 324 —
original objective, the educationist may hope to achieve two things from the film — a new and closer acquaintance with what is known and also fresh knowledge of the film itself. The film becomes more than a means of culture, it is itself educational matter.
The group formed for vocational and professional ends demands that the cinema shall advance them in their occupation or calling. From this group comes the strongest condemnation of anything technically false or sham — a doctor, for instance, who is seen thoroughly at home in the salon, but seldom seen to use his stethoscope. A metal-worker, weaver, farmer or carpenter, brainworkers of every kind, the commercial man and the sailor are all dissatisfied because they see themselves falsely represented. A merchant, fresh from his business, will go and see " Buddenbroocks " and " Soil und Haben " and will want to show his younger colleagues or his family — especially nowadays when business and family life are becoming increasingly divorced — what conditions in his profession are like. For himself the film should have an ethical significance, representing a vision of the future or the fulfilment of his dreams; it should in fact help him in his business and infuse into him energy, faith and hope. To be sure, this is not a purely aesthetic or generally humanitarian motive, but in education we are concerned not so much with aesthetic canons as with beings of flesh and blood, with whom and for whom we are working. Accordingly, we can only wish that there were far more films for this vocationally-connected group than there actually are. The German peasant does not yet get what he wants from the cinema; nor does the modern workman, business man or intellectual worker. We cannot ask that an entertainment film should supply vocational training in manipulation or technique or by illustrating new methods of work, but only that it should show to members of a trade or profession the higher aspects of their calling. Granted that the film is an honest piece of work, that alone will prove a boon and a blessing.
This intentional culture through the film may also go hand in hand with incidental or fortuitous culture, derived from classical music and still more from the contents of the film. This tallies with the point we have already made. One man seeks, besides entertainment, instruction in geography or natural science, another has literary tastes, while a third is mainly interested in the actors (especially the provincial spectator who rarely has the chance of seeing a Paul Wegener or a Werner Krauss). These are the incidental rewards of a literary education, catered for by the recreational film — secondary impressions absorbed by the spectator often subconsciously but occasionally quite consciously.
The artistically educational values are often to be found in these fortuitous elements. The aesthetic effect of light and shade contrasts, of a well-selected " shot ", of the movement of figures, of harmony between man and nature or between man and his environment, the fixing of the picture