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the film involves drawing, we shall also, of course, require the draughtsman; indeed, half the job is his.
We have no illusions as to our inability to do justice to these drawings, even as here described and I crave the reader's kind indulgence for all the " examples " taken from the draughtsman's field. Our description of " examples " may be compared with the singing of a piano-teacher, who renders the tune in a hoarse or cracked voice just to give the pupil an idea of it.
The film, it should be remembered, claims to develop " a process of thought, reduced to the simplest form, as directly as possible." (" Die Kinotechnik," 1928, vol. 2, p. 42). In teaching grammar, processes of thought must be reduced to the simplest possible form and the film artist will then be easily able to reproduce this process in a cinematographically direct form.
In conclusion, I would again emphasise that the most important question in connection with grammar-teaching is the time-question: when shall it begin? The answer to this question depended, we said, upon a test, which is a matter for organisation, since we are concerned with numbers. Once again it must be said that, if this method is to be a practical success and is to win a measure of approval and support, pedagogic and business (publicity) aspects must be given like consideration. This cooperation must be built up between men of different minds. The teacher should not look at matters commercially, nor the business man academically, as sometimes happens. We will now pass on to the section " Publicity, organisation and teaching," in order to give an idea of what we understand by the union of these essentially conflicting forces.
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