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246 F. S. CELLIER Vol 48, No. 3
should writers of classroom films sit in with practicing teachers but that they should themselves be practical teachers,
Mr. Finegan also points out that cameramen should not be sent out to secure a scene without being accompanied by a director; and in this connection he specified that the director should have sat in with the writer and be thoroughly acquainted with the script. Here, again, the experience of the past twenty years has led us to the logical next step : Just as the writer and the teacher should be one and the same person, so the writer and the director should be one and the same person.
The personnel experience of my own company, Encyclopaedia Britannica Films — or EBF — has been of great value to classroom film producers everywhere. As you will recall, the company was originally founded in 1929 as a Western Electric subsidiary, and was known as ERPI Classroom Films until 1943, when it became affiliated with The University of Chicago through its present parent company, Encyclopaedia Britannica. The personnel standards set up originally and refined in the light of seventeen years' experience have resulted in the development of a brand-new figure in the motion picture world — an individual who is, at one and the same time, an educator, a motion picture script writer, and a motion picture director.
If you tell me that such animals are very rare, I will immediately agree with you. One of the most challenging problems which classroom film producers face is securing the services of men and women who will qualify on all three points : teaching, writing, and directing. The experience of Encyclopaedia Britannica Films has shown that the ideal person for this type of assignment is someone who has had wide classroom teaching experience, who holds at least a Ph.D. degree or its equivalent in the field of his specialty, who has done considerable graduate work in education, and who has been carefully and systematically trained in all the relevant phases of motion picture craftsmanship. At EBF we prefer to give this training ourselves.
After the most careful screening of applicants, we finally select people who seem to show the greatest promise in these directions. They are usually people who have used films fairly extensively in their own teaching experience. They are people who have "been around", they are men and women of substantial academic standing, and they are still young enough to learn the techniques of film language after they come with us. After two or three years of careful and detailed training they are able to operate as unit producers, with complete