Motography (Apr-Dec 1911)

84 MOTOGRAPHY Vol. VI, No. 2. The Kinematograph m School By Colin N. Bennett* SO MANY widely differing classes of kinematograph film may fairly be said to be "educational" that I have purposely left out the word in the title of this article. For instance, all travel films are educational, though when, as often happens, the kinematographer's wanderings are depicted in a scrappy and disconnected manner the product would be hardly of use as an aid to a systematic course of school geography. Again, there is, whether we like it or not, a certain educational force resident in the portrayal of such savage emotions as are usually shown in Red Indian film subjects, though there again the incidents would be anything but suitable as school fare to be used in the instruction of civilized youth. To be of use to English educational authorities, whether public or private, the kinematograph has got first of all to launch out as something more than merely generally informative in character. The instruction it gives has got to fall into line with recognized school curricula. When moving picture films do this they will assuredly sooner or later find a market as agencies of scholastic instruction. Until then all talk of the educational value of the kinematograph film is likely to remain just where it is — as talk pure and simple. But suppose we who produce film subjects do decide to fall into line and play whole-souledly into the hands of the pedagogue ; that means in other words we shall have to set ourselves to teach in graphic form everything now taught in school by the ordinary school-master, and having answered this question how may we go to work in the hope of turning out film subjects that will have a reasonable and just claim to a place in the headmaster's library among other educational works? A rough list of the most ordinary subjects taught in school will include at least the following: CLASSICAL SIDE. Languages. — (Ancient) Latin, Greek. (Modern) French, German. English. — Grammar, Literature, Composition, History, (English and foreign). Logic. MODERN SIDE. Mathematics. — Arithmetic, Algebra, Euclid, Trigonometry. Science.— ( Natural Science) Physiography, Natural History, Biology. Botany, (Experimental Science) Chemistry, Physics, Mechanics, Agricultural Chemistry. Hygiene. Geography. Engineering. Carpentering. Some of the above come usually as extras in the average youth's education. Many — for instance, hygiene for girls and agricultural chemistry for boys — are becoming more and more widely recognized as sufficiently important to be ranked with other items of general education. ^Kinematograph and Lantern Weekly, London. In the above list I have omitted to make mention of a most important group of educational items. These are such as belong to the realms of physical culture and include : Games. — Football, cricket, hockey, drill, gymnasium practice, boxing, fencing, etc. Thus we have arrived at something like a true survey of the task we have to perform if we are to render the kinematograph film not only a generally educational but actually a real school force. We must give genuine help in the teaching of all or as many as possible of the above-mentioned subjects in every grade from the simplest to the most advanced. Let me say at once I think that the greatest chance for the kinematograph to make a successful entrance upon the arena of school life is by tackling primarily the elementary side of school instruction. Youth is particularly susceptible to teaching by graphic representation, whereas later on in life when the brain capacity has become greater the same form of imparting knowledge is often less and less necessary. As a case in point the lecture theater at an elementary chemistry demonstration usually shows the center table bristling with paraphernalia, while the advanced chemistry lecture is to the unitiated a comparatively tame affair with little ocular experimental display to enliven its progress. The same applies to other subjects of instruction. The kindergarten arithmetic class is a perfect wonder in its way, replete with variously shaped wooden lozenges, sticks, and counters — in fact with anything sufficiently interesting-looking to encourage and cajole the budding brain to make the supreme effort of learning to add and subtract. How sad a come-down do we find when we are forced by circumstances over which we have no control to pass from such a children's paradise to the doleful dignity of scratchy blackboard and squeaky slate pencil in the higher forms. Yes, undoubtedly the smooth and easy path for the kinematograph to travel into the realms of educationalism is by way of the kindergarten class. Here, since the graphic side of instruction is already to the fore little or no adaptation would be necessary in the recording of a lesson upon the moving picture film. Thus we might exemplify a first lesson in arithmetic in some such manner as the following: A snake is seen basking on the grass, stretched out straight in the form of the figure 1. While it lies there another snake crawls into the field of the picture. Slowly the second snake tacks itself on to the first at right angles to it while the first turns its head round in surprise, and lo ! the figure 2 is formed. In what possible way could the fact that one and one are two be taught more simply and graphically? All that now remains to complete the counting lesson is for further snakes to come on the field of view, each one bringing about further re-arrangements until by the time nine have appeared a monstrous figure nine is formed. Thus we learn also' that the more units are added together the greater physically as well as numerically becomes the product. This latter is, of course, often untrue in higher