Moving Picture World (Jan-Feb 1922)

56 MOVING PICTURE WORLD January 7, 1922 Instructions More Easily Absorbed When Given Combined with Motion Pictures STUDENTS taught by a combination of motion pictures and oral instruction pass examinations which average 22 per cent, higher than those instructed orally only, an experiment conducted on about 500 New York school children by a graduate student at Columbia University shows. The results of the experiment have just been made public at the university in an announcement stating that the course in motion picture making would be continued as part of the university curriculum. The experiment was conducted by Joseph J. Weber, of Hague, North Dakota, a graduate student in education at the university. More than five hundred students were placed in different groups, it was explained at the university. All at one time were in Group A, and received instruction by oral means only. At another time all were in Group B and had twelve minutes of motion pictures, followed by oral instruction. At another time all were in Group C and had oral instruction, followed by twelve minutes of motion pictures. Better Than Orally Instructed “The surprising fact developed that the same students when in Group B or when instructed by motion pictures followed by oral instruction, passed examinations which averaged 22 per cent, higher than when they were instructed orally only,” Rowland Rogers, instructor of motion picture making at Columbia, said : “When the students were in Group C which had the oral instruction followed by the motion pictures, they were still 15 per cent, higher than when in Group A, or instructed by oral means only.” The Columbia course in motion picture making, in connection with which the experiment was made, is planned to give a working knowledge of the principles and technique of motion picture production. The students actually produce a motion picture, learning how to plan the picture, how to photograph it, the mechanism of the camera, and learn the methods of producing natural color, cartoon, trick and technical drawing pictures. AMERICA, with its censorship problem, by no means has a corner on difficulties in the production of moving pictures. This was the gist of information furnished at the R-C Studios in Hollywood recently by Walter Tennyson d’Encourt, representative of the International Artists Film Co., Ltd., of London, who was visiting Southern California to get information on the production of films in America. There is a dearth of technical experts in Europe, said Mr. d’Encourt, and this is a handicap that is keenly felt and only time can overcome. Mr. d’Encourt visited many studios, but spent an entire day on the R-C lot. He was particularly interested in meeting Pauline Frederick and Sessue Hayakawa, because, he declares they are two of the greatest favorites in England, and he was glad to have their views on picture production. He stated both Miss Frederick and Mr. Hayakawa are “The Actors’ actors” in England, that is, their histrionic technique, and ability to “put over” things in a subtle way are studied by thoce anxious to improve their own work upon the screen, also that these two R-C stars are also great box office attractions with the masses. Mr. d’Encourt gave an illustration of Mantzke Joins Hodkinson Frank Mantzke, formerly manager of the Robertson-Cole exchange in Minneapolis, and at one time manager of the publicity department of the General Film Company in Minneapolis, has been added, to the sales force of the Hodkinson exchange in Minneapolis. Mr. Mantzke was manager of the Mutual exchange in Kansas City from 1914 to 1919, and was later transferred to Minneapolis. what producers have to contend with in England. His organization recently sent a company to Spain. They took their own supplies, but on returning, had to pay the regular customs charges on this film, whether it had been exposed or not. It is in matters of this kind that British producers are still seeking cooperation from their government. There is a great need in England now for art directors, electrical experts, and others well versed in off-stage technique, he said. Those trained in the technical side of production in America would be welcomed. On account of climatic handicap most of their work has to be done indoors. It will not be long, however, Mr. d’Encourt thinks, before British producers are furnishing British exhibitors with a large number of pictures. While at the R-C Studios Mr. d’Encourt, watched the making of scenes in Doris May’s latest R-C production, “Boy Crazy,” and also met Mr. Hayakawa and Bessie Love while they were working on Havakawa’s latest production, “The Vermilion Pencil.” Mr. d’Encourt was the guest of honor at a studio luncheon attended by Miss May, Miss Frederick, Miss Love, Mr. Hayakawa and a number of R-C Studios executives. British Producer Praises R-C Stars and Tells of Handicaps in England