See and hear : the journal on audio-visual learning (1945)

'I lit- aiifllfjui' I'aitii ilKitiou iit the film foriDii "Is Demucrncy Working iti Humati Relaliniii?" irns broadcast to a potential listening aiutienie of twe millions in the tri- state aira ot Inrtimiit. Midiigan and Ohio. FILM FORUM TECHIVIOUES By Robert LaFoUette Director, Soi ial Siicnic l)cj)l.. Ball State Teachers College, Miincie. Indiana. WHA r is a film loniiii? Briefly, i( is a group distussion based upon a motion-picture film. The group participates in a forum dis- cussion of a film lor the purpose of clarifying the understanding of basic issues in public affairs, economic, social, and political. As informal adidt ediuation. the iiiiii forum uses a new mediiun of coimniuiicaiion as a device for stimulating group dis- cussion. It is ''talliing back" to a motion pictme which has starleil ihoughi. The sponsors of the loiiun do not necessarily agree with the thesis of the film and in\ ite the most searching analysis. Like anv forum it is betier loi it to Ix' on the paiicin of a neighborhood meeting than on that of a mass rallv. It is not mass enteriainment, rather it is for the thinking few. Its significance may not be measured by counting heads. Fiim toriuiis, like any forums, must be carefully planned. A series of fonuns will pro\e more effcctixe if plainied to de\elop a theme. Sensi- tive to the iniderlying trends in so- ciety, the planning connniiiec or indi\idual will search diligent 1\ to fmd films (docinnentaries, tele- scopetl commercials or news reels) which reveal vital moving ideas of our era. Visualized concepts will be concrete, bridging the gap between the citizen and his cornmunity by de- jjicting actual conditions and people. .Xaiiualh. whether the core idea in- \olves conmuniitN planning, inter- cultural education, winning the peace, conserving natural human re- soiuces. Inunan relations, or recon- struction and rehabilitation, the (lioice of theme will be limited by availability of functional films. The choice of films is crucial. The docu- inentar\ discerns liic dramatic in the actual. Ihe fact film makes facts the raw material. Oxercoining Iiarriers of s|)a(c. liack- groiuid, and lime, the film shoidd presein a Iniman situation. To make an impression on humanity, the fifm must itsell l)c lilmed with himianitv. The dociunenlarv Idm opens u]j new horizons through additional dimen- sions and shares with the radio the preser\ation of the materials of civic obser\ation. The film is as mucli a reference as a fjook and similarh aids as a basis for an informed pub- iic opinion. The arousing and sus- taining of interest by revealing real- il^. not icish fulfillment. on the screen will be facifitated by <]uality photography and sound track. The talking motion picture has become an institiuion, bin don't be afraid of tfie silent fiim for the silent has flexibility. Balance is the thing to be striven for in tvpes of films, methods of utili/ation, and in purposes for which they are used. The film serves as a "come on," it brings out the people, and builds group rajjport. The |)ublicit\ must be out well in adxance as an oxer-all co\eragc. Follow-up stories vili in- dividualize successive forums and ser\e as concurrent reminders. .\t- lracti\e. colorful and well-made post- ers slraiegicalK placetl will hel]). Usually names of actors fiave little |inl:)licitv appeal. In a docinnentary. for example, the actors are ordinary nun. women anil children — people going about their exeryda\ life in factory, or farm, in a mining camp, on a (am])us. or in |)ubli( alfairs. Obxioiish, a limeh subjeil well plirased attracts attendance and pro- motes parlici|)ation. 26 SEE AND HE.\R