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Sixty years of 16mm film, 1923-1983: a symposium (1954)

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EVALUATION AND SELECTION, GuSS 189 The film evaluation form which is probably the most widely used, the best known, and conceded to be the best general film evalu- ation form is the one developed and distributed by the Educational Film Library Association. Members of EFLA use the form in evalu- ating films in EFLA's national film evaluation project. Information submitted by members on this form is used as a basis for the contents of EFLA's film catalog cards. Actually every film is a unity; conversely, many isolable and definable parts constitute a film. Some feel strongly that the film should be judged as a unit; others feel just as strongly that the parts of the film should be judged and that the strength of the film is equal to the strength of its parts—no more, no less. Many researchers in- terested in the latter approach have completed systematic investiga- tions which help establish the techniques within the film itself. This facet of film analysis has been dealt with most thoroughly by the Instructional Film Research Program at Pennsylvania State College, sponsored jointly by the U.S. Department of Army and the U.S. Department of Navy. This and other film research is reported in Hoban and van Ormer's Instructional Film Research 1918-1950. The studies reported deal with five main processes identified either in the film content or structure which affect the impact of a film on the audience and contribute to its instructional effectiveness: audience in- volvement; relation of pictures and sound, including verbalization; repetition; rate of development; and orientation and summary. Other studies in this area include the Yale Motion Picture Re- search Project's studies on repetition and audience participation sequences incorporated into the film and the U.S. Air Force's Human Resources Research Laboratories' Audio-Visual Research Division studies on variables involved in the production of training films. It seems to the author that research and progress in the field of utilizing the film evaluative criteria, rating scales, and results of research have not kept pace with the progress in constructing the scales and testing the film variables. Until the present time more than three hundred 'separate research studies of the effects of motion pic- tures and bases for determining these effects have been completed. A review of the research reveals a paucity in the area of applying these findings and improving the practicum of film evaluation. "By whom" and "how" these criteria, forms, and research data can best be used is a question which challenges the creative imagination of film users, distributors, and producers. Those who are involved in film