World Film News and Television Progress (Apr 1936-Mar 1937)

EDUCATION Scotland's Work « ACCURACY— THE BASIS OF TEACHING FILMS By K. R. EDWARDS (Production Manager, Eastman Kodak Teaching Filnis) Highly Organised THE MOTION PICTURE has bccome so completely the special property of the picture palace that it seems quite natural for us to consider them as inseparable. The principal disadvantage of this restriction of the film to the theatre is the fact that it has established, in the mind of the average person, a very definite idea and pattern of what a motion picture should be like. In the picture palace each subject is treated on the basis of the dramatic formula of introduction, clima.\ and conclusion — a conclusion which invariably dismisses the subject with an air of finahty. Educators agree that the textbook should not tell the whole story. It should present each problem in such a fashion that the student will be stimulated to inquire and eventually form conclusions on his own initiative. This is the theory upon which most textbooks and classroom practice are foimded, but when this method is followed in the production of a motion picture the effect is, for the average individual, an anti-climax, for the reason that we have become so accustomed to having the film tell the story from beginning to end. Movement and Action In complete contrast to theatrical films, the teaching film seeks only to present an accurate image and faithful record of life photographed under unrehearsed conditions. It is assumed that the pupils win receive some preliminary instruction before reviewing the film, and that a discussion of the subject will follow. It is desirable, therefore, to avoid an air of finality in concluding the film. The outstanding characteristic of the film is movement, action ; and the selection of both the theme and the scenes and sequences illustrating that theme should be limited to subjects which can be shown either to the greatest possible advantage in motion pictures, or by no other means than through this medium. The school has a large and definite number of objectives that must be reached within a more or less limited period, and it is essential, therefore, that the films have to do only with those subjects which are included in the curriculum and are directly applicable to the mental development of the pupil. The ideal teaching film can be achieved only as a result of skilful and complete co-operation between pedagogical authority and the technique of mechanical production. The principal difficulty in achieving such co-operation is the lack of uniformity in teaching procedure — the absence of a standardised methodology. Films correlated with the text of a particular subject as it is taught in one school may or may not be suitable for use in other schools. This diversity in procedure is in direct proportion to the relative complexity of the subject matter. In practice this means that films on elementary subjects which involve a minimum of variation in teaching technique will attain maximum use and distribution, and wiU cost the least to produce; while more difficult subjects, involving greater variation, will find less use and cost more. If the producers are to live, they must make up on the simple films, produced for the lower grades, what they lose on the complex ones intended for the higher levels. As a practical illustration of proper film structure consider a classroom film on the subject of geography. The average theatrical travelogue on the subject of a foreign country is usually limited to general views that emphasise the novelty in landscape and architecture characteristic of the country. For instructional purposes, scenes of this kind are in no way superior to still pictures on a printed page, or to lantern slides. The producer should proceed on the principle of Pope's frequently quoted statement that "the proper study of mankind is man." and should undertake to include in a teaching film only those scenes which will comprehensively illustrate the Ufe of a people — their marmers, customs, native arts, industries, agriculture and schools. Translate in terms of people The current evolutionary trend in education is favourable, fortunately, to the film. An example is the shift noted in the schools' approach to the teaching of geography; namely, from political boimdaries to natural regions, which the screen — and the screen alone — is competent to present completely and comprehensively. Knowledge of the world — human geography — is most easily understood when translated in terms of the lives of the people w ho live in it. The motion picture should not imdertake to compete with the textbook, the map, and the blackboard, but should be devoted to an exposition of the realities of life which this medium alone can adequately approxi.nate. ACTTvmES IN SCOTLAND in Connection with the use of the cinematograph are now in a highly organised condition, and the graphical statement on the page facing shows the existing position. Some two or three years ago it was realised that co-ordination of effort was needed if any real progress was to be made. Representatives of bodies interested in the use of the cinematograph met and discussed how the various interests could best be merged. As an outcome there came into being the Scottish Film Council, federating, for purposes of co-operation, all those interested in the educational, the cultural, the anistic and the industrial and commercial possibilities of the screen. The Film Council is definitely linked up with the British Film Institute from which it derives its funds. The Council operates through several Panels each dealing with a specific aspect of cinematography, such as education, social service, amateur production and entertainment. Branch organisation One of the federated organisations on the educational side is the Scottish Educational Film Association which itself came into being as a result of the merger of two earlier societies. The principal aim of the Film Association is to foster interest in and to promote the use of films and other visual aids in education. The branch organisation of the Association is a strong feature. Everj' branch is co-terminous with an education area, and it is therefore made easy for Education Committees to grant support since the membership of a branch is, in the main, drawn from their own teaching staff. One of the most important functions of the branches will be the viewing and assessment of educational films under the general control of the Scottish Film Council which has set up a Co-ordinating Committee and specialist Panels to receive and make final pronouncements upon the reports received from the branches of the Film Association. Production groups Another growing and interesting feature of the work of branches of the Film Association is the formation of groups for the production of films for use in the classroom. These will, of course, but serve a small part of the needs of the schools, but the experience should be helpful in leading teachers to realise the difficulties of the professional producer of educational films, and also in enabling teachers to afford more valuable adrice as to the actual requirements of the schools. The Social Ser\ice Panel of the Film Council has recently had an accession in the shape of those interested in the adaptation of the cinematograph to the work of the Churches. The Amateur cinematograph Panel has been the guiding force in the non-professional production of films, principally through an Annual Film Festival. The Entertainment Panel is endeavouring to raise the standard of appreciation of the fare provided in the ordinary cinematograph theatres by the circulation from time to time of lists of recommended films. The issue by the Council of a Scottish Film Bulletin, which has now reached a circulation of well over 6,000 copies, forms a useful link for all aspects of the more specialised use of the cinematograph in Scotland. J. B. FRIZELL. 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